3RD DAY RISING
Spiral
(self-released)

"Pain" starts off pretty well, with a definite groove, while "House of Cards" opts for a heavier, simpler approach, with an old-fashioned chanted chorus.  "Tears Fall Down" begins with a Tool vibe, before evolving into a much more upbeat sound that really left me flat.  Vocalist Chris Edwards sounds like he is trying too hard on the more forceful sections.  "Violence" is the first really metallic track, but it loses all power once it hits the overblown chorus.  Fortunately, guitarist Mike Spear saves the day with a pleasing solo. 

The rest of the album is solid but a bit uneventful.  "The Price of Love" stands out, with its Megadeth-like drum/bass intro and heavy, choppy riff.  "Paradise Found," once it stumbles past a rather awkward intro, features the album's coolest (and heaviest) riff, not to mention the most involved arrangement and yet more excellent soloing.  "One Step" opens with a riff that reminds me of Jag Panzer's "The Viper" and once more demonstrates that the band fares best with their heavier material.

3rd Day Rising sound to me like a band still in the process of finding their own style, experimenting with bits and pieces from all over.  Based on the material on Spiral, I think they should focus on the heavier, more metallic lines and excise the big choruses that tend to weaken many of the tunes.  A rock-solid production and well put-together booklet add appeal to this release, but I feel 3rd Day Rising's best musical moments are still to come.  For more info, contact: http://members.aol.com/ms3drising/
[Daniel Hinds]

AMON AMARTH
The Avenger
(Metal Blade)

"Bleed For Ancient Gods" slams out of the speakers with the usual Amon Amarth aggression and conviction, with Johan Hegg's vocals swooping from dark and deathly to bitter and seethingly grim.  The sound is thick, not unlike old Entombed, with a crushing guitar sound and pile-driver drumming.  Skinsman Martin Lopez has sadly left the fold for this recording, but Fredde Andersson does a plenty impressive job filling his double-bass pedals.  "The Last With Pagan Blood" features more of a rolling, melodic riff, but is no less heavy.  The epic "Avenger" curtails the speed factor even more, allowing the song to really breathe and showcase the band's ability to succeed in a more subtle environment as well.  No chance of the band mellowing, though, as "God, His Son and Holy Whore" kicks in at top-speed and should go a long way to satisfying fans of Dark Tranquility who miss the old days.  "Metalwrath" takes on an almost metalcore sense of angst, due mainly to Johan's harsh vocals, but the band are wise to never lose their sense of melody.  "Legend of a Banished Man" closes out the album and features a simple but very effective riff, resulting a very triumphant and almost uplifting feel to it.

The production on The Avenger, handled by the band, is excellent - very full, very heavy.  People who are tired of black and death metal acts that worry more about playing fast than they do about playing heavy music are well-advised to grab a copy of The Avenger.  Where melodic death metal meets Viking metal, you will find Amon Amarth, sword in hand and ready for battle.
[Daniel Hinds]

ANCIENT
The Halls of Eternity
(Metal Blade)

The production on The Halls of Eternity is pretty decent, mainly notable for the nice, metallic guitar sound.  While many other black metal fiends have tried to outdo each other for being the fastest and most brutal (Marduk, I'm looking at you) or concoct the most elaborate symphonic arrangements possible (Emperor and the 8000 other bands that try to keep up with them), Ancient pursue a relatively tame middle-ground.  Utilizing a lot of mid-tempo, chugga-chugga riffs, the deathly vocal are really the most extreme element.  The keyboards are kept relatively in check, which is a good thing since they rarely complement the music when they do appear. 

This somewhat unusual approach to playing black metal is interesting and worth pursuing.  Unfortunately, the band just don't deliver too many great songs in the process.  The vocals really work against the music as well, a problem further exacerbated by the rather poor mix and over-reliance on effects and reverb.  Deadly Kristin's vocals don't fare much better, as they tend to be in that overblown, spoken goth style that I'm not too fond of.

So, I guess the somewhat generic album art and very generic title are a pretty good indication of what to expect of the music itself.  It is unfortunate, too, because I like the band's attempt to mix a more classic 80s metal sound with black metal.  Hopefully they will continue on this course and everything will click next time.
[Daniel Hinds]

BABYLON WHORES
King Fear
(Necropolis)

"Errata Stigmata" kicks off King Fear well, with a nice heavy riff and Ike Vil's distinctive vocals.  Ike is a gem of a vocalist, with a clear and very powerful voice that puts to shame many of his gothic counterparts.  Some suitably cheesy howling ushers in "Radio Werewolf," probably the most typically death rock track on the album.  The band is very adept at creating catchy riffs and memorable choruses, as further evidenced by "Hands of Glory."

One thing I appreciate a lot about Babylon Whores, besides their obvious skill at writing songs, is the diversity present.  Each song has its own sound, not just another version of the same formula.  "Skeleton Farm" for example, has a real classic Pentagram/Sabbath feel, while "To Behold the Suns Below" has a more psychedelic vibe and even features some flute.  "Sol Niger" reminds me of a much darker version of The Front, as does "Fey."  The title track closes out the disc on a slightly more epic and experimental note.

What else can I say about this album?  The production is sterling, with a particularly satisfying (and super-heavy) guitar sound.  The performances are top-notch and the songs themselves are very well-crafted.  Necropolis was wise to snap these guys up after Misanthropy folded and hopefully they can help make this album the huge success it deserves to be.  Fans of death rock, the heavier end of the gothic realm and creative metal acts like Sentenced and Tiamat are all highly encouraged to grab a copy of King Fear immediately.
[Daniel Hinds]

BRUTAL TRUTH
Goodbye Cruel World! (2CD)
(Relapse)

All but the last cut on disc one is taken from a '98 show in Sydney, Australia and the sound quality is pretty good.  The drums get rather lost at times, but then again, this is grindcore and that's bound to happen anyway.  Commenting on the individual tracks is rather pointless, as I've never been able to tell them apart anyway, but all the hits are here, like "Kill Trend Suicide," "Fucktoy," "Choice of a New Generation" and "Stench of Profit."  A host of covers is included, too, including Agathocles' "Hippie Cult," Sabbath's "Cornucopia," The Germs' "Media Blitz," "I Killed My Family" by YDI and S.O.B.'s "Repeat at Length."  The disc closes out with a studio take of the Melvins' "Zodiac," showing yet another side to Brutal Truth's schizophrenic sound.  Content to rage along at a million miles an hour, they are also right at home churning out the power chords and slow-motion rhythms.

The second disc kicks off with some rare B-sides and mixes in cuts from a number of different live shows later on.  More covers, including "Cybergod" (Nausea), "Born to Die" (M.D.C.), "Bubblebop Shop" and another track that the band forgot the title of (!) by The Boredoms, "Dethroned Emperor" (Celtic Frost) and "It's After the End of the World" (Sun Ra).  The sound quality on this disc is considerably more hit-and-miss, but I'm sure the die-hard fans won't mind a bit in order to hear some of these recordings.  My favorite is "Collateral Damage," which appears five times in a row from various shows.  The nearly-as-short "Callous" also stands out.

Having seen Brutal Truth live once, I can attest to the intensity of their shows.  Just watching Dan Lilker rip out these blindingly fast basslines while appearing to be nearly comatose is impressive enough, but Kevin Sharp's wildman vocal delivery is, well, brutal.  A certain amount of that energy is lost between the stage and this collection, as is nearly always the case with live albums, but there is still plenty to give you an idea what they were like on stage.  Certainly not for everyone, but a good choice for anyone looking for some super-fast, ultra-coarse, skull-crushing grind-core mayhem.
[Daniel Hinds]

CENTURIAN
Choronzonic Chaos Gods
(Full Moon Productions)

"Damned and Dead" starts off with no hesitation, double-bass going a million miles an hour and guitars blazing, and the album doesn't really relent much for the next forty minutes.  The vocals are low and very deathy, with little variation throughout save for the occasional double-tracking effect.  The track also features a guitar solo that brings to mind classic Slayer and Frost solos:  not terribly competent but somehow fitting.  Other album highlights include the complex "Hail Caligula!" (cheesy intro and all), the pile-driving charm of "Blood For Satan" and the almost-catchy rhythmic assault of "Cross of Fury."

Despite the strong delivery, Centurian do stumble in a couple of areas.  First off, the production is kind of weak.  Maybe it gives them more underground credibility, I don't know, but I would rather hear them with more up-front drums and a more distinct guitar sound.  The other weakness is the total lack of originality on display.  Everything on this disc can be traced back to various thrash and death metal bands from the late 80s and early 90s.  Sure, they picked a great period of music for inspiration, but hopefully next time they can put more of their own distinctive stamp on the sound.

Still, Choronzonic Chaos Gods is a pretty strong release.  Those who see the FMP imprint and expect black metal are out of luck, but anyone yearning for the glory days of death metal delivered with barbaric intensity and no apologies should be pleased.
[Daniel Hinds]

dead horse
Peaceful Death and Pretty Flowers
(Relapse)

While I'm still not exactly enamored with these Texans' sound, it does sound a bit better now than when it first came out.  They are one of those bands that was more than happy to confuse their listeners and buck expectations rather than just settle into a formula.  "Cod Piece Face," for example, starts off with a typical, thrash-heavy sound, but mid-way through the band shift gears into an alternating series of blast beats and chugga-chugga riffs.  "La La Song" mixes goofy punk influences with all-out death metal, right down to the belching vocals.  Elsewhere the band belt out more straight-forward hardcore with growling vocals, as  on "Like Asrielle" and "Medulla Oblongata" and it is on these tracks where I feel the band succeed the most.  Kind of like if Metallica had been a punk band, sort of.  The gritty cover of "Rock Lobster" seems quite appropriate, too, and might point out where the band garnered some of its silliness.  The low-point for me are the tracks like "The Lark Nest," where they opt for a slower, sludgy sound and incorporate weird lyrics and change-ups just for the sake of being weird.

The influence dead horse has had on the grindcore and death metal scenes may not have been all that substantial, but there are certainly elements to be found here that were later developed upon by others (particularly some of the other Relapse outfits).  The low-budget production doesn't' sound as flat as I remember and suits the band's garage mentality to a tee.  As a bonus, a slew of demo tracks are tacked onto the end of the disc, for a total of 60+ minutes over 17 tracks.  If you're looking for some schizophrenic, hardcore/grind metal that doesn't take itself too seriously, then you could do worse than dead horse.  You could do much better, though, too...
[Daniel Hinds]

THE DILLINGER ESCAPE PLAN
Calculating Infinity
(Relapse)

Imagine a mixture of Meshuggah, the last Gorguts album, Steve Vai's early solo material and any number of avant-garde jazz artists and you'll have a vague idea of what to expect.  Sharp, pointy riffs that twist and snap with no forewarning, off-kilter rhythms and time signatures that suffer from ADD, tweaked chords that would have Voivod running in terror and sore-throat shouted vocals are all juxtaposed in seemingly random order.  Upon closer inspection, though, the band do a pretty good job of keeping the chaos (barely) under control.

The jazz influence is omnipresent and really gives the album its personality.  Playing this material can't be easy - some of the fretboard runs alone are dizzying - yet The Dillinger Escape Plan make it sound dead easy.  Watching these guys pull this stuff off live must be an exercise in amazement (not to mention aural stamina).  The hardcore influence is also very strong at times (beyond the obvious vocals), especially on cuts like "Clip the Apex...Accept Instruction."  Brutal, but not senseless.

I'm not a huge fan of grindcore and its related genres, as I've heard too many bands with little talent hide behind a wall of chaotic speed and noise.  The Dillinger Escape Plan are the antithesis to those acts, showcasing every bit of skill they have on each song.  You can't dance to it, you can't headbang to it, all you can do is sit and listen in awe.  Where can they go from here?  A scary thought indeed...
[Daniel Hinds]

DOPAMEAN
The Millennium Drug
(self-released)

The songs on The Millenium Drug tend to follow the "expect the unexpected" motto, jumping from all-out speed riffing to jagged bridges to weird, jazzy sections in unusual time signatures.  The band lists Zappa and Cynic among its influences and it shows.  "Stereo" demonstrates the band's capabilities in the speed department, while "Sycophant" employs a slower, more groove-oriented metalcore approach with a mix of clean and growled vocals.  "Deveined" is just one of the most fucked rhythms I've heard all year, while "Suicide by Cop" features some cool, upfront bass playing (not to mention one of the best song titles I've heard in a while!).

There were only two things that hindered my enjoyment of this disc somewhat:  the vocals and the production.  The vocals are just too much in that 'grrrrr' hardcore style for my liking and the clean parts are few and far between.  The production isn't bad at all, but I think this kind of highly complex material would benefit so much from a higher-budget recording.  Hopefully Dopamean will find a cool label and have that luxury next time around.

It is interesting that the really technical extreme metal that came and went in the early 90s has really made a comeback in the past couple years.  Just this month I also received the new opus by The Dillinger Escape Plan and, while Dopamean are neither as intense or as technical, I can definitely see them appealing to the same crowd.  For more info: http://www.geocities.com/SunsetStrip/Plaza/1134/dopamean.html
[Daniel Hinds]

GOOSEFLESH
Chemical Garden
(Digital Dimension)

"Burning Soul" is a rather inauspicious start, but "Godbreed" sets things in the right direction.  Kicking off with a riff reminiscent of Am I Blood (okay, okay, reminiscent of classic Metallica), the song has a really straight-forward arrangement that works in its favor.  The vocals on this song also begin to show a little more versatility than the typical and tired hardcore growls so popular these days, opting for more of a thrash approach ala Tom Angelripper.  "Cut That Never Heals" sounds very modern, from the dense riff to the little harmonic tweaks.  "Thin Skinned Jesus" has a nice, upbeat riff and the song reminds me a lot of a non-electronic version of 16 Volt.  "The Syndicate" is a bit like an ultra-heavy version of older Megadeth that breaks into a near-Sabbath riff in the middle.  The mighty Sabbath is evoked once again later, on the bluesy, doom-heavy "Voices."

There is a definite Bay Area thrash influences going on here that isn't as immediately obvious as some of the more modern elements.  Gooseflesh's insistence on making the riffs the star of each song is the real tip-off.  Too bad most bands in this genre rely on the sheer force of their songs to carry them, but maybe Gooseflesh will help point the way for some of these misguided folks.  Chemical Garden is well-produced, ultra-heavy and a fairly refreshing take on some already established styles.  More info: http://hem2.passagen.se/gooseweb/index.html
[Daniel Hinds]

HORCHATA
Integral
(zero1media)

IN AETERNUM
Forever Blasphemy
(Necropolis)

The scene is set with "Majesty of Fire" - fast yet controlled riffing, blackened vocals and a surprising amount of melody (esp. for a keyboard-less band).  "Reaper in Black" is one of the standouts, with its multi-part arrangement and exceptionally memorable main riff, which has a bit of a folk feel to it.  The title cut is another winner, starting with a dead-heavy riff ala Frost and then evolving into the album's most intricate and majestic-sounding song.

In Aeternum fall into that same general category as bands like Catamenia and Tulus - they play a well-worn style very well but are missing that intangible ingredient to set them apart and make you want to listen to them over and over.  Good production and nice, Satanic cover art help make this a decent, though not essential, package.
[Daniel Hinds]

MORTIIS
The Stargate
(Earache)

After many years with Sweden's Cold Meat Industry, Mortiis made the rather surprising move to England's Earache Records, best known for their work with grindcore and death legends like Napalm Death and Entombed.  The first product of this arrangement is The Stargate, a surprisingly restrained yet satisfying release that features not only some well-placed vocals but considerably shorter tracks.  "Child of Curiosity and the Old Man of Knowledge" starts off the proceedings well, with a quaint little folk melody accompanied by tambourine that eventually builds with the aid of some ominous brass and timpani to a very impressive and bombastic mid-section.  The vocals here (as on much of the album) are used as another instrument, rather than actually singing any lyrics.  The result is a very rousing sound that should appeal to fans of majestic Viking metal as well as some soundtrack work (Conan springs to mind).

The album remains pretty consistent throughout, though there are a few definite highlights.  "Across the World of Wonders" blends foreboding military rhythms with some lighter melodies and deep male vocals.  Elsewhere, the pseudo-title track "Towards the Gate of Stars" boats one of the most memorable refrains and is one of the best examples of how the added male and female vocals really add to Mortiis' sound.

In the past, I've enjoyed Mortiis' work but always felt like it was a little underdone.  The ideas were good but there just needed to be more depth and variation to the songs, especially considering how long they were.  The Stargate really shows Mortiis' potential coming to fruition.  The fairly simple structures and melodies remain, but he has made them considerably more dynamic.  Despite his modest claims that he isn't good enough to do soundtrack work, I think many of these songs would be perfect if incorporated into the right historical or mystical-themed film.  The one thing I miss from previous albums though is more artistic and mysterious album art and photography.  The rather blunt (and somewhat silly-looking) image of Mortiis on the cover of The Stargate seems at odds with the powerful and magical music captured within.
[Daniel Hinds]

NEW AMERICAN SHAME
New American Shame
(Lava/Atlantic)

New American Shame are clearly more concerned with penning catchy, rockin' tunes than following the latest silly trends.  As soon as "Under It All" kicks in, the spirit of classic AC/DC is evoked.  A driving beat, great riffs and a catchy, gang-chorus all come together in perfect synch.  Vocalist Johnny also does a good job capturing the grit and soul of Bon Scott's voice without sounding like an imitator.  "Broken Bones" follow in similar fashion and the band never really let up for the rest of the album.  "What's It To You" takes on a bluesier approach, while "American Shame" and "Somethin' Right" feature truly classic riffs, bristling with energy.  "Auburn" might stray a little too close to our beloved Aussie/Scot rockers (it even includes the line "Lost again on this highway to hell"), but even here there is a certain underlying element that defines it as a New American Shame song.

The lyrics also follow in the tradition of the less-than-weighty topics of sex, money and playing in a rock 'n' roll band - a welcome relief from the despirited and pretentious ramblings of most 90s bands.  The production (handled by guitarist Jimmy Paulson) is a perfect match - simple, clear, loud and raw.  Jimmy's leads are worth noting, too, as they tend to really drive home the already well-constructed tunes.

If you want to hear a new take on some real rock 'n' roll, I highly advise that you check out New American Shame.  Fans of the more music-conscious L.A. bands of the late 80s (Bang Tango, Kill For Thrills, L.A. Guns, etc.) should also be impressed with this release.  Hopefully some of the classic rock stations will bump the zillionth repeat of "Comfortably Numb" or "Dream On" in favor of a couple tracks from this fine release.
[Daniel Hinds]

SATYRICON
Rebel Extravaganza
(Nuclear Blast)

The thing that impresses me about  Rebel Extravaganza is that Satyricon manage to take their basic sound to a whole new level without losing its integrity.  No catchy riffs or sing-a-long choruses.  No drum 'n' bass excursions or gothic overtones.  Everything that defined Satyricon in the past is still here, only more so.  The songs are more complex, the blast beats are more brutal, the riffing is more interesting.  "Tied in Bronze Chains" fully encapsulates the Satyricon approach, starting off with a back and forth switch between mood setting power chords and high speed black metal fury.  The contrast is effective the same way some of D.R.I.'s early material was.  The song doesn't stop there, though, as it continues to evolve in surprising new directions over the course of its 10+ minute duration.  "Rhapsody in Filth" is another mood-setter, evoking a deathly dark atmosphere with its clean guitar passages and creepy ambience.  "Havoc Vulture" starts off with a chugging riff that leads you to almost expect some kind of power-metal song to kick in, but it quickly morphs into the usual frenzy of drums and Satyr's sick vocals.  "Prime Evil Renaissance" (besides having one of the best song titles of the year) features some straight-forward brutality in the old style, though spiced up a bit with some vocal processing. 

While it seems all the rage to accuse anyone and everyone in the black metal scene of selling out, I just can't see how you could make a case against Satyricon.  If anything, this album is harder and faster than anything they've done and it caters to no trends.  They spice things up a bit by utilizing some electronic and (old school) industrial elements on a few tracks, but the vast majority of the work here is uncompromising black metal at its fiercest and most convoluted.  Satyricon are still making music that is more art than entertainment but they are progressing toward a happy medium between the two and Rebel Extravaganza is a giant leap in that direction.
[Daniel Hinds]

SUBSTANCE D
Addictions
(Noise)

After a non-descript intro, "Everyday" comes thundering out of the speakers and you can practically see all the levels on the mixing board driven well into the red.  Unfortunately, both this track and the following "My Life" are lacking any interesting musical ideas.  The power and intensity is certainly there, but they just feel hollow somehow.  "California," despite the stupid phone messages intercut into it, is far more successful.  The sound is much fuller and convincing.  "This Sound" tries unsuccessfully to incorporate some electronic elements, but the untitled guitar instrumental and "Unsaid" get things back on track.  "Unsaid" particularly impresses, as it is an excursion into the land of modern alternative rock that actually works.  The vocals are tempered on this one and work much better at conveying the emotion of the lyrics.  Destined to piss off metal purists, this cut would be a good choice for Noise to push as a radio single methinks.  The rest of the album hovers between boring and annoying, though "On the D" offers some respite at the end, building the entire song on one riff (no drums) and hypnotic vocals. 

I can't help but feel disappointed after the band's promising debut.  The catchy riffing and cool bass-playing is all but gone on Addictions, with only some newfound alternative leanings to take their place.
[Daniel Hinds]

WILLOW WISP
Delusions of Grandeur:  [A Gathering of Heretics]
(Full Moon Productions)

With an image that is part black metal and part 80s death rock, the band seem just as confused when it comes to their musical direction - maybe even more so.  Keyboards lead into a rather straight-forward gothic rock riff on "As They Age, They Engage," while the vocals shift from melodramatic goth to gurgling death vocals to grim screeches to a more shouted hardcore feel.  All in the course of one song!  "God(?) Has Abandoned Us" starts with an incredibly cheesy faux-preacher speaking before kicking into high gear with a more metallic assault. 

"The Hills Will Be My Burial Shroud" changes gears again, dropping into a downbeat, clean guitar goth tune. One of the album's highlights, it shows their obvious talents and even features a great, emotional solo toward the end.  The vocals here are deep and consistent, sounding much better than the rather forced-sounding black and death styles.  "Oldest Joke in the Book" suffers from some over-bearing keyboards (where someone should have been kept away from the pitch-bend wheel at all costs).  "Bastard" is another good tune, showing an adeptness at subtlety that seems to escape many of the other cuts.  The lyrics to this track ring true emotionally as well, dealing with the pain of being abandoned by one's own father.  "Cruel, Despicable, Non-caring Breed" is also worth a listen, with its electronic foundation reminiscent of a metalized Bauhaus crossed with Gary Numan.  "Time:  A Journey to Failure" is an orchestral instrumental that, while it could be a little smoother, makes for a nice outro to the album.

The production isn't bad, but it ain't great either.  It has that "really expensive demo" feel to it.  Sadly, the cover art is just plain ugly and is bound to turn away potential fans.  The rest of the booklet is okay but they should really employ someone other than their bass player to do the layout next time around.

Calling Willow Wisp 'eclectic' would be an understatement - this album is just plain schizo.  The band have some obvious talent but they need to either focus their style more or at least learn to make better transitions.  I like the fact that they have chosen to meld so many different elements into their sound, but I feel like the songs end up losing out to the band's desire to have everything all the time.  This attitude results in too many songs that sound disjointed and are too long for their own good.  More songs in the vein of "The Hills...," "Bastard" and "...Non-caring Breed" and Willow Wisp will be a force to be reckoned with.  Until then, I'd only recommend this to the truly adventurous.
[Daniel Hinds]

GEORGE WINSTON
Plains
(Windham Hill)

The solo piano performances that have made up all of his albums are as impressive technically as they are emotionally rewarding.  My previous experience with his work isn't extensive, but it has impressed me considerably.  His skill at playing is undeniable, yet he makes the most complex pieces sound effortless.  More importantly, he has established a very distinct playing style and is very adept at bringing out the full emotional impact of the notes, whether it is joy or melancholy or anything in between. 

Plains isn't as immediately as impressive as previous recordings like Autumn or Winter Into Spring, but it contains some definite gems.  Unlike those other albums, Plains includes only a few originals, with the artists he has chosen to reinterpret covering quite a range.  Philip Aaberg (a fellow Windham Hill composer) penned the somewhat sad "Before Barbed Wire," while Italian mandolinist Massimo Gatti wrote the quiet "Frangenti."  Angelo Badalamenti (the composer who has delivered a number of sweetly sinister soundtracks for David Lynch flicks) provides the delicate and beautiful "The Swan," a track that originally appeared on Julee Cruise's debut.  "The Dance," a track written by Tony Arata but originally recorded by Garth Brooks (!), is another surprising success, as Winston really brings out the contrasts of mood within the song.

The real highlight of the album, however, is "Cloudburst," a song more in his older style that begins with a few simple notes before building up to a virtual flurry that is just awe-inspiring.  The 'limited edition' refers (I think) to the two bonus tracks, which show a different side to Mr. Winston, as he picks up the acoustic guitar and tries his hand at his other love - Hawaiian slack-key guitar.  While neither moved me as much as his piano work, it is interesting to hear his style interpreted through a different medium.

While I didn't find Plains as involving as some of George Winston's previous works, it does contain a handful of truly excellent tracks.  If you're looking for a chill-out album to mellow out to after a hard day of raging black metal and are tired of the usual ambient, folk and neo-classical offerings, I would definitely recommend checking out some George Winston.  Start with some of his earlier releases, though, and if you like those, then check out Plains.
[Daniel Hinds]

WITCHERY
Dead, Hot and Ready
(Necropolis)

"Demonication" showcases Witchery's strengths right off the bat.  The song features an incredibly catchy riff (a hallmark of all Witchery tunes pretty much), a wicked guitar sound and just the right rhythm to guarantee excessive headbanging.  The song goes through a few temp changes ala your favorite classic thrash acts and features a blistering solo.  "A Paler Shade of Death" follows suit and has one of those great riffs that sounds so familiar even on the first listen and dances around your brain for hours afterward.  "Full Moon" puts the lame retro-metallers on the scene to shame, while "The Devil and the Damage Done" pays homage to Dio and even incorporates half the lyrics from "Voodoo."  The title track features some ultra-fast start/stop riffs that remind me a bit of The Haunted, guitarist (and main songwriter) Jensen's other band.  The next two tunes aren't quite as memorable (though still plenty rocking), but "On a Black Horse Thru Hell..." finishes out the album perfectly, annihilating any remaining brain cells.

The production is perfect - loud and raw.  The digi-pak packaging is slick and features one of Kristian Wåhlin's most gorgeous works of art to date (and by 'gorgeous' I mean of course 'sick and wrong').  If I had to find one quibble with Witchery it would be Toxine's blackened vocal approach.  He does the style very well, but there are times when it starts to feel a little one-dimensional and I think some of the tracks would benefit from a more diverse approach.  Imagine how much less-interesting Mercyful Fate would be if King Diamond did all the vocals in his low, guttural voice.

Remember when bands like Sabbath and BOC and Priest would put out an album every year, sometimes even more often?  The best thing was the albums were excellent, not like the half-assed releases we get from bands in the 90s after a 2 or 3 year wait.  Well, Witchery obviously remembers and seem determined to bring back those glory days.  This past year has seen the release of two albums and an EP, while the band promises two more full-length albums and a live release next year.  If they can keep the quality level up to the standards set by this album (and the Restless and Dead debut), there is no stopping them.
[Daniel Hinds]