BENESTROPHE 
Auric Fires 
[RAS DVA]

Auric Fires is, I believe, all new material from the trio and it sounds great. In fact, this is probably the best material I’ve ever heard from any of the 3 projects and makes me hope they continue to work together in the future. Following in the same style as earlier material, Benestrophe combine foreboding vocals with hypnotic sequences ala old FLA. At times, the sound is quite similar to the better Mentallo stuff out there. “Base of Brutality,” where Gary takes over vocals, might as well be on a Mentallo album, though I think I actually prefer Rich’s vocal stylings, as it gives the music more of a distinctive character. Gary is okay but sounds a bit too much like Bill Leeb and that type of vocalist to really stand out.

The grand, epic feel of the music (esp. “Phobia”) is well matched by the haunting lyrics and vocals, well-placed samples, and the excellent cover art and CD booklet. Eschewing current trends and regional bias (whatever you might think a band from Texas should sound like), Benestrophe have put together a thoroughly enjoyable collection of timeless tunes in the classic electro-industrial style.
[Daniel Hinds] 

TEMPLEBEAT 
Mediasickness 
[21st Circuitry / Sub/Mission]

“The Brain Cult of Macho Irony” is a great transition song between the two styles and it gets two remixes on the US release, both by Swamp Terrorists. First single “Wicked!” is aptly titled, while “Liberace” shows the guitar-heavy side of the band. Some other tracks worthy of mention are the great cover of “You Spin Me Round,” the dense, Swamp Terrorist-like “Gone With the Mind” (which also reminds me the most of the first disc), and the offbeat but addictive “Baby Amphetamine.” A few of the more experimental tracks, like the intro and “Soundtrack For the Age of Panic,” are more or less filler, but no more so than the various “Message” tracks on their debut.

While I don’t think Mediasickness surpasses the debut disc, it holds its own and is a worthy successor. The care this band takes in writing songs always impresses me and makes some of their contemporaries sound that much more amateurish. Also worthy of note is the humorous and well-thought out sleeve art. The “Contains repetitive beasts” line on the front cover pretty much says it all…
[Daniel Hinds] 

MORTIIS 
Keiser av en Dimensjon Ukjent 
[Cold Meat Industry]

Consisting of only 2 pieces, each over 20 minutes long, this isn’t exactly club or radio material. Made up of compelling sequences of strings, horns, tympanis, and other instruments, the music has a very grand, medieval flavor to it. While the first track has a more epic, conquering feel to it, complete with a few spoken vocals in the middle, the second track is where Mortiis really shines. Generally more complex than the first cut, it broods with a melancholic atmosphere that is strangely uplifting. Mortiis avoids making his work overwrought without making it too simple, either, a rare talent indeed.

While I may disagree with some of the attitudes and beliefs the man espouses in various interviews I’ve read, I must commend him for his fine work in the studio and, with Keiser av en Dimensjon Ukjent, Mortiis has created another magical soundtrack for your next journey through Middle-Earth…
[Daniel Hinds] 

WAKE UP CALL 
7 Pre-Apocalyptic Anthems 
[self-released]

“Redneck 100” kicks things off, with a strange, warbly vocal effect that gives it a bit of a goth vibe, probably my least fave track. Things improve considerably with “Godspit” which takes on a more straight-forward approach, with distorted vocals and some Skold-like guitar riffs. This is Wake Up Call at their best, showing their ability to write memorable choruses with a nod to bands like Hole in terms of intensity. “Stitch” includes some more punk elements, making the acoustic guitar intro to “Last Reward” that much more of a surprise. This latter track is probably the most unusual track (and one of the best) and demonstrates the band’s ability to cover different styles effectively. On “Sedate,” the clean guitar intro is a nice touch, then the band proceed in a very TDS-era NIN direction with the rest of song, alternating between soft and heavy parts. “Closer, Closest” closes the CD with a somber, minimal atmosphere (again) reminiscent of NIN’s “Something I Can Never Have.”

I haven’t heard much from the electro or goth scene in France, though I know it exists. Wake Up Call (great name) have put together a well-constructed demo CD of material that should definitely appeal to fans of electro with more of an alternative edge. More info: http://www.infonie.fr/public_html/wuc/index.htm
[Daniel Hinds] 

TAD MOROSE 
A Mended Rhyme 
[Black Mark]

“Circuit Vision” is a great start to the album, showing the band’s heavier side. “But Angels Shine” and the title cut are next, showing the band’s unique ability to take elements from bands like Fates Warning and Dream Theater, give them a distinctly heavier European touch and deliver something even better. Urban Breed (there’s a name for ya) delivers some of the best metal vocals I’ve heard in ages, displaying a great range and power that is rare. The use of keyboards is also very tasteful, adding much to the music without overshadowing it. The latter tunes on this disc sound a little less distinctive and energetic, particularly “Guest of Inquisition” and “The Vacant Lot,” but the majority of the work here is top-notch.

Everything about Tad Morose screams class: the lyrics, the sleeve artwork and the music itself. Progressive metal seems to be re-emerging from the underground where it’s been for several years and Tad Morose are my pick for the best of the current breed.
[Daniel Hinds] 

CHRIST ANALOGUE 
In Radiant Decay 
[Re-Constriction/Cargo]

Musically, I was a bit disappointed with this release. The songs are all fairly mid-tempo, falling into that same realm as Diatribe and SMG, but not generally as interesting. The exceptions to that are the first single, “Optima,” which is both the catchiest tune on offer and seems to have the most going on, and “No Daughter Icon,” with its more rock-oriented feel. A big part of the problem, in my opinion, is the production. It tends to be rather high-endy and loses a lot in the middle on most songs.

Still, it’s a decent release overall and I find that it is slowly growing on me. If you are looking for some new electro with a definite American edge to it, check it out.
[Daniel Hinds] 

LUXT 
Disrepair 
[21st Circuitry]

Luxt is solidly in the modern electro-industrial realm, with plenty of distorted synths, distorted vocals and distorted guitars. One thing that immediately sets them above the pack is the presence of two good vocalists, who effectively play off each other’s strengths (see “Megaplex” for example). “This Ugly” sets the pace with its upbeat, driving rhythm that reminded me of TTT-era Sister Machine Gun (a good thing, to be sure!). The production (handled by the band themselves) is very dry and compressed, giving it a tight feel not unlike Die Warzau’s work on the aforementioned SMG release. This approach works well for this type of music, esp. the more distortion-frenzied songs.

In general, I think Luxt succeed better with the faster, angst-filled tracks, like “Turbulence” and “Noxxul.” Stuff like the slow-starting “Hate Song” and “Death” come across as a little empty in comparison. Still, the majority of the material here works well. Score another point for the Cali electro scene!
[Daniel Hinds] 

SKYCLAD 
Oui Avant-Garde Á Chance 
[Massacre]

“If I Die Laughing, It Will Be An Act of God” kicks it off in typical, upbeat fashion, and is probably the most metallic song here. Martin’s vocals are fairly gruff on this one, but he quickly abandons that style for his smoother style for most of the rest of the album. “Great Blow For a Day Job” is next and is far more of a traditional folk song, with an infectious melody. “Constance Eternal” show the band’s capacity for creating beautiful ballads to counter the more racous tracks. “Postcard From Planet Earth” is yet another strong cut, with a very memorable chorus and biting sarcasm typical of vocalist Martin Walkyier’s lyrics.

The first tune to lose me a bit was “Jumping My Shadow,” another more mellow number that just didn’t have the usual charm I expect from Skyclad. “Bombjour!” a sharp criticism of France’s recent nuclear testing, quickly sets things straight and is one of the heaviest songs on the album. “History Lessens (The Final Examination)” was kind of unexpected, as it is an acoustic reinterpretation of one of the best cuts from Irrational Anthems. I was a bit taken aback at first, just because I’m so used to the original, but this version is good and different enough to justify its existence. “A Badtime Story” is next and is another classic Skyclad song that goes from soft to heavy effortlessly, featuring some of the most cynical and depressing lyrics yet.

The band’s decision to cover “Come On Eileen” is an odd one, but they pull it off well. It just doesn’t really fit very well into the rest of the album and, IMO, would have been better as a B-side or something. The cover of New Model Army's “Master Race” is a swift reminder that Skyclad are still a metal band at heart, as it travels the same road as songs like “Science Never Sleeps” and “Jeopardy” from previous discs and features a stunning guitar solo. “Bombed Out” is an excellent instrumental interpretation of “Bombjour!” that shows off an even more progressive side of the band.

Final track “Penny Dreadful (Full Shilling Mix)” is yet another holdover from Irrational Anthems and rather unnecessary here, as the mix is very similar to the original. Still, it’s a great song and closes the CD on an energized note, leaving you hoping their new one (The Answer Machine?) will be out soon. Martin’s vocals on this album seem a little more strained than the previous two, plus I don’t think the music is quite up to the same high levels set by those releases. Having said that, though, I still think this album is great and a must-have for any fans of serious metal, Celtic folk or just good music. The continued existence of this band in today’s world is one of the few things that keeps my faith in music alive and I hope they’re around for many years to come.
[Daniel Hinds]

DEATHLINE INT’L 
Arashi Syndrom 
[COP]

The Vibrators’ “Troops of Tomorrow” is, ironically, about as close to a ‘typical’ DLI song as probably exists, featuring razor-sharp guitar riffs, strong programming, hard but not harsh vocals and some nice synth strings to smooth the whole thing out a bit. “We Believe” continues in a similar vein, adding more emphasis to percussion, an area that seems to get extra attention on this release compared to earlier albums. “You Can’t Stop Me” is a bit more guitar-heavy, while “Hoellen Paradies” sounds like a cross between Deathride 69 and Amgod, if you can imagine that (trust me, it’s a good thing).

One of the few disappointments on Arashi Syndrom is the cover of Duran Duran’s “Wild Boys.” A great song to begin with, but DLI just didn’t do much with it other than give the vocals an evil edge and pales in comparison to past covers like “Tainted Love.”

Arashi Syndrom is probably the best recording I’ve yet heard by DLI, mainly because it is the most consistent. Some strong tracks and very strong production really help make this one of the best electro releases I’ve heard in a while. I can even forgive their pro-Macintosh sentiments in the liner notes (just this once though…)
[Daniel Hinds] 

BIRMINGHAM 6 
Error Of Judgment 
[Cleopatra/Hard]

The vocals are also worthy of note, as Jean-Luc de Meyer of Front 242 fame lends his immense talent to a number of the songs, giving the release a little more breadth than the first. Songs like “Little Demon” and “You Cannot Walk Here” are particularly effective. Lyrically, the band are not so blatant and confrontational as they were in the past. Their social conscience is still very much in evidence, they’ve just learned the art of subtlety and applied it.

Birmingham 6 are great because they manage to produce music akin to classic industrial-dance without sounding dated at all. Error of Judgment is an excellent follow-up, as it shows progression without losing the elements that made the band so good in the first place.
[Daniel Hinds] 

STORMDRAIN 
Stormdrain 
[s/r]

“Of Corpse” sets the pace with a medium tempo, while “Yurset” continues the trend and adds some catchy vocal parts, as well. “Loophole” is a bit mellower with a hint of trip-hop and a more somber sound overall. The vocals are particularly strong on this track it really showcases all of the band’s strengths in one tune.

An impressive demo release that will hopefully be followed by an equally good full-length in the near future. More info: Stormdrain, PO Box 720033, San Jose, CA, USA.
[Daniel Hinds] 

STATIC ICON 
Slave 
[Machinery]

Just a few moments into opening track and first single “It’s A Lifestyle,” you’ll notice the influence of producer Marc Heal (of Cubanate fame). His skill at bringing out the ‘boom’ in the bass and drum section really adds to this material, making it perfect for the dancefloor. The soothing vocals and catchy tunes like “Unite,” “Krakow” and “Overcome” really give it a pop edge that may appeal to folks outside the usual electro crowd.

A strong release, with only the weak lyrics (yet more tired S/M themes, folks) and the somewhat misplaced cover of Devo’s “Whip It” breaking the continuity.
[Daniel Hinds] 

(various artists) 
Sound-Line Vol. 5 
[Side-Line Records]

Being a European ‘zine and seeing as how the label is a subsidiary of Germany’s Celtic Circle, it’s not surprising that most of the bands on offer are of European origin. What did surprise me was the number of EBM/synthpop-flavored acts on offer here, perhaps a bias of the editor or just a new trend in the electronic underground?

Implant start off with the sample-laden “Brainstorm,” a somewhat weak song and not exactly a great way to kick things off. Mesh are next with “I Don’t Think They Know,” with a much fuller sound, sort of noisy synthpop – good stuff. One of the best known bands here, Godheads, deliver with style (as usual) on “Body & Mind,” a pounding, guitar-driven track, sounding like a highly-energized (old) Nitzer Ebb. The only US band (I think) here, The Razor Skyline, is up next. They deliver, yet again, their excellent gothic/industrial cut “Queen of Heaven,” a perfect representation of the band’s diverse talents.

My favorite band name, The Dust of Basement, are next with probably the worst production, but the song itself is good. Titled “Gift,” it’s a strange blend of minimal techno, pretty female vocals and gruff male vocals. Statemachine follow with “Music From the End of the World.” This Swedish trio sound very professional, featuring some wonderfully melodic vocals and dark synthpop. Athamay, a very gothic-looking outfit from Britain, offer up some decent electro-goth with unusually, near-spoken female vocals. Illuminate, who come across as slightly pretentious in their article, provide “Apokalypse,” which is nice blend of upbeat techno pop and gothic male/female vocals. Endraum are next, with a strange, minimal trancey piece with spoken German vocals called “An Dich.” Not a real winner and hopefully not representative of their other work…

Lights of Euphoria, ever popular on the compilation circuit, deliver “Our Darkness,” a high-speed EBM that is typically good but not great. Second Decay’s “Familiar” features some synth lines that put me in the mind of Devo and Kraftwerk, though the vocals bring it more into the sphere of modern synthpop. Secret Hope follow in similar style with “Follow Me!,” but with a more downbeat atmosphere, better production and a great chorus. Sequential are probably the most pop-sounding outfit here, with their track “Let This Feeling Be Forever” reminding me an awful lot of Information Society – not a bad thing at all! Drunkness head in an And One direction with “Cyberworld” and Infam close the album with “Blood Dealer,” another good song with excellent vocal melodies.

Overall, a very enjoyable CD of fairly unknown bands that will definitely cheer you up if you’re sick to death of the endless NIN and Puppy clones out there. I highly recommend getting a subscription to Side-Line, as it is a fine magazine and, if this is any indication, the free CD compilations are worth the price alone. More info: http://www.pobox.co.uk/vnv/sideline/sl.htm
[Daniel Hinds] 

PLAN E 
E For Your Eyes 
E For Your Ears 
[s/r]

E For Your Ears is the earlier work (I think) and fairly consistent. Last track “Pulsar From Stars” is the most experimental and kinda cool. E For Your Eyes has only four songs (...Ears has five) and is possibly even more out-there. “Cosmic Point” has a psychedelic feel reminiscent of later Voivod, while “Song For a Bong” has distorted vox and a bit punkier approach.

Plan E are a strange band that may be a little too eclectic for their own good. These two discs are well-produced and played, but the music itself just didn’t work for me I’m afraid. More info: E Records, Box 50, 90251, Oulu, FINLAND.
[Daniel Hinds] 

NOISE LEVEL 9 
Beta 3.0 
[s/r]

NL9 definitely has a more ‘metal’ sound than I expected, though I’d definitely say they’re coming from the electronic side of the fence. A very promising EP/demo and I wouldn’t be surprised at all to see them sign soon and put out a full-length. More info: http://www.sa.speed.net/~noise/index.html
[Daniel Hinds] 

MY DYING BRIDE 
Like Gods of the Sun 
[Fierce/Peaceville]

Strong production and musicianship are in evidence, though the songwriting seemed a little more pedestrian than I am used to from this outfit. They’ve done away with a lot of the more complex and lengthy numbers on this release, plus I’d like to have heard more piano, as they have used it so effectively in the past. Still, a good album in all that will find a home with the more progressive metal fans out there.
[Daniel Hinds] 

MORGANA LEFAY 
Maleficium 
[Black Mark]

Song-wise, this is a consistently strong release. Standout tracks would have to be “Madness,” which has an epic, progressive feel to it without losing any heaviness, and “Maleficium,” with its catchy riffing and grand choir really adding to the effect. “Creatures of the Hierarchy” is a splendidly straight-forward metal outing, with an almost commercial (read: catchy) chorus.

Overall, a fine release with my only real criticism being that it sounds like they’re trying too hard at times. By that, I mean there a few points where it sounds like they consciously tried to make it heavier or more extreme than the song really demanded. A minor quibble, however, and I would heartily recommend this album to metal fans tired of the current crop of Pantera clones. More info: http://home3.swipnet.se/~w-30752/index.htm
[Daniel Hinds] 

IRON LUNG CORP. 
Big Shiny Spears 
[ReConstriction/Cargo]

Production is strong, as are the performances all around. Metal fans tiring of the increasingly awful releases from the likes of Pantera, Sepultura and (shudder) Korn should find this disc to be fresh and rewarding.
[Daniel Hinds] 

CEMETARY 
Last Confessions 
[Black Mark]

“Forever” kicks things off with the band’s customary metallic riffing and classic songwriting and the pace doesn’t slow down until nearly the end of the album, when the somewhat balladic “One Burning Night” appears. Vocalist Mathias Lodmalm tends to sing on this release more than ever before, which is good at times, but on a couple tracks like “Twin Reactor,” his voice sounds a bit thin. I much prefer the emotionally-charged growl displayed on songs like “Carbon Heart” and the awesome “Caress The Damned,” which he used to such good effect on Sundown.

Musically and production-wise, Last Confessions definitely has the edge. Everything is very tight and full sounding, you couldn’t ask for a better-sounding album. The songs themselves are all good, though maybe not quite as diverse this time around, and the heaviness is retained and, if anything, increased a bit. The Sisters of Mercy-type gothic elements are still there now and then, but no more prevalent than before.

Cemetary had really developed their own sound and it’s too bad they called it quits, but hopefully Mathias’ new project, Sundown, will pick up where Last Confessions leaves off and continue the tradition of classy, powerful metal for the 90s.
[Daniel Hinds]

(various artists) 
Diva X Machina 
[COP Intl.]

One thing I noticed right away about all of the vocalists on display here is that, unlike many of their male counterparts in the electro scene, they all can and actually do sing. A bit of distortion is used here and there, but always for effect and not to cover up a lack of talent. Opening with Seattle’s finest, The Razor Skyline, we are treated to the electro-goth epic “Queen of Heaven” from their recent debut. Next up, Sunshine Blind deliver the revved up and thoroughly brilliant rocker, “Regodless.” Coptic Rain hand us a surprisingly heavy version of the Elvis tune “Devil In Disguise,” followed Deathride 69’s blunt (but still pretty catchy) “Fucked Up Generation,” another real mover.

Thrive, the first band unknown to me, are up next and are somewhat forgettable, but not bad. Fading Colours and Hexedene follow in completely different styles, but both are refreshingly original, with FC giving off an uplifting vibe reminiscent of The Church, while Hexedene pound out a highly danceable EBM cut. Battery deliver yet again (don’t they always?) while Randolph’s Grin give us a taste of S/M with “Indulgence.” Not 100% convincing in delivery, it is still an enjoyable track and the band is quite promising.

The album slows down a bit after this, but the quality of the tracks remains consistent, with Android Lust and !AiBoFoRcEn< providing some especially choice material. The CD as a whole is a thoroughly enjoyable package, with a nice blend of known and unknown acts for you to discover.
[Daniel Hinds] 

COBALT 60 
Elemental 
[Edel]

Opener “Bye Bye” sets the pace, with the simple synth-lines and pounding beat. Jean-Luc’s vocals have never sounded better and he really shows off his range, going from angry to menacing to soothing effortlessly (check out “Born Again” as a good example). Some highlights would definitely be the tense “The Worried Well,” the driving single “If I Was” and the eerily beautiful “In The Valley.” Album closer “Poor Poor Pam” is a bit out of place, with a lot of (modified) guitar samples and a generally grittier sound, not unlike Templebeat.

Dominique Lallement handles all the programming and it tends to sound a bit same-y at times (a lot of the songs seem to be variations on “Bye Bye” and “If I Was” to some extent), but it’s very solid and gets better with each listen. It is not unlike older Nitzer in the respect that, on the surface, it sounds simple, but there is a lot of subtle stuff going on underneath that you don’t get out of a passing listen. Noted alternative producer Craig Leon gives the disc excellent clarity and plenty of bass. Apparently work has already begun on a second disc, to be produced by Marc Heal (CUBANATE), which is good news to my ears.
[Daniel Hinds] 

DEVO 
New Traditionalists 
[Infinite Zero]

Opening cut “Through Being Cool” says it all, with its jazzy feel and “gonna bang some heads/gonna beat some butts” attitude. Other hit tunes like “Beautiful World,” “Jerkin’ Back ‘n’ Forth” and the inspired remake of “Working In The Coal Mine” also populate this synth-heavy disc. A big step forward from Freedom Of Choice, the guitars are toned down on New Traditionalists and the production is much fuller.

What really makes this album a must (for me, anyway) are the lesser known classics, like “Going Under,” “The Super Thing” and “Race of Doom.” Plus, this re-issue adds two bonus tracks: the frenzied “Mecha-Mania Boy” and the spoken-word “Nu-tra Speaks,” making it a must-have for fans who never tracked down all the singles (like me). Devo never gets enough credit for their pioneering work in electronic music and hopefully these re-issues will help give them the recognition they deserved all along.  As Nu-tra says, "Purchasing this album is not like spending money; rather, it is an investment in the future and a blow against The Empire."  Enough said...
[Daniel Hinds] 

TINFED 
Hypersonic Hyperphonic 
[Re-Constriction/Cargo]

The songs themselves, however, just aren’t terribly entertaining. Not a whole lot of variety, for one thing, as each songs tends to start with some looped noises and then hit you with the drums and guitar fairly quickly. The band would definitely benefit from varying the tempo a bit more, not to mention souping up the drum sound a bit. Their sound doesn’t do much for me, but it sounds natural for them and should appeal to the fans who enjoy more rock-oriented material with an electro edge and a keen sense of weirdness. An eye-catching cover completes the package of what I consider Tinfed’s best work so far, but still hesitate to endorse beyond ‘give it a listen and decide for yourself.’
[Daniel Hinds] 

CHEMLAB
East Side Militia
[Fifth Colvmn/Metal Blade]

The first single, "Exile On Mainline," kicks things off and right away something is wrong. The production is weak, esp. on the vocals and guitar (which is way too distorted on this track) and the song itself is overly simplistic. "Jesus Christ Pornostar" is a little more involved, but sounds even less produced and could easily have shared space on their Ten Ton Pressure debut EP years ago. "Vera Blue" is up next and shows the band actually trying something new, injecting some melody and atmosphere into the mix, before kicking into overdrive halfway thru and finishing the tune in fine style. Overall, a very successful track that is far more deserving of single status.

Elsewhere, Chemlab scores points with the brilliant electro-frenzy of "Electric Molecular" and the creepy "Pyromance," but then turn around and fall flat on their face with the cliched and annoying experimental track "Pink," not to mention the pointless remix of "Exile..." That topped with the thin and uninspired production help drag this album down to an average release, which is a real shame for a band of Chemlab's obvious talents.
[Daniel Hinds] 

MENTALLO & THE FIXER 
Centuries (MCD) 
[Metropolis]

I certainly wouldn’t write them off, but I sure hope their upcoming full-length sounds a little more motivated.
[Daniel Hinds] 

OUT OUT 
Nisus
[Metropolis]

For some reason, on Nisus, it feels like Mark Allen Miller is holding back.  I don't know the reason...maybe it's just a change in lifestyle. From what I could gather by glancing at the lyrics, Out Out tends to be a political project. Their songs are well organized, focused around one central rhythm that drives from beginning to end.

Since this CD came out a while ago, I figure it shouldn't be too far down the musical horizon that we get to hear the new Out Out album. I hope it's at least as good as this one and really hope that it can be as good as Vein Cage. Something I must admit that I was disappointed about was the lack of any ambient soundscapes on this disk. I read an interview where it said that he wanted to experiment more with that type of music.
[Victor Mejia] 

XORCIST 
Scorched Blood EP 
[21st Circuitry]

The standard mix of “Scorched Blood” is as close to a ‘typical’ Xorcist track as you could hope for. The ‘Torch Mix’ is more extended, features more in the way of samples and uses a bit more distortion on the vocals. The ‘Inferno Mix’ is probably the most out-there, kicking off with an ambient noise piece before settling into a rhythmic, FM-synthy trance track that bears little resemblance to the original. Finally, we have the ‘Rising From the Ashes Mix,’ which completely decompresses the track into a fourteen minute journey into ambient textures and beats, slowly building into a creepy but oddly soothing track. Also worth noting is the thoroughly re-mixed and updated ‘Smoldering Mix’ of “Crack” from Damned Souls – even better than the original, this one.

All in all, a very enjoyable dark electro disc that surpasses the mixed Phantoms release from a couple years back and rivals the brilliance of his debut. Peter is happy to experiment with lengthier and more complex pieces, but they don’t get boring this time around and hopefully it won’t take so long for another new release.
[Daniel Hinds] 

MAZZY STAR 
Among My Swan
[Capitol]

Simply put Mazzy Star is Hope Sandoval's uniquely beautiful voice and David Roback's backing guitarplaying. The guitar is just as essential to the mix as Hope's voice. It may sound fairly simple, but it creates a landscape. A fairly barren landscape somewhat like a desert at daybreak or nightfall when the spectrum of colors fills up the sky.

Some songs have more unique features than the others. "Disappear" has bells playing softly in the background. The bells make it one of my favorite songs. "Flowers In December" has Hope playing the harmonica. Then there are the more obvious Mazzy Star tracks like "Cry, Cry" which make this band the gift that they are.
[Victor Mejia] 

CLAY PEOPLE 
Stone - Ten Stitches 
[Re-Constriction/Cargo]

Musically, most of it is fairly straight-forward industrial guitar-rock, with a certain amount of groove (see “Spider’s Bride” and the quirky “Mechanized Mind”) and, later in the album, some more experimental tracks, such as the chaotic “Little Jack” and the mellow “A Strange Day,” which could almost be by The Cure(!) I give the band high marks for mixing up elements of modern electro-industrial music with grindcore and alternative for a pretty unique sound. I just wish the vocals were a bit more palatable, but I definitely think Clay People have found their sound and I hope they continue to progress in this direction.
[Daniel Hinds] 

CROCODILE SHOP 
Beneath 
[Metropolis]

The production (which the band handled themselves in their own studio) is functional, but loses a lot of the low-end, resulting in a somewhat thin sound overall. Most of the songs are structurally more akin to 80s alterna-rock, but there are exceptions, such as the storming industrial dance cut “High and Deep.” This track alone (plus its even dancier remix later in the album) should warrant fans of this genre to at least give the disc a spin or two. Elsewhere “White Noise” starts off like a latter-day 242 track before heading off into the more typical CS territory. The band’s use of live bass adds a unique element to their sound that harkens back to some of the Wax Trax! stuff I remember form years past.

There is some filler here (“Drop It” didn’t do much for me), but CS have at least found their own voice and, with better production and a little more focused songwriting, could easily come up with a classic record. Look for the new one to be out on Metropolis by the summer.
[Daniel Hinds] 

(various artists) 
Newer Wave 
[21st Circuitry]

16 Volt kick it off with “Turning Japanaese” and do a decent job, but I was expecting a little more conviction than Eric puts into his vocal performance on this one. Assemblage 23 run through “I Ran,” adding some distorted vocals but not much else. Beauty take apart The Fixx’s "Red Skies" in a pleasing way, really making it their own (something I wish more bands had done). Luxt do just the opposite, turning in a near-exact replica of Gary Numan’s “Cars.” Out Out rough up “Candy-O” with flare, which is followed by the weak Kevorkian Death Cycle cut, “Never Say Never” by Romeo Void (though I think we can blame that more on the original than KDC…) Battery, usually one to count on, deliver an extremely ho-hum song in the form of Duran Duran’s “The Chauffeur,” which is followed by the equally dull take on the Missing Persons’ “Destination Unknown” by Scar Tissue.

Much like 16 Volt, Hate Dept. pick a good song (“Master & Servant”) and do a good job, but it lacks the real venom you might be expecting. Black Metal Box turn in an uninspired (though fairly different) version of “I Want Candy,” basically taking all of the fun out of the song and replacing it with guitar… Templebeat deliver the goods with probably my fave cut, “You Spin Me Around,” and Collide take “Whip It” where it has never gone before (still unsure if that’s a good thing or not, but damn is it different!) Unit 187 also get credit for a rousing version of “Relax,” though it would be hard to really fuck that one up (I’m sure Godflesh could do it, though…) Germany’s Sabotage Q.C.Q.C.?, one of the few non-American acts on here, do a really minimal take on Soft Cell’s “Sex Dwarf,” making it obvious this band isn’t as dead serious as some of their compatriots. Acumen put the album to rest with a tremendously blah version of the equally blah “Whisper to a Scream..”

Overall, a very mixed bag with this one. Some good tracks, some bad, but mostly just average. Mainly, I just don’t hear a lot of effort in most of these renditions. Perhaps the bands are too burnt out doing cover tunes for other compilations…
[Daniel Hinds] 

DEVO 
Shout 
[Infinite Zero]

While my initial impression of this record was pretty negative, repeated listenings have revealed some startling good tunes. While a lot of the smarmy humor, social commentary and just plain weirdness of the earlier releases is missing, Devo still came up with some catchy and thoroughly enjoyable, synth-pop songs, such as “Don’t Rescue Me,” “The Satisfied Mind,” “Here To Go” and of course the title track. Another prime reason for getting this re-issue is the bonus track, “Growing Pains,” which has a bit more of the classic Devo flair and is one of the best ones here. The other bonus track, “Shout (E-Z Listening Muzak Ver. 1)” is great, too, but was already available on the E-Z Listening CD.

On the negative side, the production (particularly the drums) still doesn’t gel very well with the music. Plus, some folks are of the opinion that the sound quality in general is substandard compared to the Japanese release or even the original LP, though it sounds pretty damn good to me. Also, songs like “Please Please” and “C’mon” still add up to mere filler. So, while this is by far the least mandatory of the original Devo releases, it’s still pretty good and I think a lot of fans who haven’t heard it in a while might be surprised by just how good it is.
[Daniel Hinds] z

SAMMY HAGAR
Marching To Mars

One advantage of exiting a band as big as Van Halen is that it shouldn’t be too hard to find good musicians to work with. Slash and Huey Lewis sit in for "Little White Lies," the first single which is aimed at former bandmates, Edward and Alex. Something of an original Montrose reunion takes place on "Leaving The Warmth of the Womb" as Ronnie joins Sammy and Denny Carmassi, who plays drums on most of the album. Other guest stars include Mickey Hart, Matt Sorum, and Roy Rogers.

Also worthy of a highlight are the progressive "Salvation On Sand Hill" and "Both Sides Now," an 80s style power ballad that points to the Hagar you might remember before the Van Halen days. All in all, Marching To Mars is a bit one-dimensional album, but a good one that suffers more from the picture on the CD insert of Sammy in his underwear.
[Ted Hinds] 

QUEENSRYCHE
Hear In The Now Frontier
[EMI]

Respectably, Queensryche responded to the hit singles generated by Empire with an experimental album called Promised Land. Unfortunately it sold but a quarter as many copies, which might help to explain why the new Queensryche album, Hear In The Now Frontier, is the band’s most radio-friendly album to date. The title hints at an attempt to join the alternative music movement. The cover art brings to mind Alice In Chains’ Jar of Flies album and musically shoots for simpler melodies ala mega-hit, "Silent Lucidity."

No doubt the most mellow of all Queensryche records, HITNF actually makes for an enjoyable listen, but die-hard fans of the early stuff should be warned there is little here in 80s frontier. The two songs that actually distribute song writing credits to members other than DeGarmo and Geoff Tate make for the heaviest tracks—"Hit The Black" and "Anytime/Anywhere."
[Ted Hinds] 

URANIA
Aquarius EP
[COP Intl.]

“Initiation (sacrifix)” kicks things off on an energetic note, with some frenzied, distorted beats and shouted vocals. This track didn’t really work for me at first, but it improves as it goes along and the rhythms are infectious. Next up is Urania’s cover of “Aquarius,” a great cover that really shows off Melissa’s singing ability. Clocking in at close to 8 minutes, Urania really take this song to the limit, but it works very well and never gets boring. George adds some distorted, pseudo-rap vocals to the song that are a nice touch and counterpoint to Melissa’s work.

“Zero Becomes One” is probably my favorite track on this EP. It sports minimal but far from simplistic programming and some great, memorable vocal melodies that immediately attach themselves to your brain. “Charioteer” is more in line with “Initiation,” with harsher vocals and plenty of heavy guitar riffage, but it works a lot better and is another excellent track.

The last two cuts are different versions of “Initiation” and “Aquarius.” The former is a much shorter (and less interesting) mix than the album opener, while the latter is a “radio mix” and features a more direct, guitar-driven approach. This cut is cool, as it is more similar to the original version and different enough from the other mix to justify being included.

I wasn’t sure what to expect from this release, but I am pleased to say that George and Melissa have succeeded in putting together a gripping, energetic electro-industrial CD that encompasses and surpasses their work with UTN and promises much for their upcoming full-length – can’t wait!
[Daniel Hinds] 

HALOMAKER
Sufferthiswish
[Outburn]

I don’t want to slam these guys at all, because there is nothing particularly bad about this CD, it just feels too typical. Everything from the dark lyrics to the chaotic sleeve art to the music itself has been done before and there isn’t anything that really reaches out and grabs you to make you forget that fact. The production is decent and there are some good songs, like the opener “In The Apart” and the offbeat “Pushed Off,” so there is definitely some potential.

According to their bio, they’re currently working on new, harder material for release later this year and I’d be interested to hear that. This debut shows a band with musical skill that just needs a little more unique sound and some killer songs to start making some serious inroads in this genre.  More info: outburn@cogent.net
[Daniel Hinds] 

RED HARVEST
Hybreed
[Voices of Wonder]

“The Long Walk” is a good example, alternating between a melancholic rhythm with gothic-tinged singing and razor-sharp guitar riffs and harsh vocals. Elsewhere, the band takes an extremely minimal, ambinet approach, such as the soothing “Ozrham.” Yet elsewhere, Red Harvest lay down some serious doom-laden grooves, in the vein of My Dying Bride and others, with “On Sacred Ground.”

The band cover a lot of ground with this release and, although I don’t think they’re brilliant at any one of the styles, they carry them all off well. Production is solid and the muscianship is very good, with some definite flair in the guitar department. I could do without the heavy effects on the vocals, but, thankfully, that seems to be more the exception than the rule on Hybreed. Definitely an album to check out for the Godflesh and Fear Factory set, not to mention fans of modern doom/death metal and maybe even Scorn and their ilk. More info: http://www.pingo.dk/vow/voice.htm
[Daniel Hinds] 

THYMIKON
Nipsis
[Logistikon]

Musically, the only downside is the annoying and monotonous “Without 613” and the remix it gets later on, which gives me awful visions of the Hafler Trio. Most of the work is quite good, with my favorite probably being “Aeternus,” with it’s interweaving strings and soft electronics. Mr. Branson walks a fine line between ethereal and mellow electro, mostly to good effect. Definitely an impressive debut and not your typical electro CD. More info: Logistikon Records, 2000 Cheyenne Drive, Edmond, OK 73013.
[Daniel Hinds] 

(various artists)
Twang!: A Tribute To Hank Marvin & The Shadows
[Pangea]

Having been pretty unfamiliar with the work of the Shadows going into this collection, I was surprised by how familiar tunes like “FBI” and “Wonderful Land” sounded. The latter of those two gets the full treatment from Black Sabbath’s Tony Iommi, adding a touch of his dark riffing style without obscuring the original. Other interesting takes include Steve Stevens’ Spanish-tinged version of “The Savage,” Knopfler’s dreamy “Atlantis” and Frampton’s surprisingly energetic “The Frightened City.”

While The Shadows aren’t exactly my cup of tea, it was interesting to hear a number of musicians I admire put their spin on their music. For the guitar freaks out there, the Blackmore/May/Iommi cuts alone make it a mandatory purchase. If nothing else, it would make good background music for that party where you have no idea what anyone listens to…
[Daniel Hinds] 

LOVE SPIRALS DOWNWARD 
Ever 
[Projekt]

The songs all have their own character on Ever. I think the songs that I appreciated the most were "Sideways Forest" and "Lieberflussse" for their starkness. There were other songs that had that same vibe, but were a bit more psychedelic. These songs would include "Last," "El Pedregal," and "Promises." There are also two instrumentals on this CD, "Cay at Dawn" and "Ananda." I would have preferred only one. As important as Ryan's guitar is to LSD, I believe that Suzanne's voice is the true marker of their sound. It is because of her and Ryan's production skills that LSD possess the Projekt sound.
[Victor Mejia] 

(various artists) 
Electronic Youth Vol. 3 
[Music Research]

In Strict Confidence slow things down some with “Inside,” one of the best of the lot. This song builds quite nicely, with a tinge of the ethereal and vocals a bit like Project Pitchfork. If there’s any doubt that Front 242’s influence isn’t still being felt, Mastertune deliver “Forget The Rest,” a song so similar to Front By Front era 242 that it is frightening. From the vocals to the synths to the beats, straight down the line, but the lack of originality is made up for by the quality of the execution and this is actually one of my faves on offer here. Perfect Torment are rather ordinary, with a really straight-forward EBM track that isn’t helped any by the vocals (like a weak version of Snog’s David Thrussell).

Like Mastertune, Signal’s track “All My Sins” isn’t exactly drowning in originality, though this time it is Depeche Mode that gets the flattery – very similar to Violator-era DM, but once again, well done. Delay start off sounding like they could be your typical house/pop dance band, but the darker elements come in with the socially-conscious lyrics and more electro-oriented beats. I’ve only heard a couple of tunes from these guys, but they’re a good band with strong vocals and a classic, melodic sound. Voice of Destruction finish out the album with a sample-laden, militaristic techno cut. The vocals are distorted and kind of buried in the mix, which makes for a unique if somewhat annoying sound.

The less memorable moments on the disc come from the likes of Diary of Dreams, Trylok and Blind Passengers, but none are bad and this compilation is a good introduction to the current EBM scene and for those looking for something a bit lighter but still in the industrial vein.
[Daniel Hinds] 

SUNSHINE BLIND 
Liquid 
[Energy]

Then comes the special bonus on the album. A version of Flock of Seagulls' hit "I Ran." They pulled it off wonderfully...the track is also great live so check out Sunshine Blind when they come to your town. "Bush Almost a Tree" is an instrumental that feels very much like it could have come out of the Faith & the Muse songbook. The album ends in a much stronger fashion than it begins with the 8+ minute "Rain Spirit." It touches all bases and displays some of the best guitar work on the album.

Everything sounds much cleaner this time around. The lyrics are just as cryptic as they were on Love the Sky to Death. The listener can pretty much come up with their own interpretation. They do create a gothic atmosphere. Sunshine Blind also displays the ability to handle long songs better than most bands.
[Victor Mejia] 

WAITING FOR GOD 
Quarter Inch Thick 
[Re-Constriction/Cargo]

When I listened to this CD my expectation were not completely fulfilled. I wasn't expecting so much guitar. I was expecting the songs to more or less revolve around Daemon Cadman. In a way, they still do, but I think that is of Daemon's making, not the way the songs were written. She is just that powerful of a vocalist that she just seems to take the songs over. This CD reminds me a little bit of Sunshine Blind in the gothic vibe that comes off of it, but Waiting For God is far more electronic and I believe Daemon is more of a presence than Caroline Blind and I think that is the truest testament I can make toward their music.
[Victor Mejia]