ANGELO BADALAMENTI
The Straight Story soundtrack
(Windham Hill)

With The Straight Story, Lynch has taken a bold step away from the dark, nightmarish quality of many of his works (Lost Highway, Eraserhead, et al).  It's a Disney movie, it's rated G and it deals with the true life tale of an elderly man making an interstate journey on his riding mower to see his estranged brother.  While I have yet to see the film, I understand that it is a very effective work.  Simple, and very human.

The score follows a similar path, relying on restraint and space to make its point.  Much like the flat and expansive plains of the movie's Midwest setting, the music rolls along at a leisurely pace - no hills or valleys, just slight nuances and slow bends in the road.  Sometimes, it is almost too passive without the visual element to compliment it, but for the most part it works in its own right.  The few times when things do pick up a bit, there is a nice, mellow folk flavor to the score, but even here the vibe is very relaxed and gentle.

Angelo Badalamenti has certainly proved his talent many times over in the past and this score is yet another example.  The Straight Story is proof that mellow mood music doesn't have to be soulless and mundane.
[Daniel Hinds]

BIO-TEK
Punishment For Decadence
(Doppler Effect)

"Leviathan" is a great opening track, starting with a suitably grave sample and leading into an upbeat EBM track with a driving synthline.  The vocals here (and throughout the album) are of the typical distorted variety you would expect with little variation, but they work reasonably well and don't detract from the music.  There's a great sample that sounds like wind chimes in a hurricane that adds a lot the track, too.  "Eve Black, Eve White" keeps things moving, with a bit more of a synthpop feel in the rhythm section and some :Wumpscut:-like strings and chorus.  "Razorback" is a little too simplistic and relies too much on the vocal samples to carry it, while "Mary Alice" is just boring and uninspired-sounding.

"Steel Against Skin" gets things going in the right direction again, fortunately.  The seemingly unusual choice of cover tune, Placebo's "Pure Morning," actually turns out to be a wise move.  While I always though the original was a bit stupid, once it has been given the Bio-Tek treatment, it actually works.  The lyrics are still hilarious, but that just makes it better.  "Shield" is another mover, with the most intelligible vocals on the album, while "Affirmation" takes a more laid-back approach with some very effective use of chimes and organ.  "Kingdom" starts off okay but never goes anywhere, while "Exegesis" is another sample-driven tune, but this one is far more dynamic and interesting.

Punishment For Decadence is not a perfect album, but it falters only on a few tracks.  The remaining songs are all top-notch EBM/industrial tunes that make this album well worth having.  Jonathan Sharp's integration of vocal samples into his work is quite impressive, a tactic that has either been ignored of late or executed very badly by other artists.  The nicely laid out booklet and bondage-themed photos add to the experience and I guess I can forgive Mr. Sharp for stealing Coroner's album title…
[Daniel Hinds]

CANDLEMASS
From the 13th Sun
(Music For Nations)

With a title like From the 13th Sun, you might expect a further journey into the recently discovered trippy territory, but alas, no.  Leif has decided to create an all-out assault of heavy, slow doom, calling up the ghost of early Sabbath like never before.  "Elephant Star," for instance, is a dead-ringer for "Into the Void," even down to the vocal delivery by Björn Flodkvist.  The epic-length and complexity of classic Sab (and classic Candlemass for that matter) is also brought back to the forefront.  Now, there is certainly a bit of that 70s, psychedelic feel to a few of the tracks (or, more specifically, certain parts of certain songs), but it comes across as very natural.  It's like some of the live jams captured on classic live records of the era, even down to the drum solo a mere 2 and a half minutes into "Cyclo-F," a nine-minute monster of a track that drifts toward St. Vitus turf.

The heaviness of old may be intact, but the approach of Candlemass in 1999 is fairly different.  Whereas albums like Ancient Dreams and Nightfall had a very tight, technical feeling to them that bordered on claustrophobic at times, From the 13th Sun has a very organic feeling to it.  The songs seem to flow and evolve on a whim, instead of sounding planned out on a grid to the most minute detail.  The result is an album that isn't as easy to get into on the surface, but never fails to impress once you've relaxed into its groove.  The technical leads are gone, the double-bass drumming is gone, and Messiah's operatic wail is gone.  If you're willing to deal with those facts, I think you'll find that what has been introduced to take their places is just as compelling.  Leif knows how to write dramatic music and he does it with the same edge and flair he always has.  Everything from the obscure cover artwork to the Voivodian song titles should be a dead giveaway that this isn't just some lame attempt to relive past glories.  From the 13th Sun is a vital record that shows Candlemass are more than capable of keeping up with best of 'em and offering some new surprises, too.
[Daniel Hinds]

COUP DÉTAT
The Overtaxed Sessions
(self-released)

Opening track "Colours Fade" features a rapid-fire synthline akin to the likes of Crisis NTI and Cobalt 60 without the crystalline production.  The vocals are your typical angsty EBM vox, which do little to add to or detract from the song.  There is kind of dirty, grungy feel to the production on this EP in general, giving it more of an edge than some of the more sterile efforts out there.  The grainy movie samples are further evidence of the band's more low-tech approach.  "Mandate" is even more up-tempo, with a more varied approach and more interesting vocals.

The CD takes a slight downturn with "Frozen in Time," a more laid-back track that suffers a bit from the various sound fighting with each other for attention rather than melding together.  "So He Goes" returns the tempo to dancefloor velocity.  This one also suffers a bit in the mix department but makes up for it with a strong, Puppy-esque chorus.  "NATO" is a more experimental, unstructured piece that relies mainly on vocal samples to sell itself.  The result is a bit messy for my liking, but fortunately the disc ends on a positive note, namely the epic-length "Godswork."  The song starts slow and then builds the rest around a simple but very effective progression.  Some cool clean guitar is integrated here as well, giving it a unique flavor.

The packaging and production quality isn't the best, but you certainly decent for a demo release such as this.  Musically, the band has created some tracks with real club potential.  Dark EBM that is full of energy is their modus operandi and the inclusion of live guitar and bass further rounds out the sound.  For more info:  coupdetatt@aol.com
[Daniel Hinds]

CRIMSON GLORY
Astronomica
(Spitfire)

Well, I am quite pleased to say that whatever indiscretions the band may have made in the past are now forgotten, as Astronomica is a wonderful slab of modern power-metal with some actual POWER!  After the appropriately titled "March to Glory" intro, "War of the Worlds" descends and the invasion begins.  New vocalist Wade Black does a great job and is much more of a screamer than Midnight.  The real highlight, though, is the guitar-work of Jon Drenning and Ben Jackson.  The playing is incredibly fluid and the interplay between the two is rich and enchanting.  Not since the classic days of Priest, Maiden and Helloween have I heard such well-executed harmonies.  Fortunately, the production (courtesy of Mr. Drenning) does a great job of equally emphasizing the other instruments, with Jeff Lords thick basslines really shining through.  Last but not least, ex-Sava drummer Steve Wacholz delivers his usual blistering performance.

The rest of the album keeps the quality level up, too.  "New World Machine" is another powerful track, while "Astronomica" features some very melodic and memorable vocal lines.  "Edge of Forever" reminds me a bit of Maiden's "Strange World," mixed with modern Jag Panzer.  There is an obvious sci-fi theme, though without the lyrics I can't decide if it is intended as a conceptual piece or just thematic.  Either way, it is done in a different way from other artists like Iron Savior and Gamma Ray, opting for a more paranoid, X-Files approach.

Crimson Glory clearly made a wise decision to get back together, as Astronomica is strong release and by far the best in the band's catalog so far.  Fans of all kinds of power metal, whether it is Gamma Ray, Savatage, Angra, Blind Guardian or even Dream Theater, will find something here to enjoy.  Let the attack begin!
[Daniel Hinds]

CRYHAVOC
Pitch-Black Blues
(Spinefarm)

Describing Cryhavoc's sound isn't easy, as it doesn't fit nicely into categories like 'death metal' or 'black metal' or 'goth metal.'  The easy answer would be to say it is like Frozen-era Sentenced with gruffer, Amok-era vocals, but that really sells the band short.  They do share some traits with their fellow countrymen, especially in the riff department.  "The Wind," for example, has a very Frozen-esque feel to it.  Vocalist Kaapro does an excellent job of delivering the lyrics in a melodic fashion without losing the power or the gruff edge to his voice.  The music itself seems a little more melodic than on the debut as well, though no less heavy.  The songwriting seems to have just tightened up some, creating these compact, well-thought-out tunes that are as emotional as they are physical.

While the majority of the songs on Pitch-Black Blues are in the same vein as Sweetbriers, there are signs of progress as well.  "The Serpent and Eve" utilizes an unusual start-stop riff during the verses, while "Wild At Heart" sounds a bit like the main riff from Accept's "Breaker" slowed down and features some almost gothic-sounding clean vocals on the chorus.  There is no flashy musicianship to be had here, unlike labelmates Children of Bodom, yet you can sense a definite confidence in the playing.  It's like you know they could easily break loose and let fly with some wild drumming or soloing, but they keep it in check for the sake of the songs.

Cryhavoc may lack a bit in the originality stakes (though I'm sure it could be argued that they came up around the same time as Sentenced started morphing their style, so who's to say what influenced whom), but they make up for it with strong songwriting and playing.  The style is very similar to Sweetbriers, but the songs are more developed, with more interesting melodies, better vocals and just a general sense of confidence that wasn't entirely there before.  Now if someone would just set up a US release for these guys...
[Daniel Hinds]

DEFENDER
They Came Over the High Pass
(Necropolis)

After a strange, kind of ambient intro, "The Siege of Armengar" arrives, swords at the ready.  The song has a great, galloping power metal feel to it and features some great soloing, too.  "High Himalayan Valley" really shows Defender's capabilities, as it is a nearly-nine-minute epic that starts off slow and majestic before building to climactic speedy middle and then returning to finish as it started.  The transitions are smooth and effective, giving the whole thing the kind of impact classic Maiden songs like "Rime of the Ancient Mariner" did without ripping them (or any other band) off.   "Summit Day" is a really cool instrumental that shows off the more melodic side of Defender, focusing on some more great lead playing.  Don't get me wrong here - this isn't self-indulgent guitar-hero stuff at all, just really emotional, well-played metal guitar.  "Dragon" kicks off with some nice acoustic guitar before the distortion swells and a truly unique, medieval-tinged riff takes over.  "City in the Clouds," while certainly not a bad song, seems a little ordinary after all the great tracks that precede it.  "Maze of the Minotaur" is another instrumental, this time with a more pronounced Maiden influence, and then the album closes with the slow, driving "Nomads of the Stars."

My initial reaction to this album was a bit lukewarm and, sadly, one of the reasons was that it wasn't immediately familiar.  I've come to expect that any band claiming to play "true metal" or "classic heavy metal" should have a certain sound and Defender don't have that.  Guess I've been reviewing albums too long…  Anyway, with it firmly in mind that Defender were different, I listened again and was really impressed with what they've put together here.  There are certain ties to the past, such as the medieval themes and powerful playing of Liege Lord, the melodic riffing of Iron Maiden and the majestic arrangements of Manowar, but Defender combine these ingredients in a whole new way.  The result is They Came Over the High Pass, which is sure to be a reference point for heavy metal purists for years to come.
[Daniel Hinds]

H.P.P.
Horse Penis Pants
(Possessive Blindfold)

Maurizio Landini is the man responsible for everything on this oddly named disc and he has a real talent for not only composing interesting tracks but also knowing when to end them.  So many power electronics artists seem to feel that quantity is more important than quality and it is nice to see a differing opinion.

"Re-Education" is a beautiful blend of start-top distorted rhythms, beeps other synthetic effects.  The tempo shifts as suddenly as the drum loops, making for an unpredictable but never chaotic listening experience.  "Private Pray" further exhibits Maurizio's affection for weird, electronic noises that make me think of a truly demented Kraftwerk at times.  "Labia Engine" takes what could have been a drum 'n' bass loop, fucks it up big time, mixes in some completely different beats and ends up with something infinitely more interesting than any of its constituent pieces.  The rumbly "…My Throat" is one of the album's most atmospheric tracks and even has a certain funk feel to its slow groove.

Horse Penis Pants is probably the most impressed I've been with a release of this sort since the last Sonar album and, in many ways, H.P.P. is more listenable.  Maurizio's real talent is at creating intriguing loops and arranging them in an angular yet strangely natural manner.  Italy may not be the first name associated with top-quality electronic warfare, but this album should go a long way towards changing that.
[Daniel Hinds]

INANNA
signal/or/minimal
(Crowd Control)

Mikael's penchant to create lengthy, expansive tracks brings to mind the calmer, more recent work of Namanax.  However, where they rely on repetition and the quality of the sounds themselves, Mikael's work is more like a slow evolution of sound.  The tracks are never static; even if the changes are imperceptible, the compositions are always on the move.  It's a vast, wide landscape.  It may have very similar features for as far as the eye can see, yet no two sections are the same and there is always something new just over the horizon.

Another impressive feature of this opus is the organic feeling the tracks have, despite the obvious synthetic origins.  Perhaps the most impressive display of this is during the fourth track, about halfway through, when one of the album's most machine-like sequences recedes into a digital shower that has the uncanny resemblance to a light rain storm.

Ambient soundscapes such as this are a tricky business from every standpoint.  Having attempted to create a few myself, I know there is a lot more involved than just throwing together some odd noises in a random fashion.  Creating this kind of art is, on one hand, incredibly simple, but creating anything of value is incredibly difficult.  As a critic or a listener, judging that value is also difficult and remains a very personal thing.  I am by no means an expert in this field, but from where I am standing, signal/or/minimal is a well-crafted creation with its own very distinct texture and personality.
[Daniel Hinds]

INDECISION
Release the Cure
(MIA)

What makes Indecision stand out from other bands is…well, frankly, not a whole lot.  Vocalist Artie Philie is a mix of Miret, Lou Koller and pretty much every other NYHC vocalist you've ever heard.  What he lacks in originality, though, he makes up for in conviction, delivering the lyrics like it was his last day on earth.  The complexity of some of the songs is probably the biggest divergence from the usual hardcore approach.  We're not talking Dream Theater or Meshuggah here, but Indecision are good at melding a multitude of seemingly simple riffs into an intricate web of fury.  Rhythm is the all-conquering factor here, with the vocals providing a near-percussive assault to match the bass and drums.

Picking out individual tracks is somewhat futile, as they vary little from each other.  This isn't really a bad thing in Indecision's case, as they do what they do very well and it makes for a solid, cohesive listening experience.  I must admit finding myself a little tired of this style in general these days, opting instead for a little more melody and variety, but I can't deny the quality of this release.  Anyone into bands like Agnostic Front but perhaps wanting something a bit harder (and more metallic) will be surely satisfied with Release the Cure.
[Daniel Hinds]

INFRASTRUCTURE
The Wasteland
(self-released)

"C.E.O." starts off the disc with a bit of a Pankow feel, before some darker samples are introduced and Stacia's vocals kick in.  I really liked the mixture of bleepy electronics with harder, noisier elements, and this is fortunately a trademark of all the tracks on The Wasteland.  "Remain Unaltered" continues in a similar vein, with perhaps a trancier feel to it.  "Solitude" features some effectively double-tracked vocals, while "An Eye For an Eye" has a slightly harsher sound.  "Vultures" creates a great atmosphere that is clinical yet chilling.

If I had to find a fault with this release it would be the somewhat out-of-place vocals.  Stacia has a strange style that is more rhythmic than melodic and I think it actually benefits from the use of distortion and effects.  With music that is relatively minimal and open, the mostly dry vocals just don't have the impact that they could.  "Solitude" is an example of where she experimented more with the vocals and it definitely adds a lot to the song.

The arrangements are interesting, as they don't follow any standard v/c/v/c format, yet never sound static or chaotic either.  This talent and the interesting sounds that she comes up with are bound to garner interest in Infrastructure and make we look forward to hearing a full-length effort.  More info at:  http://www.ultranet.com/~btucker
[Daniel Hinds]

KOVENANT
Animatronic
(Nuclear Blast)

Black metal purists have no doubt given up on this band already, due to the melodic nature of their previous outing, Nexus Polaris. Animatronic pretty much exorcises all remaining ties to the black metal scene, opting instead for gothic and electronic elements, not to mention a bit of the ol' avant-garde ala Arcturus' last one.  "Mirror's Paradise" is fairly straightforward, with a great mid-tempo riff, but "New World Order" really sets the standard on this record.  Featuring a great riff, catchy choruses, well-integrated female backing vocals and plenty of OTT keyboards, it has it all.  Toward the end, it breaks out into some more experimental areas before returning to the main riff to finish in fine style.

Lex Icon (aka Nagash)'s vocal style is still pretty grating most of the time, though he does a number of different voices ala King Diamond.  The operatic female vocalist that is used on a number of the tracks does a great job and complements the music perfectly.  Hellhammer delivers his usual punchy drum performance, with the usual inspired hi-hat work, but he really restrained himself from the usual blast-beat and double-bass assault, much to the album's benefit.  I can't forget Psy Coma either, as his guitar riffing is the real (black)heart of Animatronic.  The sound is full and thick and tracks like "Jihad" and "The Birth of Tragedy" are just crushingly heavy.  The band tend to focus on mid-tempo rhythms most of the time, but songs like "The Human Abstract" and "In the Name of the Future" inject a little speed into the proceedings.

The latest wave, which will no doubt spill over and flourish in 2000, is combining extreme metal (black and death metal) with industrial and techno.  While Kovenant are firmly on the metal side of the equation still, the use of sequencers and synths adds a new dimension to their sound and I hope they can develop these ideas in the future without losing their edge.  For now, though, we have Animatronic and I highly recommend it to anyone into modern Kreator, Sentenced or Cemetary, or even the more adventurous goth and black metal fans out there.
[Daniel Hinds]

MITHOTYN
Gathered Around the Oaken Table
(Invasion)

Gathered Around the Oaken Table is the third album from Mithotyn and, in many ways, it is their best.  The production is improved without sounding slick at all, allowing the drums and guitars to drive forward the battle-ready melodies.  The arrangements are more complex, diving and slashing from high-speed riffing to glorious, mid-tempo refrains, then straight into blast beats.  The vocals are equally dynamic, ranging from black metal grimness to clean and valiant.  Songs like "In the Clash of Arms" also feature some excellent, deep choirs, allowing the whole band a chance to sing.  The contrast between the raspy vocals and the choirs is really put to full use on the song "Chariot of Power," a great song all the way around.  The band's trademark high-speed picking sounds like Iron Maiden possessed - just listen to "Nocturnal Riders" to see what I mean.

My first exposure to Mithotyn, namely their debut In the Sign of the Ravens, left me a bit underwhelmed on first listen.  Sure, the production was weak, but the songs themselves didn't seem to really lead anywhere.  On closer inspection, though, the album did feature some interesting tunes, not relying on catchy melodies as much as on intricate riffs and atmospheric vocals.  With Gathered..., Mithotyn have done both - retained the convoluted structures while coming up with some great, ear-catching melodies.  It's too bad Metal Blade didn't pick up the US rights to Gathered... or the previous album, Kings of a Distant Forest, but, if you're into this style at all, it is definitely worth the effort and cost to get a copy of this album.  Now I just gotta get a copy of Kings...
[Daniel Hinds] 

NEW AMERICAN MOB
All Mob Cons (EP)
(RAFR)

"Shoot Me" has a nice, simple, straight-down-the-line riff and gruff but not harsh vocals, but what really won me over was the singer yelling 'Guitar!' just before the guitarist breaks into a bona-fide solo!  "Mirror Man" fares pretty well, too, with a more classic rock 'n' roll vibe saturating it.  "I Need a Drink" features a cool, memorable chorus, while "College Girls" is perhaps the most energetic track on All Mob Cons.

There's not a whole lot more to say about New American Mob, as they are pretty much a no-frills, WYSIWYG outfit.  Nothing revolutionary is put forth, but if you're looking for a six-pack of gutsy punk rock with a good blend of attitude and melody, All Mob Cons is a sure bet.
[Daniel Hinds]

OOMPH!
Plastik
(Virgin)

From opening track "Das Weisse Licht," it becomes apparent that vocalist Dero has really expanded his palette.  A great deal of the songs feature him singing in a very clean, deep style that adds a lot to the Oomph! sound.  Though he has hinted at this side of his voice in the past, it sounds considerably more developed now.  Fortunately, he has wisely held onto his gruffer singing style as well, allowing the band to cover a much wider range of feelings.  The other development is the inclusion of more synthwork and building the songs around it more instead of focusing just on the guitar.  Using a lot of piano and string sections, the band give songs like "Scorn" and "Always" a darker, almost gothic quality, not unlike the moodier Depeche Mode material of the late 80s.  For one of the album's most unusual moments, Nina Hagen adds vocals to the catchy, music-box melody of "Fieber."

All these changes could lead one to believe that Oomph! have altered course in hopes of making more money, but I can't see that being the case.  The band have kept a firm grasp on the edge that has driven their sound all along, mainly due to the heavy guitar riffing and bombastic arrangements.  Songs like "Keine Luft Mehr" and "Nothing is Real" rock as hard as any previous efforts.  The latter has some nods in the direction of latter-day NIN and Korn, but they manage to keep it firmly in the Oomph! domain.

Plastik is a very freeing album.  While some past releases, such as Defekt and Wunschkind, felt like the band was trying too hard to achieve a preconceived sound that perhaps they felt the fans expected, Plastik is wide open.  It is more melodic, more emotional and has a certain depth to it that has never really been present before.  Oomph! have also tightened up their songwriting a bit, avoiding the lengthy, repetitious passages that tended to kill momentum on certain tracks in the past.  The production is (as usual) sterling and the album art and booklet are very nicely laid-out, carefully avoiding the usual industrial and metal cliches.  Anyone who gave up on the band over the years (as I nearly did) should definitely get a hold of this album, as should fans of Paradise Lost, Moonspell, Rammstein and NIN.
[Daniel Hinds]

PARADISE LOST
Host
(EMI)

Well, maybe I should have paid a bit more attention before running out and buying this album.  While there are certainly some great songs on Host, it is definitely not in the same league as One Second.  Ascertaining exactly what the problem is is difficult, though my instinct is to attribute it merely to a batch of less-inspired songs.  The production is a bit slicker, with a more muted guitar sound and more electronics, but it isn't different enough to really affect the enjoyment of the music.

The opening trio of tunes, "So Much is Lost," "Nothing Sacred" and "In All Honesty," all work quite well.  The band's infatuation with Depeche Mode obviously hasn't ended - if anything, it is stronger than ever.  I mean, just look at those song titles for god's sake!  "Harbour" is the first one to really lose me.  It features some nice, melancholic strings and piano, with a subdued beat and vocals, but it just doesn't go anywhere.  "Ordinary Days" is a great example of 'what could have been.'  Had it been on One Second, the chorus would have been so much more powerful and really memorable, but as it is, it barely rises above the murk of the rest of the song.  Nick Holmes voice sounds better than ever, but he just doesn't put enough power behind it most of the time.

The remainder of the album does offer up a few more gems, though, such as "Permanent Solution," which does a great job integrating guitar and synth, and "Behind the Gray" with one of the album's most memorable choruses.  "Made the Same" is also a winner, with a definite shadow of The Cure hanging over the guitar parts.

Host isn't a bad album, it's just a bit disappointing - a failure to live up to potential.  I think that, stylistically, the band has progressed very nicely and maybe next time out they will have a more cohesive set of songs to go with their new sound.  With the guitars slowly disappearing from view, I could see these guys turning into an excellent synthpop band along the lines of Statemachine.  The band has said flat out that they won't lose the guitars, though, so it will be interesting to see where they head with the next one.
[Daniel Hinds]

RAVEN
Raw Tracks
(Metal Blade)

Raw Tracks is an interesting collection of rare and live tracks spanning the band's entire career.  Early winners like "Firepower" and "Don't Need Your Money" appear here in revved-up live versions, with the latter featuring a particularly effective audience participation during the chorus.  One of the most enlightening things on Raw Tracks is the inclusion of songs from the 'commercial' albums, namely the Atlantic releases Stay Hard and The Pack is Back.  While the originals seemed to lack the usual Raven lunacy, the live versions featured here show that it was merely a case of overproduction.  Songs like "Get It Right" and "Extract the Action" sound great here and fit right in with the rest of the material.  Some of the more uncommon tunes includes a very different demo version of "The Savage and the Hungry," the mid-tempo grinder "Barbarian" and a couple of cool cover tunes (Janis Joplin's "Move Over" and Queen's "Tie Your Mother Down").  The Queen tune in particular seems quite appropriate and might shed some light on what inspired Raven's sound in the first place.  More recent albums aren't left out either, as the exceptionally heavy "Altar," "Juggernaut" and "White Hot Anger" demonstrate.

Granted, Raven is something of an acquired taste, due in part to John Gallagher's unique vocals and the band's frantic riffing style, but there is no denying them their place in metal history.  I was a huge fan during the band's glory days (Rock Until You Drop, Wiped Out and All For One), but started to lose track of them in the early 90s, circa Architect of Fear (a killer album, BTW).  Fortunately, Metal Blade have made this highly enjoyable slab of raw, rockin' metal available to rekindle my interest and, no doubt, many other former lunatics.  With a brand new studio album also just released (titled One For All) and this collection out, it seems these Brits are back in full force heading into the new millennium.
[Daniel Hinds]

SNEAKY BAT MACHINE
Boneshaker (EP)
(Darkbeat)

Out of the four tunes on offer, the remix of "Boneshaker" is by far the catchiest.  It has this cheezy little synth hook that is as amusing as it is memorable.  "Little Lost Ghost" follows a similar but more spaced-out path, while "More or Less" builds a little more atmosphere before kicking in the rhythm.  The minute-long "Fairyspit" is a throwaway instrumental that could have very easily been left off.

Despite the general fun and club potential of the tracks here, there is some room for improvement.  The vocals are a tad unadventurous and could really benefit from a more dynamic approach.  The current style reminds me a bit of Athamay (a band that isn't a million miles away from SBM in style, actually) and it just gets old after a song or two.

On the plus side, the two best songs ("Boneshaker" and "Little Lost Ghost") also appear on the band's recently issued debut album, titled cheekily enough Disco 4 The Dead.  If your tastes in goth run more toward Alien Sex Fiend than The Wake, then SBM are for you.  More info: http://www.spookyco.demon.co.uk/sbm/
[Daniel Hinds]

SUNDOWN
Glimmer
(Century Media)

Opener "Lifetime" has a very alternative vibe to it, featuring some unusual electronic rhythms and effects-laden vocals, with only the moody chorus showing signs of the Cemetary legacy.  "Divine" is much heavier and to the point, mirroring the more up-tempo tracks from the previous Sundown effort, Design 19.  Modern-day Paradise Lost is brought to mind by "Halo," while "Star" mixes up NIN-oriented rhythms with a dead-heavy riff.  The title track even brought to mind some of the more somber moments on the latest Marilyn Manson record, though executed in a far more exacting manner than typical Manson fare.

Comparing this album to Design 19 is difficult, somewhat akin to comparing Last Confessions to Sundown (the last two Cemetary albums).  While Design 19 had some incredible highs ("Aluminum," "Synergy" and "Don't Like to Live Today" for starters), it also suffered a few rather plodding pieces.  Glimmer is considerably more consistent in quality, if not in style, which means it never reaches the same highs or lows.  In terms of progression, it is certainly different enough to justify its existence, yet not so much that it will alienate established fans.

I read somewhere recently that Mr. Loldmalm has put Sundown to rest and is re-opening the gates on Cemetary.  This seems like a rather strange move at this point in time, but if he can capture the intensity of Cemetary while retaining the more open, experimental feel of Sundown, the future should indeed be bright.
[Daniel Hinds]

SWORDMASTER
Moribund Transgoria
(Osmose)

While Postmortem Tales was something of a one-trick pony, that trick being a modern, high-octane version of classic German thrash metal, Moribund Transgoria adds a multitude of new dimensions to the band's sound.  Don't get me wrong - I love Postmortem Tales and it will always be a favorite of mine, but there is no denying the maturity and progression the band have made on this release.  Songs like "Deathspawn of the Eibound" and "Towards Erotomech Eve" start off with a fury that is awe-inspiring, but don't rely on pure speed to carry the whole song.  Utilizing well-placed clean guitar passages, complex arrangements, unexpected tempo-changes and some damn impressive (and surprisingly melodic) lead-work, Swordmaster have really created a three-dimensional style.  Even a track like "The Angels and the Masters," which features a more straight-forward thrash style, throws in a stunning harmony lead that Priest would have been proud of and a melodic interlude that puts one in mind of old In Flames. 

Don't let all this fool you into thinking that Moribund Transgoria is somehow softer than previous efforts.  The title track is just one example of the band's ability to deliver pure brutality, due in part to the hard-as-nails production and the band's willingness to inject more than a little speed when the song calls for it.  The fact that they balance these outbursts with more melodic bits and even some (gasp!) clean vocals (check out "The Grotesque Xtravaganza") only further emphasizes the more extreme sections.

Although Swordmaster started out as a thrashy black metal outfit, known mostly for the familial connections to Dissection, they have quickly progressed into one the of the premiere thrash/death/black metal bands in the world. Moribund Transgoria is everything fans could have hoped for.  It moves forward without forgetting the band's past, the playing is tighter, the production is better, and the songs are more varied and memorable.  Blissful metal violence at its best.
[Daniel Hinds]

TOILET BOYS
Living Like a Millionaire (EP)
(RAFR)

Opening with the slightly Ramones-esque "Rocket City," the band quickly establish a sense of fun that really blossoms on the next track, "Turn It Up."  Emotional harvesting and social responsibility are nowhere to be found.  "Another Day in the Life" carries a more pop-oriented vibe (ala early work by The Cars), but never loses its edge.  "Go Go Boy" picks up the pace and is probably the most rocking track on offer, while "Electric" has probably the catchiest chorus.  The title track finishes off the disc in fine style, bringing to mind the rawer moments of early Faster Pussycat and L.A. Guns.  Gender-bender vocalist Guy complements the music perfectly, with his sassy, glammy style.

Toilet Boys sound surprisingly fresh and I'm not sure if it is because of the pervasive gloom that descended on music in the 90s or if they are just a great rockin' band.  A bit of both, methinks.  Whatever the case, if you want some fun, sleazy, loud, guitar-driven rock music that will kick the shit out of all the current so-called punk bands - get the Toilet Boys.
[Daniel Hinds]

TRIPLE POINT
The Soul Den
(Meatbelt Media)

The Soul Den begins in an almost too basic mood, simplistic and generic but well into the first track you realize that these guys actually have some talent (even tho some members of the group have stated otherwise to me).  I was very pleased to see "Dreaming Angels" on here, as it is my favorite 3P track, but even that takes second place to "First and Last," featuring Karen from The Razor Skyline, a floaty hauntingly beautiful track on an otherwise in-your-face industrial release.  Bravo to the boys of Triple Point for an incredible release and maybe this is the CD that will make those labels take notice....   Metropolis are you listening???  More info:  http://dhinds.home.netcom.com
[A. Nocturna]

[various artists]
Exoskeleton 2 (2CD)
(Possessive Blindfold)

In lieu of commenting on each and every track, I will instead highlight what I consider to be the most impressive tracks on Exoskeleton 2.  Right from the top, things are looking good as Telepherique deliver a captivating song.  Built around a simple, haunting melody that sounds like something from an old Klinik release, the track ebbs and flows with some well placed noise and vocal samples behind it.  France's NKVD use delay very effectively on their track "Mikrometrik," building a great rhythm, with the distorted vocals pushed slightly in the background.  Sleepwalk assemble spacey synths, crashing percussion and various noises into an amazingly cohesive whole that is simultaneously soothing and disturbing.  Italy's oddly-named Horse Penis Pants deliver the equally-oddly-named "Headbandage Woman," a truly unique mixture of d'n'b rhythms, power electronics instrumentation and general quirkiness.  Despite my general thrashing of the last Pain Station album, I must give Scott Sturgis credit - everything I've heard him do under the name Converter has been impressive and the track on display here, "Spasm," is no exception.  Ultra-overdrive in the vein of Sonar, but with perhaps a bit less brutality and more finesse.

Disc two is just as strong.  Blink Twice submit "Exiled," a great tune that starts with an ambient throb reminiscent of some of John Carpenter's soundtracks and builds layer upon layer on top of it.  H.P.P. make another even livelier appearance, the only band to appear twice on the set.  Paste have probably the most obvious d'n'b foundation, but manage to make it work in a jagged, unpredictable arrangement.  Hypnoskull deliver a nice, bouncy bit of distorted techno that manages to be fairly repetitive without sounding aimless or pointless.  Winterkälte turn in a beautifully crushing performance in 3/4 time, while ZymOsiZ really surprised me with the excellent "Teknoize Soldier."  After barely making it through the generally uninspired ZymOsiZ album, it was rather shocking to hear how good they can really be with this track.  It features a wide range of sounds in a well put-together arrangement.  Voltaic are a bit more techno-trance oriented, but also do a good job of keeping the attention level up.  Primortal are the closest this comp. gets to standard electro-industrial, complete with a mid-tempo beat and gruff but lovable vocals.  Pain Könsept follows in a somewhat similar fashion, though with a far faster and denser sound.  K.T.O.W. bring back the experimental feel to close the album.

The bands mentioned here are merely the highlights and the others actually fare pretty well, too, making this one of the more consistent compilations I've heard in a while.  Exoskeleton 2 is a very thorough and well-balanced documentary of the current scene, with everything from the brutal to the sublime.  So, look past the lousy cover (it looks like a COP reject) and check this one out, especially if you're unfamiliar with a lot of these artists' work (as was I).
[Daniel Hinds]

[various artists]
On the Brink of Infinity
(Chthonic Streams)

The album begins with a floating, atmospheric piece from Howden/Wakeford.  Featuring the darkened vocals we've come to love from Tony Wakeford's main project Sol Invictus, this track really shines when Matt Howden's beautiful yet somber violin comes in toward the end.  Empyrium are up next with one of the album's best, a truly refined composition that builds on delicate acoustic guitar and piano work to a crescendo that features some inspired grim vocals (in sharp contrast to the quiet, whispered vocals up to that point).  Arcane Art offer a nice, medieval folk tune with spoken vocals and some great organ midway through.  The Italian outfit known as Anima In Fiamme combine violin, bass and piano for a stirring neo-classical number, while Funerary Call deliver "On Locust Winds," a darker piece that reminds me of the more experimental Death In June material, complete with militant drumming and brooding synths. 

At this point, the album descends into a vast cavern of dark and haunting ambient tracks.  Hailing from Spain, Nothvs Filivs Mortis give us an ice-cold shroud of pure atmosphere, filled with mysterious voices and sounds.  Kerovnian continue the desolate feeling with a track filled with rumblings and occult murmuring, but it's Gruntsplatter that really drives it home.  Their track "Age of the Homunculus" begins in noisy fashion, as if caught in a terrifying barrage of nasty weather, and slowly morphs through a series of stormfronts until the listener is left in a light, barren wind.  15 Delights of Dionysius furthers the sensation of desolation, with some distant percussion throughout their track "Final Document."  4th Sign of the Apocalypse begins the journey back from the edge of the world, incorporating many disparate elements, including chirping birds, demonic roars, bizarre vocal samples and a pretty little cello melody.  Dream Into Dust create a haunting symphony of horns and mix in a throbbing field of distortion for a creepy effect, while Backworld finish off the disc with probably the most musical track.  Mixing folky guitar with synths and strings, "This Tree Born of Man's Affliction" has an atmosphere that is at once uplifting and melancholic.

The thing that really impressed me is the way the songs on this album work together, instead of just sounding like they were thrown together.  Not only are they all great tracks but they are all exclusive to this release.  This collection is limited 1000 copies and comes in a cool, recycled cardboard sleeve, with all the relevant contact info for each of the bands involved.  For more info: http://www.chthonicstreams.com/
[Daniel Hinds]

[various artists]
The Sound of Sadism
(Crowd Control)

Deathpile kick off the festivities with the title track, a well-constructed track that is thick and brutal, with some highly effected (yet strangely intelligible) vocals.  Iugula Thor is next with one of the most difficult pieces, as it features shrieking, out of control distortion that squeals and flops about seemingly at random.  Taint coalesce their sound into a tight, low-to-mid-range rumble, coupled with some buried high frequencies and vocals that sound like a radio station just out of reception range.  Skin Crime brings back the brutality of Deathpile, with a full-range attack of pure distortion that even Merzbow would have to wonder at.  Atrax Morgue are one of the more offbeat artists here, building the entire song on one rapidly oscillating frequency.  The vocals are heavily distorted and sound like they're run through a serious noise gate (kind of ironic, really…)  Hydra's "Service Not Rendered" sounds like a modem suffering serious connection problems with an S&M scene going on in the adjacent room, while Gruntsplatter deliver one of the album's most dynamic tracks.  Titled "Carnivean," it features some nicely layered fields of distortion and effects that intertwine and complement each other very well. 

Bloodyminded are less impressive, with some shouted (clean) vocals that try a little too hard to match the viciousness of the death metal-esque lyrics.  Con-Dom certainly win the day for the most graphic song title - "Gagged By My Own Genitals" - and manage to inject a more disturbing vibe into an approach similar tot he Bloodyminded track, as the vocals eventually retreat into agonized screams.  Black Leather Jesus bring back the chaos with their jet-engine meets buzzsaw approach, while the oddly named Italian project Sshe Retina Stimulants deliver a sparser sound with heavily reverbed vocals that remind me a bit of early Young Gods (just a bit, mind you…).  Slogun seem content with their wall of noise, while Discordance produce the screechiest, most unpleasant listening experience since Iugula Thor's track earlier on.  Stahlnetz close off the battery with one of the disc's most composed-sounding cuts.  Everything on this one sounds like it was overdriven to the point where it's barely coherent at all, laxing into little more than a crackle at times, yet I found it to be one of the most diverting pieces offered here.

Fans of early industrialists like SPK and Throbbing Gristle must be pleased to see those bands' legacy shining brighter than ever, with so many noise and power electronics artists coming out of the wood work every day.  While it has fallen to the more rhythmic projects like Sonar and Converter to carry on that musical tradition, artists like those on The Sound of Sadism focus more on the spirit of those early pioneers, taking an extreme form of music (or anti-music, as the case may be) to an even further extreme.  If you want a good introduction to the scene, I have yet to see a better one than this.  If you value your eardrums and sanity, then maybe you better just stick with some nice safe synthpop…
[Daniel Hinds]

WESTWORLD
Westworld
(Spitfire)

I had a certain trepidation when I received this disc, due to my divided interests.  I love Riot and Rainbow, but really couldn't give a toss for TNT and Danger Danger's more superficial pop stylings.  Also, Tony's love for piercingly high singing always got on my nerves.  Would this strange union of talent be greater than the sum of its parts (or at least equal to it)?  The answer is…not really.

"Illusions" starts off with an incredibly happy keyboard line that leaves you half-expecting a White Lion song to kick in.  Fortunately, it improves some after the rest of the band joins in, but it didn't do anything to allay my initial fears.  "I Belong," however, is considerably better, sporting a much heavier riff and more convincing sound.  The chorus is big and catchy, but not annoyingly so.  The third track, "Pidgeonhole" starts off with a reasonably cool, Riot-esque riff, but kind of settles into a rather downbeat song that doesn't really go anywhere.

Things really fall off the tracks with "Heart Song," though.  While it has the potential to be a power-ballad in the vein of classic Scorpions, it winds up being the kind of sappy mush that Queensryche has been giving us for the past decade.  The rest of the album is fairly uneventful, though the Rainbow-esque "Bring the Water To Me" offers a brief glimmer of hope.  "Love You Insane" had potential but is let down by a hopelessly weak chorus.

As much as I was hoping this album would surprise me, it only disappointed me more with each track.  The musicianship is all excellent and the production is clean and full, but the vocals, the lyrics and the songs themselves just let it all down.  Tony is one of those singers that has a crystal clear voice, an incredible range and absolutely no personality or power.  Add to that the insipid lyrics and you've got a major strike against the album right there.  The music also seems to lack any power most of the time, even when they are supposedly rocking.  It just sounds like they are going through the motions a lot of the time.

Westworld bummed me out.  Riot are one of my all-time faves and Mark Reale is a great (and terminally underrated) guitarist, but neither of these facts can make me recommend this album.  Maybe fans of Extreme and TNT might get into it, but I can't see it having a very broad appeal beyond that, and certainly none to metal fans who like their music heavy.
[Daniel Hinds]

WINDIR
Arntor
(Head Not Found)

Windir is the creative result of one man, a certain Valfar.  Though he enlists the talents of a few session players to handle the drums and clean vocal bits, Valfar delivers guitar, bass, synths, accordion(!) and 'screams.'  The latter he delivers in full, with some of the grimmest black metal screeching I've heard in a while.  If the whole album were confined to this style, it might prove a bit much, but he does a great job integrating it with the clean style of the session vocalist.

"Byring" is an enchanting instrumental that kicks of Arntor, blending simple keyboard work with some folky accordion playing for a truly unique (and effective) sound.  "Arntor, ein Windir" breaks the spell with its brutal yet melodic assault of black metal.  Valfar's vocals rip and shred while the music retains its keen folk feeling.  Like most of the tracks here, the drums and guitars speed along at dizzying speed, while the keyboards tend to follow a more sedate path, forming the real hook of each song.  Another highlight is the mid-tempo "Kampen," which features an inspired rhythm and clean vocals that put me in mind of Falkenbach.  This tune also sports an unusual break halfway through, with the guitar going off on a different riff and the distorted bass pounding out a menacing pulse behind it.

I wish I could say more about this band, but I do know that Valfar has released one other Windir CD prior to this one, so I guess it is time to start looking for that one, too.  Arntor is truly a class album from start to finish - excellent production (courtesy of Pytten and Grieghallen), beautiful cover art, a thorough lyric sheet (which also includes English translations of everything, even the album's credits), and some damn fine song-writing.  If you dig black metal stylings mixed with some more adventurous folk elements, Windir will not disappoint.
[Daniel Hinds]

ZymOsiZ
Virust
(Possessive Blindfold)

"Memory Collapse" is a fittingly harsh introduction for the album, as it starts like a noisy motor and ceaselessly repeats the same cycle for over seven minutes.  A couple of nuances are added, like at least two points where the rhythm shifts ever so slightly - it's like testing a machine and listening for timing errors - and that last minute features the addition of a barely audible sound that could almost be musical if it were isolated from the relentless battering in front of it.  "Human Damage" is a little more restrained and involved, but only marginally.  "Resistance" and "Machinedriven (Hyperdrive)" are, in my book, the most successful compositions on Virust, as they offer the most interesting rhythms and perhaps the most obvious and frequent changes.

Unfortunately, the majority of Virust is just too repetitive for my tastes.  There are tracks that have practically no variation throughout their six or seven-minute length, making the enjoyment factor akin to pressing your ear to a machining machine for a load of socks.  Less so, actually, as at least then you'd have the various cycles for a change of pace.  I realize this is a very specialized release and it could very well appeal to the die-hard listeners out there who can pick up on the practically imperceptible nuances of most of these pieces.  For me, though, it's just too little spread out over way too much space.
[Daniel Hinds]