ACHERON
Rebirth: Metamorphosing Into Godhood
(Black Lotus)

This album has to have the stupidest cover I've seen since, well, at least since the last Cannibal Corpse album (which had some disturbing similarities).  The worst part is there is a really cool painting on the back of the CD booklet that would have made a great album cover and even gone with the title still, but alas they liked the cover art so much they deigned to include it inside the booklet, on the tray card and even on the CD itself in addition to the cover.  To each his own, do what thou wilt and all that I suppose.

So I wasn't expecting much, especially since I've never been a huge fan of Acheron in the past.  Rebirth may not be an essential album by any means, but it is a pretty strong and certainly quite heavy record.  The tracks are generally a mix of Celtic Frost density and old-school death metal brutality.  Arrangements are long without being overly complex, with each section of the song having plenty of room to breathe and develop, especially the solos.  "Xomaly" is a great example, as it pounds and evolves without getting boring.  Plenty of slow, grindy parts are mixed in with the faster sections, too (check out the Obituary-like crawl on the verses of "The Kindred" - great stuff!).  Choosing to end the album with "The 9^th Gate," a nine-minute ambient piece that is essentially a tone with some minor variations - I'm sure there was some cosmic reason to do this but it escapes me.

The lyrics are also nice and direct, with plenty of demonic themes and even a nice D/s tribute on "Bow Before Me."  Production is rock solid, with the drums sounding particularly pleasing.  Rebirth is overall a strong release that stays true to what Acheron does best.  http://www.acheron666.com
[Daniel Hinds]

ANATA
Under a Stone With No Inscription
(Wicked World)

This is nerve-rattling, bone-crushing, utterly brutal metal that really defines the word 'extreme.'  Elements of death and grindcore work hand in brutal hand to really punctuate each of the ten tracks on Anata's and the energy just never ceases to flow.  Speed is the order of the day, though Anata shake things up on almost every track and are just as adept at laying out the slower, meatier riffs.

Selecting favorite tracks is difficult as they are all fairly similar and all very good.  "Entropy Within" showcases some of the best riffs and is also a good example of how the band effectively combines slow riffs with high-speed rhythms (though there is no shortage of light speed riffs on this song either, don't worry).  The vocals are mostly of the dark, low growled death metal variety, but a few higher-pitched shrieks work their way into the album as well, giving it some balance.  Later on the album, "Under the Debris" offers some angular, neo-progressive riffs and time signatures that are interesting to follow.

The recording quality is perfect for the music - clear and punchy, with each instrument shinning through nicely.  The overall tone is a bit trebly compared to most death metal albums, but it works for Anata and the band never loses the brutal edge that is needed to really drive this kind of music home.  Overall, another successful release from this increasingly impressive Swedish act.  Just don't expect anything light or relaxing - this is relentless, highly aggressive metal at its most extreme.  http://www.varberg.se/~drake
[Daniel Hinds]

APOSTASY
Cell666
(Black Mark)

The somewhat generic logo and cover art made me think this would be a death metal album of some sort, but Apostasy actually plays a fairly complex brand of symphonic black metal.  I know I'm not the first and I'm sure I won't be the last to make this comparison, but the similarities to Enthrone-era Dimmu Borgir are very strong throughout this record.  For some that might mean an immediate write-off, but I personally love that album and Apostasy manage to take those elements and make a rich, enjoyable album of their own.

Keyboards rule this album, with some really beautiful melodies dancing across the guitar/bass/drum framework and the requisite blackened vocals lending the proper air of evil to the proceedings.  Fortunately, Apostasy doesn't let the soothing keyboard runs inhibit the heaviness too much, as the guitars are plenty crunchy and provide some quite memorable riffs along the way.  The real success of Cell666 is when the two combine in just the right way to create an overwhelming sound that is truly majestic, a feat that many symphonic black metallers just never quite achieve.  There are also some subtle thrash influences and a very strong, dynamic vocal performance helping to round things out.

As good as this album is, there are areas that could be improved.  The drums sound solid but are extremely uneventful and could easily be the work of a machine (for all I know, they are).  Also there are some sampled sounds and screams on a few tracks that either sound silly or just out of place and would have been best left out entirely.  And let's face it, the level of originality at work here is barely measurable - Silenoz + Co. should be getting royalties for some of these riffs.

So the verdict is, if you don't mind a few recycled ideas and sounds, you would be hard-pressed to find a more complete, listenable and downright good collection of polished, keyboard-laden black metal tunes than Cell666.  http://www.blackmark.net
[Daniel Hinds]

BEYOND SURFACE
Destination's End
(Noise)

From the very start, Beyond Surface lives up to their name by not playing by any standard genre rules.  There are elements of rock, metal and pop in the song "From the Mountain," yet it never sits easily in any one spot.  Fortunately, it's a catchy mix that works.  The band takes a Sentenced-styled riff and builds a moody but not necessarily dark tune with "The Cure," though they are less successful with the too-slow "Worlds Burn Down."  "Don't Let It Go" similarly falters, but most tracks on here work and there are at least a few outstanding songs that would make great singles.  They even close the album with one of the best, "Come Back and Stay."

One of the band's strong suits is the clean vocals, which are emotional without being whiny and, occasionally fragile but never weak.  Good use is also made of backing vocals, adding extra life to the choruses on many of the tracks.  The rest of the band deliver consistently, though don't really have the chance to show off within the somewhat constricted pop song arrangements (which is fine - sacrificing ego for the song is what it's all about anyway).

Beyond Surface crosses genres and could easily appeal to fans of goth rock, metal, pop, and maybe even some alternative and progressive stuff.  A blend of Katatonia, Sentenced, newer Paradise Lost and any number of German goth metal acts is what you get with Beyond Surface and the results are worth investigating.  http://www.beyondsurface.de
[Daniel Hinds]

BRIDES OF DESTRUCTION
Here Come the Brides
(Sanctuary)

Considering how good L.A. Guns managed to be over the years, not to mention how good the first two Motley Crue albums were, I was really expecting a lot more from this album than it delivered.  Tracii Guns and Nikki Sixx team up with Scot Coogan and London LeGrand to create a hard rockin', no frills album - sounds good in theory.  The problem is that album should have ended halfway through.

Opener "Shut the Fuck Up" is a wonderfully simplistic piece of punky hard rock that has the balls and attitude you would expect from these fine folks.  "I Don't Care" is a little more melodic but still packs a punch, while "I Got a Gun" is darker and moodier.  London has a suitably sleazy, sneering voice on the more rocking numbers, as evidenced on the slinky "2 Times Dead."  Tracii really lets loose a fantastic solo on this track, too, showing just how underrated he is as a guitarist.

Sadly, "Brace Yourself" marks the transition from good to bad - a decent song that just isn't up to the standard of the first four cuts.  "Natural Born Killers" is just lame, evoking Smash Mouth and Cypress Hill in a sick way - way too happy and stupid for its own good.  "Life" has a wimpy, slacker rock sheen all over it and "Revolution" marks the only bright spot remaining.  This one has a bit of a modernized G N' R feel to it, particularly in the riff and vocal departments.  "Only Get So Far" redefines the word 'weak.'

There was a time just after the glam explosion when L.A. actually produced some cool, gritty, hard rocking bands, like G N' R, L.A. Guns, Faster Pussycat, Bang Tango, etc.  Sadly, the bands that didn't self-destruct were wiped out by grunge, but it is nice to hear at least some of that same vibe alive and well in the Brides of Destruction.  http://www.bridesofdestruction.com
[Daniel Hinds]

CADAVERIA
Far Away From Conformity
(Scarlet Records)

This is easily the best CD that I reviewed this time around-- despite Cadaveria's embrace of two stylistic approaches that are usually deal-breakers for me.

First off, and I now realize I was wrong to apply this to Cadaveria, is my dislike of mixing goth-tinged female vocals and grindcore male vocals.  To me, its like putting chocolate cake on your cold pizza-- either are good for breakfast, but if you were to eat both I'd think you were an indecisive glutton with no taste buds.  Cadaveria mixes grindcore vocals with more ethereal vocals, but the two are blended well-- there's a third voice, halfway between a scream and a note, almost punk-rock, that bridges the gap between atonal and melodic.  And as you may have already known, it's because all the vocals are done by one woman, Cadaveria.  Well, duh, now I know.  But when I was just listening and unbiased by any knowledge, I enjoyed the way the vocals slid from mean & angry to distraught & melodic.

My second personal deal-breaker is the cover-tune of a successful song.  Some bands can pull this off, such as Celtic Frost's rendition of "Mexican Radio", which they totally reworked into a near-pure Celtic Frost tune.  But for many bands, and especially metal bands who deal mostly in rhythm and noise, doing a cover of a song that contains a catchy chord progression & focused song-writing can often only serve to point out how hacked-together and meandering their original songwriting abilities are.  Cadaveria's cover of "Call Me" is, I think, a gutsy move, and they back it up with some skillful thrashing out of melodic riffs elsewhere on the album (such as the catchy "Irreverent Elegy")...  This allows the familiar progressions of Blondie to float in and out of the album as a whole, and we listeners aren't left with a "time out!  It's cover-tune time!  OK, now back to our relatively monotonal music" halfway through a CD.

OK, so I've perhaps discussed too much about my own personal tastes in what makes a good album and not enough about the album at hand.  Far Away From Conformity provides a solid-till-the-end horror-metal album.  At times it snakes into the realm of classic metal riffage, and then to more modern atonal grinding, and even at times toward more beautiful-noise-atmosphere and caterwauling reminiscent of avant-punk bands like Jane's Addiction... and yet as I write that I realize that they don't try to stuff too much into one package. It all comes across as a whole.  Lastly, let me add that the production is flawless-- nothing short of what we'd expect from the Mastering Room in Sweden. Definitely recommended.  http://www.cadaveria.com
[Laird Sheldahl]

CAPHARNAUM
Fractured
(Willowtip)

This progressive death outfit plays some mighty tight and twisted tunes, keeping it brutal while injecting just enough melody here and there to keep it listenable.  Based in Florida, this five-man juggernaut displays amazing technical prowess on the eight tracks here and can hold their own with any of the American death metal releases I've heard lately.

Right from the start, it is clear Capharnaum is not content with repeating the same, standard death metal riffs over and over.  Songs like "Ingrained" and "Perpetuate Catatonia" are all over the map, galloping from one speedy riff to the next.  With temp shifts aplenty, it is a bit hard to follow the songs sometimes and they certainly aren't of the 3-minute pop variety that will stick in your head.  But it is clear that isn't what these guys are aiming for anyway and in terms of sheer skill and power, Fractured shows off a band that knows how to use both equally well.  "Refusal" traverses everything from death to thrash to plain old heavy metal and ties it all together quite convincingly.

With a solid production, the only thing that really bothered me at all was the somewhat screechy vocals that adorn most of the tracks, which are closer to hardcore than death metal, but I'm content with just tuning them out and concentrating on the music.  The guitar work and the drumming in particular are just stunning.  Hints of everyone from Death to Monstrosity to Cryptopsy can be heard in Capharnaum's style and I can see this easily appealing to extreme metal fans as well as the more technical, progressive minded folks out there.  http://www.capharnaum.org
[Daniel Hinds]

CENTINEX
Decadence - Prophecies of Cosmic Chaos
(Candlelight)

This Swedish death/thrash outfit failed to excite me with their Diabolical Desolation album a couple years back, but fare much better with Decadence.  The originality factor is still nigh on nil, but at least the recording and the songs are far stronger this time out.

"Arrival of the Spectrum Obscure" kicks in at high speed after a short intro, sounding like the more extreme end of the NWOSDM, with a battering thrash rhythm section and a good mix of death metal riffs.  Centinex don't kill themselves worrying too much about melody, but it does come into play at some point on each song.  The aggression is the most important factor though and they compare nicely to The Crown in that regard.

The lyrics manage to avoid the more obvious clichés of modern metal, coming across as a bizarre, cosmic collision of H.P. Lovecraft and William Gibson.  I'm not a stickler for great lyrics anymore but it is nice to at least have something a little different to follow along with.  Said lyrics are delivered in a reasonably good gruff style that alternates between thrash and death, with a couple of bits that are close to being clean.

Centinex is not one of those bands I can listen to and go, 'Oh yeah, that's Centinex,' but at least they deliver some quality tunes, offbeat lyrics and a solid production, and that's more than half the battle in this day and age.  http://www.centinex.org
[Daniel Hinds]

DEATHWITCH
Violence Blasphemy Sodomy
(Wicked World)

Deathwitch doesn't give a fuck what you think, or at least that's what it says here.  Since they bothered to record and release this album, I'm guessing they do care a bit and probably just put that so they could use the word 'fuck' one more time (this album could easily be a concept record based on that word, based on their affinity for it).

Aside from the limited vocabulary, these veterans manage to spew forth the same raw and primitive blackened thrash metal that they've made their career on.  Simple riffs, uncomplicated arrangements, minimal production values and sore throat vocals are the order of the day and there is no arguing with the conviction behind the pummeling.  Highlights include "Blood Sucking Fuck," with its Witchery-styled main riff and a cool little change-up midway through that reminds me of something that I just can't put my finger on.  Damn, it is so familiar, too, it's going to drive me insane.  Fuck.  Anyway, other memorable moments come along in the shape of the cleverly titled "Witch of Death" and the prowling grind of "Bitchfinder."

This album was enjoyable at times but not completely satisfying.  The lyrics and some of the riffs are just a bit too pedestrian and/or repetitive to really leave a lasting impression.  But it does have its moments and since the retro-thrash thing from the late 90s has all but died, there aren't a whole lot of bands out there doing this kind of thing anymore.  The fact that you can't really take the band seriously doesn't help, but then Venom made a career out of that, so who knows.  http://www.eternaldark.com/deathwitch
[Daniel Hinds]

DEBASE
Unleashed
(Noise/Sanctuary)

Ahh, praise all that is unholy, finally a band from Sweden that doesn't sound like every other band from Sweden.  Debase are heavy, no doubt about that, but the leather-lunged vocals and pounding mid-tempo riffs put these guys in a niche all their own - saying they remind me of everyone from Sanctuary to Lefay to Black Label Society should give you an idea how diverse their style is.

Opener "Holy Caravan" has a slow, grinding appeal while "Pleasuredome" shows some rough vocals that remind me of Graham Bonnet of all people at times.  "Restrained" has moments of post-grunge rock thrown in, but remains firmly rooted in the metal world.  "Schizofrenia" is a bizarre mix of Dave Mustaine's spoken vocal delivery and a modern-day Slayer song. 

As much as I appreciate Debase is doing something different, Unleashed didn't really stick with me, even after several listens.  The songs are just a bit too plodding for my tastes.  Points for originality though and this might make a good bridge to get more modern metal fans into the classic stuff.  http://www.debase.se
[Daniel Hinds]

DEICIDE
Scars of the Crucifix
(Earache)

I’m almost embarrassed to say this… I’ve never really listened to Deicide.  For me, the whole sub-growling vocal approach has always been a bit hard to swallow.  So, it was with more than a little hesitance that I popped in the new Deicide CD.

First off, let’s talk about the vocals.  They are, by anyone’s estimation, intense.  In fact, “intense” doesn’t begin to cut it.  They are over the top, extreme, out there.  But where a less impassioned delivery might tend to make this approach sound silly (like Nile, for instance) here the approach works and works brilliantly.  The passion and conviction is gut-wrenching.  Add to this the excellent vocal mix and what Deicide end up with is a new gold standard for growling, sub-human, Satanic aggression.

And it doesn’t stop with the singing.  The music is an absolutely perfect match for the vocals.  Everything is fast, thick, intricate, and just plain fucking evil sounding.  The top-notch production values never let the goings on sound muddled or out of step.  Did I say it was intricate?  Again, words fall short.  Intense, fast (oh yeah) drumming, lock-step riffing, and insane soloing all fuse together to take the listener on a twisting, tempo-shifting ride that never seems to stop.  And there is an old-school vibe to it all, delivered with cutting edge recording quality and production.

So, there you have it – the new Deicide.  I have to admit I’m blown away.  http://www.deicide.com
[Nels Bruckner]

DISMEMBER
Where Ironcrosses Grow
(Candlelight)

When it comes to defining Swedish death metal in the beginning, Dismember was right there with Entombed, laying down the foundation.  The guttural vocals, the dirty, grinding guitars, and the battering rhythm section were there from the start and are happily still fully intact in 2004.

The title track is pure Dismember, riding a headbanging riff just above mid-tempo and slamming straight into the full tilt "Forged With Hate."  "Me God" is a bit of a departure, starting off in a slow, disjointed manner before morphing through several riff and temp changes.  "Tragedy of the Faithful" showcases a bit of the melody that was always a small but vital part of Dismember's style.  There is a killer change-up near the end of this song into a galloping Maiden-esque section and some highly inspired soloing.  "Where Angels Fear to Tread" features and evil, grinding main riff that just eats away at your soul (in a good way).  "Sword of Light" suffers from a strangely murky mix.  The album as a whole sounds great, but there is a clear difference from song to song in terms of guitar tones and mix, no doubt to tailor each to the individual tracks.  That's all cool, but it also means that some songs sound better than others.  Thrash metal makes its presence felt on many of the songs, particularly "As the Coins Upon My Eyes," while "Children of the Cross" shows off the slower, heavier side of Dismember perfectly - it could almost be taken from Morbid Tales, it's THAT heavy.

It's always heart-warming to hear bands that have been around and helped define a scene still out there making great albums and Dismember does not disappoint.  As good as Hate Campaign was, this one might even be better.  http://www.dismember.se
[Daniel Hinds]

DRAWN AND QUARTERED
Extermination Revelry
(Moribund)

It's always nice when the local scene is strong and it seems as though Seattle metal has been really bubbling over lately, with lots of great releases that are getting national recognition.  Drawn and Quartered are a classic death metal act that has been bashing it out for quite a while and the experience shows on their latest full-length, the aptly titled Extermination Revelry.

The style employed throughout this grisly disc is pretty much the formula that made death metal what it was back in the early 90s - fast riffing, cancerous vocal emanations, violent and gory lyrics, lots of change-ups and strong musicianship.  The production is perhaps a bit weak but it's not terribly by any means and adds to the underground atmosphere of the record.

The songs aren't terribly original, nor that distinctive from one another, but they are well-written and there are a couple of standouts.  "Abyss Behind My Gaze" shows that the band can work with slower tempos effectively, really injecting a doomy, depressing atmosphere into the song.  "Necrophile Decapitator" is particularly brutal, with the guitars taking on an especially raw tone.

This is pure death metal, right down to the overly busy cover artwork, and Drawn and Quartered make no apologies for it.  What they lack in originality they make up for in conviction and fans of the genre, classic and modern, won't be disappointed.  http://www.geocities.com/drawn_an_quartered
[Daniel Hinds]

THE DUSKFALL
Source
(Black Lotus)

Man, I had no idea that I'd be sitting here in 2004 with several new albums to review by bands that are still playing melodic Swedish death metal like it never went out of style.  The Duskfall is probably the most blatantly unoriginal, with some serious nods to mid-era In Flames on just about every track.  They do it well but the eternal question remains: how much do we need yet another version of Whoracle?

One thing I enjoyed about The Duskfall is their refusal to add any kind of clean vocals.  Their vocalist reminds me actually more of Mikael Stanne than he does of Anders, which is cool.  That and the occasional bursts of insane speed (check out "The Grand Scheme") liven things up.

As I've mentioned in other reviews, this style of thick, crunchy yet melodic metal has always gone down well with me and I can't fault The Duskfall too much because they do it very well.  I just wish they would branch out a little and, who knows, maybe they'll eventually forge a sound of their own that other bands will be copying five years from now.  They've got the chops and the songwriting skills so it is just a matter of adding that unique creative element to brand their own style.  http://www.theduskfall.com
[Daniel Hinds]

DYECREST
The Way of Pain
(Noise/Sanctuary)

For some reason, the cover art to this album just screams 'melodic death metal' to me, and not in a good way.  But, alas, Dyecrest is actually a power metal band.  Although they manage to avoid any real obvious clichés or comparisons, there is something lacking on The Way of Pain that keeps it from moving beyond an average metal album.

The album opens on a strong note, the upbeat yet melodic "For All the Weak."  The riffing has a good edge, the clean vocals aren't annoying and the chorus is pretty catchy.  By the time the second track rolls around though, the energy seems to be dimming and the vocals sound more and more out of touch with the music.  This latter problem might have more to do with the way the album is mixed than anything else, but it is noticeable and distracting.

Amid the ennui is "Lost Faith," a slow stomper that rivals some of Stratovarius' better recent output, and "The Game," a more frantic number that displays some spectacular guitar pyrotechnics in its midst.  Sadly, this is but a reprieve, as the rest of the album slumps back into the doldrums.  "With Pain" injects a bit of life at the end, but too little, too late.

Dyecrest are a decent band and there are several good songs on The Way of Pain, but it simply isn't enough.  The production is rich and the playing is quite impressive - hopefully they will pen some more interesting songs to complete the combination next time around.  http://www.dyecast.com
[Daniel Hinds]

FACEBREAKER
Bloodred Hell
(Rage of Achilles)

This album is dark, monotonal, never really fast and never drudgingly slow-- I can't quite put into words why this album stands out.  Logically, it should just scream on by and wind up in the grindcore-related pile, but Bloodred Hell has something that keeps it's edges sharp despite apparent overuse.  After all, it's a near solid onslaught of heavy riffs and double bass drum assaults... an occasional clean guitar pops up, or a relatively clean sounding lead guitar solo, and from time to time there is the trick of isolating one of the normally double-tracked guitar tracks that provides just enough dynamic to keep our ears attuned, without ever losing the overall onslaught effect of buzz-laden Death Metal.  Not melodic enough for me to lump this in with the Swedes I'm more familiar with and love, Facebreaker seems like a bit of a throwback stylistically with more of a modern production quality, and the two work well together here.  http://www.facebreaker.com
[Laird Sheldahl]

FALCONER
Sceptre of Deception
(Metal Blade)

Here we have the long-awaited third chapter in the Falconer tale of folky power metal and, though it isn't as immediate as Chapters From a Vale Forlorn, it is clear the band hasn't lost its touch.  Sceptre of Deception marks the debut of vocalist Kristoffer Göbel (also of the band Destiny), who maintains the clean and powerful sound of Mathias Blad, with perhaps a little more texture and overall 'metal' style.

Although the folk melodies still permeate songs like "The Coronation" and "Under the Sword," it seems like this album has a slightly more metal flavor overall.  "Hooves Over Northland" displays a bit of a Riot spark, while the excellent "Pledge For Freedom" is pure Falconer with an amazing choir backing vocal.  The band kicks up the tempo a bit on the songs "Ravenhair" and "The Trail of Flames," which kind of leads the band to sounding a little more like your typical power metal outfit but they are still strong tracks.  The vocals and the guitar melodies stamp every song as a Falconer song, regardless of what else is going on.  The title track is something of a mini-epic, with a really cool vocal bridge in the middle and an ultra-catchy chorus.  "Hear Me Pray" is the power ballad of the record and is kind of lacking but gets the job done.

With the Mithotyn (and Destiny) legacy behind this band, not to mention the high quality of the first two albums, I was really expecting this one to just blow me away.  When it didn't, I was rather disappointed, but further spins and more realistic expectations have revealed Sceptre of Deception to be a strong slab of folk-infused power metal, indeed one of the best in the past year.  http://www.falconermusic.com
[Daniel Hinds]

FINNTROLL
Nattfödd
(Century Media)

My first experience with this unique Finnish lot was the excellent Jaktens Tid LP from a couple years ago and I'm pleased to say they have gotten even better on Nattfödd.  The band still takes great pleasure in wrapping blackened vocals and thrashy guitars around folky melodies and polka rhythms to create a sound unlike anything else out there at the moment.

The first song (pardon the lack of names, this is an advance) sets the pace, beginning with a very metal riff and grim vocals only to slip seamlessly into a clever polka rhythm halfway through.  The keyboards work overtime to really bring out the folky charm on this album, making a great contrast with the raw and heavy guitars.  There is a very lively atmosphere to many of the tracks, such as the energy-soaked sixth track, but the band is just as adept at evoking a mellower mood, such as the acoustic closing instrumental.

Finntroll has managed to find a sound, nurture it, and really begin to explore it on this album.  Solid musicianship and production don't hurt either, but it is the songs themselves that really make this album a must have for fans of everything from Thyrfing to Skyclad to Enslaved.  http://www.finntroll.net
[Daniel Hinds]

FORCE OF EVIL
Force of Evil
(Escapi)

Man, this should have been the most killer album, there is so much talent here.  The guitar duo of Hank Shermann and Michael Denner is as tight and talented as any you can name, Hal Patino has laid down the bass grooves for King Diamond more than once, Bjarne T. Holm sat behind the kit for Mercyful Fate's slamming 9 album and Martin Steene made a name for his voice in Ironfire.  There are some great moments (mainly when it comes to the solos) but there is just something missing here and even after several spins, I'm not quite sure what it is.

After a short intro, "Hell on Earth" screams forth with all the power metal fury you would expect from this grouping.  "Mindbreaker" is a little less involving and "Eye of the Storm" is where I really began to feel something was amiss.  "Under the Blade" is the perfect example of pedestrian riffs taking over - no personality at all.  There are some bright spots though, like "Samhain" with a classic, evil riff, and "The Calling" is Force of Evil anthem if there ever was one.  "Demonized" is another strong track, with another riff break reminiscent of early Fate.

Trying to analyze the problems with this record I think it comes down to three things - the vocals, a lack of imagination in the drumming and the mix of great riffs with fairly pedestrian ones.  The drumming thing is kind of a personal thing with me because I don't feel that anyone has been able to touch the work Kim Ruzz did with the original Fate line-up, as he refused to fall into standard, predictable patterns and liked to throw in plenty of hi-hat and cymbal action.  Bjarne is solid but too often it's just the same double-bass.  Martin's voice isn't bad at all and pretty distinctive, but it just sounds like he's straining much of the time and a different voice might fit with the music better.

Despite the flaws with Force of Evil, I would still recommend checking it out for the guitar work alone.  If this were cut down to an EP with only the best cuts, it would seriously kick ass, but hopefully next time around the band will pen a full album's worth of great songs and really blow us away the way I know they can. http://www.forceofevil.net
[Daniel Hinds]

FORGE
Bring on the Apocalypse
(Static)

First impression was this would be some kind of lame-ass American attempt at power metal, but fortunately Forge is something else entirely.  It has elements of metal, punk and straight-up rock 'n' roll.  The guitars are simple and hard rocking, the vocals are forceful but never abrasive (or whiny for that matter), and the songs are often anthemic and distinctive.

The opening numbers are fine but "The Torch" is the first that really stood out for me.  It has a strange neo-Celtic feel that actually reminds me a bit of old Thin Lizzy and some 80s medieval metal groups, with a modern touch.  "Mastermind" has an almost alternative/punk flavor to it (think AFI), but grounds itself firmly in metal on the chorus.  The twin-guitar attack is utilized effectively on the break in "Days of Destruction," while "Secret Mines" has a certain 80s Brit-punk flavor and a nice shouted chorus.  The up-tempo "Defenseless" is a great meshing of Iron Maiden and hardcore.

The rather unimaginative band logo is happily no indication of the musical quality contained on this album.  The guitar tone is very un-metal, yet the band is obviously influenced by several of the greats in the way they write and arrange riffs.  As a blending of styles, Forge does a nice job and come up with a sound that I haven't really heard before - a rarity more and more these days.  http://www.forgemusic.com
[Daniel Hinds]

FRAGMENTS OF UNBECOMING
Skywards (A Sylphe's Ascension)
(Metal Blade)

After a gentle acoustic guitar intro, Skywards moves into a melodic metal section before "The Seventh Sunray Enlights My Pathway" kicks in full throttle.  This is speedy melodic death metal with some Swedish overtones, even though Fragments actually hails from Germany.  Fortunately, they manage to develop the style without copying or sounding tired in the process.

For me, the real charm of this album was twofold.  One is the band's extremely deft use of the twin-guitar attack, eliciting some real classic Maiden moments built into a frenzied death metal approach.  The other is the speed and aggression that is present throughout the album despite the copious amounts of melody to be had.  The drums batter away like a machine gun on many of the tracks and the vocals are vicious from beginning to end - no 'modern' or alternative sounding whiney bits for these guys.  The occasional integration of acoustic guitars is just icing on the cake.

These guys (Fragments O' Fun Be Coming? sorry…) don't write riffs that lend themselves particularly to being catchy and there are no real 'standout' tracks here, though I might point to "On a Scar's Edge to Infinity" just for the breakneck thrash riff at its heart.  Still, there are no bad songs here either and I found the album to be uniformly enjoyable and a clear sign that melodic death metal is far from dead.  http://www.fragmentsofunbecoming.com
[Daniel Hinds]

FROST
Talking to God
(Rage of Achilles)

This is some damn fine black metal in the same tradition as the forward-thinking Norwegians, yet is produced by a single guy from England, Migg (who is also involved with the notorious likes of Anaal Nathrakh and Mistress), with some vocal help from The Fog and Shid.  The sound is raw and direct without being limited or simplistic and the evil, grim atmosphere so key is kept aflame throughout the album.

Opener "Sickness" really sets the tone for the whole album and is one of the best cuts overall, with some well-placed temp shifts and riffs that transform from arctic speed to infernal doom effortlessly.  "Subliminal Hell" maintains a slow pace throughout, adding to the sorrow with some well-placed viola and the album's most tortured vocals.  The bass shines through well on most cuts, too, especially on the grinding "The End," another contender for album highlight.  "No Light" gets the award for the most barbaric and chaotic track but it comes dangerously close to losing the feel of the rest of the album.  Some operatic female vocals manage to find their way into a couple songs, most notably the title track, which closes the album in grandiose style.

The production on Talking to God is stripped down and probably wouldn’t work for many bands, but it is perfect for capturing the dark atmosphere of Frost.  As the album is pretty traditional in many ways, comparisons can be made to Darkthrone, mid-period Satyricon and the like, but Frost are not short on ideas and manage to outdo their strong debut with this follow-up.  http://www.rageofachilles.clara.net
[Daniel Hinds]

GAMMA RAY
Skeletons in the Closet (2CD)
(Sanctuary)

This double-live album is not only a great concept but it is executed wonderfully.  Gamma Ray decided to do a small tour and play only tunes that don't normally get aired during the normal concerts - a brilliant idea that I would love to see bands like Judas Priest, Scorpions, or even Slayer do.  On top of that, they recorded the shows and put together this great-sounding double-disc collection, complete in digipak and including a huge booklet with tons of photos.

The track listing speaks for itself, so I will just mention a few highlights that I felt were especially welcome to hear.  After an intro, the energetic "Gardens of the Sinner" breaks forth, followed by "Rich and Famous" which sounds better than ever here.  "Armageddon" shows just how fast, epic and powerful Gamma Ray can be, rivaling anything Kai Hansen did in the early days of Helloween.  It leads nicely into the anthemic "Heavy Metal Universe"  "Heart of the Unicorn" allows Kai to really show off his upper range, while "Last Before the Storm" is one of the band's older tunes that still holds up really well.  Out of the blue, a ripping version of "Victim of Fate" is thrown into the middle of disc 2 - one of Helloween's crowning moments, to be sure.  "The Silence" always makes me laugh because the main verse melody is so similar to the Bette Midler tune "The Rose." 

I won't go into what Gamma Ray sounds like or what great musicians they are, as you wouldn't be reading The Plague if you weren't familiar with a band like this already.  Suffice to say, the performances here are strong, the recording is excellent and the novel idea behind the tracks chosen makes this one of the most successful live albums I've heard in quite a while.  http://www.gamma-ray.com
[Daniel Hinds]

GOD FORBID
Better Days (EP)
(Century Media)

God Forbid continue to deliver their own brand of intense thrash/hardcore metal with the release of their latest effort, the EP Better Days.  While their formula is far from unique (a problem that many, maybe even most bands are facing in this genre) they manage to rise above the herd and distinguish themselves with the strength of their delivery, their creative arrangements, and their consistently impressive musicianship.

The only minor ding against this CD is that the production could be better.  It is by no means bad, and is in fact quite serviceable.  But, with such truly impressive material to work with I can’t help but wonder what the talents of a Terry Date or Andy Sneap would have made here.

All in all, this is some great music and some of the more interesting hardcore and thrash that I’ve heard in quite a while.  I look forward to hearing a lot more from God Forbid.  http://www.godforbid.com
[Nels Bruckner]

GOREROTTED
Only Tools and Corpses
(Metal Blade)

Ah yes, from the label that brought us the artistic revelations of Cannibal Corpse and Cattle Decapitation, we are presented with the latest attempt to gross out the metal community.  Musically, this is a bloody blend of brutal death metal and gory grindcore and the results are sadly just a little too predictable.

The band can play and they pull off plenty of stop-on-a-dime change-ups (hell, they pull a major one in the first twenty seconds of the album), but it just doesn't make for a compelling listen, at least not for me.  There are two vocalists, one that delivers the sepulchral growls and one that belts out the higher-pitched shrieks.  Often the two overlap and intermingle, which would probably be the most interesting element of this album if both styles weren't so damn annoying.  Which leaves us with the song titles and overly graphic lyrics of songs like "Fuck Your Arse With Broken Glass," "Her Gash I Did Slash" and my personal favorite "Village People of the Damned" to provide the sole entertainment.

The production here is strangely sterile sounding, particularly the drums, and the impact of the songs suffers a bit for it.  OTT gore-soaked death/grind is really not a genre that I enjoy much anyway, so perhaps these guys are brilliant by the genre's standards.  All I can say is that I wasn't too impressed and I think there are other acts out there doing the same thing better already.  http://www.gorerotted.com
[Daniel Hinds]

HAMMERFALL
One Crimson Night (2CD)
(Nuclear Blast)

Once you get past all they hype and vitriol that HammerFall has enjoyed and suffered over the years, the fact is they have written and recorded some truly great songs in the classic heavy metal tradition.  Although Crimson Thunder may not have blown me away quite the way I was hoping, it had many excellent songs and those are all here, along with just as many from each of their previous three albums.  Great sound, great songs and great performances all add up to a highly successful double-live experience.

After "Lore of the Arcane" (which serves much better as a concert intro than it does a mid-album filler track), the band leap straight into "Riders of the Storm."  Vocalist Joacim Cans sounds a little less dynamic here than on the album version, but his voice seems to get better as the show progresses.  "Heeding the Call" gallops forth with all the energy and anthemic might you could ever want from a song, then "Stone Cold" is presented in all its glory.  "Hero's Return" is one of the band's more mediocre songs, but they quickly recover with "Legacy of Kings," followed by a bass solo that leads into a ripping version of "At the End of the Rainbow."  The hits keep coming with "The Way of the Warrior" and a merciless "The Unforgiving Blade" that just stomps all over the studio version (and it was pretty damn good!).  The one ballad here comes in the form of "Glory to the Brave," a good choice, though I would have rather heard "Always Will Be."  Disc one closes out with a dramatic guitar solo and a lengthy "Let the Hammer Fall."

The second disc starts off flying with a really uptempo "Renegade" and the speedy "Steel Meets Steel."  "Crimson Thunder" gets the full extended audience involvement treatment, which works better than is often the case when you're not actually at the show.  Rousing renditions of "Templars of Steel" and "Hearts on Fire" lead into an eight-minute "Hammerfall" to finish out the 'regular' portion of the album.  Following this are three more great tunes recorded in Mexico and Chile, namely "The Dragon Lies Bleeding" (a song that still makes me nostalgic for 1997 and the first time I heard HammerFall), "Stronger Than All," and "A Hero Reborn."

The between-song stage raps are only in English on the 'bonus tracks,' which were recorded in Mexico, but the message is always clear and the audience is incredibly responsive throughout.  If I had one complaint with this record it is simply that I would have liked to hear the band break out some obscure cover tunes, which they do so well on their studio records, but there is no denying the quality of the material on offer here and anyone longing for a HammerFall live album couldn't ask for more than One Crimson Night.  http://www.hammerfall.net
[Daniel Hinds]

HAMMERS OF MISFORTUNE
The August Engine
(Cruz Del Sur)

There was a time at the end of the 80s and the start of the 90s when people were taking metal and really experimenting with it.  Bands like Blind Illusion, Brocas Helm, Anacrusis and The Coup de Grace were taking heavy, thrashy riffs and weaving them into wild new tapestries of complex, progressive music that was unlike anything else on the market.  While there are still bands out there experimenting, it seems like too many lock themselves into one particular sub-sub-genre and never explore beyond it.  Hammers of Misfortune are clearly a throwback to the anything goes days and the results are startling and very rewarding.

Trying to describe Hammers of Misfortune sound is difficult and comparing them to anyone else is damn near impossible, so I don't get to be the lazy rock critic on this one.  Opening with a five-minute instrumental ("The August Engine pt. 1") that alternately rocks, soothes, intrigues and moves you, it is clear right away that any preconceptions are out the window.  The song is in constant motion, never settling into a groove, and yet it remains fully engaging without losing the plot.  It leads straight into "Rainfall," a beatless acoustic number that features some wonderfully minimal piano and soothing, almost haunting female vocals over the acoustic guitar work.  "A Room and a Riddle" kicks us back into the metal realm, with a classic Bay Area sounding riff that changes and evolves nicely with some good classic, clean male metal vocals.  Sanctuary in their prime could have almost pulled off a song this good.

The first epic-length track appears in the shape of "The August Engine pt. 2," a near nine minute monster that progresses through more styles than your average Opeth track and does it twice as convincingly.  The arrangements just flow, that's the real key here.  "Insect" starts off nice and calm, much like "Rainfall," but it eventually explodes in true metal fashion (though there is some interesting Beatles-esque vocal interplay on the chorus).  The bands avowed interest in Death in June sparks up "Doomed Parade," with a wonderfully somber strummed acoustic guitar leading us into the maelstrom.  The eleven-minute closing number "The Trial and the Grave" is the one song that kind of lost me a bit, as it is too ponderous and repetitive, plus the vocals seem to be at odds with the music and each other most of the time.

If you can imagine an album that is epic without being pompous, progressive without being indulgent, heavy without being one-dimensional, and just plain fun to listen to, this is the album.  I'm sure I've been guilty of using the word 'unique' too often in the past, but goddamn, these guys have truly created a sound that is all their own and (for once) that is a very, very good thing.  http://www.hammersofmisfortune.com
[Daniel Hinds]

IN FLAMES
Soundtrack to Your Escape
(Nuclear Blast)

Though In Flames have remained markedly unaffected by the hype around them in recent years, they do seem to be a little short in the creative energy department lately.  Reroute to Remain was a decent album but just didn't sparkle and, though it is a step up, Soundtrack to Your Escape is still missing something.

Our soundtrack begins with "Friend," which is a noisy, rumbling number that makes for a much better opening than the stupid song that opened Reroute to Remain.  From here, we veer into more pop territory, with the obvious single "The Quiet Place," complete with lots of synths and whiny vocals.  "Dead Alone" is the first real classic sounding In Flames song, with a good Maiden melody, screamy vocals and thrashy drums.  "Like You Better Dead" features a great choppy riff at its core, not to mention the best song title on the album.  "Evil in a Closet" is the power ballad of the album and let's just say In Flames should not be doing power ballads.  "Superhero of the Computer" is a perfect blend of old and new In Flames style.  Our feature concludes with "Bottled," which has an odd, beer drinking anthem feel to it.

While Reroute to Remain wasn't the lame sell-out I half-expected, neither is Soundtrack to Your Escape the big resounding return to form I was hoping for.  It's in very much the same vein with the same kind of murky production, but with just slightly better material.  If you like the band, it is worth getting and if you haven't heard them before, start with Clayman or The Jester's Race well before getting this.  http://www.inflames.com
[Daniel Hinds]

INTO ETERNITY
Buried in Oblivion
(Century Media)

Ever wondered what it would sound like if one of those ultra-talented yet boring progressive metal bands had some balls?  Or maybe even some speed/thrash/death influences?  Well, you’re in luck then.

The opening salvo of Buried in Oblivion consists of some high-speed, harmonized guitar work (that reminded me immediately of Paul Gilbert, in his earlier days) which leads into an impressive prog-metal display.  A few seconds thereafter an abrupt gear-shift rockets the song into a deathy, thrash section.  This dichotomy pretty much sets the stage for the rest of the album, with the band alternately showing impressive progressive metal structures thrust rudely against modern death metal and thrash.  It’s all delivered with impressive musicianship (the guitar playing in particular is very impressive) and excellent production.

The singing is as schizophrenic as the music, alternating between pretty typical sounding clean progressive metal singing and rough-as-asphalt death metal screaming.  It’s an interesting effect, though the clean vocals are a bit too generic sounding at times and tend to detract a bit from the band’s otherwise very original approach.

I love hearing a band approach the tried and true arena of “metal” and giving it a surprising twist.  It’s far too rare these days and I have to give Into Eternity all the credit in the world.  Plus, it’s just a damn good CD.  http://www.intoeternity.com
[Nels Bruckner]

KEEP OF KALESSIN
Reclaim (EP)
(FaceFront/VME)

Stepping out of the Norwegian shadows, Keep of Kalessin made a name for themselves with the epic black metal release Through Times of War a good six years ago.  Down to just one member - guitarist/bassist/keyboardist Obsidian C. - Keep of Kalessin has recruited two living legends to step in as session players on this five-song EP, namely Frost and Attila Csihar.

The results may not seem spectacular on first listen, but closer examination reveals some very well-crafted compositions as well as some incredible musicianship.  Frost in particular sounds nearly inhuman on songs like "Come Damnation" and his arms and legs must have been nothing but a blur in the studio recording this.  Attila's harsh, trollish vocal performance is everything you would expect from him and Obsidian fills in all the gaps perfectly, with some killer riffing and highly atmospheric keyboard arrangements.  The title track breaks out the acoustic guitar and builds up dynamically into blastbeat chaos beautifully.

Fans of the band may be disappointed that it is now a one-man project and all they get is five songs (one of which is an intro) after all these years of waiting, but the quality demanded by Keep of Kalessin's past is intact on Reclaim and hopefully they will deliver the death blow with a full-length album soon.  http://www.keepofkalessin.no
[Daniel Hinds]

KHOLD
Mørke Gravers Kammer
(Candlelight)

Though spending their career on labels like Moonfog and Candlelight doesn't exactly establish underground credibility, Khold are truly the worthy black metal successors to the likes of Darkthrone and even Mayhem, at least in terms of pure atmosphere.  This is dead serious, pitch-black music played with plenty of icy riffs and grim vocals.

As the first track "Åtselgraver" descends like an angry storm cloud, it is clear that Khold have only gotten better and heavier on their third sensorial assault.  The monolithic Hellhammer riffs are still front and center, but the song also takes several excursions into faster Nordic territory.  "Død" (which also appears on the disc in video form) makes for a great single - pounding and simple, yet memorable, with a nice doomy alternate riff.  "Niflheimr" displays Khold at their fastest, most Arctic and brutal, while "Hevnerske" is the flip side - slow, churning and moody.  More speed and a hint of To Mega Therion fuel "Sjeleskjender,"

The concept of super-simple, mid-tempo black metal with no frills sounds pretty damn dull, but Khold are anything but.  There is a spirit (albeit a very evil, dark one) to these songs, they really feel alive and vital.  For all the bands who have taken black metal into the future with synths, samples and incomprehensibly complex arrangements, Khold are here to say, 'Fuck off - THIS is what modern black metal is all about!'  http://www.khold.com
[Daniel Hinds]

LUNARIS
Cyclic
(Earache)

Post-modern black metal, as strange a concept as it once seemed, has nearly become the dominant angle of the genre.  Lunaris fits snugly into this category, eschewing our dark lord in favor of a clean, streamlined metal approach that incorporates as much from bands like Borknagar and Solefald as it does from the more obvious Emperor.

After the good but somewhat predictable black metal of "Mendacities of a Corporate Messiah," the far more out-there "IAD" rolls in.  The vocals move from grim to clean, neo-power metal intonations.  Riffs are pulled from the distant past as much as they are from the present.  The mix is a bit chaotic at times, but at least all the elements are good.  "Lesson in Futility" ramps up the digital precision and brutality considerably, while "Cyclic" has some disturbing synth fx buried deep in its high-speed assault.  The album finally calms down a bit with "Altruismens Gravol," which kicks off with some strummed acoustic guitar and leads into a rather psychedelic meandering before slowly building into a more typical Lunaris tune.

Fans of progressive metal who want something a bit harder than Spiral Architect or Dream Theater should definitely check into Lunaris.  Similarly, black metallers looking to expand their horizons will find plenty of unusual chord progressions, tempo shifts and arrangements here.  It's not a terribly catchy or endearing album, but there is no denying it's a damn impressive collection of songs and performances.  http://www.lunarisweb.com
[Daniel Hinds]

METALIUM
As One - Chapter Four
(Century Media)

From the whole 'true metal' movement that HammerFall spearheaded back in '97, one of the better acts to come along has been Germany's Metalium.  Though I've only heard their debut prior to this one, I quite enjoyed it and it's good to see the band sounding as good as ever on album number four.

After a stilted narration piece, the high-speed "Warrior" kicks in and all is right again.  Power metal all the way, Metalium pulls out all the stops, with soaring vocals, double-bass drum mayhem and the expected searing guitar leads.  As the album rolls along, more restrained tracks like "Find Out" and "Power Strikes the Earth" help balance out the faster/heavier numbers.  "Illuminated (Opus One)" is nearly ten minutes and truly the highlight of the album.  The songs covers a lot of ground but is built around a riff that is just monumental in its heaviness, with a resounding chorus that Stratovarius would kill for.  It even manages to overcome another dumb-ass spoken bit in the middle (this album would be 100% better if you simply removed all the narrative bits).  The title track closes the album, with another fantastic chorus that sounds like it was made for concert singalongs.

The production is superb - crisp, full and very powerful in every department.  In terms of providing a strong power metal sound and delivering quality songs in the process, Metalium are among the best in the world at the moment and As One is another successful chapter.  http://www.metalium.de
[Daniel Hinds]

MORIFADE
Domination
(Candlelight)

Judging from the album art I was expecting something either more death metal oriented or more progressive, but Morifade is actually a very solid, enjoyable power metal outfit from Sweden.  Elements of bands like Fates Warning and Sonata Arctica can be heard, but Morifade tends to play it heavier, much to their credit.

"Parallels" is a great opening cut, with a quick double-bass rhythm, a great metallic main riff and a big sing-along chorus.  Keyboards play a vital role throughout Domination, generally providing a very clean, melodic counterpoint to the guitars.  Songs like "A Silent Revolution" and "Clarity" demonstrate this technique admirably - not an original sound by any means but well executed.  In case the Helloween influence wasn't clear (and frankly it isn't as obvious as with most power metal outfits), the band closes the album out with a pretty straight-forward cover of "Judas."

Morifade's lyrics tend to deal with social and personal issues and are based on the books Brave New World and 1984.  I suppose that makes this a 'concept' album in the broadest sense of that term, but it isn't a rigid storyline from start to end and each song can be taken on its own merits quite easily. 

Though not as impressive as the latest Tad Morose, this album still packs quite a punch and makes for a nice power metal diversion from the tired sword 'n' sorcery themes.  http://www.morifade.com
[Daniel Hinds]

MORNING AFTER
Beneath the Real
(Black Lotus Records)

Morning After hail from Greece and style themselves as purveyors of a blend of New Metal and Classical Metal, while mixing in (and I quote) “the love-making atmosphere of gothic rock!”  Hmmm… ok.  One can only ponder what they could mean by that.  So, interest peaked, on to the music itself.

Beneath the Real is pretty straight forward metal, leaning toward the Korn / Nickelback end of the spectrum, ranging (predictably) from a studied heaviness to under-developed lighter moments.  While the recording quality is good and the musicianship is serviceable, the songs themselves are pretty mundane and lack any really distinguishing moments.  As I mentioned, they are quite heavy at times, but there is also plenty of uninteresting and self-indulgent schlock mixed in (the song “Trains in Dust” in particular is pretty hard to listen to and cringe-worthy).  The final nail in the coffin is the vocals, which have a kind of forced and amateurish feel, dragging down even the better moments on the CD.

Concentrate on the heavier stuff guys, hire a singer, and you might have something.  As it is, there is little to recommend this current effort.  http://www.black-lotus-recs.com
[Nels Bruckner]

ON THORNS I LAY
Egocentric
(Black Lotus)

Wow, this band has certainly evolved over time.  With roots in the goth/death metal scene, On Thorns I Lay has been experimenting and altering their sound with each record, bringing us to Egocentric which is nearly metal-free.  It still rocks though, but the band has taken on a more subdued, alternative feel with this one.

"Life Can Be" is a fairly straight-forward number that has a very radio-friendly chorus and a very slick arrangement.  Clean male vocals are used throughout this album and though a bit on the emo side, they never turn to the whiney, self-pitying style employed by way too many bands these days.  "Afraid to Believe" features a chunkier riff and some well-integrated synth work, while "Unsung Songs" incorporates acoustic guitars and orchestral strings into a more complex arrangement.  "When I’m Gone" is one of the few missteps on the record, sounding a little too lazy, reminding me of Pearl Jam for some reason (and that is never, ever a good thing).

Fans of bands like Anathema, Katatonia and Amorphis who have stuck with them through their various changes will likely find Egocentric to be a satisfying listen.  Nothing on here really blew me away but most of the material is enjoyable enough to make it worth checking into.  http://www.onthornsilay.com
[Daniel Hinds]

ORPHANED LAND
Mabool
(Century Media)

Even with a six-year absence since their last album, Orphaned Land remains Israel's best known metal export and Mabool demonstrates exactly why that is.  Utilizing all sorts of acoustic instruments in addition to the usual guitar/bass/drum, the band weaves a gorgeous tapestry of sound that is progressive yet accessible and covers many different elements of the metal world and beyond.

The album starts majestically with "The Birth of the Three (Unification)" and the middle-eastern influence comes in quickly, in terms of both the instrumentation and the vocal style (though there are some distinctive death metal vocals to be had as well).  Like many songs on the album, it is lengthy but where some bands simply jumble together several good ideas and make long, messy songs, Orphaned Land make each transition count and the music flows throughout.  "Ocean Land (The Revelation)" is one of my favorites, as it balances a great metal melody (with hints of old Amorphis) with some rich oriental percussion and strings.  "Kiss of Babylon (The Sins)" is my least favorite cut, simply due to the seemingly endless 'na na na-na-na-na' vocal section in the middle that is bad enough with the female vocals but when it switches to the male vocals is just irritating.  The instrumental "Calm Before the Flood" is one of the most atmospheric pieces on the record and sets up the title track perfectly.  "The Storm Still Rages Inside" is the epic centerpiece of the record, with the most progressive moments that even touch on jazz a bit at times.

Finding fault with Mabool is tough and really the only one I can find is the length, which many might find a strength.  Having grown up on LPs, I still prefer albums in the 40-45 minute range and this one is nearly 70 minutes.  When it is all as good as this, though, it is hard to complain and the album is constantly changing, heavy one minute and gentle the next.  The care and time put into this record is obvious in not only the excellent production values and musicianship but mostly the careful arrangements and song sequencing.  For a unique journey well off the beaten path of heavy metal, Mabool is the ticket.  http://www.orphaned-land.com
[Daniel Hinds]

PEGAZUS
The Headless Horseman
(Black Leather)

After the excellent Breaking the Chains, I was disappointed that Nuclear Blast didn't keep the band on for the follow-up.  Fortunately, the band themselves sent me a copy, showing just how dedicated they were to getting the word out about Pegazus.  Although I don't know if I would rank this higher than Breaking the Chains, it is another great album and chapter in the band's continuing career of metal.

After a reasonably compact intro, the title track rushes in and all is right with the world.  This is powerful, classy heavy metal in the traditions of old.  "Nightstalker" is a bit heavier, reminding me a bit of Omen, while "A Call to Arms" has a great anthemic flavor to it.  "The Patriot" is a somewhat bizarre tune, sounding like Rush covering Manowar at first before settling down into a nice medieval gallop.  "Look to the Stars" evokes a similarly incongruous comparison - Cirith Ungol meets Iron Maiden - but it works equally well.  "Dragon Slayer" is a straight-ahead rocker, with a cool change-up and harmonies, while "Spread Your Wings" is a slightly disappointing power ballad.

Happily, "Forever Chasing Rainbows" is up next and is utterly kick-ass from start to finish and one of the most memorable songs the band has ever written.  There is a break in the middle of the song that is executed so perfectly, it reminds me of the masters from the 70s and early 80s, back when bands knew that songs were about more than just a collection of riffs.  "Neon Angel" proves Pegazus has no shortage of great riffs and Guitarist Johnny Stojcevski takes over the mic for a loving tribute to the mighty Phil Lynott on "Ballad of a Thin Man," which manages to incorporate just about every classic Lizzy song title into its lyrics.

The Headless Horseman marks the debut of new vocalist Rob Thompson and he does a very admirable job throughout, sounding strong without overdoing it and reminding me of many of the underrated singers of the mid-80s.  Credit to Stojcevski for not only the fist-pumping riffs but also some very tasteful leads.  The production is the one area that isn't quite up to the standard on the previous disc, but it is still good and The Headless Horseman is another clear success for Australia's defenders of true metal.  http://www.pegazus.net
[Daniel Hinds]

PEGAZUS
Live! Thunder Down Under (2CD)
(Black Leather)

When it comes to creating 'true' metal, it's really more of an attitude and dedication rather than a specific sound.  Bands like Manowar and HammerFall obviously weren't doing what they were doing because they thought it would make them rich or famous - hell, when Glory to the Brave came out, you'd have been crazy to think it would be the next big thing.  Australia's Pegazus are just such a band - one where the love and passion for heavy metal clearly comes first.

Following several strong slabs of power metal, this seemed like a good time to capture the band in the live environment, particularly since it allowed new vocalist Rob Thompson a chance to show off his talents on the band's older material.  Kicking off with the excellent "Cry Out," the album racks up many of the band's best tunes, from the anthemic "A Call to Arms" to the headbanging "Metal Forever" to a spirited version of "Wrathchild."  I'd have liked to hear more tracks from Breaking the Chains, but it's hard to fault any of the songs that do appear here.

If you get the limited edition of this album, there is a second disc with six demo versions of songs from The Headless Horseman album.  It includes three of the best songs from that album - "The Headless Horseman," "Forever Chasing Rainbows," and "Ballad of a Thin Man" - and they sound pretty good for demo cuts.  On top of that, there's a low-budget but very well done video for the song "The Headless Horseman" here along with some other multimedia stuff.

The one obvious drawback of this album, as with many live records, is the sound quality.  The mix is a bit wooden and the vocals in particular seem a little disembodied.  I've certainly heard worse-sounding live albums (by major label acts even), but the energy is definitely sapped by the rather murky sound here.  Which means this is really an album more for the people already Pegazus fans and I would steer potential new fans to either of the band's two previous recordings.  http://www.pegazus.net
[Daniel Hinds]

PERSUADER
Evolution Purgatory
(Noise/Sanctuary)

This Swedish outfit managed to be one of the three winners in the Young Metal Gods competition, as selected by reps from the various European metal mags involved.  Their award was this recording deal with Noise.  Like all such competitions, I was rather skeptical, as it seems the truly great bands manage to make a name for themselves on their own.  Maybe not the next Judas Priest or Slayer, but Persuader is certainly an enjoyable band that manages to cross several different styles of metal to define their own sound.

The first obvious feature is the speed - Persuader plays plenty fast much of the time, with major nods given to classic speed metal and thrash in the process.  The lead vocals are rough and ready but far removed the trendy death or black metal styles and backing vocals are employed to give the choruses a big power metal boost.  The guitars are heavy particularly on slower "Godfather" and the pounding thrasher "To the End."

Piet Sielck (Iron Savior) does a decent if unspectacular job on the production, sounding good but maybe a bit empty in the bass department.  The songs delivered are mostly above average and a couple are excellent, but I'm not sure this album is the big push the band needs to get mass attention.  Still, if you're looking for some quality thrash/speed metal with no hints of modernity at all, Persuader are just what you're looking for.  http://www.persuader.nu
[Daniel Hinds]

PRIMAL FEAR
Devil's Ground
(Nuclear Blast)

German power metal at its finest, Primal Fear unleashes its fifth album, another fine chapter in this band's nearly flawless discography.  The raw energy that was lacking a bit on Black Sun is back in force this time, but that doesn't mean the band doesn't get in a few more explorative moments as well.

Opening track "Metal is Forever" is both cringe-worthy for the title and chorus and also quite enjoyable for everything else.  The song has a great mid-tempo riff that breaks down in classic Accept fashion in the middle for the solo.  "Suicide and Mania" relies even more on its main riff and would fit right in with songs from Primal Fear's brilliant debut.  For a more epic sound we have "Visions of Fate," which relies on keyboards and melody more than most of the tracks here.  It wouldn't be a Primal Fear album if there wasn't at least one track resembling Painkiller and the upbeat "Sea of Flames" fits the bill, complete with crazy drum intro and a killer, chugging main riff. 

"The Healer" allows the listener to take a bit of a breather, as it is something of a power ballad.  Strings and clean guitar are employed to help the atmosphere, but in the end it all comes off a bit flat and is not one of the band's better ballads.  "Sacred Illusion" returns to speed territory, complete with a great Halford scream and a just plain killer riff.  The song threatens to lighten up on the pre-chorus, but it only emphasizes the pure energy of the rest of the track.  The anthemic "In Metal" builds on a nice throbbing bassline and again harks back to the first album in its simplistic glory.  "Soul Chaser" is not quite as memorable but it does feature an amazing blend of mellow verses and near-thrash choruses.  "Colony" comes off as a bit average and feels like something of an afterthought, but "Wings of Desire" more than makes up for it, with its epic blend of Scorpions and Accept.  "Heart of a Brave" is another fast track, tempered with fairly melodic verses.

The one mistake on Devil's Ground is clearly the title track.  Not a song per se, it is merely a spoken word piece that appears to point out the dangers of taking Hell lightly, a warning of sorts to all those that like to pepper their metal with half-assed references to Satan.  From what I gather, this track was Mat Sinner's idea and it seems cheesy and unnecessary, not to mention a bit insulting to the intelligence, but then I suppose being reminded that 'metal is forever' could be taken the same way.  Either way, it's a damn good thing this track is at the end and is easily avoided.

Primal Fear has always had the best production you could hope for on their albums and Devil's Ground is no exception - the guitars are fucking heavy, the vocals loud and clear and the rhythm section sounds huge.  If you haven't been convinced by any of the band's previous records, this one won't do it either, but if you do dig their brand of truly powerful heavy metal, this is another great disc that you must add to your collection.  http://primalfear.rocks.de
[Daniel Hinds]

REQUIEM
Mask of Damnation
(Sound Riot)

Requiem is a classy power metal outfit from Finland that does a good job of incorporating folky, classical and prog elements into their melodic mayhem.  The vocals are clean and piercing and stay well clear of ripping off anyone's style, with the guitars impressing just as readily.  The rest of the band is just as good, but it all means nothing if the songs aren't there and fortunately, they are.

As the first couple tracks roll forth, it is clear that Requiem is serious about keeping the speed and heaviness in their music, despite the extremely melodic nature of the vocals and guitar harmonies.  The title track shows off the progressive, keyboard-driven side of the band more, as does "Ethereal Journey."  "Shrine of the Ocean" really gets into some complex territory, with unusual time signatures and abrupt tempo changes.  Personally, I prefer the faster, heavier stuff, but they do both styles well.  "The Rivals' Spell" ends the disc on a speedy note.

Production is excellent, as is the beautiful cover art.  Mask of Damnation is not breaking any ground, but if you are looking for a quality power metal band with an obvious affinity for the classic prog masters, Requiem certainly fit the bill.  http://www.requiem.kpnet.com
[Daniel Hinds]

RUE
Untitled
(Shifty Records)

This album doesn't fare too well against the rest of the batch I'm reviewing.  It lacks any sort of professionalism and skill the other handful of CDs can lay claim to.  But, hey, complaining about a stoner band not having any sort of dynamics or quality production is fairly pointless.  I do kind of enjoy the lo-fi quality this CD has, it's not so garage-sounding as to be unintelligible, but does sound like a cheap graphic EQ with the bottom few bands pushed up to +10 and the rest down at -10, so that all the sound is squashed through this narrow bassy bandwidth like so much toothpaste squeezed out of a tube.  It might be utterly formless but for the shape imposed on it by the hole it's being extruded from.  And yet, there's a hint of songwriting left, which borders on almost-catchy at times that seems a bit enjoyably surprising for an otherwise garage-adorned album.  http://shiftyrecords.com
[Laird Sheldahl]

SCARVE
Irradiant
(Listenable)

The backbone of this album is death metal-- fairly standard I suppose, heavy, tight, dark and solid.  But then there are these thrash segments that form some sort of articulated exoskeleton.  Biting & melodic, these thrash elements cut right through the mix... and I do mean cut through the mix, its not as if the death metal elements transform into thrash like some band that can't quite decide which genre they like best.  It is like a second band stabs their way through every so often... a second vocalist and a pair of guitarists at least. Without good timing and good production, this would sound like unlistenable mud, but Scarve pulls it off and the two different sounds remain distinct.  I am quite impressed, it's a good mix.  http://www.scarve.net
[Laird Sheldahl]

SCEPTIC
Unbeliever's Script
(Candlelight)

Sceptic is another strong entry into the extreme metal field from Poland.  Formed a decade ago, these guys have obviously honed their style considerably and Unbeliever's Script is a nice mix of technical thrash, power and death metal.

The title track kicks things off with a great choppy riff and suitably raw vocals that draw on black metal as well as thrash influences (particularly German outfits like Kreator and Destruction).  "Illusion Possessor" has a nice epic opening before settling into a great chunky mid-tempo section before heading into neo-prog land for the solo spot.  "Knowledge Gatherer" starts off in moody Slayer mode and just stomps along til the bitter end.  "Voices From the Past" is a heavy but very melodic track that even features something that sounds like a marimba thrown in the mix.  The album closes with a somewhat lethargic tune, "Waves of Destruction."

A good sound and good mix top off this strong contender.  For some sharp, fast and brutal tunes that manage to still incorporate a reasonable amount of melody, Sceptic are a fine choice.  http://sceptic.metal.pl
[Daniel Hinds]

SOILWORK
The Early Chapters (EP)
(The End)

Here we have an EP offering up some “rarities” from the Soilwork back-catalog.  I always find EPs a bit dissatisfying.  There’s the obvious reason (they are shorter) but also there is less coherency between the songs.  This EP is no exception, but the materiel is still quite good.

The two covers are great.  They completely avoid the tiresome approach to covers, making no attempt to sound like the original band.  To my mind this is the way to go, especially for a band as talented as Soilwork.  You will never mistake the versions of "Burn" and "Egypt" for the Deep Purple or Mercyful Fate incarnations.

The other two studio tracks, “Disintegrated Skies” and “Shadow Child”, are also quite good Soilwork fare.  The only let down is the somewhat dated sounding production.  That’s a minor complaint though, as these songs are quite strong.  The live song is predictably noisy and live sounding, but is still quite listenable and does a good job of conveying the live energy of the band.

All in all, it’s a good EP with plenty to recommend it to fans of Soilwork.  Those unfamiliar with Soilwork should check out one of their full albums first (like the brilliant The Chainheart Machine).  http://www.soilwork.net
[Nels Bruckner]

STAMPIN’ GROUND
A New Darkness Upon Us
(Century Media)

This is (I believe) Stampin’ Ground’s second full album… though I have to admit that this was the first I’d heard of them.  I also have to admit that after hearing this CD I rushed out and bought the one before it!

Stampin’ Ground do a fantastic job of melding pre-existing styles and coming up with something new and a little different.  If done with less care this approach could lead to something fairly derivative and unoriginal, but for Stampin’ Ground it has the opposite effect.  The influences are clearly evident, but the result is fresh and original sounding.

So, what are the influences?  Well, there is plenty of Slayer in the guitars.  While the vocals have a NY hardcore feel.  It’s a combo that doesn’t seem obvious to me, but it works really well.  Add to that drumming which is refreshingly varied and you end up with Stampin’ Ground.  And, even though I’ve spent most of this review focusing on their influences, the whole package ends up sounding really fresh and new.  I’m impressed.

And, yes, their earlier CD (Carved from Empty Words) is good too.  http://www.stampin-ground.com
[Nels Bruckner]

SUNWHEEL PSYCHEDELIC
Burning Doves
(self-released)

This apparent one-man band is a nice break from all the current trends, harking back to a time when rock was a little more introspective and played with feeling.  References to all kinds of 70s bands can be heard, but also to more modern acts like King's X and The Cult.  G.W. Miner is the man at work here and it's hard to believe he ever had anything to do with the generally awful Electric Hellfire Club because this is so completely different (and better).

"Persephone" is a straight-forward groove rocker that sets the stage well.  Miner's voice is a bit flat on the verses, but he really comes alive on the chorus and at the end of the song.  His performance is even better on "Hammerblows of Thunder," which is built atop a great tom-driven drum beat.  "Wheels in the Sky" suffers from sounding a little too Zep-like at times - never a good thing in my book.  "Lonesome Highway" is one of the album's best, with a killer riff and vocals in the vein of Ian Astbury.  "Sleeping, Waking" and "A Drop in the Mirror Pool" are a bit of too sprawling and mellow, showing Miner's voice at its weakest.  "Leaving My Cross" has an interesting, more modern and metallic riff to it, though it is tempered by the tambourine adorning the chorus.

In researching the review, I tried to find some online reviews and they were all extremely negative, which kind of surprised me.  Sure, Miner's voice isn't 100% tuneful all the time and sure the drums (drum machine?) are mixed a bit loud, but there are some cool tunes and some great, emotive guitar passages.  I think anyone who misses the days when rock music was still living and growing and exploring will want to check out Sunwheel Psychedelic.  http://www.sunwheelpsychedelic.com
[Daniel Hinds]

SYMPHORCE
Twice Second
(Metal Blade Records)

It’s nice to hear something a little unexpected now and then.  Lately, it seems like everything I pick up is death metal or at least super aggro-metal.  The new album from Symphorce is a nice departure from that trend though.  Don’t get me wrong – Twice Second is plenty heavy, but more in a Brainstorm / Primal Fear / “power metal” kind of a way.  It’s a genre of metal that, when done right, I find just as intense and enjoyable as thrash / death / black metal.  And Symphorce definitely do it right…

As you might expect from the above description, Symphorce play heavy music with elements of speed, power, and old-school metal plus plenty of melody (and even some unobtrusive keyboards) woven into the fabric.  The production is nice and clear, bringing out the often complex rhythm playing nicely.  The guitar playing is crisp, ranging from speedy, chuggy riffing to airy, layered power chords through to concise and impressive solos.  The key to all this is the variety that is evident throughout Twice Second, which serves to hold the listeners attention and lends a distinction and uniqueness to the individual songs.

I found this album a refreshing break from a lot of the less original fare that is out there these days.  It’s heavy and aggressive without the overdone, pretentious obsession that so many bands have with being brutal and aggro 100% of the time.  It’s also nice to hear a singer who… um… “sings.”  What a concept.  http://www.symphorce.net
[Nels Bruckner]

TARTHARIA
A Secret Device (MCD)
(Crash)

This half-Russian, half-Finnish outfit has crafted a sound that stomps across boundaries with little regard, taking what it wants from the realms of black metal, death metal and thrash.  The resulting five tracks here may not be revelatory but they are pretty good and demonstrate a band searching to create a new sound.

"Erotic Mutation" kicks in straight away, with lots of choppy riffs, double-bass hammering and celestial keyboards paving the way.  The vocals are a bit of a turn-off for me, sounding rather cackling and strained most of the time, but at least the music works.  The title track follows in similar style, with some slightly more complex riffs and unpredictable change-ups.  "Destructive Power of Life" is less memorable, while "Vanguard Extremenation" has a cool marching rhythm through much of it.  "The Unfreedom" is a bit slower and heavier, with some almost alternative-styled vocal and guitar passages mixed in.

Tartharia are one of those acts that will have trouble finding an audience simply because they don't fall neatly into any particular category, nor do they write particularly catchy songs.  I wasn't completely sold on this disc, but I think the band could really produce something extraordinary with better vocals and little more refinement in the songwriting department.  For now though, this does offer something different for those on the lookout for bands off the beaten path.  http://www.crashmusicinc.com/Bio-bands/Tartharia.htm
[Daniel Hinds]

TESLA
Into the Now
(Sanctuary)

Tesla’s first album since Bust A Nut (1995) is a rare treat.  Here we have a dozen songs that remain true to Tesla’s inland California roots, but also show the work of five long-time partners in music who have allowed their maturity and contemporary influences to come to the surface.  Into The Now is more than just the title of this album, it is an appropriate description of the resurrection of Sacramento’s biggest contribution to California’s storied rock and roll history.

It only takes the first minute of the opening title song to realize that this album is no nostalgia trip or cash in.  This is something that rock and roll isn’t allowed to be anymore, and that is a natural expression of time and youth.  It’s all here in songs like “Miles Away,” “Heaven Nine Eleven,” and “Got No Glory.”  You can pardon my initial skepticism here, but after hearing Into The Now I’d venture so far as to say it beats the likes of Creed at their own game.  Great stuff and Tesla’s best album since…drum roll, please…  Mechanical Resonance.  High praise, but well deserved.  http://www.teslatheband.com
[Ted Hinds]

THE END
Within Dividia
(Relapse)

I have high standards for Relapse Records' releases, and when I first listened to The End, I thought they paled in comparison to labelmates such as Mastodon and I quickly lost interest.  But, I figured that if I put this album down for a week and gave it a fresh listen, I'd probably change my mind, and I eventually did.

I say "eventually" because the opening track on "Within Dividia" just does nothing for me.  There are some of the familiar stylistic leaps that other Relapse artists skillfully execute, radical shifts in dynamics that keep the sound constantly fresh and wholly evil... but as the instrumentalists of The End shift from a grinding atonal assault to a more atmospheric & melodic interlude, the previously prominent screams of the vocalist suddenly disappear.  Where did he go?  Doesn't he feel comfortable with the more "song oriented sections"?

By track two ("Fetesque"), the music hits more radical swings, from low-end heavy buzzsaw-hacked noise that gradually spreads out, shifting into strident wails befitting some horror epic, and then back down to staccato mayhem.  Again, while the music was making these skillful sweeps, the vocals remained either screaming or were absent.  By track three, I was totally immersed in the level of skill and intelligence that goes into a Relapse release.  Both this track ("The Sense of Reverence") as well as "Organelle" start off with a calm, quiet intro that treads on almost Bauhaus-like territory, with bass melodies and rolling drums and depressing minor key guitar licks that seem to be played by someone with just enough energy to scratch his hand across the fretboard.  The slow build hasn't just provided tension for the sure-to-come hell breaking loose, it has reminded us these guys are playing stringed instruments and not just distortion pedals.  By now, the vocals have sunk back a bit into the mix-- perhaps-- or perhaps it's just me getting over some sort of pre-conceived notion of what this album should sound like.  At any rate, it doesn't seem like the vocalist is being left behind when the rest of the band executes the dynamic shifts that are either skillfully planned or fortuitously chaotic.  I'm left with the impression that this would be so much the better if I could just remove the first track.  Nevertheless, I'm also left with the impression that this is a good album.  http://www.relapse.com
[Laird Sheldahl]

TIAMAT
Prey
(Century Media)

Tiamat are one of those bands that I've always enjoyed, through all their different phases, yet has never really delivered an album that blew me away from start to finish.  Probably the closest they've come so far are Wildhoney and the highly underrated Judas Christ from just a couple years ago.  The moody death metal days and the brushes with Pink Floyd may be just a distant memory at this point, but Tiamat have really refined the classic gothic metal sound and made it their own on Prey.

The album opens with the excellent single "Cain," a downbeat rocker that exemplifies the laid-back, sensual style that Tiamat has perfected over the years.  Johan Edlund's vocals are rich, deep and convey the emotionally-charged lyrics quite effectively.  "Wings of Heaven" keeps the tempo down but brings in a heavier chorus, while "Love in Chains" has the slow-motion chug of a slowed-down Sentenced track.   "Divided" is a more esoteric ballad that shows a slightly different side of the band, while female vocals take the lead (courtesy of one Sonja Brandt) on "Carry Your Cross and I'll Carry Mine."  "Light in Extension" is about as close to 'upbeat' as this album gets, but even here there is a sense of melancholy and it is gives way to perhaps the most somber track on the album, the gorgeously morose "Prey."  The album closes out with two lengthier cuts, "Nihil" and "The Pentagram," with the latter featuring a Crowley poem and some Gilmour-era Floyd sonic textures.

Dark, haunting, beautiful, sensual gothic metal has been attempted by many bands (far too many as it turns out), but few if any have nailed it the way Tiamat has.  Although I can't say categorically that Prey tops Judas Christ, it is definitely on the same level and proves that Tiamat has really hit their groove.  http://www.churchoftiamat.com
[Daniel Hinds]

TONY C. & THE TRUTH
Demonophonic Blues
(Lava)

It's not often that I receive something interesting from a major label these days, but Tony C. & The Truth are really something out of the ordinary.  This is a powerful blending of hard rock and full-on blues, unlike anything I've heard in years.  Not every track is a winner but the ones that are, damn, look out.

Case in point is opening number "Who I Are," a very bluesy number that just slams during the choruses.  Tony C. has the perfect voice for blues - deep, gruff, and filled with soul.  "Good Lookin' Out" follows in similar fine style, though "Little Bit More" falters a bit with the overly poppy chorus.  "Someday" drops some sly pop culture references, while "One 4 the Road" features one of those classic start-stop rock riffs.  "Medusa" is probably the heaviest track on here, with a huge lumbering riff at its heart.  The filler comes in the form of tracks like "Ball & Chain," the overly drawn-out "Ain't No Pain" and the just plain dull "Round & Round."  The upbeat, Van Halen-esque take on Beastie Boys' "Fight For Your Right" comes off as merely a novelty - Tony C. should have taken a stab at something like "No Sleep til Brooklyn" instead.

Demonophonic Blues is a rollercoaster ride and if you don't mind skipping the weak tracks, it's well worth picking up.  A classy blend of SRV, ZZ Top, Everlast, and classic Delta blues is what you get here and a welcome change of pace it is, to be sure.  http://www.tonycandthetruth.com
[Daniel Hinds]

TRIUMPH
Live at the US Festival
(TML)

One of the most underrated hard rock acts from the 80s, Canada's Triumph are captured in their prime on this live outing culled from their appearance at the legendary US Festival back in 1983.  You'd be hard-pressed to pick a better setlist, too, with each cut a legitimate classic in the band's canon.

The album opens with one of the band's finest and hardest rocking moments, the anthemic "Allied Forces."  The guitars sound a bit indistinct at first but improve by the time Rik Emmett hits his fiery solo spot.  The slightly more grandiose "Lay it on the Line" and "Never Surrender" follow on nicely.  "Magic Power" is up next and probably my least fave of the selections here.  Despite its enduring popularity, it still feels a little too much like AOR fluff to me.  "A World of Fantasy" quickly gets things on track again, though, sounding a bit moodier and organic than the original.  The band head off into jam land toward the end, with some fine drum assaults from Gil Moore and some nice feedback-laden weirdness from Rik.  The jam leads perfectly into the high-octane "Rock 'n' Roll Machine," which features a lengthy guitar solo of its own, clocking in at over ten minutes.  The bluesy powerhouse "When the Lights Go Down" is the real centerpiece of any Triumph show and the version here is excellent.  Another lengthy, kick-ass track closes out the live set, namely "Fight the Good Fight."

As a bonus, the song "Follow Your Heart" appears at the close of the album.  Not the band's best, but a decent poppy track.  The bonus DVD includes 3 video clips, two live and one promo.  The clip of "Fight the Good Fight" from the US Festival is excellent, wonderfully filmed and edited and makes me want to buy the DVD version of the entire show.  The other live track, from the upcoming A Night of Triumph Live, is far less impressive.  The song ("Spellbound") sounds fine but the camerawork is rather lacking and the editing is terrible, with way too many long shots from behind the crowd that really diminishes the impact of what appears to be an electric show.

The first concert I ever went to was Oregon Jam '83 and damn if Triumph didn’t blow everyone else off the stage that day.  This was recorded only a couple months prior and the nostalgia alone made this worthwhile for me, but it also proves beyond a doubt that Triumph were something special and it's too bad they weren't able to keep it together over the years to follow.  http://www.triumphmusic.com
[Daniel Hinds]

ULVER
1993-2003: 1^st Decade in the Machines
(Jester/The End)

What a difference a decade can make, indeed.  We have seen Ulver progress from folky to brutal black metal, then into the realm of trip-hop and on into the electronic underground.  This collection takes various works from that ten year span and unleashes a myriad of diverse artists on them, with the usual varying results.

First up is "Crack Bug," an Ulver mix that takes a fairly minimal electro base and slowly builds it up.  Nothing revolutionary in this instrumental, but indicative of where the band is at these days.  The Alexander Rishaug track is quite a bit more minimal, though it does manage to get out and see the sights during it's 7+ minute existence.  The Information cut is nearly ambient, with silence playing as much of a role as the sparse, jazzy beats.  The Third Eye Foundation tackles "Lyckantropen" and manages to keep the mood of the original intact, which is a good thing.  Upland's remix of "Lost in Moments" showcases a slightly harder side, but no less silicon-based.  Strangely immediate and atmospheric at the same time.  Bogdan Raczynski offers up a light-hearted and multi-influenced bit of IDM fluff that is as disengaging as it is technically impressive.  Martin Hortveth adds melancholy strings and scratchy beats to a length German narrative - not exactly the most engaging recipe.

Neotropic unleashes one of the more compelling numbers, a wonderfully eerie ambient piece that occasionally bursts into a growly, twisted groove.  The A. Wiltzie vs. Stars of the Lid track is more meandering and less interesting, while Fennesz's noisier ambience fares a bit better, sounding more in line with what Ulver itself is doing nowadays.  Pita know how to make long, slow, distressing soundscapes (yay) and Jazzkammer up the noise factor tenfold, laying the foundation for the abrasive V/Vm track and Merzbow's ten minute assaulting tour de force.  Leave it to Japan's sickest mind to reveal Ulver's black metal roots and forward-thinking experimentation in the clearest (yet most distorted) terms.

Though I'm far from an Ulver expert (hell, I don't even own Perdition City), but I was somehow hoping to recognize more of the original tunes taken to task here.  Alas, the experimental nature of the artists at work here has rendered this little more than compilation of Ulver friends celebrating their ten year anniversary.  Taken in that light, it's a fine album that will cement the band's status in the electronic worldwide underground and further alienate the die-hard fans of their early work.  http://www.jester-records.com/ulver
[Daniel Hinds]

V:28
NonAnthropogenic
(Vendlus)

Despite the odd, alternative looking cover, this band is actually a quite heavy, dark one, with some solid, chugging riffs over semi-industrial structures.  Hailing from Norway (I believe), this two-man outfit creates a pretty healthy racket that only occasionally slides into ennui.

After a noisy, disturbed intro, "Dead Shining Star" kicks in with hammering silicon double bass, graveside vocals and some refreshingly straight-forward riffs.  "The Human Element" showcases a more complex arrangement, while "To Be Tuned" has a doomy ambience that almost evokes classic Frost.  Around the time "Purity" erupts, I begin to feel a certain black metal influence at work, at least in the guitar department.  The lengthy "Zero Nothing" closes the album just in time, as the raw, somewhat monotone vocals are wearing thin by this point.

The mix of electronics and heavy guitar often means yet another Ministry or Rammstein rip-off, but V:28 really do carve out their own niche with this one, leaning more towards the realms of Dead World and God is LSD.  Not perfect, but good stuff nonetheless.  http://www.stud.ntnu.no/~oustad/v28.html
[Daniel Hinds]

[various artists]
Neoblast Compilation 3: Blast From the Underworld
(Neoblast)

Twenty-one doses of brutal death metal is what this comp is all about and it certainly delivers what it promises.  The results are mixed but there are enough standout tracks to warrant investigation.

Neuraxis blast out of the gates without warning with a tight, intense death metal attack that seems to change tempos every five seconds.  The vocals literally sink into "ruhr-ruhr-ruhr" mush from time to time, sadly.  Spawn of Possession offer a similarly complex and brutal assault, while Despised Icon take a more disharmonic (and irritating) approach.  One Step Beyond starts off with a fair amount of melody but quickly launch forth into a near-grindcore frenzy.  Ashes of Eden slow things down a bit, pouring on the Maiden melodies while keeping the vocals harsh.  The result is a bit unpolished but is also one of the most memorable and enjoyable tracks on the album.  Karnak is just fucked and suffers from an overly dry and dismal mix.  Which just makes Stormrider sound that much better, with their thick-toned, high-speed assault that still manages to remain quite tuneful in an Amon Amarth fashion.

Thy Pain is hard as nails but lacking any real unique quality, while Dauntless capture a really classic thrash vibe and manage to mix in some bluesy weirdness, too.  Kabbal lay down their own somewhat unusual groove, dark and heavy, before slamming into high gear for a more straight-forward death metal assault.  Soulless have a razor-sharp (if slightly hollow) sound, but really deliver the goods with the song itself.  This is powerful thrash metal with some subtle modern death metal overtones - good stuff.  Necroblaspheme sound, well, necro I guess, but the burping vocals and thin production doesn’t cut it for me.  Torn Within are just the opposite - strong production, clever arrangements and the most understandable vocals of the lot.  Apostasy is nothing special and Coprofago are another band that's hard-hitting but too repetitive and anti-melodic for their own good.

Korum are another band from the 'grab bag' school of song writing, mixing together death vocals, crazy proggy riffs, spoken word and maybe even a hint of Voivod.  It doesn't work, whatever the formula is.  Doxology get crossed off immediately for the goofy sub-human vocals and Virulence similarly for trying too hard to be complicated (the jazzy outtakes are interesting but feel severely at odds with the rest of the song).  Archaean Harmony features some obviously electronic rhythms and perhaps the most bizarre mix on the whole CD, but at least they provide a change of pace and some damn cool leads.  Elements chucks out some speedy, cool bass work, but also a shitty drum sound and a mostly forgettable song.  Sarkasm finish us off with some Sadus meets Pestilence inspiration that has a certain charm.

As is always the case with underground comps of this sort, the disparities in musical quality are nearly overshadowed by the disparities in recording quality.  The tracklisting was thought out well enough to avoid too many jarring changes in volume and tone, but they're still inevitable on some level.  Still, there are some strong tracks here to be sure and the bands represent ten different countries, from Canada to Chile to Malta to South Korea and everything in between.  http://www.neoblast.com
[Daniel Hinds]

[various artists]
Snake Oil Supercharm: A Tribute to Zodiac Mindwarp & The Love Reaction
(Sleazegrinder)

While some people didn't take them seriously or just didn't get them at all, I loved Zodiac Mindwarp & The Love Reaction when I first saw the "Prime Mover" video way back when.  Here we had classic, AC/DC-inspired hard rock with heavy dose of sleaze and an equal amount of intelligence and wit.  Sadly, Zod and co. disappeared from the US scene quickly, but continued to release quality albums and clearly inspired a new generation of back seat rockers, as the 23 tracks on offer here amply prove.

Cracktorch kick things off with a solid but somewhat low-energy rendition of the classic "Backseat Education," but Generous Maria follow with a thoroughly down and dirty "Wild Child" and Dirty Power add their usual brilliance to the already excellent "Skull Spark Joker."  Isabelle's Gift stay very true to the original "Prime Mover," though hearing the lyrics articulated and actually 'sung' a little mo