CRISIS N.T.I.
The Alien Conspiracy
[Cyber-Tec/Fifth Colvmn]
This is yet another side-project from British powerhouse Cubanate. A concept
album, The Alien Conspiracy deals with, you guessed it, alien invasion,
government conspiracies, the whole nine yards. Most of the music is high-BPM
EBM (heh) that reaches absolute frantic urgency on tracks like "Earth Under
Threat" and "Radar Visual." Elsewhere, though, things calm down for some
surprisgnly soft and peaceful moments, such as "Aura" and "Praying To The
Aliens." Both styles are executed well and, coupled with the somewhat minimal
synths and clean vocals, Crisis N.T.I. will put you in mind of the more
classic EBM bands like Front 242. Melody and structure are given top priority
and the result is a very solid album of catchy techno tunes that will make
you dance but keep your mind entertained at the same time. My only complaints
with this CD are the average re-mixes of the song "Crisis" stuck at the
end.
This has been one of my favorite albums of late and grows on me each
time I hear it. Highly recommended to fans of electronic dance music (and
anyone interested in extra-terrestrial intelligence!) [Daniel Hinds]
MEMENTO MORI
La Danse Macabre
[Black Mark]
This is something of a 'project' band, but it's a damn good one for a change.
Featuring Mike Wead (of King Diamond and I believe Hexenhaus fame), Memento
Mori used to also feature Messiah Marcolin, vocalist of Candlemass. This
time around, they've hooked up with Kristian Andren, who has a wider range
and, IMO, a stronger voice. His singing is well-suited to their style of
classically-influenced power-metal ala Yngwie and Dream Theater. In fact,
their sound isn't a million miles away from labelmates Tad Morose, though
Memento Mori are a tad more experimental, such as on "The Beggar's Waltz"
where they use some strange keyboard pads and vocal distortion to good
effect. There's also a definite Candlemass feel to tunes like "Lost Words"
and "Morpheus (My Deadly Friend)," though it's more of the fast Candlemass
that comes to mind.
Overall, a very strong metal release in a year where the genre seems
to be finally sparking to life again. Search out and buy! [Daniel Hinds]
COLLIDE
Beneath The Skin
[Re-Constriction/Cargo]
Gothic music of any sort isn't usually associated with Re-Constriction
Records, but I think Chase made a good decision to sign this duo. Musically,
Collide are very electronically-based, covering everything from dancey
upbeat numbers ("Violet's Dance") to more ethereal, emotional pieces ("Pandora's
Box"). Some guitar does make its way into the music, with heavy distortion
("Falling Up") and acoustically as well ("Deep"). The latter track really
shows Collide's gothic side off well, with kaRIN's delicate voice woven
deeply into the dreamy rock fabric. Lots of potential here for fans outside
of the usual Re-Con die-hards.
On the down side, I'm not at all happy with the production and mix on
this album. Everything has a rather muted and dulled sound to it, making
it a lot harder to hear what's happening and really get involved in it.
Other than that, however, Beneath The Skin is a pretty strong debut: good
songs, lots of variety, great packaging, and remixes by cEVIN Key and Christ
Analogue. Chalk up yet another band on the fringe of gothic that successfully
embraces the good elements of the genre while avoiding the cheesy ones.
[Daniel Hinds]
LAZARUS / EFFECT
System
[Black Pumpkin]
This four-piece outfit blends hard electronics with heavy guitar in a fairly
unique fashion. Although the riffing is fairly metallic, the 'metal' feel
of bands like 16 Volt and KMFDM isn't here. If anything, it has more in
common with some of the better alternative rock from years past, with the
somewhat odd rhythms and basslines. The relentless drums are overbearing
on the title track, but elsewhere L/E manage to mix things up with more
success, such as on the grinding "New Skin" and "Play God." The vocals
have a bit of a gothic edge to them and for the most part avoid the typical
distorted-all-to-hell cliche.
Still, something seems to be missing. The execution is good but the
writing seems just kind of average. Being the zillionth band to sample
Blade Runner doesn't exactly endear them to me either. I dunno, maybe it's
a grower, but System left me rather flat. [Daniel Hinds]
NEVERMORE
In Memory
[Century Media]
One of Seattle's least-known metal acts from the 80s was Sanctuary, a band
that I recall seeing blow Megadeth off the stage back in '88. Well, after
the demise of Sanctuary, vocalist Warrel Dane and bassist Jim Sheppard
wound up forming a new, progressive power-metal act called Nevermore. While
maintaining the heaviness of Sanctuary, Nevermore delve further into the
melodic realms of old Queensryche and modern Savatage. Warrel still has
quite the range and handles the slow, moody parts with equal skill to the
fast, pounding stuff.
This EP features one new cut, which is probably the fastest and straight-out
heaviest track on here. It's okay, but I prefer the more varied and complex
songs like "Matricide" and "The Sorrowed Man," both of which were apparently
featured on early demos. To round out this in-between release, the band
offers their take on Bauhaus with a medley of "Silent Hedges/Double Dare."
Like label-mates Iced Earth, Nevermore are carrying on the tradition of
classic American power-metal and doing it with style. [Daniel Hinds]
BRIAN SETZER ORCHESTRA
Guitar Slinger
[Interscope]
Okay, so this isn't industrial or metal or gothic or anything even close,
nor is it something I would have ever expected to like. But I do, dammit.
Never liked the Stray Cats, but Brian Setzer has really broadened the scope
with this 'solo' outing, incorporating elements of swing, big band, jazz
and classic rock 'n' roll. Song titles like "Rumble In Brighton," "The
Legend of Johnny Kool" and "Sammy Davis City" pretty much say it all. The
combination of the horn section, guitar and Brian Setzer's gritty vocals
make for a very powerful recording that sounds vibrant and fresh despite
the age of the genres it pays tribute to. Give it a listen if you get a
chance, maybe you'll agree. [Daniel Hinds]
SPAHN RANCH
Parts Assembled Solely
[Cleopatra]
This remix CD has been out for a while but is definitely worthy of note.
Some of the tracks from their last opus, The Coiled One, appear here in
remixed versions, namely "Heretic's Fork," "Vortex," "Compression Test"
and "Locusts." First up is "Heretic's Fork" which gets the full treatment
by Birmingham 6, who make it a real dancefloor burner. This is followed
by 3 mixes by Uberzone (I feel I should know who that is but I do not)
that will keep you moving. Also included are four live tracks, where you
get more of a sense of the band's gothic past, mainly due to Athan's vocals.
Spahn Ranch walk that fine line between techno, industrial and gothic,
all the while charming you with some of the catchiest vocal melodies you'll
hear this year. I will forgive Cleo for the EHC if they keep putting out
gems like this one. [Daniel Hinds]
MADBALL
Demonstrating My Style
[Roadrunner]
Arguably one of the most successful acts in the NYHC scene was Agnostic
Front. They combined primal hardcore with thrash riffs like no one else
did, culminating in the excellent One Voice album back in 92 or so. Madball
features all of Agnostic Front's last line-up, sans vocalist Roger Miret.
In his place, though, is younger brother Freddy, whose voice is equally
extreme but perhaps more palattable for long listening sessions. The themes
carry on the AF tradition, covering the usual calls for unity, self-respect
and survival in the face of adversity.
The main difference between Madball and AF, as far as I can tell, is
the speed of most of the songs. True, they've kept the song lengths down
to the tried and true one-to-two minute formula, but the riffs are slower,
no doubt to appeal to today's audience. Still, the intensity is there and
they do speed things up from time to time. I'm not wild about this CD but
it's a decent offering from a band that has certainly paid their dues.
[Daniel Hinds]
SISTER MACHINE GUN
Burn
[WaxTrax!/TVT]
The third etching from the brain of Chris Randall has finally arrived and
was well worth the wait. I wasn't real big on the debut and, even though
it grew on me eventually, "The Torture Technique" had some problems, too,
but with "Burn," I think SMG have finally established themselves. Songs
like "Hole In The Ground" and "Disease" stomp with the best of them, while
Chris' funk influences shine through more on tracks like "Better Than Me"
and "Red." Some guitar here and there, some distorted vocals, but the primary
elements this time are the bass and the drums. Oh, and of course Chris'
sweet voice crooning over top of it all rounds out the album nicely.
An energetic band live, SMG should finally start getting some serious
attention for their recorded out put now, too. A number of these tunes
have real single potential and, judging by the response on r.m.i, SMG's
day has finally arrived. [Daniel Hinds]
GITANE DEMONE
With Love and Dementia
[Cleopatra]
I was fortunate enough to meet my friend Colette last year. She was having
difficulties locating Gitane Demone's first album in New Orleans and asked
me to look for it here in Eugene and bingo, there it was in one of the
dark recesses of the garden: Facets in Blue. I decided to give it a quick
listen and was easily enraptured by her amazing voice. When I learned that
Gitane had been the female vocalist on Christian Death's Sex Drugs and
Jesus Christ, I found out that I had actually been a Gitane fan since 1989--I
guess I should have read the liner notes. There has been one studio album
since then under the name Demonix (check it out!) and now here is the first
live recording of Gitane. This is absolutely fantastic. Gitane is one of
the few diva's within the death rock community. The recording is first
rate. The musical accompaniment on this CD is minimal at best, but that's
how Gitane's voice works the best. She really needs no music to back her
voice up. What music there is does not limit her in any way--it enhances
things. Fans of Rozz Williams will be happy to know that he accompanies
Gitane on the final two tracks including the old Christian Death song "Lament."
If you are a fan of true vocal beauty check this one out. If you're an
S&M enthusiast check this one out as well as the Demonix album. Gitane
Demone can tickle just about anyone's niche unless you are so straight-laced
and corseted (in which case you probably need the album more than the rest
of us). [Victor Mejia]
ARCANA
Dark Age of Reason
[Cold Meat Industry]
Arcana hail from Sweden and consist of Peter Pettersson and Ida Bengtsson.
They have also created one of the most beautiful records I’ve heard in
recent years. The duo are equally adept at the grand and classical (“Source
of Light”) to the more mellow, medieval-sounding pieces (“The Calm Before
the Storm”). Ida’s soaring, operatic voice is tempered by Peter’s somber
baritone and the two are mixed quite often and to excellent effect.
The songs themselves have a very epic, almost religious feel to them.
The dark, sweeping pads are layered with piano, timpani, strings and horns,
all helping to transport the listener to another time and place. A definite
sense of wonder and even hope permeates the ten tracks, and Arcana are
wise enough to keep the songs just long enough to get the point across.
They don’t drown in themselves the way a lot of the more ambient and ethereal
gothic songs I’ve heard do.
A startling release that I hope is just the beginning...
[Daniel Hinds]
DIATRIBE
Diatribe
[Re-Constriction/Cargo]
I was quite impressed with this San Jose-based industrial/rock combo when
they opened the Angstfest a few years back, but found their recorded output
at the time somewhat flat-sounding. They’ve put the intervening years to
good use, however, and turned out a damn fine debut disc. Their years
of playing together really show, as this sounds so much more confident
than most debuts.
Diatribe mix electronics with heavy guitar and a rock-based song structure
to good effect, adding some edgy but accessible vocals as well. Covering
similar territory to pop acts Stabbing Westward and Gravity Kills, Diatribe
do it so much better and with a lot more conviction. Though the whole album
seems to be set to the same mid-tempo feel, there is plenty of variety,
from the metallic “Four Fifty One” to the Hate Dept.-esque ballad(?) “Land’s
End.” The production is excellent, the playing is precise and heart-felt,
the artwork is killer -- a thoroughly enjoyable package overall and one
that I hope attains some of the success that less-deserving acts have been
getting of late. [Daniel Hinds]
PIG
Sinsation
[Nothing/Interscope]
This disc has been out for a spell, but it is not an immediate album by
any means and I am just now starting to get a grip on it. The first couple
listens were painful, as I really enjoyed Raymond Watts work with KMFDM
and what little Pig I had heard in the past, and this didn’t capture the
same vibe. A lot of the same elements are there: heavy guitar, gritty lyrics,
backing vocals, etc., but the songs seemed slow and tedious in comparison
to his work on Nihil.
Upon further listenings, however, I’m really starting to appreciate
the subtleties of the record. It’s a dirtier, more brutal album than his
KMFDM work, but a lot of the song structures are similar and the mix has
depth to it that a casual listen might not reveal. Not a bit commercially
accessible and the cover will probably scare away everyone but Marilyn
Manson fans, I’d be surprised to see Pig get another release on Nothing,
but I will look forward to Mr. Watts future endeavors, wherever they may
turn up. [Daniel Hinds]
[various artists]
Goth Box
[Cleopatra]
I really don't know how to review this, there is just so much music. Over
4 hours in all. It's very appropriate that this gets started with Bauhaus
because when it comes to the goth movement, they're huge. Sadly, they are
the one really big major label gothic band that does make an appearance
on this CD. Oh well, that's the problem with trying to license stuff I
suppose.
Disc one is somewhat solid. Other than Bauhaus other important appearances
are made by March Violets, Australia's very own Big Electric Cat, Die Form
(brilliant!) and defunct bands like Executives Slack and Fahrenheit 451.
I wish the Gitane Demone song would have been a better track, but what
are you going to do. The strongest track is provided by French goth fiends,
Corpus Delecti whole are by far one of the most gothic bands on the compilation.
The low is probably provided by Ohio's The Wake, but I don't think they
can really help it.
Disc two might be a little bit stronger musically with such bands like
(everybody's favorite) Alien Sex Fiend, goth's best band Switchblade Symphony,
Lycia. The two tracks I could have done without would have to be Usherhouse
and Eva O. Usherhouse don't sound like they would really be that bad, but
it's hard to tell because the production on "Monkey Strange" is awful and
very hard to listen to. Eva O. is one of my favorite performers but she
just doesn't mesh well with Matt Green's (Spahn Ranch) electronics.
Disc three is easily my favorite disc. Call me sexist, but I really
prefer female vocalists over men generally and this disc is chockfull of
them. All the bands are cool on this disc, but I can't quite figure out
who is singing on the Mephisto Walz track. It just doesn't sound like Christianna.
My favorite track is performed by the U.K.'s own Inkubus Sukkubus; I couldn't
keep from singing along: "Fly, Sister, fly into the dark night that loves
you." Germany is represented by my favorite band, Love Is Colder Than Death.
Sweden's representative, Malaise, are also ultra-cool. They do a perfect
job of combining gothic and industrial music. The last track worth mentioning
is the moody "Holy You" by Deep Red...good song.
Christian Death finally make an appearance on disc four. Other noteable
tracks are supplied by Aurora, Rosetta Stone (sounding a little like Love
and Rockets and the Jesus and Marychain), Patricia Morrison and London's
Die Laughing. My favorite track on the whole compilation comes out on this
disc. It is from Fresno's (who whoulda thunk it) The Shroud with "Caged
Bird." I really don't know how to describe the track except that it seems
to encompass everything that is good about gothic music.
Finally, it is important to add that the packaging of this box is wonderful.
Especially for a Cleopatra release, this one is really full of stuff. Not
only is there a really thorough booklet describing each and every band,
there is also a poster, a postcard, and a sticker. Yep, lots of fun stuff.
The songs were compiled by Spahn Ranch singer Athan Maroulis who also provides
the entertaining liner notes. This one is definitely worth it for those
into goth and those of you who feign an interest. Enjoy.
[Victor Mejia]
DIE KRUPPS vs. FRONT LINE ASSEMBLY
The Remix Wars Strike 2
[Off Beat/Cleopatra]
This is the second disc in the (so far) three-part series of 'remix wars.'
For this one, two of the best-known bands of the industrial genre team
up and the results are decent, if unspectacular. Front Line tackle "Metalmorphosis,"
"The Last Flood" and "Scent" from the last Die Krupps album, adding a lot
of electronic fluff and pushing the guitar back in the mix. Die Krupps
take on "Neologic Spasm," "Barcode" and "Transparent Species" from Front
Line's last album. Die Krupps' mixes struck me as slightly more inventive,
drying out the vocals considerably and playing with the arrangements a
little more.
Overall, I was a bit disappointed, as "Neologic Spasm" was the only
song that I thought really benefited from being remixed. Also, neither
of these bands' latest albums (from which all tracks were selected) are
my particular favorites and I would have much preferred hearing them re-work
some of their older material. A reasonable collection for an EP price,
but nothing spectacular.
[Daniel Hinds]
OOMPH!
Defekt
[Dynamica]
This is the third full-length release from this German trio and it continues
the progression shown from their self-titled debut to their sophomore release,
"Sperm." Basically, the programming is pushed even further into the background
and the metallic guitar riffs and drums are emphasized even more. The growling,
un-treated vocals further blur the line between industrial and metal. Don't
get me wrong, there is still plenty of synth programming herein, it's just
not the dominant force it was on their first album.
Material-wise, I really liked some of the more punishing tracks, such
as "Hate Sweet Hate" and "Come And Kick Me" and it is nice to see them
experimenting with different styles, like on "Ice Coffin" and "Turn The
Knife." Having said that, though, I thought that the overall strength of
"Defekt" wasn't up to the usual Oomph! standards. I'm not sure what it
is, but it seems to lack some of the venom and fire exhibited on the last
two CDs.
If you are a fan of Oomph! or the metal/industrial hybrid sound, then
you will no doubt want to get this CD, as it is good but not great and
Oomph! have a very distinctive sound that doesn't copy from Ministry or
NIN as many others have. For mailorder info, write to Dynamica at: 7510
Sunset Blvd., Suite #515, Los Angeles, CA 90046. [Daniel Hinds]
SUNSHINE BLIND
Love the Sky to Death
[Scream]
This was a big surprise! I had never really gathered the idea from reading
all the Sunshine Blind interviews that this band really rocked. I thought
they were another in the long line of ethereal gothic bands with fragile
female vocals. Don't get me wrong, I love that kind of music, but this
was a nice surprise.
Sunshine Blind really rock! They can be compared to Sisters of Mercy
in their drumming and bass playing, but the guitars [provided by CWHK]
are far more involved than in the Sisters. Caroline's vocals are quite
strong. Finally a really powerful frontwoman in Gothic rock. Much like
Siouxsie or Eva O. If you like this album, you really have to check them
out live, or vice versa. There sound really translates well to their live
set. [Victor Mejia]
HELLBENT
0.01
[Fifth Colvmn Records]
I am somewhat wary of these 'supergroup' collaborations (especially after
that awful Vampire Rodents album), but Hellbent is a very impressive project
in its own right. From what I gather, Bryan Black (HALOBLACK) contributes
the majority of the music, while Eric Powell (16 VOLT) handles a lot of
the vocals. Others include: Jared, Charles Levi, Jordan Nogood, and numerous
others. Most of the nine songs are in a similar vein. They find a good
bassline, fall into the groove and pull you along for the ride. The vocals
vary from whispered to sung to half-rapped and fit very well into the sparse
arrangements.
This isn't a really energetic album, but it's not meant to be. The name
Hellbent and the people involved made me think it would be harsher, more
urgent record, but I was pleasantly surprised by how it actually sounded.
It's solid album and a nice change from the usual electro-industrial rage.
[Daniel Hinds]
LEATHER STRIP
Getting Away With Murder
[RAS DVA]
While the debate on the merits of Claus' latest album rages on, fans may
want to also check this gem out. It is a collection of rare Leather Strip
tracks, including some dating all the way back to 1982 (when they sounded
more like early Ministry than the more brutal electro-industrial approach
taken later on). While the rare tracks are interesting, the real meat of
this CD is the five-song segment taken from a 1990 concert in Frankfurt.
Songs like "Satanic Citizen" and "Zyclon B" are just relentless and
will certainly please any fan that feels LS has gone soft in recent years
(and I'm not one of 'em, but I know they're out there...) A good album
to play when you're really, really pissed off about something (anything);
just be sure to wear a helmet. [Daniel Hinds]
ZIA
Shem
[Fifth Colvmn]
This is a nice change of pace. It is really hard to classify this EP from
duo Elaine Walker and Rob Trainor. It is truly electronic without being
either industrial or techno. The first song, "Future," sounds like a combination
between Pretty Hate Machine keyboards and Siouxsie vocals, mixed with an
acid house chorus. Thus is the enigma of trying to describe this pair.
The remainder of the album remains the same. "Hand Held" is a bit more
aggressive in its programming except for in the chorus which is once again
smooth. "Lie" is a bit more minimal in what already is a very minimal music
style. "River" seems to be more of a political rant, with that once again
tranquil chorus (a definite trademark). "Disevolve" is just that, a disevolved
track. Slow and minimal until kicking into a very punky upbeat prechorus
and chorus.
Overall, I am in a bit of a quandry trying to decide who I can recommend
this to. It really compares to nobody in particular. Zia have definitely
created their own style. It's not bad in anyway. If you want a change,
not too drastic, from all the industrial stuff your listening to now, check
this out.
Also, the opening cut on this song is a space multimedia kit which is
quite informative and put together entirely by singer and songwriter Elaine
Walker. Check it out! [Victor Mejia]
ROZZ WILLIAMS AND GITANE DEMONE
Dream Home Heartache
[Triple X]
My feelings are kind of mixed on this. I have never been that big a fan
of Christian Death. In my heart, I do believe that Rozz Williams' Christian
Death is better than Valor's, but that still does not make me that huge
of a Rozz Williams fan. On the other hand, Gitane Demone is to me the best
singer in the entire Gothic movement. So, I have to admit that I greatly
prefer the tracks which feature Gitane's vocals. Not that there is anything
wrong with Rozz's, you can feel a definite longing in his words; it just
isn't expressed with the beauty of Gitane's voice.
Most of the songs here are originals, my favorites being "These Vulnerable
Eyes" written by Gitane Demone and Peter Rekfelt and "Moon Without a Tear"
written by Gitane. There are two covers, including the title track "In
Every Dream Home a Heartache" by Brian Ferry which features Rozz's best
vocal performance and an extremely odd version of "Manic Depression."
This album is a tad bit short, only eight songs, to be priced as an
LP, but if you are a fan of Gitane Demone or even if you are a fan of Rozz
Williams, don't let this slip by. I am glad that they are never really
singing strictly duets as their voices didn't seem to quite mesh on Gitane's
live album. [Victor Mejia]
16 VOLT
Letdowncrush
[Re-Constriction/Cargo]
The title to this album seems more appropriate to 16 Volt's last release,
Skin. Not that it sucked by any means, but it was somewhat disappointing
after Wisdom, the classic debut.
All is forgiven now, though, as Letdowncrush is a bold step forward
in terms of production and songwriting. Eric Powell's vocal stylings are
more diverse than ever and his actual singing voice is sounding better
than ever. Those who are more familiar with 16 Volt's guitar-driven live
shows should particularly like this record, with cuts like "The Dreams
That Rot In Your Heart," "The Cut Collector" and "Swarm" all featuring
ripping riffs. The 'live' instruments on this one sound more organic than
before and the programming more solid. Songs like "Something Left" and
"Crush" show off Mr. Powell's studio skills (not to mention Critter's),
while elsewhere the band is equally happy pounding their way through straight-forward
heavy-rock territory ("Two Wires Thin").
Overall, I was pretty blown away with this release. I think working
on the Hellbent project helped Eric put some more groove into 16 Volt and
the whole thing is so much tighter and more pro sounding than Skin was,
I can't help but think this will be Re-Cons biggest release this year and
should really help push them out to a wider audience. [Daniel Hinds]
(various artists)
Document 01
[Full Contact/Fifth Colvmn]
This compilation comes to us from Dorobo Records of Australia, who brought
us releases by the likes of Shinjuku Thief and Black Lung, among others.
As you might expect, the tracks on offer here fall into the vague categories
of tribal, trance techno and experimental. In terms of tribal, you have
excellent cuts by Zen Paradox, Synapse Interrupt and the wonderfully relaxing
Hanging Garden. Suntoy seem to have the trance territory wrapped up quite
effectively, kicking up the adrenaline level a bit on this otherwise fairly
sedate album. Soma (Black Lung side-project) contribute "Nightsoil," probably
my fave cut, which combines all the styles quite effectively.
This CD is full of excellent mood music to chill out to, full of feeling
and devoid of the usual cliches. [Daniel Hinds]
THE RAZOR SKYLINE
Journal of Trauma
[COP Intl.]
This is the debut album from the Seattle outfit formerly known as Journal
of Trauma (they had to change the name for the usual lame legal reasons).
The Razor Skyline play a wonderful brand of gothic music, with industrial
leanings. Vocalist Karen Kardell has an excellent voice and puts it to
good use, esp. on the more melodic songs like "Andrea" and the dreamy "In
The Mirror." No slouches in the music department, either, with some excellent
guitar playing and keys.
My only real complaint with this album is the mix. The recording is
decent but the guitar gets buried way too much. A song like "Suicide Me"
would have sounded so much more powerful if the guitar hadn't been pushed
way in the back like it was. Still, the material is strong and their live
performances are excellent, so definitely check them out.
[Daniel Hinds]
haujobb
Cleaned Vision (CDS)
[Metropolis]
This five-track single features remixes of two songs from the upcoming
haujobb album. The single's namesake, "Cleaned Visions," is a stunning
piece of work and gets worked over three times here. This tune furthers
haujobb's streamlined electro sound, further refining it in the process.
Smooth vocals and sparse samples really let the music breathe. The slightly
more experimental "Net Culture" appears as an instrumental and a remix
by Forma Tadre, both rock solid.
Musically, if you haven't heard haujobb, they roam the realms of Bigod
20 and Lassigue Bendthaus, with a distinctive style and more classical
influence. A darker Kraftwerk for the 90s, perhaps...? Whatever it is,
it's excellent and the album will no doubt be a must-have. [Daniel Hinds]
MANIC STREET PREACHERS
Everything Must Go
[Epic]
MSP are one of the British alterna-rock bands that predated the current
invasion of crap like Oasis. Haven't really followed Manic Street much
over the years, though I always thought they were decent. This album seems
a little mellower than what I remember, but still in the same vein of pop/rock
with an edge to it. Songs like "Kevin Carter" and the Queen-esque "Elvis
Impersonator Blackpool Pier" get the toes tapping, but there are just as
many kinda mundane tunes, like "Removables" for example.
This CD is kind of just middle-of-the-road in a lot of ways. No standout
tracks, no god-awful ones either. Kind of a somber vibe permeates the whole
affair, too, and I'll be curious to see if they can make inroads into the
American charts.
[Daniel Hinds]
[various]
Battlegrounds
[Mokum/Roadrunner]
Purporting to be the forefront of the hardcore dance music movement, Mokum
Records has put together a collection of some of the most aggressively
upbeat numbers you're likely to hear this year. Unless, of course, you're
totally into this scene, in which case you probably either have this already
or find it irrelevant. For the uninitiated out there (like me), this is
an all-out sonic assault on the senses, meant to leave you numb but not
unmoved. Hyper rave tunes, energized by a relentless distorted drumbeat,
repetitive samples, and synth detonations guaranteed to get inside your
skull. The most unusual thing about this compilation is the number of songs
that have a polka feel to them (I kid you not), albiet a crazed, acid &
caffeine kinda polka.
If most dance music is too slow or too mellow for you, this CD is for
you. [Daniel Hinds]
PATRICIA MORRISON
Reflect On This
[Patricia Morrison Music]
Anyone wondering whatever happened to Patricia Morrison after leaving Sisters
of Mercy need look no further. She has returned with this album, a healthy
dose of gothic rock that doesn't stray a million miles from the SOM sound.
This seems to be a full-on band project, with Patricia singing and contributing
basslines to a couple tracks. Also worthy of note is Julian Beeston (ex-Nitzer
Ebb) who co-wrote the intro and outro instrumentals and contributes the
programming side of the equation.
The majority of the songs here, such as "The Living End" and "Reflection,"
are good but not great songs that will interest but probably not captivate
most listeners. Patricia's singing is part of the problem here, as it's
kind of flat at times and not terribly exciting. In the field of goth,
a strong vocalist is a must. In fact, my favorite tracks are the instrumentals,
which may be a comment on either Ms. Morrison's singing or Mr. Beeston's
writing abilities, you decide.
So, while I wouldn't recommend this to everyone, fans of gothic music
should enjoy it and die-hard Sisters fans will want it regardless. For
more info, write: The Scarlet Letter, P.O. Box 6534, London, N8OAP, ENGLAND.
[Daniel Hinds]
SNOG
Dear Valued Customer
[Id/Polygram]
I only came in contact with this band last year, when I picked up a copy
of their debut(?) Lies, Inc. Not an immideate recording, but eventually
it became one of my favorrites and still is. Thier latest, Dear Valued
Customer, continues the lyric tradition of corporation-bashing and delves
into some conspiracy theories as well (particularly in regards to the C.I.A.,
or as they put it, "Capitalism's Invisible Army."). The criticism's are
even harshes this time out and there is no mistaking Snog's political views.
The music, on the other hand, has changed quite a bit. Snog has really
gone in a hardcore techno direction, with a number of songs in the 140-150
BPM range. A good comparison would be Lassigue Bendthaus, though Snog inject
a bit more venom and emotion. The vocals are still the same, though possibly
mixed even further back than last time around. Sampling still plays an
important role (I'm pretty sure "Empires" is based around a Nitzer beat),
but the samples they pick are much less obvious on this one.
The packaging is great, the lyrics are included and I highly recommend
seeking this one out. [Daniel Hinds]
BENESTROPHE
Sensory Deprivation Vol. 1
[Ras Dva]
Before Mentallo & The Fixer, the Dassing brothers had a project called
Benestrophe with Jihad vocalist Rich Mendez. Dating back to 1989, this
CD is comprised of demos recorded at that time by this San Antonio outfit
and they sound pretty good for demos. Musically, it is in the same league
with Mentallo, though maybe a little more focused and accessible. Very
electronic with a horror-movie kind of feel to it, helped along by Rich's
demonic vocals. The songs tend to be really long (a bit too long in some
cases) and the subject matter is generally serious, if not morbid (see
"Dog Lab").
If you're a fan of Mentallo, this is a must-have, but I would also recommend
it to anyone looking for something a bit different. It's not an easy listen,
but it is pretty rewarding. [Daniel Hinds]
CHAINSUCK
Angelscore
[Waxtrax]
Wax Trax new artist was compared to Curve and Nine Inch Nails in their
bio. I must admit that I don't think Chainsuck really sound like either.
They use electronic drums and noisy guitar from time to time and they have
a woman singing, but they are neither as dreamy and sensual as Curve or
as aggressive and abrasive as Nine Inch Nails. I've seen them trashed in
a couple of reviews, one even comparing them to Alanis Morisette, but I
would have to disagree, this debut shows some real potential.
Chainsuck seem to be schooled in the importance of a good groove and
Marydee Reynolds pretty much carries this band single-handedly with her
innocent vocals and steady guitar playing. Some of the lyrics seem a bit
contrived, but if Chainsuck stick to it, they should eventually be able
to build some small following. [Victor Mejia]
(various artists)
Dissolve
[Fused Coil]
This is a compilation of experimental sounds and music. The cover refers
to the album as being "a work in progress compilation." That's an interesting
concept and I am sure it is true for some of the works on this compilation.
By far the biggest name on this CD is Lee Ranaldo from Sonic Youth, but
there's no way you'd mistake his selection for a Sonic Youth hit. It is
just a steady drone, not really changing much through out. If nothing else,
now we know where who is responsible for the noise in Sonic Youth.
My favorite track has to be Master Slave Relationship's "The Long Whip
of Persuasion." It's far more musical than anything on This Lubricious
Love which is the only MSR album that I own. It even contains underlying
lyrics which I'm sure would be interesting, if you could only make them
out. I'm glad to say I have finally heard a work by Merzbow, since he has
always remained a mystery to me musically. I must admit, it's not quite
musical, just shear grating noise, but not unlistenable. Merzbow works
a really steady balance between what a person can put up with and not put
up with. Fat Hacker step over this extreme with "Sad Song" which is flat
out unlistenable. [Victor Mejia]
LYCIA
Cold
[Projekt]
This is the third album I have owned by Lycia and I must admit that this
one is the first one I have liked from beginning to end. Don't get me wrong,
I've liked their past efforts, but this album shows the progression a band
can make if they stick to a formula. I don't know, but this might be the
Gothic album of the year.
"Frozen" opens with a slow yet driving rhythm that only varies a little
bit from start to finish and hooks the listener into the rest of the CD.
The second track, "Bare," is a perfect example of all the elements that
make Lycia great: the steady rhythm, the psychedelic guitars, and most
important, the use of Tara Vanflower's enchanting vocals. The female vocals
are what makes this album so special. [Victor Mejia]
PUNCTURE
Immune
[MIA Records]
It takes a lot to really push the boundaries of extreme industrial music
but I felt that Texas' Puncture did just that with their debut a couple
years back. Now they're back with a new label and a more varied but no
less intense offering, Immune. Where bands like Godflesh and Skrew have
simply bored me with their brand of distortion heavy, guitar-driven industrial
mayhem, Puncture succeed in bludgeoning your ears without putting you to
sleep. Songs like "Six Six Nine," "Kill-O-Gram" and "LD/50" combine hard-hitting
riffs with harsh vocals and pounding, machine rhythms. Whereas I thought
the debut was a bit too guitar-heavy at times, Immune shows the quartet
experimenting more with the electronics in their music. In fact, the most
successful songs, in my opinion, are the more electro-based ones, particularly
the frenetic "Six Six Nine."
On the down side, some of the lyrics seemed a bit extreme for the sake
of being shocking, but they certainly do fit the music. Fast, brutal, grinding
and quite well-produced, Puncture get my vote for doing this kind of music
the best. Check out their web
page. [Daniel Hinds]
UNDER THE NOISE
Of Generation and Corruption
[Cop International]
This is a difficult band to catergorize. They have a tendency to be all
over the place, but whatever they choose to do, they choose to do well.
The album opens up with an electronic voice saying "this is your world"
then it procedes to a rather straightforward song with quite a bit of distortion
through out. The fuzz is prevalent in the subsequent track as well. "Vision
In Long Darkness" is where the album takes a bit of a turn going in a very
ambient direction. Then comes the catchiest song on the album. "The Sun"
opens with what sounds like a mandolin loop with female vocals over it,
then it continues quite minimally with distorted vocals over mid-paced
beats with a female vocal loop in the background before it finally kicks
into the chorus "Let the sun, let the sun, let the sun shine down on me."
"The Mountain" contains a far more jazzy approach than the previous tracks,
at least at the beginning. "13th Tribe" is another primarily instrumental
track that features the chorus from "The Sun" four minutes into the song.
The whole album is like that. You have no idea what the next song is going
to sound like. At the same time I'm not complaining. Listening to Under
The Noise is like listening to a really solid compilation. [Victor Mejia]
ATTRITION
History
[Projekt/Hyperium]
This is another collection of tracks from this British band's impressive
career, reaching back to 1982 and coming all the way up to the present.
The best cuts tend to be the newer ones, like "White Men Talk" and "The
Mercy Machine," where the duo adds a little more industrial/dance feel
to their sound. The band also excels with the more gothic, ethereal songs,
like the heartfelt "A Girl Called Harmony" and the brilliantly spacey "The
Big Lie."
The only downside is a couple of the older cuts, like "Shrinkwrap,"
which are okay but lack the production and focus of the rest of the disc.
All in all, a good compilation to get you into a severely underrated band
and leave you wanting more.
[Daniel Hinds]
[various artists]
Music From and Inspired By Supercop
[Interscope]
This soundtrack from Jackie Chan's excellent film Supercop is a thoroughly
enjoyable listen with only a couple of exceptions. Most soundtracks suffer
from the diversity imposed on the medium, but this one actually benefits,
featuring some great pop, rock and rap tracks.
Devo contributes two of the highlights. First off, they re-construct
NIN's "Head Like a Hole" like no one else could have, then they provide
an all-new song, "Supercop," that has a modern sound but more of the classic
Devo feel than their past couple albums did. Tom Jones teams up with Ruby
for a great interpretation of "Kung-Fu Fighting," while Ruby's co-conspirator
Mark Walk backs up Siobhan Lynch for a brilliant update of "Staying Alive."
2Pac offers the emotional "Made Niggas," while Warren G. rips apart the
music biz in "What's Love Got To Do With It." Rocket From The Crypt, not
one of my faves, comes up with the goods with the extremely catchy "On
A Rope" and Dimebag Darrel actually out-performs his recent Pantera material
and even 'sings' on it. Joel McNeely rounds out the disc with the Devo-esque
theme song. On the down side, Black Grape's track is annoying Britpop,
while Tha Dogg Pound, No Doubt, and Pur are just blah. Still, the good
bands are well in the majority here and make this well worth picking up.
[Daniel Hinds]
DIVISION #9
The True Creator
[Full Contact / Fifth Colvmn]
I must admit, I was hoping for a lot more from a side project from Crocodile
Shop. Not that this is bad, really, it's just not a 'listening' type of
disc. In terms of dance cuts, this CD may work very well, but, for me at
least, a truly successful release should be just as home on your headphones
as on a dancefloor and this is not.
The quality of the construction and recording are not lacking, but the
songs themselves are pretty mindless, trance-type techno that are really
long and really repetitive. Maybe my perspective is skewed, since I'm not
a big fan of this particular genre, but the songs just get boring after
the first minute or two. I much prefer Crocodile Shop, which sounds nothing
like this thankfully. [Daniel Hinds]
SUNDAY GREY
Sunlight & Silence
[self-released]
This gothic-rock outfit were going under the name Sui Generis but had to
change it due to a conflict w/ another band and I must say I like the new
monicker much better. This CD is a big improvement recording-wise over
their last demo, while still maintaining a 'live' feel to the music that
a lot of bands in the genre are lacking. Sunday Grey tend to play much
looser and capture more feeling in their tunes, giving it more of a classic
alternative-rock feel like The Cure or something (check out "Flying").
Also on the plus side is the band's willingness to incorporate different
styles. One of my fave cuts is "Orbit," which has a an odd, jazzy rhythm
that really sets it apart.
My only complaint is with the mix, where the keyboards and vocals tend
to jump out now and then and both sound a bit dry. A definite progression,
nonetheless, and I think their next disc will see them really come into
their own. Check out their web page: http://www.seas.upenn.edu/~sdm/sui/main-page.html
[Daniel Hinds]
TAD MOROSE
Paradigma EP
[Black Mark]
Those of you tiring of the death metal scene will be delighted by this
one. Tad Morose play a classic, progressive style of heavy metal that seems
to be coming back into vogue, at least at the underground level. The vocals
are clean and very impressive and the lyrics are introspective and well
thought-out. Musically, a fair comparison would be a heavy version of Fates
Warning, with vocals more like Dream Theater. Still, the emphasis here
is more on setting the mood and the songs are heavier than either of those
bands.
A very promising EP (five songs, approx. 29 min.) that bodes well for
their next full-length. [Daniel Hinds]
HATE DEPT.
Mainline EP
[Neurotic]
HATE DEPT.
Omnipresent
[Neurotic]
Hate Dept. are really establishing themselves with these two releases.
The EP has four songs (two of which appear on the album as well) that are
quite varied and will give the first-time listener a crash-course in the
extremes Hate Dept. are capable of. Most of their material is straight-ahead
electro, mixing angst, sorrow and melody quite effectively (such as on
"Won't Stayu Lit," "This Doggy Bites" and "New Power") but they veer into
other areas as well, such as rodeo-punk ("Cowgirl") and even a dramatic
ballad ("I Don't Know You.")
Versatile, well-produced, angry and distinctive, Hate Dept. are well
on their way to being one of America's top electro-industrial acts.
[Daniel Hinds]
CONTINGENCE
Dominion
[Deprogrammed Productions]
This trio have produced a CD of dark electronic music that should find
a home with fans of modern industrial music, esp. bands like Numb and FLA.
There's a really evil vibe permeating this record, especially on tracks
like "Nocturnal Sedation" and the opening cut. Voice samples are used as
much as the band's own voices to narrate the nightmare and are blended
quite well. It takes a little while, but some nasty guitar riffs eventually
kick in and add a nice balance to the electronics prevalanet throughout
the album.
I believe this is the band's first full-length (someone correct me if
I am wrong) and it is very pro sounding. Hopefully someone will pick this
up for wider distribution, but until then, contact: cateo@netcom.com.
[Daniel Hinds]
IDIOT STARE
Blinded
[Bodybag Productions]
Idiot Stare was formed last year from the ashes of STG, one of California's
more noteworthy industrial/punk outfit. Since I'm not too familiar with
STG, I'll leave the comparisons there for someone else, but I do like most
of what Idiot Stare has served up on this debut.
Musically, this CD is rooted solidly in the electro field, with a very
hard edge to the music. Most tunes are mid-tempo or fast, many with sampled,
distorted guitar riffs, but avoiding the trap of sounding like NIN, Ministry
or other established industrial band. At times, there is an FLA feel to
some of the tracks, but I'd say Idiot Stare have more in common with the
new breed of electro-industrialiasts, such as Haujobb, Steril and Leather
Strip.
Despite the harshness of the music, there is a surprising amount of
melody to be had and some of the songs, like "Cash Out" and "To The Head"
had me singing the chorus in my head for days. Idiot Stare manage to balance
the extreme with the subtle for a good, varied listening experience.
Definitely a recommended release from an up-and-coming act that brings
the American scene closer to the level of quality that Europe is known
for. Also worthy of note is the creepy and effective album artwork from
Trust Obey's John Bergin. For more info, contact: http://www.primenet.com/~bodybag
[Daniel Hinds]
[various]
There Is No Time
[Ras Dva]
This is a 4 CD compilation that really covers the spectrum of underground
electronic music, from gothic-y to industrial to techno and everything
in between. This release is a great way to find out about new bands, plus
it's a real bargain (about $26), with each CD jam-packed with music. My
personal fave disc was #2, which includes some excellent cuts by the likes
of X Marks the Pedwalk, Spahn Ranch, Benestrophe, Fortification 55 and
Klinik, among others. This is not to put down the other three discs, though,
which spotlight such talented outfits as Leather Strip, Dive, Thine Eyes,
Numb, Wumpscut, Hate Dept., Yeht Mae, Psychopomps, Violet Arcana, Haujobb,
U-Tek, and, jeez, there are just so many!!! If you only get one compilation
in your life, this is THE one.
For more info on this comp. and other Ras Dva releases, contact laciakr@aol.com.
[Daniel Hinds]
EVIL'S TOY
Morbid Mind
[Metropolis/Hypnobeat]
Metropolis may not release that many albums per year, but they definitely
come up with quality material when they do. Evil's Toy, a German duo, are
no exception and Morbid Mind is a strong release. Featuring nine songs,
plus 3 remixes, Evil's Toy are one of those acts that is more successful
at creating a sound than indivudual songs. A very electronic feel, lots
of 16th notes and sweeping pads, their sound is somewhere in the Cyberaktif/Skinny
Puppy realm, and they successfully sustain that sound throughout the disc
without dropping you into annoyance or boredom.
"Dear God" (which you may remember from the There Is No Time 4CD comp.
last year) kicks it off and is one of the strongest cuts, though I'm a
bit more partial to "Sacrificed" which gets an even better remix. The vocals
are kind of the typical harsh, German variety and the lyrics are nothing
earth-shattering, but the music is solid, well recorded and memorable.
Not a bold step forward for the genre or anything, but I would definitely
include them with Haujobb, Steril and :Wumpscut: as one of the best of
the latest wave of Euro-tech.
[Daniel Hinds]
[various]
Operation Beatbox
[Re-Constriction/Cargo]
This is the latest in the current trend of thematic compilations and is
comprised of seventeen electro-industrial bands doing seventeen of your
favorite rap tunes. Sounds good in theory, doesn't it? Stylistically, the
two genres aren't that disparate, utilizing many of the same tools and
techniques, and some of the covers work very well. Battery take the blue
ribbon with their emotional (and well-sung) version of Coolio's "Gangsta's
Paradise." My other fave cut was the tongue-in-cheek (but rockin'!) version
of Run-DMC's "King of Rock," courtesy of Institute of Technology. Worthy
of note is Numb's deconstruction of Salt-n- Pepa's "Push It," which is
even scarier than it sounds...
Elsewhere, Christ Analogue and 16 Volt offer up some quality work, but
the rest of the disc is either simply passable or just plain awful, such
as Apolitiq's murdering of "Mama Said Knock You Out."
If you're tight on money, I'd say give this one a pass and wait for
Shut Up Kitty II or one of the zillion upcoming tribute albums.
[Daniel Hinds]
DIVE
Reported
[Fifth Colvmn/Daft]
This specially-priced (I believe) EP features 8 remixes of the Dive track
"Final Report" by some well-known and some lesser known electro artists.
Among those you might recognize, Numb deliver a creepy, experimental mix,
Die Krupps do it up in a more beat-happy fashion ala their pre-guitar material,
Leather Strip offers a fairly subdued version and :Wumpscut: . . . well,
we love :Wumpscut:. Templebeat team up with Meathead for probably the most
innovative take on the tune. Elsewhere, mixes are offered up by the likes
of Hybryds, Monolith and Starfish Pool, with the latter track falling well
into the experimental end of the spectrum.
Dive have been kind of a hit and miss band, in my experience, but "Final
Report" is a great song and most of the mixes here are very good.
I'll leave it up to you as to whether a whole CD full is too much or not.
[Daniel Hinds]
ANTHROPHOBIA
Framework
[Mausoleum/BMG]
This odd outfit fall into a no man's land between musical styles. Distorted
guitar riffs, rough but musical singing, semi-catchy choruses are all in
evidence on this six-song EP. Comparisons are difficult, as they have that
street-level vibe but aren't punk and are relatively heavy but not really
metal. Fans of modern-day NY hardcore bands might give this a listen, or
those who mourn the alternative invasion of the 90s.
Sadly, the music is okay, but he production is muddy and really gives
it a dated sound. It tends to mute the energy that these tunes probably
bear live, too. Nothing special on this one, I'm afraid.
[Daniel Hinds]
ECONOLINE CRUSH
Affliction
[EMI]
Now every diehard Front Line fan is going to go out and buy this because
Rhys Fulber produced this new fourpiece and they're all going to complain
because it doesn't sound enough like FLA, but let's just take a closer
look at this album.
Econoline Crush effectively meld elements of metal with elements of
industrial music without having the result be a derivitive of either one.
That being said, what is the resulting music like? Not very interesting.
Sometimes boring. The production isn't even the greatest. It is far too
bass heavy. Clear, but bass heavy. The vocals were somewhat disturbing.
Although they don't sound like Anthony Kiedis through the entire album,
they did sound enough like him on early tracks such as "Blunt" and "Wicked"
to spoil the rest of the record.
So, although Front Line fans are complaining about this not being another
FLA album, they may at least legitimately have something to gripe about.
This album isn't as bad as I made it out to be, but you can't listen to
it without at least always wondering what is missing from the effort.
[Victor Mejia]
OMALA
Relicon
[Frequent Frenzy]
This Swedish outfit are new to me but have quickly become one of my favorite
ambient/experimental bands. This particular CD compiles music from various
visual performances, festivals and a few tracks from Omala's previous CD,
Germ (avaiable through Hyperium). Musically, it's rather difficult to pinpoint
what Omala does exactly, as they combine bits of electro, ambient, world,
tribal and trance to make a surprisingly original sound. Some songs, like
"With Which Strokes Are Given," have a strong beat and wouldn't be out
of place on an electro-industrial comp. Much of the music, however, is
quite different, stark soundtracks to a bleak movie. Though it sounds like
some sequencing is going on, much of the music here sounds very 'organic,'
especially the drums and other percussion. Their mastery of subtlety (witness
"He Who Hath") is obvious, but they know when to change gears, too.
If you're looking for some meditative music that won't put you to sleep,
check out Omala. Rhythm and texture are king in the land of Relicon...
(check them out at: Frequent Frenzy
Recordings) [Daniel Hinds]
IPECAC LOOP
eX
[Fifth Colvmn]
This one has been out for a bit, but I have had a really hard time getting
a grasp on it. Ipecac Loop is the brainchild of one Cameron Lewis, who
wrote, played and produced everything on here. Stylistically, IL dance
on the edge of several styles, including ambient, noise, even classical.
eX is all instrumental and is one of the most original pieces of music
I have heard in a long time. Mr. Lewis uses offbeat sounds and effects
and arranges them in such a way as to sound unlike anyone else. At times
soothing, other times abrasive, but always interesting.
This is one of those releases where you'll hear something new each time
you listen to it and I am more impressed with each spin. I wasn't familiar
with Ipecac Loop before this (other than the name), so I don't know if
there are any previous releases or not. Either way, I'd advise you to check
this one out, as it's a very thoughtful and original collection of tunes
and deserves more attention than it has been given. [Daniel Hinds]
CAROLINE LAVELLE
Spirit
[Discovery]
Of the most recent William Orbit productions, I do believe Caroline Lavelle
is my favorite. She stands out in being a little more musical than his
other productions, or at least a little bit more fluid. This doesn't exactly
sound like Enya, but it brings to mind Enya with its overly produced vocals
and it's music without corners. Caroline's voice sounds a little bit deeper
than Enya, while both singers cover the same amount of range.
Most of the tracks kind of blend into one another which is my problem
with most new age releases, but "Sleep Now" really stands out on its own.
It has a nice long melancholy intro that slides into Lavelle's deep soothing
vocals. The instrumentation on this track is wonderful and it's all produced
by Caroline Lavelle herself, which makes the break from her being considered
strictly another Orbit production.
This is a solid release that should appeal to a wide range of fans from
Enya to Sarah Mclachlan. It's a good CD for sleeping, sitting by the fire,
drawing a hot bath, or just spending time with someone you love. I will
be interested to see how this album is received and how Lavelle's career
progresses. [Victor Mejia]
CEMETARY
Sundown
[Black Mark]
Somehow, I always associated the name Cemetary with just another Euro death
metal band, but boy was I wrong. Cemetary may have their roots in the death
genre, but 'Sudnwon' shows a band that has clearly matured and taken on
an innovative approach to metal that got me hooked right away. Straying
from the usual demonic growls, vocalist Mathias Lodmalm has a very effective
range and sounds like a cross between James Hetfield and Cronos from Venom,
though in many ways is better than either of them. He also contributes
guitar and piano work, the latter of which helps push this release into
the gothic sphere. The songs themeselves are not typical metal at all,
death or otherwise, and have a certain catchiness reminiscent of bands
like The Mission or Paradise Lost, though they don't really sound like
either band. Cemetary are also very good at setting a mood, as witnessed
on the moving title track and "Closer To The Pain."
Metal has really come alive again in the underground and this release
should be welcomed by all types of fans. Everything about it is top-notch:
the production, the packaging, the lyrics, and of course the music. Any
fan of dark music, be it doom or death metal, gothic or what have you,
should check this one out. [Daniel Hinds]
ALIEN FAKTOR
Desolate
[Decibel]
Here we have yet another one-man band, although there are contributions
to various songs by other musicians. Thomas L. Muschitz handles all the
vocals, lyrics and programming and covers a lot of ground in the process.
Kicking off with a techno/industrial feel, the second track "Ego Death"
follows in a slower, bombastic fashion. The whole album is enshrouded in
a brooding darkness that makes for a disturbing listen. Conventional song
structures have no home here and AF are more than happy to take off on
a ten-minute ambient journey, as they do on "Ocean Space." Although there
are 'live' instruments (guitar, sax, bass), most of the work here is done
with electronics and done very effectively, I might add.
I found this album a little too somber and meandering at times. Clearly,
that is the effect Mr. Muschitz was going for, but it all becomes a bit
too much. Stil, if your tastes run along the lines of C17H19NO3 or the
more experimental Controlled Bleeding, I think you'll find this CD very
interesting. [Daniel Hinds]
RUBY
Salt Peter
[Work/Creation]
For all of those impressed with Silverfish a few years ago, this is what
has become of frontwoman Lesley Rankine. She has left the pseudo-industrialists
to release this rather groovy album of 11 songs. If anything, this project
shows a bit of a softer side of Lesley, at least when vocal styles are
concerned. In Ruby, Rankine is a bit more of a crooner than a screamer
even though "Flippin' Tha Bird" alludes to her past. Don't let her vocal
style fool you completely, there still seems to be quite a bit of anger
in her lyrics.
I will give the people at Creation credit in choosing the singles. "Paraffin"
is a good example of her new vocal style, while "Tiny Meat" is a bit more
aggressive and very catchy. Too bad none of the lyrics really seem to make
sense. Actually, none of the lyrics on the album do. No matter, this is
still a fine album altogether. [Victor Mejia]
STABBING WESTWARD
Wither Blister Burn & Peel
[Columbia]
For anybody who heard their debut album, there really are no surprises
here. Stabbing Westward continues with their brand of negative grunge rock
once again. So if it's so predictable, what's the point in buying it? Well,
for one thing, it is really good. And for another, as I have discovered,
you can never have too many negative relationship records. They always
come in handy someday.
What are the differences if there are any from the last album? Well,
for starters, the songs may be a little bit more restrained on the new
one. Things are a little bit more downbeat. The music matches the lyrics
a little bit more. At the same time, there really are not as many catchy
songs as there were on the last album. This is a really terrific effort,
but I'd like something a little bit more like the first one as far as the
genuine catchiness of the songs on their next effort. [Victor Mejia]
INTERMIX
Future Primitives
[ESP-SUN/Roadrunner]
Another day, another Leeb/Fulber release... Busy guys, to say the least!
What with Front Line Assembly and Delerium already taking up much of their
time, they still find time to do still other projects, such as Noise Unit,
Synaethsia, and Intermix. The style of Intermix's music has changed quite
a bit since the first release (this is the third), moving from dance/hip-hop
to a much more trance/tribal feel. The songs average at 8+ minutes long,
no vocals. Though I've always found songs to love by Intermix in the past
("Targeted" for example), I've had a hard time really enjoying the full-length
albums. With Future Primitives it was the same way at first, but it has
really started growing on me, espeically the tracks "Seeds of Harmony"
and "Lost Tribe." There is no denying the talents of Bill Leeb and Rhys
Fulber and this release should more than please their fans. [Daniel
Hinds]
C17H19NO3
Terra Damnata
[Fifth Colvmn Records]
All right! Artist John Bergin has run into a series of pitfalls trying
to get his main musical project Trust Obey onto the shelves, but fortunately
C17 (one of his side-projects) has arrived and was wroth the wait. Terra
Damnata is ten songs (approx. 74 minutes total) of brooding, dark industrial
mood music. Slow tempos, heavy atmosphere and an impending sense of doom
permeate tracks like "Scarifice," "Carrier of Shadows" and "The Lords of
Bone and Machinery." The only band I can think of that trespass es this
territory even remotely as well is Omala. The songs range from beat-driven
dirges to more ambient soundscapes and John covers the range well. It goes
without saying that the cover art is cool and some of the best I've seen
on an FCR release.
This is a strong debut and I like it even more than the Trust Obey material
I've heard in the past, so I would be just as happy to see Mr. Bergin make
C17 a full-time project. If Skinny Puppy doesn't give you nightmares anyumore,
give this a try... [Daniel Hinds]
CORROSION OF CONFORMITY
Wiseblood
[Columbia]
With this album COC not only manage to (finally) stick with one musical
style for two albums but, more importantly, they kick some major ass. The
totally raw, dark, Sabbath-esque style that was first hinted at on Blind
(a GREAT album, for those of you who haven't checked it out) and became
firmly established on Deliverance is further refined on Wiseblood. In fact,
it is honed to near razor sharpness.
COC have become adept at crafting unique, heavy, grunge-meets-Black-Sabbath
music. In addition producer John Custer does a great job of capturing the
grit, the oily sheen of this music. This isn't clean, clear stuff - it's
overdriven, noisy, and distorted like mad. That intensity and spontaneaity
comes across on this CD (especially if you PLAY IT REALLY LOUD... swear
to God). And while there are times when phrases and melodies seem to be
directly quoted from those God-like titans of heaviness, Black Sabbath,
(especially on Bottom Feeder and a few others) those instances seem more
like a tribute than anything else and don't over-shadow the uniqueness
and originallity of the rest of the music (Fuel, for instance, sounds like
nobody but COC... and it rules).
COC are one of my favorite bands, so I'm a little biased; however, I
think this album is amazing. Anyone into heavy music should check this
one out (and then go buy Deliverance and Blind, too). I hope that COC will
now become more regular with their recording.
[Nels Bruckner]
KALAMITY JAM
Kalamity Jam Live
[Bi-Polar Productions]
Kalamity Jam are a band that has been playing around the Eugene/Portland
area for quite some time. They play a mostly original set of energetic,
dancable rock in the style of Four Non-Blondes or Melissa Ethridge. This
CD was recorded at Eugene's WOW Hall in March of '96 and includes 12 original
numbers plus a Gershwin tune and a rockin' cover of Amazing Grace (it's
really good, trust me!). Prominantly featured throughout are the vocal
talents of Pam Way, who has an awesome, powerful voice. Also worthy of
particular note is the guitar playing of Adam Kaswell. This guy really
smokes and adds a nice edge to the music.
Kalamity Jam are all in all a unique and very talented band. If you
get a chance to see them live I definetly recommend it, though lately rumors
abound of their demise (?). This CD captures the energy of a great performance
and is well worth the $13. You can obtain the CD in many music stores in
the Portland and Eugene area or by writing to Kalamity Jam, P.O. Box 11372,
OR 97440.
[Nels Bruckner]
OVERKILL
The Killing Kind
[CMC International]
I have always loved Overkill. These guys were thrash before it was really
in, they were thrash at it's heyday, and damn it, they are thrash now.
The Killing Kind is everything a good thrash album should be. It's heavy,
fast, aggressive, and laden with lots of thick, chunky guitar riffs. Sure,
it's up to date too. There are samples spread around (oh, cool) and the
production is top-notch. This is a great album and I hope that there is
a lot more of this type of music on the way. It shows that not everyone
has wimped out... Overkill, for one, are sticking to their guns. Way to
go!
[Nels Bruckner]
NEEDLE
Lifeline
[Contract/Neverland Productions]
I was half expecting another NIN-xerox with this duo but, thank god, that
is not the case. Needle tend to be dancier and more in line with some of
the guitar-driven Euro-tech bands from recent years, though they do approach
16 Volt terrirory on "Oblivion."
Still, something is not quite right with this album. Maybe it's the
half-hearted lyrics, maybe it's the sense that they want to be an industrial
band instead of just being themselves. It's not a bad effort by any means,
but in a genre that's as saturated as this one is, they need to really
throw themselves into their next recording. [Daniel Hinds]
SOCIETY BURNING
Entropy Lingua
[Re-Constriction/Cargo]
I was none too impressed with this band's performance on the Shut Up Kitty!
compilation a few years back, but they are much more at home doing their
own material. This CD is just a teaser of the full-length album to come,
but with 8 cuts, all remixed by the likes of Apparatus, Hate Dept., Idiot
Stare, Alien Faktor and Drown, you won't want to miss this one.
Opener "Tactiq" (as remixed by Apparatus) is a relentless, angst-ridden
piece of electro scrap and is a great pace-setter for the rest of the CD.
Seibold of Hate Dept. does 3 remixes and does a good job of giving them
a Hate Dept. feel without completely disfiguring them. My favorite cut,
"Waster," gets the treatment three times, with my favorite being the Idiot
Stare (Chad Bishop) mix, but the Hate Dept. and Alien Faktor versions are
very good, too. The Drown remix of "Immobilize Me" was the only ki nd of
disappointing track, but the rest were good or excellent, and I am looking
forward to their album, due out soon. [Daniel Hinds]
ARMAGEDDON DILDOS
Unite EP
[Zoth Ommog]
"Unite" was one of the best cuts from the last AD release, Lost, and it
appears here in two versions, a remix and a radio edit, both of which are
excellent. The other three cuts are, if anything, even better. "East/West"
gets the remix/update treatment, incorporating guitar but still retaining
the intense vibe of the original. The other two cuts ("Move Around" and
"Demolition") are along the same lines, though the latter features some
smoother vocals than you are probably used to from AD. These guys im press
me with their ability to incorporate some nifty metallic guitar riffs into
their techno-driven dance songs. Definitely one of the more original bands
on the scene.
Doubtful that Sire will see fit to release this in the U.S., so you'll
probably have to do as I did and get an import thru Digital Underground.
Whether it's worth the price of an import depends on how much of a fan
you are of Armageddon Dildos, but I think it's one of their strongest releases
to date and is definitely worth it. [Daniel Hinds]
MORGANA LEFAY
Past Present Future
[Black Mark]
I'd never heard of this Swedish outfit before, but they appear to already
have a few albums under their belts. In fact, this CD is sort of a 'Best
of' and includes four new songs as well. Opener "Sculptures Of Pain" is
one of the newies and is a good representation of their overall sound:
melodic power-metal. Starting off mellow, it builds into a slow-tempo mini-epic.
Most of their songs fall into the 5-9 minute range, actually, and this
"mid-price CD" is more than worth it for the uninitiated.
Fans of old Queensryche, Savatage, Tyton and similar bands should really
like Morgana Lefay. Vocalist Charles Rytkonen is pretty impressive, though
he tries to scream at a couple points and is better off sticking to the
clean delivery, IMO. He has a great range, though, and really drives the
music. The musicianship is top-notch, too, and the songs are intricate,
well-structured and a good mix of soft and hard-hitting bits. To top it
off, they put in too covers, in the shape of Crimson Glory's "Lost Ref
lection" and a ripping version of Abba's "Voulez-Vous."
Morgana Lefay's style of power metal is all but dead and gone in the
US, but seems to be thriving still elsewhere. While it may not be 100%
innovative, it is very vibrant music with way more feeling and thought
put into it than the slop that's clogging the airwaves these days. [Daniel
Hinds]
BEL CANTO
Magic Box
[Atlantic]
I really wanted to like this. I remember driving up to Seattle with a few
of my goth friends listening to earlier Bel Canto material thinking "Wow!
this all seems so very surreal." I have fond memories of that experience
and when I got this album in the mail I was hoping to be able to relive
some of that experience, but a las it didn't happen. I love the title track
which is split up into two parts with the haunting music box accompanied
by Anneli Drecker's incredible vocals.
The rest of the album is all too groovie. It's groovier than Poe, which
I really liked. It comes close to approaching a Dee-Lite groove. This album
is definitely okay if you like that sort of thing, but I wanted that soft
goth experience that I had felt once before when listening to this band.
I must admit, I was a bit disappointed. [Victor Mejia]
DEATHRIDE 69
Screaming Down the Gravity Well
[Fifth Colvmn]
For everybody who is really upset about that old Thrill Kill Kult sound
being gone altogether, Deathride 69 might be your bag. The band is heading
by the TKK's current drummer, Beat Mistress, and she not only provides
the drumming on this project but some stong lead vocals as well. Okay,
this doesn't sound exactly like old TKK, but it sounds a lot more like
it than most anything else out there does. It's like a seminal version
of the TKK. Especially on "Super Hot Sister 69," which features guest vocals
by Groovie Mann.
I've only heard one previous track from Deathride 69 and they sounded
a lot more Gothic that time around. The production on this CD is a lot
better than on that earlier track as well and hopefully it will help Beat
Mistress and Mark Blasquez find some kind of following which they deserve.
My favorite track is "F##ked Up Generation," but then can I help it, I'm
part of one. Check this one out and thank me later. [Victor Mejia]
ANGRA
Holy Land
[CNR Music]
After Sepultura, Angra seem to be the most internationally known metal
act to come out of Brazil so far and this second offering should definitely
cement that following. Angra are firmly in the progressive realm of metal,
with some nods to greats like Helloween, Dream Theater and Iron Maiden.
With Holy Land, however, Angra really push the horizions and expand on
their alredy diverse sound.
The neo-classical opening track segues right into the speed metal energy
of "Nothing To Say." "Silence and Distance" shows off their ability to
combine mellow and heavy elements into a cohesive and enchanting whole,
further seasoning the mix with some well-placed horns. Andre Matos' singing
is great and he successfully avoids imitating anyone (unlike the scores
of Geoff Tate rip-offs I've heard in other prog-metal outfits). The musicanship
overall is excellent without being flashy and self-indulgent. The band
really shows off their skills on the epic "Carolina IV," where they also
incorporate some latin folk music into the equation.
The only place Angra falters a bit is on the ballads, such as "Make
Believe" and "Deep Blue." It maybe just be a matter of tastes, but these
tunes just sound kind of uninspired, esp. sandwiched between such strong
tracks as "Z.I.T.O." and "The Shaman." Still, most of the album is way
above average, plus the packaging is amazing, so any fan of metal would
be well advised to hunt this disc down. [Daniel Hinds]
VAMPIRE RODENTS
Gravity's Rim
[Fifth Colvmn]
Reconstriction finally let these guys go. Big surprise! Okay, so they were
probably the label's most conceptual band, but you have to do something
with a concept. You do not just add a cello and suddenly have good music.
There is writing and studio work involved, something that seems to have
been overlooked in this band's past. Let's face it, Vampire Rodents always
had a problem in the production department. Everything always sounded a
little muddy and then nothing sounded like it went along with the cello.
The cello stands alone.
Now that they have been picked up by Fifth Column, there are no worries
as to whether they will be this label's worst band with To Live & Shave
In LA looming in the background. And finally, I think these guys are making
progress. The production on this CD is better than on anything they put
out on Reconstriction and things are also starting to sound better in the
mix. I still don't like this, but for the first time in three albums I
can actually make out some potential. [Victor Mejia]
ZERO DEFECTS
Thoughtographic EP
[Zoth Ommog]
After being thoroughly impressed by the "Duracell" track on the Ras Dva
comp There Is No Time, I decided to go out and order this EP, the bands
second release. It took a long time to really get into and appreciate this
band and the six tunes contained herein are much less direct than the aforementioned
"Duracell." The opening cut is a good indication of the band's style and
demonstrates straight away that they're not content repeating the same-old
EBM beats like labelmates Orange Sector. Instead, they go for a more subtle
and layered approach, with an almost gothic feel but retaining very techno
sensibilities. The vocals are deep but very clear and undistorted and the
music is 100% electronic, for the purists out there.
The second song follows in a more upbeat but similar manner and is probably
my fave cut. If Zero Defects have one defect, it's the length of some of
the pieces; they're just a bit weighty for their own good, but this is
a minor complaint. A good release and proof that German EBM isn't dead
or even close. [Daniel Hinds]
[various artists]
Complications
[Decibel]
This is an interesting new comp. from the folks at Decibel. Three of their
bands are represented (Alien Faktor, Morpheus Sister and Oneiroid Psychosis)
with four songs each, all remixed by other artists. Swamp Terrorists give
Alien Faktor's "Kill Me" their patented metalized-dance feel, while elsewhere
Mentallo & The Fixer take on Oneiroid Psychosis and Drown fiddle with
Morpheus Sister, to name just a few. There's a definite evil undercurrent
to this disc. It's the kind of music you'd expect to hear at excessive
volume in a dark, hazy club well past closing time. Check out Alien Faktor's
"Blackice" for an example...
If you're a fan of any of these bands or just the darker side of the
electro-industrial scene in general, check this out. Trust me, the album
is much better than the hideous cover might indicate. [Daniel Hinds]
EDGE OF SANITY
Crimson
[Black Mark]
Here's an interesting concept: a 40-minute long death metal epic. Edge
Of Sanity really took a chance on this one but it turned out pretty well.
While death metal is clearly a prime ingredient for this quintet, this
'song' covers a lot of other territories as well, from gothic to near-folk.
The vocals are a drawback, even though they do stray from the death-growls
at times into more Sisters Of Mercy and Pantera territory. The variety
of styles and instrumentation (check out the piano) is nice really adds
to the work. Still, I can't help but think they could have turned a good
album into a great one by chopping it up into, at the very least, various
sections or individual songs. A pretty impressive album nonetheless that
should interest fans of Dream Theater, Voivod and death metal alike. Oh,
and see if you can spot the Celtic Frost riff they lifted. (heh) [Daniel
Hinds]
FLEMING & JOHN
Delusions of Grandeur
[Universal]
Universal's entry into the music biz has been about as inauspicious as
you'd expect, trying to pass off copy-bands like The Hunger as 'cutting
edge.' Fleming & John, however, are pretty original and fairly enjoyable
overall. Opening cut "I'm Not Afraid" is the clear winner and I'm surprised
they haven't pushed it more as a single. It's got a retro pop-rock feel
with an edge, not unlike bands like Elastica and their ilk (whatever that
may be, I'm not up on the latest trends). Fleming's vocals are sweet but
borderline overbearing at times. Still, she's got a good voice and it works
with the melodic, dreamy stuff particularly well, like the title cut.
After the first few songs, the album mellows out a bit and they don't
have the same skill at pulling off the light stuff as the more upbeat ones.
Still, they bring it together at the end with the Middle Eastern flavored
"A Place Called Love" for a decent if imperfect debut. Hopefully, Universal
will seek out more acts like this one instead of trying to just cash in
on the latest trends. [Daniel Hinds]
KILLING JOKE
Democracy
[Zoo]
I'm reluctant to review this disc, as I have always been fairly impressed
with Killing Joke and especially liked thier last one, Millenium. On Democracy,
however, KJ have once again destroyed any pre-conceptions and gone off
in yet another direction. Unfortunately, they seem to be heading into straight-forward
alterna-rock ville with this one and it's just plain boring. Jaz Coleman's
trademark gruff vocals are intact, but they don't do much to liven up the
rather bland rock music that fills the grooves. I've listened to this CD
a number of times and have yet to come up with a 'standout' track. Hopefully,
KJ will get back on track next time around. [Daniel Hinds]
PRONG
Rude Awakening
[Epic]
With Rude Awakening Prong have come up with a new twist without straying
too far from the material on their last album (which ruled, by the way).
It's a simple concept but lots of bands lose sight of it. Rude Awakening
is dark, thrashy, noisy, a little industrial, and very in-your-face music.
The production (courtesy of Terry Date and Tommy Victor) is very sharp,
clear, and loud. The music ranges from the brooding, slow, noisy Caprice
to songs like Unfortunately (which would have fit nicely on the last Prong
album) to the speedy Mansruin. Sure, there aren't any surprises here but
this album seriously rocks and doesn't let down Prong's fans. If you liked
the last album chances are you're gonna love this one. As a bonus, computer
owners can play the CD on a Mac or a Windows PC and get a nice presentation
including an interview, discography, and video. Very cool. [Nels Bruckner]
RAGE AGAINST THE MACHINE
Evil Empire
[Epic]
No surprises on this one and it should please fans of the band's debut.
Zach's voice is showing some signs of strain but is still strong, as are
his biting lyrics. The music is a bit 'grungier' and a bit less metal,
but nothing drastically different. It suffers from kind of the same problem
that the debut did, in that the album starts to lose steam about halfway
through, but they pull it all back together at the end with the excellent
"Year of tha Boomerang."
If I had to make one complaint it's with Tom Morello's guitar playing.
He's a great player, but (like Larry Lalonde and Diamond Darrell before
him) he seems more interested in trying to come up with the most annoying
sounds he can instead of writing creative solos. Oh well, I guess it is
the 90's and no one really gives a fuck anymore anyway... [Daniel Hinds]
SEVERED HEADS
Gigapus
[Decibel]
I must admit up front that I'm a bit out of my league on this one. Severed
Heads seem to have been around forever, yet I've never managed to actually
hear them before this release, so my views may be a bit skewed. Two words
immediately come to mind when I hit play on this CD: electronic dance.
The opening cut "Heart of the Party" sounds like Erasure, with its upbeat
bouncy dance beat. From here on out, however, things get much weirder and
less predictable. Utilizing lots of odd samples, the music covers a lot
of ground, from Laibach to Kraftwerk and beyond. A definite trance-techno
feel develops on some of the songs that further separates the majority
of the album from the subdued poppiness of the opening track.
Based on this release, I wouldn't go out of my way to hear their past
efforts, nor would I really recommend it. It's not bad, per se, just kind
of tepid and uninspired for my tastes. [Daniel Hinds]
STATE OF BEING
Dysfunctional Vision
[Reverse Image]
This is a strange one. It's electro but has more in common with the old-school
industrial bands than anyone from the 90s. "Instability" brings to mind
older KMFDM but with way different vocals. In fact, the vocals are probably
my least favorite thing about State of Being, falling into kind of a generic
rock style. Other cuts remind me of older TKK among others, but State of
Being have done a pretty good job of coming up with an original sound.
Unfortunately, it sounds a bit uninspired at times and just didn't really
move me, but if you're hungry for some new electro and want something a
little bit different, drop 'em a line at .
[Daniel Hinds]
ICED EARTH
The Dark Saga
[Century Media]
Epic power-metal is not dead, folks. If that is good news, then read on;
otherwise you may want to skip ahead and read about Cubanate or Acumen.
This Florida outfit have been putting out records since 1991 and this,
their fourth I believe, is a fine piece of metal played in the old style.
The vocals are clear and cover quite an impressive range, driving the complex,
melodic-but-oh-so-heavy music Iced Earth are what Savatage should have
evolved into from their early work but didn't. They play slow, mellow pieces
("I Died For You") with equal intensity to the high-speed, near thrash
numbers like "Violate." The quality of the production and playing reminds
me of the last Metallica record but there's nothing commercial about this
disc.
On the down side, the lyrics didn't do much for me and some of the arrangements
sound a bit forced, but it's still quite listenable and should come as
a great relief for the die-hard metal fans out there drowning in a sea
of "new" rock. [Daniel Hinds]
NUMB
Christmeister / Bliss
[Metropolis]
I am so glad that Metropolis decided to re-issue this gem from one of the
scene's least-credited innovators. A friend taped this album for me some
years back and I was amazed both by how good it was and how old it was,
1989. It's only seven years, but seven years ago the idea of combining
heavy guitar and industrial dance music was still mostly unheard of. This
album has a bit of that classic Wax Trax! sound to it, with perhaps a bit
more angst injected into it, especially on "Bliss" and the searing "Cash."
There was definitely more of a punk element to Numb's music in those days
and their influence seems obvious on some of the new-breed electro-terrorists,
like Hate Dept. and Idiot Stare.
Christmeister is a solid album from start to finish and sounds just
as vital today as it did three years ago or when it first hit the shelves.
In addition, Metropolis was kind enough to tack on the 4-track Bliss single,
in case you still had any doubts about buying this. [Daniel Hinds]
DEVO
Adventures of the Smart Patrol
[Discovery]
This disc is the soundtrack to the recently released Inscape CD-ROM game,
Adventures of the Smart Patrol. Kicking it off are two new Devo tunes (though
they're credited to "The Smart Patrol"). "Theme From..." is a nifty little
instrumental that is ripe with the quirkiness that made Devo famous, while
"That's What He Said" is a more unique-sounding affair. Amazingly, it seems
as though Devo has re-invented itself yet again on this track, bringing
the guitar back into the limelight. Following these are two cuts from the
Hardcore Devo years (mid 70s), in the form of the minimal "Mechanical Man"
and a version of "U Got Me Bugged" with (gasp) understandable vocals.
Things go downhill a bit with the moronic "34C" by someone named Brian
Applegate. Not only are the lyrics sub-banal, the recording quality is
shaky at best. Scott Orsi makes up ground, however, with the enchantingly
sample-heavy "The Spirit of JFK." From here on out, it's a 'best-of' type
thing, with songs like "Whip It," "Jocko Homo" and "Peek-a-boo!"
So, while this is a great collection of tunes overall, most of it has
been released before. Still, I must recommend this disc to everyone out
there. The die-hard mongoloids will surely be pleased by the two new Devo
tracks, while those less knowledgeable in the ways of the spud-boys will
get some new stuff along with some of their classics. Go get! [Daniel
Hinds]
K'S CHOICE
Paradise In Me
[Epic]
This Belgian outfit play modern alternative music, along the lines of The
Cranberries and their ilk. One of the things that make K's Choice stand
out for me is the rich voice of vocalist Sarah Bettens. She reminds me
a tad of Melissa Etheridge but with a darker edge. The other thing these
guys do well is write somber yet catchy tunes, like the oppressive opener,
"Addict," or the more uptempo title track. The music is your mostly your
standard guitar/ bass/drums stuff and is played well and recorded well.
Unfortunately, the quality of the first three songs goes downhill fast
with "Mr. Freeze," where they show off their quirky and somewhat ill-advisded
humor.(?) Other cuts, like "To This Day" and "Wait" just kind of drag and
the pretentiousness that makes the good songs work so well fails these
tunes miserably. So, while I found this to be a promising release and I'll
probably hold onto it just for the four or five good songs, it's kind of
an average album overall. [Daniel Hinds]
SLAVE UNIT
Slave Unit
[COP Intl.]
This four-piece Bay Area outfit have done a pretty impressive job on their
debut album. Following in the footsteps of bands like 16 Volt and Hate
Dept., Slave Unit smash together industrial rhythms, metal guitar and punk
vocals. The production is crisp, the guitars are heavy, and material is
pretty strong.
Where Slave Unit fail, in my opinion, is with the slower trax, like
"Backdown" and "Slow Time," where the energy level is just too low. Most
tracks, however, are more punishing, such as the Prong-like "Frostbite"
or opening cut "Deadweight Loss," which includes some impressive noise
segments in the mix. The lyrics are also a bit run-of-the-mill, typical
angst-filled stuff, but are okay and fit the music reasonably well.
A strong debut, definitely. Hopefully their next one will see them tighten
up their sound that much more and develop a little more of their own voice.
[Daniel Hinds]
HOODOO GURUS
Blue Cave
[Zoo Entertainment]
Here is yet another of those late 80s alternative bands that managed to
somehow survive the onslaught of grunge and 'new rock.' Never one of my
favorites, the Hoodoo Gurus were nonetheless a decent rock band from Australia
(?) that was always a welcome change from the usual MTV tripe.
On Blue Cave, the Hoodoo Gurus provide mostly straight-forward, old-style
alternative rockers with fairly clever lyrics. "Mine" in particular has
a cool sense of humor to it, as does "Son-of-a-Gun." Musically, this stuff
is pretty much poppy-with-an-edge, though opener "Big Deal" throws some
Soundgarden strength heaviness into the mix.
If you've got some spare time, give this disc a spin. If there is any
justice (yeah, I know there isn't, but let's pretend), this will sell well
and knock some of those posers like Oasis and Live out of the charts. Ha
ha ha..... [Daniel Hinds]
ACT OF CRUELTY
Tools For Creation
[self-released]
ACT OF CRUELTY
Tools For Destruction
[self-released]
These are two separate CDs, though they could have easily fit together
onto a single disc. This French band play a truly eclectic mix of styles,
with their main sound centered around gothic.
Opening Tools For Creation is "Away," a slow, gothic-y number with both
male and female vocals and a pretty decent tune. It's also the most marketable
direction this band could take, in my opinion. "Times" is a lot more guitar-
driven and sounds like a NWOBHM song, down to the shaky production, but
with more gothic-sounding vocals. "Ya!" takes yet another turn, incorporating
some elements of techno and funk(!) and finally "Rage" takes the cake for
odd tempos and stylistic shifts, from heavy, almost Laibach to a more acoustic,
Middle- Eastern flavor. The vocals are a little too OTT for me and the
songwriting needs to be focused just a bit more, but the musicanship is
impressive.
The schizophrenia doesn't get any better with the newer disc, Tools
For Destruction, though the production values are definitely improved.
If you're looking for an act that is unique-sounding and highly diverse,
then write to: Act of Cruelty/ Realnoise Management BP 53, 59004 Lille
Cedex - FRANCE. [Daniel Hinds]
:WUMPSCUT: vs. HAUJOBB
The Remix Wars: Strike 1
[21st Circuitry/Off Beat]
This six-song CD has been out for a while and there seems to be a lot of
contention as to which band is 'better.' My impressions, and I'm not overly
familiar with either band, is that both are solid, industrial-tinged electro
bands from Germany and really aren't that dissimilar. :Wumpscut: is a bit
noisier and the vocals are harsher, whereas Haujobb have a bit more of
a techno feel and use a lot more pads and whatnot to build atmosphere.
Personally, I liked Haujobb just a bit more, especially the driving
version of "World Window" offered here, but this is a pretty consistent
EP. Still, there is a little bit of a lack in the excitement department
and I've heard both of these bands sound better elsewhere. If you're a
fan of either band, I'd say definitely grab a copy of this, but otherwise
you are probably better off checking out the latest releases from each
band for a better introduction. [Daniel Hinds]
SWAMP TERRORISTS
Killer
[Metropolis]
This is the U.S. release of the follow-up to the excellent Combat Shock
album. Like the latest KMFDM, Killer builds well on an existing style without
any radical changes. The production is slightly punchier and the album
is more compact in length, making for a tighter and more enjoyable package
overall. If you're not familiar with the work of Ane H. and STR, this Swiss
duo integrate sampled metal riffs, hip-hop beats and industrial electronics
into a powerful sound that is as catchy as it is distinct. Tracks like
"Dive-Right Jab," "Wreck" and the thrash-like "Vivid Cell" are bound to
get you moving, not to mention the gabber-infused "Full Killer."
The Swamp Terrorists are way into sampling, whether it's a line from
The Prisoner television series or a riff from Judas Priest and their skill
at integrating said samples into their music is matched only by the likes
of FLA and Puppy. I can easily see this release appealing to headbangers,
tekheads and dance fans equally. Already gaining popularity elsewhere in
the world, it's about time they started seeing that recognition from the
U.S. Highly recommended. [Daniel Hinds]
CUBANATE
Barbarossa
[Dynamica]
The third full-length from this British outfit sees them continuing to
refine their pummeling, energy-drenched sound. I haven't heard Cyberia
yet, but this album compares favorably with their debut, Antimatter. Don't
know that they'll ever be able to top the classic track "Body Burn," but
cuts like "Vortech I," "Exultation" and first single "Joy" come pretty
damn close. Marc Heal's vocals are raw and unrelenting and the programming
is furious and hypnotic at the same time. Cubanate mix rave, industrial,
and techno like no one else and this album really emphasises the percussion
in their music, a definite plus.
A solid and highly enjoyable release from one of the more innovative
bands on the scene. Get this and then check 'em out on tour with Acumen
in the U.S. soon. [Daniel Hinds]
HEADCRASH
Overdose On Tradition
[Discovery]
Discovery are really becoming quite the eclectic label aren't they! Headcrash
are are a German outfit that can loosely be described as meta/rap/industrial
in style, with a healthy left-wing attitude blasting through the lyrics.
My first exposure to this group was the killer track "Free Your Mind" on
COP Intl.'s Cyber Core Compilation a few years back. Most of the cuts on
this release follow in that same traditon of hardcore rap with a metal
edge and plenty of electronics backing the whole thing up. "Imitation of
Life" and "The Sell-Out Daze" represent the more extreme end of their sound,
while songs like "Jock Anthem" show off thier versatility (and humor).
I get the impression from listening to this CD that these guys are probably
a ball of energy live, but the production is almost a little too smooth
in places for the music to match the bite of the lyrics. Still, I can't
see fans of Rage Against the Machine or Consolidated being disappointed
by this album and there's no reason Headcrash can't have the same crossover
success. [Daniel Hinds]
SCORPIONS
Pure Instinct
[Atlantic]
With over 25 years, 12 studio albums, and countless world tours, it's not
surprisng that the latest release from Germany's premiere hard rock/heavy
metal band lacks some of the energy of earlier work. Where their last album,
Face The Heat, tried to rock hard (and mostly failed), Pure Instinct shows
the Scorpions trying out a more melodic approach. Acoustic guitar permeates
this record, with all but about 3 songs falling vaguely into the 'ballad'
category. Lyrically, this effort seems more mature and reflective, which
is a nice break from the cliche-ridden direction their recent material
had been heading.
Musically, the band turns in a solid performance but nothing that will
blow you away. Opening cut and first single "Wild Child" is about the heaviest
song on here and is squarely in the classic Scorpions tradition, but a
number of others, such as "Does Anyone Know," follow on more from the modern
tunes like "Wind of Change." The mood is definitely subdued, especially
for a band with a history like the Scorpions'.
I wish that the Scorpions could either recapture the fire that drove
their earlier work (like "Blackout") or move on to a new sound that is
equally as captivating. As it is, however, they seem to be stuck in-between,
trying to expand their sound but still desperately clinging to tried-and-true
methods that are wearing thin. Pure Instinct is an okay album, an improvement
over Face the Heat generally, but still a definite disappointment from
a band that I know is still capable of doing better. Oh, and the cover
art is absolutely atrocious! What the hell were they thinking? Guess they
weren't... [Daniel Hinds]
[various]
Melt
[Fifth Colvmn Records]
This is the US release of the excellent Scandinavian compilation on Cyberware.
Like the Freeze comp. from a few years back, this album brings together
inventive artists from Finland, Denmark, Norway, etc. and covers a wide
range of electronic styles. Most cuts fall into the EBM/electro-industrial
category, with my favorites being Apotygma Berserk, The Insult That Made
a Man Out of Mac, Active Media Diseasae, Neroactive, Chaingun Operate and
of course Birmingham 6 and Leatherstrip. A number of smaller bands that
you not be familiar with, such as Remyl, Inferno 5, and Bizarre Alliance,
all make impressive contributions, showing just how healthy the electro
scene in Northern Europe is at the moment.
Where this disc fails is with the two 'experimental' tracks by In Slaughter
Natives and Reptilicus, both of which are more tedious than involving and
seem out of place stuck in the middle of this comp. Still, the other 14
bands make this album more than worth searching out. [Daniel Hinds]
29 DIED
Sworn
[Prospect]
29 Died hail from L.A. but sound like they have more in common with the
EBM bands of Germany than the usual Cali sound. Very electro-based music,
29 Died do a good job of creating dance-floor ready tunes that stick in
your mind as well. Songs like "Helium" and "Mother Nature" are great, catchy
songs that pack plenty of energy and show some potential crossover appeal.
You get ten songs here, plus 3 remixes by the likes of Chad Bishop (Idiot
Stare) and Jallokin (Bigod 20). 29 Died show a proficiency with their synths
and samplers that is rare these days on a first release. They're also way
into touring, so keep an eye out for them coming to your town. [Daniel
Hinds]
DIVERJE
Electrodiums / The Passage
[Decomposed Skunk Bud Productions]
I've listened to this disc a few times now and just can't decide how to
review it. Diverje play guitar-oriented industrial music with heavy distortion
on damn near everything. Not your standard distortion, either, we're talking
nerve-shrivelling, overmodulated, high-endy distortion that makes it almost
impossible to hear what they're playing. It's not as far gone as To Live
and Shave In L.A., but I could definitely see this appealing to fans of
that band. There are a couple tunes, like "To Hell" where things are little
more listenable, but good luck making it that far.
Personally, I can't listen to stuff like this. It doesn't have the beauty
of real noise stuff like Controlled Bleeding or Merzbow but it's too irritating
to appreciate as 'normal' music. If this sub-sub-genre is your thing, though,
Diverje certainly give value for money. This disc contains two full-length
albums, eighteen songs in all. Write to: Decomposed Skunk Bud Productions,
237 Cagua NE, Albuquerque, NM, 87108, USA. [Daniel Hinds]
THE MIST
Gottverlassen
[Cogumelo]
The Mist are a powerful thrash band that hail from Brazil and should give
Sepultura a run for their money. The Mist sound very confident on Gottverlassen
(their third CD, I believe) and should appeal to thrash fans looking for
something new.
Opener "Fangs of a Pig" sets the pace for the CD, mixing high-speed
thrash with slow, grinding riffs, harsh but not annoying vocals and flawless
musicianship. The production is nice and crisp, too. Though there are some
similarities to Sepultura (circa Chaos A.D.), The Mist are slightly more
melodic and tend to come up with more varied arrangements. They're also
not afraid to speed things up once in a while, which is something I really
miss about thrash metal these days. A very strong release and Cogumelo
have done a killer job on the packaging, too. This really should get the
band attention all over the world. For more info, contact the band at:
themist@br.homeshopping.com.br[Daniel
Hinds]
KMFDM
Xtort
[Wax Trax!/TVT]
KMFDM have been pumping out some of the best industrial dance music since
the mid-80s and their latest, Xtort, is no exception. Continuing on the
tradition of the last two albums, Nihil and Angst, Xtort combines metal
riffs, gruff distorted male vocals offset by soaring female vocals, and
electronic beats in a way no one else can. Generally, the songs on Xtort
aren't radically different from previous efforts, but there is some definite
progression, giving the album a much more experimental and edgy feel. Guests
like Nicole Blackman, who does her spoken-word thing on "Dogma," Chris
Connelly, and FM Einheit really give KMFDM more breadth than before.
The usual namechecks and allusions are here, mainly on "Inane" and "Power,"
but there are probably more new things going on on Xtort than the last
few releases. KMFDM are very adept at keeping their style intact while
introducing new elements each time around and Xtort is yet another step
in their march for world domination. If you are a fan of the band, I don't
honestly see how you could not like this release and, hey, it's even been
released on vinyl! [Daniel Hinds]
MEAT BEAT MANIFESTO
Subliminal Sandwich
[Nothing/Interscope]
Once again, I am having to review an album by a band I don't like simply
because everone else at The Plague likes them even less. I've always wanted
to like MBM, as they have been around forever and are certainly one of
the more daring and original bands to come out of the industrial/dance
scene. Mainman Jack Dangers brings us a lengthy, two-disc set this time
around, taking the Meat Beat sound further into the realms of trance-techno,
especially on disc 2, along with the usual mish-mash of hip-hop, dub, dancehall
and whatnot that make MBM what they are.
Overall, I found the second disc to be far more interesting, with the
focus less on vocals and more on creating atmosphere. The songs are generally
longer than on disc one but seem less repetitive and annoying. I would
not recommend this album to anyone (well, anyone I liked anyway...), but
it's obviously not really in my general scope of interest so Meat Beat
fans might just love it. [Daniel Hinds]
SKYCLAD
Irrational Anthems
[Massacre]
In a day of disposable music and meaningless lyrics, it really warms my
heart to see a band like Skyclad continue to produce intelligent, high-quality
music. Their latest, Irrational Anthems, is no exception to this formula
and shows a progression both in terms of production and Martin Walkyier's
vocals. For the uninitiated, Martin was the vocalist for the sorely underrated
English thrash band Sabbat. He formed Skyclad to further develop the pagan
ideas he hit upon with the last Sabbat album, and to incorporate more traditional
folk elements into the metallic sound. Though he can still shout with the
best of 'em, he does more actual singing on this album than ever and it
sounds great.
After three good records, Skyclad really found their niche with the
brilliant Prince of the Poverty Line and the subsequent The Silent Whales
of Lunar Sea. Martin's clever and extremely insightful lyrics, dealing
with topics from social inequality and war to fascist label bosses and
the personal costs of being part of the music scene for so long. With Irrational
Anthems, Martin delves even further into his own personal experiences,
such as "No Deposit, No Return" and the mournful "Quantity Time." He also
takes some much-deserved shots at the current music scene and the music
press in general with the extremely catchy "Penny Dreadful."
Musically, the band has never sounded better and violinist Georgina
Biddle is utilized to greater effect than ever before. Skyclad pen songs
that aren't even close to pop yet are so catchy, you'll be singing them
for days after hearing them. The emotional sincerity and sheer quality
of this band's output is impossible to describe with mere words, you must
hear them for yourself. This disc hasn't seen a US release yet but it is
definitely worth the effort to special order and keep an eye out for a
brand new album to be released in the near future.
[Daniel Hinds]
SKOLD
Skold
[RCA]
I will admit that I've been a fan of Shotgun Messiah from the very beginning,
from their glam/rap days through the punk and industrial days of their
later releases. Never thought they were drop-dead brilliant but I admired
their songwriting skills, technical ability and rare sense of humor.
The bass player (and later singer) of SM, Tim Skold, has stepped out
on his own with this CD, his first solo release. Developing the industrial-tinged
metal that made up the last SM album, Skold diversifies the sound considerably.
The adrenalin-charged rockers are still here, like "Chaos" and "Devil Inside,"
along with some slower but equally heavy guitar tunes like "Dust to Dust"
and "Shut Up." The big surprise is the more restrained, mostly electronic
outings, like "Remember" and the somber "Void," mixing things up way more
than SM did on Violent New Breed. Sure, there is some definite NIN influence
here, mainly in the production department, but a lot less than certain
other, more popular acts. Anyone with more than a passing familiarty with
industrial music will recognize that Skold definitely has his own sound
and seems quite comfortable with it.
This album is obviously coming from someone from the metal side of the
fence, so it's doubtful that hardcore tek-heads and electro purists will
have much use for it. Having said that, however, I feel the material on
offer is very strong and, whereas the last Shotgun Messiah album was a
stragiht metal ablum with a few elements of industrial thrown in, Skold
is much more of an industrial album with a metal angle. [Daniel Hinds]
CON
Lucky 13
[Object Recordings]
This self-released(?) debut comes from one John O'Herron from our nation's
wonderous capital. Utilizing some nice and archaic synth equipment, he
has produced thirteen tracks of mostly hi-BPM techno/dance music with a
serious bite. The vocals are probably the most impressive thing, very smooth
and melodic and they mix well with the music. Some of the tracks, like
"Pick Yourself Up," have some industrial overtones and I think this disc
would appeal to most electro fans. Comparisons are difficult, as this is
a pretty original piece of work, but there are hints of early Nitzer Ebb
in there.
I wouldn't be surprised to see this getting picked up by a label somewhere,
as the songs are pretty catchy and the quality level is very consistent
throughout the album. More info, write: ObjectCon@aol.com[Daniel
Hinds]
[various artists]
Make 'em Mokum Crazy
[Mokum/Roadrunner]
This is kind of a follow-up to the intense gabber
comp. from last year called Battlegrounds. One of the songs from that release,
"I Wanna Be a Hippy" by Technohead, became something of a hit and appears
twice on this compilation. Unfortunately, both mixes are far inferior to
the original, going for more of a happy, poppy feel that most of the rest
of these tracks also exhibit. Some of the songs, like Milk Bar's "Friday
Night Can Kill Ya" actually work very well, but most of this stuff is either
too insipid or too annoying (see Party Animals for example) to make for
a very pleasurable listening experience. Who knows, though, maybe someone
out there has been just dying for a CD full of happy hi-speed techno polka
pop fluff. Look no further! [Daniel Hinds]
BATTERY
NV
[COP International]
I believe this is the second full-length release for this Bay Area industrial
outfit and it is decidedly a winner. Covering many different styles, this
album goes from moody to angry to bitter to sad and back again. Vocals
are shared, with Maria donig the most impressive job, especially on tracks
like "Nevermore," "Shame" and "Go," where she sounds downright pissed.
This CD is fucking long, with a few instrumentals thrown in for good measure,
and I did find my attention wandering a bit toward the end, but the strong
cuts are some of the best I've heard all year. Also, the packaging is very
slick (except for the mislabeled track listing, oops!) and this should
net Battery considerable attention worldwide. [Daniel Hinds]
PERCEPTUAL OUTER DIMENSIONS
Euphonia
[Fifth Colvmn Records]
This is a (mostly) instrumental journey into the realm of trance-y techno.
It's got a nice ethereal, spacy feel to it, but is grounded with a solid
beat throughout. The whole thing was written, recorded, and mixed by one
Holmes D. Ives in Virginia. The album artwork is quite interesting, too,
ranging from the beautiful to the disturbing. The music, however, tends
to keep to a more positive, somewhat peaceful vibe.
This CD was actually released a while back and I've been slow to get
around to it. I don't think it has gotten a whole lot of press, but it's
a worthy addition to any techno fans collection. It is one of those CDs
that you pull out from time to time when you're in just the right mood.
[Daniel Hinds]
PSYCHIC TV
Trip Reset
[Cleopatra]
When I was younger I was always intimidated by Psychic TV albums, with
their vague black & white cover art with the little Psychic TV logo
in the corner, they always seemed like something off limits. Something
I was not supposed to get too close to. But Trip Reset is completely the
opposite.
It kicks off with the poppy happy "The La La Song," which also happens
to be the shortest song on the album.
The rest of the album, well, it's kind of difficult to describe, tends
to veer toward space rock. Everything is kind of psychedelic and for the
most part isn't too bad. I can see this appealing to goths and lovers of
experimental music. However, the album does bottom out for me on the track
"Black Cat." It's a pop song, much like the opening track, but it is filled
by really cheesy sounding cat sounds. It just seemed rather stupid.
Still, Trip Reset is not a bad album over all. If you really want to
take my advice though, I would save my money and wait for Psychic TV to
come to my hometown and catch them in concert. Their live show far exceeds
their efforts on CD. [Victor Mejia]
STREAM
Experimental
[Byron Records]
I've had this CD for a while and have been kind of slow about reviewing
it, simply because I wasn't sure what to make of it. Stream are a Canadian
trio who have forsaken any of the current trends to play a distinctinve
brand of progressive metal. While this won't get them a major label contract
anytime in the near future, it is certainly refreshing to hear.
Musically, they tend to fall more toward progressive than metal, much
like latter-day Fates Warning or Dream Theater. Still, they don't sound
like they're ripping off anyone and there is a good amount of diversity
on offer. A lot of the tunes have a sense of melancholy, esp. "Never Fool
Your Fate," but they also pick up the pace a bit such as on "Escaping The
Wheels" and the funky instrumental "Turning Zero." Vocalist Jeff Byron
is a good singer, a must for this type of music, and can actually sing
high without being irritating (Geoff Tate take note!)
Stream may not be a mainstream success, but they are very good at what
they do and I know there are still a lot of people out there hungry for
this type of music. For more info, write to: Byron Records, P.O. Box 531,
North-Montreal, PQ, CANADA, H1H 5L5. [Daniel Hinds]
SKINNY PUPPY
The Process
[American]
By now you're probably familiar with the divisions among the band caused
by their move to American Records that eventually led to their break up
back in June. This release, which is slated for release in March, is the
final document from one of industrial's pioneers and most influential acts.
With all the turmoil surrounding its creation, it shouldn't come as a surprise
that Skinny Puppy has once again re-invented itself with The Process.
Though they've used guitar in the past, I would say it's far more dominant
on "The Process" than any other release. Being SP, they failed to use heavy
guitar even remotely in the same way that KMFDM or even FLA have, going
for some nice spliced and sampled riffs with a variety of effects. Also,
Ogre's vocals are less distorted than is often the case and he really gets
to show off his singing abilities and vocal range. The programming, while
retaining the trademark SP chaos, sounds more streamlined and straightforward
than usual. Also, there is more of a 'techno' feel some of the drum and
synth parts, not unlike what what cEvin kEY did with Download.
I am not a huge Puppy fan, but I enjoyed this album and I think fans
will, too, though it may not be their favorite. The guitars and somewhat
gothic feel on certain tracks should pull in new fans, too, and it's really
a shame that SP had to end their career now. [Daniel Hinds]
FRONT LINE ASSEMBLY
Circuitry (CDS)
[Offbeat/SPV]
Not sure if this is available domestically yet (check with Metropolis)
but this is the first single from the new FLA album, Hardwired, and it
includes a CD-Rom track. The CD-Rom track is pretty cool (it's Windows
only) and includes some brief bio information, along with the entire video
to the song 'Millenium' from their last CD.
As for the tunes, you get four mixes of the title track and one non-album
track. Remixes are handled by Haujobb and technoists Biosphere and both
twist the FLA sound heavily to their own sound. The song 'Circuitry' is
pretty good, though not among FLA's best, and at least you get fairly different
mixes of the song, but none of them really stood out and grabbed my attention.
I would recommend this for the CD-Rom track alone, though it will probably
be more of nterest to hardcore FLA fans than the average listener. [Daniel
Hinds]
MENTALLO & THE FIXER
Continuum
[Metropolis]
Mentallo is an odd one and proves that American electro bands can compete
with the European powerhouses. I'm only slighly familiar with their previous
releases and the pre-Mentallo project Benestrohe, but I'd have to say this
is my fave CD so far. Granted, it's old material (recorded between 90 and
93), but it really moves. M&TF have a pretty unique sound, combining
the harsh programming of bands like Leather Strip with more melody and
a definite trance effect.
This CD (which should be followed shortly by a brand-new full-length
by the Dassing brothers) includes 3 mixes of the brutal "Wicked," 3 of
the elegant "Perish in Peril" and eight other tracks, for a total of over
73 minutes. Unlike some extended CDs, this one doesn't lose your attention
after a few songs, varying the pace nicely to keep you interested. [Daniel
Hinds]
KREATOR
Cause For Conflict
[Noise]
After a brief stint with a major, Germany's premiere thrash act Kreator
returns to their old label Noise, but there's certainly nothing tired about
this album. Ditching their long-standing drummer in favor of some new blood
is most noticeable change in their sound, definitely for the better. Also,
the thin production and pseudo-industrial experiments on their last release
(the underrated "Renewal") have been replaced by a full-on thrash assault.
Even by Kreator's standards, this CD is fast and heavy, sounding like Slayer's
"Reign In Blood" at times. If you haven't heard Kreator since the "Pleasure
To Kill" or even the "Coma of Souls" days, you'll be surprised by Mille's
distinctly different vocal style, but I think it suits the music better
overall. Also, the production is robust this time around and a perfect
match for the music.
The days of thrash metal may be over, but there are still a few bands
out there that haven't given up the cause and Kreator are right there with
the best of them. [Daniel Hinds]
DIE FORM
Suspiria de Profundis
[Hyperium]
Not many people have really heard of this band yet, although they should.
Die
Form is the most musically captivating band in the growing genre of
S&M bands within the industrial community. Unlike all their cohorts,
Die
Form seem to spend a lot more time on the music than the whole image.
Don't get me wrong, the image that Die Form cultivates is very S&M,
but their music is also very musical. It's very hard to label, since it
ranges from dancebeat techno to opera to dancebeat techno opera. Eliane
P. is an amazing vocalist who adds both power and substance to Philippe
F. who may as well be called Mr. Die Form himself. Not only is he responsible
for the cover design, he also takes all of the photographs. This release
comes with many interesting photographs with a very distinct sexual connotation.
It seems evident that this is not a mere career move, but that this direction
is a life choice. The music is brave and heartfelt as well. [Victor
Mejia]
BLACK LUNG
Silent Weapons For Silent Wars
[Machinery]
It more than likely is pointless to tell you all that Black Lung
is the ambient side project of an industrial group named
Snog, but
they are. Choose which you prefer: upbeat techno with weirdness and a politically
aware slant or a soundtrack for a sick and dying planet. Black Lung
would be the latter.
It's really difficult to describe the music on this, their second, CD.
Each song seems to be made up of two parts: 1) a tranquil melody line--something
you wouldn't be surprised to discover in a Merchant Ivory flick, and 2)
some kind of noise that makes every song somewhat unsettling. There are
no melodies on this album that remain unscathed by technology. But hey,
that's the point.
If you have the guts you will check these guys out in one of their two
forms. Machinery is an outstanding label that is now seeing releases
in the United States. It's a label well-worth your support. [Victor
Mejia]
EDEN
Fire & Rain
[Projekt]
Before receiving this, I'd only heard one album by Eden and felt
that they put a little too much effort into creating an atmosphere and
not enough into making the song itself good. Well, things sure have changed!
Fire
& Rain has all the trademark ethereal and gothic atmospherics,
but the music seems to be much more developed this time around. Opening
track "The Darkness In Me" just rolls along so smoothly, it demonstrates
everything that's cool about this genre. Also, the flow of the album was
well thought-out. Starting with some mid-tempo tracks, they work into the
slower, beatless soundsweeps of "Hooveless Horses" and the title
track, then climax with the pounding "Just Like Water, You Run From
My Eyes." The production is sterling and the packaging is the usual
gorgeous Projekt affair. While they still might be too 'gothic'
for the more mainstream listeners out there, Eden have truly arrived
with this release. [Daniel Hinds]
ACCEPT
Death Row
[Pavement/BMG]
Just when you think heavy metal is going to finally give up and die, along
comes someone like Accept to prove you wrong. Way wrong. One of the most
vital bands in the metal scene since the early 80s, Accept reached their
creative peak with the classic albums Restless And Wild and Balls To The
Wall. Though the following records were also good, they never quite recaptured
the intensity of those records. Now, in 1995, Accept have finally given
up on trying to recreate the past and instead are forging a new future
for themselves. Death Row is altogether heavier and meaner than any of
their previous releases, with Wolf Hoffman churning out some seriously
brain-melting riffs and Udo adding his usual leather-lunged charm to the
proceedings. Tracks like "Sodom & Gomorra," "Stone Evil" and "Bad Religion"
just ooze power and, coupled with the band's knack for writing brilliant
riffs and arranging them to perfection, that makes this one hell of an
enjoyable outing.
If you've ever been an Accept fan and thought that they're 'has-beens'
now, grab a copy of Death Row and I guarantee you'll change your tune.
Metal has returned, so show your support. Go see Accept if they come through
Oregon this time around and definitely buy this CD! [Daniel Hinds]
SECULAR MECHANISM
Disciple
[Eine Kleine Totenmusik]
This strange duo hails from the Washinton D.C. region and have come up
with a 3-song CD that is as quirky as it is odd(?) Opener "Disciple" is
my fave, with an up-tempo rhythm that is danceable and the most effective
use of Neal Keller's vocal range. The band utilize an interesting combination
of synth and guitar, but aren't really an industrial or electro band at
all. "Insignificant Other" is slower, with a weird, fucked-up bluesy feel,
and it just didn't do it for me, plus it's way too long. Final cut "Wretch"
is better, but leaves you wanting more. From the bio, it sounds like SM
is getting somewhere with this single, so maybe a full-length release isn't
far off and then we can really figure out what these guys are all about.
Contact them at: Eine Kleine Totenmusik, P.O. Box 10410, Arlington, VA,
22201, USA. [Daniel Hinds]
SPHERE LAZZA
Incinerate
[Arts Industria/Fifth Column]
SPHERE LAZZA
The Enemy Within
[Hard/Cleopatra]
Here we have two releases (involving four different record labels, no less!)
from a Florida duo who lean toward the electro side of electro-industrial.
The Enemy Within is the more accessible one of the two, with an upbeat
techno feel not unlike Belief-era Nitzer. The vocals are also pretty smooth,
with a catchiness like the Swedish synth-pop acts, but it works for Sphere
Lazza very well. Songs like "Petrified" and "The Camera Eye" stick in your
mind after just one spin and the others soon follow.
Conversely, Incinerate is much harder edged. The vocals are treated
throughout and the electronics are more stripped-down and driving. Less
melodic and less memorable, there is still a quality to the songs that
makes you want to keep listening. Though I personally enjoyed The Enemy
Within more, both are strong releases. [Daniel Hinds]
GIRLS UNDER GLASS
Crystals & Stones
[Dark Star]
This underrated German trio have been at it for quite a while now and this,
their latest full-length release, benefits from that experience. Stylistically,
GUG are all over the place, from guitar-driven industrial ("Die Zeit")
to mellow, ethereal gothic ("I Will Follow You") to pure ambient atmosphere
("Chilly Room"). Best of all, they do all of these styles equally well,
making for a varied and entertaining listen. They're also quite good at
throwing some catchy melodies in, something bands like Bigod 20 and And
One do so well.
The production is great, the CD artwork nice and the sound, very original.
We're hoping to get an interview here on The Plague soon with GUG. In the
meantime, check out their web
page. [Daniel Hinds]
ELECTRO-ASSASSIN
The Divine Invasion
[Cyber-Tec/Fifth Column]
I've been hearing the name Electro-Assassin for years now, but have never
managed to acquire more than a comp. track here and there. This full-length
(their 3rd maybe?) has plenty of variety, from classic EBM to some very
ambient soundscapes. The song titles and lyrics apparently make references
to various works by Philip K. Dick (sorry, I am not a PKD fan, please don't
hate me), but the emphasis is clearly on the music and creating an atmosphere
for it to dwell within. While I found the more techno-y songs to be mostly
enjoyable, they do tend to go on a bit too long sometimes. Surprisngly,
the instrumental pieces don't suffer this problem and also seem more creative,
as if they felt freer with these tracks to experiment.
I can't say that this is my favorite of the Cyber-Tec releases (Crisis
NTI gets that honor), but it's a worthy addition and should find a welcome
audience among the more hardcore cyber-freaks out there. [Daniel Hinds]
g//z/r
Plastic Planet
[TVT]
This is Geezer Butler's (ex-Black Sabbath bassist) first solo outing since
the ill-advised Geezer Butler Band back in the late 80s. Eschewing the
traditional heavy rock sound of his work up to this point, Geezer has turned
to a much rawer, updated thrash sound. Employing the talents of vocalist
Burton C. Bell (Fear Factory) and drummer Deen Castronovo (Wild Dogs, Bad
English, etc.), Geezer has come up with eleven cuts of in-your-face thrash
metal that should appeal to fans of bands like Sepultura and Pantera. Geezer
wrote all the lyrics and co-wrote the music with guitarist Pedro Howse.
Themes on Plastic Planet range from sci-fi to social problems and even
include a major slam on Tony Iommi's continued use of the Sabbath name
("Giving Up The Ghost").
Musically, this album is faultless. Deen is wonderful as ever and finally
gets to let loose and show off his drumming skills. The songs themselves
are a good mix of modern-day thrash with some classic Sabbath elements
thrown in to glue it together. My one complaint is with Burton C. Bell,
who's voice I've never been too fond of. His harsh, yelling-style works
better within the framework of Fear Factory and when he tries to actually
sing (which he does a lot on this album), it falls rather flat. He sounds
like one of those guys trying to sound like Ozzy did on the first Sabbath
album and ends up sounding kind of silly.
Still, g//z/r is a pretty strong release and will no doubt surprise
a lot of fans with its intensity. [Daniel Hinds]
SKYCLAD
The Silent Whales of Lunar Sea
[Noise]
This, the fifth full-length album from the band formed by ex-Sabbat vocalist
Martin Walkyier, is another fine slab of metal and shows further progression
from the excellent Prince of the Poverty Line. The speed metal trappings
of the first two Skyclad releases are all but gone (with the exception
of "Desperanto (A Song For Europe?)"), with the emphasis on solid heavy
metal with lots of melody and memorable riffs. Martin's vocals are as strong
and urgent as ever and his lyrics have the usual biting wit.
Musically, the violin and keyboards are still present, but toned down
from previous efforts, with more emphasis on the guitars and vocals. As
with all Skyclad albums, this one takes a little while to really settle
in, though "Just What Nobody Wanted" and "Halo Of Flies" are really growing
on me already. The production isn't as punchy as Prince..., but
it suffices.
Overall, another excellent release from a band that offers an alternative
to the current alternative and should please all the metal fans that are
feeling abandoned by today's trends in music.
[Daniel Hinds]
CIRCLE OF DUST
Brainchild
[R.E.X. Music]
The only way I can think of to describe the music on this CD is that it's
a better than average hybrid of metal and industrial. I'm not always a
huge fan of this music combination, but Circle of Dust is one of the few
exceptions.
While I wasn't always thrilled with the metal aspect of this CD, the
electronic aspect impressed me very much. I'd have to say that the best
track on the CD is "Aggressor [Regressive Mix]" It's a great remix and
it also shows the talent of Scott Albert (the main guy behind Circle of
Dust) with making really hard, aggressive industrial music. Overall, I
think this CD has something for fans of both music genres, and if Circle
of Dust ever wanted to go completely electronic, I think they'd have no
trouble making a killer CD. [Erin DePue]
CLAY PEOPLE
The Iron Icon
[Re-Constriction]
I really, really tried to like this CD, but after several times through,
it still just didn't do anything for me. It's not so much that I feel Clay
People are a talentless band; I think they have some potential. However,
all of the songs on this CD seemed to almost drone on like someone speaking
to you in a low, monotone voice. Not much contrast between the songs. There
were only two songs I liked on this CD, "Lethargic" and "We Are All Sick,"
both have great lyrics and in these two instances, the mus ic actually
complimented them.
So, for the most part, this was a somewhat disappointing listen. But
still, it wasn't the absolute worst thing I've heard. [Erin DePue]
[various]
In A State Of Frenzy
[Frequent Frenzy Recordings]
This Swedish label may not be too well known yet, but they're very good
at spotting offbeat, talented bands that fall on the more experimental
edges of the techno-industrial scene. This compilation showcases six such
bands (2 songs each), each with a very distinctive sound.
Delusive Smiles kick things off with a weird blend of psychedelic electronic
rock and Layne Staley-like vocals. Both songs are decent and the band are
promising, but the mix could be a bit better. Mortal Memories are maybe
even stranger and a little more retro-sounding. Omala are the most different
of all the bands, opting for more soundtrack-style tunes, an excellent
blend of hypnotic rhythms and textures. Pur Pain send things off on yet
another tangent, developing an angry, proto-death/punk vibe, wit h heavy
guitar, growling vocals and plenty of feedback. Instant Life inject some
funk into the proceedings, coming across like a mix of SMG and MBM (well,
not really, but that was the best I could come up with on short notice)--definitely
the danciest band on this comp. Last but not least is On Target, who pursue
a more pure electronic path, not unlike a modernized Kraftwerk on one track
and go more in the vein of Instant Life on the other.
This CD is a nice mix of styles and shows that there are bands out there
trying something new. It might be almost _too_ diverse for some people,
but keep an open mind and check it out. [Daniel Hinds]
TRUST OBEY
Hands of Ash
[Fifth Colvmn]
This release finally saw the light of day a little while ago. One of the
original members of the Nothing Records line-up, Trust Obey has had to
settle for Fifth Colvmn in order to get its music out there. The sticker
on the cover has a quote from Trent Reznor; it says "Not a great commercial
potential..." This from the guy who gave Marilyn Manson a chance.
Of course a lot of what made them break through was their image...Trust
Obey must be lacking that image. Trust Obey is for the most part
John Bergin. He writes the music and the lyrics and does the vocals.
Trust Obey has released a few tapes and the soundtrack to The Crow (the
comic) on CD. Bergin is also a comic book artist and designed the sleeve
to this CD, probably the most spectacular so far on Fifth Colvmn records.
The images are at the same time beautiful as they are really disturbing
and each one corresponds to a different song.
Trust Obey musically is very brutal. They take a guitar riff and beat
you to death with it. It brings to mind bands like Godflesh, but unlike
Godflesh, Trust Obey's music is not boring. It also is very much like his
artwork...frightening. I tried listening to this to fall asleep and it
gave me nightmares. This music is not for the weak of heart and like Trent
said if has almost no commercial potential. But we need bands like Trust
Obey to help balance the scales a bit.
[Victor Mejia]
COPTIC RAIN
Clarion´s End
[Dynamica]
The Slovenian duo (or should that be Slovakian?) is back with their third
full-length CD on Dynamica to remind me why I love them. Head-on
aggression in the department of guitars, melodic and distorted vocals beautifully
intertwined and songs that I´d kill for to be able to make myself.
They´re not totally without humor, either, giving the old Elvis classic
"Devil In Disguise" a good thrashing! Although they could earlier
be accused of not being very diverse, I think that "Devil In Disguise"
alone is enough to put off any criticism. Not that it´s that
different from all their other tunes, but you simply can´t deny quality
when it stomps on your face!
The sound of Coptic Rain is based around a thrashy guitar sound with
groovy riffs, some synth-lines flying around and the occasional dialogue
sample. Added to this is Katrin´s voice: sometimes devastatingly
brutal, sometimes melodic and nearly sensual in approach. This dual-vocal
style is very effective and it is very refreshing hearing female vocals
to such heavy sounds. It´s not all thrash ´n go, either: "And
All I Loved" is a dark, brooding ballad with a melancholic twist and "Slepnir"
is a weird instrumental concentrating on repetitive drums and a guitar-loop.
Coptic Rain is one of the absolute masters of what is normally referred
to as industrial metal, neatly avoiding all the clichés and coming
over as a true force to be reckoned with. This is infinitely better than
the likes of Cubanate et al. More information from: http://www.noiserecords.com
or e-mail: 100600.717@compuserve.com.
[Erik Sontum]
INDEX
Black Light Twilight
[COP Intl.]
Eric Chamberlain is the sole constructor behind this dense, electronic
project. It's a good mix of instrumental and vocal work, though the strangely
distorted vocals sound a bit out of place to me. For the electro purists
out there, this should be on your shopping list as Eric not only steers
clear of guitars and cheesy samples, he really works to use the electronics
in innovative ways. The cold, eerie music veers from faster, noisy vibrations
to chillingly beautiful pieces that wouldn't sound out of place on a suspenseful
movie soundtrack.
Seems like COP is really diversifying of late, with the gothic Razor
Skyline and now with the highly electro (but definitely not techno!) work
of Index. Actually, this isn't the first release by Index on COP, but it's
a solid production and is yet another feather in the cap for the US scene.
[Daniel Hinds]
MORTIIS
Crypt of the Wizard
[Dark Dungeon Music]
In the last couple of months, "Crypt Of The Wizard" has grown to be one
of my favourite albums. It is like the the perfect soundtrack to "The Hobbit"
or "Lord Of The Rings": grandiose and mysterious, epic and up-lifting,
yet melancholic and slightly sad. The medieval feel is apparant throughout
with the heavy use of flutes, strings and rigid, militaristic drumming.
Perhaps "Crypt..." could have shown a little more diversity, but the ten
songs were originally written as five single releases, so this is actually
more of a compilation than a "normal" album.
Clocking in at over an hour, the disc certainly provides great value
for money... and the beautiful cover artwork only enhances the entire experience.
Closing your eyes, your mind wanders off to a paralell dimension, where
giants and elves roam the forests and dragons rule the sky... invoking
visions of snow-clad mountain tops and vast, open plains where unicorns
run free... Mortiis sounds unlike any other artist currently around and
that is quite an achievement in itself. And when the results he delivers
are as magnificent as this, I can do nothing but give my most sincere recommendations.
Write to: Dark Dungeon Music, P.O. Box 9097 30009 Halmstad, Sweden.
Also check out his web-page: http://www.mortiis.com.
[Erik Sontum]
(various artists)
Electro-Cution
[Arts Industria]
Another release and another compilation from Arts Industria has arrived,
once again bringing us a mixture of American talent (and a couple of Canadian
projects, as well). As always with this kind of release, you´re bound
to love some offerings and hate others. Let´s start off with the
more pleasant acquaintances... Assemblage 23 delivers the slow, almost
balladic "The Drowning Season" which offers a bleak and emotional – yet
punchy – sound with an evocative voice... kind of like an alternate version
of Phallus Dei. I gotta get my hands on something more by these guys! Crying
Room´s "Forgive Me" goes for the same kind of approach, but ends
up a little dreamier and has a slight "dub" feel over it. Killing Floor
brings us "Ecosystem (Tobias Mix)"; a welcome change with its inclusion
of hard ´n heavy guitars and distorted vocals. If you like Headcrash,
you´ll want to check these guys out. Diode´s "Furious Sound"
is anything but, being pleasing in a very mellow sort of way... and the
same could also be said about Bytet´s "March". The other bands featured
are Terminal, Manhole Vortex, Rod Logic, Black Dahlia, Slingin´ Zingers,
Sphere Lazza, Pounce Intl, 162, Daed21, Fracture and Cult Of Jester.
Whether "Electro-Cution" is worth buying is entirely dependent upon
your reason for buying compilations. If you´re looking for some new
and interesting bands to try out, then this is as good a buy as any and
constitutes a worthy alternative. If you want an album full of great stuff,
then find a band you really like and go for one of their albums instead.
Write to: Arts Industria, 425 Lamonte Terrace, South Bend, IN 46616 USA
or e-mail: artsindu@skyenet.net.
[Erik Sontum]
TEST DEPT.
Ecstacy Under Duress
[ROIR]
The first time I heard Test Department was in 1988 when I was first getting
involved in college radio. When I listened to them then, I must admit,
I hated them. And for years I avoided them at all costs. So why am I reviewing
this CD you might ask. Well, I have a bit of a change of heart since my
early college radio days.
This disk is not new. I hear that they have totally new members now
and have gone in some tripped out direction. This disk is from performances
that took place back in 1984 as "The 1982-1983 Onslaught Years of Experimentation."
Most of the songs are recorded at different sites, most of which I believe
are clubs. This stuff is really immediate and very live sounding and unfortunately
somewhat underproduced. What it does demonstrate is the bands knack for
percussion and rhythm. By concentrating on this their music sounds very
primitive, like it's just coming to fruition. To get the full benefit of
these tracks I have discovered that it is really important to listen to
it with one's utmost concentration. Unfortunately this practice is exhausting
and it is difficult to listen to the disk all the way through.
For those of you who have a flair for percussion, I urge you to check
this out. I wouldn't keep from recommending this disc to people who are
into the industrial scene, at least the more performance side of it, because
this is a really good source to trace the music back to its roots. I'm
not saying that the disc is solid from beginning to end, it does have its
weak spots like "Slow Hunger," but the core of the disk has a lot to offer
different people.
[Victor Mejia]
SIRVIX
Her Dead Love
[Feedback]
I had never heard of these guys before receiving this CD. They are a duo
from, I believe, Mountain View, California. I really don't know who I could
compare these guys to. If anything they remind me of bands in the Current
93/Death In June fold. I don't necessarily think they sound like these
bands...they just have that same vibe.
The opening track is just noise manipulated almost into song. "The Dark
Tide" is a spooky song with a repetitive rhythm with words spoken over
it. Not much there, but it's just enough to kind of creep you out. The
following track, "Cocytus," has much the same rhythm as the previous song.
There are no vocals though, just guitar sounds and other sound effects
over the rhythm. The next track "Phlegethon" is another noisescape dotted
with what sounds like high-pitched screams. "Lethe" is mostly a steady
drone of noise with various other sounds mixed in. "Styx," the following
song, is quite a bit more musical, but it too tends to stick to the same
small piece of music and repeat it endlessly with the only breaks being
the sounds that are thrown in here and there to make it all more interesting.
What's left of the album is pretty much more of the same. This disk
will not appeal to many people, but for those with an interest in noise
this is cool. For those who want to enter into the realm of noise gently,
this is not a bad starter disk...this disk is not too abrasive. For those
of you who cannot stand heavy repition within a song, this release is definitely
not for you.
[Victor Mejia]
FINAL CUT
Atonement
[Fifth Colvmn]
These guys have progressed along way from the earlier single I heard from
them. At that point they were an electronic band with no real defining
qualities...a little bit of a bore. Now, well now, at their best they sound
a lot like Sister Machine Gun which is a very good thing. "Terminate,"
the opening track is a prime example of this funked-up musical style.
To be honest, they really don't sound that much like SMG for the rest
of the album...I just think that putting "Terminate" as the opening track
is going to cause some unfair comparisons. For the most part Final Cut
have there own brand of funk. They also have other stylings. My second
favorite track on this CD was "The Shake." It has a real spacey feel, somewhat
like older Love & Rockets with a driving Jesus and Marychain guitar
line for the chorus. "Nothing At All" has much the same L&R feel. I
don't want to come off and say that none of the songs on Atonement are
original, because some do have an original feel to them, it's just that
more often than not the derivative stuff sounds much cooler. They at least
picked good bands to lift material from. [Victor Mejia]
TRYLOK
Mind Energy Strategy
[Zoth Ommog]
From this Austrian trio comes their debut cd, a self-released effort limited
to 1000 copies only. Since the release of this silver disc, they´ve
been picked up by Zoth Ommog and had their "official" debut CD released.
Most of the songs on these two discs are the same, however, so getting
both of them is only recommended to their most fanatical followers.
The music of Trylok is Euro-style EBM (sometimes bordering on synth-pop),
with some more ambient-oriented beats and sounds making a handful of appearances
during the course of the album. Vocally, they unfortunately go for the
"melodic" approach... no effects and a rather outdated style, if you ask
me. A shame, really, considering the technical proficiency that they show
throughout the album. There are some truly interesting tracks here, most
notably "Strings Of Dawn" which is a very beautiful instrumental piece
with layered stringwork and some birds chirping along in the background.
"Aqua Continuit" and "Sententia" also show this ambient side of the band
and gives me hope for the band´s future.
Unfortunately, the majority of the tracks are of the typical EBM variety,
with titles like "Desire" and "Wasteland" showing that they still have
some way to go before making a big splash and finding their own sound in
the elektro-scene. If only they could stick to their more ambient material...
Write to: Trylok, P.O. Box 625, 6905 Bregenz, Austria.
[Erik Sontum]
FATA MORGANA
Fata Morgana
[Dark Dungeon Music]
For the uninitiated, this is yet another project from the mind of Mortiis
and is being released through his own Dark Dungeon Music label. What separates
Fata Morgana from Mortiis is that there is not a unified concept behind
the Fata Morgana material, although – in all fairness – the music is quite
similar to Mortiis itself, especially the "Crypt Of The Wizard" album.
But that´s not exactly a bad thing, is it?!! Epic in feel and mostly
slow-moving with a medieval twist to it... complete with marching-style
drums, church bells, flutes and everything is what Fata Morgana brings
you.
This is great music for relaxation or as background music when you work,
but is not exactly the thing to put on at a party. If you have enough money
to buy whatever you want, you should not hesitate in obtaining this album.
If you´re like me and have to think long and hard before spending
any money on yet another cd, go for Mortiis´ "Crypt Of The Wizard"
instead, which I feel is an even better release. Write to: Dark Dungeon
Music, P.O. Box 9097 30009 Halmstad, Sweden.
[Erik Sontum] |
