ARMORED SAINT
Revelation
(Metal Blade)

Well...I'm not sure exactly what it is, but the material on Revelation just doesn't live up to what I expect from this very talented band, even after repeated listenings.  That's not to say it is a bad album by any means - a few of the tracks are quite good, actually - but, when you've done albums like March of the Saint and Delirious Nomad, people expect brilliance from start to finish.

"Pay Dirt" has that classic, upbeat Saint vibe, while "The Pillar" is more of a chugging affair that reminds me of the underrated Raising Fear album.  After this, though, the quality seems to start heading south.  "After Me, The Flood" isn't bad but it just kind of sits there without ever doing anything interesting.  "Tension" is better and "Creepy Feelings" features one of the album's few good choruses (though the rest of the track is a bit tedious).  "Damaged" is the clear low-point of the record, with a chorus that is so repetitious, I can't sit through the whole song without hitting 'skip' at some point.

The rest of the disc falls into that "not bad, not great" category, with only the storming "What's Your Pleasure" really catching fire.  Stylistically, a good portion of Revelation sticks to the tried and true Armored Saint sound - mid-tempo riffs in that great 80s style.  The few excursions into more modern territory (see "Damaged" and "Control Issues") tend to be the less successful moments on the album.

Judged on its own merits alone, Revelation is a good album.  It just seems a little lacking compared to the previous output.  Still, though, they did a pretty good job of staying true to their metallic roots and not allowing current trends to rule (ruin) the sound.  I was halfway expecting to hear more influence form John and Joey's main 90s bands (Anthrax and Fates Warning, respectively), but fortunately that isn't the case at all.  The Saint may not be firing on all cylinders yet, but, dammit, they're back!  Here's hoping they book some U.S. dates this year.
[Daniel Hinds]

ART OF NOISE
The Seduction of Claude Debussy
(Universal)

My first listening impression was "snooze."  There's a bunch of noodly piano bits, lush strings, opera vocals, even a lame rap at one point, all layered over some really tired, cliched DnB drumbeats.   Reading a few interviews with Trevor Horn recently confirmed my initial impression-- apparently all the piano parts were written by Claude Debussy, and Mr. Horn noticed how those works were roughly half the tempo of typical DnB loops.  Hooked on Debussy?  Hooked on Bach was at least cheesy and enjoyable as such, but The Seduction of Claude Debussy comes across as trying to be really serious but ends up cheese-a-rific.  I hate to poo-poo work by Trevor Horn, whose credits also include Buggles' "Video Killed the Radio Star" as well as producing Seal, but I'm gonna poo-poo this one.
[Laird Sheldahl]

BOLA
Soup
(Skam)

CENOTAPH
Puked Genital Purulency
(Hammer Müzik)

The music on Puked Genital Purulency is brutal, heavy, fast as hell and lacking in anything approaching melody.  It is also extremely tight with some mind-bendingly complex arrangements and jagged riffs.  Differentiating between songs is best left to the true connoisseurs of the genre, but suffice to say, each song is a roller-coaster ride of tempos, start/stop riffs and blast-beats aplenty.  The vocals are of the mic-stuck-halfway-down-the-throat variety, with each word sounding more like a gurgled version of the same sound, "URRRRRR!"

The thing that impressed me most about Cenotaph was the playing.  The drumming in particular is amazing, with some almost inhuman-sounding double-bass workouts.  Just keeping up with all the twists and turns in each song must be a nightmare for everyone in the band, but they make it sound easy.  Musically, though, this just isn't my thing at all.  I can take small doses of bands like Autopsy and Brutal Truth, but it isn't something I'd listen to on a regular basis and Cenotaph are far more extreme than either.  More info: http://www.hammermuzik.com/
[Daniel Hinds]

DARKSEED
Diving Into Darkness
(Nuclear Blast)

The opening number, "Forever Darkness," is a great example of the band's strengths.  Beginning with soft, ethereal synths, the song then kicks straight into a dead-heavy groove with deathly vocals for the first verse.  Throughout the song, though, vocalist Stefan Hertrich demonstrates his versatility, as he also sings in a clean style and something betwixt the two (kind of like Ville from Sentenced).  By the time you hit the chorus of the following track, "I Deny You," it is pretty clear that Darkseed know how to write catchy songs, with very memorable choruses.  "Can't Find You" features a wonderfully heavy, doom-laden riff that would give even the likes of Solstice pause.  Other tracks, like the subdued "Autumn" and the broodingly heavy "Cold Under Water," are just as good, but there really are no bad tracks on Diving Into Darkness.

Unlike some goth-metal bands that take the Sisters of Mercy formula and add some crunchy guitars, Darkseed's gothic element is more of the atmosphere created rather than any hackneyed goth idiom.  The keyboards are well-integrated and also diverge from the current trends.  Instead of a heavy-handed orchestral approach, Darkseed go for more of an airy, ethereal feel that has a definite dream-like quality to it.  Even when it is submerged beneath a pile of drums and riffs, its presence can be felt and the album benefits immensely from it.

Fans of bands like Paradise Lost, Sundown, Samael and the aforementioned Sentenced would do well to check out Darkseed.  The integration of synths with metal and a gothic aura has never sounded so seamless and Darkseed have come up with some great tunes to celebrate the occasion.  Highly recommended to goth fans and metalheads alike.
[Daniel Hinds]

DARKTHRONE
Ravishing Grimness
(Moonfog)

Ravishing Grimness, despite the intervening years since the band's last album, remains extremely faithful to that dark vision.  This is raw, brutal black metal, the way Hellhammer and Bathory played it.  No fills - no keyboards, no female vocals, no complex arrangements, no folk influences and certainly no attempt at melody.  Nocturnal Cult's vocals are of the grimmest order throughout and his guitar playing is equally harsh.  Fenriz's drumming is blunt and primitive (and sounding a bit off-tempo on a couple of occasions...)  The production does nothing to smooth out the barbaric assault either - quite the contrary, in fact.

How is the music?  Well, it's fucking Darkthrone!  They're the AC/DC of the black metal world, with every album being just a variation on the same theme, so you know what you're getting if you've heard them before.  A couple of the tracks are a little too simplistic considering their length, but in general, Ravishing Grimness is a good, solid blast of Darkthrone and that's about all you can ask for in this day and age.  If you've never heard Darkthrone but have worn out your copy of Morbid Tales, then you better get a copy of this right away.

While recent interviews would indicate that Fenriz has traded in his misanthropy and anti-Semitism for videos of Seinfeld and South Park (isn't that kind of the same thing...?), his musical vision hasn't succumbed to any trends whatsoever.  Actually, Nocturnal Cult wrote all but one of the songs on here, so I guess we have him to thank for this persistence of style.  Whatever the case, this was a refreshing blast of old-fashioned Norwegian black metal at its most prime-evil.
[Daniel Hinds]

DEMON DAGGER
Aftershock
(Recital)

First off, there is such an overwhelming Megadeth influence, it must be mentioned right up front.  Some of the music can be traced back Megadeth's work in the early 90s, but Pedro Mendes' vocals sound so much like Dave sometimes, it's scary.  "Etched Face" has something of a classic metal feel to it, while "Sinking" sounds much more modern (ala Pantera in places).  "A Stand Below" is the first tune to really display the Megadeth influence, with a definite "In My Darkest Hour" feel to it.  "Broadmoor" is one of the album's best tracks, as the band manage to combine their influences for a sound that is more uniquely theirs.

The playing on Aftershock is all pretty skillful, esp. the lead guitar-work.  Once again, the originality is limited, but it is a nice tribute to Kill 'em All era-Hammett and, of course, Mustaine.  The production is simple, with a nice, clean mix. 

Aftershock does get a little tiring near the end, as there isn't a whole lot of variety between songs.  I would like to have heard the band mix up the song-writing a little more - maybe throw in a ballad or an all-out speed metal assault.  This is one of those albums that is in no way bad, yet doesn't really excel enough to make you want to listen to it very often.  If you can get past the obvious influences, though, and are looking for a decent, mid-tempo thrash workout, you could certainly do worse than Demon Dagger.  More info: http://www.demondagger.com/
[Daniel Hinds]

DEMONS & WIZARDS
Demons & Wizards
(SPV)

After a throwaway into track, things get underway properly with "Heaven Denies."  Featuring the rigid riffing and double-bass drum rhythms of Iced Earth, the song also showcases Hansi's gruff but tuneful vocal style.  There is also a great deal of melodic guitar playing to counter-balance the harder-edged riffing, further bringing to mind Blind Guardian.  "Poor Man's Crusade" features a more driving, mid-tempo riff, with some huge choruses (thanks to some skillful vocal multi-tracking).  "Fiddler on the Green" starts off with some acoustic guitar and shows the band can handle the more mellow side of the spectrum just as well, though even here they bring in the big guitars by the end to make it quite the power ballad.  "Blood On My Hands" features one of the album's catchiest choruses, while "Tear Down the Wall" nudges slightly into prog-rock territory.

The remaining tracks on Demons & Wizards are a little more generic, but even here there are certain parts of each song that are worth hearing.  There is a very dreamlike quality to a lot of the melodies on this record, particularly when it comes to the vocals, that helps define the mystical atmosphere already set in place by the artwork and the lyrics.

Somehow, I was expecting this to be more of a progressive and complex record, but I'm glad that they went for the heavier sound instead.  While you aren't likely to confuse this with either Blind Guardian or Iced Earth, it does draw heavily on both and should really appeal to both bands' fans (esp. BG).  Unlike some project bands that can't even justify their existence with one good song (Engine anyone?), the material on Demons & Wizards is strong throughout and I hope the duo continue with this project in the future.
[Daniel Hinds]

DIPNOI
Fkddd (EP)
(Moonza)

"Benzine" sounds like a garage-punk version of Sacred Reich, while the excellent "Iron" starts off like classic Kreator but brings in a more mid-tempo hardcore/punk feel for the core of the song.  There's an ugly charm to the vocals, like a cross between Tad and The Accused.  "Lemon Juice" has a slower, more grinding approach, while the title track has one of those kinds of riffs that thrash bands in the mid-80s came up with before thrash became completely defined by Slayer, Metallica and Anthrax.  "Hide" features a more offbeat rhythm, showing the band isn't as limited as you might at first imagine.  "Lack of Me" has a slower groove to it, but it actually works pretty well, too.

As a bonus, the band curiously tacked on their demo "A Good Moonza / A Better Moonza" at the end of track 6.  "Gimme Some Beer" has a real classic, upbeat punk flavor and is one of my favorites on the whole CD.  The rest are more in line with the approach taken on the newer tracks on the EP proper. 

One thing I appreciated about Dipnoi is the bass isn't buried in the mix and bassist Bernardo Andrea actually adds a great deal to the music instead of just following the guitars or drums.  Another bonus is how the band pepper their songs with a few actual guitar leads (pretty decent ones, too), which is a pretty unusual move for bands of this genre.

Overall, I got a little bored with some of the slower, longer tracks, but Dipnoi do have their own style and can belt out a good tune when they want to.  If they stick with the more upbeat style and get a little better production, their debut full-length could be quite something.  More info: http://www.geocities.com/SunsetStrip/Studio/3016/
[Daniel Hinds]

ECLIPSE
Dorscharms Venomous Colours (MCD)
(Blackend)

"Introduction To The Hymns" encompasses all of the elements that make Eclipse worth hearing.  The melodic, high-speed riffing and blackened vocals are the core of the sound, but a great deal is added atop this foundation.  First off, the arrangement is quite involved, never relying on one riff to carry the song for very long, with the tempo changing accordingly.  Also, there are some nice leads and harmony guitar bits not usually present in black metal.  The female backing vocals are used sparingly, more to add texture than anything else.  Same for the keyboards, which play a more important role on "Dance With..." and the beautiful instrumental "The Wolf's Resin."

Fans of classic black metal may find Eclipse to be too melodic and refined for their tastes, especially considering the considerably rawer and more primitive brand of black metal that Poland is well-known for.  More open-minded folk, however, are encouraged to grab a copy of Dorscharms Venomous Colours.  Eclipse remind me of some of the bands on The End Records, as they are a black metal band at heart but add touches of classical and gothic atmospheres to create a very full-sounding and dynamic release.
[Daniel Hinds]

FIRE 99
1100011
(Carmeled Pepper)

"Prelude 99" is a weird, kind of mellow introductory piece that has some very organic loops contained in a very digital arrangement.  The contradictory nature of the sound is a little distracting at first, but I think is probably one of the band's biggest assets.  "God of Distortion" is a much more straight-forward electro-dance cut, while "Burn" has some definite pop appeal.  As with most of Fire 99's songs, the clean (or at least melodic) singing style really drives it forward.

Musically, the band tend to build the songs around one or two ideas, layering many loops together to create some really unusual and dense compositions.  "Robot Girl" is a good example, with the disparate elements almost flying apart, but somehow kept in check by the duo's programming skills.  And, while most of the album is fairly laid-back tempo-wise, "This Unit" shows that the band can crank up the BPM when they want.

My first listen to 1100011 left me a bit flat, but further spins have improved my opinion considerably.  It's a grower, as you can't really appreciate all of the various elements with a casual listen.  If I had to criticize anything, it would be the somewhat repetitive nature of some of the tracks.  Nothing too distracting, but a few of the arrangements could be tightened up a bit.  Also, the cover of "Headhunter," while certainly an original take on the tune, just didn't work for me at all.

The album closes out with a remix of "Robot Girl" by Outpost 5, who do a good job with giving it a more electronica-ish makeover without losing the song's original qualities.  Seattle has been the hub of the Northwest electronic community, thanks to the efforts of bands like Noxious Emotion, SMP, and Thine Eyes, but Fire 99 prove that you don't have to be from the Emerald City to make a damn fine album.  Hopefully, they will get the attention they deserve.  More info: http://www.olywa.net/ryanleisinger/fire99.htm
[Daniel Hinds]

HADES
The Downside
(Metal Blade)

The most noticeable improvement right away is the production.  It still isn't perfect, but it is well ahead of the sound they got on $avior$elf, with a mix that complements the stripped-down sound quite well.  A few of the tracks, like "Ground Zero NYC" and "Bitter suite #1" hint at the speed that defined their early records, but all too often they fall back into the simplistic, groove-oriented stuff.  While this tends to give their sound a more modern feel, it's not a style that they particularly excel at, making for a rather boring album.  The hardcore backing vocals on "Hoax" and death growls on "Pay the Price" just sound silly and are a far cry from the chants of "Resist success!"  Not that I think Hades are selling out by copying current trends - they seem to really be doing the band at this point only to please themselves - but I just wish their tastes and influences had followed a different path in the 90s.  The technical speed metal of their early albums only comes through in flashes now, which is sad, since they did it so well.

So, on the whole there's nothing all that special about The Downside, but it is a definite improvement over the last record and might be of a little more interest to fans of the band's 80s style.  Now if they can just write some more complex songs again and crank the energy level up a few notches, we'd be in business again.
[Daniel Hinds]

HELLCHILD
Bareskin
(Howling Bull)

"Self-Scorn" kicks off the album and serves as a blueprint for what is to come.  The guitar sound is thick and downtuned, while the vocals are very low and gravelly.  The tempo is generally kept in the mid-tempo range (with plenty of double-bass pounding), even though there are a few moments where you really expect it kick into high gear.  The songs themselves tend to have a really weird, angular feel to them.  A good example is "Wings of Hope," with its unusual riff and change-ups.  A certain progressive feeling underlies Hellchild's sound (and I'm talking Voivoid/Gorguts kind of progressive, not Rush or Dream Theater).  Despite the oppressive heaviness, there always seems to be more than a glimmer of musicality to the songs.

Other songs worthy of note are "In This Freezing Night," with its slow, doom-heavy grinding approach, and the album closer "Another Kind of Bravery."  The latter track is particularly interesting, as it sports a much more relaxed and melodic approach than anything else on Bareskin.  It's like they had every muscle clenched for the first 32 minutes and then finally relaxed for the last few.  Vocalist Tsukasa Harakawa even manages to sing on this one, in a gravelly sort of way.

Hellchild strike me as a band that started off as probably a pretty decent, late-80s thrash band, but then took the same road that too many others did in the 90s (Slayer, Fear Factory, Machine Head, Sepultura, the list goes on...)  The speed and energy of thrash was set aside in favor of a harsher, heavier sound that did its best to flush out all hints of melody.  So, I guess it comes down to a matter of taste then.  Hellchild aren't my cup of tea, but at least they seem to have done a fair job of injecting some of their own style into a well-worn formula.
[Daniel Hinds]

IN EXTREMO
Verehrt und Angespien
(Metal Blade)

Opening track "Merseburger Zaubersprüche" is rather subdued a rather lackadaisical way to start off the album, but things are set right when "Ich Kenne Alles" kicks in.  This is the In Extremo we know and love!  "Herr Mannelig" is even more impressive, with one of the most memorable choruses on the album.

The rest of the album follows in similar style, with perhaps a bit more of a classic metal feel than the last album.  The fusion of metal and folk is seamless throughout, which is no mean feat.  Some bands are so far on one extreme or the other that it feels a little artificial when they try to introduce the other element, but In Extremo really have it down to a science.  The bagpipes are just as up-front as last time and really give In Extremo their special sound, but there are other folk instruments (flute, harp, etc.) to be had here as well.

One surprise on the album is the band's take on the Sisters' "This Corrosion."  They really give it the full In Extremo treatment, which, while interesting, just doesn't gel as well as it should.  A great song, but not really a good choice for In Extremo, methinks.

For some reason, I was expecting this album to be a major letdown.  After the debut did so well, it seemed inevitable that the follow-up would fail in some way.  Fortunately, In Extremo kept it together and created an album that is just as entertaining, just as heavy, and nearly as catchy as its predecessor.  Kudos to the band and here's hoping they make the trek over the pond to deliver their loony live show to us poor souls stuck here in the States.
[Daniel Hinds]

JACOBS DREAM
Jacobs Dream
(Metal Blade)

As "Kinescope" gets underway, the first thing that really stands out is David Taylor's vocals.  Coming across in the same vein as classic Geoff Tate and Michael Kiske, it takes a few songs to really hear his own style.  There's a line he delivers at the end of this tune that has a very Alice Cooper-like sneer to it.  Hopefully in the future he will define his sound more, as his voice is strong and has quite a range.  "Tale of Fears" is a good example of David doing his own thing and I hope to hear more along these lines next time out.

Musically, Jacobs Dream deliver a nice blend of all kinds of power metal acts - Nevermore, Helloween, Savatage, even HammerFall.  The band do a good job of not copying any one band, yet a really distinctive style fails to rise from the album as a whole.  This variety works to create a more interesting record, though, as each song has its own sound and you don't get bored hearing the same thing over and over.  Along with the speed and power metal aspects that dominate the band's sound, there is a real classic heavy metal vibe running through the album, too.  The opening riff to "Crusade," for example, was giving me healthy 80s flashbacks, not to mention the harmony guitar parts that have a definite Maiden feel to them.  "Black Watch" is a cool instrumental, while "Love & Sorrow" is built around a fairly simple riff, resulting in one of the album's catchier numbers.

After just a few listens, it is difficult to judge just how well Jacobs Dream will hold up over time.  While I don't think it will be considered a 'classic,' it should please a lot of power metal fans and the band certainly have potential to create a classic in the future.  If you can deal with there being nothing terribly new offered, definitely check this one out.  The songs are very fluid and the performances are all excellent, making for a very pleasant listening experience.
[Daniel Hinds]

KAMELOT
The Fourth Legacy
(Noise)

My first encounter with this outfit was the rather lifeless Dominion album.  Not at all impressed with their sound, I didn't bother to keep up on the band when the followed it up with Siege Perilous.  Now they have unleashed their fourth album, appropriately titled The Fourth Legacy, and I am truly blown away!  Not only has the songwriting quality improved a great deal but new vocalist Roy Khan is brilliant.  He has a clean, powerful voice that is all his own. 

Opening with a minute-long classical-sounding intro, the band plunge headlong into the speedy title track.  The production is crystal clear (thanks to the gifted production work of Sascha Paeth) and the song is a wonderful blend of heaviness and melody, with a very dynamic arrangement.  The song breaks into a really off-the-wall operatic section in the middle, but never loses direction.  "Silent Goddess" is a more mid-tempo track that is no less captivating.  Some of the band's other influences pop up on the instrumental "Desert Reign," featuring some well-executed middle-eastern melodies and chants.  The track is a perfect lead-in to "Nights of Arabia," where these same elements are combined with more traditional power metal for one of the album's best cuts. 

"A Sailorman's Hymn" is easily the album's low-point, as it is a rather blah power ballad, but "Glory" shows that the band aren't inept on mellower tunes.  Built around a beautiful picked acoustic guitar line, the song features some great strings and emotional vocals.  The band succeed again in heavier territory, too, with the somewhat Dream Theater-like "The Inquisitor" and the speed-driven "Until Kingdom Comes."

One of the best things about The Fourth Legacy is the way the band successfully incorporate a number of guest musicians into the proceedings.  Everything from keyboards to flute to female vocalists to an entire string section really give the album a grand feel.  The classical influence on this album is extensive and the band have the chops to nail it all down and make it sound effortless. 

This album was a nice surprise and completely changed my opinion of Kamelot.  The beautifully-rendered fantasy-themed cover art is among the best I've seen of late, too, adding the final touch of class to this disc.  Alongside recent releases by the likes of Crimson Glory and Steel Prophet, Kamelot add another devastating blow to Europe's domination of the power metal scene.
[Daniel Hinds]

LIMBONIC ART
Ad Noctum - Dynasty of Death
(Nocturnal Art)

"The Dark Paranormal Calling" starts off inauspiciously enough, but once the relentless drums kick in, you are swept away in a maelstrom of sonic violence.  "As the Bell of Immolation Calls" is a nine-minute epic that truly lives up to that title.  After a mood-setting intro, a slow, heavy riff kicks in along with Daemon's grim vocal shrieks.  Eventually, the song works its way around to a far more blistering tempo, but the song is incredibly intricate and never loses your attention.  "Pits of the Cold Beyond" is a raging track of icy riffing, lighting-fast rhythms, grand keyboards and a huge chorus. 

"Dynasty of Death," while not as immediately killer as the opening three cuts, features some of the most tortured screams on the albums and a good mix of tempos.  The mid-section of this song is also quite amazing, featuring not just great riffing but also some very cool synth-lines and drum programming, courtesy of Morfeus.  "The Supreme Sacrifice" veers in more of a primitive, brutal direction, but even here you are treated to a number of different riffs and moods by the end of its 8-minute length.  "The Yawning Abyss of Madness" closes out the disc perfectly, in all its 12+ minute glory.

Somehow, Limbonic Art manage to transcend the ordinary black metal cliches without doing anything particularly new.  Part of it is the amazing array of riffs and complex arrangements, but a big part of it is just the ferocious energy with which the band deliver it all.  Like Immortal, there is this sense of raw power surging from the songs that cannot be ignored.  The effect is overwhelming and mightily impressive, to say the least.  If you fear that elite, Norwegian black metal has disappeared with the coming commercialism of the scene as a whole, one listen to Ad Noctum will change your mind.  Destined to be a classic.
[Daniel Hinds]

MANSCOUTS OF AMERICA
Crash Course (EP)
(RAFR)

Comparing Manscouts to any one band is pretty much impossible.  They've got some of the punk energy of The Clash, mixed with the gritty melodicism of bands like Hanoi Rocks and Faster Pussycat.  Songs like "Gasoline" and "Haunt" feature big sing-a-long choruses and veer into pop/punk territory, but they are pretty balanced-out by the more rocking, riff-oriented tracks like "Wind & Rain" and "Cold."  The EP closes out with the powerhouse rocker "R.A.F.O.R.N.R." (that would be the "Rise And Fall Of Rock N Roll") which has a really classic 80s punk feel to it.

Not sure what more to say about this release, other than comment on the great Manowar-meets-Devo cover art.  The mix is clean and powerful.  The performances are all solid, but then again, this isn't brain surgery here.  Manscouts of America are a good, no-frills band and Crash Course is a good, no-frills release.  Period.
[Daniel Hinds]

MORTIIS
Crypt of the Wizard (re-issue)
(Earache)

Crypt of the Wizard collects the tracks from five limited edition singles, giving the masses a chance to hear them.  Mortiis' strange brand of medieval synth music hasn't really changed in style over the years, just in form.  The doom-laden horns, the marching rhythms and the melodic strings are all present and accounted for, but instead of lashing two or three ideas together into one huge, twenty-minute track, Mortiis has created far shorter pieces that have more of their own unique character.

Trying to explain the appeal of Mortiis' work is difficult.  The arrangements are generally pretty simplistic, the sounds he uses all sounds like factory presets, but he somehow builds these incredible atmospheres.  The dark, medieval melodies create very strong mental images.  Fans of The Stargate album will no doubt find similar pleasures here, though the songs on Crypt of the Wizard lack the vocals and more bombastic flourishes of The Stargate.  Mortiis is much more subtle on this one and it pays off, making this quite possibly my favorite of his release yet.

One last comment, about the art:  what the hell happened?  The original issue of Crypt of the Wizard had a beautiful cover (as did all of his pre-Earache releases), but now we just get this lame photo of the elf-man instead.  The cover of The Stargate was even worse.  Bring back the haunting, mysterious covers of the old albums, please!
[Daniel Hinds]

MYRKSKOG
Deathmachine
(Candlelight)

The black metal attack is still present in spirit, but the sound has taken on a lot of technical death metal elements, as well as some just brutal flashes of modern thrash.  The playing is extremely tight, with some high-speed drumming that has an almost machine-like precision, particularly in the double-bass department.  The riffing is lightning-fast and the vocals are brutish, with more of a growl than a screech to them.  While there isn't anything to really define the vocals from a thousand other bands, they fit in well.

The music itself is reasonably complex, but never needlessly so.  A good example "The Hate Syndicate," which starts out at full blast, careens through a few tempo shifts, before dropping down into a slow, Slayer-esque riff halfway through.  The band are back up to hyperspeed by the end of the track, though, and the pace generally tends toward that end of the spectrum for most of the album.

By far the most interesting element in Myrkskog sound is the no-holds-barred thrash bits that pop up now and again.  The beginning of "Sinthetic Lifeworm" is a great example.  It kicks off with a ripping riff that brings to mind classic Sepultura and Slayer, but unfortunately the band quickly sink back into the more non-descript black/death pattern that seems to be their lifeblood.

The rest of the album offers no surprises until the listener hits the last track, "Pilar Deconstruction," which is a remix of the track "Syndrome 9."  Following the current trend of melding black metal with electronics, this mix samples bits of the various riffs and loops them over top of a dancey drum machine beat.  The result reminds me of a slightly inept version of Dark Tranquility's "Archetype," but with a lot more change-ups.  As much as I like the idea of bands like this doing unusual remixes, I wish they would get in touch with people who know how to do them better.  Someone like Rudy from :Wumpscut: or Claus Larsen could no doubt kick out an absolutely killer remix of something from this album.

Although I did enjoy this album more than the Blackend tracks, I still feel like Myrkskog is missing something.  The songs are well-executed, well-produced and all that, but there is precious little on this album to define a real 'Myrkskog sound' and little more to make me want to pop the disc in again.  Cool band-name though.
[Daniel Hinds]

OBSCURE
Obscure (EP)
(self-released)

Opening track "The Boundaries of Evermore" vacillates between a mid-tempo riff and some faster, double-bass pounding sections.  The real highlight of the song is the ripping solo guitarist Vince LuPone lays down in the middle.  "Morphed Silence" features a slightly harder attack, while "Not At All" opens with an almost Accept-like riff and some of the vocal harmonies on the chorus remind me of The Organization.  "Dorian Gray" is a mammoth ten-minute epic that kicks off with some acoustic guitar and emotive vocals before crashing into the CDs heaviest riff.  From here on out, it's a whirlwind of different riffs and tempo changes, with everything from the ultra-heavy to the more esoteric progressive lines.  They even add some well-placed keyboards on a couple parts.  The last couple minutes of the track break into something of an offbeat jam session that I could have done without, but 

As usual with demos, the mix leaves something to be desired, with the drums and vocals sounding a little too dry at times.  Still, Obscure have done well with their first demo and there is a lot of potential for the future.  The song "Dorian Gray" in particular should gain these guys some fans in the prog-metal circles.  More info: http://ivorygate.com/obscure/
[Daniel Hinds]

ORATORY
Last Prophecy (EP)
(Recital)

"The Other Side of the Sea" is an epic, 7+ minute track that starts off with some prog-metal riffing before diving into some serious melodic speed metal.  Elements of bands like Stratovarius, Rhapsody and even Nightwish are blended together to form Oratory's own unique style.  "Last Prophecy" is but a short, spoken segue into the Gamma Ray-esque "Life In Another Star," which features some nice guitar-work and harpsichord-keys.  Vocalist Ana Lara gets to express herself more as she tackles the intro to the final track, "Oratory."  Her high, ethereal voice works best on this track and I'd like to hear her handle more of the vocals in the future.

Oratory still have some room to improve, as some of the transitions (particularly in "Oratory") could be smoother and the ending of "The Other Side of the Sea" is a little awkward.  All in all, though, I was pretty pleased with this EP and look forward to their debut full-length.  More info:  http://www.oratory-band.net
[Daniel Hinds]

OTYG
Sagovindars Boning
(Napalm)

Although I enjoyed Otyg's debut, Älvefärd, Sagovindars Boning improves on it in almost every respect.  The production is richer, the songs are tighter and more memorable and artwork is incredible.  Utilizing the standard 3/4 folk time signature, the songs are driven home as much by Cia Hedmark's violin-playing as they are by Vintersorg's deep, textured vocals.  While there is a good deal of heavy guitar on the album, it never detracts from the somewhat upbeat flavor of the tunes themselves.  The band also utilize a good deal of acoustic passages, making for a well-balanced record.

Another secret weapon in the Otyg arsenal is Cia's singing.  She may not be the greatest vocalist of all time, but she has a very pleasing, unique voice and it complements Vintersorg's very well on tracks like "Årstider."  If anything, I think she should be given more leads next time around, but perhaps because Vintersorg wrote all the music and lyrics, he was more comfortable handling most of the vocals himself.  And of course, he does an excellent job, too, as one listen to tracks like "Mossfrun Kölnar" and "När Älvadrottningen Kröns" will prove.  He even gets to sing in English on the band's wonderfully original (and highly folkified) version of Dio's "Holy Diver."

There are a couple of rough spots, most notably the rather coarse flute solo on "Galdersbesjungen," but for the most part this is a very strong record.  Fans of bands like In Extremo and Skyclad will no doubt find something familiar to latch onto here, but I think Otyg have a much more folk-oriented feel than the others and that, coupled with the Swedish lyrics, really give them a distinct sound.
[Daniel Hinds]

RAIN FELL WITHIN
Believe
(Dark Symphonies)

Vocalist Dawn gets the credit for giving the band most of their unique charm, as her operatic voice soars over the melody-rich riffing and double-bass drumming.  The closest comparison I can come up with is Tarja from Nightwish, but you'll never get the two confused and the music is even less similar.  On first glance, this five-track CD might appear to be an EP, but once you realize that 4 of the tunes are 8+ minutes in length, you realize this is a full-on album with some very involved compositions that can't be digested in just one sitting.

Musically, the band use a lot of melodic and harmonic metallic riffs, incorporating both heavy and clean guitar whenever needed.  Dawn also adds some keyboard work, but it is fairly subtle and Believe is definitely a guitar album.  All five tracks are quite good, with each one taking the listener on many twists and turns.  "Sorrow Becomes Me" is one of my favorites, as it starts off pretty mellow, builds into a slightly heavier atmosphere, then takes a right-turn into dream-land with a really unusual mid-section.  The shorter closing track, "The Sun in My Wound," shelves all of the rock elements to allow Dawn to really dazzle us with her singing and keyboard work.  It is beautiful and haunting at the same time and makes for a perfect ending to the album.

After surviving the 90s, I've become almost conditioned to expect less than stellar results from American bands, but more and more I'm being blown away by homegrown acts.  Rain Fell Within will surely make an impact with this release and, considering how good they are on this one, there is no telling what wonders the future has in store for us.  More info: http://www.rainfellwithin.com/
[Daniel Hinds]

SCARY VALENTINE
Gorgon
(self-released)

The title track starts things off and sets the mid-tempo pace for the rest of the album.  It is also the only song to feature guitar, though even here it is used in a fairly subdued way.  "Go To Hell" displays some of the band's more electro influences without killing the atmosphere.   The band use some very effective multi-tracking on the vocals near the end.  Writing catchy choruses isn't really what the band are all about, but they do deliver those too on occasion ("Trying To Hide").  Some movie samples are thrown in on a few tracks, with rather mixed results.  Fortunately, this element of the band's sound is kept to a minimum and doesn't detract too much from the otherwise dark, melodic music.  The album reaches a state of nearly ambient relaxation by the final track, the beautiful "Ophelia."

While many bands make the attempt, Scary Valentine succeed in creating a sound that is just at home in a crowded dance club as it is chilling out in bed at 3 in the morning.  The spectre of electronica can be felt around the edges of Gorgon, but it is kept at bay by the rich vocals and strong songwriting throughout.

Trying to make comparisons to other bands is tough, but here goes:  imagine a fusion of Lassigue Bendthaus, Collide and Switchblade Symphony.  The elusive nature of the band's sound is certainly a point in their favor and I'd be very surprised if they didn't get some serious label interest from this release.  More info:  http://www.scaryvalentine.com
[Daniel Hinds]

SENTENCED
Crimson
(Century Media)

Next to Amorphis, Sentenced are probably Finland's best known metal export and the 90s saw them progress from a brutal-yet-melodic death metal act into the emotionally-charged heavy metal band they are today.  Like a mix of Metallica, goth and 70s rock, Sentenced have truly created their own sound.  It's heavy, beautiful, haunting, catchy and strangely comforting, in its own depressive way.  Best of all, it sounds very fresh and modern, without falling into any of the current trends.

Stylistically, Crimson is definitely a continuation of Frozen.  Where that album was perhaps more upbeat and exacting, Crimson has a generally slower pace, more melodic riffs and a slightly looser feeling.  Like every Sentenced album I've ever heard, Crimson is not immediate.  Upon first listen, it may seem a little lethargic and overwrought, but further spins reveal its true nature and the songs really take on a life of their own.

The main strengths that Sentenced has are the lyrics, the vocals and the melodies.  Guitarist Sami Lopakka write nearly all of the lyrics and has a beautiful way of expressing some of the darkest emotions.  Tales of loss, loneliness, and suicide are crafted in a way that is both personal and very real.  Like a good horror movie, his words take you through a negative, dismal world, yet leave you feeling somehow better at the end.  You get to experience your fears vicariously and come to terms with them.  Vocalist Ville Laihiala  delivers them perfectly, too, with his mournful and gruff-yet-melodic style.  Underlying all of this are some of the most memorable melodies you could hope for, with choruses to songs like "Killing Me, Killing You" and "No More Beating As One" destined to be lodged in your brain permanently.

Picking out specific songs for praise is difficult, as the album is consistently good throughout.  "Dead Moon Rising" has an awesome chorus, while "The River" has some of the best vocal lines.  Album closer "My Slowing Heart" is built around a simple but heavy riff pattern, with some nice acoustic guitar grafted on top.  Although this album is certainly mellower than any previous Sentenced disc, they resisted the temptation to include any out-and-out ballads.

Before ending, I must also comment on the stunning cover art by Dark Tranquility's Niklas Sundin.  His previous work for bands like Gardenian and Eventide has been impressive, but the Crimson cover is one of his best yet and makes me wish I had an LP copy of this album.  The icing on the cake, to quote a cliche, making this one of the must-have albums of 2000.
[Daniel Hinds]

SND
Cassette
(Mille Plateaux)

STEEL PROPHET
Messiah
(Nuclear Blast)

The title of album opener "The Ides of March" is strangely appropriate, as vocalist Rick Mythiasin is a dead ringer for early 80s Bruce Dickinson (okay, so Maiden's "The Ides of March" was during the Di'Anno days and an instrumental at that, but work with me here...)  By the next track, though, it becomes clear that Rick has more going on than just being able to sound like Bruce Bruce at his best.  Songs like "Vengeance Attained" and "Earth and Sky" allow him to really show off the clear, more melodic side of his voice.

While some of the tracks slip toward mere filler material, the majority are quite good.  "Dawn of Man" shows the speedier side of the band, reminding me a bit of pre-Kiske Helloween, while "Unseen" matches quirky riffs with an unusual arrangement for one of the album's most distinct tracks.  "07\03\47" is a thrash-injected assault that must surely be a stormer in concert.  "Ghosts Once Past" starts with some ill-advised piano runs but eventually settles down into a nice, heavy groove to close out the album.

Musically, Steel Prophet are immediately recognizable as a classic metal band, but avoid the trap of imitating any of the pioneers.  Moments here and there remind me of bands like Jag Panzer and Accept, but overall the sound is pretty unique.  The guitarwork on Messiah is particularly impressive, more because the leads tend to complement the songs rather than just impressing with their speed and fluidity (though they do that as well).

Messiah is not a brilliant, must-buy kind of album, but it is a very good, solid metal album.  Steel Prophet seem like one of those bands that is destined to be something of a cult band, not unlike Holy Terror or Warlord.  Many people may never hear about them, but the ones who do will be glad they did.
[Daniel Hinds]

THERION
Deggial
(Nuclear Blast)

Deggial, while treading pretty much the same territory, just doesn't seem to have the same depth or energy.  Part of the problem is that it really does follow too closely to what the band has already done with Theli and Vovin.  Both the male and female singers are very impressive, as are the choir sections, bringing to mind Laibach's Jesus Christ Superstar at times.  Unfortunately, the metal side of the coin (ironically, the playing field where Therion first developed) is far less interesting.  Too often, the riffing is just generic and workmanlike, not serving any real purpose.  Also, the cool middle-eastern influences from Vovin are mostly gone, with nothing new to take their place.

Personally, I would have liked to have seen mainman Christofer Johnsson ditch most of the guitars in favor of really concentrating on the other instrumentation and the vocals.  Granted, that might not sit well with Nuclear Blast (a metal label, after all) or some of the band's fans, but it would have made for a far more interesting record.  Therion desperately needs to push themselves in a new direction and that could have been just the ticket, but alas, we'll have to wait and hope for more inspiration next time out.

This review probably sounds pretty negative, so I'd like to point out that there are some definite good points about Deggial.  The production is great, the mix is perfect, all of the playing and singing is top-notch.  There really aren't any bad songs, either, just a lot of good-to-average ones.  Vovin set some high expectations and, unfortunately, Deggial just doesn't deliver on them.  If it were the first release from an unknown band, I think I'd have a lot more praise for it, so I leave it up to the reader to decide if they need another, slightly less epic version of Vovin or not.
[Daniel Hinds]

TOURNIQUET
Microscopic View of a Telescopic Realm
(Metal Blade)

This is one of those albums that, no matter how many times I listen to it, just leaves me flat every time.  The production is very crisp and the playing (some of which is quite technical) is superb, but there isn't one song in the pack that makes me go, "Wow!"  Or even, "Hmm!" for that matter.  The song I liked best was "The Tomb of Gilgamesh" and that only because it has the same main melody as "Gangsta's Paradise," which I found kind of amusing...

Tourniquet has been around forever it seems and does deserve credit for at least creating a fairly original sound.  Comparisons are impossible and even describing their approach is tough.  The songs tend to be long (6+ minutes) with a lot of change-ups, ranging from powerful speed metal to softer, almost folky sections.  The vocals also range from clean and melodic to a harsher, more hardcore feel.  If they stuck with just the really fast, aggressive style and wrote some more compact songs, they might have a chance.

The tagline for these guys is "Christian death metal."  Well, Christian they may be, but this is by no stretch of the imagination death metal of any variety.  Perhaps their older stuff was?  I know I've heard one of their previous albums but I can't for the life of me remember what it sounded like (I'm sure I'll be saying the same thing about this one in a couple years, too...)
[Daniel Hinds]

TRIUMPHATOR
Wings of Antichrist
(Necropolis)

"Infernal Divinity" takes no prisoners from the get-go.  Drummer Fredrik (of Marduk infamy) drops the blastbeats like they were going out of style, while Arioch (Funeral Myst) rips out some speedy riffs and delivers an unholy vocal barrage that is somewhere midway between death and black metal.  "Conquered Light" continues in the same vein with a killer, dark riff, while the intro to "Heralds of Pestilence" offers a brief instrumental respite from the storm.  The rest of the track immediately makes it clear there is no escape, however.  "Crushed Revelation" attempts to build an immense atmosphere of evil, but the occasional drum beats and cymbal crashes are too far overdriven, making the sound a little too messy.  Things get right back on track with "Redeemer of Chaos," though, and the rest of the album speeds by in a blind rage.

The main brain behind Triumphator is bassist Marcus Tena (head of Shadow Records), as he formed the band and is the key songwriter.  Sadly, like most black metal releases, his bass playing gets rather lost in the chaos.  Other than that, though, the sound on Wings of Antichrist is top-notch.  Recorded at The Abyss, the drums are thick and the guitars roar, further enhancing the band's vicious attack. 

Wings of Antichrist can be entrancing and invigorating or simply tiresome, depending on what mood you're in, but it never fails to be intense.  So often, you hear bands that try to make a completely OTT attack on the senses and end up falling short for various reasons (Marduk themselves have been guilty of this in the past), but Triumphator have succeeded quite well with their debut.  It's not the greatest black metal album ever released (and certainly not the most original), but it is still a damn fine record and precious little out there can match its utter brutality.
[Daniel Hinds]

UNHOLY
Gracefallen
(Avantgarde)

For nearly ten years now, Finland's Unholy have been cranking out their own distinct brand of doom.  Some of the band's earlier eccentricities have blended into the background, but there is no shortage of huge, lumbering riffs on Gracefallen.  Vocalist Veera Muhli offers some wonderful, silky vocals that just kind of glide over the mountains of guitar-heavy doom below, resulting in a somewhat trancelike feeling.  Just so you don't get too comfortable, though, bassist Pasi Äijö counters her angelic voice with a crushing death growl that is surprisingly effective.  The band also employ keyboards to good effect, adding atmosphere to the proceedings without losing any of the heaviness. 

There is a certain vibe that oozes from this album that reminds me of Angelo Badalamenti's work for David Lynch.  Part of it is the hypnotic, dreamlike arrangements and part is Veera's voice, which reminds me a bit of Julee Cruise (who recorded two albums with Mr. Badalamenti and Mr. Lynch).  As much as I admire Pasi for being one of the better deathy vocalists I've heard in a while, it always kind of breaks up the mood when his voice comes storming into the mix.

Gracefallen isn't the kind of record you put on at a party, nor is it likely to ever be heard on the radio.  It is too repetitive and drawn-out to be concentrated on fully either, at least in a conscious way, but it does make for one hell of a great mood-setter.  This is night-time, headphone kind of music, guaranteed to take you far away (but not guaranteed to return you home safely...)
[Daniel Hinds]

UNITED
Distorted Vision
(Howling Bull)

Well, 2000 has arrived and United are back in full force.  With Distorted Vision, United have done a good job of melding their old-school musicality with a harder, more hardcore approach.  Part of the change comes from new vocalist Shinichi Inazoo, who has a very gruff, hardcore singing style.  The band also enlisted Vincent Wojno (SOD, Machine Head) to helm the production chair, giving the album a very tight, brutal sound.

The songs on Distorted Vision are all reasonably good with a couple of standouts.  "Color" shows a more melodic side to the group, featuring some actual singing from Inazoo.  A good deal of the tunes also feature top-notch solos amidst the crushing power-chords.  "Locked Inside" boasts some truly strange riffs and the album's most memorable chorus.  "Change" is a slower, more ponderous track, while the album finisher "Revenger" is an all-out assault of hardcore speed and fury.

Anyone expecting this to be classic 80s thrash will be sorely disappointed.  While I must admit I do miss the older sound of United, they have at least done a good job of transitioning into a more modern sound.  Unlike other bands, they have retained at least some of the elements that made them so good in the past (i.e. the kick-ass leads).  Whether they will be able to compete in such a crowded genre remains to be seen, but I would heartily recommend this album to fans of newday Pantera, Machine Head, Agnostic Front, even Prong.
[Daniel Hinds]

YELLOW MACHINEGUN
Spot Remover
(Howling Bull)

"Again" is a great opening track, as it starts with a cool, mid-tempo riff before shifting gears and beating you senseless for a good minute and a half.  "Need" features some great start/stop riffing and odd rhythms.  The band mix things up from song to song, never allowing the album to stagnate.  Also, there is a good blend of metal influences (the aforementioned "Again" and "Shut Your Mouth"), punk ("Freezer") and just straight-up hardcore ("Hip Tail" and "I Know").  Generally, though, Yellow Machinegun's music touches on all bases, a fact even more amazing considering the average song length is between one and two minutes.  The glaring exception is the closing track, the 8+ minute behemoth known as "Eat Hat Fat" (and, yes, the English lyrics make about as much sense as the song titles do...)  After an extended atmospheric intro, the song drops into a very slow, doomy riff that drives the rest of the track, though it picks up the pace in a few spots, too.

The productions on Spot Remover is also of the no-frills variety, but it is rock-solid and matches the music very well.  The playing at times reminds me of S.O.D., just in the respect that it is obvious they are all gifted musicians and could be playing much more complex music if they wanted to.  Kaori Okumura's vocal delivery is harsh, brutal and is perfect for the band's style.  Unlike some women who attempt an extreme vocal style and end up sounding forced, her delivery is very natural and convincing.  Also, she does some actual singing on "Eat Hat Fat," which works equally well.

It's cool to see Howling Bull get US distribution for their bands and Yellow Machinegun are the best one yet.  Don't let the band's innocuous image fool you - this is one kick-ass album!
[Daniel Hinds]