 AS DIVINE GRACE
supremature
(Avantgarde)
Wow, this is quite the progression! as divine grace's first album,
lumo,
was a solid block of atmospheric doom metal. The music was good,
but some of the arrangements were a bit overwrought. Vocalist Hanna
Kalske gave the band its identity, with her clear, strong voice.
On supremature, the band have clearly ignored expectations and done
exactly what they wanted and the result is a challenging, innovative record
that defies classification.
"Your Julie" kicks off with little fanfare and is one of the album's
most metallic tracks. The driving, melancholic melodies are reminiscent
of recent Katatonia and Hanna sounds better than ever. "Personal"
sees the band delving into a more alternative sound, with less heavy guitars.
The song is relatively simple, but the band add just enough subtleties
throughout to keep it interesting. "Tango" features a slower, jazzier
sound that brings to mind some of the more creative trip-hop bands.
"Shelter" is a little less interesting, as it seems to just retread
the same ground covered by the first few tracks, but "The Most" sets things
right again. Featuring some downbeat, strummed acoustic guitar, the
song has a gorgeous ethereal feel to it, with one of Hanna's most heartfelt
performances on the whole album. "Be Used" utilizes some shimmery
guitar and organ to create an effect that is somewhere between 70s space
rock and The Cure.
Fans who wanted more in the doom vein will be disappointed with supremature,
but plenty of others will be delighted. The mixture of styles and
generally slow, plaintive atmosphere may appeal to shoegazers, goths and
indie rockers as well as more open-minded metalheads. supremature
isn't likely to be a big hit, as it isn't terribly catchy and certainly
not uplifting, but for those times when it's cold and dark and you're all
too aware of your aloneness, it makes the perfect soundtrack.
[Daniel Hinds]
 BEWITCHED
At the Gates of Hell
(Osmose)
Bewitched are one of my favorite retro bands for a number of reasons.
For one thing, they don't just pick one band to emulate, or even one style.
References to everyone from Mercyful Fate to Ozzy to Sodom can be heard;
elements from classic metal, thrash and black metal all co-exist in their
evil brew. The imagery and lyrics may be diabolical in the extreme,
but it is more the Venom school of blasphemy than any of the modern black
metal disciples.
"Sabbath of Sin," which first saw the light of day on the band's live
release, Hell Comes to Essen, kicks off the festivities. After
some Slayer-esque guitar squealing and backwards vocals, vocalist Vargher
cries out "Spit on the cross!!" and the band plunge into a classic Bewitched
riff. Anyone familiar with this band's previous work will be right
at home, as they have done little to change their attack. "Black
Mass" features a great deal of cool harmony guitar bits, very much in the
classic Priest/Maiden tradition. "At the Gates of Hell" is another
great tune, complete with a shout-along section in the middle, although
it does suffer a little from Bewitched's one failing - repetition.
It is less noticeable on this record than some of their previous outings,
but the band has a tendency to repeat the fairly simple choruses a few
too many times on some songs. "The Sinner and the Saint" sounds like
Maiden's "Rime of the Ancient Mariner" filtered through the nine planes
of Hell.
Bewitched have a peculiar 'fun' atmosphere to their music. It
isn't happy-sounding per se, but it has that vibe that the band are having
a blast playing it, not unlike Witchery. And, while some might disagree
with me on this point, it doesn't sound contrived at all. At the
Gates of Hell, to my ears, is the result of three guys who have an
obvious love for classic heavy metal in all its glory and are doing their
damnedest to re-create that feeling in 2000.
If you're a fan of Bewitched, then this album is a must and it won't
disappoint. If you have one or two of their previous releases and
think they are just okay, then you can probably pass on this one, as it
right in line with those releases. If you've never heard Bewitched
but are curious, this album is probably your best bet to start with, as
it has the best production yet and probably the most diversity in terms
of the songs themselves.
[Daniel Hinds]
 CRADLE OF FILTH
From the Cradle To Enslave (EP)
(Metal Blade/Music For Nations)
After the rather lifeless Cruelty & The Beast, I wasn't expecting
much from Dani and Co. Fortunately, this 33-minute EP is actually
pretty cohesive and definitely a step up for the unholy Brits. The
band's thrash metal roots shine through a lot more on this release than
ever before and there seems to be a little more emphasis placed on song-writing
this time rather than just riff-collecting.
The title track kicks things off with a gothic keyboard intro, before
the guitars finally join in and the song really takes shape. The
black metal elements of old seem to be slipping away, with only Dani's
screechy vocals really carrying the torch. The riffs on this track
and especially on "Of Dark Blood and Fucking" remind me more of some of
the more modern melodic death metal bands. This is a good thing,
as far as I'm concerned, as the tracks seem to carry a lot more individual
character than the tunes on Cruelty... did. The Misfits cover,
"Death Comes Ripping," is next and is pulled off in CoF style, as is their
take on Anathema's "Sleepless." The 'Be Quick or Be Dead Version'
of "Funeral in Carpathia" harks back to their black metal roots (not surprisingly),
while the final track "Dawn of Eternity" sounds a lot like late 80s thrash
metal with some unnecessary keyboards thrown in (along with some very Slayer-esque
solos and riffs).
If nothing else, the complaints I had with Cruelty.. seem to
have been remedied here. The drumming is much more interesting and
the production is a lot richer, with a nice bottom end. With all
the line-up changes going on these days within CoF, it's hard to say if
there is potential for this kind of quality in the future, but at least
they managed to pull themselves together for this EP. It certainly
isn't a 'must-buy' release, but it is worth investigating.
[Daniel Hinds]
 DECEMBER
Praying Hoping Nothing
(Inzane)
While the band name 'December' might lend itself more to a black metal
or gothic rock outfit, this Reno-based quintet are a brutal blend of metalcore,
grindcore and just about any other genre with a '-core' suffix. The
guitars are heavy and unmelodic, the vocals alternate between shouts and
shrieks and the rhythms range from slow and sludgy to hyperspeed.
The combination may not be terribly original, but it is well-played and
there is a lot more variety on Praying Hoping Nothing than is typical
for bands in this genre.
"Umbilical" leaps out of the starting gate at breakneck speed and immediately
racks up points with me. So often, I hear these bands that claim
to play "extreme" metal and hardcore, yet every song is set to the same
mid-tempo rhythm. Not so with December. They aren't afraid
to inject some healthy blastbeats when the song calls for it and, fortunately,
a number of these do. "Monuments Collapse" features some very cool,
jagged riffs and some of the most painfully harsh vocals from Mark Moots
on the album (and that is saying something). Other highlights include
"Shard" and "1 of 2." "Lifelike (almost)" concludes the record in
a splendidly noisy maelstrom of tortured vocals and instruments.
This isn't to say everything is perfect here, though. Some of
the tracks, like "Proximity/Mouthfull of Sand" fall into rather predictable
groove that they can't seem to get out of. The production, which
is generally pretty good, falls down in the drum department: a good
solid bass drum sound, but the snare is rather limp, especially on the
faster songs.
I see from their web-page that they've done recent shows with both Dillinger
Escape Plan and S.O.D. and those are actually pretty good comparisons.
Take away the jazz eccentricities of the former and the silliness of the
latter, combine the results and you'd have something akin to December.
It is brutal, but brutality with a purpose. More info: http://www.clutchmove.com
[Daniel Hinds]
 DIE VERBANNTEN
KINDER EVA'S
In Darkness Let Me Dwell
(Draenor/Napalm)
Die Verbannten Kinder Eva's is a an exceptional band, masterminded by Protector
of Summoning and Pazuzu fame. Unlike some of his other work, which
has combined black metal with folk and darkwave, DVKE is strictly a neo-classical
project, with all the music based around orchestral keyboards and percussion.
Added to the dark, melancholic music are rich, soaring male and female
vocals. The result is nearly an hour of gorgeous, dark compositions
that should appeal to fans of everyone from Dead Can Dance to Mortiis.
The aptly titled "Intro" welcomes the listener to the proceedings with
a nice combination of weepy strings and horns, with the album's characteristic
military drumming making an appearance halfway through. The song
builds nicely, adding layer upon layer of instrumentation. "Brief
Even As Bright" follows with a similar marching-snare beat and more imposing
horns. Richard Lederer makes his vocal presence for the first time here,
with a very clear, deep voice that suits the somber music perfectly.
Even more impressive, however, is Tania Borsky, whose operatic soprano
voice is quite enchanting. There are a number of spots where the
two sing together and it works pretty well (witness "On a Faded Violet"),
though I think in general I prefer the individual performances more.
Along with the snares, DVKE make good use of timpani and crash cymbals
("Overpast"). The organ that comes in during "Arise From Dreams of
Thee" adds a nice, dramatic touch to the song, but the band are very careful
to never let any one instrument become too overbearing.
DVKE isn't about complexity; it is about atmosphere and building a mood.
Each song is based around only a few different melodies, but the way the
various instruments are brought in and out makes for a surprisingly dynamic
sound. I must admit that I'm still a little more partial to the band's
debut record from a few years back. It somehow captured a more beautiful
and haunting feeling than In Darkness... does and had a slightly
more unique character (they used the harpsichord patch a lot more back
then, too). Still, In Darkness... has a great deal going for
it and grows on me a little more with each spin Anyone looking
for classy, well-executed neo-classical/darkwave music with a beautiful
medieval touch to it will definitely want to get this.
[Daniel Hinds]
 EINHERJER
Norwegian Native Art
(Native North)
After the severely lacking Odin Owns Ye All, I had somewhat given
up on this bunch to deliver the quality Viking metal so evident on their
earlier releases. Fortunately, the band redoubled their efforts and
this time delivered an album worthy to sit alongside their classic Dragons
of the North.
From the opening notes of "Wyrd of the Dead," there is a depth and confidence
that were clearly lacking on Odin Owns Ye All. Vocalist Ragnar
Vikse sounds much more at home, as he pulls off the gruff and clean styles
with equal aplomb. The keyboards are still a key element of Einherjer's
sound, but the folky charm of old has been replaced by a more elaborate
and elegant style. The band uses some really effective piano sections
on tracks like "Crimson Rain" and "Draconian Umpire," too.
This isn't to say the band have lost the warrior-folk atmosphere, though,
as one listen to "Hugin's Eyes" or "Howl Ravens Come" will demonstrate.
The band are still keen on using off-the-wall time signatures, but there
are also some more straight-forward, thrashing metal tunes like "Burning
Yggdrasil." One of the most surprising tracks is the album closer,
"Regicide." Along with some of beautifully melodic keyboard work,
the vocals are duet between Ragnar and very talented female singer.
The combination works really well and I'd love to hear Einherjer experiment
more in this direction in the future.
Recalling my review of Odin Owns Ye All, my biggest complaint
was the awful and inappropriate mix the album received. Norwegian
Native Art, despite being recorded under the same circumstances (Andy
LaRocque producing at Los Angered Studios), sounds leaps and bounds better.
The drums may still be a bit too snappy for this kind of music, but everything
gels together really well. The bass comes through loud and clear,
too, which adds a lot to the heaviness and overall atmosphere of the music.
Norwegian Native Art isn't a typical Viking metal album; it is
more of an evolution of the style. This is a good thing, both for
the band and the scene as a whole, as far as I'm concerned. While
it may never hold quite the same place in my heart as the triumphant strains
of Dragons of the North, Norwegian Native Art is a bold statement
and a damn fine album in its own right. More info: http://www.nativenorth.com
[Daniel Hinds]
 ENOCHIAN CRESCENT
Omega Telocvovim
(Avantgarde)
Damn, here is yet another great, original-sounding black metal release.
In a genre that seems so limited on the surface, the creative impulses
displayed by bands like Limbonic Art, Hades, Ancient Rites and Immortal
prove just wrong such an assumption is. Add Finland's Enochian Crescent
to that list.
Omega Telocvovim is that rare beast that combines raw brutality
with melodicism and makes it work. The band know how to come up with
truly unique-sounding riffs, too. Witness "Oceanus On the Dry Land"
for a great example of both traits. "Abaiuonin" shows EC's skill
at coming up with unusual arrangements, mixing up slow and fast tempos
in just the right proportions. "Ye Crystall Sphears" has a slightly
experimental edge to it and features some really cool bass-playing (gasp!).
Most black metal bands are happy to EQ out every last trace of bass in
their music, but EC give each instrument its fair share of attention, with
the result being a much fuller sound than other bands.
One thing that surprised me a bit was the number of people in the band.
While many black metal acts are limited to one or two guys with maybe some
help in the studio, EC is a full-on five-man band. Vocalist drakh
Wrath has developed a truly grim style that is immediately identifiable
as being black metal, yet sounds like no one else I've heard. The
same can be said for the somewhat thrash-tinted guitar playing. "De
Siatris Od Teloch" displays somewhat old-school, Bathory-like feel to it,
but even here the band inject some weird time signatures and keep things
unpredictable. "Grey Skin" starts off with an almost psychedelic
feeling and strangely clean vocals, but eventually picks up and is as evil
and devastating as anything else on the album.
There is something surreptitiously infectious about EC's music.
It isn't catchy in the traditional sense of the word, but it haunts you
and draws you back in for another listen. And another and...
Enochian Crescent have created a powerful, unique vision with Omega
Telocvovim and I highly recommend it.
[Daniel Hinds]
 FLESHCRAWL
As Blood Rains From the Sky...We Walk the Path of Endless Fire
(Metal Blade)
I remember getting a copy of this band's third opus, Bloodsoul,
back in '96 and not being terribly impressed. The production and
musicianship were fine, but the songs were just rather standard death metal
fare. After their deal with Black Mark ended (and after an aborted
deal with Invasion), the band went into Studio Fredman and laid down As
Blood Rains From the Sky..., which was quickly greeted by a contract
from Metal Blade.
Maybe it is that my tastes have evolved somewhat, but I found the newest
Fleshcrawl much more enjoyable than Bloodsoul. The band are
still playing heads-down, brutal death metal with few frills, but the band
seem to have improved in the song-writing department quite a bit.
The songs are short, to the point and have that almost punkish energy that
bands like Napalm Death and Dismember do. Some blast-beats and hyper-speed
riffing is implemented, but the band doesn't overdue it, giving the album
a nice balance. There are a couple of short but sweet leads to be
had, too. The vocals are probably the weakest link, as they are in
the standard cookie-monster mould. Not bad, but nothing special.
The album opens with "March of the Dead," a short keyboard piece that
seems a little out of place once the no-nonsense barrage of "Path of Endless
Fire" kicks in. From here on out, it's pretty much non-stop mayhem,
though the band do wisely slow the tempo from time to time for variety.
The band pull out a relatively obscure classic in the shape of Exciter's
"Swords of Darkness" and give it the full Fleshcrawl treatment (in fact,
on first listen, I didn't even notice it was a cover!). The CD includes
a 'bonus' track, namely a cover of "The Day Man Lost" by Carnage.
The final verdict? This is an enjoyable if predictable slab of
death metal. The songs are compact, the playing is tight and the
music is plenty ferocious. If you can't get enough death metal in
your diet, then Fleshcrawl are as good a source as any (and better than
many).
[Daniel Hinds]
 GRABESMOND
Xenoglossie
(Draenor/Napalm)
This is the second release from Grabesmond, a.k.a. Lucia-M. Fåroutan,
and is quite a bit more robust than the debut, Mordenheim.
While that first outing has a definite charm of its own, the songs were
somewhat simplistic and stilted-sounding. On Xenoglossie,
though, Lucia has really put together a high-quality, diverse album that
should silence any of the band's critics.
"Screams Of The Past" sets the mood for the album, one of symphonic
darkness and mystery. Third track "Night's Dominion" marks the first
appearance on Xenoglossie of Lucia's vocals, which in this case
are spoken and layered for a rather subtle effect. This track in
general is a good example of darkwave ambience. Toward the very end,
Lucia treats us to some beautiful, ethereal vocals that blend in perfectly.
The first real surprise is "Isis-Noreja," a very traditional-sounding
folk song, built up by violin, flute and tambourine. Actually, a
friend of mine recognized the melody of this track as being a 16th-century
tune, so this truly is medieval music (well, okay, late medieval music
then...) Lucia's elegant singing returns on "Min Svart Ängel,"
which is the first song to utilize a more industrialized rhythm (a characteristic
that is also explored on the track "Totentanz").
The remainder of the album is blend of all these styles, with pure folk
instrumentals side-by-side with dark, dramatic neo-classical pieces.
One thing that Lucia does that I admire is she doesn't overwork the songs.
Instead of dragging out her ideas into ten-minute snooze-fests, she allows
each track only as much time as it needs (usually between 2 and 4 minutes).
Xenoglossie, at its roots, isn't much more complex than the Mordenheim
was, but the arrangements and performances are so much smoother, it has
a lot more depth to it. Also, the exploration of other styles (industrial,
folk) helps make the album that much more diverse and I'm pleased to say
that Grabesmond is just as successful with these experiments as with the
core sound that was built up on the first album. The B&W cover
art and pentagram-sigiled band logo might give the impression that this
is a black metal release, but that isn't the case at all. A lot of
black metal fans will no doubt enjoy the dark atmosphere on Xenoglossie,
but fans of other music genres would probably appreciate it, too.
[Daniel Hinds]
 HORFIXION
CD Promo 1999 (EP)
(Burn To Death)
This Canadian band (they're from Quebec actually) play an interesting brand
of classic thrash metal, without any of the retro trappings. The
four songs on this disc are all pretty good and put me in the same mood
as a lot of the lesser known late 80s thrash bands - i.e. they aren't trying
to be catchy or super-brutal or overly technical. They just put together
some good, solid thrash metal tunes and don't pretend otherwise.
"Rage" kicks off fast and heavy and reminds me a bit of old Wargasm,
though some of the weird riffs and chords bring to mind hints of Voivod
and Obliveon. Samuel Landry's vocal delivery is gruff with a growling
edge to it, but it never slips into death metal territory. "Nature's
Revenge" (no, not a Skinny Puppy or an Evil's Toy cover) is a bit more
mid-tempo and complex, with lyrics dealing with the destruction of the
environment at man's hands. "Deserted Landscape" clocks in at over
six minutes and demonstrates the band's ability to write long, complex
songs without getting too long-winded. Final track "Rendez-vous Avec
La Mort" is all in French and features a riff that is hauntingly familiar.
This track also features some of the most extreme change-ups on the disc,
but the band manage to make the transitions work.
One thing I really like about Horfixion is Eric Doucet's bass-playing.
Not only does he do some cool stuff, but it is also refreshingly audible.
The rest of the band are no slouches either and the playing is very tight,
especially for a demo release. In addition to the music, the band
have put together a very nice multi-media presentation on the CD that includes
photos, a bio, lyrics and four short video clips of the band playing live.
More info: http://metalmusic.net/horfixion
[Daniel Hinds]
 METAL CHURCH
Live
(Nuclear Blast)
Metal Church truly defined the term 'power metal' in the 80s. They
played fast, they played slow, they were melodic, and they were ultra-heavy.
Most of all, they were thoroughly metal. Although it seems a bit
strange for a band like Metal Church to release a live album from recordings
made way back in 1986, the results speak for themselves. While it
would have been interesting to hear an album culled from their recent European
reunion tour, this is an excellent testament to the band's incredible stage
prowess at the height of their career.
The set-list kicks off with a particularly energetic "Ton of Bricks,"
played even faster than the album version. David Wayne is in top
form as he belts out his usual powerful wail. "Hitman" is up next
and is followed by an extra-heavy "Start the Fire." A huge cheer
of approval from the crowd greets the announcement of the band's signature
song, the epic "Gods of Wrath." Wayne's voice isn't quite as smooth
as it was on the studio version, but he still does a great job and shows
just how versatile his voice is. The ultra-dense "The Dark" is followed
by the ferociously fast "Psycho." The latter track was always my
least fave song on The Dark, but it seems to work better here, with
the rawer sound. A rather straight-forward rendition of "Watch the
Children Pray" is followed by the devastating one-two punch of "Beyond
the Black" and "Metal Church." And of course, what Metal Church show
would be complete without their super-charged version of "Highway Star?"
The recording quality isn't brilliant, but it is decent and is mixed
very well. The raw sound adds a lot of energy to the tracks from
The
Dark, which were suffocated by the rather slick production on that
record. The performances are great all-around and you get to hear
drummer Kirk Arrington really let loose on a number of tracks. Having
seen the band on the Anthrax leg of this tour - and being thoroughly blown
away by their show - it is great to finally have an audio document of the
event.
[Daniel Hinds]
 MIDNIGHT SYNDICATE
Realm of Shadows
(Linfaldia)
Wow, it was just last March that I was raving about Midnight Syndicate
and they have already returned with another fine album. Once again,
they have utilized synth technology to the fullest to create an instrumental
work of utmost grandeur and creepiness. If someone were to make a
serious movie based on one of Lovecraft's more sinister tales, this would
be the perfect soundtrack. Listening to Realm of Shadows is
akin to walking through the cold, misty night, utterly alone, yet sensing
that something foul is afoot. The lurking dread is palpable throughout,
uncannily so at times.
After a suitable intro track, "Into the Abyss" kicks in with a very
epic feel and an almost militaristic drumbeat. "Noctem Aeternus"
begins to take a creepier turn, reminding me of some of John Carpenter's
more restrained tracks. "Tempest" is more of an ambient lead-in to
"Eye of the Storm," but the two work together to create one of the most
memorable atmospheres on the record. Later on, "Twilight" shows just
how true the adage 'less is more' can be, while "The Night Beckons" is
just pure ambience with a very lonely piano offering slight company.
I can't decide if I like Realm of Shadows better than its predecessor
or not, as it works on a slightly different level. Where Born
of the Night had a few really memorable tracks and melodies, this one
seems to flow with a more consistent feel throughout. The atmosphere
this time is less blatantly spooky, too, but it invokes a more subtle kind
of darkness that is altogether more chilling.
The two members of Midnight Syndicate, Edward Douglas and Gavin Goszka,
have triumphed again. Their music always brings to mind classic horror
flicks like The Legend of Hell House and The Changeling and
takes me right back to that great thrill of terror those movies brought
me when I first saw them as a kid. My only advice to them is to drop
the trite song titles and just assign the tracks roman numerals or something.
Realm of Shadows is whole entity that must be experienced from
start to finish for the proper effect anyway. More info: http://www.entityprod.com
[Daniel Hinds]
 MIMETIC FIELD
Overrated
(Moloko+)
I remember hearing Mimetic Field on a comp a couple years back and being
completely blown away. The track stood out head and shoulders above
the other tracks, with its deft blend of electronics, classical atmosphere
and sampled guitar riffs. Unfortunately, I couldn't find any more
information about the band...until now.
Overrated is a full-length album and I am pleased to say most
of the tracks on it are just as good as that comp appearance. The
mixture of vocal samples, dense rhythms and heavy guitars is utilized on
tracks like "Oversight (by)" and "Overact" (the tune from the comp, which
also makes an appearance here). There is a great deal of diversity
on Overrated, too. "Overnight," for example, is more of a
sample collage, combining natural sounds, man-made sounds and obscure spoken
vocal samples. The resulting ambience could easily have been a mess,
but it is crafted into a very effective arrangement and works just as well
as the more musical tracks.
Mimetic Field doesn't rely on vocals to make a point and the one song
that does feature lead vocals, "Overpraise," actually seems a little weaker
because of them. Instead, vocal samples from various sources in various
languages are spliced in here and there Also, some unusual
chants are used on tracks like "Overload" and "Overact," but they never
fall into the cliched category of bands like Enigma.
One thing I like about Mimetic Field is there is no obvious motive behind
the music. It isn't like "here is some pretentious electronica crap
to show off our technical skills" or "here are ten versions of the same
dance song to guarantee club play." It exists only for its own musical
value and is eminently listenable. The songs aren't rushed sounding.
Each track builds in a very deliberate, confident way. The result
is a powerful, dark album that should be of great interest to all types
of electronic music lovers (and maybe even some metalheads). More
info: mimetic1@aol.com
[Daniel Hinds]
 NECK
Should My Fist Eye
(Cho' Sin)
Neck are definitely not your run-of-the-mill metal band. Actually,
I'm not even sure they can be called a 'metal band,' as their palette includes
just as much alternative and hardcore. And weirdness. The oddly-titled
Should
My Fist Eye is the second full-length effort from this New York quartet
and displays quite a bit of creative energy.
The first song "Stingmaskii" covers most of the bases, but "Patterns"
is where the band really show their stuff. Swerving wildly from unmelodic,
downtuned riffs with grating, shouted vocals to more experimental
territory with lighter, melodic singing, the song keeps you guessing throughout.
At one point they even hit on the kind of quirky chording and time signatures
that made Voivod's Nothingface album such a landmark. Most
of the album proceeds along these lines, but the band are more than happy
to throw a spanner in the works from time to time. "Open Window"
starts off with a slow, clean guitar melody, brings in some soft, floating
vocals and maintains this air of calm for it's entire five-minute length.
Take the weirdness and rhythmic elements from old Voivod, throw in some
Neurosis sludge and top it off with your favorite post-hardcore hardcore
outfit and you'll get Neck. It is difficult, mostly brutal music
that is bound to be of great appeal to a very select audience. Personally,
I can appreciate what they are doing, but I can't say that I really enjoyed
it. The songs tend to be too long and lethargic for my tastes, plus
I can only take the hardcorish vocals in small amounts. If you've
got the stamina, though, then Neck may be just your thing. More info:
http://ww.neckhq.com
[Daniel Hinds]
 NIGHT IN GALES
Nailwork
(Nuclear Blast)
This is the third full-length offering from this group of oddball German
death merchants. I remember buying their debut, Towards the Twilight,
a few years back and being somewhat non-plussed. The playing and
production were both top-notch, but the songs all kind of blended together
and didn't really do anything outside of the melodic death metal framework.
I missed the follow-up, Thunderbeast, so I'm not sure how the band developed
exactly, but they have definitely evolved into a better, more mature band.
With the rather industrial album title and album art, I was expecting
Nailwork
to be a bold step into unknown territories, along the lines of modern-day
Ulver or Dødheimsgard, but it really isn't. They do incorporate
some new elements, most notably a more rock 'n' roll vibe and some very
diverse vocals. The result isn't perfect or particularly innovative,
but it is surprisingly satisfying in its own way.
The songs on Nailwork show a reasonable amount of individual
character, thanks to some melodic hooks and memorable vocal lines.
And titles like "How To Eat a Scythe" and "All Scissors Smile" aren't about
to slip the mind. The vocals are quite wide-ranging, from a convincing
death growl to a higher-pitched style (ala older Dark Tranquility) to straight-out
clean singing.
The music is a good blend of hard and brutal with more melodic and technical
elements. Songs like "Filthfinger" have some really catchy, melodic
riffs, while others focus a bit more on the hard-hitting stuff. The
rock 'n' roll element I alluded to earlier is hard to categorize, as it
is very subtle in its infiltration. Bands as far apart as Iron Maiden
and Sodom can be heard hinted at here and there, but it is clearly the
Swedish melodic death metal scene that Night In Gales sounds the closest
to.
I'm not sure how to rate Nailwork. It's a well-crafted
collection of good songs with wonderfully thick and heavy production, but
it just doesn't inspire repeated listenings like it should. Maybe
I'm just too swamped with music along these lines right now and in a few
months it will come across better. If you swear by the likes of In
Flames, Children of Bodom or Gardenian, definitely give it a listen.
[Daniel Hinds]
 NIGHTSKY BEQUEST
Of Sea, Wind and Farewell
(X-Rated)
Nightsky Bequest are an interesting and relatively new band from Bulgaria
that have successfully infused metal with a sense of beauty and calm unlike
anyone I've heard before. Of Sea, Wind and Farewell interweaves
relaxed acoustic passages with serene female vocals and some occasional
doomy riffing.
The album begins with the cleverly titled "intro" which is an all keyboard
track, with various string patches flowing in and out over the same general
theme. The nine-minute track "Windsymphony / Reflections of Lost
Years" is next and the real Nightsky Bequest sound unfolds. The atmospheric
keyboards remain, but added in are heavy guitars, drums and bass, with
the result being a bit difficult to categorize. Acoustic guitars
are introduced alongside Radoslava Dikanska's soothing vocals. "Your
Sun / If I Could Wipe This Dust Off My Eyes" starts off in a quieter mood,
with acoustic guitar and even some flute. Radoslava's voice is even
softer and more ethereal on this track, even after the heavier guitars
come in. "Green Eyes" features a lengthy, very beautiful solo in
the middle, while the instrumental "The Moon is Waiting For Its Song" is
one long string of emotive acoustic passages.
Of Sea, Wind and Farewell falls into that vague category of albums
that mix so many different elements into their sound, it is hard to say
who it will appeal to the most. The metal elements are there mainly
in the heavier guitar riffs, which have something of a doom feel to them.
There are also gothic, folk and dark ambient touches to be found, too.
The prevailing mood is somewhat downcast and the melodies of both the music
and the vocals really carry the epic-lengths songs. The album as
a whole isn't entirely compelling, but it makes for a very nice listen
and is a good distraction once in a while from the harder-edged bands out
there.
[Daniel Hinds]
 NOCTURNUS
Ethereal Tomb
(Necropolis/Season of Mist)
Despite the recent rash of reunions, I was still a bit surprised to see
Florida's Nocturnus rise from the ashes. These keyboard-happy death
merchants were well ahead of their time back in the early 90s and remain
one of my favorite Earache acts from that seminal period.
Ethereal Tomb was a little disappointing on first listen for
a couple of reasons. First of all, the really flashy lead-work and
OTT keyboards are very much toned down on this one. Also, the high-speed
riffs and change-ups have been traded in for more straight-forward arrangements
and slower tempos. Once I came to grips with these changes, though,
this became a more pleasurable listening experience and the songs' individuality
began to surface.
"Orbital Decay" is a somewhat inauspicious start and not one of my favorite
tracks. The vocals are as death-y as ever and kind of generic, but
at least they aren't too overbearing. The lyrics show the band hasn't
lost their love for sci-fi, which is cool as it goes a long way towards
separating them from the death metal herd obsessed with gore, pain and,
er, death. "Apostle of Evil" gets things moving in the right direction,
with some of the nice guitar fills of old and a really killer series of
riffs. "Edge of Darkness" has a menacing, almost prog intro, before
settling into a really cool, slow riff that carries the rest of the song.
"Search For the Trident" has a long, cool intro that once again flirts
with prog-rock territory, but loses a little of its uniqueness once the
heavy part comes in.
One thing that I noticed more on subsequent spins was the keyboards.
They aren't as obvious as they were in the old Nocturnus, but they serve
more to reinforce the foundation of the songs. Don't expect any keyboard
workouts ala Children of Bodom here - this is more the atmospheric approach.
The result is an album that is focused on grinding, doomy death metal,
but with a few things going on behind the scenes that are revealed only
upon deeper listening.
Although Nocturnus were one of the first bands to inject a lot of melody
and the idea of using keyboards in conjunction with fast, brutal death
metal, it is interesting to note just how different Ethereal Tomb sounds
from the spate of releases from other melodic death metal acts. It
isn't a perfect album by any means, but it is worth looking into, particularly
for fans of the band and anyone looking for something a little bit different.
[Daniel Hinds]
 PAZUZU
III: End of Ages
(Avantgarde)
Pazuzu is the sole creation of one Ray Wells, although past releases have
featured collaborations with the folks from Summoning. The sound
created on End of Ages is an interesting blend of folk, darkwave,
neo-classical and ambient music. The mix doesn't work 100% of the
time, but it is successful far more often than not.
"Somber Arrival - An Introduction" serves its purpose pretty well, but
the album's biggest weakness is immediately apparent. For some reason,
Wells decided to mix in some very modern-sounding synths with the otherwise
very classical and medieval-flavored instrumentation. While this
type of marriage can work, it doesn't here. The electronic-sounding
synth lines are too simple and seem at odds with everything else going
on. Fortunately, most of the tracks on End of Ages don't suffer
from this problem. "Schalen des Zorns" is a good example of Pazuzu
at its best. Starting off with a very creepy, ambient section, it
builds up and some very foreboding horns are brought in, before returning
to ambient territory with sinister spoken vocals over top. "Passages"
is built around some very slow, dreary strings and more spoken vocals (this
time in English). Another short track follow, "An Antidote for God,"
which is like a cross between the first two tracks.
Most of the cuts on this 45-minute album are pretty short, with the
longer ones clocking in at between 4 and 5 minutes. "Epic" is one
of the longer pieces and makes nice use of some military-style drumming,
but the out-of-place electronics return to slightly mar the result.
Some Gregorian-style chants turn up in the battle-ready "Eclipse: Final
Clash of Swords" "Saturn's Somber Moons...(the Voyage)" suffers from
a slightly too minimal approach and overly dramatic vocals at times.
The final two tracks, "Death of an Infant" and "Reawakening - The Conclusion,"
are among the best on the album, with a more spirited, almost upbeat mood
to them.
Overall, this is a good album. Take away the modern elements and
the lackluster vocals on a few tracks and it would be a great album.
Pazuzu do a good job of blending different styles and coming up with their
own sound, one that should appeal to fans of bands as diverse as Grabesmond,
Puissance and Attrition.
[Daniel Hinds]
 RAJNA
Yahili
(Holy)
I got this album kind of on a whim (and some RA samples from the net) and
am quite glad that I did. The three musicians that make up Rajna
are from France, but they have turned their gaze eastward for musical inspiration.
Using a wide assortment of instruments from India and Tibet, the trio create
some beautiful and magical sounding music that crosses musical boundaries
as boldly as it does national borders.
The songs on offer have a very consistent feel without just repeating
the same thing time and again. The influence of Indian and Tibetan
music is very pronounced, with plenty of unusual percussion, strings and
chimes. The vocals are handled mainly by one woman who has a powerful,
operatic voice. Songs like "Adjah" are quite rhythmic and have a
cyclic, trance-like quality to them, while others such as "Die Irae" and
"Ham Shallam" are far more ambient.
It is difficult for me to make any more specific criticisms, as I'm
not too familiar with the traditional music of India or Tibet and have
no frame of reference. Those of you who like some of the elements
that world music has to offer but tend to get bored by the bland compositions,
definitely check out Rajna. The songs are beautiful and darkly enchanting
in their own unique way. The spiritual, meditative ambience of the
album makes for a captivating listening experience that gets better each
time. As a bonus, the CD comes in a striking, parchment-paper digi-pack
that is just as ornate as the music.
[Daniel Hinds]
 SEPTIC FLESH
Revolution DNA
(Holy)
One of Greece's best and most well-known metal outfits is Septic Flesh.
While they have in the past created some stunning works that combined death
metal with operatic female vocals and ethereal atmospheres, Revolution
DNA takes the band in a whole new direction. The reviews I've
seen comparing this to Marilyn Manson are just laughable - this is metal
and damn good metal at that.
"Science" sets the mood with a heavy but also quite melodic and catchy
main riff. The crux of what makes this song works it the interplay
between vocalists Spiros A. and Sotiris V. - one providing the deathly
growls, the other a clean but powerful style. This combination is
used to good effect throughout the album. "Radioactive" shows a modern
element creeping into the Septic Flesh style, with some rather Voivodian
chords and an offbeat arrangement. "Little Music Box" plows right
down the middle, in a more gothic-metal way, not unlike recent Sentenced
with harsher vocals.
"Revolution" is a great example of the band's love for harmony guitar
parts, as it opens with a riff that harks back to Priest, Maiden, Lizzy
- all the greats. Never content to be predictable, though, the band
take this song into more traditional death metal territory at a couple
of points. "DNA" is even simpler, with something of a rock 'n' roll
feel to it, but it works perfectly. The band really hit the jackpot
for simple-yet-memorable riffs on this album. "Telescope" is one
of my favorites on the album, with a riff inspired by classic Accept, while
"Last Stop To Nowhere" throws some industrial rhythms into a sea of slow,
dreamy melodies.
Just when you think you've got a handle on this album, it changes gear.
"Dictatorship of the Mediocre" dispenses with the melodic side of the band
for some more modern sounding aggression, with a cool, choppy riff at its
heart. "Android" takes another left turn, with a more disturbing
atmosphere and some of the album's sickest vocals. The one reminds
me of the more 'out there' tracks on A Fallen Temple. "Arctic
Circle" returns to the more melodic style, with the finest clean vocals
yet.
Fredrick Nordstrom has given the band its best production job yet, with
the electronics blending in perfectly with the standard instruments.
Fans who were totally into the band circa Ophidian Wheel may find
Revolution
DNA a little harder to get into, but it is worth the effort.
The sheer diversity on this album is very impressive and the band are talented
enough to pull it all together and make it work as a cohesive album.
The songs here are more experimental in some ways, yet also a lot more
compact and hook-laden than previous works. Comparing
Revolution
DNA to other Septic Flesh albums is a bit of a dead end. Suffice
to say, it is just as good, but in a different way.
[Daniel Hinds]
 SIRIUS
Aeons of Magick
(Nocturnal Art)
The doom-sayers have been pronouncing the death of black metal for years
now, yet each year brings scores of great new releases to the ever-widening
genre and 2000 has been no exception. Sirius are a four-piece from
Portugal who, despite the generally warm clime of their homeland, have
created a chilling slab of grim, symphonic black metal that takes you to
the darkest depths of outer space and abandons you there.
The approach Sirius takes on Aeons of Magick is one of controlled
mayhem. The songs are complex and highly structured, yet the speed
and ferocity of the attack lends it more than a hint of chaos at times.
The cosmic slant of the lyrics is reflected in some of the keyboard-work,
too, which has an epic, symphonic feel to it, not unlike Bal-Sagoth.
Unlike those eccentric Brits, however, Sirius take a fare more vicious,
guitar-oriented course, with some of the grimmest vocals I've heard in
a while. The result is the creation of monolithic tracks like the
nine-plus minute "The Collapsing Spheres of Time," which goes through a
score of different riffs and tempos before releasing its hold on the listener.
"The Stargate" is worthy of note, too, as it is an all-keyboard track that
brings to mind the most epic sci-fi themes. Similarly, "Beyond the
Scarlet Horizon" is a very moody, surprisingly sedate keyboard-only piece
that closes out the album beautifully.
As impressive as Aeons of Magick is, it isn't without faults.
The elements the band uses to create their sound have all been used before
by the likes of Emperor, Satyricon and the aforementioned Bal-Sagoth.
The material here is well executed and shows a creative flair for incorporating
existing elements without blatantly ripping anyone off, but if you're already
lost in the maze of current black metal releases, this one won't open any
new doors for you.
Still, I can't say too much bad about this album. It pleases the
melodic side of me with the symphonic keyboards, yet is punishing enough
to make it a thoroughly enjoyable metal album, too. Sirius has really
found a nice balance between the two and delivered one of the best debut
black metal albums I've heard in a while. Fans of raw, high-speed
blackness who can also appreciate the inclusion of keys will doubtless
want to check out Sirius.
[Daniel Hinds]
 SOURCE OF TIDE
Ruins of Beauty
(Candlelight)
Candlelight have really done themselves proud by picking up this fine Norwegian
outfit. Source of Tide features vocalist Lord PZ of Peccatum fame
and has put together a collection of dark, majestic tracks that defies
easy categorization. It also has some of the catchiest melodies you'll
hear in an extreme metal band this year.
"Raven Goddess" is a fairly involved track that bounds from black metal
to gothic metal to something akin to power metal. Lord PZ alternates
vocal styles between a grim and blackened and a clean, very deep approach.
Both are effective, though I'm glad to see him spend more time with the
latter for much of the album. "Symphony of the Sovereign" features
a good deal of keyboard work, with the overall sound approaching that of
Nightwish on their faster tracks. The elaborately titled "The Awakening
(Ode to the Art of Self Destruction part 1)" shows a much slower, more
grandiose side to Source of Tide. Here the band trade in complexity
for mood-setting and it works pretty well.
Unfortunately, the excellence displayed on these opening tracks isn't
sustained for the whole album. "Chains of Mythic Fantasy" starts
off with a slightly industrial feel before settling down into a somewhat
forgettable, mid-tempo tune. "Autumn Leaf" is much better, though
still not quite up to the level set earlier on.. "Final Battle (Ode to
the Art of Self Destruction part 2)" is a weird one, to say the least.
The first half features really odd, mostly spoken vocals, then the band
shift into high gear for the most BM-sounding piece on the whole album.
The final couple of minutes fall back into the more typical SoT style.
"Ye Memories of Sad Rebirth" kicks off with some beautiful synth-work (ala
the better stuff on Dimmu's Enthrone Darkness Triumphant) and turns
out to be one of the album's best cuts, with some very nice tempo-shifts.
"Who Am I?" kicks off with the album's heaviest riff and bassline, but
is quickly tempered by the keyboards. Lord PZ does some unusual vocalizing
on this track, not unlike some of King Diamond's more eccentric characters,
but sticks with his clean, powerful voice most of the time.
The production on Ruins of Beauty is clear and packs plenty of
punch. The playing is also quite impressive at times, especially
the keyboard work and Pendragon's lead-work. He has a melodic sensibility
to his soloing that harks back to some of the classic metal bands and adds
just the right touch to tracks like "The Awakening.."
Despite their appearance on the BM-oriented label Candlelight, Source
of Tide are really more of a power metal band at heart. They do utilize
some elements from BM and gothic metal, but the riffing, the arrangements
and the melodies all scream out power metal at its finest. It is
an interesting mix that works most of the time and it will be interesting
to see how it is received by the increasingly divisive metal audience.
[Daniel Hinds]
 STATEOFBEING
Static In My Brain
(Reverse Image)
Stateofbeing are something of an endangered species these days - the industrial
rock outfit. With the breakthrough success of bands like Gravity
Kills and Stabbing Westward a few years back, you would think there would
be a flood of bands meshing guitars with electronics, but the scene has
all but died of late. This should no doubt work to Stateofbeing's
advantage, but they have a pretty unique sound anyway and wouldn't have
much trouble standing out in a crowded scene.
This quartet hails from Cleveland and has played with everyone from
Chemlab to The Church, though their sound will no doubt appeal more to
fans of the former. Rock song structures built by machines and overlaid
with plenty of buzzsaw guitar riffing make up the bulk of the tunes on
Static
In My Brain, but it falls closer to bands like Diatribe and old SMG
than the Ministry-types. The main reason is the clean, melodic vocals
of Christopher Földi, but there are also some almost synth-pop sounding
keyboard lines to be had, too.
Of the seven tracks on offer, I found the more pop-oriented ones to
be the best. "X Approaching -1" and "In Control" in particular have
a great deal of character. The latter track has some definite dancefloor
potential, too. "Rain" attempts something more in a moody, Depeche
Mode vein and just doesn't work at all - it just doesn't sound natural.
In addition to the seven audio tracks, the CD features a number of CD+
files, including 4 songs in MP3 format. These four songs date back
quite a bit, from 1990 to 1995, and serve mainly to show how much the band
has improved over the years. Having said that, though, I did quite
enjoy the very Front 242-ish "Spit."
Nothing about Stateofbeing really stands out that much. The programming
and keyboard work is decent but not flashy or particularly dense.
The guitar riffs are fairly straightforward and the vocals remain pretty
mid-range without too much or too little force behind them. Still,
the good songs on Static In My Mind show the band's obvious capabilities
and this album is leaps and bounds better than their debut, Dysfunctional
Vision. The vocals and the production in particular have come
a long way and I like the more guitar-oriented approach the band seems
to be taking these days. Credit must also be given for avoiding the
usual trap of sounding like NIN or any of the number of acts that have
ripped-off NIN. More info: http://www.stateofbeing.com
[Daniel Hinds]
 STRATOVARIUS
Infinite
(Nuclear Blast)
After being swamped with great melodic speed-metal a year or so ago (Iron
Savior, Gamma Ray, Angra, Blind Guardian, etc), it has been rather slow
in recent months. Well, Finland's powerhouse Stratovarius have returned
with a vengeance and Infinite is one of their best yet.
After the somewhat disappointing Destiny, I was expecting the
band to mellow out and lose even more of their edge on the follow-up.
As the opening twin attack of "Hunting High and Low" and "Millennium" prove,
however, that is not to be the case. If anything, they seem to have
regained some of the energy lost last time out, especially on the latter
cut. "Mother Gaia" is an 8+ minute epic that shows off the softer
side of the band. Vocalist Timo Kotipelto gets to show off his incredible
voice here and the band take a strange Queen-like excursion midway through.
"Phoenix" returns to power metal territory, with Jens Johansson dazzling
the keys while Timo Tolkki pulls off some amazing guitar solos. "Glory
of the World" kicks off with a riff straight off an old Dio album, but
a flurry of keys cuts in and the song quickly establishes itself as pure
Stratovarius. "A Million Light Years Away" is probably the album's
weakest spot, as it falls into kind of a light, prog/pop metal groove that
doesn't really become the band. "Freedom" is very happy sounding,
but also much more up-tempo and convincing. From here we head into
epic territory again, this time with the bombastic "Infinity," which clocks
in at over nine minutes. This powerful, multi-faceted piece serves
as something of the center piece for the album, showing off all sides of
Stratovarius at their best. The album closes with a short, acoustic
ballad in the shape of "Celestial Dream."
Stratovarius have demonstrated their technical abilities many times
over in the past and it is nice to hear them do an album where they don't
feel like they have to prove themselves. Sure, there is plenty of
nimble guitar and keyboard work to be had on Infinite, but the focus is
squarely on creating memorable, melodic songs. It's a well-trodden
and comfortable sound, but Stratovarius are masters of the art and Infinite
is one of their most impressive works to date.
[Daniel Hinds]
 SUMMONING
Stronghold
(Napalm)
Summoning are not an easy band to get into. The music isn't meant
to be catchy or super-brutal or danceable. These are epic compositions
that create a vast vision of other worlds, other times. In comparison
to previous Summoning releases, this is one of the strongest yet, both
in terms of material and production.
After an intro track, "Long Lost to Where No Pathman Goes" heralds the
true arrival of the album. Here, we see Summoning do what they do
best, combining grim vocals, highly melodic, melancholic guitars and keyboards
into a grand arrangement that is meant to be experienced, not just listened
to. "The Glory Disappears" follows in similar fashion, with the vocals
sounding even grimmer and more relentless. The juxtaposition of such
harsh vocals with the slow, melodic tunes seems very natural once you have
the black metal guitars tying it all together. "Like Some Snow-white
Marble Eyes" showcases some really effective keyboard work, while the beautifully
titled "Where Hope and Daylight Die" features some equally beautiful, operatic
female lead vocals.
The two members of Summoning, Silenius and Protector, have been involved
in a number of excellent bands, from Abigor to Die Verbannten Kinder Eva's
to Pazuzu, but I think it is safe to say that Summoning are really the
centerpiece of their artistic display. The sound they create here
is just so monolithic - it is the perfect complement to the impenetrable
castle that adorns the CD's cover.
Stronghold isn't an album where you can sit and listen intently
to each note, as you will likely get bored and miss the big picture.
Likewise, you can't just let it play as background music or you'll miss
all the details. Finding the right context to properly appreciate
and enjoy this album is part of the challenge, but it is well worth the
effort. Summoning are one of those rare finds, a band that really
makes their music come alive, and at some point you stop questioning how
they do what they do and just go along for the ride.
[Daniel Hinds]
 TENHI
Kauan
(Prophecy)
Tenhi are a relatively new band from Finland that sound very little like
any of the other acts currently making the rounds. Although they
have been getting plenty of press in the metal circles, Tenhi has nothing
to do with metal, yet they don't easily fall into any other category either.
There is a somber beauty about the music on Kauan that is both depressive
and intoxicating.
There are two things that immediately identify Tenhi's music.
First of all, all of the tracks are acoustic, with guitar, drums, bass,
flute and violin all being put to good use. Also, although there
are some deep, clean male vocals on a few tracks, the majority of this
disc is instrumental. This is probably the one area that I was a
little disappointed with Kauan, as I really liked the vocals and
wanted to hear more of them. Also, some of the tracks feel a bit
sparse without them. It's a minor complaint, though, especially compared
to the elegant beauty of the music.
The songs themselves are remarkably consistent across the album.
There is a definite folk vibe underlying the tunes, more than any other
style, but it is a dark, melancholic brand of folk. One of the most
notable tracks is "Straying," which features some starkly beautiful piano
lines and is the perfect compliment to the wistful photos of nature that
populate the CD booklet. Another favorite is "Northern Lights," which
is uncharacteristically up-tempo and makes for a nice change from the darker
tracks. Album closer "Drift" is 8+ minutes of almost entirely piano
soaring through the evening air.
Tenhi know how to evoke a mood and they do it very well on most of the
tracks offered here. The songs have a sense of sadness and sorrow,
but never despair - there is always a note of hope amidst the gloom.
Fans of darkwave and atmospheric metal who are looking for something fresh
to indulge in, look no further.
[Daniel Hinds]
 THOU SHALT SUFFER
Somnium
(Candlelight)
First off, anyone familiar with the black/death sound of Thou Shalt Suffer
circa 1991 probably won't even recognize the music on Somnium.
The only connection between the two are the name and the involvement of
Emperor's Ihsahn. In place of evil, underground metal, however, TSS
now boasts a weird fusion of neo-classical, industrial and soundtrack music.
The lively neo-classical elements are really the core of this album, with
some parts quite beautiful and others bordering on dark carnival music.
Somnium is broken up into ten tracks (for a total of 39 minutes),
but it all flows together and is really one long musical composition.
The instrumentation, as far as I can tell, is all done with keyboards,
but Ihsahn does a good job of making the orchestral strings and percussion
sound natural. There were a couple of phrases that sounded familiar,
but I'm not a classical enthusiast and couldn't tell you where they might
be from.
The brief forays into a noisier, more industrial style are probably
the most surprising thing about this album. These sections aren't
very long and seem to just swoop in out of nowhere, fuck with the tune
for a bit, and take off. It makes for an interesting diversion, but
in the long run, I think Somnium would have worked better without
them.
If you were intrigued by the Emperor track "Opus a Satanna" and wish
they would do more in that vein, well, here is a whole album for you.
The result isn't the masterpiece I was hoping for, but it is relatively
engaging. Too much of the time, the music sounds like it is building
to something, but there is rarely a resolution. Still, it is interesting
to hear a different side to Ihsahn's creativity and, unlike many in the
metal field who have simply adapted orchestral elements, Ihsahn has actually
attempted to recreate some of the structure and grandeur of real classical
music.
[Daniel Hinds]
 TRANCE TO
THE SUN
Urchin Tear Soda
(Precipice)
Well, aside from having one of the better goth band names out there, Trance
to the Sun have also come up with one of my favorite album titles in a
while. Actually, calling these guys a goth band is a bit off the
mark, as their sound owes as much to the psychedelic strains of old Pink
Floyd as it does to the legacy of Siouxsie and Bauhaus - probably more.
The result is quite enchanting, however, and much more cohesive than a
lot of other tripped-out bands.
TttS have been kicking around for over six years now and have half a
dozen releases under their belt. The experience gained from all these
recordings and extensive touring can easily be heard on Urchin Tear
Soda. There is a real confidence behind the playing and, despite
the very loose and organic sound they achieve, there is a sense that each
song is well thought-out beforehand.
The core of the band is Ashkelon Sain and vocalist Ingrid Blue.
Ingrid's vocals are quite distinctive - they are soft, but never insubstantial
or overly fragile. It's a very effective and soothing approach that
mixes in wonderfully with the trancey rhythms, flanged guitar and mournful
violin. The songs themselves are all fairly lengthy but never overstay
their welcome. Alongside the band's original material, a brilliant
cover of Floyd's "Set the Controls For the Heart of the Sun" is included,
which, strangely enough, is one of the more gothic rock sounding cuts on
the album. The ten-minute-plus "Vortex Airplane Itinerary" closes
out the album in a sea of lush ambience.
TttS have create a very moody atmosphere with their work, yet it never
becomes dismal or depressing. I could see this album appealing to
a wide range of music fans, from people who like modern-day The Gathering
to fans of Switchblade Symphony, darkwave and even some space rockers into
Hawkwind and the like. To order on-line: http://www.middlepillar.com
or e-mail: info@middlepillar.com
[Daniel Hinds]
 VINTERSORG
Ödemarkens Son
(Napalm)
This is the third solo outing for Otyg's mainman, Vintersorg. His
unique combination of black metal and folk music is as lively and unique
as ever, with the best production yet. My initial reaction was one
of slight disappointment, as the style is very much along the lines of
his previous record, Till Fjälls. It is that same old
problem of comparing a style-defining album to its follow-up - no matter
how good the new one is, it will never have quite the same impact on you
(witness Master of Puppets compared to Ride the Lightning
or anything Slayer did after Reign in Blood to Reign in Blood).
That doesn't mean it isn't a good or even great album, it just means the
territory is familiar and surprises are in shorter supply.
If you are familiar with Otyg, you might be surprised by how different
Vintersorg is. The vocals are the one thing that really tie the two
bands together, though unlike Otyg, Vintersorg delivers some blackened
vocals alongside his epic, clean singing style. Where Otyg sounds
like a folk band playing with some metal guitars here and there, Vintersorg
is much more of a metal band, with the folk influences coming through in
the melodies and time signatures.
As with Till Fjälls, all the songs on Ödemarkens
Son are consistently good. Opening track "När Alver Sina
Runor Sjungit" kicks off at full-speed, but goes through a number of different
sections, including a very catchy chorus and emotionally-charged solo.
Cia from Otyg adds her distinctive vocals to the tracks "Svältvinter"
and "Under Norrskenets Fallande Ljusspel," along with some violin throughout
the album. While the black metal element seems a little more toned
down than before, one listen to the title track will prove that it hasn't
disappeared completely and is just as ferocious as ever.
One thing that Vintersorg does fairly often is combine acoustic guitars
with distorted guitar riffs (a good example is album closer "På Landet").
Often when people attempt this, the two seem to clash or the acoustic guitar
gets lost in the mix, but Vintersorg has really found the perfect balance.
Vintersorg's music has a lot of the same appeal as the great Viking
metal bands like Falkenbach, Thyrfing and Einherjer - folky rhythms, majestic
vocals, harmonized choruses and plenty of epic, medieval melodies to boot.
There is also a good deal of plain old heavy metal charm to this album.
If you like prior Vintersorg releases, you can't go wrong with this one.
If you're unfamiliar with his work, definitely check out either this album
or Till Fjälls (and the new Otyg, too).
[Daniel Hinds] |
