µ-ziq
Royal Astronomy
(Astralwerks)

The arranged sound of tracks like "the hwicci song" and "gruber's mandolin" work outstandingly well, they are fun and boppy in an oom-pah way.  The shorter orchestral pieces are just sorta there, though.  The more rhythm-oriented tracks seem quite different from earlier µ-ziq. The beats are well constructed but never venture into the realm of lunacy or stupidity (although the voices in "autumn acid" are kinda silly). And the recurrence of the acid bassline was a bit surprising in its 'standard sorta sound'.  The wah-wah treatment on the scary piano in "mentim" seems like collaboration with Jochem Paap (Speedy J) has rubbed off a little, or Mike Pardinas found the effects processors he used for more ambient treatments on the album In Pine Effect.

The two vocal tracks are worthy of the skip button on your CD player... she's a little strident, and the music a little too restrained to leave room for her reverb-laden crooning... but, hey, the only µ-ziq album I listen to every song on is In Pine Effect, even though µ-ziq is one of my favorites.  This disc definitely has some great stuff--  a bit more refined and restrained, be warned, but great stuff. 
[Laird Sheldahl]

AMDUSCIAS
Amduscias
(Metal Blade/Blackend)

The style of Amduscias is pretty typical Nordic black metal, with high-speed melodic riffing, grim vocals and bone-rattling drumming.  The playing is fine, but the album tends to lose a little when it comes to songwriting and production.  The sound is rather indistinct, with the drums really getting lost in the mix.  The songs themselves are fast and heavy, but don't offer anything new or memorable to latch onto.  There are some nice leads, especially the one that kicks of "Hell On Earth," but it's not enough to keep my already flagging interest alive.

If it is true that mediocrity is killing the black metal scene (and I believe it is the main culprit), then Blackend are undoubtedly one of the worst offenders.  None of the bands are bad, but none of them offer anything new to the genre and, sadly, Amduscias are a prime example.
[Daniel Hinds]

AMSVARTNER
The Trollish Mirror (EP)
(Metal Blade/Blackend)

With so many bands coming out these days in just about every metal sub-genre (and each sub-genre's sub-genre), finding a niche is increasingly difficult for newcomers.  Amsvartner do their best and end up with a sound that is pretty brutal, but still retains a keen sense of melody.  Blast beats abound, but the songs are never static, changing tempo and direction very quickly.  The band score points for their musical dexterity and obvious effort in the song-arranging department.  Unfortunately, the vocals are a little tired and most of the riffs and rhythms are fairly forgettable.  "Memories of Faded Kingdoms" is probably my favorite, as it features some cool little melodies here and there.

With only two demos and this EP under their belt, Amsvartner are still just getting started.  Viewed from that perspective, The Trollish Mirror is pretty impressive, as the band sounds confident and know a thing or two about their respective instruments.  Hopefully, they can build on these strengths and create some more memorable songs for their first full-length.  With the right material (and slightly better production), Amsvartner could really be a force to reckon with in the current, post-Dissection scene.
[Daniel Hinds]

APOPTYGMA BERZERK
APBL98 (2CD)
(Tatra)

Sound quality is usually the 'make or break' element of a live album and APBL98, while not the greatest, is decent.  The mix maybe could have been better, as sometimes the drums and guitars get a little lost.  The performances make up for any inadequacies in the sound department, however, as the band do a great job at bring the material alive.  "Deep Red" is a great way to open the proceedings and curiously features the main riff from Slayer's "South of Heaven" in the middle - not a sample, either, but played by the guitarist.  Strange.  Other highlights include spirited versions of "Love Never Dies," "Mourn" and "Non-Stop Violence."  An extended version of new single "Paranoia" is also included, along with a cover of "Enjoy the Silence," so it's not all old stuff.

One thing that kind of bothered me is the way the tracks are edited together.  The songs are taken from various shows all across Europe, which is fine, but they splice in little sound clips between a number of tracks, including interviews and other ramblings.  It tends to disrupt the flow of the album and ruin the 'live' atmosphere.

Disc 2 is made up entirely of multimedia files, including interview clips with the band, videos, and the like.  It's interesting and put together in a pretty slick interface, but I had some difficulties with the sound cutting out on me (probably just the crap machine I tried it on...).  Personally, I would have preferred another CD full of live music, but at least it was executed well.

The packaging on APBL98 is excellent, from the booklet that folds out into a tour poster to the die-cut slip-case for the jewel box.  After hearing the energetic live version of "Burning Heretic" on the Electronic Warfare single a couple years back, my hopes for this release were perhaps a little too high, resulting in slight disappointment.  On its own merits, though, it is still a good live document of Apoptygma Berzerk in 1998 and worth investigating.
[Daniel Hinds]

ARMAGEDDON DILDOS
Re-Match
(Zoth Ommog)

The actual selection of material is pretty impressive, including such obvious hits as "East West," "Resist" and "Homicidal Maniac."  Also included, though, are some of their more obscure tracks, such as "Never Mind," "Demolition" and "The Dawn."  Rounding out the track list are "In My Mind," "Fear," "Sex For Money" and "Romeo and Juliet."

Unfortunately, the actual remixes aren't as successful as they should be.  "East West" is a great example.  The original version was a hard-hitting, dancefloor stomper of the highest order and the remix on the Unite EP infused guitars in a creative way, without losing the original feel of the song.  This "2000 East West" mix is a fairly simple, technofied version that takes a lot of the punch out of the song.  The drums sound particularly weak, as they do on many of the tracks here.

I was expecting some massive revamping on this disc, but the songs really haven't changed much in structure from the originals.  None of the mixes are superior to the originals either, with only "2000 Sex For Money" offering some interesting variations, and in fact most are considerably inferior.  I'm probably one of the few Dildos fans who has yet to be disappointed with their studio output, but Re-Match is disappointing.  It would have been cooler to release a 'best of' with a few of the better remixes found here and maybe some live material, but alas they didn't consult me on the matter...  Hopefully, they will get back on track, write some kick-ass new material, and move forward again soon.
[Daniel Hinds]

AUTECHRE
EP7
(Nothing records)

BIOPSY
Third Stroke
(DSBP)

"Leech" starts off in a very dark, electronic vein, building up a rhythm and eventually introducing sampled metal guitar and some hard, angst-filled vocals.  "Hypervent" kicks the danceability factor up some, with a wonderfully hard beat and an almost bondage-like sense of claustrophobia.  "Why Bother?" brings the guitar back, while "Body Wire" features a more melodic chorus, thanks to a female vocal sample that gets repeated a number of times.  The next few tracks follow in a similar vein, with "Peel the Core" giving Psychopomps a run for their money with its guitar-driven intensity.

The album only starts to lose it a bit with track 11, "No2 Boost," where sonic elements from "Hypervent" are reworked into a trance-techno instrumental that has me reaching for the skip button within the first minute.  The band also adds a couple of remixes of their own (of "Leech" and "Body Wire,") that also seem to take a similarly unappetizing approach.  Fortunately, they also hooked up with the likes of Deadjump, Idiot Stare and Negative Format for some much more interesting mixes.

So, while some of the remixes near the end leave me a bit fearful of the band's future direction, the rest of Third Stroke is a stunning success.  Classic industrial/EBM crossover with a distinctly modern flavor, relentless beats, great programming and vocals with an attitude all add up to a must for any serious electro-head.
[Daniel Hinds]

BOOM BOOM SATELLITES
Out Loud
(Sony/Epic)

CATAMENIA
Morning Crimson
(Massacre)

Doing a track-by-track analysis of Morning Crimson would be somewhat pointless, as they each tend to follow the same general blueprint.  High-speed riffing with a melodic cast, nearly non-stop double-bass pummeling, grim vocals of the standard blackened variety and lush keyboard arrangements tying it all together.  The band do pull out a few surprises here and there, like the ultra-cool riff they break into about halfway through "Cast the Stars Beyond" that reminded me of recent Emperor sojourns.  Also, "Towards the Winds of Winter" is a little different, with a 3/4 time signature, unusual melodies and some nice keyboard work.  Hopefully the band will take their cue from this song when charting out their future musical progression, as it is clearly the most original track on offer and one of the best, too.

By and large, though, Catamenia do nothing to really distinguish themselves from the growing horde of black metal bands the world over.  That isn't to say they are bad - quite the contrary, as they play this well-worn style very well.  The musicianship is tight, the songs are energetic and the production is sterling.  If you can deal with the lack of originality and have a deep love for melodic, Nordic-style black metal, Catamenia are well worth checking into.
[Daniel Hinds]

CHAOS GOD
3001
(Dion Fortune)

"Chaosgod" starts things off superbly, as it takes a catchy, melodic verse that sounds like a mix of Project Pitchfork and Sisters of Mercy and builds it into a rousing chorus.  The male vocals are very deep, with a heavy 'goth' affectation.  It's almost too much at times, but it works overall, especially when he lets loose and belts out the chorus in a harsher style.  "Radiant" and "Soul Searcher" follow in fine form, with a further injection of speed, with the result not a million miles from recent Birmingham 6 output.  The guitar riffs are simple, but effective and definitely add a lot to the music.  They like to juxtapose distorted guitar with clean guitar, too, such as on the more exploratory "Judgement Day," with unique results.

The band doesn't fare quite as well later on with the more mellow "Bitter Moon," as the vocals tend to clash a bit with the music.  They aren't afraid to show their diversity, either, as the quirky "Realm of Chaos" comes along halfway through, taking the album off into left field.  While I appreciate this experimental side of Chaos God, I feel that they are much more successful with the synth-heavy industrial/goth approach displayed earlier on the album.

It's not a 100% brilliant album, but 3001 has a lot going for it.  The key is the emphasis on the individual songs, rather than just creating a sound and pumping out ten versions of it like some bands do.  Chaos God are taking known elements and putting them together to shine in a new light and, for the most part, they are very successful.
[Daniel Hinds]

CODESEVEN
Division of Labor
(The Music Cartel)

"Lights" sets the pace for Division of Labor, with crunchy, anti-melodic grooves interspersed with cleaner, more alterna-rock oriented sections.  The band have two vocalists, one of which does the usual, annoying hardcore tantrum screaming, while the other handles the more melodic singing.  Neither is very impressive, while the rest of the band seem competent enough, but never play anything challenging enough to really determine their skills.  Even when the band comes up with some cool, off-the-wall chords or time signatures, they don't do anything interesting with them.

The arrangements are loose and jazzy, which gives the music a bit of an experimental feel at times.  If you like noisy, indie-rock without any commercial affectations, you might dig Codeseven, but the whole thing just left me really flat.  Blah production, grating vocals, interchangeable songs and lazy, directionless arrangements all add up to severe boredom in my book.
[Daniel Hinds]

CYBELE
Songs of Soil (EP)
(Head Not Found)

While they are on a predominantly metal label, Cybele really don't have a metal sound at all.  From the art and band name (and even the band photo), you might expect a gothic band, but that's not entirely on the mark either.  The music is kind of a dark alternative rock, though more the older version of 'alternative' like the bands on 4AD in the 80s.  The only modern release I could even slightly compare this to is The 3rd and the Mortal's In This Room, but Songs of Soil is more consistent in style.  There is a nice balance of loud guitar riffs (slightly reminiscent of modern Katatonia) and slightly more jangly clean guitar.  These latter parts still convey the band's mysterious aura of sadness, though, often even more effectively than the heavier bits.  The vocals are clean, but not pretty or operatic, and occasionally at odds with the melody.  This discordance is obviously intentional but still kind of awkward and it gives the band more of an indie-rock feel than they might otherwise have.

The songs on Songs of Soil are difficult to get into; they're not obvious or catchy at all.  If I'm in the right mood, it can be very enjoyable, but sometimes it just rubs me the wrong way.  The most intriguing part of Cybele's sound is the interplay between the bass and drums (no coincidence that these two are original members, I'm sure), as they take on an almost jazzy feel at times.

Cybele are not an ordinary band, there's no doubt of that.  A Norwegian, all-female quintet that somehow manages to skirt around the edges of so many styles without letting themselves get pigeonholed is clearly worth further investigation.
[Daniel Hinds]

DISMAL EUPHONY
All Little Devils
(Nuclear Blast)

Everything that made Autumn Leaves what it was is still present:  the doomy riffs, the mix of male and female vocals, the unusual arrangements and the gothic keyboards.  The changes are a bit on the subtle side, but they are definitely there.  The most obvious one I suppose is the arrival of Anja Natasha.  Her singing style is reasonably different than Keltziva's, but still works very well with the music.  The song structures are a little tighter and angular, with some off-beat riffs and unusual time signatures further defining the band's sound.   The songs tend toward mid-tempo, but they have no problem picking up the pace or slowing things down when a tune demands it. 

While this is very much a metal album, there is a definite nod towards the horror side of goth music permeating it.  As with previous works, no real standout cuts present themselves, but instead they work together to make a consistent, enjoyable album.  All Little Devils is destined to be one of those records that I rarely listen to, but is nice to have on hand for those times when I'm in just the right mood.
[Daniel Hinds]

diverje
Existence / Program Remix
(DSBP)

"Empty" is a somewhat inauspicious start to the album, but "Scream For Me" is an excellent slab of electro-industrial that brings to mind label-mates Biopsy.  "System Failed" utilizes some highly-processed guitar and plenty of heavily-distorted vocals, both to good effect.  In general, Existence features much less guitar than the debut, making its appearance all the more effective.  "Hard" is a good example, as it deftly balances metallic riffing with high-speed dance rhythms.  For the more melodic side of diverje, "Self-Denied" is the crowning achievement, with its more laid-back vocals and catchy synthlines.

The second half of Existence is a little less interesting, with a couple of blah tracks ("Nothing to Believe" and "Bleeding"), but "Mesmer" proves itself quite worthy, with its atmospheric, almost gothic melodies and atmosphere.  The Program Remix portion of the CD is pretty successful, too, with six of the seven songs getting mixed non-Existence tracks.  Biopsy delivers two mixes, both adhering to their style of high-quality electro-terrorism.  Razed In Black take on "To Hell," the best track from the debut album, and make it sound even better.  Noxious Emotion strip down "Existence" to close out the album.

Granted, diverje haven't come up with anything terribly original here and there are a few slow spots to be had, but overall, I was quite impressed with this release.  The good songs are very good and there is a nice mix of styles to be had, from aggressive and noisy to laid-back and melancholic.  Mainman Tommy T. has really got his shit together on this one, so forget the past and give Existence a try.
[Daniel Hinds]

FACE OF ANGER
Faceless
(Noise)

Opener "Faceless" features heavy riffs and groovy beats, as you'd expect, but the vocals aren't your typical Phil Anselmo-wannabe (thankfully).  Instead, they are kind of a more melodic, grunge version of another Phil, namely Phil Rind of Sacred Reich.  The melody isn't confined to just the vocals, either, as the guitar gets in on the action a number of times, too.

The band falters a bit when they try to incorporate some industrial elements ("Octane Jesus,") as it sounds forced and at odds with the rest of the song.  On a more album-wide scale, there is a pervasive feeling that the band just isn't all that into it.  I don't know if it was a strained studio experience or if that is just their style, but the heavy parts just don't come across as being that heavy.  The singing is also a bit too restrained in conjunction with the music, much like Tool.  And while there are plenty of cool riffs to be found, the arrangements get a little tiresome and tend to dilute the impact.

I can't really slam Face of Anger, as they aren't particularly bad, but this album doesn't inspire much reaction.  People who are looking for a metal version of Tool or think you can deal with my above criticisms might just like Faceless, but I wouldn't really recommend it to anyone else.
[Daniel Hinds]

GARDENIAN
Soulburner
(Nuclear Blast)

"As a True King" enforces everything we know about Gardenian already:  strong riffs, growling bass lines, harsh death vocals and a sterling production.  "Powertool" introduces some variations, including a very melodic chorus, as does the (old) Dark Tranquility-like "Deserted."  The title track takes on a slower, more modern-metal approach, but it's "If Tomorrow's Gone" that really marks a departure for Gardenian.  Starting off with clean guitar, the song is like power ballad mixed with latter-day Katatonia.  "Small Electric Space" is the masterpiece of Soulburner, though, as it mixes melodic yet oh-so-heavy riffing with clean vocals ala Bruce Dickinson, courtesy of ex-Artch vocalist Erik Hawk.  The similarity is a bit scary when he really gets going, but you're not likely to mistake this for an Iron Maiden song.  Erik returns on a number of the other tracks and I really think his input helped round out Gardenian's sound.  Hopefully, their working relationship will continue in the future.

While the melodic death metal scene is already overflowing, Gardenian prove that any style, no matter how overworked or saturated it is, will still sound fresh and exciting if the band can deliver quality songs. Soulburner is packed from start to finish with melodic death metal of the highest order and definitely one of the highlights of 1999 thus far.
[Daniel Hinds]

GODDESS OF DESIRE
Symbol of Triumph
(Metal Blade)

Musically, this four-piece don't deliver much beyond standard, rough-and-ready old-school thrash, with vocals that sound like a cross between Lemmy and Tom Angelripper.  It isn't until the fourth tune, "Ride," that GoD actually put together a memorable track.  "Metal Forever" is fairly entertaining, too, as the penultimate brain-dead metal anthem.  Unfortunately, these are the exception rather than the rule, and much of the music on Symbol of Triumph is merely a backdrop for what is supposedly a very lively stage performance.  And don't expect the lyrics to save the day, either, as the band slap together only the crudest of English sentences, such as "I stabbed a pastor's bladder and boozed his golden wet" or "I venom the sacred cookies and burn the relic's sweet "  Um, yeah, well good for you...

I must admit, I was rather disappointed to learn that the three women in the group (cleverly named Lilith, Delilah and Medusa) don't do any of the singing or playing, only serving to function as scantily-clad stage decorations.  If you still long for the good ol' days of unpolished, rude thrash ala  Bulldozer and Venom, then Goddess of Desire will probably provide a few moments of fond nostalgia.  In the long run, though, I think you'd be better off with a band like Bewitched or even Inferno.  Seeing this band live might be a whole different story, though...
[Daniel Hinds]

GODGORY
Resurrection
(Nuclear Blast)

The musicianship is excellent, as the duo (vocalist Matte Andersson and drummer Erik Andersson) have recruited some obviously capable session players for the album.  Erik handles the production which is also above reproach, giving the music a vast, rich sound.  The music ranges from slow and melodic to more up-tempo and heavy, though rarely is there much variation within a particular song.  The vocals alternate between a non-descript death growl and that annoying spoken/whispered approach that certain other goth/metal acts have employed.

Despite the talent involved, the songs themselves just drift in and out without making any real impact.  A few of them seem particularly plodding, like "Death in Black."  Probably the best song is the moody "Waiting for Lunacy To Find Me," where the band actually manage to conjure a little atmosphere.  Even when presented with good source material - in the form of Accept's classic "Princess of the Dawn" - the band manage to ruin it with horribly out-of-place vocals and a general sense of apathy.

Mixing goth and death metal is a dicey business for anyone and the field is littered with far more failures than success stories.  Resurrection is probably the best-produced, best-played failure to date.
[Daniel Hinds]

IN EXTREMO
Weckt die Toten!
(Metal Blade)

Opening track "Ai vis lo lop" has a definite Skyclad feel to the riffing, while the vocals (all in German, BTW) are a little deeper and gruffer - more like older Skyclad.  The band's ability to balance the folk elements with the heavy riffs is impressive and the up-front use of bagpipes in nearly every song is a stroke of genius.  Fortunately, In Extremo really develop their own unique sound, favoring a more tribal approach at times, with heavy emphasis on the drumming and the occasional chanted chorus.  "Villeman og Magnhild" in particular has very medieval, battle cry feel to it.  Classic metal riffs pop up all over the place, too, such as the killer that propels "Palastinalied" - great stuff!

The playing is all very tight and well-produced, giving the songs a relaxed, organic vibe without sounding even remotely sloppy.  Apparently, In Extremo put on quite a live spectacle, doing their best to recreate the atmosphere at medieval festivals.  Fortunately, based on this disc, the musical backdrop for these events is just as spectacular.  The songs are memorable and inspiring in equal proportions.  I'm quite pleased (and a bit surprised) that Metal Blade took the initiative to give this album a Stateside release, so definitely seek out a copy.
[Daniel Hinds]

INDUNGEON
Misanthropocalypse
(Invasion)

"Genocide" (a song about machines turning on their masters) starts the album off well and demonstrates most of the subtle changes in store.  The production is a bit crisper, the playing tighter and perhaps a bit more melody has crept into some of the riffs.  The vocal remain maddeningly one-dimensional, though, like Swordmaster's Whiplasher without the personality.

Picking out other tracks for recognition is difficult, as all follow a similar pattern and are about equally successful.  "Mutilated" is perhaps a bit more impressive, with some interesting temp-shifts and slightly more frenzied vocal delivery.  The sequel "Battletank No. II" is also noteworthy, mainly for the infectious main riff.

If you look at the facts - better playing, better production - this album should be an improvement over Machinegunnery of Doom, but somehow it is less fulfilling.  There was a charm to the raw delivery of the debut that is missing here.  Still, I won't bitch too much as Misanthropocalypse is a pretty relentless thrash assault that keeps the past alive without sounding dated. Nice job on the packaging, too, with a dark image that matches the music very well and some great band shots inside.  I bet this material is devastating in a live environment...
[Daniel Hinds]

JANE DOE
Scars (EP)
(self-released)

"Unbroken" has all the hallmarks of a future OzzFest band:  harsher than harsh hardcore vocals, groovy rhythms, and heavy riffing with plenty of strange chords thrown in.  The constant repetition of the word 'rain' towards the end kind of spoils the song a bit, though.  "Lead Blind" is a little faster, with some clean vocals mixed into the soup.  "Wasted" reminds me of some of the better modern Fear Factory, with its precision riffing and drumming.  The disc closes out with "Betrayed," the most unusual cut if only for its clean guitar intro.  It also features a pretty cool (but too short!) solo in the middle.

Like I said, this is not my favorite style of metal, but I can appreciate what Jane Doe are doing and they do it quite well.  For a demo, the production is very good - raw and heavy.  Not sure if their current moniker is best choice in the world, but they've clearly got what it takes musically to make some waves outside of Finland.  More info: http://janedoe69.cjb.net/
[Daniel Hinds]

KAMPFAR
Fra Underverdenen
(Hammerheart)

Musically, Kampfar has created a noisy, raw record, bursting with speed and purposefully lacking any keyboards, orchestral arrangements or pretty female vocals.  The sound is a bit generic, fitting generally into the Nordic black metal mould that many have in the past.  Though they certainly aren't ripping anyone off per se, if you've heard bands like Satyricon, you have an idea what to expect.  No happy melodies or catchy choruses to be had here.  The lyrics are in Norwegian (I think...), so I can't comment on that aspect of the record, though I've read other reviews that make an issue of Kampfar's overt nationalism, so take that however you wish.

For me, the album doesn't fail so much as it just doesn't succeed at anything in particular.  The style of music on Fra Underverdenen has been done before and the less-than-sterling production makes it sound even more dated.  All of that would be fine if the songs themselves were hugely inspired and memorable, but they are not.  The best cut is "Svart og Vondt," where Dolk (seemingly the sole member of Kampfar) slows the tempo down and lets some of the folk influences breathe a little.  An album of songs on this level could have been impressive and given bands like Hades a run for their money, but alas it is not to be.
[Daniel Hinds]

LAB ANIMALS
Silent Weapons For Quiet Wars
(Digital Dimension)

Lab Animals are one of those acts where all the parts are familiar, yet they assemble them in a way that isn't derivative of anyone.  Heavy on the harsh programming, the band incorporates distorted vocals and some occasional guitar to further toughen up the sound.  "Angel Dust" is one of the more interesting tracks, with a slightly more melodic approach that puts me in mind of the better Mentallo material (i.e. the older material).  "Black Eye" mixes in some unusual, soundtrack-like bits, while keeping things plenty heavy.  This song is a particularly good example of what Lab Animals do best - aggressive synth-work, harsh vocals and unusual arrangements.  There are lighter moments, too, like "Calibon," which features some new wave-y vocals to excellent effect.

This isn't to say that Silent Weapons... is perfect, though.  The production could be punchier, as the drums tend to sound a little flat, and a few of the songs come close to being just filler material.  With 14 tracks in all, though, the hit/miss ratio is pretty good and the good stuff makes this disc well worth having.
[Daniel Hinds]

LABYRINTH
Timeless Crime (EP)
(Metal Blade)

"Save Me"  starts off the four-song EP nice and mellow, before shifting gears and taking off at near-light speed.  The combination of precise, technical playing, soaring vocals and classical keyboards brings to mind bands like Stratovarius and Blind Guardian.  Labyrinth add their own ingredients, too, such as a highly involved and intricate arrangement.  There is a hint of prog-rock in their sound as well, and this comes more to the forefront on "Out of Memory."  "In the Shade" takes a slightly more mid-tempo approach and, while the chorus is still pretty epic and memorable, the rest of the track is a little more forgettable.  As with all the songs, though, there is plenty of awesome musicianship on display, particularly in the guitar department.  "Falling Rain" is an flowing, clean-guitar ballad that seems kind of simplistic after the first three songs, but is still listenable.

Timeless Crime is one of those releases that is all too likely to slip through the cracks of time and be forgotten.  The band play very well and obviously know a thing or two about arranging as well, but nothing here is new or particularly likely to capture people's attention.  The name 'Labyrinth' and the second-rate cover art won't help either.  It's a shame, too, as this is a reasonably diverting EP and shows off a band with the potential to follow bands like Gamma Ray and Blind Guardian to major success if they can just develop their ideas a little more on the next full-length.
[Daniel Hinds]

JIM MATHEOS
Away With Words
(Metal Blade)

Now, the "file under new age/jazz" notice on the back of the CD didn't do anything to bolster my confidence in this release either.  So, what, is this supposed to be the material that wasn't heavy enough for Fates Warning?  Oh dear...

Fortunately, I eventually told myself to stop bitching and just listen to the damn thing.  The opening track is a lively number that features some great violin-playing as the lead, while "Palindrome" features some beautiful acoustic guitar work that put me in mind of some of the Sabbath instrumentals like "Orchid" or even the more mellow stuff that Randy Rhoads did with Ozzy.  Very enchanting and it doesn't overstay its welcome, plus there is some phenomenal bass-playing throughout.  "The Language of Silence" is another good one, with a more somber atmosphere.  "A Conference of Clouds" shows the jazzier side of Jim's work and, as with many of these tracks, the interplay between the violin, the guitar and the bass is really what makes them enjoyable.  Unlike so many solo albums I've heard by guitarists over the years, the guitar doesn't take center stage.  All of the instruments are equally important and it is the melody of the song that is all-important.

Open-minded metal fans who can appreciate folk and jazz (I hesitate to really call anything on Away With Words 'new age') with no traces of metal should enjoy this album.  I was pleasantly surprised by it, to be sure, and it makes me question if Fates Warning should even continue.  Jim Matheos' heart seems much more into this material.
[Daniel Hinds]

METAL CHURCH
Masterpeace
(Nuclear Blast)

"Sleeps With Thunder" is classic MC:  powerful, chugging riffs, thundering drums and Wayne's distinctive wail.  Though his voice has a bit of the edge of the early albums, he makes up for it with the clean singing he does on a number of the tracks, which is quite impressive.  "Falldown" is a bit, I don't know, brighter maybe?  A lot of the tracks on Masterpeace have that strange "rock 'n' roll" feel to them that older songs like "Western Alliance" and "Hitman" did.  "Into Dust" harkens back to the rather melancholy (but not mellow) "Method To Your Madness," while "Kiss For the Dead" is another chapter in the band's history of mini-epics.  While I half-expected a half-hearted revision of "Gods of Wrath," this song is quite successful and different from previous works.  "They Signed in Blood" follows a similar path, but takes a bit too long to really get going.

On the downside, there are a few slightly run-of-the-mill songs to be had ("Lb. Of Cure" comes to mind...) and drummer Kirk Arrington is severely under-utilized.  This man beat out some of the most impressive metal rhythms on past albums (most noticeably Blessing in Disguise) and it's a shame he doesn't get to show off his talent more this time.  The choice of cover tunes ("Toys in the Attic") isn't terribly auspicious, either.

Metal Church should be congratulated on sidestepping any and all current trends while crafting Masterpeace, while simultaneously avoiding repeating themselves or sounding dated.  While the material isn't generally as strong as the first two albums, it is still a good, solid album that shows the band are still capable of delivering the goods and that the Northwest is home to more than just third-rate grunge and indie/punk bands.
[Daniel Hinds]

MORTIFICATION
Hammer of God
(Metal Blade)

"Metal Crusade" starts off with a cool, melodic riff that leads into a fairly up-tempo thrasher, while "Martyrs" has a chugging, Wargasm-like feel to it.  Remember thrash metal just before bands like Death and Morbid Angel made it big?  When bands like Sacred Reich and Testament and Holy Terror first hit the scene?  That's pretty much the feel you get with Hammer of God, with a nice, crunchy guitar sound and strong production values.  The band seem to like to play things rather mid-tempo, though I think they actually sound better on the faster songs.  A great deal of this (long) album falls into that no-man's-land of "okay but nothing special," however.  Exceptions include "Extreme Conditions" and the aforementioned "Martyrs," which are all good, solid thrash with some memorable riffs.  It's a bit unclear where the band's sense of humor lies, but you can't tell me they were all that serious when they wrote "God Rulz," where the title is the only lyric, or "D.W.A.M. (Daniel Was A Mosher)," which includes the chorus "Stage dived into the lion's den / Administrators want him dead / But the lions surfed him all around."

I'll give the band some credit, as it takes some courage to play extreme metal with such an over-the-top positive, Christian message.  Not only do you get flak from a good majority of the metal community for the lyrics, but many Christian groups come down on you for playing 'evil' music.  Still, as with so many bands that take this approach, they overdo it and would be better served with a more subtle message, IMO.  Guess I'll never really understand fanatic devotion to any religion, whether it is Christianity or Satanism or what have you, but in the future, I would like to see Mortification focus a little more on refining their songwriting.  They play a style that is much-missed these days and obviously have the ability to pull it off well when they really try.
[Daniel Hinds]

OLD FUNERAL
The Older Ones
(Hammerheart)

Stylistically, there is really nothing here to define an "Old Funeral sound," as they pretty much follow the rules laid down by Morbid Angel, Obituary and the like:  complex arrangements of alternating slow/fast downtuned riffs, guttural death growls, etc.  It's not my particular favorite style, but Old Funeral do it reasonably well, if a bit generically.  No catchy, melodic riffs to be had here, no frilly keyboards - just song after song of brutal death metal played pretty convincingly.

I wish I could detail the exact source of the material on The Older Ones, but the press sheet is a bit sparse.  From what I can gather, the bulk is taken from demos and a 12" released way back when, along with one live track tacked on at the end.  I'd recommend this to die-hard completists and death metal fans only, as more casual fans of Hades, Immortal and Burzum aren't likely to find much of interest here.
[Daniel Hinds]

BOGDAN RACZYNSKI
Samurai Math Beats
(Rephlex records)

RIOT
Sons of Society
(Metal Blade)

Now it's time to move on and the next step is here, in the form of Sons of Society.  The band's unique brand of melodic power metal is still in evidence, though the energy level seems to have been taken down a notch or two.  Part of the problem is the production, which seems a bit muted compared to Inishmore, with the drums sounding particularly subdued.  Beyond that, though, the song-writing this time out seems far more focused on mid-tempo tracks.  The classic Rainbow influence is still coming through, though, as one listen to the title track or "Time To Bleed" will demonstrate.

The band are in top form, with Mike Dimeo's rich voice sounding particularly impressive.  Mark Reale still impresses with his lead and rhythm playing, while Bobby Jarzombek doesn't get a chance to show off his incredible drumming skills as much this time.  Where Riot slips a bit this time is in the songwriting department.  Not that any of the tunes are bad, it's just none are all that great either.  They are clearly Riot songs, but somehow sound less inspired than usual - the classic riffs and memorable melodies just aren't there.  Imagine the least interesting tracks from the past couple of Riot discs assembled into an album and you'll have an idea what Sons of Society sounds like.

Okay, I may be overstating the problems here, as there are some noteworthy moments to be had.  "Bad Machine" is an awesome mixture of the classic Riot sound with the modern style.  "Cover Me" is a downbeat, bluesy ballad - certainly not a typical Riot track, but they pull it off pretty well.  I could see this one really going down a storm in Japan, where their fanbase is as huge as ever.  "Dragonfire" breaks out of the lethargy of the first half of the album for a spirited romp along the lines of "Angel Eyes" from Inishmore.

If this were any band other than Riot, I probably wouldn't be bitching so much, but they were my favorite band through much of the 80s and I tend to expect a lot from them.  Sons of Society is a good, solid album, but it's not brilliant.  The band is capable of better and I just hope their next outing will reaffirm that.  At least the cover art features the long-overdue reappearance of the seal-man (and his axe!).
[Daniel Hinds]

SATYRICON
Intermezzo II (EP)
(Nuclear Blast)

"A Moment of Clarity" starts things off rather abruptly and shows the band's usual song-writing method in action, combining slow riffs with blast beat sections in a fairly complex arrangement.  "INRI" is next, kicking the tempo into high-gear for a short-but-sweet example of brutal black metal done right.  An alternate mix of "Nemesis Divina" follows, though nothing in particular stands out on this track. 

The closing song, "Blessed From Below," shows the more experimental side of Satyricon.  Starting off with some industrial samples and programmed beats, the vocals quickly take a sinister tone - not unlike one of King Diamond's more psychotic characters.  The music has a creepy, minimal feel to it, an atmosphere that is really driven home about halfway into the song when the beats drop out entirely and it takes on a spacey texture.  While the first half sounds like it could use a little more refinement (and more appropriate vocals), this second half is a very impressive stab at the dark ambient genre.  The final minute features an almost pretty little melody that finishes out the EP in high style.

Satyricon are one of those acts that I have respect for musically, but just haven't been able to get into.  They remind me of a black metal version of Coroner - difficult, dark music that is easy to appreciate but difficult to enjoy.  Points must be given for the band's ability to maintain their roots while experimenting with new styles, though I would like to hear them take the ideas expressed on "Blessed From Below" a step further and construct a whole album along those lines.  Perhaps it could be a side-project, in order to keep Satyricon fans from freaking out.
[Daniel Hinds]

SKUNK ANANSIE
Post Orgasmic Chill
(Virgin)

Skunk Anansie has successfully fused many disparate elements into a hard rock outfit-- acoustic and electronic instruments, a strong melodic basis to each song, vocals by a black woman... and they all do fuse into a sound that is never pretentious nor over-produced. 
[Laird Sheldahl]

SLAG BOOM VAN LOON
Slag Boom Van Loon
(Planet Mu records)

SODOM
Code Red (2CD)
(Drakkar)

While Kreator have taken step into more melodic lands with their latest, Sodom decided to look back instead.  Code Red features a very classic German thrash feel throughout, due in large part to the riffs and Tom's unforgiving vocals, but also thanks to Harris Johns' excellent (but not overdone) production.

The title track opens things up and is one of the album's highlights, with its infectious energy and blinding speed.  The opening riff falls a little too close to Slayer territory, but after that, it's pure Sodom.  "What Hell Can Create" is even faster and is brutal thrash at its finest.  Things start to take a slight downturn with "Tombstone," though, with its rather plodding tempo and obvious chorus.  While Tapping the Vein proved that relying on pure speed isn't always the best policy, I've always been partial to Sodom's faster numbers.  Code Red has a few too many mid-tempo tracks for its own good, bringing to mind South of Heaven-era Slayer ("Warlike Conspiracy") on a few occasions.  It isn't until "The Vice of Killing" that the album gets back on track.  "Visual Buggery" is the kind of song Megadeth might have written if they hadn't gone all arty on us a few years back, while "Book Burning" is classic Sodom all the way down the line.  Closing track "Addicted To Abstinence" isn't the usual Germanic 'fun' rocker that Sodom likes to end with, but it serves a similar purpose and definitely has that Motorhead bass buzz going!

It's not that Code Red is a sub-standard album - it's actually pretty good - but Sodom are a legendary band and are capable of more than this.  It's a sad situation where everything is spot-on - the vocals, the playing, the production - but a lot of the songs themselves are just a little mundane.  Still, the good tracks are damn good and it warms the heart to hear a band like Sodom run down thirteen track of remorseless thrash metal like it was still 1987.  So, while I wouldn't say this is a 'must buy,' I still recommend it.  The bonus, Sodom tribute CD is just icing on the cake, with some nice interpretations from the likes of Impaled Nazarene ("Burst Command til War"), Dark Funeral ("Remember the Fallen"), Swordmaster ("Witchhammer") and Brutal Truth's final recording, "Sepulchral Voice."  Of course, if you're new to Sodom, start with Agent Orange and Better Off Dead, but if you've experienced Tom Angelripper + co. before (and liked it), Code Red is a worthy addition to your collection.
[Daniel Hinds]

TRELLDOM
Til et Annet...
(Hammerheart)

The sound on Til et Annet... is quite good, with the drums and bass cutting through better than is often the case with black metal releases.  The vokills are intense, as Gaahl proves himself to be one of the more convincing in the field.  On a few tracks, he also utilizes a slightly cleaner style of 'singing' that reminds me a bit of PIL circa Flowers of Romance, if you can imagine that in a black metal context.  The songs are a nice (if you can even use the word 'nice' in connection with an album like this) mixture of tempos, from slow and heavy to fast and brutal.  There is also an underlying folk flavor to some of the melodies and arrangements.  "Min död til ende," for example, could almost be pretty, if it had clean singing and no distortion on the guitars.  Not to fear, though, as that is not the case and Trelldom do their best to keep things grim throughout the eight songs on offer. 

The only real misstep is "Svinfylking," which is a fairly repetitive riff with a constant barrage of screams.  Perhaps the effect was supposed to be hypnotic, I don't know, but it ended up as merely irritating.  Fortunately, Trelldom recover with "Höyt opp i dypet," which features some heroic clean singing near the end, and "Sowar dreyri," a ten-minute-plus barrage that really is kind of hypnotic (though maybe about 5 minutes too long...).

Despite the passe black-and-white album art and old-fashioned black metal approach, the material on Til et Annet... sounds surprisingly fresh.  I attribute part of that to the punchy production, but it is also due in large part to the sheer intensity of the delivery.  After a few uninspired releases (Old Funeral, Carpe Tenebrum and Kampfar), Hammerheart more than makes up for it with this and the new Tulus.
[Daniel Hinds]

TULUS
Evil 1999
(Hammerheart)

One thing I really like about Evil 1999 is the presence of bass in the mix.  So many black metal bands might as well not even have a bass track, but Tulus give it a prominent placement and actually do quite a bit with it.  A good example is "Draug," where the bass takes a lead role about halfway through, reminding me a bit of how Geezer used to play on the old Sabbath records.  The production on the rest of the instruments could be a bit better, especially the drums, but it is passable.

The vocals follow the standard, raw-throated approach, but work pretty well as a counterpoint to the music.  The guitar and bass really drive the music, with a lot of sudden breaks, tempo changes and unorthodox riff structures.  Tulus aren't content to just hammer away on one or two riffs for 5 minutes, they prefer the dynamic approach to songwriting and the album benefits a great deal from it.  Some acoustic guitar is even introduced on the epic "Salme," to excellent effect.  This track also features a cool, clean vocal chorus that closes out the last minute or two.

It took a few listens to really get into this album properly, but now that I have, it's a pretty impressive affair.  Sure, all the elements have been heard before, but Tulus put them together in a pretty unique way and then play it all with conviction.  While the press release might be a bit optimistic in its claim that this release will "exterminate the last year of this millennium" (which is next year anyway), it is an excellent release that deserves to be heard.
[Daniel Hinds]

UNKNOWN
Unknown
(demo)

Combining elements from electro-industrial, goth, classical and even metal, Unknown have arrived at a rich, dark sound that is mammoth.  Imagine a cross between the more melodic, latter-day Skinny Puppy, Fortification 55, And One and Delerium and you will have some idea what to expect.  Big, sweeping synths, lush strings, groovy rhythms, clean male vocals and some well-placed metal guitar all make up the Unknown sound.  The band keep the tempo slow throughout, but never let the arrangements drag.

Superb programming and production make this a delight to listen to and I am eagerly awaiting the band's full-length debut.  More info: Bcentric@aol.com
[Daniel Hinds]

[various artists]
Shelter
(Base Asylum)

Flesh Field kick off the proceedings with a slower, dark-electro piece that mixes female and male lead vocals to excellent effect.  Stromkern are next with a slightly goth touch to their brand of electronic dance music, reminding me a bit of older Spahn Ranch.  It's a good sound but at 7.5 minutes, it gets a little long-winded.  Seattle's EBM stalwarts Noxious Emotion are next (is there any industrial comp in existence that they aren't on?) with a remix of "Eye-Claw."  Not their best work, but not bad.  Diverje give us "Self-Denied," a fairly straight-forward electro piece with a very memorable synth-line.  It's also arguably the best track from their latest release and a welcome inclusion here.  Mindless Faith deliver an upbeat, guitar-driven EBM track that exudes an energy not unlike Apoptygma Berzerk.  Brazilian hard-hitter Dead Jump give us the original mix of pounding "Freaks," while Any Questions offer a slower, sample-ridden slice of old-school industrial.  Not a terrible track, but one of the weaker ones on Shelter.

The oddly named A Different Kind of Cop speed things up again with their angsty, simplified take on coldwave.  The production on this track is pretty crap, but I like the song and it even has some soloing(!).  Fockewolf continue to develop their brand of gothic-tinged EBM, though this isn't one of the more successful experiments thus far.  They have both male and female vocals, yet both seem somehow at odds with the music.  Manhole Vortex offer a strange, industrialized synth-pop song that is quite enchanting and features one of the catchiest choruses on the whole album.  Produkt 13 offer one of the most original-sounding compositions on Shelter, with distorted vocals, a strange, buzzy-synth lead and some nice sampled noise here and there.  Thine Eyes bridge their industrial past with their electronica future with a quirky, somewhat disturbing track that really stands out amidst the electro/EBM delivery of most of these bands.  Lateral Tension are a somewhat non-descript electro band, but reasonably entertaining nonetheless.  Protocol X are second only to Thine Eyes for being 'out there,' as they mix shadowy synths, strange percussion, samples and some up-tempo dance rhythms for an interesting sonic journey.  Kneel In Front of the Executioner close up shop with a slightly repetitive stab at modern electro-industrial.

All in all, Shelter isn't a perfect album, but it is pretty good and shows a nice cross-section of the styles currently out there.  Most of the tracks are unreleased or different mixes, so it's worth checking out even if you already have a lot of these bands' work.
[Daniel Hinds]

WHITE SKULL
Tales From the North
(Nuclear Blast)

After a kind of goofy intro (that kept reminding me of that "Tarzan Boy" song for some reason), the title track kicks in with double-bass blazing.  White Skull's vocalist is a bit like a raspier version of Angra's singer.  I can't decide if I really like his style, but at least it is pretty recognizable, as is Grave Digger's Chirs Boltendahl's, who shares lead vocals on this cut and another track later on.  "Asgard" features a nice, grand-sounding choir for the chorus, an effect the band utilizes quite a bit on Tales From the North.  It gives the album a much more melodic feel and they pull it off pretty well, though I've heard others do it better.

While a little more obvious and simpler than bands like Blind Guardian and Rhapsody, White Skull do have something to offer the ever-expanding scene.  The epic feeling they try to create seems a bit contrived at times, but actually works remarkably well at others.  The musicianship is stellar, including some beautiful leads throughout.  The music is so melodic, it has a rather 'happy' feeling to it, kind of like Helloween only moreso.  It takes a bit of getting used to, as most metal is so dark and angry, but the result is actually pretty cool.

Granted, the songs are a trifle cliched ("Viking's Tomb," "The Terrible Slaughter," etc.) and begin to sound a bit samey by the end, but overall, I have to give White Skull the benefit of the doubt.  They seem to be really into what they are playing and the music has a very fluid feeling to it.  If you can't get enough of HammerFall, Nocturnal Rites or Grave Digger, you would be well of at least giving White Skull a spin or two.
[Daniel Hinds]