500 & CRAVE
Channel 51 (CDS)
(Feline)

"Channel 51" has a very modern alternative rock feel to it, reminding me of certain dreamy-pop British acts that I've heard on the radio over the past few years (The Verve maybe?).  The vocals are melodic and on the brink of being whiny, while the guitars are lazy and kind of drift around underneath.  "Vulgar" gets a little bit more of a groove going, while "BattleBack" has that tuneless "trying to rock but failing" feel to it that so many alternative bands suffer from.

For this kind of music, it is well-played, especially the guitar bits, but that's about all I can say about it positively.  This is so not my bag, I have no frame of reference, but suffice to say - I didn't like it.  If you can stomach Brit-pop and 90s alternative 'rock' then by all means check it out.  More info:  feline.records@mailcity.com
[Daniel Hinds]

A MURDER OF ANGELS
While You Sleep
(Middle Pillar)

The music is made up of mostly ambient soundscapes, generally dark and evil sounding in nature. Occasionally, such as on opening track "Necrosis Reversal," some more traditional elements make an appearance - mostly strings.  They weave different textures into their songs, from unique atmospheres to more haunting rhythms.

This album works on many different levels.  You can use it as a soundtrack for whatever you have going on, let it soothe you to sleep or actually sit and listen to it, due to the complexities of the compositions.  This is probably due to the sheer professionalism on this album; the recording matches the compositions.  In terms of sheer spookiness, this makes bands like Marilyn Manson sound like Britney fucking Spears.
[Victor Mejia / Daniel Hinds]

AGATHODAIMON
Higher Art of Rebellion
(Nuclear Blast)

"Ne Cheama Pamintul" starts things off on the wrong foot.  The track is slow - not in a good doomy way, but more like it just can't get going - and never really changes.  The vocals are clearly the real weak point for Agathodaimon, however, falling into that gurgling blackened style that is far more irritating than it is scary.  "Tongue of Thorns" is much better, with a heavier and considerably cooler riff, but things fall apart again on "A Death in Its Plentitude."  Perhaps the band was aiming to tighten up their song arrangements on this album, eschewing complexity in favor of one or two riffs per song.  This is a fine approach if you can pull it off, but for the most part, they don't.  "When She's Mute" gets the pendulum moving in the positive direction again and features some surprisingly effective clean vocals which, coupled with the string-heavy keyboard lines, lend the band their gothic edge.  Halfway into it, though, they kill the vibe with those god-awful vocals again.  Oh well.

Stuck right in the middle of a series of yawn-inducing tracks is "Novus Ordo Seclorum," the only real highlight of the album.  This track is an epic ballad with some beautiful clean guitar passages and powerful, clean vocals throughout.  The overall effect is like a melancholic power metal band - perhaps the band's true calling?

If the band could focus on the heavier riffs, the clean singing, the symphonic keys and the more involved song structures, I think they could really make a hell of an album.  On Higher Art of Rebellion, however, those elements are spread just a little too thin to make it worth listening to.  I suppose some credit must be given for at least pursuing a fairly unique style and not falling in with the Dimmu Borgir and CoF crowd (though they seem to get stuck there by the press anyway).

On a side note, does the band have some obsession with Suicidal Tendencies?  First there is the album title, but then there is someone hanging upside down in the band photo on the back.  Coincidence...?  Probably, as it would be too weird otherwise...
[Daniel Hinds]

AGENT STEEL
Omega Conspiracy
(Candlelight)

The biggest change on Omega Conspiracy is the loss of original vocalist John Cyriis.  Apparently, it was his eccentricity that derailed the band in the first place, so the new Agent Steel has enlisted the vocal talents of one Bruce Hall, who does an excellent job filling John's shoes.  He may not be quite as distinctive, but he's got just as much range and can really nail those high notes when need be.

"Destroy the Hush" kicks off the invasion with a classic mid-tempo thrash approach.  Bruce's powerful vocals are backed by some almost hardcore-like group choruses, also a big thing among thrashers of the late '80s.  Fans of classic Anthrax and Overkill will love this stuff, as Karlos Medina's bass really shines through the mix much like D.D. Verni and Frank Bello.  "Illuminati is Machine" starts off with some nice harmony guitar bits, before leading into one of the album's speedier tracks, with Bruce reminding me a lot of Hades' Alan Tecchio at times.  "New Godz" hints at classic Maiden and really showcases the awesome talents of both guitarists, Juan Garcia and Bernie Versailles.  The band also demonstrate that they haven't been living in a cave, either, as some more modern elements creep into "Know Your Master" without sacrificing the classic speed/thrash basis that is Agent Steel's foundation.

The album makes something of a detour at song number seven, "Awaken the Swarm."  This seven-minute epic is much slower and more melodic, though it does pick up at a couple points to approach a thrash gallop.  "Into the Nowhere" is back to the speedier approach, but sounds more in line with bands like Iron Savior and Gamma Ray, with some of the strongest vocal melodies on the album.  "Bleed Forever" begins with some nice, Savatage-like piano and acoustic guitar and turns into a real power ballad in the classic metal style.  Album closer "It's Not What You Think" begins with probably the album's heaviest riff and evolves into a heavy version of modern Fates Warning.

It is amazing how many great 80s bands have gotten back together in recent years - Jag Panzer, Venom, Mercyful Fate, Destruction - with the results by and large being very good.  Add Agent Steel to that list and one of the more welcome ones, too, as their career was cut short after only 2 albums and an EP.  Omega Conspiracy retains all the elements that made them one of the best lesser-known thrash acts of the late 80s and should do well to reignite interest.
[Daniel Hinds]

ALIEN SEX FIEND
Fiend At the Controls
(Cleopatra)

If you're unfamiliar with the ASF sound, it's a strange brew - five parts punk, three parts goth, no parts pop, ten parts mayhem and fun.  Made up of Nick and Mrs. Fiend, the band has been around since the early 80s, hailing from London.  Owing to the diverse source material gathered here, the quality of the recording fluctuates wildly from one song to the next.  So does the sound, for that matter.  Nick's raw vocals (and let's not forget his chants) are the main element that tie everything together.

Picking out favorite tunes is difficult (for many reasons), but "Smells Like ****" seems to somehow rise to the surface.  One of the cooler discoveries on this comp. is the previously unreleased "Ain't Got Time To Bleed (alternate mix)."  Then there are the rather unexplainable tracks, such as the 38-second "In and Out of My Mind (version edit)."

Disc two is more of the same wackiness.  If you love the Fiends, you will no doubt want to get this collection.  If not, you're probably better off starting with one of the others.
[Victor Mejia / Daniel Hinds]

BAL-SAGOTH
The Power Cosmic
(Nuclear Blast)

While I'm still waiting to get their first two discs, I have been exposed to their last work, Battle Magic.  While this follow-up doesn't quite come up to the level that that album did, it follows in a very similar vein and definitely holds its own.  "The Empyreal Lexicon" is an early highlight, combining high-speed drumming, spoken narrative, shrieking blackened vocals and plenty of OTT horn-laden keyboards.  All the elements work together strangely well to create a sound that is triumphant, reeking of many glorious victories on the battlefield. 

The band seem to have always decorated their records with lyrical fare based on a mish-mash of historical, fantasy and sci-fi elements.  While I have no idea what they are going on about, it doesn't really matter.  The music itself tells the story and I feel at times that Bal-Sagoth would almost be better served steering in a more instrumental direction.  The majesty of the music rivals the most inspired soundtrack work out there, outshining most acts that dare to use words like 'symphonic' or 'epic' to describe their sound.

So where exactly does The Power Cosmic falter in comparison to Battle Magic?  I think it's more of a perception thing on my part, actually.  Battle Magic was like a breath of fresh air, an unusual and inspired variation in the increasingly stagnant black metal scene.  The Power Cosmic may be just as good, but it is very similar in style and so it loses that initial 'shock' value, if you will.  Also, something about the drumming seems a little too mechanical.  Maybe it's just the way they are mixed, but it is kind of distracting after a while.

Overall, though, this is a strong release, a reaffirmation of Bal-Sagoth's might and skill.  For so long, bands who worship imagination and musical dexterity have been banished from these shores, but things have finally started turning around.  With bands like Blind Guardian, Angel Dust, Sinergy, Stratovarius and now Bal-Sagoth getting US releases, things are definitely looking up for a bright year 2000.
[Daniel Hinds]

BIF NAKED
I Bificus
(Atlantic)

The album as a whole is pretty consistent, though there is a great deal of variety between songs.  "Spaceman" is a good example of her tripped-out lyrics and also features one of the album's best grooves.  "Moment of Weakness" is the coolest cut and the one truest to her punk rock roots.  Like many of her songs, the lyrics are about relationships.  Even when they seem to be negative, there is a certain optimistic undertone to them.  "Lucky" is one of the darker-sounding tracks, with melancholy lyrics.  "Chotee" is another example of Bif at her best, doing the punk thing.

The packaging on I Bificus is charming, featuring little cartoon drawings done by Bif along with comments on the album.  Completing the booklet are some kick-ass photos of Bif herself.  It's nice to see someone take the energy to package their CDs nowadays.

Although this is a good album, I have the feeling she would sound even better live.  The energy of the songs would flourish in this medium.
[Victor Mejia]

CATHEDRAL
In Memoriam
(The Music Cartel)

This release is an interesting little time capsule, consisting of the band's first demo (circa 1990) and a live performance in Holland (1991).  The four demo tunes sound remarkably good, considering they are taken from a demo recording done ten years ago.  The indescribably slow and heavy "Mourning of a New Day" kicks things off, followed by "All Your Sins," "Ebony Tears" and the appropriately titled "March."  With guitars tuned way, way down and vocals that are grim and gravelly without falling into death metal territory, the band reference Sabbath, Trouble and maybe even a little Candlemass with their sound.

The live tracks don't sound as good, with the guitars lacking some of the presence of the demo tracks and the drums slightly muted.  For a live recording, it ain't bad I guess, but the vocals are way too loud in the mix for my taste.  The vocals also seem considerably deathier here, another minus for me.  All the demo tracks reappear here, save for "March," along with "Commiserating the Celebration" and "Neophytes For the Serpent Eve."

Cathedral have never been a huge favorite of mine, as I tend to like a little more melody with my doom metal, especially in the vocal department, but I must give them their due.  This look back at the band's start gives a good indication of how far ahead of their time they were and just how influential they have been on the doom scene in the 90s.  Plus, you gotta love any band that can play this damn slow and pull it off.
[Daniel Hinds]

CHRISTIAN DEATH
The Bible
(Candlelight)

My past exposure to Christian Death has been limited to a few of their albums, including the double-live disc, mainly taken from the Valor years.  Although a few songs have impressed me over the years, the majority strike me as being rather tacky, underplayed and underproduced.  Sure, 80s death rock wasn't meant to have a sparkling, pristine sound, but it should still sound better than a demo.

The Bible features tracks taken from various sources, including some recent live stuff and a few older studio cuts.  For the most part, this is the best collection I've heard of Christian Death yet, but it still suffers from some weak tracks and a wildly varying recording quality.  Highlights include the surprisingly clean and moody "Strange Fortune."  The song features some nice acoustic guitar and subdued bongo drums , not to mention the best vocals I've heard from Valor.  "Alpha Sunset" follows in a similar vein, leaving me wondering why the band waste so much time with the droning, guitar-heavy tracks (see "The Nascent Virion" and "Washing Machine").  Another winner is the classic "This is Heresy," which appears here in its original version - one of goth's all-time best basslines, to be sure.  "Zero Sex," one of the live tracks from last year, is the only other cut really worth hearing, featuring another good bassline and some energetic riffing to back up the very-gothic vocals.

The remaining tracks are either mediocre or downright lame.  "Malus Amor" for example sounds like an AC/DC drum loop with silly vocals, while "Pig Half Man" is just plain irritating.  While I wouldn't go so far as to actually recommend this album, if you simply must own something by this band, this is probably one of the better releases you could land.
[Daniel Hinds]

CONFESSION OF FAITH
Children of a Dying Sun
(self-released)

"Eastgo" opens the album and is one of the best tracks on offer, though it is marred by the album's most obvious defect:  the vocals.  Joshua Hinck is an Ian Curtis wannabe, but the delivery ends up being very flat.  In contrast, the next track "Arrow" lacks any direction or passion.  "Sallow Vibe" gets the things back on track, but once again would probably work better as an instrumental.  "Motion Still" has one of the more memorable melodies, but from here on out, the album takes a definite turn for the worse.

The production is okay for a demo-level recording, but lacks any real definition.  With a better recording, better vocals and more compact song-writing, these guys could take the next step.  There is some real potential here, it just isn't fully realized on this album.  More info: http://confessionoffaith.com/
[Victor Mejia / Daniel Hinds]

CONTROL DENIED
The Fragile Art of Existence
(Nuclear Blast)

Opening track "Consumed" really encapsulates everything that is both wrong and right with album as a whole.  The song opens with a cool, complex riff and Tim Aymar's vocals are powerful and soaring.  After a really strong first verse, the band insist on taking a number of rapid detours, many of which are far less enthralling.  Since this is Chuck's baby, I should have expected the progressive arrangements and convoluted song structures, but I still find it more distracting than enriching to the song as a whole.  "Breaking the Broken" continues in a similar vein, combining some Fates Warning-like melodics with power-metal double-bass drumming and more twists and turns.  Here, the change-ups seem to flow better and never wander too far from the song's foundation.  "What If...?" kicks off with an awe-inspiring bassline from Steve DiGiorgio, while "Believe" showcases Richard Christy's drum prowess.

Besides the problems I've already mentioned, I think the main thing holding back this release is the rather uninspired production.  It's all clear and well mixed, but it feels drained of life.  The guitar sound in particular is very generic and a heavier, more dynamic approach to the recording could have really benefited the material.

On the plus side, Tim Aymar is a real find.  He is one of those singers than can sing in a variety of styles and ranges and make them all sound great.  The other musicians, especially Steve and Chuck, are all among the best in their respective fields and do a good job of demonstrating that fact throughout this album.  Also, Travis Smith's artwork in and on the booklet, is very well done and suitably disturbing.

The Fragile Art.. is really a mixed bag, one of those records you just have to listen to and decide for yourself.  For me, the songs just aren't captivating enough to keep me interested, despite the impressive playing, but I think it may just be a matter of taste as opposed to any particular fault of the band.  Fans of Nevermore, Dream Theater, Fates Warning and the like will definitely want to at least check this out, as will the hardcore musician types out there.
[Daniel Hinds]

DEADLIGHTS
Deadlights
(Elektra)

Okay, so what makes Deadlights worthy of a major label deal?  Honestly, I couldn't tell you, but then again I couldn't tell you how Korn got signed either.  In their defense, they do come up with a somewhat catchy chorus here and there and the song "Sweet Oblivion" is a bit of a departure, exploring a kind of 60s-oriented melodic pop sound.  It reminds me a bit of some of the better Brit-rockers out there (and by 'better' I mean 'less awful') and makes for a fairly nice change of pace.  I can see this song doing well as a single, resulting in some rather displeased fans once they acquire the full album.  "Foolish Pride" offers a little more variety, too, with a lighter approach and a slight Smashing Pumpkins vibe.

The rest of the album is pretty uneventful, with a few of the tracks sounding just a little too similar to each other.  Despite a few glimmers of hope, there's not enough of interest here to break out the wallet for, unless you just can't get enough of this type of music.  Ever since they dropped Metal Church and Flotsam & Jetsam, Elektra really has been clueless when it comes to signing harder-edged rock acts and Deadlights, unfortunately, is a prime example of this sad trend.
[Daniel Hinds]

DEMON
The Best of Demon - Vol. 1
(Spaced Out Music)

This 'best of' collection attempts to cover the band's entire career (which is still fully in progress, I might add), taking tracks from nine different albums that span 11 years.  While I would question the wisdom of trying to encompass their entire career (noting especially the lack of certain vital tracks like "Fever in the City"), this is only volume one.  So, many of the gaps will no doubt be filled with volume two (and maybe three...?)

Going in chronological order, we start off with arguably the two best songs from their debut ("Night of the Demon" and "Into the Nightmare"), followed by the three best tunes from The Unexpected Guest ("Don't Break the Circle," "The Spell" and "Sign of a Madman").  These two albums are good companion pieces, as they have a similar style and are markedly different from everything that came later on.  The songs are based on pretty straight-forward, chugga-chugga metal riffs, but are given a great deal of character and depth thanks to Dave Hill's rich and unique vocals, not to mention some great lead work.

The third album, The Plague, is considered by many (well, me anyway) to be the pinnacle of their artistic achievement.  A very sublime concept record, the band integrated a great deal more keyboards and progressive-rock elements into their sound.  Every track on the album is a classic, with only "The Plague" and "Blackheath (parts 1 & 2)" appearing here.  From here, the band managed to create another even more involved concept album, British Standard Approved, as their sound mellowed and expanded even more.  Only one song (the excellent "Touching the Ice") appears here, showcasing the band's increasingly deft use of keyboards and melody.  This was sadly the last album that main songwriter guitarist Mal Spooner would appear on, as he died a mere week after it was completed.

Fortunately, the band carried on, though perhaps in a slightly simpler, poppier direction.  Heart of Our Time may not have been on the same level as the two previous records, but it still showed that Demon could deliver.  Keyboardist Steve Watts took over Mal's songwriting duties and did an admirable job of it.  Breakout, the next record, brought back some of the edge from The Plague days and two of its best cuts, "Life on the Wire" and "Hurricane" appearing here.  Taking the World by Storm was a bit of a let-down as a follow-up to Breakout, but it did possess the beautiful nine-minute epic "Remembrance Day (A Song For Peace)," which was wisely chosen to represent the album here.  Demon's music has always had a very distinctive British sound to it and that is particularly evident on this one.

I'm less familiar with the band's last two studio releases, Hold On To the Dream and Blow-Out, but the three final tracks taken from them show the band coming full circle.  "No More Hell on Earth" follows a similar style to the other latter-day releases, while "The Lion's Share" features a great deal of the aggression and guitar pyrotechnics of the first two albums.  "Visions of the Future II" has a somewhat spaced-out feel to it that is like a new chapter in the book of Demon.  It has some of the prog-rock feel of the middle albums, but with a more involved arrangement and some of the heaviest guitar parts they've ever done.

It goes without saying that Demon is one of rock/metal's most underrated bands, but hopefully they will start getting their due now.  Word has it that the entire back catalog will be remastered and reissued next Spring.  Until then, grab a copy of this disc, figure out which era you like the most, and then go and buy the remasters when they are available.  More info at: http://www.the-demon.com/
[Daniel Hinds]

DISMEMBER
Hate Campaign
(Nuclear Blast)

One of the bands I remember liking from that era (along with Entombed and Vader) is Dismember.  Indecent & Obscene was like a breath of fresh (er, fetid?) air when it hit my stereo back in '93.  The band were brutal as all hell, yet kept things extremely tight and even somewhat melodic at times.  Fortunately, the band has kept at it, releasing two albums and an EP since then, and now the awesome Hate Campaign.

What makes Hate Campaign so good?  It has that feeling of a band that is comfortable with what it is doing, has really found a sound and can concentrate on writing great songs in that style.  The guitar and bass buzz and rumble not unlike Entombed in their glory days, resulting in a thick, extremely heavy sound that suits the music to a tee.  The songs themselves are reasonably straight-forward, but never get tiring.  The band know how to temper the speed, too, not letting it get out of control. 

There is a definite melodic feel to some of the riffing on Hate Campaign, with tracks like "Patrol 17" reminding me of At the Gates or a heavier Dark Tranquility.  The playing is exquisite, too, with some fiery leads and kick-ass drumming, to say the least.  Dismember never let the brutality factor slip away, though, as all the songs are relentlessly heavy and are sequenced together with little or no space between tracks.

The guttural vocals are perhaps a little generic at times, but remain powerful and strangely intelligible throughout.  The death metal 'cookie-monster' vocal approach of people like Chris Barnes is one of the things that initially drove me away from the scene, but Matti Karki falls more in line with the harsh shouting crowd and it works very well with Dismember's grinding sound.

No real standout tracks here, though I will give "Enslaved to Bitterness" the nod for its incredible, melodic riffing and sheer intensity.  The album holds together as a unit, one complete picture.  The production is flawless - loud, raw, up-front and just plain brutal.  That pretty much sums up the album as a whole, actually.  If there was any doubt, Dismember is here to set the record straight:  death metal is alive and well in 2000!
[Daniel Hinds]

DOPE
Felons and Revolutionaries
(Epic)

Wait a minute, though - this doesn't suck like it should.  Sure, there is no hint of originality to be found on Felons and Revolutionaries - if you've heard the above-mentioned acts and Static-X, you've heard this - but Dope generally do it as good or better than any of their forerunners.  The riffs are heavy and omnipresent, the vocals are harsh and distorted (and flanged), and the songs actually include some hooks!  There are some electronic sequences to be had here and there, but they are pretty subdued in favor of the overpowering guitar.  On the unlisted track #8, they do to N.W.A.'s "Fuck tha Police" what Orgy did to "Blue Monday" (I leave it up to you if that's a good thing or not...).

Not much to say beyond that.  The production is clean and up-front, the songs are mostly on the same level quality-wise, making for a very consistent listening experience.  Personally, I can't get into this modern metal scene too much, as I prefer my metal with more melody, musicianship and thought behind it.  Still, Dope surprised me with this release, showcasing some well-crafted songs and memorable riffing.  The comic-book violence of the album art is garish and a bit silly, but I guess it does serve to keep away those folks that probably wouldn't like the music anyway.
[Daniel Hinds]

THE ELECTRIC HELLFIRE CLUB
Empathy For the Devil (2CD)
(Cleopatra)

The first disc is a collection of cover tunes, all previously released except for the INXS track "Devil Inside" and the original "The Bishop's Folly" (from their upcoming crap-o-rama, Witness the Millennium).  It's all rather pointless, as anyone who has had the misfortune of purchasing anything by the EHC in the past has already heard most of the songs anyway.  "Devil Inside" is a pale, grisly venture, mocking what was originally a good song.  If there is one thing that this CD proves, it is the EHC's uncanny ability to make a great song rotten.  To top it off, one of the most notable covers they've done, KISS' "Calling Dr. Love," isn't even on here.  What a bunch of crap.

Disc two is made up solely of the "Halloween Medley" from a past limited edition vinyl release.  Oh the joys to hear the EHC on vinyl!  This fourteen-minute track does feature probably the band's best production work, but that isn't saying much.  If there's one thing that the EHC suck at (and there isn't - there are about 30 or 40), it's production.  And mixing.  Oh god, the mixing!!  The medley runs through the John Carpenter classic movie theme, then off into one of the band's own, "Incubus," before destroying the goth anthem "Bela Lugosi's Dead."  Following that, they take a stab at Type O's big hit, "Black No. 1," where at the very least they sound less like the Sisters of Mercy.

Why Cleo has put so much time and money into this dreadfully pedestrian project is beyond the imaginations of anyone.  What could have easily fit on one CD is spread out over two and packaged in a nice, big digipack for no apparent reason.  Thomas Thorn's liner notes are at least entertaining, but it ain't enough to even think about not avoiding this at all costs.
[Victor Mejia / Daniel Hinds]

THE GATHERING
Superheat
(Century Media)

As much as I have always enjoyed The Gathering, they have never delivered an album that has kept my rapt attention for its entire duration. Superheat has an unfair advantage, seeing as how they have been able to collect the better tracks from each of the last three albums, but it is still the first of their albums to really keep me involved for its entire 65 minute length.

"The Big Sleep" may seem like an odd choice to kick off the album, seeing as how it is one of the mellower cuts from How To Measure a Planet?, but it works beautifully here.  Anneke's vocals are in top form, sounding even smoother and more dynamic here than on the studio records.  The keyboard work by Frank Boeijen comes through even more impressively, too.  From here, the band heads into slightly heavier territory with "On Most Surfaces," followed by a more rocking version of the tune "Probably Built in the Fifties."  The single from the last album, "Liberty Bell," from whence the title Superheat was taken, is up next and delivered flawlessly.

The album heads back into dreamland with "Marooned," a very ethereal track that features some really nice vibes and strings during the last half.  Following it is the equally downbeat "Rescue Me," where Anneke really gets to show off her range and vocal control.  When the guitar really kicks in on this one, it sounds a lot heavier than the album version (this is generally true of all the tracks on Superheat from the last album). 

Bringing back the heavier end of The Gathering's sound, next up is what I consider to be their signature track, the awesome "Strange Machines."  The haunting and majestic "Nighttime Birds" appears next, followed by the somewhat blah (but also short) "My Electricity."  To finish off the album, we get an eleven-plus minute version of "Sand & Mercury," a track that skillfully integrates piano, synth and heavy guitar and has no doubt been an inspiration for many goth/metal acts over the years.  The song veers off into an extended, spacey jam at about the 5-minute mark, but it all comes back together for the finale.  As if that wasn't enough, there is a great live video for the track "Eléanor" added as a CD-ROM bonus track.  It's great to see Anneke dancing back and forth across the stage, as the band plow through one of their more classic numbers.

I'm glad to see that the band still plays a fair selection of their older, heavier material, as I feel they would lose a lot of appeal if they just focused on their newer, more laid-back tunes.  All three of the albums they've done with Anneke at the mic are fairly represented here and Superheat does a great job of tying it all together and making The Gathering's catalog seem more cohesive than it did previously.  It's interesting that they opted for a single-CD live album, especially since their last studio record was a double-CD, but then they've never been too concerned with following trends or merely meeting people's expectations.  With Superheat, The Gathering really establish themselves as one of the 90s most important and artistically successful metal bands.  I'm curious to see where they go from here, but I guess I won't have to wait long, as they are already starting the recording for the new album and it is slated to be out in the summer of 2000.
[Daniel Hinds]

HECATE ENTHRONED
Kings of Chaos
(Blackend)

Perhaps those comparisons became too much for them, I don't know, but when you first put in Kings of Chaos, you'll think it's the wrong band.  After a brief intro, you are greeted with some serious death metal riffing and deep growling vocals.  This song, "Perjurer," doesn't just stop there, though, as it twists and turns until some more familiar black metal riffing and vocalizing eventually emerges.  The melodic, synth-led bridge in the middle is particularly effective and reassured me that the band hadn't lost their touch.

The rest of the album continues in a similar vein, crossing back and forth from death metal to black metal territory at will.  "Blessing in Disguise" is a nice balancing act between the melodic and the brutal, while "I Am Born" travels into Dimmu Borgir land with some sweeping, symphonic string sections that dive headlong into sections of blast-beat-driven mayhem.  "Exalted in Depravity" is a rather odd little instrumental that has some very techno-sounding synths.  The result isn't bad, but it does seem a little out of place.

One thing I appreciate about Kings of Chaos is the brevity of the tracks.  You get 11 songs for a total of 33 minutes, as the band avoid the self-indulgent excursions some black metallers take in hopes of making themselves sound more 'epic.'  Despite the generally short song lengths, Hecate Enthroned make the most of the time, concocting some really involved arrangements.  The description 'death/black metal' couldn't more appropriate for an album than this and I hope it will summon a little more interest and respect for this band.
[Daniel Hinds] 

KARMA TO BURN
Wild Wonderful Purgatory
(MIA)

Amidst all of this fresh experimentation, there is a growing trend to be done with all the artistic artifice of modern music and return to rock's glory days.  Some have opted for the jangly, pop direction of The Beatles, while the whole stoner movement has settled firmly into the early 70s.  Karma To Burn may not be as easy to categorize, but the heart and soul of their sound is distinctly rooted in the 70s rock tradition, with no pretense (or apologies) otherwise.

One of the most surprising things about Wild Wonderful Purgatory is the complete lack of vocals - this is an instrumental hard rock album.  Taking it one step further, the band declined to even give the songs proper names, instead assigning them random numbers between one and thirty-two.  "Twenty" features some Soundgarden-like riffing coupled with a more standard classic rock feel, while "Twenty Eight" brings to mind early Kiss with its simplicity and energy.  "Thirty" shows a heavier side to the band, but by and large, this is the exception rather than the rule.  I mean, all the tracks on here rock, but I wouldn't classify any of it as metal, heavy or otherwise.  The hard-as-nails "Thirty Two" has a definite southern rock vibe, though direct comparisons are again difficult.

Despite the obvious retro feel in the songwriting and playing, there are also many subtle clues that the band are a 90s band and don't want to lose that element, either.  The production is very clean, with a nice bottom-end and a crisp drum sound.  The album art has some very distinct images, whether it's the all-American cowboy on the cover or the scantily-clad woman on the back, that were obviously designed with the constraints of CD packaging in mind. 

Without vocals, the mass appeal of this release may be somewhat limited, but from a creative standpoint, it works surprisingly well.  Granted, some of the tracks allow your attention to wander, but the good ones are pretty evenly spaced out across the album, making for a pretty satisfying listen.  If you find appeal in such no-frills rockers as AC/DC, Monster Magnet, Kiss, Molly Hatchet or even modern-day C.O.C., Karma To Burn might be right up your alley.
[Daniel Hinds]

KREATOR
Voices of Transgression - A 90s Retrospective
(G.U.N./BMG)

First out of the chute is the band's inspired take on Sisters of Mercy's "Lucretia (My Reflection)."  It starts off moodier than the original and builds to the typical Kreator frenzy, letting just enough of the original tune shine through.  The melodic side of Kreator is well sampled, with such soon-to-be-classics as "Chosen Few," "Endorama" and "Golden Age" making appearances.  Previously unreleased cut "As We Watch the West" is the most daring I've heard from Kreator yet, combining watery vocals with gloomy piano for a very dark atmosphere.

On the more aggressive front, we have the raging "Bomb Threat" (arguably the best track from Cause For Conflict), "Phobia" and the unreleased tracks "State Oppression" (which has a very punk flavor, not surprising since it's a cover) and "Inferno."  The really heavy, doomy side of the band is equally well-explored, with the awesome "Black Sunrise," "Outcast" and "Isolation."  Strangely, one cut from the album Renewal (the title track) also appears here.  It's a great song, to be sure, but it seems a little out of place and already appeared on the previous 'best of' collection, Scenarios of Violence.

If you haven't heard modern-day Kreator (or any Kreator for that matter), this is actually a great place to start.  Not only does it give you a good feel for each of the recent albums, but there are enough extra goodies to make it worth keeping even after you go out and buy all of the other albums.
[Daniel Hinds]

LIN
La Folie
(Dune)

Fortunately, the actual music on La Folie is a little less pretentious and far more interesting.  Mixing up elements of trip-hop, break-beat and alternative pop, the band have hit upon a reasonably successful formula.  The songs are propelled by the two disparate vocalists:  June, who provides the smooth, floating female vocals, and UBQT who does the slightly relaxed male rapping.  The two voices seem at odds to each other but actually play off of each other pretty well, mirroring the mixture of melodic, textured synths and harder-edged beats.  Andrea B's guitar completes the circle and everything comes together perfectly on a few tracks, most notably "Are You Feelin' This" and "State of the Art."

La Folie has a pretty wide range of moods, from dancey and upbeat to slow and melancholic.  A number of guest musicians really help flesh out the band's sound, too, adding everything from trumpet to flute to live bass.  There is a real jazzy vibe on a number of tracks, particularly the more downbeat ones.  The rap element is also surprisingly strong, with UBQT doing a good job on most of the tracks.  Sometimes, I feel like his voice could have a little more of an edge to it, but he definitely has the rhythm down perfectly.

Fans of some of the more experimental hip-hop groups in the past, such as Urban Dance Squad and Consolidated, might want to give LIN a shot.  The somewhat contrived feeling I get from a lot of similar acts is also present on La Folie, but most of the material comes across as pretty genuine.  The style is probably still a bit too esoteric for mainstream success, but considering the unwarranted success of acts like MBM and Portishead, anything is possible.
[Daniel Hinds]

LITTLE MISS CONCEPTION
The Plate Glass Fallen Sky (EP)
(self-released)

"In Bliss" starts off with no warning, winding through a classic goth riff, while "Unveiled" utilizes a 3/4 waltz-like rhythm to good effect.  "Angel" drops the drums completely for an even more ethereal atmosphere.  Eve's vocals cover a limited range and become more like an additional instrument, playing off the melancholic clean guitar melodies.   The fuzzy distorted guitar that kicks in during "Cold" is a little overwhelming and doesn't serve the song as well as it could.  "Oselena" is an excellent instrumental that closes out the EP on a high note, combining ritualistic percussion with drifting synths.

There are certainly some hints of early 80s Bauhaus and The Cure, but Little Miss Conception take that sound and make it ever so much drearier.  Usually, I'd complain about the demo-quality production, but here it actually is less of a hindrance, serving to enhance the stark mood.  Personally, I'd like to hear just a bit more variety in the individual compositions and maybe have the band explore the territory covered in "Angel" a little more, but overall Eve has done an admirable job of realizing his dark vision.  More info:  http://www.littlemissconception.com
[Daniel Hinds]

LOCK UP
Pleasures Pave Sewers
(Nuclear Blast)

"After Life in Purgatory" gets things moving right away, as it features some brutally fast drumming and hyper-speed riffing.  Peter's vocals vary between raw rasps and deeper, death growls.  Nick's drumming is intense and pulverizing - how come he never sounded this good in CoF??  Blast-beats aplenty!  The rest of the band fill in the gaps with equal aplomb, though the music is very rhythm-oriented and doesn't allow for much in the way of melody.  "Slow Bleed Gorgon" offers the a brief respite from the relentless speed of the album, but it doesn't last long as the band soon launch into overdrive again for the title track.

Out of all the members' main bands, I would say this reminds me most of Napalm Death, due to its brutality, speed and general lack of melody or other adornments.  There is also a definite hardcore/grindcore feeling to the album that ties in more with ND than any of the others.  Is it as good as any of their main bands?  Not really, but it's still pretty good.  A lot of times, collaborations such as this wind up sounding really weak, as it seems everyone involved wants to keep their best material for their own band, but Lock Up manage to avoid this trap.  In fact, I'd probably rate this higher than the most recent ND, CoF and DB releases, though all three bands have done much better work in the past.  The production is sterling (what did you expect?) and the album art is...well, weird and ugly.  Considering the title, I guess it could have gone in a much ickier direction, so I won't complain.
[Daniel Hinds]

NAÏVE
Post Alcoholic Anxieties
(Kool Arrow)

Though it may not conform to the typical image of one, this is actually something of a concept album.  Each of the songs is titled "Anxiety" 1 - 11, with the lyrics dealing with the everyday grind of post-alcoholic Russia.  For the most part, the lyrics are belted out in Russian, though there are exceptions, such as "Straight Edge."  Don't let the title fool you - it is more of an attack on the straight-edge scene than an anthem.  Most of these tracks aren't anthems, actually, tending to follow more of a cynical path.

There isn't a lot to say about this album.  The production is simple but effective and the songs are all good, straightforward punk songs.  If you're sick of all the crap passing for punk rock on the radio these days, check out Naïve - they are the real thing.
[Victor Mejia / Daniel Hinds]

NOCTURNE
Twilight
(Hollows Hill)

Opening track "Seeing Things" is one of the catchier tracks and features a great change-up in the middle, showcasing Lacey Conner's versatile vocals.  On the flipside, "Spookius Mortem" displays the band's (black) sense of humor.  "A Happy Death" is one of the best cuts and includes a classic goth bassline.  "Hallucination" is frighteningly reminiscent of Ministry's "So What," but if you're judging Nocturne by their originality then you've missed the point.  Not all songs are derivative by any means, and "Pride Must Be Sacrificed (P.M.S.)" revels in its controlled insanity.  Also, how many goth bands do you know that could pull off such a cool cover of Sex Pistols' "Submission?" 

The second half of the album lacks some of the character and energy of the first half and many of the songs begin to sound the same.  Still, the band shows a great deal of potential and the good tracks on Twilight make it worth checking out.  One word of advice:  get a new name.  'Nocturne' is tired and weak, guys.
[Victor Mejia / Daniel Hinds]

PEGAZUS
Breaking the Chains
(Nuclear Blast)

"Metal Forever" couldn't be a more blatant statement of intent.  Referencing classic Accept and Priest in the lyrics, this song just screams, "Retro!"  In a good way, though.  The main riff is heavy, driving and memorable, the vocals are clean and epic and there's even a classic Sabbath-esque drum break in the middle.  Big, chanted choruses let you know that, if Pegazus have any say in the matter, metal will indeed be around forever.

The rest of the album follows in a very similar vein and, fortunately, the quality remains pretty consistent throughout.  Whereas Wings of Destiny had a few good tracks surrounded by mediocre filler, Breaking the Chains is remarkably consistent from top to bottom.  The band wisely enlisted Mat Sinner (Sinner, Primal Fear) to produce the album and it sounds awesome - thundering drums, razor-sharp guitars and plenty of bass.  If I had to pick any standout cuts, I would go with the energetic title track and the epic "Chariots of the Gods," but they are all strong contenders.  Two tracks from the band's self-titled '95 debut are reworked here, namely "Bastards of War" and "Apache Warrior."  Both sound good, but I think the former has survived the test of time more successfully.  A well-done cover of Helloween's "A Little Time" closes out the proceedings.

The weakest element on this album is the same as on the last one - the lyrics.  They tend to range from simplistic to downright cheesy (the Dio-gone-wrong "Queen Evil" takes the cake), yet they seem slightly less so this time out.  Maybe it is the conviction of the singing or the awesome music backing them, I don't know, but it doesn't bother me the way it did on Wings of Destiny.

Pegazus have really struck gold with Breaking the Chains.  Taking elements from classic Accept, Dio, Jag Panzer and Primal Fear, they have concocted a killer sound and written some great songs to go with it.  Retro metal haters will no doubt roll their eyes at this release, but the rest of us will be too busy banging our heads in classic metal bliss to even notice.
[Daniel Hinds]

PROZZÄK
Hot Show
(Epic)

Anyway, I got the album shortly after and it follows a pretty similar path throughout.  Upbeat, electronic-based dance rhythms layered with guitar and vocal hooks is the formula and, for the most part, it works quite well.  The flamenco-style guitar playing on tracks like "Europa" and the aforementioned "Sucks To Be You" is a nice touch, further solidifying the band's unique sound.  There are a few slower, more balladic tunes, too, like the rather weak "Shag Tag (You're It!)" and the more successful "New York."  There is a wistful feeling to all of the songs, bordering on sad at times and mirthful at others.  Milo steps up to the mic for the track "I Like To Watch (Milo's Night Out)," an entertaining poke at the Euro dance scene.  The album ends with a narrative that gives the entire background behind the duo, detailing how these two ancient warriors were transported mid-battle to the present-day and sentenced to search the world for true love.  An epic tale, to be sure...

Although they seem firmly assimilated into the roles of Simon and Milo, I think the two gents behind this rather bizarre album are Jason Levine and James McCollum, who hail from Canada (?).  (Just guessing on these facts, based on the writing and publishing credits).  Whatever the real story is, they have created an album that isn't thoroughly engrossing by any means, but more like something you catch out of the corner of your eye and feel compelled to turn and watch with a mixture of curiosity and disbelief.  A well-made album that is somewhere between mildly distracting and brilliant.
[Daniel Hinds]

RAGE AGAINST THE MACHINE
The Battle of Los Angeles
(Epic)

RATM has always been in their own little world, due in part to Zack de la Rocha's politically hot lyrics, but also thanks to Tom Morello's twisted guitar antics and obvious 70s songwriting influence.  These core elements are firmly in place on The Battle of Los Angeles, with very little noticeable progress.  Songs like "Guerilla Radio" and "Calm Like a Bomb" have the same kind of groove and punch that tracks on the band's debut did and would be right at home on that album.  "Mic Check" is the first track to explore new territory, juxtaposing clean, melodic guitar with vicious, growling bass and Zack's typical ranting-style.  The middle-section reverts to SOP, though, with Tom delivering his usual processor-driven guitar 'solo.'  "Born of a Broken Man" alternates between mellow sections with Zack whispering the vocals and a huge, Sabbath-influenced power riff.  Of the remaining tracks, "Maria" is the only one that really stuck out in terms of being memorable, but there are no terrible ones either.

One thing that has bugged me about every RATM album is the inclusion of a statement like this "All sounds made by guitar, bass, drums and vocals."  What a bunch of crap.  I'm sorry, but I've never heard a band more dependant on signal processors than RATM, with every guitar riff EQed, flanged, distorted, delayed, wahed, or otherwise fucked with, to the point of being unrecognizable.  And what passes for solos on here (and every RATM album) are more like experiments in knob-twiddling than guitar playing.  Which is all well and good - I always applaud bands that make the best of the technology available - but don't they should at least admit it and not cop an attitude about it.

The debut by RATM was successful largely because it sounded fresh and included a number of power-packed, memorable tunes.  The follow-up, Evil Empire, was like deja-vu, with slightly weaker performances all around.  The Battle of Los Angeles makes it clear that the band have no intention of altering their sound one bit, but succeeds with a slightly brasher sound than Evil Empire and a few more interesting tracks.
[Daniel Hinds]

RED GIANT
Ultra-Magnetic Glowing Sound
(MIA)

One of the weaker cuts, "1960 Starchief," starts off the proceedings.  The band immediately establish their '70s credibility with trippy, off-kilter rhythms and psychedelic guitar noodling.  The vocals left me a bit flat, as they are neither melodic nor powerful enough to really match the music, but they get better on other tracks.  "Saturn Missile Battery" is the first track that shows off the band's heavier side, as it revolves around a great riff, but even here the band take a side-journey into the astral plane in the middle of the song.   "When Sirius Rises" (yes, all the song titles are this good) is another of the more rockin' tracks, with a really smooth tempo-change midway through that completely sneaks up on you.

I must applaud Red Giant for obtaining a great album cover for this record.  It has that real grand feel to it that made LP covers in the 70s such an integral part of the album.  Too bad the rest of the booklet makes the band look like some local alterna-rock band, but hey, with this cover I'll forgive them.

This is one of those albums that some people will just massively get into, but I must admit it left me a little bored at times.  There are some excellent songs, but there are just many boring ones and, sadly, the longer tracks seem to provide the least entertainment.  A functional but rather blah production doesn't help matters.  This definitely isn't a metal record, not even a 70s Sabbath kind of metal - more like a shroom-inspired sonic exploration that weaves its way through some stunning scenery, but eventually you wish the air was a little less hazy and the view was clearer.
[Daniel Hinds]

SALLY
Sally
(The Music Cartel)

The music is mostly mid-tempo with some seriously fuzzed-out, tuned-down guitars and simple but groovy drumming.  The band aren't averse to taking some side journeys here and there either, such as the little drum excursion in "Uno."  The playing is good but loose, giving the material something of a jam session feeling at times.  "Rolling Thunder" kicks off with an obvious tribute to AC/DC before settling into a grungier riff more typical of Sally.  A few minutes into the final track, "Sonic Mountain," the band embark on an extended jam that goes from weird to weirder, taking the album into an almost ambient, space-rock direction for its remainder (another 35 minutes or so).

My biggest gripe with Sally is vocalist Lee Smith.  His gruff-yet-whiny voice is just tuneless most of the time, tending to undermine what otherwise could be some cool songs.  Remember how Eric sang on the first two Trouble albums?  Imagine that without any power and you get the idea.  Granted, the production and mix is a bit garage-y to being with, but I don't think six months in a studio with Max Norman would make him sound any better.  Perhaps he brings more energy to the pieces in concert, but in the studio he's far more of a liability to the band.

This is one of those take-it-or-leave-it kind of releases.  Nothing particularly special about any of the material, but nothing bad either (except the vocals).  In a scene that is expanding day by day, Sally will need to come up with something a little more special next time out, but die-hard 70s rockers may still find something here to sink their teeth into.
[Daniel Hinds]

SINNER
The Second Decade
(Nuclear Blast)

If you are unfamiliar with Sinner, they play a melodic brand of powerful heavy metal that relies on catchy choruses and monumental riffs.  Bassist/vocalist Mat Sinner is the driving force behind the band, writing or co-writing all the music and writing all the lyrics.  His voice doesn't have a lot of range (falling in the middle most of the time), but it is clean and has a classic metal power to it.  His involvement with Primal Fear can be noted by the slightly rawer sound on the material from The Nature of Evil, the band's most recent opus.  Structurally, Sinner's music is fairly straight-forward verse/chorus stuff, obviously influenced by the likes of Accept and Priest, but they do occasionally get more involved on some of the longer compositions.

Alongside the album selections (which truly seem to be the best tracks from the various records), The Second Decade also features two unreleased cuts and a cover of Accept's "Balls To The Wall."  The Accept tune is played very close to the original, with only the vocals giving it away as a Sinner track.  Of the other unreleased cuts, "Used to the Truth" is a kick-ass rocker that could easily have been on the first Primal Fear album, while "Respect" is an unusual acoustic track that features some thought-provoking lyrics concerning racial tolerance.

The album is capped off with a CD-extra video track for "Used To The Truth."  Harking back to classic videos of the past, it is a very simple, well-shot performance video and is one of the better CD enhancements I've come across in recent times.  Die-hard fans will want this release for the unreleased cuts, but it also makes a good introduction to non-fans as to what they've been missing these past few years.  No thoughts of calling it quits for Sinner, though, as they have a brand new album all ready to unleash upon the world early in 2000.
[Daniel Hinds]

WEIRD UNCLE BETTY
In Porn We Trust
(Dune)

Trying to describe WUB's style with one or two words is very difficult, as they pick and choose from a number of different genres.  Opening track "Lolita" features a nice, liquid bassline backed by modern electro beats and various repeated vocal samples.  "Wet 'n' Shiny" features more of the same, with a very simple, punk-sounding bassline.  The distorted guitar lines promised in the bio are pretty sparse, but the liven up songs like "Susan's Party Dress" quite a bit, adding a nice rockin' feel to the groovy rhythms.  The resulting effect is not unlike some of TKK's more recent output, but far more freaky.  "Betty's Dirty Peepshow" also uses some guitar but in a much more dance-oriented way.  "Sticky Fingerz" is another album highlight, as it just plain _moves_.

There is an underlying feel of offbeat industrial acts such as Templebeat, but WUB utilize a lot more modern techniques culled from break-beat and other so-called electronica styles.  The lack of vocals also seems to cater to the modern ethic of 'less is more,' though there are times when I felt the music was a little empty without them.  The synth parts in general are also fairly subdued, letting the rhythm and samples drive the music instead.  On the plus side, there is a great deal of variety between songs, with no two really sounding alike.

WUB isn't my usual cup of tea, but I found a number of tracks compelling nonetheless.  Paolo Favati's production is excellent as usual, lending the songs that extra kick of energy.  The blatant sexual themes presented in the song titles and some of the samples is mildly amusing, but in the end it's the quality of the song construction that makes this album worth a listen.
[Daniel Hinds]