25 SUAVES
I Want It Loud
(Bastard Sun)
Rating – 8/10

With a title like that, this damn well better be a rock album, and thankfully it is – and it rocks.  No obvious direct influences here, which is always good for a new band, with bits of punk, hard rock, metal, stoner rock and even a touch of doomy sludge all stirred into nine uncompromising tracks.  Perhaps most impressive is that 25 Suaves is a duo at heart, though a bass player is added here to round out the album.  Actually, the most impressive thing is the fact that they are from Adrian, Michigan – I’ve been to that town and the fact that something this good came from there is a bit of a shock.

The appropriately titled “Turn Up the Music” kicks things off with lumbering grit, while “Right Now” has a harder, more direct punch.  The vocals are rough and ready, like a mix of Lemmy and 80s NYHC, and the guitars have a nice paint-peeling edge to them throughout the album.  The playing and production are both far from clean and tidy, but it gives it that MC5 kind of charm that this music needs.  AC/DC is invoked a bit at the start of “Give It Up” and the Melvins on the lengthy “Born Dead.”  Frenetic energy is in no short supply on “Us Against You” and the grimly catchy “You’re Gonna Die.” 

If I had to lodge any complaints with 25 Suaves (other than the album art) it would be that a few of the tracks feel a bit bloated in the arrangement department.  The band’s style works wonders in the 3-4 minute range but feels just a bit strained when the edge up over six.  Still, I think they have created a remarkably original sound here that works and it is refreshing to hear an album that doesn’t cater to any of the thousands of sub-sub-genres out there – playing kick-ass rock ‘n’ roll is more than enough for 25 Suaves.  http://www.25suaves.com
[Daniel Hinds]

ABSCESS
Damned and Mummified
(Red Stream)
Rating - 8/10 

It's been several years since my last brush with this gruesome beast and it is kind of reassuring to hear that Abscess hasn't really changed over time.  Gory old school death metal is mixed with doom and even some bluesy metal for a sound that is sick, strangely tuneful and unique.

"Through the Trash Darkly" kicks off the proceedings as well as anything, following a lopsided riff that epitomizes Abscess' style perfectly.  Vocals are sepulchral but not overly deep, courtesy of Chris Reifert (f Autopsy fame) and fit the raw nature of the music well.  Danny Coralles (also ex-Autopsy) handles guitars, along with Clint Bower, and they trade off some remarkably dexterous solos that are quite often tinged with more than a shade of the blues.  Some serious doom riffage makes its presence felt on cuts like "Caverns of Hades" and "Twilight Bleeds" and Abscess never really speed up to excess, much to their benefit.  The punk element obvious from the album cover comes through now and then, too, most notably on the title track.  If The Accused were a death metal band, they might sound like this.

Lyrically, the band has become a bit more refined since the days of Urine Junkies, but they still keep things dark and filthy.  I was intrigued to see a song inspired by the movie The Dark Backward - certainly Abscess is looking beyond the usual gore fare for ideas and that's cool with me.

The production is a bit murky but then you wouldn’t really want it any other way with a band like Abscess, it merely adds to the atmosphere.  Though my tastes tend toward the more melodic and clean death styles out there, I have a definite soft spot for bands like Abscess when they get it right and this is their best effort yet.  http://www.redstream.org
[Daniel Hinds]

AGNOSTIC FRONT
Another Voice
(Nuclear Blast)
Rating - 8/10

The first thing that surprised me about this album was the length, 14 tracks just over 25 minutes, though it is traditional for the style.  Although I was never a huge fan of Agnostic Front, this new album is pretty good, the hardcore vocals seem a bit too forced though, and it seems to kill the flow of the album.  I'm sure there is no intention, but the lead vocals remind me of Stuck Mojo, minus the rap.

There are a few really distinct songs that really make the album, songs like "All is Not Forgotten," "Peace," "Hardcore" and "Causality Of The Times."

Agnostic Front has made quite an impact on the hardcore scene over the years.  As with all hardcore bands though, they are nothing unique, and the live show is much better than can be captured on CD.  Fortunately for this fact, a very intense video for "Peace" is included on the as part of the enhanced CD.

If you were a fan of Agnostic Fronts previous releases, or bands like Hatebreed or Poison The Well, you'd probably dig this album.  http://www.agnosticfront.com
[Eric Pioszak]

ANGRA
Temple of Shadows
(SPV)
Rating - 8.5/10

Brazil's Angra was well ahead of their time in many ways, putting together a unique brand of melodic speed metal, liberally spiked with classical elements and progressive tendencies well before the explosion of similarly styled power metal acts in the late 90s.  Although I was a big fan of the band's early works, I lost touch with them after the unfortunate split that left them in need of recruiting a new singer and rhythm section.  Happily, Temple of Shadows shows a band that has moved on and is stronger than ever.

The classical stylings are invoked right away in a subtle and very effective intro that builds exponentially into the high-octane "Spread Your Fire."  Not a band to get locked into one groove, "Angels and Demons" follows in a far more melodic fashion and "Waiting Silence" has a very technical and progressive flair to it.  Echoes of Dream Theater can be heard (albeit, early DT when they were heavily influenced by Rush), but the tune remains firmly an Angra tune.  "Wishing Well" has a more laidback sway to it, while some alternating lead vocals on "Temple of Hate" can only be Kai Hansen.  Not forgetting the past, some traditional Brazilian influences can be heard on the tracks "Shadows Hunter" and the jazzy "Sprouts of Time."

Vocalist Eduardo Falaschi has a soaring, classic metal voice that reminds me a bit of Bruce Dickinson and Minoru Nihara at times but is essentially quite distinctive.  The guitar work by Kiko Loureiro and Rafael Bittencourt is equally impressive throughout the album - very fluid, very natural sounding.  Of course it goes without saying the production is top-notch and the beautiful cover art is indeed the icing on the cake.

Although the album mellows out considerably during the last half, the quality never evaporates.  It's nice to hear a band exploring such a wide swath of styles and I think it is safe to say that Angra are as alive and vital on Temple of Shadows as they've ever been.  http://www.angra.net
[Daniel Hinds]

ANTHRAX
The Greater of Two Evils
(Sanctuary)
Rating - 8.5/10

I remember buying Fistful of Metal way back when it was still new and being less than impressed with the vocals and the production.  So when Spreading the Disease came out, it wasn't until fellow Plaguer Nels convinced me how good it was that I broke down and bought it, and I'm damn glad that I did.  Amazingly, the band even bettered that album with Among the Living, easily one of the top thrash albums ever.

So I had mixed feelings when I saw the band was going to redo tracks from these classic albums (as well as from State of Euphoria and Persistence of Time).  Letting the fans pick the songs was a novel idea that worked out well, for the most part.  Fortunately, the band was smart enough to discard the cover tunes and focus solely on original cuts.  The result isn't perfect but it is definitely enjoyable and well worth the money, whether or not you already have the originals.

The songs taken from Fistful of Metal benefit the most and the band smashes out versions of "Panic," "Deathrider" and "Metal Thrashing Mad" with such fervor, it makes you wonder why they can't apply that energy to their new material more often.  "Panic" in particular is just unbelievably fast and brutal.  Moving on, we get excellent versions of "A.I.R.," "Madhouse," "Gung-Ho" and (as a 'hidden' track) "Lone Justice."  "Gung-Ho" was always a favorite of mine and I'm pleased to say they've only made it better.  "Madhouse" also features a smarter intro, with an extended intro riff and minus the goofy laughter.

Now the real challenge here was to outdo the originals on the Among tracks and this is perhaps the one unwinnable situation for Anthrax.  They turn in good versions of "Caught in a Mosh," "Indians," "Among the Living," "I Am the Law," and "N.F.L.," but it is really only the last tune on that list that matches or exceeds the original.  The others are good but fail to completely capture the brilliance of the originals especially the rather lackluster "Indians."

The next two albums were a mixed bag to begin with, but the fans chose well and the band souped up the tracks admirably.  "Be All, End All," one of my all-time fave 'Thrax trax, kicks off with an incredibly raw, gritty guitar sound and the whole thing just oozes power.  "Keep It in the Family" maintains the original's keen sense of dynamics, while "Belly of the Beast" features a brief Celtic Frost tribute at the start that never fails to make me smile.

Aside from the obviously improved production values, the one thing that Anthrax 2004 really adds to these songs is Charlie's immense drumming.  The man was always good, but he has somehow just gotten better each year and adds some just mind-blowing stuff to every track.  The other big change is obviously John Bush's voice, which sometimes works better than the original and sometimes not as well.  There are several moments where it almost feels like he just isn't trying very hard or that maybe one or two more takes would have resulted in a much better performance.  But there are just as many examples of him letting loose and really adding something new and special to the tunes, so it is hard to complain too much.

It's hard to imagine an Anthrax fan not owning all of their early albums already (er, I do still have Fistful on vinyl, I think…), I'm sure there are plenty of newer fans that don't and this is a cool way to introduce them to the band's best years.  Well executed and well packaged, with a title that nicely reflects the recent election results here in the States.  http://www.anthrax.com
[Daniel Hinds]

ARKHON INFAUSTUS
Perdition Insanabilis
(Red Stream)
Rating - 7.5/10

Despite the somewhat postmodern imagery adorning the CD booklet (and certainly the band photo), this album is pitch black musically.  Arkhon Infaustus mix up the black and death metal pretty equally here, though the production and generally deep vocals tend to lean the sound toward the latter.  The result is a collection of songs that are brutal as hell but lacking a bit in the memorability department.

After a short, gloomy intro, the album roars to life with "M33 Constellation" and rarely relents for the next forty minutes.  "Six Seals Salvation" features a bit of programming and sampling at the start and "Whirlwind Journey" hints at some distinctly old-school Voivod and Celtic Frost influences at times.  One of the more memorable tracks is "Saturn Motion Theology," a lumbering slab of monolithic doom that makes repetition work in its favor.

The packaging of this digipak is very nice, with plenty of dark and obscure photos populating the stark booklet.  Though this album didn't overwhelm me with its genius or originality, it did manage to impress with its eerie atmospheres and sense of unfeeling brutality.  A strong dose of pure evil that skillfully mixes death, black and doom metal is what you will find here.  http://www.arkhon-infaustus.com
[Daniel Hinds]

AXIS OF ADVANCE
Obey
(Red Stream)
Rating - 7/10

This Canadian trio, Wor, Vermin, and J. Read recorded and produced a powerful blend for black and death metal enthusiast.  The inventive packaging hints that this group is not lacking imagination.  J. Read plays the drums with alacrity keeping a steady flow of dependable blast beats and bursts of destruction.  Wor and Vermin bellow adequate raspy and brusque vocals as well as deliver proficient guitar and bass arrangements.

The band’s distinctive sound is best represented in songs like “Revolution Decimation,” which begins with an intricate drum solo and remains rapid and accurate.  Another compelling track is “God-Eye Command” wherein Wor and Vermin present creative vocal effects.  Some innovative arrangements and excellent guitar and drum solos can be found in “Masterorder.”

AOA’s ability to sustain consistent and forceful melodies is certainly commendable; however, I feel the album still needs more variation.  “Wrath Pounding” insipidly passes by, in one ear and out the other.  However, Obey is a subtle step-up from The List and a vast improvement from their EP Landline.

For avid followers, Axis of Advance gives an unconstrained delivery that far surpasses the Sacramentary Abolishment days.  Influences include Martin Van Drunen (Asphyx, Pestilence), Chuck Schuldiner (Death), Blasphemy, and Conqueror.  http://aoa.ark11.net
[Lo Walker]

BETHLEHEM
Mein Weg
(Red Stream)
Rating - 8/10

It's cool to see this long-running German group still at it.  Always falling vaguely into the 'dark metal' category, Bethlehem has always stayed one or two steps outside of any predictable genre.  After the massive and complex Schatten aus der Alexander Welt double-album, it's kind of nice to hear that Mein Weg is a bit more straight forward.  Just a bit, though…

"Aalmutter" starts things off with a mid-tempo groove that is deceptively simple, but the piano that leads into "Allegoria" lets you know that Bethlehem still have plenty of tricks up their sleeve.  The vocal styles pursued throughout the album vary quite a bit, from clean and majestic to gruff and dark, though the latter tends towards the harder industrial vocalists more than it does to typical death metal 'singers.'  Although the electronic elements that were so prevalent on the last album are significantly toned down this time, their presence still adds an alien feel to "Knochenkorn."  The diversity is as strong as ever, too, as the band moves from the weighty, epic-length "Frl. Deutsch" straight into the almost folky acoustic tune "Febel Fittich" effortlessly.  Not to mention the 'hidden' track, a thoroughly un-metal version of "My Way."

Bethlehem are not an easy band to recommend to someone of specific tastes, as their sound is so eclectic, with little in the way of catchy riffs or vocal melodies.  For metal fans looking for moody, complex and unpredictable music that is played and produced with great skill and conviction, Mein Weg may be just what you are looking for.  http://www.redstream.org
[Daniel Hinds]

BLACK HORIZONS
Suicide Symphonies
(Twilight)
Rating - 8/10

Not much to go on with this band, but let me state the obvious right up front: they play black metal.  Their version of the genre is fairly straight-forward, kind of in the vein of older Immortal or Dissection, and played pretty well.  In other words, nothing startling original, but a good stab nonetheless.

The songs are all pretty good, with a reasonable number of change-ups keeping things lively.  "The Eyes of God" in particular runs through a few tempo shifts but never looses its footing.  There is also a melodic sensibility that runs through the whole album, giving it a bit of that majestic Viking feeling now and then.  Vocals are kept in the strictly grim and vile domain and the guitars have just the right tone to give the songs that black metal bite.

One bit of advice for Black Horizons is they might want to think of a name change.  While preparing for this review, I was unable to find a working homepage for the band, but did find one for another Black Horizons that has existed since at least 1999.  Whatever the case, this album is a good, solid chunk of black metal that hopefully won't get lost in the shuffle.  http://www.twilight-distribution.com
[Daniel Hinds]

CALLENISH CIRCLE
Forbidden Empathy (2CD)
(Candlelight)
Rating - 7/10

Dutch death is quite an institution, yet one that never seems to get the international attention that other scenes receive.  Callenish Circle have been employing their own brand of brutal metal for a decade now and it was about time someone collected their earlier work and re-issued it.  Which is exactly what Candlelight has done, grouping the Graceful…Yet Forbidding and Drift of Empathy albums together here with the Escape EP and the Lovelorn demo.

Although the album wisely starts with the newest material first and works backwards in time, I will do the opposite in my review.  The final five cuts are from the '95 demo Lovelorn and show a somewhat faceless but obviously talented band even then.  Some of the riffs echo the doom of MDB while others follow a faster, more melodic death style.  Vocals are raw and gravelly and thoroughly indistinguishable from about a thousand other bands of the time (or now for that matter).  There is a mourning ambience to these tracks that seems to have dissipated as the band progressed.  The Drift of Empathy album ('96) features a tighter, more technical style and the doomy tones have to share time with harder, faster riffs.  The quality and delivery of the songs has improved here but the identity is still lacking a bit.

Steady progress is made on the four tracks of '98's Escape EP.  The sound has shifted towards a more melodic death metal style akin to the various Swedish bands of the time.  There still survives some of the gloominess of early Callenish on tracks like "Mirror of Serenity."  Things really click in 1999 though, as the band unleashes Graceful…Yet Forbidding, a perfect title to reflect the mixture of elegance and brutality that comprises this album. 

Much like other bands that have evolved over time (Katatonia, Dark Tranquillity, etc.), I think it is safe to say that Callenish Circle's best work is also its most recent.  Still, there is a good deal of quality material to be found on this two-disc set and for anyone who has enjoyed Flesh_Power_Dominion and My Passion // Your Pain it is definitely worth checking out.  http://www.callenish-circle.com
[Daniel Hinds]

THE CHASM
The Spell of Retribution
(Wicked World)
Rating - 7/10

The Spell of Retribution is an authentic underground album consisting of enigmatic death metal mixed in a theatrical black metal sound.  The Chicago-based trio accompanied by guest Carlos Lopez (Ancient Gods) constructs an exceptional sound interlaced with Mexican mysticism, power, and tales of the cosmos.  Few in the death metal genre achieve an atmosphere this dark.

These old school metal musicians play mesmerizing instrumentals that feel heavy and natural.  With a strong production and multifaceted compositions, there isn’t much to despise about this album.  Still, the disc could have used more versatility.  After the fourth track, the songs held a familiarity and almost monotonous sound to them.  I found myself listening to the album in sections of three – the first four tracks, then the next three numbers, and finally the last three.

Nonetheless, the record comprises of classic arrangements that create uncompromising and genuine melodies.  “From the Curse, A Scourge…” begins soft and grows intense with mystical appeal.  My favorite track, “The Omnipotent Codex,” reveals the excellent musicianship between Daniel, Julio, and Antonio.  This is a brutally heavy and fast track. The Chasm alters between fast and slow sequences in “Manifest My Intervention” and “Conjuring the New Apocalypse.”  “Fortress” is an excellent drum track with brutal blasts and speedy efforts.

This album is good boost since the Awaiting the Day of Liberation release, but it does possess some characteristics from other discs such as, Deathcult for Eternity, Procession to the Infraworld, and Conjuration of the Spectral Empire. Influences include Incantation, early Slayer, Mayhem, Death Angel, and Possessed.  http://www.enterthedeathcult.com
[Lo Walker]

CHILDREN OF BODOM
Trashed, Lost & Strungout (EP)
(Century Media)
Rating - 8.5/10

If you don't like Children of Bodom, this EP will do nothing to change your mind, and if you haven't heard them yet, then by all means rush out and buy a copy of Something Wild or Hatecrew Deathroll immediately.  For everyone left, this is a cool little time-killer until the new album is set upon us later this year and well worth getting.

First off is the title track, a song that bears all the COB hallmarks (complex arrangement, searing leads, mind-boggling keyboard runs, and ripping raw vocals), plus a certain heavier approach to some of the riffing than I'm used to from these Finnish masters.  Maybe it is just the influence of all the touring they've done these past couple years with American bands, but there is a distinctly more modern edge shining through here and there.  Fortunately, the band knows how to tame such influences and make them work to their advantage and the song is a hard-hitting instant classic.  "Knuckleduster" is another new track that follows a slightly more moderate tempo, with some nice interplay between the main rhythm guitar and the keyboard.  This tune is more compact and inherently 'commercial' sounding so I'm surprised it wasn't the actual choice for single, but it is a good one either way.

Song three is a cover of Alice Cooper's "Bed of Nails," taken from his hugely awful Trash album.  Granted it's one of that album's highlights and the Bodom certainly jazzes it up nicely, but still seems like a strange choice.  Why not something like "The World Needs Guts" or "Roses on White Lace" if they wanted to do an obscure Cooper track?  Still, the band rocks it up, especially the ending where they speed up to a more typical COB pace.  Less successful is the cover of Andrew WK's "She is Beautiful."  I have nothing against the original and think Andrew is probably a pretty nice guy, but somehow I was expecting this to be a little more revved up than the original and its really isn't.  Not sure if that is a mark against COB or a point in WK's favor, but there you have it.

In addition to these four cuts, you get two videos.  One is a remarkably good performance clip to accompany "Trashed, Lost & Strungout" and the other is a 20-minute bit of comic relief, ostensibly following the band's nefarious exploits after getting a wad of cash to record the single (a great scene by itself).  Goofy, yes, but in a good way and it's cool to see the band don't take things deadly seriously at all times (if ever).  http://www.cobhc.com
[Daniel Hinds]

CORNERSTONE
Once Upon Our Yesterdays
(Escapi)
Rating - 10/10

I actually bought this album a couple years back based on some reviews and loved it immediately, so it is great to see it finally getting a US release.  In terms of quality music that blends elements of classic British hard rock and power metal, you won't find a better album than this.  The key to its success is it doesn't depend on just two or three good tunes - every single one of the ten songs is truly excellent in its own right.

The first thing that attracted me to Cornerstone was the fact that Doogie White was singing for the band, as his work with Rainbow was superb and sadly underrated (not to mention short-lived).  Whenever you listen to classic vocalists like Paul Rodgers or David Coverdale or Dio and wonder why no one sings like that nowadays, well, let me just point you to Doogie White.  Bassist Steen Mogensen (from Royal Hunt) is the other key element in Cornerstone, as the chief songwriter, and some amazing songs they are indeed.  "Welcome to Forever" rocks along nicely, allowing him to display all his vocal talents, while guitarist Kasper Damgaard lends some gorgeous leads.  "When the Hammer Falls" features some distinctly Rainbow-like vocal melodies over a mammoth and quite heavy riff and is followed by the instantly catchy "Passion to Warfare."  "Man Without Reason" is something of a power ballad that is beautiful from the first note to the last and leads straight into the rocker "21^st Century Man."  The title cut kicks off with some spacey guitar musings and settles into a nice Zep-meets-Purple rhythm.  "Some Have Dreams" is a full-on acoustic guitar ballad that again shows off just how emotionally-charged these guys can make a song.

Cornerstone somehow manages to incorporate song elements, riffs, effects, and arrangements that hark back to classic rock bands of the 70s and 80s, yet pull it all together in a way that sounds thoroughly up-to-date.  It's a rare gift and one that makes an old-timer like myself blissfully happy to hear.  This is one of those albums that can be listened to over and over without diluting its impact, as these are timeless songs that are played with such feeling, you can't help but want to hit 'Play' again as soon as it ends.  http://www.cornerstonemusic.dk
[Daniel Hinds]

CRAFT
Total Soul Rape
(Moribund)
Rating - 7.5/10

First off, you have to love a CD where the songs are divided into 'Side A' and 'Side B' - vinyl has truly become the undead and will never die.  Craft are raw, old-school black metal with the emphasis on evil energy rather than production values.  This is actually a reissue of their 2000 debut and makes for a nice companion piece to the more recent Terror Propaganda.

The album opens with "World of Plague" (Yes! All hail the World of Plague!!) and the listener is immediately immersed in the band's dated but confident style.  The wonderfully titled "Death to Planet Earth" follows with more change-ups in tow, switching fairly often between fast, slow and moderate riffs, none of which are complex or particularly melodic.  The vocals vary a bit throughout the album as well, though never stray far from what one would call 'grim.'  "(Desolation) Death" takes on a more remorseless plod, akin to Khold, while "Ultimate Satan" leans a bit more toward Darkthrone.  I like the fact that Craft can utilize the same elements that bands like Hellhammer and Darkthrone do yet end up with a song that doesn't sound like a rip-off at all.

I have to say, although I didn't love this album (to love such a malignant, soul-loathing outing kind of defeats the purpose anyway), I was fairly impressed and actually rank it a bit higher than the follow-up for sheer creative spark.  For a blast of pure kvlt black metal, Total Soul Rape lives up to its name quite effectively.  http://www.oblivioncreations.com/craft
[Daniel Hinds]

CROWBAR
Lifesblood for the Downtrodden
(Candlelight)
Rating - 8/10

Crowbar are often lumped in with bands like Acid Bath and Eyehategod due to their slow-mo grind approach to metal.  In some respects this is fair association, but in my opinion Crowbar stand out from the crowd by having a little more interesting variety in their music and by having a vocalist who, while harsh, can actually sing.

Lifesblood for the Downtrodden is one brutal, grindy, and above all else sloooow recording.  Album opener New Dawn sets the tone in a decidedly “down-tempo” fashion.  Sabbath influences are evident but not overwhelming, Crowbar definitely have their own style.  As the album progresses tracks like "Slave No More" and "Angels Wings" waver back and forth between prevalent, purposeful sludge and more up-tempo, hardcore moments.  This in my opinion really raises Crowbar above the crowd.  The inevitable tuned-down-to-Hell grind is at times so slow that it’s difficult to really establish any kind of hook, let alone melody.  Interjecting contrasting fast(er) sections really ads some life to what could otherwise get fairly monotonous.  The song "Fall Back to Zero" is a great example – it weaves back and forth between sludge, fast sections, and even menacing semi-acoustic parts.  And speaking of acoustic, there is a surprisingly successful acoustic number for the album closer that is mournful and ominous in a way that acoustic numbers rarely are.

I think this is why Crowbar succeeds where other bands using the same mold mostly fail.  They come up with interesting arrangements and variety while never straying too far from their core identifiable sound.  It’s a formula that, while unlikely to tempt diehard speed/death fans is fairly impressive and even refreshing.  http://www.crowbarmusic.com
[Nels Bruckner]

DAMNATION
Destructo Evangelia
(Candlelight)
Rating - 8/10

With a cover and image more suited to a label like Moribund than Candlelight, Damnation didn't make sense until I saw it was a project by members of bands like Entombed, Merciless and Unanimated.  Clearly this is a chance to step outside their band confines and play some down and dirty old-school black metal, which is just what you get on Destructo Evangelia.

Now, a lot of projects like this have emerged in recent years, though it is usually the early death metal sound that gets the tribute, and the results are usually half-baked at best.  Fortunately, Damnation succeeds to not only capture the sound and feel of early black metal, but they put together some pretty damn good tunes in the process.  The hilariously titled "Insulter of Jesus Christ!" has a raw, thin guitar sound parked over an upbeat Motörhead-meets-Bathory rhythm section and it works like a charm.  The title cut shows a faster, more serious style in the vein of early Immortal or Mayhem.  Throw in a couple covers (Vulcano and Bathory) and you've got a pretty kick-ass eight song set here.

The vocals are about as smooth as the production (i.e. not very) and are drenched in reverb, giving them a nice satanic feel.  The minimal and monochromatic album layout, division of songs into 'Side Darkness' and 'Side Evil' despite this being a CD, and band member monikers like Insulter of Jesus Christ and Churchburner complete the infernal picture.  Damnation may not be 'authentic' in some respects (being established rock 'stars' and all, haha), but this is a great slab of raw, old-school black metal that is a blast to listen to and should be taken as such, nothing more, nothing less.  http://www.threeman.net/artists/damnation.php
[Daniel Hinds]

DARKTHRONE
Sardonic Wrath
(Moonfog)
Rating - 7.5/10

There is something truly unsettling about Darkthrone.  Despite the less than serious comments Fenriz occasionally lets fly in interviews, Darkthrone have always maintained a grim, bleak, and utterly misanthropic focus to their music and Sardonic Wrath is no different.  There is something in it that just burrows beneath the skin, sets up shop and irritates you from inside until the last blackened note fades.

As with many of Darkthrone's recent releases, the first listen is a bit flat.  The album begins with a dark ambient intro that fades directly into the typical black metal bashing the band is known for on "Information Wants to be Syndicated."  The temp varies throughout the album, usually in large recognizable blocks, and the vocals are as loathsome and biting as ever.  The band approaches the battle stomp of many great Viking metal acts with "Straightening Sharks in Heaven" (gotta give 'em credit for the song titles on this one if nothing else…) while "Hate is the Law" has an upbeat energy to it that raises the album out of its malaise, however briefly.  "Rawness Obsolete" is a slow, endlessly grinding number that closes out the album perfectly.

To my ears, the experimental moments that populated the last two records have been banished this time around in favor of a harder, more classic style.  The Frost influence still casts its long shadow over the proceedings, but then it wouldn't be a Darkthrone album otherwise would it?  Although I wouldn't place this on quite the same level as Plaguewielder, it gives Hate Them a run for its money and the sickly, monochromatic cover art is a perfect reflection of the rich yet simplified pestilence within.  http://www.darkthrone.no
[Daniel Hinds]

DAYSEND
Severance
(Metal Blade)
Rating - 6/10

Woah, what an odd mix of metal from the 80's and the 00's.  Wait, mix isn't really the right word... this is definitely a modern metal album, but it has ghosts.  There's the wailing vocals and dazzling guitar riffage tucked into the bass-heavy, wall-of-noise guitars and angry screaming vocals.  Apparently the uniformity of Swedish metal hasn't jaded these Aussie rockers.  The influence is there, but perhaps if Metallica decided to cut a record in In Flame's recording studio would the same sort of "classic" headbanger vibe linger.  http://www.daysend.com.au
[Laird Sheldahl]

DISSECTION
Maha Kali (CDS)
(Escapi)
Rating - 7/10

This release is a bit of a head-scratcher.  It contains only two tracks, one new one and one re-recording of a classic Dissection song.  The cover says 'Rebirth of DISSECTION' yet the band seems to be simply going by Dissection, despite Jon Nödtveidt being the only returning member from the classic line-up.  Finally, the one new track, "Maha Kali," doesn't sound all that much like Dissection, resulting in a perplexing release overall.

The one consistent element still intact is Jon's voice, which is still raw and touched with that elusive sense of menace that made Dissection so good in the past.  "Maha Kali" is a good song, too, just not what one would expect.  It's mid-paced and fairly melodic, even adding some clean female backing vocals toward the end.  The recording quality is good but sounds a little hollow and feels more like a demo most of the time.  The new version of "Unhallowed" is decent as well but does nothing to improve the original, making its appearance here a bit pointless, other than perhaps as an indicator that the band remembers their past and maybe the full album will feature more songs in this vein.

Jon has certainly put together a solid line-up, featuring members from Aborym, Dark Funeral and Nightrage.  Whether or not he can get the momentum and creative drive back remains to be seen.  It's really a shame that his stupid actions derailed Dissection at the height of their powers, so he has a lot of ground to make up.  Releasing a single with one new song seems like a strange first step, so hopefully a full album will follow soon that will make everything clear.  http://www.dissection.nu
[Daniel Hinds]

DRAUGAR
Weathering the Curse
(Moribund)
Rating - 6/10

It's always amusing that the lower the recording quality of a black metal release is, the quicker the band is to attach the word 'art' to what they are doing.  I don't claim to be an expert on the vast legions of subterranean black metal that infests every corner of the world these days, but I have been around and heard a fair amount of such releases in my time.  I bought Venom's Black Metal when it was still their latest release and I understand the symbiosis of a raw recording and a mysterious aura that is so vital to the success of such releases.  Unfortunately, Weathering the Curse suffers more from its limitations than it benefits.

The key problem isn't so much the nearly indistinct guitar tone but the constant static that bleeds from the speakers, making it difficult to focus on the somewhat audible elements, namely the vocals and keyboards.  The drums are thin and utterly distant, but that is par for the course with albums like this and doesn't really bother me one way or the other.

There are moments here, to be sure.  The twelve minute "I Come As a Curse" offers some reasonably effective eeriness as it winds its way through several different phases.  Also, the vocals, as indistinct as they are, manage to remain convincingly grim from start to finish.  Perhaps for those who 'get' cult black metal in a deeper sense, this album will be a revelation, but for my ears I think a slightly clearer production would have benefited the project tremendously.  http://www.moribundcult.com
[Daniel Hinds]

DRAWN AND QUARTERED
Return of the Black Death
(Moribund)
Rating - 8.5/10

Though Seattle's metal scene has largely been defined by the likes of Queensrÿche and Nevermore, there was a strong thrash scene here in the 80s and an even stronger black/death metal scene going on right now.  Drawn and Quartered has existed for over a decade and manages to progress a little with each release, without compromising their brand of ultra-brutal death metal one bit.

In case the happy picnic album art didn't give it away already, the first song title "Orgiastic Feast of Excremental Blasphemy" pretty much spells it out.  This is pure death metal with serious gore overtones.  Fast and relentless, this cut makes an impact and sets the stage nicely.  Later on, we are greeted by the morbid doom heaviness of "As Idols Fall" that is sheer genius, not to mention the black metal overtones nicely infect the title track.

Probably the weakest element of Return of the Black Death is the same one affecting their last album, the somewhat muddy production.  The playing is tight and the songs complex and brutal, so it is a shame that the production isn't quite there to really let the material shine the way it should.  Still, as a ferocious death metal feast, this unpolished gem is proof positive that the scene is as undead and kicking as ever.  http://www.geocities.com/drawn_an_quartered
[Daniel Hinds]

ENSLAVED
Isa
(Candlelight/Tabu)
Rating - 9.5/10

When it comes to unique entities in the extreme metal scene, few can touch Enslaved for originality and versatility and Isa is another stellar chapter in their career.  Following on from the landmark Below the Lights album, Isa retains the heaviness but twists it into strange new shapes that are just fascinating to listen to.  The title (meaning 'ice') could not be more fitting as the atmosphere here is as cold as anything Enslaved has done.

"Lunar Force" is a good example of what Enslaved do so well.  The song has the technical proficiency of Emperor, the unpredictable arrangements of Coroner and the unusual chords of classic Voivod.  Vocals on this album range from ghostly and grim to clean and somber.  The Viking chill is still present across the album; it has just taken to inhabiting a more diverse range of styles and sounds.  Take "Ascension" for example, a song that is truly majestic and monolithic, yet innately progressive in the best sense of the word.  The instrumental "Secrets of the Flesh" demonstrates some of the repetition that marked Enslaved's earliest works and leads straight into "Neogenesis," a twelve-minute epic that covers enough ground for a song twice that long.

My first encounter with Enslaved was the masterpiece Eld and it has been very exciting to watch the band grow and develop from that point up to Isa, always progressing and refining their sound but never losing the emotional and spiritual source that has driven the band since day one.  Although Isa isn't as instantly memorable (or heavy) as Below the Lights, I think it may have even more going on under the surface and promises to be an album that continues to reveal itself for many years to come.  http://www.enslaved.no
[Daniel Hinds]

ENTHRONED
Xes Haereticum
(Napalm)
Rating - 8.5/10

While black metal hasn't historically been Belgium's chief export (I think that would be chocolate or surrealism), but Enthroned has certainly been a steadfast fixture on the scene for over a decade now.  Never crossing into mainstream popularity the way bands like Emperor or even Marduk have, they have nonetheless remained true to their roots and built a solid following over the years.  The band's music has only gotten better with time, too, and I can easily say Xes Haereticum is Enthroned's best effort yet.

The first thing that I noticed was the markedly improved production qualities.  Though I didn't get to hear 2002's Carnage in Worlds Beyond, its predecessor Armored Bestial Hell had a muddy sound that really dampened its impact.  No such hindrance here, with veteran thrash producer Harris Johns (Kreator, Voivod, Sodom, Helloween, Pestilence, etc.) giving the band the kind of punchy, edgy sound they needed.  The drums in particular sound better, but everything coalesces into a tight, powerful sound.

I'm not sure if I'm just getting nostalgic for the more classic black metal style or Enthroned is getting better, but the songs here seemed to stand out a lot more than anything on their previous albums.  "Crimson Legions" is a blinding assault, while "Dance of a Thousand Knives" twists through several different riffs and features a great melodic bridge and solo.  "Vortex of Confusion" is one of the two epic-length tracks, and kicks off with a strangely affecting bass/clean guitar riff that builds nicely into one of Enthroned's most atmospheric tracks ever.  The synth-heavy "A.M.S.G." threatens to be too experimental until those evil-sounding guitars cut in and set things straight, leading right into the uber-brutal "Daemon's Claw."  The second 'epic' of the album is "Seven Plagues, Seven Wrath (Xes Revelation)" that features some diverse instrumentation and even a (gasp!) catchy chorus.  "Hellgium Messiah" is a fine song, but almost feels unnecessary after "Seven Plagues…"

Finding faults with this album requires being a bit picky.  The double-bass drums tend to sound a little too mechanical after a while and Lord Sabathan is probably not the most unique or captivating vocalist in the world.  Still, these are minor quibbles that are easily overcome by the quality of the material and the conviction of the delivery.  http://www.enthroned-horde.com
[Daniel Hinds]

ENTOMBED
Unreal Estate
(Thirdman/Candlelight)
Rating - 7.5/10

Never a band to take the easy path, Entombed really outdid themselves with this one.  The idea of Sweden's most legendary and one of its dirtiest and grittiest death metal bands performing in an opera hall alongside 30 ballet dancers is surely an indication of just how open-minded the band is.

The album begins with a disarmingly beautiful piano overture before the lumbering beast of "Chief Rebel Angel" rumbles to life.  The dense maelstrom continues with "Say It In Slugs," followed by a looped bit of experimentation called "It's Later Than You Think."  The band keeps the tempo moderate through "Returning To Madness" and "Mental Twin" and even the cover of "Night of the Vampire," turning things up only for the minute-long "Unreal Estate."  "Something Out of Nothing" has a nice speedy bridge (with a distinct reference to Slayer) and the set closes with a fitting outro.

Although the sound quality and performance are both excellent, this seems like the kind of event that really needs a DVD release, as it must be just as visually stunning as it is sonically.  Also, I think the band failed to choose a setlist that represented their best work, but beyond that this is a pretty satisfying and certainly unusual release.  http://www.entombed.org
[Daniel Hinds]

EXMORTEM
Nihilistic Contentment
(Wicked World/Earache)
Rating - 8.5/10

This brutal death outfit hails from Denmark and has been cementing its reputation over the past decade with increasingly strong releases.  Nihilistic Contentment showcases a band that bleeds confidence and a willingness to pulverize the listener from start to finish.

A very moment of calm starts the album before "Flesh Havoc" bursts forth at full speed, laying down a barrage of riffs, blunt death growls and machine-like drumming.  The production is clear, the mix is up-front and the drums in particular are hard as nails.  The band rips through such lovely lullabies as "The Human Rape Symphony," "Division of Genocide Pleasure" and "Parasite Paradise" with murderous glee.  Slowing things down for a bit, "Black Walls of Misery" has an oppressive martial doom that would make Marduk jealous.  "Swamp of Decadence" makes for a nice ambient break midway through the album, leading straight into the ferociously fast "Symbols of Inhumanity," a tune that features some off-the-wall chords that remind me of Gorguts at their finest.  "Fix of  Negativity" is a somewhat forgettable track, but the crushing "Graveside Mourning Ritual" makes up for it.

The level of sincerity on this record is impressive, something that only comes after years of playing and filtering away the weak elements.  This is the kind of death metal that I like - it's fast, heavy, complex yet controlled, well produced, well played and just plain brutal.  Anyone looking for an antidote to the mall-core and melodic bands out there, simply submit yourself to the Nihilistic Contentment onslaught.  http://www.exmortem.com
[Daniel Hinds]

HECATE ENTHRONED
Redimus
(Candlelight)
Rating - 9/10

I've always had a soft spot for this lot, going back to my first encounter with them via the Blackend Vol. 2 comp.  Hecate Enthroned has always been an underdog, due to the many line-up changes, but also because they came a bit late to the black metal scene and they came from Britain (Wales even).  While everyone made rather disparaging CoF comparisons (mostly unfounded), the band has steadily expanded and refined its sound over the years.

2000's Kings of Chaos showed some distinctly death metal elements coming into play and that trend continues on Redimus, though perhaps to a slightly lesser degree.  Songs like "No One Hears" contain riffs and vocals that sound more like Morbid Angel than Emperor, but they also incorporate some simple but effective keyboard and clean guitar passages.  The songs seem to be a bit longer and more diverse this time around, too, further elevating this release.  For some evidence of said diversity, check out the swaying waltz of the epic "As Fire" or the moody clean vocals of the title track.  The instrumental track "Morbeea" features some stirring acoustic guitar and reminds me of the more atmospheric work of classic Brit thrashers Sabbat.

Production-wise, Redimus is clearly the best yet in the band's discography.  The drums in particular are much punchier than before.  The guitars could have been made a tad more forceful or even just bumped up a bit in the mix, but the overall effect still works.  The album art is also the best the band has had since The Slaughter of Innocence, with an even more traditionally black metal look to it.

While Kings of Chaos was a good album, it felt a little too self-conscious at times, like the band was purposely trying to break away from their early style.  Redimus excels because it embraces the band's black metal roots while still looking forward.  Hecate Enthroned have really hit their stride and produced a solid album of quality black/death metal here.  Apparently they lost their vocalist and keyboard player after this release, but already have new members and I look forward to hearing where this fresh blood takes them in the future.  http://www.hecate-enthroned.co.uk
[Daniel Hinds]

HIRAX
The New Age of Terror
(Mausoleum)
Rating - 9/10

With so many great thrash bands back on the scene (Death Angel, Destruction, Exodus, Nuclear Assault, etc.), I'm more than happy to welcome yet another.  Underground fans will no doubt remember Hirax (and vocalist Katon DePena's other band, Phantasm) from the mid to late 80s.  Their brand of unique thrash metal was fast, punky and very aggressive.  Although Katon is the only original member remaining, he has assembled a skilled team that has the same knack for writing in that classic thrash vein.

"Kill Switch" will make Hirax fans feel right at home.  Katon's distinctive wail is still fully intact as the song speeds along in pure Bay Area style, complete with ripping solos and brutal lyrics.  "Hostile Territory" shows the faster, more crossover side to Hirax, while the title track slows things down (just a bit!) with a nice thick, heavy riff.  "Massacre of the Innocent" is a crushing, march-like instrumental, while songs like "Swords of Steel" and "Hell on Earth" showcase classic thrash arrangements (i.e. complex and well structured).  "El Diablo Negro" has one of the best breakdown/mosh parts in its midst since Anthrax's glory days.

Although the production is clearly leaps and bounds above what Hirax achieved in the olden days, there is still room for improvement.  Having said that, the raw, live feel is captured nicely and that is pretty much what this type of music needs, so I can't complain too much.  Also, the songs are sequenced very intelligently, with each song flowing smoothly into the next.  It always makes me feel good to see a band so dedicated to the cause of metal and here's hoping that this is just the first of a string of fine Hirax albums to come.  http://www.hirax.org
[Daniel Hinds]

IMPIETY
Paramount Evil
(Paragon/Agonia)
Rating - 7.5/10

If you ever find yourself listening to a death metal record and wondering, 'Christ, how much faster can a band play?' then here is your answer.  Impiety not only plays insanely fast, they are extremely tight and pull out some really bizarre, jagged riffs in the process.  Fortunately, the band remains just musical enough to stay on the death side of grindcore, though some of the drumming could go either way.

Trying to pick out which songs are special is a bit tough with this type of release, as everything follows pretty much the same formula and flashes by so quickly it is difficult to really have anything sink its talons into your head.  "Carbonized" is one of the more memorable simply due to its repetitive chorus, while the slow fade-in of "Sunset Detonation" offers one of the album's only respites.

As impressive as Paramount Evil is, the constant barrage of speed and brutality does begin to wear a bit before the end.  There is no denying talent at work here, though, and the band keeps the album short (41 minutes) and to the point, making Paramount Evil a must-have for all fans of brutal death metal.  http://listen.to/impiety
[Daniel Hinds]

IMPIOUS
Hellucinate
(Metal Blade)
Rating - 5/10

It's hard to get past the cheesy Edward Syringehands album cover art and that clever play-on-words album title.  So perhaps my first impression was a little jaded: Impious is fast, certainly proficient speed/thrash, but lacking something that'd put them in the league of, say, The Crown.  After the nothing-but-speed opening track, this album throws in a few nice melodic thrash elements, some post-industrial soundscape interludes, some good guitar solos - all things that help dress up the underlying core which is fast, fast, fast, crisp, a little more fast, and tight. But basically, this album is just fast.

If you like the effect of having double-tracked guitar, one take on the left channel and the other on the right, so that you get this nice wide guitar sound, which you can suddenly drop out of one channel so that the same guitar lick is now only playing in one ear, and it sounds much more naked and less powerful, well, that trick is done on every song here, often several times.  It's a nice effect, but I think my final impression is that this is certainly proficient Swedish thrash, but not at the level of The Crown.  http://www.impious.net
[Laird Sheldahl]

IOMMI
The 1996 Dep Sessions
(Sanctuary Records)
Rating - 8/10

When I heard this disc was coming out I have to admit I cringed a little.  Don’t get me wrong - I’m a huge Tony Iommi fan.  But so often his solo efforts have fallen short of his awesome potential, in my opinion.

Musically, there are some great high points on this disc.  The bruising guitar on tracks like "Time is the Healer" and opener "Gone" are very Sabbthy and show that Tony is truly the riff Master.  There are also some great solo moments that sound very reminiscent of Heaven and Hell or Mob Rules era Tony.  Check out the aforementioned "Gone" and "I’m Not the Same Man" for some really classic Iommi phrasing.  There is no question that Tony Iommi can hold up his end of things and do so brilliantly.

So, why only 8/10?  Frankly, the answer is Glenn Hughes.  I’ve always found his voice to be very ordinary and uninspiring.  Sadly his performance here is no exception to this trend.  Not even the brilliance of guitar God Tony Iommi can make up for poor vocals…  http://www.iommi.com
[Nels Bruckner]

JON OLIVA'S PAIN
'Tage Mahal
(SPV)
Rating - 7.5/10

Like many long-time fans of Savatage, I mourned the day when Jon Oliva gave up the vocal duties within the band.  He might not be the most technically spectacular singer of all time but he had a very distinctive and powerful voice and we get to hear it again here on this rather diverse collection of tracks.

The album opens with "Dark," a fairly straight-forward metal tune that could have come from Savatage around the time of Gutter Ballet, with its grandiose piano melodies and big choral elements.  "People Say - Gimme Some Hell" is even more in league with Jon's musical legacy, from the "Legions"-like bassline that opens it right down to the lyrics that make reference to a dozen or so Sava songs.  "Guardian of Forever" is perhaps the most epic track, with some nods to Pink Floyd and Queen along the way, while "The Non Sensible Ravings of the Lunatic Mind" isn't far behind in terms of scope.  "Pain" has an unusual bluesy swagger and some layered vocals that help it stand out.  The album folds up with an acoustic ballad that seems to meander a bit listlessly.

Although Jon's most earth-shattering vocal performances may lie in the past, he does not disappoint here, ranging from a smooth croon to a gut-wrenching scream as effortlessly as ever.  The variety of styles and moods covered on 'Tage Mahal may put off the more die-hard metal fans, but I think it works simply because it is a solo album and you get to see all the different facets of Jon Oliva's talents and influences.  http://www.jonoliva.net
[Daniel Hinds]

JORN
Out To Every Nation
(AFM)
Rating - 8/10

This is the third solo outing by Masterplan vocalist Jorn Lande and quite a treat it is, too.  Harking back to the days of classic hard rock and metal, when the blues influence was prominent and the songs were distinctive expressions rather than just ten variations on the same idea.  The resulting diversity means a couple less than stellar tracks, but by and large this is a superb album.

Starting off with the upbeat "Young Forever," you get an intriguing mixture of Ozzy, Whitesnake, Rainbow and modern power metal.  The title cut moves in a bluesier direction without losing momentum, while "Something Real" dives into something of a King's X groove.  "Vision Eyes" features some slightly more melodic, almost AOR elements, while "One Day We Will Put Out the Sun" rocks nicely but suffers from an ill-advised "Woo-OOO-oo-OOO!" refrain.  Still, I'd rather deal with that than the sappy "Behind the Clown" which comes across as Queensrÿche at their most sickening (i.e. post-Rage for Order).  Pulling another right-angle turn, Jorn cruises straight into "Rock Spirit," another of those 'young man turns to rock' anthems ala Foreigner's "Jukebox Hero" or BÖC's "The Marshall Plan."  It's cheesy but it does rock, so mission accomplished. 

The production on this album is huge and crystal clear, while the musicians joining Jorn (Magnus from HammerFall and the drummer and guitarist from Pagan's Mind) are top-notch.  There is a fairly positive and spiritual thread tying the lyrics together that makes for an interesting read without being insulting or overbearing.  The concept of substituting a different flag for each country the album is released in on the cover art is a novel one, too.  Though Masterplan fans will likely find this album enjoyable, I can see it appealing to quite a few other metal and rock fans as well.  http://www.jornlande.com
[Daniel Hinds]

JUMBO KILLCRANE
Slow Decay
(Crucial Blast)
Rating - 8/10

First off, this album is surprisingly crisp and well produced for a genre called "sludge-rock".  Now, I admit this is the first time I've actually heard that particular phrase, but it makes sense.  Dirty, unadorned, simple at a glance but a bit heterogeneous up close-- sounding a bit like prog rock records played at the wrong speed.  Which is to say, its slow, detuned, plodding metal, but not overly simple.  Each song may take 7 minutes to get where its going, but at the end of it, there's an actual sense of travel, you haven't just taken a 1 minute grindcore song and slowed it down until its lasts way way too long.  http://www.jumboskillcrane.com
[Laird Sheldahl]

KAAMOS
Lucifer Rising
(Candlelight)
Rating - 6.5/10

Kaamos are a speedy, no-frills, guts and glory death metal band from Sweden.  No melody to be found here, Lucifer Rising owes far more to the likes of Morbid Angel and Napalm Death than to anything particularly modern or sensitive.  The songs may not stand out much but the conviction behind them is certainly real.

Much like the first Kaamos album, I was a bit put off by the production.  Although things have generally improved, the drums sound quite organic and bonky for my tastes.  Still, there is no denying that buzzsaw guitar sound and the vocals are about as deathy and vile as you could want for such blatant and evil music.

I'm not going to lie and say I loved this album or that I plan to listen to it terribly often, but there is something a bit special about Kaamos that elevates them (however slightly) above many of their post-mortem peers.  I think it is the rather heavy thrash influence that can be felt in both the riffing and drumming and the reliance on sheer brutality and volume rather than endless technicality or whatever the gimmick du jour is.  If you are in the mood for an ear and spirit pummeling, you could do far worse than slapping on Lucifer Rising.  http://www.kaamos.nu
[Daniel Hinds]

KREATOR
Enemy of God
(SPV)
Rating - 8.5/10

I've been a big fan of Kreator from the day I bought Terrible Certainty right up to this very sentence and, though some albums are clearly better than others, I think Mille and co. have never released a bad one.  Kreator has weathered many trends, allowed for some experimentation within its thrash metal context and arrived fully intact here in 2005 with yet another powerful record to extend their legacy.

As good as Violent Revolution was, it never really rose above 'good' and had me a bit worried about the band.  Enemy of God takes all that is good from that album - the production, the brutality, the riffs - and adds the more memorable songwriting and arrangements that made Outcast and Endorama such good albums.

The opening three cuts are perfect examples of Kreator at their best.  "Enemy of God" is fast and vicious, "Impossible Brutality" is crunchy and driving and "Suicide Terrorist" is just classic Kreator through and through.  When the band returned to a heavier sound, I think that may have distracted a bit from the songs themselves, but there is no lack of focus here.  "World Anarchy" just rips in a "Necrophiliac" (Slayer) way, while "Voices of the Dead" shows the band hasn't lost the lessons learned doing moodier, more elaborate songs.  That latter comment can apply to "Dying Race Apocalypse" as well, a tune that really explores new territory and reminded me a bit of Dio-era Sabbath with the way the melodic intro builds.  A couple of the songs cruise by without making much of an impression ("Murder Fantasies" and "Under a Total Blackened Sky") but there are no bad tracks and the album ends with a headbanging epic, "The Ancient Plague" (seventeen years is a long time, but I wouldn't call us ancient…)

Although Mille may be taking a vastly neutral stance on all things political in interviews these days, there is no lack of relevant social commentary in the lyrics, as evidenced just by the song titles.  I will no doubt always be partial to classics like Terrible Certainty and Extreme Aggression, Enemy of God really feels like a band that has moved through several phases of a career and finally come to terms with all of them.  It's a massive record in terms of both heaviness and scope and deserves to be hugely successful.  http://www.kreator-terrorzone.de
[Daniel Hinds]

LULLACRY
Fire Within (EP)
(Century Media)
Rating - 9/10

This lusciously good Finnish outfit was kind enough to release this five-tracker to help kill time until the next full-length is unleashed in 2005.  As EPs go, this one is pretty damn cool, as it features two (excellent) new songs, a great cover, and two reworkings of past classics.

Kicking off is "Fire Within," a straight-up rocker that actually came across better when I saw them on the Nightwish tour than it does here.  Having said that, it still sounds very good, just maybe not as outright catchy as the material from Lullacry's last album.  Following that is their take on W.A.S.P.'s "L.O.V.E. Machine," giving the song a kick in the ass and putting it in a whole new context with a woman delivering the lyrics.

Slowing things down is an acoustic version of "Be My God," the best track from the album of the same name, and Tanja gets her chance to put her own stamp on this song.  I'm not sure it exceeds the original, but she does give it a breathy, emotional charge that works surprisingly well.  "The #1 Rebel" brings shows an entirely new side to Lullacry, building on a clean riff and working into an upbeat Amorphis style rocker, complete with 60s-era organ and sing-a-long chorus.  This song proves that Lullacry can grow without losing their style and makes me even more impatient for the new record.  The album closes with a piano version of "Crucify My Heart," making the song even more heartfelt.

Fire Within works wonderfully on every level.  You get the whole range of Lullacry's sound, even more than on any of their three albums, plus you get a killer cover in the mix.  Though Crucify My Heart would probably be the best introduction to this band for newcomers, if you don't want to shell out that much, this is your next best bet.  http://www.lullacry.com
[Daniel Hinds]

LUX FERRE
Antichristian War Propaganda
(Ketzer)
Rating - 8/10

This is pure, unholy black metal straight outta Portugal that easily lives up to its titular mission.  Although originality here seems to have been sacrificed upon the Nordic altar, Lux Ferre demand attention via well-crafted songs and general ferocity.

As the title track rolls forth like a legion of blood-starved berserkers, the pattern is set for the remainder of the album.  Fast double-picked riffs chill the air as harsh vocal shrieks deliver the war cry.  The drums seem to be stuck in a permanent blastbeat much of time and those looking for speed with the black metal hysteria will be in, well, not heaven, but somewhere very pleasing.  Which isn't to say it's all-out mindless speed, because the tempo actually jump around quite a bit and the band sound just as good with the menacingly slow riffs.

For my money, if you're going to play black metal, you might as well go for broke and Lux Ferre do just that.  The guitar tone is perfect, too - edgy, thin, pure evil.  No particularly standout tracks, but Antichristian War Propaganda is a solid album that will no doubt win over some converts of one sort or another.  http://www.luxfiere.kom.pt
[Daniel Hinds]

MAROON
Endorsed By Hate
(Abacus/Century Media)
Rating - 8/10

It is rare these days for me to find a hardcore release that I enjoy enough to bother reviewing, but Maroon have managed to produce one with Endorsed By Hate.  Hailing from Germany, this quintet melds metal and hardcore to the point where you can't really hear where one ends and the other begins.  The heavy, chugging riffs and eternally angry vocals gives Maroon a great deal of crossover appeal and they've got the songs to back it up.

The first real song is "The World's Havoc," which is upbeat, heavy, well-constructed and even sports a pretty cool guitar solo.  "Watch It All Come Down" has a bit of a Slayer menace to it (not to mention some very similar riff architecture), while "At the Gates of Demise" features a catchy chorus that borders on old-school.  "The Omega Suite" is a somewhat non-starting instrumental track that lends some serenity in the form of an acoustic guitar outro.  "Götterdämmerung" is by far the lengthiest track and probably the most musical, as well, ending the album in somewhat epic style.

Endorsed By Hate is mostly devoid of melody, yet isn't just mindless brutality either.  The band is good at putting together simple riffs that work together well and arranging them into songs that flow and are memorable.  The vocals are probably my least favorite element overall, but even here they succeed in not irritating the fuck out of me the way many modern hardcore vocalists do.

Maroon is a self-proclaimed straight-edge vegan band and it is cool to still see bands out there that believe in something positive, despite all the negative energy that seems to be circling the world these days.  With a strong set of songs, a crunchy production and a good US distribution, there's no reason Maroon can't take the crown once held by Earth Crisis and take it to new heights.  http://www.maroonhate.com
[Daniel Hinds]

MASTODON
Leviathan
(Relapse)
Rating - 10/10

If you liked Mastodons last release, Remission, you will like this one.  If you haven't heard Mastodon's last release, what's wrong with you?  Go get both, now.

I'd end this review right there, but I never trust record reviewers' plain judgments, so on I go.  This new album has all the elements of the old album I love, the sheer larger-than-possible bass rumble, the drums that sound less like any sort of "something-core" and more like Bitches Brew on a bad day, guitars that achieve ear-tweaking dissonance not just with distortion, but with  odd progressions and chords.  And let's not forget the pervasive theme of 19^th century sea voyages, complete with lost souls pickling themselves on endless excursions at sea. 

Leviathan is less freeform than the previous album, Mastodon has focused their energies into a bit more conventional song structures, but they are sneaky about it.  I'm very happy that they haven't attempted to re-invent themselves, but I'm also quite pleased that this album is a bit more than "8-more tracks not found on Remission".  Briefly put, this is very good and very different.  Highly recommended.  http://www.mastodonrocks.com
[Laird Sheldahl]

MERCENARY
11 Dreams
(Century Media)
Rating - 8.5/10

Sometimes an album comes along that weaves together many familiar styles to create something cool, brand new and earth-shattering.  Sometimes an album comes along that weaves together many familiar styles to create something cool.  Sometimes an album comes along.  This would be the middle one.

Opening with a short and very classy symphonic intro, Mercenary really get going with "World Hate Center."  Neatly falling outside of any pre-existing genres, the song incorporates bits of melodic death, modern thrash and technical hardcore.  The vocals vary from harsh double-tracked rants to more emotive clean passages, with the latter working a bit better but both approaches succeeding.  The title track is more commercial and straight-forward but still rocks, with some nice gothy keyboard work around the edges.  "Firesoul" shows off a classic heavy metal influence as well as some progressive tendencies, though it is also one of the examples of Mercenary's one weak point: overextended arrangements.  "Sharpen the Edges" does the Nevermore melodic power trip better than Nevermore does these days while "Music Non Stop" is another polished single-to-be that is quite catchy.

Although 11 Dreams didn't blow me away, it did impress me and managed to stand out a bit from the pack.  Mercenary don't make the mistake of trying to create something entirely new, rather they work in a wide range of styles and let their personality shine through as much as possible.  The distinctive vocals, kick-ass production and fluid guitar work don't hurt either and it's safe to say that Mercenary has crafted one hell of a metal album here.  http://www.mercenary.dk
[Daniel Hinds]

METAL CHURCH
The Weight of the World
(SPV)
Rating - 7.5/10

It's always a bit sad when a band peaks with their very first album, but it appears that is just what Seattle's very own Metal Church did.  Which isn't to say the others were junk - far from it.  The Dark was very nearly as good, only hampered by crap production, and Blessing in Disguise and Masterpeace both had several excellent tracks.  But that first album just had something special going on and with all the line-up and label problems over the years, it isn't too surprising that the magic was fleeting.

Which leaves us here in 2005 with The Weight of the World.  With the David Wayne / Kurdt Vanderhoof rift practically a chasm at this point, we are stuck with only two members from that debut line-up - Kurdt and underrated drummer Kirk Arrington.  Ronny Munroe is our new vocalist here and he does a decent enough job, falling generally in line with the rough-yet-melodic stylings of Wayne and his successor Mike Howe.  As impressive as he is at times (esp. with the high notes), his overall performance is a bit underwhelming and I think it has more to do with the mix than anything.

Moving on to the songs, "Leave Them Behind" kicks off the party quite nicely, relatively fast and heavy.  There is also a break toward the end where the band shifts into this just dead-on killer riff that has all the evil heaviness that defined Metal Church's early work.  The title track has a more serious tone and is in the more sprawling vein of the Blessing era cuts.  "Hero's Soul" has a nice speedy gallop to it, while "Madman's Overture" is album's most grandiose composition and sustains its eight minutes pretty well.  The band makes the mistake of following it with the rather tepid power ballad "Sunless Sky" and the almost overly simple "Cradle to Grave."  The drama and the power return though with "Wings of Tomorrow" and the anthemic "Bomb to Drop," with everything wrapping up on the energetic "Blood Money."

I know some people are only too quick to say older bands should give up, but I'm more of the mind that as long as they are enjoying it and creating some interesting new music, they're always welcome on my stereo.  Think of all the great albums (and concerts) we would have missed if bands like Judas Priest, Black Sabbath and Deep Purple had called it quits after twenty years.  The Weight of the World isn't Metal Church's best album ever but it's still a good one and well worth any metal fan's attention.  http://www.metalchurch.com
[Daniel Hinds]

MILES BEYOND
Miles Beyond
(Rock Revolution)
Rating - 7.5/10

The back of the booklet invites us to 'Join the Rock Revolution!' and it's pretty hard to refuse.  This Flint, Michigan four-piece plays a very nostalgic brand of rock/metal that brings to mind the likes of UFO, Samson and Riot without sounding contrived or imitative.

As the melodic rocker "Out of Control" unfolds, the Bruce Dickinson-like vocal skills of Tim Moody impress the most, while the twin-guitar work by him and Paul Owsinski comes to the fore on the speedier "Tales of Old."  Just to prove they aren't living entirely in the past, some more modern elements creep into tracks like "Miles Beyond" and "Rock Revolution" - just a bit though.  The wonderfully triumphant gallop of "A Call to Odin" closes the album in fine style.

The production isn't stellar but for a self-released album, it's actually very good and the performances show a coherence and unity not often heard by such a young band (they formed in Oct. of 2002 according to their bio).  The energy wanes a little on a couple tracks, but overall the quality of the musicianship and songwriting makes this well worth investigating for anyone who claims to be a fan of classic metal.  http://milesbeyond.net
[Daniel Hinds]

NIGHTMARE
Silent Room
(Napalm)
Rating - 5.5/10

Silent Room starts off on a good note, with some melodic orchestral and vocal elements that are reminiscent of later Therion.  Once I got more into the album and heard the vocals, I began to ask, 'When did Ronnie James Dio start a new band?'  Don't get me wrong, I was always a fan of Dio, but there really should be only one Dio.  This album features classical mid 80s to early 90s guitars, some interesting soloing and melodic interludes, but all together nothing really special: your typical generic, slower power-gloom metal.

The song "Strange Connection" samples that annoying modem dial-up sound that we all got sick of, which leads into the music.  Not very fitting at all; it might work for an industrial or electronic band, but it just does not seem to work that well with this style of music.  "Shades in the Night" starts to look up with some unique vocal-guitar-synth harmonizing, which makes for a pretty good song and gives me hope for the rest of the album.  Alas, then progression of the disk drops back into yet another generic track, "Silent Room," which oddly enough reminds me of early Manowar with its driving double bass.  "A Piece of Paradise" once again starts out with the interesting Therion-esque orchestral-vocal melody and slow clean guitars, which sounds really good, but the lead vocals are nowhere near dark enough to mesh with the beauty of the choir.  Later in the song, there is a guitar solo that actually sounds quite similar to something you might hear in a Pink Floyd song.

This album sounds like something that might have been released 10-15 years ago I would recommend it to fans of Dio, Iron Maiden, and maybe those who like Sentenced and Therion.  http://www.nightmaremusic.com
[Eric Pioszak]

OLYMPOS MONS
Conquistador
(LMP)
Rating - 9/10

Happily for everyone, this Finnish power metal outfit rises well above the second-rate Manowar album art from the very start.  Strong vocals, slick melodies and a full production mark the foundation, with some bright keyboards and even some bagpipes(?) adding just the right flourish to the tunes.  While I wouldn't rate Olympos Mons as particularly original overall, they do seem to have a pretty distinctive sound and a good set of songs to match.

Opening with "Seven Seas" was a wise move, as this track rocks hard and shows all of the band's strengths.  The vocals display a good range without straying too far into the higher registers and don't sound like a bad copy of any of the more popular singers out there.  Some of the guitar and vocal melodies do remind me of Helloween (via Stratovarius) on songs like "Stars" and "Through the Ice and Snow," but there are just as many songs that have a far more unique character to them.  One fine example is "The Last Light of the Moon," a song built around a massive riff and a very atmospheric chorus.  "Black Desiree" captures some of that classic Rainbow magic, while "Lady in White" has a bizarre bridge that must simply be experienced.

I think what separates Olympos Mons from the hordes of power metal wannabe bands out there is not only their obvious seriousness when it comes to both the music and lyrics, but also their ability to keep things in moderation.  Sure they have big choirs here and there and speedy keyboard runs, but they don't let them run the show.  Each element is there to serve the song rather the other way around and that makes a big difference.  This is great album all the way around and should immediately appeal to fans of everything from Stratovarius and Sonata Arctica to bands like Tad Morose and Morgana Lefay.  http://www.olymposmons.com
[Daniel Hinds]

OVERKILL
ReliXIV
(Spitfire)
Rating - 7/10

Overkill – what can you say about them that hasn’t already been said?  For me, Overkill is one of those rare bands who have managed to not only stay together (more or less) all these years but have done so largely without compromising their music.  Like most bands that pull off this feat, they have done it by constantly reinventing themselves, coming up with new ways to be “Overkill”.  All while keeping it heavy – much heavier than most.

The new album, ReliXIV, is a bit of a let down for me.  There is plenty of “good” music and excellent playing on display but somehow there is a surprising lack of “great” stuff.  Each song sounds like the songs that are usually in-between the really stand out songs on an Overkill disc.  A few really killer numbers would no doubt elevate the entire lot to a much higher level, but on their own they just don’t make it.

Add to this the perplexing closing number – “Old School”.  It’s a song about the beginnings of Overkill, back in the day.  It’s a fine idea and if it sounded like Taking Over era Overkill, as one might expect, it would be awesome.  Instead it’s done as a total punk song… which just leaves me scratching my head.

The bottom line is if you love Overkill you will probably find enough entertainment on ReliXIV to make it a worthwhile purchase, just not the bargain that you usually get for your Overkill dollar.  http://wreckingcrew.com/crew
[Nels Bruckner]

PAGAN'S MIND
Infinity Divine
(LMP/SPV)
Rating - 7/10

Power metal may not be as linked to Norway as it is to Finland or Germany, but there has certainly been a history of it there, dating all the way back to ARTCH and TNT in the '80s.  Pagan's Mind are the latest generation to pick up the gauntlet and this re-release of the band's 2000 debut shows a great deal of promise despite some imperfections.

The style employed here is solid power metal, a good mix of heaviness and melody, speed and restraint.  I've seen the term 'progressive' attached to Pagan's Mind as well, though I don't hear it myself.  The arrangements are somewhat involved, but the riffs are pretty straight-forward and the band has far more in common with the likes of Stratovarius than it does with Spiral Architect.  Perhaps it is merely the level of musicianship that garners that tag, as the guitar work of Jörn Viggo Lofstad is pretty mind-bending at times. 

Suffering a bit from the same affliction that Sonata Arctica suffers from, the songs themselves aren't all that terribly memorable.  There are definitely exceptions, though, such as "Embracing Fear," which features not only a killer main riff but some really OTT drumming as well.  This tune appears twice, in its original form and also as a 2004 re-recording, though I can't really say one is better than the other.  "Dawning of the Nemesis" is a power ballad that really lives up to that name, with some odd keyboard excursions in its midst.  The eight-minute "A New Beginning" moves from a Satriani-style riff into a heavier Fates Warning section and then off into a spaced-out bluesy middle - and that's only the first half of the song.  The album closes with a cover of King Diamond's "At the Graves," featuring Greg Drover (Megadeth, King Diamond, Eidolon) and Gus G. (Dream Evil, Firewind, Nightrage, Mystic Prophecy) adding some of their own wonderful lead work to the proceedings.

The production credits are a bit confusing, but it appears that Ronnie Le Tekrø from TNT had a hand in at least the original recording.  Overall, everything sounds pretty good and full, but the vocals sound a bit distant, hampered by a little too much reverb perhaps.  As a whole, Infinity Divine is a solid slab of classy power metal that benefits most from its originality and skilled musicianship.  http://www.pagansmind.com
[Daniel Hinds]

PEST
Vado Mori
(Ketzer)
Rating - 8.5/10

Let's highlight the glorious history of great German black metal bands… well, that didn't take long did it?  Seriously though, for a country that has produced more than its share of brilliant thrash and power metal bands, it's a bit perplexing that there has been a lack in the black metal field.  It's not for lack of artists either, it's just that so few that seem to stand out and I'm pleased to say that Pest is definitely one of the few.

Starting with the offbeat and suitably grim medieval artwork that adorns this disc, Pest set out to make an unholy racket that isn't just a carbon copy of Darkthrone or Burzum.  The album opens with a mood-setting ambient piece that works tremendously well before the assault of "The Failure of Creation" takes over.  Soul-sick melodies infect the speedy riffs, while the vocals are distant and hollow, offering up some truly spine-tingling wraith-like shrieks now and again.  The album continues in a generally ferocious vein, but there are also plenty of detours along the way.  "Before the Storm" is an elegant acoustic guitar instrumental and "Der Ewige" starts off with some rather disarming clean guitar before taking the plunge into the abyss.

Pest succeeds by not trying to be the fastest or the most evil or whatever, they simply set a course for hell and see where it takes them.  After a few years of waning creativity, it seems that black metal is vital yet again and you can add Pest to the list of recent triumphs.  http://pest-musik.de
[Daniel Hinds]

PHAZM
Hate at First Seed
(Osmose)
Rating - 8.5/10

This is certainly not your average metal album, beginning right from the Treebeard-goes-berzerk album artwork.  Sure there are plenty of black metal bands out there praising nature and spitting on the soon-to-come grave of humanity, but I've never seen it depicted in quite this way.  More to the point though is the music, which blends elements of black and death metal with blues and rock 'n' roll for a bizarre but quite interesting experience.

When I first saw the band described as 'black 'n' roll,' I was expecting something a bit more in the vein of The Black League or even Entombed, but these French misanthropes definitely have their own thing and it is much darker.  In fact the first song, "In Chaos," moves from a creepy intro into a series of slightly odd, angular riffs that remind me of everyone from Hades Almighty to Borknagar.  The blues-heavy "What a Wonderful Death" stomps along magnificently, while "Resinous Balm" takes on a more abstract, experimental feel without wimping out.  "Devoured Tenderness" follows a ponderous pace for the most part, really building a creepy atmosphere.  "Vicious Seed" shows the faster, dirtier side of the band's sound to good effect and a cover of Motörhead's "Dogs" closes out the disc nicely.  The vocals are kept quite sick and grim throughout the album, so don't let the "rock 'n' roll" tag make you think there's gonna be any "All right!"s or "Baby, baby, baby"s.

Phazm apparently like to record their albums as live as possible and the results certainly favor this decision, as the sound is organic and lively and lacks anything remotely akin to polish.  This is fresh, original stuff and it's a got to be a good sign when the worst thing about an album is the band's logo.  Yet another score for the French here.  http://phazm.free.fr
[Daniel Hinds]

PIG DESTOYER
Terrifyer
(Relapse)
Rating - 7/10

Grindcore: you can go bassier, louder, maybe even faster or slower, but what can you really do with this genre to distinguish yourself from a so-so grindcore act?  (besides, of course, being a crappy grindcore act, but you probably know that's not the case with Pig Destroyer).

Well, I'm not sure exactly what, but Pig Destroyer does it.  I remember way back when, when I considered Napalm Death a punk band and Pig Destroyer kinda has that flavor, too.  Behind the certainly endless chain of distortion pedals, the guitars sporadically venture beyond 4-chord riffs into sad walls of sound that'd make shoegazers gawk.  Which isn't to say that Terrifyer isn't discordant industrial riffs backed by machine-gun snare blasts and screaming, all super-compressed into near white-noise blocks of sound that drop out of your speakers not as soundwaves, but like bricks off a conveyor belt.  Angry bricks.  OK, my metaphor is falling apart, but there are moments of calm and beauty which almost sneak through the mix, but are quickly swallowed up which sets Pig Destroyer above your so-so grindcore act.  http://www.pigdestroyer.net
[Laird Sheldahl]

SARGEIST / HORNED ALMIGHTY
Split CD
(Moribund)
Rating - 8/10

This is a decent split featuring two talented (if not spectacularly so) black metal outfits that represent two fairly different aspects of the genre.  Sargeist bash out the more modern cult sound while Horned Almighty are definitely old-school.  Can't really say which I like better, as they both do their own thing pretty well.

Sargeist starts things off with four slashes of the sacrificial dagger, laying out some fairly straight-forward riffs and subterranean percussion that manages to evoke the proper atmosphere.  Speed plays its part but Sargeist mix things up, with "Questing the Blessing of Evil" braving a more plodding beat with some of the harshest and least distinguishable vocals of the whole disc.  Horned Almighty break in with four tracks of their own that owe more to the ageless stylings of early Bathory and Celtic Frost.  The sound is much clearer and fuller than Sargeist, but have no illusions of a polished production here - they keep it raw and barbaric, as songs like "Skullsplitting Manifest" and "In Torture We Trust" clearly demand.

I'm not sure what more there is to say about this release.  It's about as cut and dried as the monochromatic art and logos would indicate.  If you like either band, you will definitely want this, but it's also worth checking out if you just want some quality underground black metal that steers well clear of keyboards or any kind of mainstream pretensions.  http://www.moribundcult.com
[Daniel Hinds]

SAXON
Lionheart
(SPV)
Rating - 8/10

Considering how many of the small NWOBHM bands have reunited or are still making a go of it, I guess it isn't too surprising that Biff Byford and co. are still at it, too.  While the band went through some rough times in the late 80s and early 90s, recent output has been pretty consistently good.  Lionheart demonstrates that the band wants to hang on to their roots but aren't blind to what has happened in the past twenty years either.

The opening track "Witchfinder General" showcases newest member Jörg Michael (also of STRATOVARIUS) really pounding the hell out of the drums.  "Man and Machine" reaffirms the heavier direction Saxon has taken this time around, though the chorus flowers with the keen sense of melody the band is known for.  The title track is the first really classic sounding Saxon song through and through and could have come off of Wheels of Steel just as easily as this album - a very epic track with a rousing chorus.  "Beyond the Grave" throws a much more modern riff into the mix and "Justice" even has some hints of thrash.  "To Live By the Sword" has a speedy power metal feel with lots of double-bass drumming and some wicked soloing, while "English Man 'O' War" is another classic number.  "Searching For Atlantis" has some interesting ideas but never seems to quite gel, leaving it to the hard-edged heaviness of "Flying on the Edge" to close the album on slightly better terms.

Lionheart isn't the best album Saxon has ever made and might not even be the best of the last decade (it's hard to say, Metalhead is quite good), but it is still a strong album.  Much like Motörhead, Saxon lost their way for a bit but seem to have regained the old fire at some point and there is no sign of it fading again anytime soon, thankfully.  http://www.saxon747.com
[Daniel Hinds]

SCENTERIA
Art of Aggression
(Candlelight)
Rating - 7.5/10

This is extreme metal from Sweden that crosses back and forth between death and thrash pretty much at will.  As my deadline for The Plague approaches, I had to pick out just the albums that I liked best and this one caught my ear for some reason.  There is nothing particularly original or superlative about it, but it just feels like all the pieces fall into place for a solid 38 minutes of hard-hitting metal.

First thing I noticed right away is the thick, professional production job.  Apparently they recorded most of it in their home studio, adding the vocals and doing the mix at Slaughterhouse, which makes the results even more impressive.  The guitars are full and chug along nicely at any speed, while the drums are punchy without sounding robotic.  The performances are equally impressive - nothing blew me away but everyone is clearly above-average in this band.  The vocals are perhaps the weakest but even there they are of a reasonably powerful (if non-descript) harsh style.

The songs maintain a distinct sense of continuity and quality from start to finish.  Heavy, choppy riffs dominate, but the band breaks into more melodic territory here and there, though only with the guitars - the vocals remain rough throughout.  Hard to pick a favorite as they kind of blend together after a bit, which the pedestrian titles don't help with ("Reign of Hate," "Circle of Fear," "Acts of Lunacy"…you get the picture).

Although all the usual Swedish suspects are clearly an influence here, I also detect some strong Bay Area thrash inspiration, particularly when it comes to some of the riffs.  Art of Aggression breaks no new ground and none of the songs stand out as absolute classics, but it is a very solid and enjoyable album and particularly promising for a debut.  http://www.scenteria.com
[Daniel Hinds]

SEVEN WITCHES
Year of the Witch
(Noise/Sanctuary)
Rating - 8.5/10

I love classic and power metal of all stripes, yet I was quite disappointed with my first encounter with Seven Witches, which was 2002's Xiled to Infinity and One.  The vocals were weak and the songs rather stilted, so I wasn't too sorry that I didn't get Passage to the Other Side for review.  Hearing this one, though, makes me think I may have missed something because things have improved 100% in the past two years and Year of the Witch is a strong album on all accounts.

The most noticeable improvement is in the vocal department.  James Rivera (of Helstar fame) adds his powerful voice, along with his Halford-like screams, really boosting Seven Witches up to a whole new level.  On top of that, the production is strong and the songwriting seems to flow much more naturally this time out.  Songs like "Cries of the Living" and "Year of the Witch" are classy and well-structured, calling to mind everyone from Jack Starr to Halford to Savatage at their heaviest.  A more mellow side is explored with equal skill on "Can't Find My Way," a power ballad that mixes elements of Fates Warning and Accept to good effect.  Plus, there is the song "Metal Asylum" that not only name drops many classic metal bands (including BOC, yay!), but even throws in some famous stage raps for good measure.  It could easily have come across as goofy but they pull it off and make it fun.

The second half of the album follows a conceptual story broken into eight tracks.  Although the music remains consistently strong, some of the story elements and voiceovers come off as a bit cheesy.  I'm just happy they didn't try to extend the concept across the whole album and having the two halves gives the album that added old-school two-sided LP element, too.

As a jaded critic, it is easy to dislike a band after one weak album, but I try to give bands the benefit of the doubt.  Hell, I listened to that new Machine Head album didn't I?  While that one turned out to be just another piece of junk, Seven Witches blew away all my expectations and have laid down a rock solid power metal album in the traditional American sense with Year of the Witch and left me looking forward to their next one anxiously.  http://www.sevenwitches.net
[Daniel Hinds]

SILENT FORCE
Worlds Apart
(Noise/Sanctuary)
Rating - 8.5/10

Someone once told me that Power Metal is dead.  I disagree, and Silent Force's release Worlds Apart makes for a good argument to support my stance.  It is a well-done album, although not that much different from all the other power metal acts that I have heard.  Traditional styling, but unique nonetheless.  Their harmonizing of vocals, synth and guitar interestingly enough are very reminiscent of early Van Halen and makes for an attention-grabbing sound.  The songs all flow together well which makes for an album that can be listened to from start to end without a desire to change songs.  Though there are no songs that stand out as being better than the others, at the same time there are none that are worse.

As long as acts like Silent Force are around, Power Metal will not die.  This is a good album to check out for anyone who enjoys the likes of Angra, HammerFall, or even Iron Maiden.  http://www.silent-force.rocks.de
[Eric Pioszak]

SILENT OVERDRIVE
Babylon Nation (EP)
(MDD)
Rating - 7.5/10

Here is yet another band that is new to my ears and definitely shows some promise.  Hailing from Germany, this lot manages to take a rather tired genre, metalcore, and infuse it with enough melody and clever songwriting to make it interesting.

After a pointlessly short intro, the first real song "Hope" kicks into gear.  The vocals are rough, occasionally sinking to death metal levels, but manage to maintain a musicality totally separate from the usual hardcore screaming style.  The song is built around a meaty, modern riff, that breaks down into more melodic territory during the chorus.  "Babylon Nation" incorporates a slightly more hardcore groove reminiscent of Sepultura, while "Emotionally Dead" features a more accessible approach that recalls Pro-Pain when it picks up steam.  "Not Your Home" feels a little second rate after the preceding tracks, but the band closes up shop with the more satisfying "Blessed."

Regular Plague readers know that my love of hardcore died when the 80s ended, as all the fun was taken out of it, and metalcore rarely does much to rekindle that interest.  Silent Overdrive are one exception, as they not only incorporate many different elements into their sound, but they play it all with a fresh zeal that many bands these days lack.  It may not be something that I would listen to every day, but it certainly made an impression on me and I can see this band going on to greater heights yet.  http://www.silentoverdrive.de
[Daniel Hinds]

SINGLE BULLET THEORY
Behind Eyes of Hatred
(Crash)
Rating - 6/10

Single Bullet Theory (SBT) and King Diamond’s Matt Thompson coordinate a metal letdown titled Behind Eyes of Hatred.  Hopes may have been too high too soon for this one, as it appears the group’s reputation has exceeded them.  While touring with bands like Hypocrisy, Entombed, King Diamond, and Soilwork, SBT are steadily rising.  In addition, guest appearances such as Matt Thompson and James Murphy raised expectations for this album considerably high.  On the contrary, the versatile and skilled line-up doesn’t bring anything new to the table.

The album is not a disappointment though.  The musicianship between Matt Difabio and Doug Rush on guitars is exceptional.  The two combine a crisp guitar sound with heavy melodies and aggression.  Some noteworthy guitar harmonies can be heard on “Cold As Stone.”  John Chernoski provides a virtuous first lead and Carlos Alverez compliments the tune with an intense second lead.  Matt D. also sings a nice mix of screams, growls, and clean style vocals throughout this album; for example, check out “In Sequence.”  “One Bullet” is a slower track with complex guitar work and grueling drum work by Jason Dunkerley.  SBT also play an adequate Metal Church cover “Badlands,” which James Murphy plays an excellent lead.

This record is produced by death metal icon James Murphy, but the production is surprisingly sharp.  Still, it is an improvement since senior Route666.  The album consists of death metal fused with various forms of thrash and hardcore elements.  The band’s influences include Pantera, Lamb of God, Shadows Fall, Killswitch Engage, and God Forbid.  Fans can also watch for “Hollowed Out” video on MTV2’s Head Bangers Ball and Fuse’s Uranium.  http://www.singlebullettheory.net
[Lo Walker]

SOILWORK
Stabbing the Drama
(Nuclear Blast)
Rating - 8/10

After the disappointing Natural Born Chaos, Figure Number Five was a welcome relief and return to the kind of quality that early Soilwork led us to expect.  Would the band be able to continue the winning streak with its follow-up?  Although I wouldn't say it quite reaches the same heights, it is damn close and enjoyable album all around.

The one thing I noticed about this album right away is the distinctiveness of almost all of the tracks.  This isn't just a collection of eleven songs written with the same formula; these are separate entities that work or don't work on their own merits.  This sense of variety leads to the band recording some of their most commercial tunes to date but also some of their fastest and heaviest.

The album opens with the title track, a good middle-of-the-road cut that features a unique sliding riff at its core and the usual clean/harsh vocal duel.  "One With the Flies" is generally  harder, almost in the Pantera/Damageplan vein at times.  That might not sound too appealing but they make it work with an oddball arrangement and cool solo to boot.  "Weapon of Vanity" is a bit more in the forgettable commercial category, due mainly to the lethargic chorus that tries to be catchy but fails.  One of the most seriously unexpected moments occurs on "The Crestfallen" and it takes me by surprise every time I hear the album.  About halfway through, the song heads off on a bridge that features an almost alternative riff and some seriously soulful post-grunge vocals that sound more like Nickelback than Soilwork.  It's kind of cool simply because it is so isolated and unexpected.

After the somewhat forgettable "Nerve," the band launch forth "Stalemate," a blast of pure metallic energy that just kills.  The manic pre-chorus and bouts of speed are truly invigorating.  "Distance" calms things down a bit, but still rocks pretty hard with another unusual, jerky riff, whereas "Observation Slave" ahs a bit more of a modern vibe going on with fx on the vocals and some of the more noticeable keyboards (which, as a whole, are practically absent from this album compared to some of the prior ones).  "Fate in Motion" has the same problems that "Weapon of Vanity" did, but is quickly forgotten with the sheer brutality of "Blind Eye Halo."  Anyone that thinks Soilwork don't remember their thrash and death roots should give this song a listen - the drums in particular are just amazing.

So, all in all, this album is not nearly as consistently good as Figure Number Five (or A Predator's Portrait or Chainheart Machine for that matter), but the highlights are quite high.  As the current release of an increasingly popular act, there is no doubt that Stabbing the Drama will be the introduction for many fans to Soilwork and, flawed as it may be, I think it makes a good first impression that will no doubt lead many to discover some even better albums.  http://www.soilwork.org
[Daniel Hinds]

SOLACE IN THE SHADOWS
The Screaming to Survive EP
(Red Candle)
Rating - 8/10

This four song disc comes from a relatively new band out of Pennsylvania and displays not only some strong playing skills but also a keen sense of how to incorporate many types of metal into one style.  Fans of screaming black metal, high-speed death metal, classic thrash and even epic Viking metal will all find elements here to enjoy.

"The Faithful Undead" kicks off in a rage and winds through several different riffs, some quite melodic and others more brutal, while the vocals remain in full grim screech mode.  "Abysmal Paths" sees some slightly more death metal touches being added, with blastbeats and a few deathy growls being thrown in for good measure.  A more serene riff kicks off "Begone!," but things are quickly heavied up, complete with a great sample of Carl from ATHF.  "Scream to Survive" completes the EP, with a couple of thrash moments that remind me of Sabbat, which is always a good thing.

American metal these days is so diverse and unpredictable, it shouldn't be a surprise to come across a band like Solace in the Shadows.  These guys have really studied all the myriad of styles that have come before and come up with something that is new but far from nu.  Though perhaps trying a little too hard to look metal on the back cover, the strong production, songwriting and musicianship make this disc well worth getting.  http://www.solaceintheshadows.com
[Daniel Hinds]

SONATA ARCTICA
Reckoning Night
(Nuclear Blast)
Rating - 7/10

This is one of those albums where I would like to have two separate ratings, one for the songs and one for everything else (playing, singing, production, artwork).  Sonata Arctica excels in the latter department and always has, but just can't seem to make the former work to their advantage.  Although I fairly raved about my first encounter with these Finns, Silence, it hasn't found its way into my player more than a few times since and the follow-up (Winterheart's Guild) even less so.  In comparison, I think Reckoning Night is closer in quality to Silence, yet I foresee it suffering the same fate on my bookshelf.

"Misplaced" makes for a strong launching point, fast, heavy and melodic in equal measures.  "Blinded No More" features some unusual almost industrial synth bits here and there, but is fairly blah otherwise.  "Ain't Your Fairytale" is non-descript speed number until it hits a fairly cool bridge in the middle, which sadly doesn't last too long.  The longest cut is "White Pearls, Black Oceans…" a somewhat disjointed affair that does feature a pretty cool main melody.  "Wrecking the Sphere" is a very offbeat instrumental bonus track, something of an off-the-cuff acoustic jam by the sounds of it, which closes the album on a peculiar note.

Although all of the musicianship is exceptional, the two elements that really strike me the most are the vocals and the keys.  Tony Kakko has a robust voice that displays a wide range yet remains entirely his own.  Henrik Klingenberg shows a similar range, breaking out of the typical power metal mold and incorporating elements that remind me of everything from Purple to Dream Theater to some experimental and even some plain ol' piano work.

Though Sonata Arctica is Finnish and plays classic power metal, their style is more in the vein of Blind Guardian than it is Stratovarius and even that is a pretty vague comparison.  While I might not be able to recognize what band it is right away, it is obvious who it isn't, so that definitely works in their favor.  Writing 'memorable' songs is always a nebulous task and very subjective to say the least.  While I find most of Sonata's work forgettable, someone else might find it instantly catchy and memorable.  The point here I guess is that Sonata Arctica succeeds impressively in every technical aspect but still haven't put together a collection of songs that makes me want to come back on a regular basis.  http://www.sonataarctica.info
[Daniel Hinds]

TIME MACHINE
Reviviscence
(Sensory/Massacre)
Rating - 3/10

Time machine time machine what does that make me think of?  Oh yes, please take this album back to the 70s if you have a working time machine.  OK, OK, so I'm not a fan of prog rock.  Maybe it's because I'm not a fan of bad synthesizer imitations of strings or choirs (especially since the invention of good synthesizer imitations of strings and choirs).  And I'm not a fan of vocalists who add vibrato to every other note.  OK, you have good vocal control.  These two factors are just deal-killers.  The rest could be perfectly proficient, artsy, clever, you name it, but I'm not getting over two elements I find cheesy.  And let's face it, I got over the fact I had to look up the album title in the dictionary to determine if it was a real word but I still can't imagine actually ever using said word in a sentence.  http://www.timemachine.cjb.net
[Laird Sheldahl]

TRISTANIA
Ashes
(Steamhammer/SPV)
Rating – 8/10

Though the Euro goth metal star may have faded in some ways, the impact has broadened with the mainstream success of bands like Lacuna Coil and Nightwish.  Tristania are one of the genres stalwarts and continue to deliver their own brand of quality metal regardless of current trends.

The album opens with no fanfare, just plunging straight into the metallic “Libre,” with the gruff, blackened vocals in full effect.  The more operatic female vocals eventually come in to soften things up a bit but it isn’t until “Equilibrium” that the band really let their mellow side show.  Clean male and female vocals duel effectively here, creating a vibe akin to modern Tiamat in the process.  “The Wretched” changes course yet again, coming over as a bizarre mix of Celtic Frost and Therion.  “Cure” has a very languid feel to it, with some feathery female vox, while “Circus” is a heavier but far less eventful tune.  The album ends with “Endogenisis,” which skillfully juxtaposes acoustic passages with heavy riffs to close the album on a high note.

I don’t think Tristania had as much to prove with this album as they did with World of Glass and perhaps succeed a bit less as a result.  Still, thee is no doubting Tristania’s talents and there is more than enough to still love about them here.  http://www.tristania.com
[Daniel Hinds]

U.D.O.
Thunderball
(AFM)
Rating - 10/10

Accept has long been one of my favorite bands.  Not only were they originators in many ways, paving the way for much of the speed and power metal that came afterward, but they released several of the best metal albums of all time.  Although vocalist Udo Dirkschneider has put out many quality albums with his band U.D.O. over the past fifteen years, Thunderball is perhaps the first time he has released an album that is consistently brilliant from start to finish and actually challenges Accept at their best.  For a man of 52 who has been recording for more than 25 years, that is a damn impressive feat.

The title track kicks off straight away, quickly settling into fast, double-bass mode that harkens back to songs like "TV War" and "Fast as a Shark" quite nicely.  "The Arbiter" is perhaps a bit more representative of Thunderball as a whole, as it lays down a solid, super heavy mid-tempo groove and features an infectious chorus.  Other tracks that fit this general formula include "Pull the Trigger," "Fistful of Anger," "The Bullet and the Bomb" and "Tough Luck II."

The band also slows things down for a couple of power ballads, namely "The Land of the Midnight Sun" and "Blind Eyes," but the real standout track here is "Trainride in Russia (Poezo Po Rossii)."  Based around a rousing Russian folk melody, the song manages to be completely different from anything U.D.O. has done before yet remains thoroughly recognizable as their work, while the lyrics are a fun and interesting reflection on the band's tour through Russia.

Lyrically, this album covers many themes, some of which Udo and Co. have touched on before, such as the pointlessness of war and the gun culture that plagues the modern world.  The musicianship is also faultless, with some incredible leads that really stand out on several tracks.

Rounded out by a very full production and a simple but effective cover art, Thunderball is one of those total packages where everything just falls into place perfectly.  U.D.O. has perhaps been a bit hasty with some of their releases in the past, not allowing the songs the time to completely gel, but that certainly is not the case this time.  Perhaps it is no accident that this is also the album where the band sounds the most like classic Accept, but whatever the case, this is a must have album for any true metal fan and I can only hope the band keeps up this level of genius on the next album.  http://www.spx-net.de
[Daniel Hinds]

UHRILEHTO
Viimeinen Vitutus
(Schwarzdorn)
Rating - 7.5/10

Finnish black metal certainly comes in many different forms and Uhrilehto are yet another distinctive example.  Grave vocals, dissonant riffs, celestial keyboards and a grab-bag of tempos are the order of the day on Viimeinen Vitutus and the results, while not spectacular, are above average and enjoyable.

A grandiose intro leads into the rather more organic sounding "Grasping Claws of Pestilence."  "Some Black Inferno" was the first track to really make an impression on me, however, with its keen sense of melody and well-placed temp and mood shifts.  "1939" takes a completely different tack, building on a repetitious riff ala Darkthrone, while several of the tracks incorporate some very light, airy keyboards (reminiscent of early Dimmu or even Einherjer) successfully, such as on "Vain Flesh Grandeur."

The album art gives the impression of a particularly bleak album, yet there is a bit more warmth to this record than your typical black metal record.  Not that it is happy in the slightest, don't get me wrong, it is just the mood is imbued with a bit beyond the monochromatic, due in large part to the subtle keyboard work.  Though this may not be a groundbreaking release (hell, what is anymore?), it is quite enjoyable and pretty original for the most part.  http://uhrilehto.cjb.net
[Daniel Hinds]

USURPER
Cryptobeast
(Earache)
Rating – 8/10

This long-running Chicago outfit has come a long way over the years and yet remains strikingly faithful to their roots.  The main area of improvement is the production, which, thanks to Neil Kernon, sounds much tighter and cleaner this time around.  Having said that, though, there is still plenty of that classic Usurper sickness to go around, particularly with the Celtic Frost-inspired guitar crunch.

One change this time out is in the vocal department, as this is the first album since the band’s inception without Diabolical Slaughter growling into the mic.  Newcomer Danny Lawson does an excellent job, though, even down to the patented Tom G. Warrior death grunts.  Also since the last effort, original drummer Apocalyptic Warlord has returned to his throne and the band hasn’t sounded this tight and united since, well, ever.

Highlight tracks include the blazing opener “Bones of My Enemies,” the surprisingly subtle instrumental “Ectoplasm” and the all-out assault of the title track.  The album closes with a killer (though a bit puzzling) remake of “Warriors of Iron and Rust” from the Necronemesis album a few years back.  On the downside you have “Kill For Metal,” a decent enough tune that is killed by driving the chorus straight into the ground (and boring a path to the center of the Earth apparently).

For those tired of the hundredth In Flames or Dimmu clone take heart – Usurper are here to give you a fresh blast of thrashy, blackened metal that stands out and makes an endearing racket in the process.  http://www.usurper.us
[Daniel Hinds]

VREID
Kraft
(Candlelight)
Rating - 8.5/10

After the untimely passing of Valfar, the remaining members of Windir decided to forge on and created Vreid, much to the metal world's benefit.  Though you certainly won't confuse the two bands, the quality, conviction and attention to detail is consistent.  Musically, Vreid is firmly in the black metal genre, but manages to reach well outside whenever necessary and drives the album to new heights in the process.

"Wrath of Mine" opens with little delay, displaying some characteristically Norwegian black metal elements (fast melodic picking, wind frozen vokills, and some pretty intense drumming).  "Raped by Light" follows in a more headbanging, thrashy fashion, while "Helvete" is the first major departure.  The song builds a mysterious atmosphere with keyboards and electronic beats, eventually morphing into a heavy plodder ala Khold.  The dubiously titled "Unholy Water" is another excellent synthesis of thrash and black metal, while "Eldast, Utan Å Gro" follows the icy, epic path laid down by masters like Enslaved and Satyricon many moons ago.  The song manages the album's most mellow and most extreme moments, giving you some idea of the range it covers.  "Evig Pine" is charged with that killer, raw guitar tone that made Norwegian black metal what it is and "Empty" hints at the folky roots that drove Windir and features clean vocals from start to finish.

Production is nothing fancy, but quite suitable to overall vibe, as is the stark cover art.  Although I didn't find Vreid to be quite as emotionally involving as Windir was, they are going for a fairly different sound and they really achieve it with excellent results.  At a time when it feels like black metal has suffered through its creative nadir, it soothes my soul to hear bands like Vreid igniting the fire once again.  http://www.vreid.no
[Daniel Hinds]

YOB
Illusion of Motion
(Metal Blade)
Rating - 7/10

Just when you finally resign yourself to picking out the details from that riff that's been repeating for the past 4 minutes, Yob kicks it down an octave and up several decibels, like some slow glide into a depressive funk you cant resist.  Well, heck, this is Doom Metal, so we expect the cross between psychedelia and metal to attempt to lull us into some subhuman trance-like state.

The vocals range from tripped-out, distant singing to more guttural screaming-- it's good to hear some actual singing against such a bleak backdrop.  This says to me that Yob isn't trying to be bleak and evil, they just are.  With only 4 tracks on this full length release, each averaging over 10 minutes in length, this isn't for those who prefer ripping the bandaid off quickly to minimize the pain.  Nope, this happens slowly, which doesn't make it any less painful, it just hurts longer.  And the whole time Yob manages to keep up an illusion of motion-- of a downward, sinking motion, that's for sure.  http://www.yobrock.com
[Laird Sheldahl]