 ANGRA
Fireworks
(Century Media)
Just to prove that metal doesn't have to be dark and evil all the time,
Brazil's Angra have returned with the long-awaited follow-up to Holy
Land. The OTT, classically-influenced power metal that they have
come to be respected for around the world is intact, with perhaps better
definition than ever before.
"Wings of Reality" opens with a nice, pomp-rock flourish before settling
into an upbeat rhythm that displays all of the band's strengths.
The song winds through various different sections, touching on prog-rock
ala Dream Theater along the way. Andre Matos' vocals are in top form
this time around, as he belts out the melodic lines like a strange mixture
of Minoru Nihara and Michael Kiske. The rest of the band are just
as impressive, too, especially considering the complexity of the some of
these tracks.
Musically, I think Fireworks is really the definitive Angra album.
Their previous works have been impressive, but you could always sense the
shadow of Helloween looming over them. This time, there is no mistaking
any of the material for anyone but Angra and songs like "Petrified Eyes,"
"Metal Icarus" and "Speed" are among the band has yet penned. The
band has moved away from some of the more experimental tribal and folk
elements on Holy Land, but there is still a great deal of variety
on Fireworks.
Angra has mellowed just a bit with age, but they make up for it with
much richer songwriting and a seemingly effortless performance. Whether
you are a fan of power, speed or progressive metal, this album has plenty
to offer.
[Daniel Hinds]
 BATTERY
Aftermath
(COP Intl.)
Always one of the most innovative acts on the US electro scene, San Francisco's
Battery have really outdone themselves with Aftermath. The
trio has really tightened up their sound and deliver ten top-notch cuts
that sound fresh and modern without catering to current trends.
A few things are noticeably different this time around. First
off, Maria's vocals are featured much more prominently. Not only
is she featured throughout the disc, but she gets pushed forward in the
mix, including some spiffy harmonies. Also, the band seems to have
really concentrated on writing catchy melodies and memorable choruses,
exposing their new wave influences on tracks like "Betrayal" and "This
Much." The album closes on a quiet note, an ethereal cover of The
Cure's "All Cats Are Grey" (though the 'hidden' remix of "Aftermath" by
Society Burning ten minutes beyond should have been snipped).
This isn't to imply that Battery has gone soft, however, as one spin
of the title track will readily reveal. Maria can spit out the vitriol
as convincingly as she can the more soothing lines, though none of the
lyrics are what you'd call upbeat exactly. The usual topics of relationships,
anger, love and fear are covered, but with the usual unique twist.
"Last of August" is particularly impressive, reminding me a little too
much of someone I once knew.
The programming is superb, showing off the band's skills without losing
sight of the songs. Production is equally top-notch, capping off
what is decidedly the band's finest moment to date and what should be a
huge hit if there is any justice in the world.
[Daniel Hinds]
 BEWITCHED
Hell Comes To Essen
(Osmose)
It somehow seems appropriate that we would see a live album from everyone's
favorite retro-thrashes this soon, as the band has always been more about
energetic metal than pristine studio recordings. The album features
plenty of classics, too, from "Blood On The Altar" to "Night of the Sinner"
to the classic "Hard As Steel, Hot As Hell." If you haven't heard
Bewitched yet, imagine a dark, dirty mixture of old Sodom, Venom and a
touch of Mercyful Fate.
The problem with Hell Comes to Essen lies mostly with the mix,
as the guitar and especially the bass seem to get lost in a torrent of
drums and vocals. The vocals themselves also sound a bit strained
at times - maybe this was toward the end of a long tour?
Once you get past the dodgy sound, though, this is a pretty enjoyable
album, as it documents most of the highlights from the band's two albums.
All the anthems to Satan are here, with some colorful between-song commentary
to boot, and the songs themselves sound much rawer than the originals.
There are also two new studio cuts, the excellent (and typically Bewitched)
"Sabbath of Sin" and a somewhat pointless cover of "Born To Be Wild" (isn't
any cover of that song pretty much pointless?).
Anyone new to the band would be much better off with either of the band's
studio records, but for all the Bewitched fans out there, Hell Comes
to Essen is a reasonably satisfying document of their live desecrations.
[Daniel Hinds]
 CHEWS EYE SHOP
Incept
(self-released)
I've been curious to hear this band for awhile now, so I was happy to get
this 3-song CD. Happier still, it lives up to what I had been hearing
about it-- this is one of the better mixes of industrial and goth I've
heard. The down-tempo music I think really helps keep the two in
balance (unlike many others who try to mix fast electro with drippy female
vocals). The electronics are quite reverb-laden, the guitars are
very atmospheric (I am always a sucker for ambient guitar washes) and there's
some distortion on the somewhat-deep male vocals. This all comes
together beautifully on "New Limb", the opening track, but the second two
don't quite match up. Maybe the melody is too low, the vocals too
spoken, they are still quite promising songs.
And the whole deal is just that, promising. They aren't ready
to take the industrial and goth scenes by force, but given time, I think
they could do quite well.
Topping off the whole package is the artwork-- the three bandmates faces
smooshed onto the photocopier's glass. It just reminds me of the
demo tapes me and my friends used to make back in High School... only now
this is on CD, with better audio quality... and talent. But I digress.
I look forward to a full length, but in the meantime, you might want to
check these guys out while they still have this recorded-in-mom's-basement
feel. More info: http://www.bge.net/chews/
[Laird Sheldahl]
 CHILDREN OF BODOM
Hatebreeder
(Spinefarm/Nuclear Blast)
It seemed unlikely that Children of Bodom could top their stunning debut
and, sure enough, Hatebreeder does not surpass that landmark release.
However, it does everything it can to keep pace and succeeds at being a
great album and highly pleasurable listening experience.
The band's trademark sound is thankfully intact, mixing blackened vocals,
classical keys, complex and speedy riffs and utterly devastating drumwork.
The note density on this album is amazing, with they guitar and keyboard
working together to create some truly wicked melodies. "Warheart"
gets things off to a flying start, with a high-speed bassline that quickly
launches into the usual flurry of fast and heavy riffs and sore-throat
vocals. The band proceed through 8 more tracks of similar intensity,
with the title track and "Black Widow" being amongst the best.
Stylistically, not much has changed since the debut. The band
focuses more on bringing the mid-tempo sections to life and the change-ups
are perhaps a little smoother, but that's about it. The production
is still great, though a little of the edge may have been lost this time
out.
Hatebreeder is very much a continuation of COB's previous musical statement
of intent. The band are unmatched in their ability to combine elements
of black, death and speed metal, a fusion that will hopefully mean a larger
fanbase for the Finns than some of their more rigid contemporaries.
I do miss the rawness and unpredictability of Something Wild and
I don't think the songwriting on Hatebreeder achieves quite the
same level of quality, but it is damn close. A small step down from
a masterpiece is still a very, very good record indeed.
[Daniel Hinds]
 DEADJUMP
Causa Mortis (the remix album)
(4D)
With the relative stagnation of the industrial scene here in the US, it's
nice to see other parts of the world are picking up the slack. Brazil
has produced some excellent electro recently, such as Frontrunner and X
on Mind, and Deadjump are no exception. If anything, I think Deadjump
(aka Alexandre Ramos) has the edge, combining classic hard electronic dance
music with excellent production values.
Causa Mortis is billed as "the remix album," but it also features
some original mixes as well. "Freak" kicks things off in fine style,
featuring a solid beat, heavily treated vocals and some choice movie samples.
Noxious Emotion do a wonderful mix of "Infected" next, giving it a real
dance-floor 'thump.' This same track gets worked over by Frontrunner
and Clone DT later on the album, with remarkably different results.
The Frontrunner mix takes a far more minimal approach, creating a fairly
creepy atmosphere in the process, while Clone DT execute most of the high
end frequencies in the song, ending up with a somewhat murky mix.
Deadjump are one of the bands that is restoring my faith in the industrial
genre. While many once-great acts have sold out to the techno and
d 'n' b markets, Alexandre pulls no punches and delivers a hard dose of
pure electro-terror. Fans of old :wumpscut: and Leaether Strip should
definitely find this disc appealing. More info at: http://www.geocities.com/SunsetStrip/Lounge/9871/dj.html
[Daniel Hinds]
 DEMENTIA SIMPLEX
Yeah, I Killed My Mama...
(OffBeat)
This is an unusual German outfit that combines a number of different electronic
styles into a fairly unique and rich sound. References to other bands
can be found, but overall, Dementia Simplex have done an excellent job
at defining themselves.
After a short intro, "Slice 1088" lurches forth. Based around
a fairly funky beat, the verses feature a distorted, almost rap style,
while the chorus veers more into the territory of classic Puppy and FLA.
After another interlude (all the songs are separated by short sound 'slices'
- a stale concept that is, fortunately, executed quite well), we get the
title track, which features a heavy and oppressive chorus.
"Cry to Heaven" is where the band really start to show off their versatility,
building on a very melodic, trancey foundation with some of the best vocal
lines of the album. This side of the band brings to mind mid-period
Delerium and Project Pitchfork. The band do a good job of mixing
beautiful elements with more sinister ones, as evidenced by tracks like
"Havoc" and "Resonance Imaging." But, they can also get down and
rock out, too, like on the guitar-heavy "Out of My Skull."
The production is probably the weakest part of this package, as the
drums really lack impact on certain songs, but it is decent enough to let
the quality of the songs shine through. Dementia Simplex aren't doing
anything revolutionary here, but they are doing a good job of mixing existing
styles together and presenting it with their own flair. The band
should also be congratulated for putting some thought into their vocal
lines, resulting in some memorable choruses instead of the usual indifference
that bands of this genre seem to give such a key element.
[Daniel Hinds]
 DIMMU BORGIR
/ OLD MAN'S CHILD
Devil's Path / In the Shades of Life
(Hammerheart)
This is kind of cool - a split CD of two older and somewhat hard-to-find
EPs by two of black metal's more infamous outfits. Both offer a nice
glimpse into the development of the respective bands and go a long way
to explaining how they have reached their current styles.
Dimmu Borgir, the much-hated Norwegians, may have made some mis-steps
in recent times but their older material is still well worth listening
to. Devil's Path is the link between Stormblast and
the mega-seller Enthrone Darkness Triumphant. Made up of only
4 songs (the last two of which are both covers of the same Celtic Frost
song), it's not really wroth having on its own but works well on this split-CD.
The music is typical mid-period Dimmu - fast with raw vocals and some keyboard
melodies. Why they did two versions of "Nocturnal Fear" is anyone's
guess, as the only difference seems to be in the vocals. It's a decent
cover, but is a little too close to the original to be interesting.
Old Man's Child offer up 5 tracks that show a considerably different
sound to their later albums. The songs are considerably more diverse
and feature much freer arrangements than what came later. The sound
is more closely tied to the classic Scandinavian black metal sound, too,
with more use of acoustic instruments and folk influences. Also,
the vocals are much more varied, ranging from the raw and brutal to somber,
clean vocals, not unlike the first Dimmu album, For All Tid.
The darkly gothic "Og Jeg Iakttok Dodsrikets Inntog" is particularly impressive
and satisfying. Elsewhere, "The Old Man's Child" is much more in
line with the riff-happy, chug-fest that is the band's current trade.
It's a nice mixture and a balance of styles that I wish they would have
sustained a little longer.
One thing that is a potential drawback is the artwork on this CD.
Both EPs originally had distinctive cover art that fit in with the band's
other releases and it would be a shame if Hammerheart didn't reproduce
it here. I only have the promo version, so maybe this will be taken
care of on the full release. Let's hope so.
[Daniel Hinds]
 DOKKEN
Erase The Slate
(CMC International)
There’s a certain quandary that rock journalists face with this new trend
of older bands reemerging on labels like CMC. Sometimes you want
to slag it, bury it, declare that the suck factor is so high on this band
that they really don’t deserve to go anywhere.
Unfortunately in the case of Dokken, they’ve already made it big.
While this does us the favor of keeping our feet out of our mouths, it
also renders us powerless to keep the band from stinking up the music scene.
…Because you know that, thinning hair and fat bellies in all, it won’t
be long before they’re playing down the road at the working class, meat-rack
tavern in your town. You’re going to have to endure 30 second liners
of Burning Like A Flame on your local classic rock station every
afternoon when the DJ gives away two free tickets with a pepperoni pizza.
And there’s not a damn thing we can do about it, because there’s actually
an audience out there that is going to be excited about the new Dokken
album. For them it’s a cavalcade of memories, perhaps taking
them back to 1985 when they got expelled from high school and defiantly
blasted Breaking The Chains while slamming a 40 ouncer on the sidewalk
across the street from the principal’s office.
But in all fairness (huh?), Dokken did manage to perfect the “LA rock”
formula with the occasional “gem” like Alone Again and Paris Is Burning.
George Lynch did earn his place as one of the most respected Van Halen
disciples of his day. And there are a few tracks on Erase The
Slate that deserve some respect. Replacing Lynch with ex-Alice
Cooper guitarist Reb Beach gives the music some added punch with more riffing
and less lead. The remake of Harry Nilsson’s “One” is particularly
special, up there with Judas Priest’s version of Joan Baez’s “Diamond’s
and Rust.”
So don’t throw those tickets out with the pizza box. Give them
to the guy slamming a 40 ouncer on the sidewalk across from the welfare
office.
[Ted Hinds]
 DREAMSFEAR
Prelude To Destiny EP
(self-released)
Dreamsfear are in interesting four-piece power metal outfit from Ireland.
The style reminds me more of some of the classic 80s bands from America,
with plenty of melody, a somewhat gruff vocalist and reasonably complex
songs.
Opening track "Ruins" is my favorite, featuring lyrics reminiscent of
old Jag Panzer and a break in the middle that takes me back to KEA
and RTL-era Metallica. Clocking in at over 7 minutes, it remains
interesting throughout and the arrangement could probably be fleshed out
even more, if anything. "Bleak Horizons" is a little moodier and
more laid-back. "As Darkness Falls" resumes the heavier end of the
band's presentation, with vocals that remind me a bit of Buddo from Last
Crack at times. Closing the disc with the melancholic ballad "Burning
Bridges" doesn't exactly leave the listener pumped, plus the vocals seem
to be at odds with the music at times, but it is a decent track nonetheless.
The other band I'm reminded of when listening to Dreamsfear is the much-missed
Onslaught, circa In Search of Sanity. Dreamsfear do a decent
job of creating their own sound, though, and, although it isn't perfect,
Prelude
To Destiny is quite promising. With a good producer at the helm,
Dreamsfear should be able to deliver a powerhouse debut album. If
you can't wait for that to happen, check out their homepage for info on
how to obtain this EP: http://members.tripod.com/~dreamsfear
[Daniel Hinds]
 ELECTRIC WIZARD
Come My Fanatics / Electric Wizard
(The Music Cartel)
Walking that ever-so-blurry line between retro-doom and stoner rock, Electric
Wizard deliver riff after riff, each as slow as it is heavy. The
usual Sabbath-worship reference points are all here, though thankfully
vocalist Jus Oborn doesn't try to be Ozzy.
This is quite a good deal, as you get a remixed version of the band's
debut along with Come My Fanatics. Electric Wizard is
by far my favorite of the two releases, as it sticks much closer to the
doom side of things. The lethargic riffing is just brutal at times,
reminding me a lot of classic Pentagram and Trouble. Songs like "Behemoth"
and "Devil's Bridge" are monolithic, though the band does explore
their softer, more psychedelic side on "Mountains of Mars," giving the
album a bit of variety. The sound on this album is excellent - it's
primitive but everything sounds good and suits the music perfectly, giving
it that same oppressively heavy feel that albums like Master of Reality
had.
I wish I could be as positive about Come My Fanatics, but I think
Electric Wizard smoked a little too much between albums. The riffing
is similar, but the songs are all considerably longer (all but one are
over 8 minutes long) and the arrangements have become a lot looser.
On top of that, the guitar tone has been overdriven so much, it has taken
on that sizzling sound that is more grating than it is heavy. The
band also fuck around too much with FX and the vocals come across as much
more strained this time out. That's not to say it's a terrible album,
though. The band do still come up with cool riffs on most of the
tracks, but it is somewhat difficult to listen to and really enjoy and
is a disappointing direction for the band to be heading in considering
the quality of the debut.
[Daniel Hinds]
 EPISODE ONE
First Degree
(Fusion)
Episode One hail from Maryland, yet their sound has more in common with
the West Coast scene. They mix rap, rock, metal, hardcore and hip-hop
in a way that certainly isn't innovative, yet never sounds derivative either.
"Master Plan" is kind of the blueprint for the rest of the album:
mid-tempo, groovy, hard and anti-melodic. One thing I appreciate
about Episode One is that the vocals tend to follow a nice in-your-face
rap style, only occasionally slipping into the growly style that bands
like Korn are intent on inflicting on us. "I Saw" follow in similar
style, reminding me a tad of Urban Dance Squad for some reason. "Nine"
is the first real mis-step, as vocalist Mike D'Agostino tries to sing a
good portion of it with less than spectacular results. His voice
is okay, but it just does not fit with the music, and I think he should
stick with the rapping style, which he is actually very good at.
I'm not a fan of this general style, to put it mildly, but I'm glad
to say that Episode One avoid a lot of the pitfalls. For one thing,
the rapping is hard and avoids being repetitive. Also, there is more
of a hardcore vibe underlying the whole thing than some of their contemporaries,
giving it more of a solid backbone. And finally, it sounds like they
can actually play their instruments (esp. the drummer), a definite plus.
It's not perfect - some of the vocals bug me and there could be a little
more variation from song to song - but it's a step in the right direction
and Episode One deserve attention far more than the band's currently making
the scene do. More info at: http://www.episodeone.com
[Daniel Hinds]
 FRONTRUNNER
Freedom's Forms
(4D)
This is a one-man outfit, namely Julio Saraiva, that hails from Brazil
and delivers twelve tracks of electronic angst. The sound on Freedom's
Forms isn't terribly original, yet there are no obvious comparisons
either.
"Revenge" kicks things off with a fiery edge and sets the stage for
the rest of the disc. On "Looking For You vr 1.0," I am reminded
a bit of older Battery, as Frontrunner injects a little more melody.
The production is a bit thin throughout, missing a little in the bass department,
but it isn't bad and the quality of the programming shines through.
I wish the vocals were mixed a bit louder at times, though.
Other highlights of the disc include the inhuman "Mechanism Automated"
and "Freedom," which appears in three different versions. As a bonus,
you also get reworkings of two songs by Deadjump and Biopsy, adding their
own twist to the Frontrunner sound.
This is classic industrial, the way it used to be done before certain
'electronica' artists hit the scene and watered everything down.
The beats are insistent, the synths are edgy, the vocals distorted and
there are plenty of cool samples and fx to bring it all together.
It's not a perfect album, but is quite enjoyable nonetheless and shows
a great deal of potential.
[Daniel Hinds]
 GOD DETHRONED
Bloody Blasphemy
(Metal Blade)
Based on the album art and title, I think it's a safe bet to say these
Dutch death-metallers sleep late on Sundays. The band put together
a nice mixture of melodic and brutal death metal, flavored with some classic
thrash elements and a great deal of energy.
This is (I believe) the third full-length God Dethroned outing and my
first encounter with the group, outside of a couple of comps. While
there isn't a whole lot of originality on offer here, the band do an excellent
job at mixing things up and seem to have paid a great deal of attention
to the songwriting and arrangements. There are plenty of fast parts
throughout, but they temper them with some well-place mid-tempo sections.
Similarly, the brutal riffing is balanced by some nice leads and harmonies.
You won't get these guys confused with the melodic Swedish death metal
crowd, however, as they prefer to rest further toward the extreme side
of things. The mid-point between Marduk and In Flames, perhaps, with
some definite Slayer overtones here and there.
Despite the overt anti-Xian theme, only the title track really deals
with the subject. The majority of the song lyrics are concerned with
history and mythology, from Nostradamus to the Inquisition to the Flying
Dutchman. It's a nice mix of topics that haven't necessarily been
covered a zillion times (yet) and helps further define the band and give
the album variety.
The stock death metal logo and standard "shocking" artwork and album
title led me to expect a far more pedestrian offering, but I'm glad to
report that God Dethroned have instead delivered a well-rounded and enjoyable
slab of modern death metal.
[Daniel Hinds]
 HADES ALMIGHTY
Millenium Nocturne
(Hammerheart)
Norwegian black/Viking metal, fierce, cold and raw - that is my past experience
with Hades. More controlled and produced than the likes of Gorgoroth,
yet still brutal, especially the vokills. The band exudes an atmosphere
of oppressive gloom throughout that is almost tangible at times.
With Millenium Nocturne, the band has recorded an impressive
album that holds true to their sound while definitely developing it in
some new directions. First off, the tempos tend toward slow and mid
rather than all-out assaults of speed. Halfway through "Dream Traveller,"
for example, there is a break where you fully expect a blast beat to take
over, but it doesn't happen. This kind of "expect the unexpected"
permeates the album and makes for a much more interesting listen than some
of the more straight-forward black metallers out there.
Secondly, the songs are built on relatively simple riffs, but are layered
and contorted in a way that keeps your interest throughout. Instead
of throwing a thousand different ideas together and calling it a song,
they actually develop one idea to its maximum potential. Unusual
chords and drum patterns further enhance Hades' sound and makes this one
of the most original releases I've heard in a while.
The production is just dirty enough to add to the grim atmosphere, while
the mix is perfectly balanced between all the instruments and vocals, including
some sparse keyboard bits here and there. The band does utilize elements
like keys and operatic female vocals, but they are very subdued and infrequent,
so they don't overburden the band's sound at all.
While I have only been mildly impressed with Hades in the past, Millenium
Nocturne is definitely a winner. The band has achieved that ever-difficult
task of maintaining the core of their sound while still pushing the boundaries.
Not just of their own sound, either, but I dare say this album has expanded
the definition of black metal itself, at least moreso than any other release
I've heard this year.
[Daniel Hinds]
 HUMAN DRAMA
Solemn Sun Setting
(Triple X)
At last, a new CD by Johnny Indovina. The CD opened a little differently
than how I expected it to sound like. “Modern Denial,” sounds modern
retro. I think it is mostly because of the Doors’ styled keyboards
that permeate the song. It isn’t really until the third track, “A
Single White Rose,” that Solemn Sun Setting begins to sound like
a more typical Human Drama album.
Human Drama does have a retro sound, but it hearkens back more toward
the music of the English Renaissance. It is almost a soundtrack with
vocals. If the music from 400 years ago would have continued to evolve
until today, everyone would sound more like Human Drama and oh what a better
place this would be. Even the more upbeat numbers like "Somewhere"
and "Goodbye" have a sound that harkens back to centuries past.
The best part of every Human Drama album is not the music and the new
one is no exception. The heart of each album is Johnny Indovina’s
lyrics. He weaves poetry into music better than most modern lyricists
and the tapestry that results is both beautiful and complex. That
is why there is something new that is learned with each successive listen
to the album and why this review is lacking...I have only had a few listens
to it myself.
(Victor Mejia)
 IMMOLATION
Failures For Gods
(Metal Blade)
Not the most prolific band in the world (this is only their third album
in the past 8 years), Immolation play pretty standard death metal with
a few twists and turns along the way.
"Once Ordained" takes off at a run, showing the band can keep up with
just about anyone in terms of speed, but it also demonstrates some of the
band's more inventive qualities. Not content to just riff away on
one or two notes, Immolation create some weird, angular riffs that are
hard to really get a grip on. As per design, I am sure. The
band mixes up the tempo, too, and the slower riffs and weird harmonics
remind me a bit of the latest Gorguts, though Failures For Gods
never gets half as weird. Another nice touch are some of the breaks,
like in the title track where they break into a speedy riff devoid of distortion.
The raspy, uninspired death vocals, on the other hand, tend to detract
from the interesting music underneath. They aren't the worst vocals
I've ever heard, not by a long shot, but they are somewhat monotonous and
devoid of originality. A little more variety in this department,
along with the band pursuing the more experimental bits even more often,
would go a long way towards making the awesome record they show the promise
of creating.
The heaviness is there, the brutality is there, the technical ability
and the complex arrangements - all there. Also on the plus side is
some of the best art I have seen on a death metal album ever. So,
if you can live with the blah death growls and general lack of originality,
Immolation have put together an album that succeeds pretty well in most
other areas.
[Daniel Hinds]
 BRENDA KAHN
Hunger
(Rocket 99)
I first heard Brenda at the beginning of the 90s with an album, Epiphany
in Brooklyn, that at the time opened me to a new notion of how to engage
words with rhythms. Each of her songs created an entirely different
mood and the lyrics matched and followed the rhythms, not necessarily easy
rhythms, from beginning to end. Her voice is honest in the way she
sings. It’s a great voice, but she doesn’t cover it up in decorative
vocal stylings and it is one of the main elements in forcing the listener
to engage with her songs upon the very first rhythm.
After Epiphany, I only heard one more album by Brenda before
Hunger
came out and I was disappointed. That raw energy seemed to have been
harnessed and then she disappeared from me forever until this year and
here is Hunger. Her sound is raw again...a lot of it sounds
like it is just her and her guitar and that is where Brenda is at her best.
The melancholic “Light” is a great example of how she plays with words,
the whole song comprised of rhyming couplets. This melancholy is
marked again by “Queen of Distance.” It is in the melancholic songs
that the listener feels they are making a connection with Brenda and personalizes
the CD for each individual it touches. This is a sign of art and
skill and well of emotions...these are the things that characterize Brenda
Kahn’s music.
[Victor Mejia]
 KOMAR & MELAMID
and DAVE SOLDIER PRESENT
The People's Choice Music
(Dia Center for the Arts)
I've known lots of people who listen to Merzbow or Metal Maschine Musik
just to drive other people nuts. If you think your music drives most
other people nuts, well, you better buy this CD before they drive you nuts
with it.
Komar & Melamid are artists who formerly mocked their homeland Russia
before emigrating to the U.S. to mock us. The opinion poll is their
medium. In this case, they polled a number of people on their most
and least favorite aspects of songs and used this data to construct "the
Most Wanted Song" and "the Most Unwanted Song". "The Most Wanted
Song" is a pretty lame and poorly recorded pop tune. "The Most Unwanted
Song", however, is a pretty lame and poorly recorded piece of near-brilliance.
Based on Komar & Melamid's statistics, themes from Westerns are
played out on accordions, organs fart out ridiculously dissonant chords,
lots of contrived things go on that are just plain dumb. But then
the opera soprano starts rapping about cowboys with a tuba providing the
bassline and bagpipes jarringly interrupt with seconds of sound that could
only be mimicked by simultaneous deaths of hundreds of cattle. It
brought a tear to my eye. Then kids start singing about Yom Kippur
and Ramadan and Wal-Mart and its enough to make you laugh incontrollably
throughout the less-than-satisfactory sections of this 22 minute (the most
unwanted song length) piece of calculated crap.
Komar & Melamid state that fewer than 200 of the world's population
will enjoy this song, but I bet their sampling consists mostly of Americans.
And most of this song tries way too hard to be bad. Its like a bunch
of people TRYING to make a campy B-movie. Its something you can't
strive to do, its just gotta happen. I would have been more pleased,
I think, had this project tried to make a good song using opera sopranos
rapping about cowboys and little kids singing about holidays to the less-than-gentle
strains of tubas, accordions and bagpipes. Bad timing, poor recording
quality and overly-dissonant chords don't make this song any more terrible
than it can be, and I feel actually detract from the inherent terribleness
of the individual players. Nevertheless, if you like odd music, this
is perhaps the oddest thing I've ever heard. Just to hear an opera
soprano belt out "I say yo!! yo!!!!" is worth the price alone. Check
out http://www.diacenter.org/km
for more info and for the most and least wanted paintings!
[Laird Sheldahl]
 KREATOR
Endorama
(Drakkar)
I first got into Kreator circa Terrible Certainty and, while their
sound has evolved considerably over time, they have retained their integrity
and ability to write great songs. Though it looked like the German
thrashers were destined to be another victim of the majors' attempt to
destroy thrash in the late 80s, Kreator persevered with Renewal, Cause
For Conflict and the landmark Outcast. Elements of industrial
and rock have crept into the ban's mix, but the main ingredient is still
metal, hard and true.
Endorama displays a far more melodic Kreator than we are used
to, with some bouncy riffs, catchy choruses and some actual singing from
the usually raw-throated Mille. Of course, he manages to turn on
the power when necessary, too, such as on the more aggressive tracks like
"Soul Eraser" and "Shadowland." The real key to Endorama,
however, is in the diversity of the material. Where Outcast
was pretty consistent throughout, this one features a great deal more variety,
from fast and harsh to slow and beautiful. Mille has apparently been
having some vocal lessons and, while he is not a naturally gifted singer,
he does a wonderful job transcending his limitations and delivers some
really heartfelt vocals on songs like "Chosen Few" and "Willing Spirit."
Tommy Vetterli's guitar synth and programming work subtle but highly effective,
especially on the more melodic tracks.
If you enjoyed Outcast and want more, Endorama delivers
in spades. The beauty is that Kreator didn't just repeat that album,
but instead used it as a launching point from which they have taken the
sound in a number of new directions. Comparisons to bands like Sentenced,
Sundown and Cryhavoc are fair, though you will never be in doubt that this
is Mille + company. Kreator's high-speed thrash days may be over,
but hey, we've got plenty of folks like Swordmaster and Indungeon taking
up the reigns, so it's not a problem. Kreator have changed, yes,
but they've done it without losing their identity and managed to deliver
one hell of an album in the process.
[Daniel Hinds]
 MERCYFUL FATE
9
(Metal Blade)
King Diamond and crew return for another go-round, trying to recapture
the spirit of their classic 80s albums. While the band do manage
to deliver another album full of heavy riffs, memorable arrangements and
wonderful performances all around, 9 has much more in common with
the last album (Dead Again) than Melissa or Don't Break
the Oath.
"Last Rites" starts off the album in flying style, hammering a fast,
double-bass rhythm home, accompanied by a catchy chorus. "Church
of Saint Anne" is one of the album's highlights, featuring some well-placed
keyboards and the King at the top of his form. "Sold My Soul" shows
the band aren't content to live in the past, however, combining some menacing
verses with a near-commercial chorus and some new voices in the Diamond
palette.
The speed returns with "House on the Hill," a fine song that sadly suffers
from a rather inane chorus. It's about this point in the album where
it seems like King Diamond may have started running dry in the lyric department,
as later cuts like "Burn In Hell" and especially "Kiss the Demon" just
aren't worthy of the band that delivered songs like "Melissa" and "Desecration
of Souls" in the past. While I applaud the return to the more uninhibited
approach (i.e. plenty of references to Satan), the execution is just too
simplistic at times. The music, however, remains consistently strong
throughout the album, as do the performances. Mike Wead finally gets
a writing credit, too, delivering the music for the trippy title track
that closes the disc.
9 is the fastest and heaviest album Mercyful Fate have done since
their re-union, featuring some of the more memorable choruses, too.
The presentation is nearly perfect, too, featuring some riveting art from
the same guy who did the original two Fate albums and a stellar production
job by Kol Marshall and the band. The assertion that 9 should
have been the third original Fate album and the best thing they've done
since Don't Break the Oath just doesn't hold up. In The
Shadows is still far more classic-Fate sounding, but don't let that
dissuade you from immediately buying this album. Even the worst Mercyful
Fate album is well worth listening to and this is one of the best this
decade.
[Daniel Hinds]
 MONSTROSITY
In Dark Purity
(Olympic/Slipdisc)
How ironic it is that, after over a decade, death metal is still alive
and well. If anything, it has gained ground in the past couple of
years, with high-profile releases from the likes of Morbid Angel, Vader
and Gorguts, along with countless lesser-known acts around the world.
Add Monstrosity to that list as one of the strongest releases I've heard
in the genre lately.
Hailing from the town that put death metal on the map, Tampa, this four-piece
have put together a 14-song collection of extreme yet technical death the
way it used to be done. Monstrosity are probably most famous for
losing their lead vocalist to Cannibal Corpse, but Jason Avery certainly
holds his own, delivering a bowel-churning performance. While it
is most certainly the variety of cookie-monster death vocals that I don't
take to, Jason does it well and it isn't terribly distracting from the
music.
And the music is where Monstrosity really shine, mixing hyper-speed
riffing with more mid-tempo crunchiness, all the while keeping it very
heavy. The leads, courtesy of Tony Norman, are exceptionally fluid
and agile, as is Lee Harrison's drum work. It's the kind of performance
that fits the music so well, you don't notice it that much right away,
but when you really analyze it you're like, 'Damn!' The arrangements
are fairly complex, though the band keeps the technical side in check to
allow for the music's brutality to hit home. In the midst of raging
storm, there are some unusual bits that demonstrate the band's influences
outside of the d.m. realm, such as "The Angel's Venom," where the main
riff harks back to Primus' "The Toys Go Winding Down" in its own twisted
way. They even close the disc with a rousing rendition of Slayer's
trademark "Angel of Death."
This isn't pretty, melody-laden death metal ala In Flames and Gardenian.
Nope, this is closer to the brutal end of the spectrum, as pioneered by
the Tampa scene of the early 90s (which included Monstrosity, not surprisingly).
The band happily ignores all the current trends (black metal, goth-metal,
hardcore, trip-hop, you name it) in favor of their own tried-and-true style
of well-played metallic brutality and the result is strangely satisfying.
[Daniel Hinds]
 MONUMENT
Resting Place
(self-released)
For those who still mourn the heyday of thrash metal should be pleased
by this Oklahoma four-piece, as they kick out some excellent, riff-laden
thrash like it was still 1989. Coming across like a mixture of the
Bay Area and New York sound, Monument also blend in some modern elements
ala Nevermore. The vocals are angry but controlled and fit the music
very well. The guitars are nice and crunchy and the band are adept
at developing a groove when they want (and I'm talking a Leeway-kind of
groove, not that modern crap).
If I had to make any criticism, it would be the somewhat bloated arrangements
on a couple tracks. The mid-paced "Reflections," for example, just
gets worn out well before its 7+ minutes are up. The production is
nothing fancy, but it is quite good for a self-financed release and the
mix is good.
Monument have defined a sound for themselves that, while not terribly
original, is reasonably distinctive and well-played. They also know
how to mix up the tempos, too, which is a nice change of pace from some
of the monotonous discs I've heard recently. More info: http://www.microworld.com/monument/frames.html
[Daniel Hinds]
 MY SCARLET LIFE
Buzzbomb
(Divanation)
My Scarlet Life has long been a mainstay of the Midwest industrial scene
touring Wisconsin, Illinois, Indiana and Missouri, but it wasn't until
this album, which was completed in 1998, that I had the pleasure of experiencing
their music first hand.
Buzzbomb beings with much of a late 80s pop dance feel with a
Siouxsie-like rhythm on "Heartache." This is followed by the more
eastern sounding "Black Limbo," but that 80s vibe is still there and it
keeps showing up throughout the CD in various forms--possibly where some
of the influences come from. One of my favorite songs is "Reflection."
I like the contrast between the childlike singing of the verses in contrast
to the much bigger vocals for the chorus.
The middle of the CD seems to lag a bit, especially on the song "Curiosity."
Cumulus is a great song though that sounds a bit like the Cocteau Twins
at the height of their career in the mid 80s. The final three songs
of this album all stand out. "Crushed Desire' is MSL's hippest sounding
track and it is also blessed with the best chorus on the whole CD.
"Other Worlds" reminds me a lot of European ethereal music that characterized
both 4AD and Hyperium for so many years. It's a really good song.
And "Fire" combines many of the better elements of all the songs into one
closing number with a little more rock than roll.
I hope this band can find a way to tour outside the Midwest because
I would love to see what they do with their music live. Unfortunately
for whomever they open for, their is a chance that My Scarlet Life may
carry the stage.
(Victor Mejia)
 NIGHTWISH
Oceanborn
(Spinefarm)
Here it is - the follow-up to the unexpected gem that was Nightwish's debut,
Angels
Fall First. This Finnish outfit's mixture of progressive metal,
speed and operatic vocals remains intact, though in a more precise and
mature form. The music has an atmosphere of ethereal beauty that
is usually only found in the better goth and folk bands, yet Nightwish
never cross into those territories.
As soon as opening keyboard lines of "Stargazers" hit your speakers,
you know it is Nightwish. Defining your own sound to the degree these
guys have is certainly a rare trait in this day and age. The band
do such a great job of combining the complexity of prog-rock with the heaviness
of metal and the grandeur or classical and opera, it is a bit awe-inspiring
at times. Just like their debut, these songs twist and turn throughout,
flowing from fast and heavy to quiet and gentle with ease. Tuomas'
keyboard playing is even more impressive this time around and really drives
the music forward, though never to the point of suffocating the other instruments.
Professional opera singer Tarja delivers another wonderful performance,
as well, though there are songs like "Gethsemane" where I feel like her
talents are a bit under-utilized. When she gets to let loose, however,
it is magical. Her unique style is a big part of what makes Nightwish
so great and I'm glad they gave her almost all of the leads this time.
This isn't to ignore the rest of the band, because they all deliver
well above-average performances. The guitar riffing is as tight as
you could ever wish for, with some real classic-metal breaks that help
the music retain its edge. The rhythm section never breaks out on
its own, but it also does more than just keep up with the rest of the band,
adding flourishes in just the right places to complete the picture.
The production on Oceanborn is stellar - crystal clear, yet powerful.
That and the gorgeous album art are really the main improvements over Angels
Fall First. Some of the charm of the debut is gone, but in its
place is a sense of confidence that bodes well for the band's future.
[Daniel Hinds]
 NOCTURNAL RITES
The Sacred Talisman
(Century Media)
This is the third full-length release from classic melodic-metallers Nocturnal
Rites and is a worthy successor to their last one, Tales of Mystery
and Imagination. All the elements that made that such a good
(and popular) album are present here, with perhaps a little fuller production.
Nocturnal Rites play upbeat metal with a lot of classical and medieval
influences. Tales of kings, swords and witches permeate the lyrics,
while vocal harmonies and melodic solos drive the music. The leads
on this album are once again stunning, yet never overpower the song as
a whole. There is a good deal of keyboard work further fleshing out
the sound, but it is done in a restrained way, complimenting the guitar
rather than competing with it.
My initial reaction to The Sacred Talisman was rather lukewarm,
since it does sound quite a bit like its predecessor. After repeated
spins, though, I think I would have to give it the edge. The songs
are a little more distinctive and I found myself humming songs like "The
Iron Force" and "Hold On To the Flame" long after shutting of the stereo.
Also, the production is a little stronger, though still lacking a little
bottom-end.
Fans of the band shouldn't be disappointed whatsoever and those who
haven't discovered them yet would be advised to start with this album,
especially if your tastes include the likes of HammerFall, Maiden, Manowar,
Riot and Helloween.
[Daniel Hinds]
 OOMPH!
Unrein
(Virgin)
This German trio has survived in spite of dismissive critics and a general
apathy from the international industrial and metal fans. I never
have figured it out, as these same people will turn around and embrace
second-rate clones like Rammstein, but such is public opinion I suppose.
After two albums (Defekt and Wunschkind) that showed the
band moving more and more away from their electronic roots, it is nice
to hear them utilize a little more technology in their current attack.
The guitars and drums are still right up front, but the band integrate
the elements well on songs like "Unsere Rettung," giving the music a grand
feel. The band have always been masters in the production department
and it really helps them stand apart from the other industrial-influenced
metal/hardcore bands out there.
Musically, not too much has really changed and a lot of these songs
could have shown up on any of the last three albums and been right at home.
"My Hell" is perhaps the most violent and thrashy tune the band has yet
penned, while "Zero Endorphine" is a more soundtrack-like instrumental
piece that really showcases Oomph!'s programming skills and I hope to see
some more experiments like this in the future. The title track has
some quiet moments, before kicking into one of the heaviest tracks on the
album. Even then, they manage to inject a melodic and memorable chorus
into the song. "Foil" is probably the most unusual song on Unrein,
as it is a really minimalist ballad with quiet, well-sung vocals floating
above it.
On the down side, the band still have a tendency to repeat lines way
too many times in a number of the songs. Just when you think the
song should end, they repeat the chorus one more time (or two or three...)
Also, the shouted vocals and some of the riffs just feel a little tired
and not worthy of the band's time in 1999.
I really liked the first two Oomph! Albums, but after that it has felt
like the band got stuck in something of a rut. They've never done
a bad album, but rather the sound has been too safe, leading to a boring
listen. Unrein shows some definite signs of the band branching
out and I really hope they capitalize on these strengths in the future.
[Daniel Hinds]
 PINK CREAM 69
Electrified
(Digital Dimension)
These Germans have been at it for a while now and continue to maintain
a sound that is as catchy as it is horribly out of fashion. PC69
play a very 80s brand of hard rock / AOR, but manage to do it without the
usual cheese.
First single "Shame" starts off Electrified on a good note, featuring
a memorable chorus and lots of melody. David Readman has a very clean
and powerful voice, while Alfred Koffler delivers some extremely melodic
and technical leads. "Stranger In Time" sounds like Crazy World-era
Scorpions. The band know how to rock and make the big-choruses sound
good, as evidenced on the title track, the arena-rocker "Burn Your Soul"
and the near-speed metal "Over the Fire." Of course, the required
power-ballad shows up on track nine, "Rocket Ride," with the usual less-than-spectacular
results. Is it just me or are the Scorpions the only band that ever
consistently pulled off good power-ballads? You might as well shut
down the CD player after song eight, actually, as "Best For You" isn't
much better and the last track is yet another ballad. Bizarrely,
there is a 'hidden' track at the very end, but it is merely the last song
over again with the lyrics sung in a silly British accent. An in-joke
perhaps guys...?
PC69 play with a great deal of confidence and it is easy to tell that
they play this style out of love for it rather than any kind of potential
monetary gain. If bands like Giant and Bad English had been this
good, perhaps I would have paid more attention to this genre and it wouldn't
have gone down in flames in the public eye the way it did in the 90s.
[Daniel Hinds]
 SEASONS OF THE
WOLF
Lost In Hell
(self-released)
This Florida-based outfit play power metal with a retro feel and a bit
of a prog-rock edge. Still a DIY-band after more than a decade of
existence, you really have to give SOTW credit for sticking to their guns
and ignoring all the trends that have come and gone.
"Lost In Hell" kicks off the CD with a great speedy riff, but balance
it with some nice change-ups throughout. "Abandoned City" features
a slower, heavier rhythm and also sports one of the album's best melodies.
Other tracks worth mentioning include "Communion," with its memorable chorus,
the unusual percussion on "Interstellar," and the doomy grind of "Voo Doo
Master."
There are a few tracks that overstay their welcome and I think the band
would have been better served with a shorter overall running time, but
Lost In Hell still impresses on many levels. The keyboard and guitar
work compliment each other particularly well and the band know how to write
a good, solid, HEAVY riff, no doubt about that. The style hasn't
really evolved any since their last release, but the songwriting has been
refined a bit. Fans of classic heavy metal along the lines of Manilla
Road, Desolation Angels and Trouble will be right at home with SOTW.
More info at: http://members.aol.com/BloodTree/
[Daniel Hinds]
 SPOCK'S BEARD
Day For Night
(Metal Blade)
Metal Blade still uses that same sorta-flat computer-generated artwork
I first saw on Voivod's Nothingface. It's oddly surreal, and
not only fits Voivod but Spock's Beard as well, although the two bands
are quite dissimilar. Spock's Beard offers a bunch of prog-rock songs
which I think either sound exceptionally 70s or cross over surprisingly
well into the nebulous world of pop. The more standard prog tunes
on "Day For Night" are well executed instrumentally, but like I said, sound
dated. I wouldn't have thought, though, that a mix of pop and prog
would sound anything but watered down, but tracks like "Skin" hit such
a good melodic pop hook that... well, I guess I forgot what style of music
I was hearing and just enjoyed it. Flanged guitars meld with warbly
organs to produce a nice layer of crisp ethereal tones for this track.
Elsewhere you'll hear a cappella and acoustic tracks as Spock's Beard pounds
"look, we're talented! Check out our broad array of talents!" explicitly
into your mind.
[Laird Sheldahl]
 SWITCHBLADE
SYMPHONY
The Three Calamities
(Cleopatra)
After being named the goth darlings with their first album, Serpentine
Gallery, Switchblade Symphony’s next album was received dubious praise
from with the scene. The album being a little more polished, according
to some, lacked the raw energy from the first one. The girls set
out to make this album a cross between the previous two.
I think they have succeeded with The Three Calamities.
It regains the rawness with more of a sparse sound, occasionally resembling
trip hop, along with the haunting rhythms and Tina’s voice that goes from
being full to childlike within several of the numbers.
My favorite thing about Switchblade is how familiar their songs sound
starting with the very first listen. That marks my favorite tracks:
“Naked Birthday” and “Therapy.” They resemble dark nursery rhymes.
The lyrics are not only easy to memorize, but it is easy to almost sing
along upon the first lesson.
There is something really reassuring to this album, while still maintaining
it’s power to move one to tears. This is the magic that Tina and
Susan weave into their music that no other bands have the capacity to capture.
I hope they manage to fulfill their dream of being showcased to a wider
audience, because this is one of the branches of what popular music should
be.
[Victor Mejia]
 TESTAMENT
The Gathering
(Spitfire)
While this is being billed as a return to the glory days of the band's
debut The Legacy, it's really more of a return to Practice What
You Preach. The heaviness and death metal influences from the
past two records is mixed with the catchiness and diversity of Practice..
Testament's line-up has certainly been mercurial over the past few discs,
and only Eric Peterson and Chuck Billy remain from the band's original
line-up. Fortunately, the pair teamed up with some great hired guns,
in the form of drum-god Dave Lombardo, guitar-wiz James Murphy and bassist
Steve DiGiorgio, who is no slouch himself. So, the performances are
all top-notch, with Dave doing some of his best work in years.
But what about the songs? This is the area that, in my opinion,
Testament has come up short on just about every record since The Legacy
(though The Ritual was pretty consistently good). Perhaps
inspired by the new line-up or the general resurgence of interest in thrash
metal, it feels like Testament spent a little more time this time around
on the song-writing. The fast tracks like "DNR (Do Not Resuscitate)"
and "Legions of the Dead" are relentless, showing the band doing what it
has always done best - play out-and-out thrash in the classic style.
Chuck's vocals alternate between his patented shout, death growls and actual
singing. The band still churn out some cool riffs, too, such as on
the mid-paced "Allegiance" and the raging "Fall of Siple Dome."
There are definitely a few 'filler' tracks to be had, but overall The
Gathering is the strongest Testament release in years and should go
a long way toward pleasing fans that were put off by the more extreme direction
of Low and Demonic.
[Daniel Hinds]
 TESTUBE
Bioplaza
(Testube Records)
I hardly love every underground EBM band, but the EBM/Electro albums I
love the most are almost all from underground bands like Testube.
On first listen, "Bioplaza" is a synth/melodic heavy album along the lines
of my favorite Germans Individual Totem and Stromkern. Vocal pads
mesh with blurpy synths, trancy streams and vocals often distorted beyond
intelligibility. Underneath all the pretty melodies and trance-inducing
textures is what makes Bioplaza truly stand out: excellently twisted
noises and skilled sound manipulations.
Distortions come to light in their reverberated tails, vocals are reversed
and pushed through resonant flangers, and alien sounds create slow breakbeats
alongside the standard (and dynamic) dance beats. Perhaps the beats
are too quiet, but otherwise Testube (Jeff Danos) is able to fit a lot
of stuff into each song without having things trip over each other or crowd-out
the more melodically compelling elements that make each song itself.
This is definitely one of the underground albums you need to check out
this year-- for more info, go to http://www.guillotinegraphics.com/testube
[Laird Sheldahl]
 THYRFING
Valdr Galga
(Hammerheart)
Bathory may have pioneered the epic, Viking-metal sound with albums like
Hammerheart
and Twilight of the Gods, but they quickly left it up to others
to carry on the tradition. Fortunately, we've had some thoroughly
inspiring bands do just that, such as Falkenbach, Enslaved and Einherjer
to name but three. This is my first exposure to Thyrfing, but I have
already added them near the top of my list, as Valdr Galga is an
impressive collection of rousing Viking metal tunes from start to finish.
After a short intro, the guitar rips in and we're off at a gallop.
Thyrfing have secured an excellent guitar tone - nice and heavy - and the
playing throughout is very tight. Keyboards accentuate the songs,
giving them a triumphant feel, further establishing the Viking feeling.
Tales of Asgard, odes to Valhalla and the like make up the lyrics, which
are soundly delivered in a raw and brutal fashion just this side of black
metal. The band careen through a multitude of tempos, but generally
keep it near the middle. There is plenty of melody to offset the
mighty riffage, but the band always keeps it heavy, foregoing most of the
'folk' elements that other Viking bands have incorporated.
Choosing a standout track is difficult, as the album is remarkably consistent,
though "Storms of Asgard" and the title cut are among my faves. Valdr
Galga sounds like it was meant to be heard more as a whole, however,
and it works very well toward that end. Chalk up another success
for Odin's disciples.
[Daniel Hinds]
 [various artists]
Maiden America
(Twilight Records)
I know there are a couple of others out there, but this is the first Iron
Maiden tribute I've heard so far. The two-CD set is made up of American
acts, with the most known being Omen, Dawnbringer and Sadus. The
concept behind the package is cool: one disc of the eleven bands
covering Maiden, the other with the same bands providing original compositions.
So often, you have no idea what a band really sounds like from a tribute
contribution, so this way you get a better feel for each artist.
Unfortunately, the quality of most of the covers is lacking. None
are terrible, but a good number of them are rather poorly recorded (esp.
the drums) and lack the proper amount of "oomph!" that the originals did.
The actual song selection is good, though, including such classics as "Murders
in the Rue Morgue," "Powerslave," "Aces High," "Wrathchild" and "Iron Maiden."
Too often the bands play it safe, sticking close to the original.
Personally, when I hear a cover, I want to hear more than just a note-for-note
rendition - I want to hear the band inject their own style and make it
their own.
The highlights for me are Pharaoh's "Aces High," Dawnbringer's choice
of the underrated "Heaven Can Wait," Sadus' energetic "Invaders" and Sculptured's
take on "Iron Maiden." This latter track is by far the most interesting
cut on the whole album, as they run through the whole first verse in a
very moody, melodic, almost gothic style before kicking things into high
gear. They also use a trumpet at a few points, giving the song a
truly unique feel, especially during the jazzy bridge in the middle.
It doesn't work all the time, but it is cool and I wish more bands had
been this experimental with their covers.
The disc of originals actually fares much better. Pharaoh prove
themselves to be an excellent power metal act, as does Twisted Tower Dire,
while Burning Inside provide some technical death metal and Equinox churn
out some grinding doom that would have been right at home on Peaceville
bout seven years ago. Sculptured are more restrained this time around,
but still liven up the proceedings with their unique blend of melodic death
metal and the horn returns yet again.
Conceptually, I really like Maiden America and the cover art
is splendid - as much a tribute to Derek Riggs as the music is a tribute
to Maiden. My only wish is that Twilight had been able to rustle
up some more interesting bands and been able to pay for some better recordings.
Still, flawed as it is, it's got some definite moments and is a good introduction
to a number of lesser known American metal acts.
[Daniel Hinds]
 [various artists]
Psyclone Sinphonies
(Psyclone Sinphonies)
This is an odd little compilation of Greek bands that all fall into that
nether-realm between goth, death and black metal. The ten tracks
offered are all taken from demos, which explains why none of the band names
sounded familiar.
Twilight are first with a fierce symphonic black metal sound that isn't
bad, but suffers from a general lack of originality. Dark Embrace
are more interesting, as they jump from a very gothic, synth-heavy sound
to death metal to black metal with abandon. Halfmoon pursue a more
typically Norwegian black metal style and deliver one of the most interesting
and technical-sounding songs on the disc. Creation's Ode are a little
more restrained, while Mind Revolt actually attempt to build some atmosphere
with nice piano and acoustic guitar, resulting in one of the album's more
original numbers. The vocals are actually intelligible and fans of
modern Rotting Christ should find something here to warm their (black)
hearts.
The oddly named Opertum mix keys with ripping riffs for a mildly stimulating
sound, though one that really needs more time to develop. Regent
kick off in total death metal mode, before branching out a bit (though
the vocals never change). Without Faith forego all the nice keyboard
tones for a more straight-forward black/thrash assault, ending up with
one of Psyclone Sinphonies best tracks. The horribly-named Destructive
Aggression rage in considerably more thrash metal vein, esp. the vocals.
Less Than Human close out the proceedings with a style akin to Sacred Reich
and Testament.
Overall, none of the tracks on Psyclone Sinphonies stood out
as being particularly praise-worthy; however, none were really awful either.
The production is mediocre at best, but what else would you expect from
a collection of demo tracks? Anyone interested in a sampling of what
Greece's underground has to offer at the moment should give this a shot.
[Daniel Hinds]
 [various artists]
Subcon 01
(Magnetic Resonance)
This is an interesting yet ultimately unsatisfying compilation of modern
electronic artists, leaning more towards techno than industrial.
The packaging is nice (despite some typos) and there are a few worthwhile
tracks, but too many of the songs lack any real substance.
Magro start off the album well with "Trash," an instrumental reminiscent
of Bigod 20's "Big Bang," but follow it up with the far less interesting
"Perculate." Codec are next with an upbeat trancey techno piece that
is well put together but somewhat forgettable. B001E (or is it 6001E?)
tread similar ground to better effect, mainly due to the clean, semi-goth
vocals that accompany the music. Thine Eyes are next, offering up
the 'microchimp-mix' of "Equipped," one of the album's best. Building
on unusual, dark electronic loops, the song is refreshing, as it moves
and morphs throughout, not content to just repeat one thing endlessly.
Arthur Loves Plastic, on the other hand, does just that, with the results
on the annoying side of tedious.
The rest of Subcon 01 seems to hover in that 'not bad but nothing
special' zone, with only Bytet's "Mary, Mary" really punching through the
ennui (be careful, as this song is switched with a much less interesting
one on the tracklisting). Of course, my general tastes don't really
favor this brand of electronic music to begin with, so this may be just
the thing you've been waiting for if you like mostly instrumental, experimental
electronica and techno.
[Daniel Hinds]
 [various artists]
Virgin Voices
(Cleopatra)
For starters, we were promised a double-CD collection and to cap that off,
most of the interesting bands seemed to be on volume two, so when I received
volume one, you can imagine I was already disappointed in the CD without
even listening to it. I love Madonna, but I was expecting to see
more bands doing their own interpretation of Madonna songs, but artists
such as Berlin and Loleatta Hollowly, pretty much did the songs as is.
A bit of a disappointment.
My favorite track is Information Society doing “Express Yourself.”
It is pretty similar, but at least enough of an InfoSoc vibe are thrown
in to give it it’s own unique feel. The most amusing of all of the
tracks has got to be “Material Girl” as interpreted by KMFDM. En
Esch’s vocals are grand and then the music gives off that "we don’t give
a shit" mentality that has come to characterize them over the years.
Classic. The track that surprised me the most was the Voluptuous
Horror of Karen Black doing “Burning Up.” It is far more of a techno
track instead of their more seminal punk stylings and I wasn’t sure what
to think of it, except I was hoping it wasn’t a growing trend for the band.
Other songs of note on the comp include: Dead or Alive doing “Why
It’s So Hard” and Spahn Ranch’s “Swim,” the best song they have done in
years. Looking forward to having Volume Two and this collection is worth
having, especially if you want a complete set.
(Victor Mejia)
 W.A.S.P.
Helldorado
(CMC Intl.)
I've always thought W.A.S.P.'s blood-soaked, hellraiser image was laughable
at best and tended to distract too much from the band's good points, namely
their talent at writing simple but catchy rock songs and deliver them with
enthusiasm.
After an insipid intro, the title track kicks in and it is clear that
not much has changed for these L.A. Rockers in the past 15 years.
Actually, a lot has changed, but Helldorado shows the band going back to
what they do best with the result sounding like an amped-up mix of AC/DC
and KISS. Blackie Lawless' vocals are as raw as ever and Chris Holmes
delivers the required riffage and squealing leads.
Unfortunately, the lyrics are just plain awful. Songs like "Don't
Cry (Just Suck)" and "Dirty Balls" are as embarrassing as they are juvenile.
W.A.S.P. really should have stuck with their more progressive, conceptual
themes, like on The Headless Children and The Crimson Idol.
So, if you can get past the stupid lyrics, cheesy-ass computer art on
the cover and general lack of variety on offer, you will be rewarded with
a pretty standard dose of gritty, hard rock 'n' roll. At least W.A.S.P.
hasn't tried something trendy here, though they should be paying AC/DC
royalties for some of these riffs...
[Daniel Hinds] |
