AGALLOCH
Pale Folklore
(The End)

The songs on Pale Folklore tend to morph and meld into one another and it sounds very natural.  The most successful parts are when the band are doing the more acoustic, atmospheric stuff, such as the instrumental "Dead Winter Days."  With clean guitar and piano, the band do an amazing job of building these gloomy and all-encompassing tracks that never get bogged down in any one style.  Faint echoes of Katatonia and the Sisters can be heard hear and there, but by and large, Agalloch forge their own sound.

The album does have its shortcomings, however.  For one thing, the lead vocals are somewhere between a grim black metal delivery and a whisper, with the result more distracting than enhancing.  Also, the production on the drums and heavy guitar is dismal, giving everything a buried, muted sound.  Strangely, the clean sections come through crystal clear and sound great.  Perhaps a sign that Agalloch should concentrate on those sections more in the future...?

Despite these complaints, this is yet another fine discovery and there is a great deal of promise here for the future.  If you are looking for some quality music that is as dreamy as it is dreary, pick up Pale Folklore and let it take you for on a journey...
[Daniel Hinds]

AGNOSTIC FRONT
Riot Riot Upstart
(Epitaph)

Well, fortunately, one of New York's finest returned to the scene a few years back and this is their latest (and apparently final) album.  While I was somewhat underwhelmed by the previous Something's Gotta Give, Riot Riot Upstart is classic Agnostic Front all the way through.  The production is excellent, thanks to Lars Freidrickson (Rancid), but it's the music that matters.

Seventeen tracks with only a few lasting more than 2 minutes, the band blast their way through angst-ridden anthems such as "Police State," "Blood, Death and Taxes," and "Rock Star."  The band let their punk roots shine through a bit more at times, too, such as the surprisingly musical "Sickness" and "My Life"  and guitarist Vinny Stigma actually cuts loose some raging leads on a few tracks. 

The speed and Roger's ranting vocals are really what drive the Agnostic Front sound home, though, and both are present and accounted for in large doses.  I wish a few more of today's bands would actually listen to this stuff and learn a thing or two...
[Daniel Hinds]

ANGELCORPSE
The Inexorable
(Olympic/Slipdisc/Mercury)

The Inexorable starts off at top speed - no sappy keyboard intros or slow build-ups for these guys.  From that point on, things never really let up either, though the band do wisely vary the tempo here and there to emphasize the faster parts.  The vocals are certainly harsh but listenable (and actually understandable for the most part).  Jim Morris does the usual excellent job at the mixing desk and the musicianship is extremely tight throughout.

That's about all I can say about this release, as I don't have a frame of reference to compare it to their previous works, nor am I a big fan of brutal death metal to begin with.  The Inexorable is impressive, but it is unlikely to do much for fans outside of the genre, a fact that I'm sure both the band and its die-hard fans are plenty comfortable with.  The band will be touring Europe shortly with Marduk and Cannibal Corpse and fans of those two bands will more than likely love this album.
[Daniel Hinds]

ARCH ENEMY
Burning Bridges
(Century Media)

"The Immortal" features some stunning leads (hell, every song on here does!), but is really driven home by the ripping riffs and Johan Liiva's aggressive vocal delivery.  "Dead Inside" turns up the speed even more, while "Silverwing" deftly shifts from all-out raging death to classic metal ala Dio or something.  A bit unnerving at first, but the effect is quite profound and Arch Enemy manage to pull it off.  And in case all the speed and change-ups get to you, the title track ends the album on a very slow and melancholy note, building the entire song on one big, lumbering riff.

The brothers Amott (Chris and Mike) must also be mentioned, not only for writing such solid material, but mainly for the awe-inspiring solos they lend to each song.  Past masters such as Schenker, Blackmore and Yngwie are all evident influences, but their playing takes on a whole new dimension in the midst of the maelstrom of extreme metal surrounding it.

Fans of Dark Tranquility, In Flames, Children of Bodom, as well as more open-minded power-metallers, are highly encouraged to check out Arch Enemy.  The production is perfect - thick, clear and ultra-heavy.  The music is complex without being self-indulgent and the band itself just plain rocks (is there any band that Sharlee D'Angelo plays in that DOESN'T rock??)
[Daniel Hinds]

CANNIBAL CORPSE
Bloodthirst
(Metal Blade)

I was pleased to see that Colin Richardson hasn't lost his production touch, as this album sounds perfectly crushing.  The other thing that impressed me about Bloodthirst is the complexity of some of the tracks.  "Unleashing the Bloodthirsty" is a good example, as it starts off nice and slow, but eventually twists into a high-speed killer, shifting tempos almost as often as a Meshuggah song.  George "Corpsegrinder" Fisher is, as far as I am concerned, a much better vocalist than Chris Barnes ever was, and has the classic cookie-monster vocal approach down pat, love it or hate it.

I've never been much of a CC fan, but I must admit the brutality and conviction of Bloodthirst is rather impressive.  They come up with some truly twisted riffs, not to mention some fairly melodic leads.  As usual, I prefer music with a lot more distinction between tracks, but that has never really been the point of death metal.  It's about the technical playing, the speed, the aggression and the sick and brutal lyrics and it would be very hard to top Cannibal Corpse in any of these categories.
[Daniel Hinds]

THE CHICKEN HAWKS
Siouxicide City
(RAFR Records)

The band photos are one of the highlights here, as all four members have a truly grimy look to them, as if they've spent the last six months sleeping in the back of a tour van, surviving mainly on cigarettes, alcohol and fast food.  Come to think of it, that is probably the case, and the song lyrics go a long way towards reflecting that sense of fun-lovin' decadence. 

The music is basic, blues-inspired, twangy punk rock 'n' roll, driven home by Betsy Phillips energetic (and fairly tuneless) vocals.  This combination works really well on tracks like "They Wanna Fight," "High Profile," "Fuck Minneapolis" and the oh-so-lovely "Stick It In," but gets a little old on some of the lesser cuts.  The main problem is the rehearsal-room quality production and mix.  I suppose it is to be expected (and probably required) by a band of this nature, but I still find it irritating and would like to hear them presented with a more cohesive recording (esp. in the drum department).

I'm not one for particularly long albums, but 20 minutes seems a bit on the short side (although you do get eleven songs in the bargain).  The Chicken Hawks are one of those bands that are probably a lot of fun to see live and need a producer with just the right touch to capture that sound in the studio.  Still, Siouxicide City is a fun little diversion that I will no doubt pull out from time to time to take the edge off the grim world of black metal and industrial hell.
[Daniel Hinds]

DARGAARD
Eternity Rites
(Draenor/Napalm)

Starting off with cold waves of ambience, the album soon instills a dark rhythm before the evil intonation of Tharen (the man responsible for all the music, also of Abigor fame) slither into the mix.  The second track features a more sweeping, orchestral approach and heralds the gorgeous vocals of Elisabeth Toriser, a soprano with an operatic voice that is both clear and powerful, yet strangely delicate.

The remainder of the album follows suit in a similar vein, with the two drastically different vocal styles playing off one another while the music builds and cascades through many layers of majestic beauty and melancholy.  The overall sound and feel of Eternity Rites reminded me a lot of Norway's Arcana, particularly the tracks "Down to the Halls of the Blind" (which features a nice melody of bells), "Nightvision" and "Eternity Rite (pt. 2)."   Where Dargaard better their northern neighbors is in the production, as everything on Eternity Rites sounds crystal clear and vast.

It always amazes me when someone so into one scene, like Tharen is with black metal, can turn around and create such a beautiful work of art as this in a completely different style.  If you have a fondness for the romantic, medieval strains of bands like Arcana and Mortiis, then you absolutely must get a hold of this album.
[Daniel Hinds]

DIABOLICAL MASQUERADE
Nightwork
(Avantgarde)

"Rider on the Bonez" kicks off Nightwork and shows Blakkheim's obvious love for complex arrangements and melodic riffing (not to mention a proclivity to replace 's's with 'z's...).  Handling pretty much all the instrumentation himself (co-producer Dan Swanö delivers the powerhouse drumming and a couple of other guests provide cello and flute), Blakkheim does a good job balancing the keyboards and guitar parts.  His blackened vocal style is also quite fitting to the mood, further separating this from Katatonia.

Most of the album continues along these same lines, with some doom elements showing up here and there, such as the mid-section of "Haunted by Horror."  I must commend Blakkheim for his ability to pull off some rather intricate songs and make it sound natural.  Unlike bands like Opeth that sound more like they are just fusing twelve different short songs together, Blakkheim manages to keep a certain integrity to each song.  The listener is taken on a wild ride through many different tempos and moods, but they remain on the same track throughout.

"The Eerie Obzidian Circuz" stands out as a somewhat unusual track, as it has a more modern death metal feel to it than the rest of Nightwork, combined with some unusual melodies and rhythms, reminiscent of...well, circus music.  Don't worry, though - Mr. Bungle it ain't, but it does provide a nice change of pace and give the album a little more diversity.

This isn't a stunningly original album by any means, but it is certainly a well-written and well-executed one.  The mixture of styles is very smooth, the production thick and heavy and there are more than a few hummable melodies to be found within the seven tracks offered here.  Nice digipack, too - lots of bonez....
[Daniel Hinds]

EVERYTHING BUT THE GIRL
Temperamental
(Atlantic)

The thing that EBTG do best is evoke an atmosphere, which may seem a little strange for a dance outfit.  "Five Fathoms" really gives you a sense of the exhilaration and paradoxical loneliness of nighttime in a big city, while the heart-wrenching "Hatfield 1980"  explores the darker side of (sub)urban life.  The jazzy "Low Tide of the Night" and "No Difference" make effective use of saxophone, while "Lullaby of Clubland" picks up the pace and shows the band's house influences.

With all of these tracks, though, there is a real sense of sadness underlying the music.  Tracey's singing is definitely the main reason for this, but the music plays a part, too, with its laid-back rhythms and subtle textures.  The programming and production is very smooth, though there are a few bits that seem a little too calculated for their own good.  A couple tracks emphasize that 'scratchy-vinyl' quality too much.  I mean, if they just had to have a sample and that was the best source they had, fine, but sometimes it just feels like they focus more on the pops and hiss more than the actual sound.  Also, supposedly Ben spent a year or so prior to recording this DJing in clubs all over, absorbing new influences and techniques.  Tracks like "Blame" and "Compression" tend to reflect this and are ultimately the weak links on the album, as they tend to undermine EBTG's main strengths.  Having heard one of the band's past hits being played in a supermarket not more than a half hour ago, I think any kind of 'underground' credibility is out the window anyway...

The vast majority of the songs on Temperamental, though, are quite excellent and "Hatfield 1980" alone makes this album worth getting.  For a band that has been at it since the mid-80s, this sounds surprisingly fresh.  Guess I'll have to start searching for some of those previous albums now...
[Daniel Hinds]

MICHAEL ASTON'S GENE LOVES JEZEBEL
Love Lies Bleeding
(Triple X)

"Love Lies Bleeding" is a great opening track. It is my favorite song on the CD, mostly because it does more to conjure up images of the old GLJ that I found so hypnotically captivating. It has the strongest rhythm and the lyrics are superb. Never remembered their lyrics being quite so good. The rest of the album continues that nostalgic vibe. 

Unlike other efforts to comeback, this is my favorite one Gene Loves Jezebel has released to the public. All the other ones were too muddy in vision, but Love Lies Bleeding seems to have a much clearer perspective in what it is trying to do. This is isn't something I would listen to everyday, but if I want to be transported back to 1987, this CD is as good as any.
[Victor Mejia]

ICED EARTH
Alive in Athens (2CD)
(Century Media)

The sound quality on Alive in Athens is intense.  Very clear, very tight.  It sounds better than a lot of studio albums (including some of Iced Earth's own), yet manages to retain enough concert ambience to make sure you don't forget it's a live record.  The performances are flawless, with some incredible leads from Larry Tarnowski and a brilliant vocal performance by Matthew Barlow.  The riffs are really the meat of the Iced Earth sound, though, and Jon Schaffer fully delivers in that department, too.

Musically, if you are familiar with Iced Earth, you know what you're getting.  While falling generally into the rather vague "power metal" category, the band utilize elements from classic heavy metal, thrash, speed and doom to come up with a powerful sound that is pretty unique.  Matthew's vocals take a bit of getting used to, but he certainly has his own voice (not to mention a hell of a range).  No bad tracks to be found, with my personal faves being the epic "Dante's Inferno," "Last December," "Angels Holocaust" and the pummeling "My Own Savior."

As is the case with most quality American acts, they had to cross the Atlantic to gain real success, reflected here by the Greek venue and the obvious enthusiasm the audience demonstrates throughout.  Culled from two shows on successive nights in Athens, there is a 3-CD version also available directly from Century Media, which boasts an additional hour of material.  After years of neglect and failed attempts, it would seem bands are once again realizing the full potential of a high-quality live album.  Manowar delivered the excellent Hell On Stage earlier this year and Iced Earth have done them one better with this sure to be classic release.
[Daniel Hinds]

IRON SAVIOR
Interlude
(Noise)

The five live cuts all feature a good sound and the song selection is pretty sharp, too:  "Iron Savior," "Brave New World," "Watcher in the Sky," "Riding on Fire" and "For the World."  "Brave New World" in particular sounds very energetic.  The new songs are an interesting mix of tempos and moods, a tad more varied than the usual Iron Savior output.  "Contortions of Time" is a classic speed track, with a nice heavy, sing-a-long chorus.  "Touching the Rainbow" shows a slightly softer side and features some nice, atmospheric keyboards.  "Stonecold" (nope, not a Rainbow or even a HammerFall cover!) is a strange beast, as it has some nice riffing but is very melodic, made even more so by the big chorus.  It reminds me a bit of the more commercial out put from Accept and the Scorpions in the mid-80s.  "The Hatchet of War" returns to the epic/speed approach, but is marred slightly by a rather dumb-sounding chorus.  The disc is capped of with a very (almost too) faithful run-through of "Desert Plains."  I must admit I was fairly impressed with Piet Sielck' vocals on this track - he pulls it off quite well, considering he doesn't have half the range that Rob Halford does.

Interlude does exactly what it set out to, which is offer something new to chew on until the new album is out.  Some good live tunes, a few good new ones, plus a nice booklet that features plenty of live shots and all the lyrics, all add up to another quality Iron Savior effort.
[Daniel Hinds]

JETHRO TULL
j-tull dot com
(Fuel 2000)

"Spiral" starts the disc off well, with Tull's classic hard-rock style that has never lost its appeal over the years.  "Dot Com" shows a more melodic side and features more of Ian's inspired flute.  "AWOL" is a well-constructed tale of modern life, but the album starts to lose its way after this.  "Wicked Windows" never seems to coalesce properly, while "Hot Mango Flush" (and the ill-advised reprise "Mambo Surprise" later on) is just plain bad.  The remaining tracks fall into that 'not good but not bad' category, with a few notable exceptions.  "Hunt By Numbers" features a wonderful, prowling riff, "El Niño" mixes off-beat rhythms with one of the heaviest riffs Tull has come up with in years, and "Bends Like a Willow" is just pure class and beauty.

j-tull dot com is closest to Roots to Branches in sound and style, but is like a more light-hearted version of that album, with fewer exotic qualities.  Even the lyrics seem a bit simpler this time out, though still plenty clever.  Halfway between disappointing and brilliant, j-tull dot com is a mixed bag, but I still enjoyed it considerably more than Rock Island or Catfish Rising.  Not a must-buy, but I'm sure most Tull fans will find plenty here to satisfy them.
[Daniel Hinds]

LACUNA COIL
In a Reverie
(Century Media)

I've seen a lot of comparisons to the Gathering, but the similarities are actually pretty few.  A better comparison would be with modern Sentenced, as Lacuna Coil plays a very straightforward, melodic and catchy style of metal.  Cristina's vocals are very clear and powerful and the interplay between her and Andrea (male vocalist) is really what defines Lacuna Coil's sound.  Andrea's style is rougher, but not still with a definite musical quality to it (again, similar to Sentenced).  Only "Reverie" has a hint of the epic style purveyed by the Gathering circa Mandylion, but it's not representative of the rest of the album.

The nine songs on In a Reverie are consistently good, with a few standout cuts.  "Honeymoon Suite" would make a good single, as it immediately sticks in your mind, while "My Wings" features some interesting rhythms and clean guitar.  The band utilizes acoustic guitar to great effect throughout the album, yet it never sounds too folky or gothic - this is definitely a metal album.  "To Myself I Turned" is a nice power-ballad that avoids being weepy or boring.  "Veins of Glass" has a nice, modern Amorphis feel to it, while "Falling Again" closes the album on a quieter note, throwing some trip-hop elements in for good measure.

Lacuna Coil still have room for improvement and need to solidify their sound a bit more, but In a Reverie is a strong first album.  Fans of polished, well-played heavy metal with plenty of melody are highly encouraged to give it a listen.
[Daniel Hinds]

MANOWAR
Hell On Stage (2CD)
(Metal Blade)

Disc one, on the surface, should be the real gem here, as it contains all classics - "Metal Daze," "Dark Avenger," "March For Revenge," "Hatred," "Gates of Valhalla," "Bridge of Death," "William's Tale" and "Guyana (Cult of the Damned)" - but it falls a bit short.  The first two tracks just don't seem to have the same fire that the originals did, though "March For Revenge," "Gates of Valhalla" and particularly the awesome "Bridge of Death" all sound excellent.  It is also more evident on this disc that Eric Adams' voice isn't the same as it was when he originally sang these songs either.

Disc two, however, makes up for any insufficiencies on the first one.  After an intro of "The Warrior's Prayer" (with the entire audience speaking the parts along with the tape), the band rip into a killer version of "Blood of the Kings."  The softer side of the band comes to light here, as well, with the outstanding "Heart of Steel" and equally impressive "Master of the Wind."  On both of these, Eric sounds perfect and it makes me wish Manowar would do even more songs in this vein.  "Outlaw" and "The Power" bring the speed and power back into the mix before closing out with "The Crown and the Ring."

The sound quality of Hell On Stage is very good without losing the live edge that such an album demands.  I really appreciate the fact that they made this a whole package, with some nice art and 20-page booklet with lots of live shots.  Manowar are a singular band - a larger-than-life tribute to everything good and bad about heavy metal.  Love 'em or hate 'em, you have to respect what they've accomplished over the years and this is a fine testament to just how much they have done.
[Daniel Hinds]

MEGADETH
Risk
(Capitol)

"Insomnia" starts off with some dramatic strings before unfolding into a weird little track that features some cool riffs and a slightly middle-eastern feel to it (without sounding obvious about it).  "Prince of Darkness" starts with a monologue from Dave that is a bit naff, but then the main riff kicks in and it's a killer.  The unusual song arrangements that Megadeth was known for in the early days have returned, at least partially.  The much maligned "Crush 'em" is next and is actually one of my fave tracks on Risk.  Starting off with an intro that is basically "Shout at the Devil," it then shifts gear into a bassline straight from an old Loverboy album.  Granted, that may all sound like a recipe for disaster, but Megadeth pull it off with the classic sneer of songs like "Peace Sells" and it works.

The real 'risk' comes next with the song "Breadline," which features a strangely upbeat clean guitar sound through much of it and reminds me a lot of classic Alice Cooper.  In yet another nod to classic rock, "The Doctor is Calling" starts off with a riff that has more than a passing resemblance to AC/DC's "Hells Bells" (the song even features bells along with it at one point!).  The next few tracks are a little less immediate, opting more for a straight-forward 70s hard rock approach.  None are bad, but none are particularly great either.  The album ends with "Time," which is split into two parts:  the ballad-y half and the heavier half.

The final verdict?   Risk is an imperfect album and the last half has the same overly-restrained feeling that the past two albums have had, but the first six tracks make it worth buying.  If you're looking for a return of the technical, speed-metal version of Megadeth, you are out of luck.  If, however, you can appreciate Dave's subtler side (and can deal with some typically cheesy lyrics...), Risk is worth checking out.
[Daniel Hinds]

METALIUM
Millennium Metal - Chapter 1
(Pavement/Massacre)

After a short intro, "Fight" kicks in with a vengeance.  Fast-paced ala latter-day Riot, the track simply rocks like you wouldn't believe.  Vocalist Henning Basse does a tremendous job, matching the range and clarity of Michael Kiske, but with a style that is entirely his own.  "Dream of Doom" follows in a slower, heavier vein, sounding a bit like a cross between classic Accept and Savatage.  The song "Metalium" shows off the band's classical influences without letting up on the heaviness one bit, while "Metamorphosis" does the same with more of a power-ballad approach.  I like how the band can go from a majestic track like "Forever Free" straight into the double-bass grind of "Strike Down the Heathen" and pull both off with equal ease.

There's really nothing to criticize here, other than the hackneyed name/logo and somewhat cheesy (but mercifully short) narratives that appear between some of the tracks.  The production (handled by bassist Lars Ratz) is superb, with the most grinding guitar sound since the Primal Fear debut.  Fans of that band or pretty much any other power or speed metal band has got to give this album a spin.  Icing on the cake?  A pounding cover of "Smoke on the Water" and a fiendishly faithful rendition of Accept's "Burning."
[Daniel Hinds]

MISTIGO VARGGOTH DARKESTRA
The Key to the Gates of Apocalypses
(The End)

Starting off well with spacious, obscure sounds, distant horns come in now and again, like a warning of an impending battle.  Eventually, marching soldiers can be heard followed by a rousing battle drum, until the music finally kicks in fully.  Eschewing the hyper-speed black metal approach of his main band (Nokturnal Mortum), Kniaz Varggoth goes for a much trippier and plodding attack here.  The vocals get totally lost in the mix and some of the instrumentation seems a bit indistinct as well.  After a while, this breaks into another ambient section and then into a steadier heavier section again, this time with more audible vocals and a truly evil guitar tone. 

Another shorter break and then into another slow, heavy number.  This pattern continues for the rest of the 75-minute track.  At this point, it feels more like a regular album than one extended track and I'm not sure exactly how connected the various 'songs' are supposed to be. Either way, the music is enjoyable and has a dark charm not unlike Hammerheart-era Bathory meets Hellhammer.

Mistigo Varggoth Darkestra is in some ways more listenable than Nokturnal Mortum, simply because there is more variation and you can tell what's going on most of the time.  Whether or not it's better is a judgment call and I feel that they are different enough that you can't really compare the two.  I appreciate the fact that Kniaz has managed to keep the same spirit as his main band while exploring fresh territory at the same time.  A more consistent mix would be the only thing on my wish list for his next outing.
[Daniel Hinds]

NINE INCH NAILS
The Fragile (2CD)
(Nothing)

I first got into NIN at the tail end of 1990, after seeing the classic H-Gun vid for "Down In It," and have been mightily impressed with nearly everything Trent has released since then (save for some of the more pointless remixes along the way).  Broken was a massive step forward from Pretty Hate Machine and likewise The Downward Spiral was from Broken. 

I think the thing that troubles me most about The Fragile is it feels like Trent has lost his vision a bit, as the majority of the material here falls right in line with the latter half of The Downward Spiral.  Lots of slow, ponderous rhythms, with an even more organic sound than ever, and a general disregard for typical song structures.  "Somewhat Damaged" is an example of this done well, as it builds layer upon layer to a great climax, while first single "The Day the World Went Away" just sounds disorganized and is only saved by a beautiful vocal performance.    Other highlights of disc 1 include first vid "We're in This Together," which has a nice pounding rhythm and great chorus, "The Fragile" and its follow-up instrumental "Just Like You Imagined" show off Trent at his dynamic best and feature some truly fine keyboard work, and the militaristic assault of "Pilgrimage."

Disc two in general fares better.  "Into the Void" has some of the same funky-pop appeal that "Closer" did, while "Where is Everybody?" harks back to "Down in It."  "Starfuckers, Inc." is one of the only tracks to really kick the tempo into high-gear and would be right at home on Broken.  "I'm Looking Forward To Joining You, Finally" is another standout composition, featuring some heartfelt vocals and truly unique percussion.  "Underneath It All" once again utilizes the formula of slowly building on one main idea to a tremendous crescendo, which dumps the listener into the acoustic melancholy of album closer "Ripe (With Decay)."

The lyrics on The Fragile are, if anything, even more downbeat than past works, with a palpable sense of disillusionment and desperation bleeding through every track.  Trent seems to be reflecting on his life here ending up with more questions than answers.  The music matches this confusion, with each track experimenting with different drum sounds, different effects, etc.

Getting past expectations can be difficult, especially for a band that hasn't released an album in five years.  Personally, I was hoping Trent would continue in the direction hinted at by his interim recordings like "Burn" and "Perfect Drug," but The Fragile (with the exception of "Starfuckers, Inc.") heads in a completely different direction.  Once I get past my pre-conceived notions of how The Fragile should sound, I have the feeling I will appreciate it a lot more.
[Daniel Hinds]

OBTAINED ENSLAVEMENT
Soulblight
(Napalm)

Soulblight starts off impressively, with the foreboding "A Black Odyssey," a symphonic piece with a determined marching feel to it.  From here, it is headlong into "The Dark Night of Souls," an epic and highly melodic slab of high-speed black metal.  The vocals are grim and the riffing chilling, but the keyboards work their magic to give the track some depth and even warmth.  The title track follows, with the keys taking the lead even more.  For the more brutal side of Obtained Enslavement, check out "Voice From a Starless Domain" and its near-chaotic intensity, while album closer "Charge" features some near-death metal rhythms at times.

The interplay between the harsh vocals and relentless drumming and the more melodic approach of the guitar and keyboards is thoroughly captivating and what really makes Soulblight a success.  There is nothing catchy to be found here, nor anything terribly original, but if you want some top-notch symphonic black metal with a definite edge, look no further.  A nicely put-together DigiPak, featuring lyrics and band pix, rounds out the package.
[Daniel Hinds]

ONEIROID PSYCHOSIS
Garden of Remembrance
(Nilaihah Records)

The best part of their songs are the keyboard patches that they use. "Solace of Shadows" is a short little song, but the keyboards on it make it one of my favorite tracks on the CDs. The whole CD is marked with some great keyboard programming. Something I also noticed while listening to the CD is that several of the tracks (including "Dark Day" and "Mirealla") are marked with major change-ups in the middle of the songs. Several of the tracks in this way seem to be a combination of two completely different songs.

I really like this CD quite a bit. There is a lot to offer to several different people. It all kind of sneaked up on me, but I really like the overall effect of the CD. I hope some of you are willing to take the dive and see what this CD holds for you. Cheers!
[Victor Mejia]

QUEENSRŸCHE
Q2K
(Atlantic)

When I heard that Chris had left the band, I actually took it as good news.  Maybe he's the one that's been holding them back.  Maybe they will re-discover their metal roots and put together a great comeback album.  Clearly these items weren't on the band's agenda...

"Falling Down" starts off okay, with a fairly heavy sound and a good, catchy chorus.  "Sacred Ground" follows on in a slightly more mellow fashion, but still well above recent 'Rÿche output.  Then "One Life" comes on, sounding like a (slightly) more rockin' version of Pearl Jam and it's all over.  "When the Rain Comes" is a blah ballad to rival, well, pretty much all of their previous ballads.  "Breakdown" tries to re-inject some heaviness later on, but ends up sounding more like some post-grunge band than it does Queensrÿche.

Ever wonder how bands manage to evolve in such weird directions?  Like Metallica going from a technical thrash outfit to whatever the hell they are now.  How did Queensrÿche evolve into this weird blend of modern alternative and boring classic rock?  More importantly, WHY?!  The material is far less challenging than their earlier work, both for the band and for the listener.

I'll give the band some credit, as this album is a step up form the past few, but anyone who is hoping for a return to the early days or for a fresh, new approach are pretty much out of luck.  And if anyone comes up with a stupider album title than Q2K this year, I'll be impressed...
[Daniel Hinds]

SAMAEL
Eternal
(Century Media)

Heavy-duty sequencing and synth-work is the basis for the music, but the crunchy guitars and heavy bass are layered right on top, not to mention the sandpaper vocals, to form a sound as dense as concrete and harder still.  Don't expect a lot of melody or hooks here, as the vocals are harsh as ever and the band seem to have no interest in writing pop songs.  What melody does seep through is thanks to the Xy's work at the keyboard and this is by far the most impressive part of the album, as one listen to a track like "Infra Galaxia" will demonstrate.

There is a real grand scale to the compositions here, recalling Laibach on tracks like "I" and "Ways."  While a good deal of the material falls into a similar groove, it is by no means one-dimensional.  "Being," for example, features a very cool and unexpectedly jazzy piano line.  Same goes for the 70s-sounding organ that heralds the beginning and end of the otherwise brutal "Radiant Star."

Despite the stellar production job, fairly unique blend of electronics and extreme metal and general cosmic grandeur of Eternal, I never found myself really getting into the music.  The last three tracks on the disc were about as close as I came to enjoying the album, which doesn't speak very well of the first seven cuts.  I'll give them credit for doing what they do very well, it just didn't provide me much emotional stimulation.
[Daniel Hinds]

SNOG
Third Mall From the Sun
(Metropolis)

"Late Twentieth Century Boy" is classic Snog, with a hip-hop beat, floating synths, David's cynical, crawling vocals and a sample or two from the previous disc.  The pace quickens a bit for "Are You Normal Enough?" which could have come off of Dear Valued Customer and makes good use of a theremin.  "Real Estate Man" features a little melody that immediately lodges itself into your brain for safekeeping.

Other highlights include the noisy ballad "The Last Diamond," which features some cool vocoder, the emotional "Mind and Purpose" with its western feel, and the deeply disturbed "Land of the Bland" which sounds like Lassigue Bendthaus on acid at times. 

Third Mall.. is really a collection of everything Mr. Thrussel has experimented with before thrown into a big atomic vortex.  Imagine Buy Me.. if it were injected with the chaos of modern life and fear of the future.  Sampled guitars show up from time to time, too, though no one is likely to mistake this album for KMFDM - Snog are fare more subtle.

The unapologetic anti-capitalist message still runs strong throughout and the Devo-meets-DK album artwork is truly brilliant.  Snog's world-view is deeply is deeply pessimistic, but there is always a thread of sarcastic humor running through it, just enough to make the dark vision bearable.  I particularly like the jigsaw samples and corporate sloganeering that ties all the songs together, including my favorite tag-line "Remember: we're here to help you help us."

The overall quality and consistency of the songs on Third Mall From the Sun is maybe a little lower than Buy Me.., but not by much and that album was something of a landmark (in my opinion anyway).  If more bands could fuse modern electronica elements with those of classic electro-industrial as successfully as Snog does, the world would be a much happier place.
[Daniel Hinds]

SOZZI
Life Goes On
(Columbia Records)

[various artists]
Hardware
(MCT Productions)

Hyperdex-1-sect start things off with a remix of the song "Mind," one of the album's highlights.  This track starts with some great ambient sounds and just slowly build and builds until it is a full-on electro-industrial monster of a song.  The progression is perfectly timed, the production hard and clean and the beats just kick.  Clock DVA are next with the "reflective version" of "Sound Mirror," which, to my horror and amazement, is actually a pretty cool tune.  It could be tightened up a bit, but the overall sound and style is very enjoyable.  Retro without sounding dated.  Zodiac pull off an equally impressive - sounding modern without sounding like crap.  Mixing up d 'n' b with some more experimental sounds and samples, the song succeeds because it keeps moving and changing.  Omni- start off with a delay-ridden synth line that sounds like it could easily morph into a synthpop track, but instead falls into an upbeat trance techno cut instead, reminiscent of early Juno Reactor.

Tyrophex 14 are the first real disappointment of the platter.  While they do conjure some interesting and eerie sounds, the sequences need to be a lot more varied.  Electro Assassin immediately get my thumbs-up, as they kick off "Dreamweb (slicer-mix)" with a sample from John Carpenter's Prince of Darkness.  Sporting some plastic-y synths and Leeb-esque vocals, the song itself sounds like a modernized version of something from FLA's Gashed Senses... disc.  Attrition provide their usual excellent blend of synthetic dance music and gothic atmospheres on "Acid Tongue."  Interact have a pretty distinctive sound, too, with some cool drum rhythms and legible vocals, sounding like it should have been on Wax Trax! during their heyday.  Sheep on Drugs disappoint as usual, with their brand of goofy and murky techno dance music.  Finally, Module close down the proceedings with the 9 minute "Trans-Lunar Injection," a spacey, ambient track that features various NASA samples.

Hardware, despite the generic title and cover art, is a thoroughly impressive collection of electro-industrial bands.  The styles differ - you're not likely to confuse one band with another - but the dedication to quality song-writing and expanding the parameters of technology in music is consistent throughout.  More info:  http://www.sub-station.com
[Daniel Hinds]

VINTERSORG
Till Fjälls
(Napalm)

After a fairly short opening track that features the folk, acoustic side of Vintersorg and his regal, clean singing style, the album drop-kicks you into black-metal hell with "För Kung och Fosterland."  The song kicks off at 100 MPH, with blazing riffs and ripping vocals, but eventually works its way around to a more mid-tempo and melodic brand of metal.  If that wasn't enough, it then segues into the classical "Hall of the Mountain King" before returning to finish out.  A weird arrangement, to be sure, but he makes it work somehow.

Other highlights include the title cut, which is a perfect combination of all the styles on the album and features a great, majestic chorus (which will also give you a clue how to pronounce the album title if you're a dumb American like me), and "Isjungfrun" which features female vocals from Cia Hedmark (also of Otyg) in duet with Vintersorg.

This is a pretty strong release with a fairly unique sound to it.  The production isn't brilliant, especially during the heavier parts, but it is okay and doesn't hamper the proceedings any.  Vintersorg's original approach to deep, clean vocalizing combined with the masterful blend of black metal and folk and musicianship makes for quite a listening experience.
[Daniel Hinds]