 AMBER ASYLUM
The Supernatural Parlour Collection
(Release)
My first taste of Amber Asylum came with their 1997 release, The Natural
Philosophy of Love. The mixture of rock, classical and ambient
elements made for a unique listening experience, with the songs being fairly
simple yet strangely difficult. With their latest, Amber Asylum have
smoothed out some of the rough edges and given the music considerably more
depth in the process.
"Black Lodge" opens the record with subdued mix of snare drum and muted
strings, building ever so slowly until you are fully enveloped in the band's
sound. Next up is an aria from the Gian Carlo Menotti opera "The
Medium," which the band interprets in a very graceful and hauntingly beautiful
fashion. Kris Force's voice is soothing and seductive, complementing
the delicate tones of the violin and cello perfectly. The only real
mistake on this album is all-too-predictable interpretation of the song
"Black Sabbath" that closes the proceedings.
I get the impression that Amber Asylum was pretty much Kris' vehicle
in the beginning, but on The Supernatural Parlous Collection, Amber
Asylum seem to have developed into a full-on band, with each player contributing
something important to the mix. I only wish I'd been able to catch
them on their recent tour, as I'm sure this material must really come alive
on stage.
Calling this album 'ethereal' or 'atmospheric' is too easy. There
is a real sense of beauty and purpose to this music and it is delivered
in such a calm and confident manner, it is impossible to not be moved by
it. The somber and sparse nature of the album art is a perfect representation
of the band's music. This is music to count stars by.
[Daniel Hinds]
 AMEN
We Have Come For Your Parents
(Virgin)
Hype. Amen is being billed as the latest saviors of rock 'n' roll,
reinventors of punk, truly rebellious musical geniuses, etc. Don't
believe it. This is an energetic but thoroughly unoriginal collection
of third-rate songs, made considerably less listenable by the utterly crap
production.
Amen may be marketed to the nu-metal crowd, but their sound is considerably
more punk in nature. The simplistic riffs and angry vocals are just
tiresome from song one on. Ross Robinson needs to be forcibly kept
out of recording studios the world over - the man has no ear for music!
Since ruining Sepultura on Roots and inflicting the patently untalented
Korn on us, he has delivered one substandard production job after another.
The album art with solemn-faced kids wielding axes and flipping off
the camera is so laughably prefabricated, it boggles my mind that anyone
is taking this seriously. Of course, the last time I went off on
a new band like this, it was Green Day and look how popular they got.
So we'll more than likely be seeing Amen sharing MTV time with Fred Durst
within a year, oh joy….
Notice I haven't spent much time commenting on the music? That's
because there isn't much to say about it. It sucks and any garage
band with a few weeks practice could have written and played this album.
I'm bitter, sure, but don't let that keep you from avoiding this album
at all costs.
[Daniel Hinds]
 ANTAEUS
Cut Your Flesh and Worship Satan
(Baphomet/Necropolis)
This French black metal outfit is really taking the cult route to hell.
An unapologetic old-school slab of satanic black metal, Antaeus conjure
up memories of old Mayhem, Bathory, Hellhammer and Darkthrone. Yet,
they throw in some bleak ambience on a number of the tracks, too, making
this a surprisingly well-rounded release.
"Inner War" takes a while to get going, taking on an Abruptum-like dark
ambience before the guitars and drums pound their way into your head.
"Seventh Ceremony" rages from note one, a flurry of blackened riffs and
grim vokills. "Devotee" again starts with an eerie soundscape before
finally laying waste to the proceedings with the song proper. In
this case, I almost wish they had spent the whole track exploring the ambient
style at the start. "Specimen 23" starts off with a wall of noise
before breaking into one of the more complex tracks on offer.
What the band lack in precision and polish - and believe me, they lack
a lot in these departments - they make up for with a fiery, raw attitude
that not many in this scene seem to possess these days. The band
are certainly capable of holding their own in the pure black metal department,
but I would like to see them explore their experimental side a little more
in the future, as it is this element that really gives this album its creepiness.
[Daniel Hinds]
 THE ATOMIC
BITCHWAX
II
(Tee Pee)
If Monster Magnet wasn't enough retro-fueled rock 'n' roll for you, Ed
Mundell's other project will fill in the void for you. The Atomic
Bitchwax is even looser and more 70s-oriented than his more well-known
outfit, which isn't a bad thing by any means.
After a nice instrumental boogie by the name of "Ice Pick Freak," the
band lays down a rock solid groove with "Forty Five." Chris Kosnik
handles the slippery bass lines as well as belting out some heartfelt vocals
that fit perfectly with the tunes. "Cast Aside Your Masks" kicks
up the tempo and aggression factor a bit, while "Solid" finally breaks
down the jam near the end of the album into an acid-trip of tweaked riffs
and spacey basslines.
Honestly, I wasn't expecting this album to be as good as it is.
The recording sounds like a couple of mics set up in a rehearsal room,
but it ROCKS! The band have that spontaneous energy that separates
truly classic rock music from the shit that has been coming down the pike
for the last ten or so years now. The Atomic Bitchwax fit in nicely
with bands like Nebula and Orange Goblin without sounding like a clone
at all. The influences of everything from Ted Nugent to Kyuss can
be felt, but the band tie it all together in a ball of fury that is all
their own.
[Daniel Hinds]
 BOOLE
Boole
(Dancing Bull Prod.)
Boole is a rare breed these days, an electro band with a sense of humor.
And I'm not talking the straight-faced Laibach kind of humor either; this
is more just plain wackiness. Beneath it all there are actually some
fairly clever and catchy tunes, too, which is always a plus.
"Disco Vampyre" kicks things off and is probably the most memorable
track. Mixing an Erasure-disco rhythm with pitched-up vocals and
several movie samples (including one from John Carpenter's Vampires, yay!),
this one is bound to put a smile on your face as you shake it across the
dance floor. "Kraftjob" is haujobb finally getting theirs, and later
in the album, a mangling of the Smiths' "Panic" that warmed my heart to
no end (that Johnny Marr is just sooooo smug!). The final push over
the brink is "StreetBeater2," based around a lengthy sample from the theme
to Sanford & Son.
On the (slightly) more serious side of things, there is the toe-tapping
"Subversitech," the Euro-flavored "Voyeur" and "Greet the Sun," which caught
my attention on a compilation a while back (now if I could just remember
what comp it was…) The dense and abrasive "Giant Robots" is another
of my favorites.
I think Boole were wise to not make the whole album silly, resorting
instead to making some quality tunes and allowing their warped sense of
humor to come through naturally here and there. My only advice for
their next release is to spend a little more time working on the graphic
design… More info: http://www.boole.org/
[Daniel Hinds]
 THE BERZERKER
The Berzerker
(Earache)
Wading through the hyperbole drowning this band's bio is hard enough, but
actually listening to the CD straight through is a real challenge.
Not because it so amazingly extreme or whatever they want you to believe,
but it is just so damn boring. Imagine a mix of Carcass and gabber
- without vomiting, if possible - and said combo would still sound better
than this.
"Reality" is super-fast, sure, with the lyrics spit out at classic Napalm
Death speed, but the shitty drum programming subtracts any sense of brutality
from the proceedings and renders the result as just kind of silly-sounding.
The same is true of the rest of the album, with all of the various death/serial-killer
related samples only making it all that much more tired and predictable.
"Pain" gets some tentative marks for bone-dry assault, one of the few moments
of originality to be found here. "February" attempts a slower, more
involved approach that also stands out above the rest.
If Earache really believes all the hype they've thrown out about The
Berzerker, then they are doomed. This is just second-rate grindcore
filtered through a sequencer and Earache had bands like Mighty Force doing
the same thing (and doing it much better, I might add) ten years ago!
Don't even get me started on the whole image/art side of the band…
[Daniel Hinds]
 BRIDE ADORNED
The Grey Eminence (MCD)
(self-released)
This Finnish outfit was new to me and their style of metal is fairly unique.
Grand, symphonic metal with a very uplifting atmosphere, made moreso by
the huge choirs utilized throughout all of the songs. This factor
more than anything sets Bride Adorned apart from the pack and it will be
interesting to hear what they do on a full album in the future.
The four songs on this demo disc are generally of equal quality, though
I think I would pick "Otherworldly" as my favorite, as it makes the best
use of the nine-member choir. The guitar riffing is fairly standard
on all of the songs, although the keyboard playing is quite impressive.
The regular lead vocals are also a bit on the vanilla side and I think
Bride Adorned might be well-advised to go the Therion route and let the
choir do all the singing in the future.
The Grey Eminence is a very well played and recorded work, even
if the songs themselves aren't that terribly memorable. I like the
fact that Bride Adorned have not chosen to simply follow in the footprints
of bands like Stratovarius and Rhapsody, but instead have worked hard toward
creating their own style. Their web-site claims a deal has been signed
and a full-length effort is underway, so I would bet on these guys as a
band to watch in 2001. More info: http://brideadorned.cjb.net/
[Daniel Hinds]
 CARNAL FORGE
Firedemon
(Century Media)
This Swedish outfit blasts forth a reasonably good, if somewhat predictable,
barrage of death/thrash/core. Plenty of speed, heavy riffs and angry
vocals pump through the twelve tracks on Firedemon. What the
band may lack in inspiration or diversity they cover for with tons of energy
and a nice, thick production.
The amusingly titled "Too Much Hell Ain't Enough For Me" flies out at
full speed before you can even lift your finger from the 'play' button.
Classic high-speed bass/snare thrash drumming is the order of the day,
with the riffing veering closer to death metal. The vocals are delivered
in a rather typical raw shout that shows off some hardcore roots.
Songs like "I Smell Like Death (Son of a Bastard)" and "Pull the Trigger"
reinforce my initial impression that the band is like a cross between old
Entombed and The Haunted, with slightly simpler riffs. Strangely,
the production seems to mutate throughout the album, with both the drums
and the guitar tone changing from song to song. It's never bad, but
the effect is a little unsettling.
For me, Carnal Forge are merely a 'good' band - nothing special, but
not bad either. In terms of Swedish acts, there are many I'd recommend
well before them, from Soilwork to The Crown to A Canorous Quintet, but
if you can't get enough, by all means check out Carnal Forge as well.
[Daniel Hinds]
 CHILDREN OF BODOM
Follow the Reaper
(Nuclear Blast)
My fears of Finland's finest sinking into stagnation have been dashed with
Follow
the Reaper, which is exactly the album CoB needed at this point in
their career. With Hatebreeder, it seemed like they were beginning
to repeat themselves and writing less memorable tracks in the process,
but Follow the Reaper adds a whole new dimension to the band's sound.
Pinpointing exactly what has changed is difficult, but the songs in general
are more in the mid-tempo range and seem to flow better than before.
The album kicks in with the title track and it is clear right away that
the band has learned a thing or two about writing more compact and memorable
songs, with the melodies as strong as ever. "Bodom After Midnight"
opens with a King Diamond-esque riff before winding through a typical array
of riffs and change-ups. The middle of the song features keyboardist
Janne Wirman and guitarist Alexi Laiho trading off solos, as they do throughout
the album, leaving me in awe of both of their talents. Janne in particular
just blows me away - he may well even replace Jens Johannsen as my favorite
keyboard player after hearing this album.
The rest of the album continues with one great song after another, with
"Taste of my Scythe" and "Kissing the Shadows" standing out the most.
One thing I've got to credit the band for is their integrity. Their
music has progressed with time, but they have never lost the raw-as-hell
vocals, the energy or the technical playing that are at the heart of their
sound since day one.
If you have yet to experience Children of Bodom, my advice is to buy
Something
Wild (if you like your metal rawer and faster) or this album.
They have truly combined ripping aggression with classy melodies in a way
no one else has come close to doing. Follow the Reaper shows
a band truly coming into its own and one of the finest recordings this
year.
[Daniel Hinds]
 CLEARLIGHT
The Mystick Krewe of Clearlight
(Tee Pee)
With the sticker on the front screaming "Feat. Members of Eyehategod, Crowbar
and Down,' I wasn't exactly looking forward to popping this disc in the
player. Sure, all of those bands do their own thing well enough,
but I've just never been able to really get into the whole NOLA sludge-rock
vibe. Fortunately, Clearlight is an entirely different beast, taking
a step back in time to classic jam bands of the early 70s.
You couldn't ask for a better album opener than the 8+ minute "Swamp
Jam." This one has it all - jazzy rhythms, rocking guitars, psychedelic
organs and a "where to now?" arrangement that keeps you involved throughout.
"Electrode" is a shorter, denser affair, but just as intricate and enjoyable.
By this point, it is clear that the entire band knows a thing or two about
playing their instruments, not to mention how to concoct improvised-sounding
jams and make them flow like a finely-honed piece of music. Organist
Ross Karpleman stands out to my ears and I haven't heard some rock the
keyboard like this since Jon Lord in the days of yore. Joey LaCaze
(drums) and Andy Shepherd (bass) lay down a rhythm that is so incredibly
fluid and funky, it could almost stand on its own. Rounding out the
band are Paul Webb and Jimmy Bower on guitar, no slouches themselves, and
this album works because these five folks work together so damn well.
The remaining songs are equally fresh and invigorating, making this
one hell of a release. If you are familiar with my tastes, you know
I don't have a lot of patience for instrumental albums or self-indulgent
musicians, so there must really be something special here to make me like
this record so much. The Sabbath, Trapeze and Purple influences are
an obvious connection for me, but this album goes much deeper into the
sound of the late 60s and early 70s, not to mention exploring well into
jazz and blues territory. This is music made for the love of music
and it shows.
[Daniel Hinds]
 CORVUS CORAX
The Atavistic Triad
(Dark Symphonies)
This is one of those bands I've seen mentioned here and there for a while
but this is my first real experience with. Trying to sum up Corvus
Corax in one or two words is very difficult, as they have a fairly broad
palette from which they paint their musical visions with. At the
core is a fairly cold black metal sound, but layered on top of that are
elements of classical, gothic, ambient and even progressive music.
The album opens with the fifteen-minute behemoth "Son of the Earth,"
which takes the listener through almost as many twists and turns as your
average Opeth song. From atmospheric keyboards to brutal blast beats
to melancholy piano with a great deal of grace. "Terminus Est" works
even more perfectly, with some interesting guitar tones and plenty of grim
vocals. There are only 5 songs in all, as most are pretty lengthy,
though the final track is a two-minute exercise in clattering percussion
that makes for an interesting counterpoint to the rest of the album.
The production on The Atavistic Triad is interesting - not terribly
smooth, but I don't think it was meant to be. The guitars have that
very narrow, processed sound that many black metal acts prefer, while the
drums and bass seem a little more prominent. The vocals are grim,
sometimes distorted and generally fairly buried in the mix. This
is a good thing as far as I'm concerned, not because they are bad at all,
but if they were too loud, it would be really easy for them to become overbearing.
If bands like Dimmu Borgir and Cradle of Filth have taken black metal
in a more accessible direction, than Corvus Corax is just the opposite.
This is not easy music or terribly melodic and the length of the songs
alone will turn away casual listeners, but there is a great deal of merit
to this approach and I think the band have done very well with it here.
Dark ambient/noise fans looking for a more metallic approach with the same
feel would do well to check out Corvus Corax, as would strict black metallers
who want to open up their horizons a bit.
[Daniel Hinds]
 DEAD MEADOW
Dead Meadow
(Tolotta)
Here we have a trio from Washington, DC, who churn out fuzzy, psychedelic
acid rock circa the late 60s. It isn't just the writing that mirrors
that era either, as the playing and the lo-fi recording are dead ringers
for the tripped-out jam sessions that defined the time.
"Sleepy Silver Door" is built around an almost unbearably simple guitar
riff, but it is the loping bass work of Steve Kille that really makes the
song work. Jason Simon's vocals are a bit on the high and thin side,
causing them to be almost consumed by the rest of the music at times.
From what I can hear, that is probably a good thing. "Indian Bones"
follows in similar fashion, while "Dragonfly" has a gentler vibe.
"Greensky Greenlake" features some nice wah-wah guitar and "Beyond the
Field We Know" is the extended jam for the album, a bit like early UFO.
"Rocky Mountain High" finishes the album on a much noisier note, with a
guitar sound that is just not healthy.
Having just reviewed Electric Wizard, this album is kind of like the
evil (or actually good) opposite. Where Electric Wizard wallow in
a hell-bent fog of drugs and nihilism, Dead Meadow are more of the smiling
hippies in a daze. Both bands need to put down their bongs for a
bit and learn a bit more about proper recording and mixing. There
is a certain charm to the album, particularly the bass lines and some of
the spaced-out guitar solos, kind of like Sabbath if they had bought into
the flower power scene instead of being consumed by the darkness of reality.
It could use some fleshing out and cleaning up (even just a bit), but it
makes for a nice change of pace. More info: http://www.tolotta.com
[Daniel Hinds]
 DELERIUM
Poem
(Nettwerk)
This is Bill Leeb's first Delerium record without the aid of Rhys Fulber
and it is difficult to ascertain exactly how that has impacted the sound.
While the album does introduce several new vocalists and quite a bit of
acoustic guitar into the mix, by and large the material on Poem
is a rehash of Delerium's last two albums, Semantic Spaces and Karma.
It's nothing new, but it's well done as always.
"Terra Firma" establishes all of the by now standard Delerium components
- tribal chants, Gregorian chants, and trancey electronics. It's
not a bad track, but you've definitely heard it all before. "Innocence"
is a little more interesting, as Leigh Nash (of Sixpence None the Richer)
adds her uniquely textured voice to the mystical and upbeat music.
Perhaps the most impressive coup for Bill was in hooking the oh-so-fine
Mediæval Bæbes for the song "Aria." This track is even
livelier, with an almost happy sounding bass line that is out of character
for Delerium, but it works. "Fallen Icons" takes a more acoustic
route, with Jenifer McLaren's breathy vocals sounds almost too precious
for their own good. Joanna Stevens (of Solar Twins 'fame') delivers
sweet but fairly forgettable vocal lines to both "Myth" and "A Poem For
Byzantium." This latter track breaks the Delerium mold and features
a more traditional folk/rock beat and should have been placed earlier in
the song lineup, IMO.
Probably the most notable appearance on Poem is Matthew Sweet,
adding his usual melodic touch to the very single-friendly "Daylight."
Whether it will be as big a hit as "Silence" is hard to say, but it is
plenty catchy and I could see it getting lots of airplay. Kirsty
Hawkshaw (of BT 'fame') adds the most ethereal performance on the album
to the already haunting "Nature's Kingdom." The album concludes on
a high note with the swirling, ten-minute ambient texture of "Amongst the
Ruins."
As much as I enjoy some of the guest vocalists here (and certainly Sarah
McLachlan's incredible performance on Karma's "Silence"), I must
admit I miss Kristy Thirsk and wish they had taken her on as more of a
permanent vocalist instead. Another thing I miss is the more experimental
feel, harder edge and darker nature of the old Delerium releases.
Getting back to the here and now, though, I must admit Poem is still a
beautiful piece of work. I think Bill has the right idea incorporating
more acoustic instruments and might want to lose the rather tired-sounding
drum loop entirely, utilizing some live percussion in their stead.
For now, chalk up another success for Delerium.
[Daniel Hinds]
 DOWNLOAD
Effector
(Nettwerk)
I realize that I'm in the minority of industrial fans when I say that Skinny
Puppy never really did much for me. But even I recognize the creativity
and work that went into their music, so it has always been a bit perplexing
that cEvin Key's main post-Puppy outing, Download, has always been a disappointment
on both an artistic and technical level. With the exception of The
Eyes of Stanley Pane, Download's output has been rather bland and uninspired.
Effector is probably the second best Download record I've heard,
but it is still a distant second.
The opening track, "Carrier Tone," shows promise, but "Muscaria" quickly
slides back into the humdrum of quirky electronics layered over psychedelic
rhythms. As much as Puppy might have been fueled by drugs, methinks
Download actually requires them to be properly enjoyed. Songs like
"Ego Dissolve" and "Affirmed" are pretty fucked, but lose their initial
kick pretty fast and never really go anywhere. That's my main problem
with this album - good ideas and interesting sounds that just kind of wander
around aimlessly for a while until the next song starts.
cEvin is a true artist, one of those people who can seemingly sit down
with some gear and anything he does will come out as reasonably musical.
Too often lately, though, I feel like he has been happy to release things
that aren't as good as they could be. He simply needs to be more
selective with his writing before dumping it on the public, IMO.
Download fans will already own this and there is nothing really commercial
or trendy enough to garner any new fans, so I guess that is a point in
the album's favor. Perhaps the listener needs to be as stoned as
cEvin is to properly enjoy Effector, but personally I'd like to
see him get back to making music that can stand on its own merits.
[Daniel Hinds]
 DREAMS OF
DAMNATION
Let the Violence Begin (MCD)
(Necropolis)
This is the new band featuring Jim Durkin, guitarist for famed 80s thrashers
Dark Angel. Sadly, he seems to have used up all of his good ideas
in Dark Angel, as Dreams of Damnation is a second-rate thrash act at best
and I highly doubt would have landed a deal with a label as noteworthy
as Necropolis without Jim's legacy.
Right as "Blood To Free a Soul" kicks in, many problems become evident.
First off, the production is crap. It's very flat, with the guitar
sounding particularly thin. Then Charlie Silva's hardcore/death vocal
shouts come in and ruin the proceedings altogether. They are just
overbearing and, not surprisingly, not recorded terribly well. "Unholy
Invocations" at least shows a little more promise on the musical front,
with some more convoluted riffs than the opening number. "Cremation
Day" sounds unbelievably dated and is saved only slightly by some fairly
cool leads. The rest of the 27-minute CD fares no better, with the
band tending to play it safe and simplistic rather than taking the initiative
of the more involved "Unholy Invocation."
Let the Violence Begin sounds like a demo to me. The generally
played-out thrash metal song-writing doesn't help the proceedings any,
though I do think there is some potential here if the band could hook up
with a good producer in a proper studio. Fans of Dark Angel who are
expecting this to be "far more brutal and ominous sounding" will be shaking
their heads in disgust.
[Daniel Hinds]
 ELECTRIC WIZARD
Dopethrone
(The Music Cartel)
When it comes to writing doomy dirges devoid of light or hope, few bands
can compete with Electric Wizard (or would even want to). Taking
their cues from Sabbath's Volume 4, this Brits manage to make each succeeding
album that much uglier, fuzzier and more painful than the last one.
While I still prefer the more focused and heavier sound of their debut,
Dopethrone
is actually an improvement in some ways on the rather disappointing Come
My Fanatics from last year.
The opener is a concise bit of stoner sludge called "Vinum Sabbathi,"
where the band plough through a drug haze to deliver their monster riffs.
The vocals are drenched in effects and sound really far away, an attribute
of the album as a whole. "Funeralopolis" is a little more involved
but treads similar ground, while "Weird Tales" is a fourteen-minute leviathan
of overdriven power chords, each slower than the last, culminating in a
single droning sound that carries out the last few minutes on its own.
Not to be outdone, "I, Witchfinder" is eleven minutes in length but tosses
aside the notion of change-ups, concentrating solely on creating an atmosphere
of otherworldliness with its extended jam feel. "We Hate You" is
possibly the heaviest track here, harking back to Saint Vitus' more dismal
moments.
I don't think you could pick a better band to showcase the effects drugs
have on the creative process, yet it is difficult to tell if it argues
in their favor or against them. There is a reckless abandon to Electric
Wizard's sound that is endearing, yet I still miss the days when they were
a little more keen on perfecting their sound and putting a little more
thought into the song arrangements. Either way, there are some memorable
moments on Dopethrone and quite a bit to attract fans of doom, stoner
and sludge rock the world over to enter their hazy little world of sonic
indulgence.
[Daniel Hinds]
 ELEGY
Forbidden Fruit
(Noise)
One look at this album and I was expecting the usual, tired prog-metal
hell of musicians more concerned about showing off their ability than writing
any actual songs. Elegy certainly does fall into the technical, power-metal
category, but I'm glad to report that they actually know a thing or two
about composition and balance, too.
"Icehouse" shows off some speedy riffs and a catchy chorus, while "Force
Majeure" takes on an even grander feel. Ian Parry, the highly-touted
vocalist who joined Elegy in 1996, does a good job with the material.
He has a mid-range voice that is powerful in the same way that singers
in the 80s like Graham Bonnett and Jeff Scott Soto were. The rest
of the band impresses as well, with guitarist Patrick Rondat whipping out
some blazingly fast leads. "Behind the Tears" has a nice, choppy
feel that reminds me of early Dream Theater, a feeling that comes back
a few times later in the album as well. "I Believe" is that rare
beast - a power ballad that works.
Not every song is a winner, though. "The Great Charade" is a little
too pompous for its own good and "'Til Eternity" sounds a bit awkward,
with the various instruments never meshing the way they do elsewhere on
the album.
If speedy, progressive power metal isn't your thing already, Elegy certainly
won't be the band to make you see the light. On the other hand, if
you love this stuff but are just feeling a bit jaded with the somewhat
lackluster releases so far this year, Elegy might reaffirm your belief.
Forbidden Fruit isn't a 'must-have' album, but it is certainly
above average with more than its share of memorable songs and performances.
[Daniel Hinds]
 HAMMERFALL
Renegade
(Nuclear Blast)
Here it is, the pivotal third release for the true metal spokesman from
Sweden. My initial impression was one of disappointment, but as was
the case with Legacy of Kings, further spins have revealed a much
more enjoyable album than I initially thought. Despite talk of Renegade
being a big departure for HammerFall, it really isn’t all that different.
Michael Wagener has added his usual glossy touch to the production and
the band do seem to be exploring some slower, moodier territory, but overall
I think this will still hit home with the band’s fans.
“Templars of Steel” is one of the least typical songs and a bit of strange
way to start an album. It begins and ends with a metallic thrum that
sounds like something from an old Accept album (Michael Wagener’s involvement
is felt right away!). The song itself is surprisingly laid-back,
but does feature one of the album’s most memorable choruses. “Keep
the Flame Burning” is far closer to the usual HammerFall style, with a
thundering double-bass drums and a classic metal riff that would have been
right at home on Glory to the Brave. The title track (and
first single) is next – a pleasant if somewhat uninspired little chugging
riff drives this one. The bridge in the middle is where the songs
really shines, though, and it is nice to see someone other than Halford
and Manowar has a motorcycle fetish.
“Living in Victory” is one of the songs that went by without making
much of an impression the first few listens, but I have a feeling it will
grow on me with time. “Always Will Be” is the sole ballad on the
album, but it is a real winner. Joacim Cans’ vocals on this one are
truly beautiful, making this quite possibly the most heartfelt ballad the
band has done yet. “The Way of the Warrior” is another mid-tempo
rocker, boasting yet another memorable chorus that will have you singing
it over and over in your head for days. “Destined For Glory” has
probably the heaviest riff on the album, while “Champion” has a ‘whoa-oh-OH-oh’
chorus that is just a bit too cheesy for its own good. “Raise the
Hammer” is a cool little instrumental that really moves. The album
closes with “A Legend Reborn,” which sports a very classic Accept-like
riff and arrangement.
The one complaint that has stuck with me since first hearing Renegade
is the mix. The guitars seem a little hidden, in favor of the drums
and especially the vocals. It is particularly noticeable on the song
“Templars of Steel” and kind of defuses the power of the album a bit.
Other than that, though, I am pleased to say HammerFall still have it going
on. If you hated them before, you will still hate them, but for those
of us who dig their brand of melodic heavy metal, Renegade makes
for a nice third chapter.
[Daniel Hinds]
 HOUSE OF LOW
CULTURE
House of Low Culture
(Crowd Control Activities)
This is cool. Crowd Control is synonymous with noisy ambient music,
but House of Low Culture is a different breed. The music here is
still experimental and challenging, but it is a much more organic sound,
utilizing guitar in a very non-rock way.
"Damnation of a Dead Man" is the first full track, taking a very simple
riff and adding subtle layers on top of it for a very pleasing effect.
"Submarine Immersion Technique Transmissions II" is an even more stripped
down, doomy number, while "Another Tragic One: Hands Sold By Poachers"
has a dreary, tremolo-laden atmosphere that conjures up disturbing David
Lynchian images. "Submarine Immersion Techniques III" is a wall of
droning chords that ends in pool of industrial ambience.
There is something strangely attractive about House of Low Culture's
sound. It is minimal, yet lush - a seeming disparity, until you hear
it. For anyone who feels the guitar is too limited an instrument,
one listen to this CD should prove enlightening. Experimental yet
strangely familiar and relaxing.
[Daniel Hinds]
 IMMOLATION
Close to a World Below
(Metal Blade)
Apparently Immolation's struggles early on are paying off and here we have
a new album, hot on the heels of last year's Failures For Gods.
How does this one rate in comparison? For the most part, it keeps
pace and explores some slightly more unusual territory here and there,
but it isn't a real step forward like I was expecting.
As "Higher Coward" gets underway, my attention is at first drawn to
the strangely wooden production. It isn't bad, per se, but it feels
a little bit too dry, especially in the drum department. Once I become
adjusted to that, the album is more enjoyable. I think it was "Fall
From a High Place" where I first noticed that the band was incorporating
some rather bizarre riff structures and time signatures. Like Gorguts,
these twists are rather disorienting, but very cool at the same time.
And, unlike Gorguts, Immolation incorporates them into a more standard
death metal attack most of the time. "Unpardonable Sin" is a good
example of how the band carries off this balance, as is the sprawling title
track.
The cover art is interesting and probably more than a little blasphemous,
but it seems like a bit of a letdown after the beautiful cover to Failures
For Gods. Maybe it would work better on an LP, where you could
actually see what the hell is going on.
Immolation is a strange band. Every time I pop in one of their
albums, my initial reaction is, 'Blah, just another standard death metal
album.' But, the further I get into the album, the more impressed
I am by what is going on beneath the admittedly generic death growls.
There is a truly inspired technical side to this band that would make a
lot of progressive artists gape in awe. Yet they never let that element
get out of hand, doing their best to keep the proceedings as heavy and
brutal as possible. If you liked 'em before, you'll like this one,
but those fans of intricate metal in general should check out Immolation,
too.
[Daniel Hinds]
 JAWW
Lifetimebomb (EP)
(self-released)
Oh yes, another pissed-off metalcore band - there seems to be no shortage
lately does there? Well, at least Jaww have a few things going in
their favor, so don't write them off just yet. Hailing from Toronto,
this four-piece play it heavier than most and seem to be intensely serious
about what they are doing.
Listening to Jaww is like smashing headfirst into a concrete wall.
The sound is so incredibly dense and heavy, with the bass just as pummeling
as the guitar (listen to "Vanishing Point" for evidence). Doug McLarty's
vocals are a little deeper and rougher than your average hardcore-turned-metal
singer and thus don't grate on my nerves the ways so many do. "Exposure"
gets my vote for the highlight of Lifetimebomb, as it just plain
cooks from start to finish.
Jaww are about as straightforward and unpretentious as you could want.
If you are looking for flashy musicianship, melody, supernatural atmosphere
or any other frills, forget it. This is bludgeoning powercore and
nothing but. With that in mind, I find Jaww to be quite good at what
they are doing and fairly enjoyable overall. Nothing too groundbreaking,
but at least it's done well. More info: http://listen.to/jaww
[Daniel Hinds]
 KAMELOT
The Expedition
(Noise)
I wasn’t quite expecting a live album from Kamelot this soon, but here
it is nonetheless. Not too surprisingly, the set list draws heavily
on the two most recent discs, The Fourth Legacy and Siege Perilous.
This is fine by me, as I prefer the band’s newer material to their early
stuff anyway. Tacked onto the end three ‘rare’ songs, unreleased
cuts from the past couple of recording sessions.
The live material is well chosen, well played and (thankfully) pretty
well recorded. It still lacks a little of the energy you might expect
from a live show and some of the polish of the studio, but it isn’t bad
by any means. The songs “The Shadow of Uther,” “The Fourth Legacy”
and “Nights of Arabia” come across the best of the lot. Of the unreleased
cuts, “We Three Kings” is an interesting, very grandiose instrumental piece,
while “One Day” is a quiet ballad that relies on acoustic guitar and violin
and “We Are Not Separate” is a more typical Kamelot track.
One thing vocalist Khan might want to work on is his stage raps.
They are pretty lame to begin with, but he seems to deliver them with a
total lack of interest. Fortunately, the music speaks louder than
words and the band deliver in that arena quite well. The Expedition
certainly isn’t a must-buy, but it is a decent release and should keep
fans happy until the next studio record.
[Daniel Hinds]
 MAZE OF TORMENT
Death Strikes
(Necropolis)
Though an unfamiliar name to my ears, Sweden's Maze of Torment are definitely
a band to watch and Death Strikes is one of the best releases this
year on Necropolis and that's saying something. Mixing up a potent
brew of thrash and death metal, the band propel the listener through 9
blasts of highly energetic brutality with nary a moment to catch your breath.
The songs are fairly consistent in execution, with a precision that
outweighs a lot of the bands that first created this kind of sonic assault
back in the 80s. Songs like "This is Death" and "Angels From Hell"
are, er, a maze of riffs, constantly twisting and turning without losing
focus. At the same time, the band is just as adept at turning around
and cranking out the more straightforward thrash attack on songs like "Aggressive
Bloodhunt" and "The Evil Beneath the Flames."
Judging the musicianship is not an easy task, as a lot of the riffs
aren't necessarily that taxing, but I still get the feeling that the band
is pretty accomplished. The playing is very tight and there are some
wonderfully OTT drum fills to be had. Vocalist Erik Sahlstrom tears
forth with a suitably raw yet powerful vocal delivery, one that thankfully
falls more into the thrash camp than death.
Yet another band to successfully fuse the energy and power of old-school
thrash and death metal with modern precision and production, Maze of Torment
rank right up there alongside the likes of Witchery, Swordmaster and Defleshed.
Though a short album (only about 30 minutes), Death Strikes is completely
satisfying.
[Daniel Hinds]
 MICHAEL MONROE
Life Gets You Dirty
(SPV)
Before there was L.A. Guns or Motley Crue there was a little band from
Finland called Hanoi Rocks. Never achieving much commercial success,
their glam rock approach was unique at the time and influenced many of
80s bigger names. Vocalist Michael Monroe has had a series of ups
and downs in his solo career since the band broke up in the mid-80s (following
the death of drummer Razzle), but Life Gets You Dirty seems to be
a definite up.
Mixing up the pomp and swagger of Aerosmith with a harder, bluesy edge,
Michael tears through a series of fairly memorable cuts. The title
track and "Just Because You're Paranoid" make for a potent one-two punch
at the start of the album. "Self-Destruction Blues" is a thick slab
of ballsy, bluesy rock 'n' roll and features some of Michael's fiery harmonica
playing (he also contributes all of the guitar, saxophone and piano to
this album, along with his rich vocals, of course).
Though Hanoi Rocks never really tickled my fancy, I've always had a
soft spot for Michael's grittier solo material. Life Gets You
Dirty isn't a perfect ten by any means, as filler tracks like "Always
Never Again," "Since When Did You Care?" and the rather tired ballad "I
Send You Back" seem to pop out every time the album starts to build momentum.
There are plenty of good songs here though and they are a pretty diverse
lot, ranging from fun energetic to darker and more introspective.
It's a trade-off, but if you're a fan of this kind of music or any of Michael's
past work, this is a fairly strong work and worth investigation.
[Daniel Hinds]
 MORBID ANGEL
Gateways To Annihilation
(Earache)
I remember going out of my way to track down a copy of Morbid Angel's debut
album, Altars of Madness, back when it was still brand new, and
being thoroughly impressed with the band's unique combination of brutality
and technicality. Then they released Blessed Are the Sick,
a complete load of crap and followed it with the equally worthless Covenant,
so I pretty much gave up on them at that point. Some hope returned
at the news that David Vincent was exiting the outfit, but not enough to
make me break down and buy Formulas Fatal to the Flesh, so it was
with a great deal of curiosity that I got to hear this new one.
The first thing that struck me is how little has really changed in the
Morbid Angel gameplan. This is ultra-heavy death metal that careens
from high-speed riffage to slower fare with predictable irregularity.
Steve Tucker's voice is pretty much by-the-book death metal growling, but
he does it respectably well and is certainly an improvement over Vincent.
One thing that surprised me was the number of slower tracks, such as "He
Who Sleeps" and "At One With Nothing." It makes for a nice change
of pace, but generally the band delivers the up-tempo tracks far more successfully.
"Opening of the Gates" is particularly satisfying.
Since it has been so long since I had really heard Morbid Angel properly,
I was curious to see exactly what it was about Pete Sandoval's drumming
that made everyone name-drop him as an influence in the past few years.
At first, I was a bit non-plussed, as his style is fairly straightforward,
but then I began to realize it is his consistency and speed that is truly
impressive. Just listening to "To the Victor the Spoils," where he
never slows down, it is just mind-boggling.
The production (courtesy of the band and Jim Morris) is a bit flat,
but generally pretty good. As one of the pioneers of death metal,
it is kind of cool to see that Morbid Angel is still keeping the spirit
alive, certainly more than most of the others from their era. The
songs themselves, while impressive while listening, are fairly forgettable
afterward. It isn't innovative, to be sure, but as a full-on death
metal recording, it is one of the best I've heard all year.
[Daniel Hinds]
 NASOPHARYNGEAL
Endless
(Crowd Control Activities)
From the label that brought us wonderful releases this past year from the
likes of Inanna and Gruntsplatter comes Endless, an album composed
of one single 74-minute track. Frighteningly, the entire track is
based around the same basic rhythmic element, offering only the occasional
lo-fi effect and the occasional spacey tangent.
Nasopharyngeal is the work of Brendan Krause (of Metropolis Records)
and St. Michael (of… I don't have a clue). The album proudly proclaims
the duo's instrumentation as an "ARP 2600, a Kurzweil K-2000 and a cheap
drum machine," and it shows. Relentlessly old-fashioned and low-tech
sounding, Endless will appeal most to those who miss the analog squelches
and bleeps of electronic music past, but even they will have to have an
incredible amount of patience to last through the whole disc.
Frankly, I liked a lot of the sounds coming off this album, but the
arrangement of the song was rather haphazard and needlessly long.
It might play as background music or some kind of terribly twisted film
score, but in general, there just isn't enough here to make it a worthwhile
purchase or listening experience.
[Daniel Hinds]
 NECRONOM
Exordium (EP)
(Winterthorn)
Just taking a peek at the cover and song titles, I guessed this EP for
some kind of gothic album, but the band's attack is decidedly rooted in
death metal. There are some gothic overtones, thanks to the wintry
keyboard passages mainly, but the riffing and vocals are very much from
the doomier side of death metal.
The first of three tracks is titled "A Prophet's Return" and is built
around a nice keyboard melody and guitar riff. "The Ashes of Empire"
is a slower, more morose track, while the final cut is an instrumental
by the name of "Thistles in Winter." This latter number is probably
the most complex of the three musically, as necessitated by the lack of
lyrical distraction. All of the songs feature fairly simple riffs,
but they are arranged quite nicely and the various instruments play off
each other well.
Christopher Howard Lincoln seems to the sole party responsible for the
music in Necronom and pulls off all the instrumentation in fine style.
His deathly vocal delivery is a bit passé, but it works within the
context of the music well enough. For an initial release, the sound
quality is strong and the digipak artwork is very professional. The
lyric sheet states that Exordium is but the first part of a trilogy, so
it will be interesting to hear how the musical vision of Necronom develops
in the future. More info: http://www.winterthorn.com
[Daniel Hinds]
 NICODEMUS
Tales of the Lovelorn and Necromantic
(Dark Throne)
Nicodemus is a one-man band from California, yet its is immediately clear
that the inspiration comes from across the Atlantic. Christopher Morris
pounds out a mixture of goth and black metal that is familiar, yet falls
short of being an exact copy of any one band. The album art displays
an obvious love for Cradle of Filth (and, frankly, the Nicodemus cover
is much better than the last couple of CoF covers) and a similar theatrical
approach can be heard on the music itself.
"Between Tenderness & Violence" juxtaposes sad piano and raging
guitars, just as it does grim and clean vocal styles. The keyboards
take a more central role on "In the Loving Arms of Miss Construe," even
breaking down to a techno beat in the bridge. "…and the Night Cries
in Return" features some progressive elements, as well as some of the album's
most memorable melodies. "To Summon a Dying Angel" is a wonderful
little instrumental that just drips with dark romance - definitely one
of the album's highlights - while "Voodoo Whores For the Devil's Dementia"
is a disturbed piece that reminds me a lot of Skinny Puppy in their prime.
Christopher has a ways to go still in some areas. The production
and mix are a bit lightweight and some of the attempted vocal styles sound
silly rather than menacing. Also, the keyboard work and sequencing,
while remarkably good at times, at others it comes off a little forced
sounding and doesn't quite blend with the rest of the instrumentation as
well as it could.
Still, I don't want to come down too hard on Nicodemus because I think
there is a lot of good here, too, and a lot of potential for the future.
The blend of darkwave and electronic elements in with more traditional
gothic and black metal music is something that hasn't really been done,
at least not to this extent. I can see this album appealing to folks
on either side of the fence just as readily, whether they are die-hard
goths or black metallers. More info: http://www.darkthronemusic.com
[Daniel Hinds]
 NOVEMBERS DOOM
The Knowing
(Dark Symphonies)
Dark Symphonies has been very careful about the bands they have signed
so far and their latest inspired acquisition is Chicago's Novembers Doom.
A more fitting moniker I can't imagine, as the band churn out somber, gloomy
slabs of incredibly classy doom/death metal. Clocking in at over
sixty minutes, this is a long journey into the fading light
Individual track commentary isn't terribly helpful in this album's case,
as the songs work together to make a complete piece of music. Despite
the general heaviness of Novembers Doom's sound, there is a strangely tranquil
feeling to the proceedings, a confidence behind the music that only comes
from an experienced and talented band. To say their sound isn't typical
of American bands would be an understatement - this has all the polish
and depth I've come to expect more from their European counterparts.
The album takes an interesting turn late in the game, with "In Memories
Past" having a slightly more up-tempo, Trouble-esque feel to it.
Novembers Doom have achieved that rare goal of working within an established
genre, yet creating a sound all their own. Sure, faint echoes of
Paradise Lost can be found on tracks like "Silent Tomorrow" and the blending
of clean and distorted guitar throughout puts me in mind of Tiamat's mid-period,
but these are but fleeting glimpses of past influences. Novembers
Doom are more about creating an expansive and contemplative atmosphere,
rather than the more constrictive feeling expressed by most doom bands.
They paint in many shades of gray, rather than simply black.
Vocally, Paul Kuhr growls, sings or speaks, as each song demands, and
pulls it all off quite well. The rest of the band does a great job,
too, and their playing is really what transforms these songs from good
to great. Production is loud, dense and suits the music to a tee.
Fans of thoughtful, atmospheric metal - everything from In the Woods..
to My Dying Bride - should definitely sink their teeth into this disc.
[Daniel Hinds]
 ODOR OF PEARS
Crown of Thorns
(self-released)
An odd name, to be sure, and musically, this bay area outfit aren't easily
classifiable either. Goth rock at its core, the band incorporates
industrial dance, trance and middle-eastern elements into the formula with
a fairly high degree of success.
The album opens well with "Invocation," a lesson in subtlety where the
Mediterranean vocal melodies weave a spell to counter the hypnotic drums
and guitar lines. Diana Blackwell's vocals are at their peak on this
track - very nice. "Cage" is a slightly more typical electro-goth
number and it works quite well, though "Underground" is less outstanding,
relying a little too much on the driving bassline to sustain it for over
six minutes.
Probably the most memorable track is "Fuck Christianity," which the
name alone endeared the band to me immediately. Lyrically, Diana
doesn't mince words here, going straight to the (black) heart of a corrupt
religion, even using a number of direct quotes from the Bible to illustrate
how ridiculous it is. Musically, this one is a bit simple and cheesy,
but it's still fun. "Dildo" is nearly as memorable, with a rubbery
beat and highly affected vocals, not to mention some amusing lyrics.
Sadly, the quality of the music doesn't carry over to the album art.
The graphic design on Crown of Thorns is gaudy to say the least,
which is ironic since the envelope the album was mailed in was decorated
quite beautifully. A minor complaint though, as the music is the
most important thing and there are some definite diamonds in the rough
here. I must also say I appreciate the band's effort to diversify
the tracks, giving each one its own sound - a rare trait these days. More
info:
http://www.odorofpears.com
[Daniel Hinds]
 ORATORY
Illusion Dimensions
(LMP/SPV)
I remember seeing some real potential on this band's EP and it appears
that LMP saw that potential as well, giving their debut full-length a much
wider release. Sadly, I think they were a bit hasty in this decision,
as Illusion Dimensions doesn't really live up to expectations
After a throwaway intro track, "With Glory and Melody" (cringe…) kicks
in and it is clear things aren't quite right. The song itself recalls
the classic era of Helloween or Angra, but it seems to be dragging the
whole time. It's like the tempo is just a few BPM short of its proper
speed. To make matters worse, vocalist Marco Alves sounds bored and
never really goes for the high notes when he should. The painfully
simplistic keyboards further erode the grandeur of this attempted epic
track. Ana Lara, the other vocalist, gets to do more on "Fight For
the Light," but her singing seems to be suffering the same problems.
The kind of melodic, symphonic metal that Oratory are attempting really
demands the utmost precision and feeling to succeed. Too often, the
band fall short of that goal on Illusion Dimensions and the lackluster
production only hurts them further.
This isn't to say it's a lost cause or a horrible album, though.
"Kingdom's Legacy" is a more mid-tempo number that makes the most of the
band's strengths and manages to capture the magical feeling that is missing
elsewhere. I liked "Rising Land" simply because it has a more traditional
heavy metal feel to it, giving the band at least some distance from the
obvious Helloween comparisons elsewhere. The ballad "In the Sky"
works pretty well, too, and hopefully the band will take their cues from
these tracks for their next outing.
[Daniel Hinds]
 ORDAINED
The Second Coming
(Sinternational)
Man, 'tis must be the season for unsigned bands and upstart labels, as
I've been just flooded with them lately. One of the silliest looking
to come across my desk (ha, yeah like I have a real desk!) has to be Ordained,
but fortunately they take their music much more seriously than their image.
Imagine classic heavy metal mixed with that raw 80's New York thrash sound
of early Overkill and Anthrax and you'll have a fairly good idea of what
to expect.
"The Ordained" is a good, solid heavy metal rocker, while "Caught in
a Trap" takes on a faster, more thrash approach that works just as well.
With "Let There Be Death," (sadly, not an Onslaught cover), the band try
to slow things down and it tends to drag a bit. The vocals, handled
by The Reverend, are a bit irritating at times, but seem to fit pretty
well at others. Imagine if Russ Anderson from Forbidden only sang
in the same narrow mid-range all the time instead of doing the high-end
stuff now and then. "Sealed With a Fist" has some cool change-ups
and one of the best riffs on the album. For me, the mid-tempo and
faster material worked the best, as the songs are generally not complex
enough to sustain interest in the slower tracks. "I Am the One" and
"Lunatic" are good examples of Ordained at their best, while the Green
Jello-like cringefest that is "Perversery Rhymes" is an area they would
be wise to avoid in the future.
Can't say too much about the rest of the band, as they play everything
well but none of it is particularly challenging. Ordained's music
has a nice late 80s underground feel to it, with all the good and bad baggage
that comes with that tag. If that sounds like your cup of tea, find
out more at: http://www.geocities.com/sunsetstrip/pit/6684/
[Daniel Hinds]
 PRIMAL FEAR
Nuclear Fire
(Nuclear Blast)
This semi-supergroup unleashes its debut just a few short years ago, a
potent mixture of Painkiller-era Priest and the two bands that delivered
the creative team to Primal Fear, Gamma Ray (vocalist Ralf Scheepers) and
Sinner (bassist Mat Sinner). The follow-up, Jaws of Death,
was even heavier, if a bit less memorable. The third installment
is once again faster and heavier than its predecessors - an impressive
feat in and of itself - and the songs seem a little more thought-out this
time.
"Angel in Black" comes screaming out of the speakers in classic Primal
Fear fashion, all guns blazing (ahem…) "Kiss of Death" is more of
a mid-tempo rocker, with an excellent solo, while "Back From Hell" shifts
right back into overdrive for one of the album's most memorable moments.
Ralf's performance on this tune is just marvelous, showcasing his awesome
range and power. "Now or Never" begins with a throbbing bassline
and keyboard swell, before kicking into a more classic hard rock number,
albeit a really heavy one. "Fight the Fire" has an almost old-school
Bay Area thrash feel to it's riffing, while "Eye of an Eagle" is probably
the closest to the sound on the band's debut.
The album finally takes a breather with "Bleed For Me," a power-ballad
of sorts. Not a bad track, as it alternates from clean to heavy guitar
and has a fairly powerful chorus. The title track picks up the pace,
in a melodic Helloween fashion, a definite winner. "Red Rain" is
something of a throwaway track that really doesn't live up to the rest
of the album, but "Iron Fist in a Velvet Glove" quickly sets things right
again. "Fire on the Horizon" serves to reinforce that notion and
the album closes with the Accept-like anthem "Living For Metal."
Nuclear Fire is a great heavy metal album. The playing
is superb, the songs are heavy, energetic, and emotional in just the right
measures. Originality may not be on the band's agenda (just look
at the song titles above, not to mention the overt Priest-isms), but as
soon as you press play on the CD, nothing matters but the music and Primal
Fear deliver some of their best work to date.
[Daniel Hinds]
 RHAPSODY
Dawn of Victory
(LMP/SPV)
Rhapsody has quickly established itself as a leading player in the upper-echelon
of power metal acts. Their mix of classical, opera, speed metal and
even folk music has garnered them much deserved worldwide acclaim, not
to mention more than a couple of hopeful young bands already following
in their footsteps. Dawn of Victory is the Italian outfit's
third offering and it does well to live up to the legacy of the first two.
After the typically grand intro, complete with choir and a soaring orchestral
arrangement, the title track takes command with the usual Rhapsody speed
and conviction. The symphonic elements seem to have come even further
forward in the mix this time, giving the music an almost Bal-Sagoth feel
at times. Most of the songs that follow are in a similar vein, though
"The Bloody Rage of the Titans" boasts a more balladic sound.
"Holy Thunderforce" is a whirlwind of pile-driving drums and speedy riffs
and Fabio Lione's vocals take on a real edge here.
Much of the symphonic accompaniment comes from Alex Staropoli's work
at the keyboard, the band do employ a number of guest musicians, including
a full choir and a very talented violinist. While Metallica makes
themselves look foolish in their attempts to graft classical instrumentation
onto their songs, Rhapsody have written songs that truly integrate the
two musical worlds.
The upbeat, triumphant mood of Rhapsody's past albums comes through
loud and clear on Dawn of Victory. While other bands may slow
down with time, this album is just as fast and intense as anything they
have done before. Posing with trolls and swords in their band photos
might elicit some snickers, once the music plays, there is no doubting
the colossal presence this band projects.
[Daniel Hinds]
 SAINTS OF
EDEN
Proteus
(Metech)
Having been away from The Plague for a bit, I am a bit overwhelmed by the
diversity and general quality of the releases I've been reviewing lately.
Here is a new(ish) band featuring Cian Houchin, who once served time in
the Nefilim project. Serving up a blend of dancey techno rhythms,
gothic guitar ambience and menacing vocals, SOE may have hit upon just
the right balance to unite the worlds of rock and techno.
After a rather energetic opener called "Lost Raiders," the band takes
a more reflective and typically gothic approach on the excellent "Crushed."
"Lightscape" is a bit more trance-oriented, with the plaintive guitars
and driving bass really making the song work. "Millennium Dawn" executes
a more metallic guitar riff during the chorus, while "Technochrist" is
fast and hard-hitting in the vein of Razed in Black. "Another Dark
Day" could almost give Delerium a run for their money with its incredibly
slow build-up, but once it gets there, it moves.
If I had to lodge a complaint against SOE, it would be with the vocals.
The processed and one-dimensional approach that Cian takes tends to detract
a bit from the otherwise strong songs on offer here. It isn't so
much that they are terrible, it is just that the songs are worthy of much
better. Being a death metal fan, though, I have long ago learned
to deal with sub-standard vocals and I find the musical portion of Proteus
to be quite pleasing throughout. More info: http://www.metech-recordings.com/
[Daniel Hinds]
 SHADOW KEEP
Corruption Within
(LMP/SPV)
What, another fantasy-themed power metal outfit? Just what we need,
right? Well, I'm pleased to say that Shadow Keep are a little more
interesting than most of the genre and Corruption Within is a pretty
damn solid metal record by any standards. And they are from England!
Once the center of the heavy metal universe, the British music scene fell
on hard times in the late 80s and is just now starting to make a comeback.
Shadow Keep land a sizable blow in the battle to regain the world's attention.
"Dark Tower" kicks off the proceedings with a mid-tempo gallop that
is more in line with bands like Jag Panzer and Liege Lord than the usual
Helloween worship. Old Queensryche must get a mention as well, as
vocalist Rogue M. has timbre similar to Geoff Tate in the days of old.
A more obscure reference would be the underrated medieval sound of the
band Tyton, with the big shouted choruses and driving riffs. "The
Trial of Your Betrayal" takes a slightly faster approach, while the title
cut hints slightly at Maiden's past and features one of the album's most
memorable choruses. "Murder" has a bit of a moody mini-epic feel
to it and keep an eye out for the dead-on cover of "Queen of the Reich"
hidden at the end of the album, the most appropriate cover I could think
of Shadow Keep doing.
The playing is all very nicely done - nothing too flashy, but enjoyable.
The two guitarists in particular play off of each other quite well, adding
some nice harmony bits here and there. The production is satisfactory,
further adding to the 80s vibe with a very mid-range tone throughout.
On the surface, Corruption Within has all the signs of a boring
album - dated production, cliched themes, fairly standard metal riffs -
yet it isn't. Shadow Keep seems to have found just the right balance
to make this kind of music work again. Fans who find HammerFall just
a little too slick and innocuous or who are tired of (insert name of most
recent Stratovarius clone) might well find Shadow Keep more to their liking.
[Daniel Hinds]
SIFT
Demo
(self-released)
This 3-song tape comes from a new San Francisco based outfit called Sift.
Describing their sound is a bit difficult, but the word 'heavy' has to
be in there somewhere. Coming across like a mix of grunge and doom
metal, the band has chosen mood over complexity and it works pretty well.
"Know" is a slow, dirge-like track that reminds me of Soundgarden in
the pre-pop days, with vocalist Chris Dinsmore sounding a bit like a more
restrained John Bush. Chris has a strong voice, but some of the notes
sound a bit flat, mainly on this track. "Transgression" continues
the same theme of building on a repeated riff, this time alternating between
clean and heavy sections. The heavy parts here really crush, though,
like Tool gone mad. Brett Crane adds some subtle keyboard textures
for good measure, too. "Bent" takes a while to get warmed up, but
ends up being just as heavy and unrelenting. This stuff must just
be brutal on stage.
Sift are a band that I would have probably dug the hell out of eight
or nine years ago, when I couldn't get enough of bands like Skin Yard,
Loop and Tad. Even now, I can appreciate what they are doing, even
if it doesn't really capture my imagination entirely. If you like
the vibe of alternative music but want to keep it heavy, check out Sift:
http://www.siftinfo.com/
[Daniel Hinds]
 SKYCLAD
Folkémon
(Nuclear Blast)
Yes, I have a special place in my heart for Skyclad. In just ten
years, they managed to release ten full-length albums that vary in quality
from great to utterly brilliant, with most hovering very near the latter.
This one is a bit of a grower, but I am well impressed by it now and I
think (even more than last year's Vintage Whine) this album will
appeal to fans of every phase Skyclad has been through. It's got
speed metal, folk, progressive songwriting and of course vocalist Martin
Walkyier's ceaselessly clever and touching lyrics. There aren't many
people in the world that I truly admire, but Martin is at the very top
of the list. He doesn't have the most naturally melodic voice, but
he does his best with it and his lyrics are just pure poetry.
"The Great Brain Robbery" is classic Skyclad in every sense, combining
socially conscious lyrics with a speedy riff and an utterly infectious
chorus. "Think Back and Lie of England" is a little more in tune
with recent Skyclad releases, featuring some slightly offbeat riffs and
arrangements. This track is worthy of note for its utterly brutal
lyrics, where Martin makes it clear in no uncertain terms that England
has a lot to answer for in its dark past (and present). The transition
back into the verse music near the end of this song just shreds, inspiring
air guitar and headbanging each time I hear it. Skyclad's more obvious
folk influences get a proper airing on "Polkageist!" a track that would
be right at home on The Answer Machine? "Crux of the Message" begins
with a rainstorm and a more sedate tone before the guitars come charging
in, playing between a twisting, folky rhythm and a more standard metallic
approach. The chorus is one of the most memorable on the album and
the unusually obscure lyrics are based on a poem by one Alison LR Davies.
At this point, the song that seems to get most people's vote for the
pinnacle of the album comes in. Medieval strings chime in and are
soon joined by a rousing chorus. When the heavy, driving guitars
crash in, it is pure magic and this is bound to go down a storm live.
With an environmental message at its heart, the lyrics include the line,
"Though I died, at least I'd tried to play some part in history," which
is something of a theme in many of Martin's works. A similar sentiment
in favor of the individual spirit can be seen on "The Antibody Politic,"
with the refrain "It's time we tried to turn the tide/With an overwhelming
minority."
"When God Logs Off" is a rather subtle track, analyzing the connection
(or lack thereof) between science and religion, while "You Lost My Memory"
is a sad song of lost love. This time, however, Martin seems to offer
a little more optimism and a little less vitriol than similar tracks on
Vintage
Whine. The band breaks out the mouth-harp for "Déjà-vu
Ain't What It Used To Be," another in the classic Skyclad mold with lyrics
inspired by Oscar Wilde. This song is rather unassuming at first,
but features one of the sweetest melodies during the chorus and it is a
needed surge of energy at this point in the album. Finally, we end
with "Any Old Irony?" a joyous celebration of the band's own spirit and
life on the road.
It seems every year Skyclad release a brilliant new album and each year
I am here doing my best to convince everyone to go out and buy it.
As with some previous Skyclad releases (such as The Silent Whales of
Lunar Sea and Vintage Whine), my initial impression of Folkémon
was a little bit underwhelming. As always though, repeated spins
reveal the hidden magic of the album and I am forced to tip my hat to the
band again for their continued presence in a sometimes depressingly bland
music scene. If you have any love for folk, metal, rock or just music
in general, you must find yourself a Skyclad CD at once!
[Daniel Hinds]
 SLOTH
The Voice of God
(The Music Cartel)
Must be the millennium thing or something, but it seems like this year
has been a bumper crop of stoner rock bands. And not just a bunch
of Sabbath clones, we're talking all kinds of different breeds. Sloth
hail from England, possibly the world capitol for this scene at the moment,
Album opener "Wishman" is a real experience. Not content with
just pounding out the same riff for eleven minutes like others might do,
Sloth have written a living, breathing song that changes and morphs throughout.
The tempo is generally slow, but there are more upbeat sections to be had
as well. "Lord of the Gallows" is a bit less involved, but still
rocks. The band are really good at delivering incredibly slow, doomy
riffs, but almost always pick up the pace at some point, making for some
very dynamic songs (witness "Green Magick" for one particularly good example).
By about the second or third song, I was pretty set in my opinion that
vocalist Gaz is a bit on the tedious side. He's not terrible and
definitely adds an edge to the music, but his voice (which reminds me of
Karl Agell of COC fame at times) is just doesn't have enough variation
to match the music. He does fare better when he actually tries to
sing (which he doesn't really do too well), like on "Into the Sun."
The rest of the band does a good job, laying down some plenty-heavy grooves
throughout The Voice of God, and the production is nice and thick.
If you can't get enough doom/stoner rock and wish the 70s had never
ended (hell, I wish that myself sometimes), Sloth is for you. Shades
of Orange Goblin and older Electric Wizard make this one fine slab of metallic
gloom and Sloth take it to the next level with some particularly thoughtful
arrangements.
[Daniel Hinds]
 [various artists]
In the Sign of the Horns - A Tribute to Venom
(Dwell)
What new day would be complete without anther new tribute album from Dwell?
Sarcasm aside, this Venom tribute avoids the generally disappointing quality
of most Tribute releases, perhaps because Venom weren't exactly the most
musically proficient band to begin with. Also on the plus side, there
are quite a few 'name' bands on offer here, as opposed to the usual selection
Dwell offers us on their tributes.
Nokturne play it fast and generally true with "Black Metal," while Coffin
Texts do a fine job with the equally classic "1000 Days in Sodom."
Bloodstorm makes an unusual choice with "Satanichist," belting it out with
a truly underground sound quality - it is even worse than the original
from Venom's dismal-sounding Possessed album! The first downer
is Venereal Disease's "Lady Lust," with vocals that are trying too hard
to be evil and failing utterly. Peverseraph choose well with "Genocide,"
but are hampered by an incredibly thin sound, while From The Depths score
with a nice and raw rendition of "Live Like an Angel." Evil Incarnate
offers a subterranean death version of "In Nomine Satanas," while cultists
Black Witchery spew forth the behemoth that is "Warhead."
Diabolic plough through a competent if unspectacular "Buried Alive,"
as Ritual Carnage deliver a tight "Welcome To Hell" featuring one of the
best guitar sounds on offer here. Mork Gryning sound positively primitive
on "Leave Me In Hell," while Anal Blast grind through a muffled mix of
"Red Light Fever." Acheron hold their own on "Countess Bathory,"
giving it a slightly more sinister tint. One of my all-time fave
Venom cuts, "Die Hard," gets tackled by Noctuary, who run through it fairly
uneventfully. Morpheus Descends piles on the morbid atmosphere for
a bass-heavy "Angel Dust," one of the best covers here despite the miserable
sound quality.
Not a bad tribute, though there are two problems that I have with most
albums of this sort. One, bands that have punchy, powerful production
on their own albums turn in demo-quality recordings and, two, very few
of the bands actually interpret the songs in their own style. Too
often, they just run through them like Venom did nearly twenty years ago.
[Daniel Hinds]
 [various artists]
Scream Forth Blasphemy - A Tribute to Morbid Angel
(Dwell)
While I've never much liked Morbid Angel (or, more precisely, David Vincent),
there is no denying their unholy influence on both the death and black
metal scenes of today. So, choosing a dozen or so underground extreme
metal merchants to pay homage seems like a reasonably sound idea.
In lieu of commenting on each and every track, I will just hit the highlights.
Mangled turn in a ripping rendition of "Visions From the Darkside," while
Angel Corpse lend an old-school flavor and some out of control soloing
to "Demon Seed." Diabolic work themselves into a frenzy on "Rapture"
and Aurora Borealis' "Ancient Ones" has a nice grind to it.
Not too much to rave about here, clearly, but then again there weren't
any real cringe-worthy performances either - definitely a rarity on a tribute
album. Fans of Morbid Angel will probably be fairly pleased with
the results here, though they shouldn't expect any real surprises, good
or bad.
[Daniel Hinds]
 ZÊNITE
Brutal Enigmatic Prophecie
(Ná Figuerdo)
This Brazilian outfit play a fairly standard version of old-school thrash
metal. Elements of modern metal are thrown in from time to time,
usually in the form of different extreme vocal styles more than anything
directly related to the music though. The overall impression is one
of definite potential, but the band needs to focus their sound a bit more
first.
“9mm” opens in a fairly tame fashion and the barking vocals are mixed
a bit too loud for my taste. Fortunately, things improve with “Betrayers,”
with some actual singing at times. “Warriors” features an interesting
mix of riffs, with a slight Sabbath tinge, while “N.S.C.F.” inexplicably
introduces a black metal vocal style that just doesn’t quite fit.
Similarly, the pseudo-death growls on tracks like “Depression” seem out
of character with the music. I’d like to see the band really concentrate
more on the driving thrash riffs and rough-yet-melodic vocals, as that
is where they succeed the most.
From a technical standpoint, this album is simply okay. The production
is a little murky and the mix is inconsistent, with the vocals jumping
out front a little too much at times. The playing is nothing flashy,
but pretty good nonetheless. There are some guitar leads in particular
that really shine.
At the end of the day, Brutal Enigmatic Prophecie is a decent
album but far from essential. If you miss the days of speed/thrash
metal in the vein of Omen and Sanctuary and can deal with the erratic vocals,
you can find out more about the band at: nafg@bol.com.br
[Daniel Hinds] |
