SNOG
Buy Me...I'll Change Your Life
(Metropolis)
Snog mastermind David Thrussell never ceases to amaze me with hisversatility.
From the hard industrial-dance of his debut through the more technofied
Dear
Valued Customer to this, a really unique blend of styles, he manages
to incorporate new ideas without ever losing the Snog sound.
Even better, he has managed to keep the quality consistently high.
Never one to shy away from using samples (usually to great effect),
Mr.Thrussell
continues
this tradition on Buy Me.. but much less than usual.Instead,
he has opted to incorporate more acoustic instrumentation, particularly
guitar, and the result is startling fresh sounding. The music tends
to be much slower and more relaxed than the previous two
Snog releases,
with a very organic and open feel to it. The production is crystal
clear and the melding of electronics and acoustic instruments is seamless.
The songs themselves are much more individual this time, each developing
its own unique character. The brooding opener "Light, Yet Refreshing"
leads into the more mid-tempo (upbeat by this album's count) first single,"Hooray!"
Elsewhere, Mr. Thrussell implements some of the Spanish/western
influences from his Soma project to excellent effect, particularly
on "The Ballad." There are also some well-placed female backing
vox on a few of the tracks, further expanding the Snog sound. The
lyrics are as anti-capitalist and biting as ever, with an even more misanthropic
and hopeless attitude than before (if such a thing is possible...)
This is the soundtrack for the human race's slow but inevitable suicide.
This is also a great album and the best electro release I've heard this
year -by far.
[Daniel Hinds]
AUTECHRE
LP5
(Warp)
It comes in a black plastic CD tray. While the packaging might be
passe, the music is not. I've heard a lot of talk about Autechre's
new sound, and I don't really hear it. LP5 definitely
has more melodic components than Chiastic Slide, but I doubt
anyone would mistake LP5 for anything but Autechre.
I, for one, am totally glad that this album has more melody to it-- I did
love the pure digital clicky bliss of Chiastic Slide, and
this CD retains enough of those cool sounds (it sounds more like their
last release than, say, Amber, that's for sure).
The melodic aspects of this disc epitomize the term ambient for me.
It's pretty, but tucked into the background. There's no "hook" aspect
anywhere, nothing whistleable, and its all very synthesizery. If
you aren't familiar with Autechre, you should be, and not for their
ambient melodics. The strength here, and in previous releases, lies
in the amazing things they do with rhythms. Sounds roll in and out,
sometimes with digital precision and sometimes with a gross lurch.
Speakers crackle and thump and buzz and hiss, leaving you not with
the sensation of "wow, what great drumming" nor "what great drum machine
programming", but a feeling of "how on Earth did they come up with that?"
And its a good feeling!
[Laird Sheldahl]
GITANE DEMONE
Am I Wrong?
(Hollows Hill)
This is one of my two favorite albums so far this year. I've been
a fan of Gitane since about 1993 when a friend in New Orleans turned
me on to her. I liked some of her work in Christian Death
prior to that (even though it took me a while to link the two together).
If anything, this new CD is moving more toward those Christian Death
days
than her prior more cabaret styled albums. There is a lot more of
a gothic sensibility and tone to these songs, which caught me a bit off
guard at first, but it works better than I could ever have expected.
Lyrically, Gitane writes some of the more beautiful words put
to song. She is a poet besides being one of the most gifted vocalists
in the realm of gothic music. Most of the songs revolve on the subject
of love, but on songs like "Lose This Gravity" and "My Classic
Ego," Gitane opens up and gives us a look at her true self and her
soul to the listener.
"Lose This Gravity," musically, for me, is the strongest song
on the CD as well. It creates this deep groove that transports you
outside of the mundane world and beyond to someplace much more sensual
and real. The other songs vary in sound, but are all equal in scope.
No matter how Gitane decides to style her song, there is always
the feeling that there is much more lurking beneath the surface and the
wonderful thing about it is there always is.
[Victor Mejia]
DEEP PURPLE
Abandon
[CMC Intl.]
Who would have thought that Deep Purple could make an album this
good at this stage of their career, 30 years into it? Who would have
thought they could effectively replace the irreplaceable Ritchie Blackmore
on
guitar without becoming a laughing stock? Who would have thought
that after three very average rock exercises— Slaves & Masters,
The Battle Rages On, and Purpendicular--since the
highly lauded Deep Purple reunion languished in the mid-eighties
they would make music worthy of a greatest hits album?
Certainly not me, I must admit. However, Deep Purple has
managed to do just that by recruiting the talents of Steve Morse
on guitar. Sure Morse sounds a lot like Blackmore at
times, but if he didn’t he wouldn’t deserve the job of playing in DeepPurple.
The question should be, which Blackmore does he remind you of, because
what Steve Morse has helped DeepPurple recapture on Abandon
is that element of psychedelia that was the nutmeg, the cumin, the rosemary
of the band, circa 1973. Just a hint of something in there that turns
what would be a normally good recipe into something special.
You can hear it on tracks like “Seventh Heaven,” “Don’t Make Me Happy,”
and
“Watching
The Sky.” It’s four musicians who were among the world’s most
talented a quarter century ago, and now add to that a guitar player who
will be talked about a quarter century from now.
Abandon is easily the best Deep Purple album since Perfect
Strangers, and if you’re the kind of puritan who wasn’t even satisfied
with Perfect Strangers, it’s the best thing since Burn
came out 24 years ago; Blackmore or no Blackmore.
[Ted Hinds]
ACCEPT
The Final Chapter
(CMC International)
Often overlooked and underrated in the history of Heavy Metal, Germany’s
finest export has finally called it quits after two decades and this documents
their final tour together. Accept not only pioneered the integration
of classical music elements into metal, they wrote a ton of great songs
over the years, too. While Udo’s voice may not have been entirely
up to par on the past few studio releases, he pulls off the material here,
both old and new, quite well.
And what a great assortment of tracks, too! Among the classics
on this 2-disc set are gems like “Starlight,” “Restless & Wild,”
“Son of a Bitch,” “London Leatherboys,” and “Too High to Get It
Right,” alongside essentials like “Breaker,” “Balls To the Wall,”
“Princess of the Dawn,” “Metal Heart” and
“Fast As a Shark.”
Disc 2 seems to focus a bit more on latter-day Accept material,
with the best cuts being the pounding “Sodom & Gomorra,” “What Else”
and metal classic “Stone Evil.”
It has been many years since live albums have really mattered, so it
is doubly nice to hear such a good one. The band give each song a
little extra so it’s far more than just a run-down of their greatest hits.
Wolf
Hoffman’s guitar-playing has always been one of the highlights of Accept
and he has definitely not lost his touch. The recording and mix are
both good, while retaining a ‘live’ feel. I think I’d give their
previous live outing (Staying a Life) the edge, but this
package is more complete and an excellent overview of this legendary band’s
entire career.
[Daniel Hinds]
TORI AMOS
From the Choirgirl Hotel
(Atlantic)
This has got to be one of my favorite CDs that I've listened to this year,
not to mention the best Tori album since LittleEarthquakes
back in '91. While most of the songs don't peak out as high as the
best tracks on Under the Pink, this CD is far more consistent
and never bottoms out at any point either. Not to mention this is the very
first Tori album that I liked all the way through the very first
time and that includes Little Earthquakes.
"Spark" is my favorite track on this CD and is the perfect balance
between the more subdued Tori and the more rockin' side that appears
in full force on this CD. This is probably the first album where
she has decided to display her ability to rock more so than on any other
album and her work with the other musicians on this CD provide a far more
textured and layered sound.
This is the most varied Tori album, but at the same time it feels
much more focused than her last two. I think it's because she reaches
this emotional peak on her first song and manages to carry it through to
the final note of the final song on the disk. This album is both
powerful and moving and left me exhausted but begging for more.
[Victor Mejia]
GARY NUMAN
Exile
(Cleopatra)
Exile should appeal to fans of the Sisters of Mercy,
maybe even to fans of Gary Numan. He hasn't tried to resurrect
the Tubeway Army, nor (thankfully) to recreate "Cars". Exile
is... different. Every song has a very Sister's-like feel
to it: reverbed drum machines that are well above Telekon
in tempo, buzzy guitars layered over buzzy guitars, a few synths and piano.
Oh, but this album has Gary's distinct voice, no doubt there.
And the notes he used to waver on he now hits strongly... and while I used
to dig his off-keyness of yore, I must say his voice has done nothing but
improve over time.
Musically, though, I don't feel that Exile is an improvement.
Maybe I half expected him to still be a pioneer... I should have learned
that lesson with Bowie ages ago. Perhaps what caught me off
guard is I expected a more 90's sort of sound backing up Gary Numan,
and what we get is more of an 80's flavor-- Sister's of Mercy Floodland
to be precise.
Having said that, Floodland is a great album, so sounding
a lot like it is a good thing. I think from there you should know
whether you will like this album or not. One thing missing from Exile
that Floodland succeeded in so well, though, was dynamics.
Every song off Exile has the same formula I described above.
[Laird Sheldahl]
LIQUID SEX DECAY
Liquid Sex Decay
(MJ-12)
You may recall the band Apparatus from their above average debut
on ReConstriction a few years back, not to mention numerous comp.
appearances. Well, a name-change was in order due to the usual legal
hassles from another band of the same name, but they went for a full-on
revamp of their sound, too. Under the new LSD moniker, Syd
and D. York exchange their gritty synthcore (I feel so dirty...)
for a lusher, more ambient approach.
Mostly instrumental, this eight-song album has a very spacey, trancy
vibe throughout, with a far more laid-back beat and atmosphere than Apparatus
did. This approach worked exceedingly well on their cover of Twin
Peaks on last year’s TV Terror comp.,
but kind of loses its effectiveness over the course of a whole album.
“Pins and Needles” kicks in about halfway through and is the best link
back to their past, but the heavily distorted guitar kind of kills the
mood created and isn’t sustained. The music is generally well-executed
and recorded, but it’s almost a little too relaxed. There just isn’t
quite enough going on to support the atmosphere created. It’s not
bad at any point and is actually pretty good in small doses, so I won’t
bitch about it too much. I felt a bit let-down, since I quite liked
Apparatus
and was expecting them to go in a different direction with the follow-up,
but LSD is bound to attract just as many followers from a different
crowd. More info at: http://members.aol.com/mj12recs/lsd.html
[Daniel Hinds]
CUBANATE
Interference
(Wax Trax!/TVT)
Cubanate has changed its sound somewhat with this new release without
really changing their style. They continue to produce uptempo, in-your-face
techno music, but they now have a much more high end sound than before.
In past CDs, listening to Cubanate at high volumes would leave you
sick, your insides turned to jelly by the furious bass, but the new Cubanate
played loud just leaves you with an old fashioned migraine. Which
one is better? It depends what your poison is, I guess. I think
this new version is more industrial (if not musically, literally), but
some of the fullness of the sound would be nice from time to time.
Still, I think Cubanate continues to write some of the better
music in the scene today. "Hinterland" left its chorus resounding
in my head the very first time I listened to it, and sadly, I think that
is something that is missing in the industrial music today, more catchy
hooks and catchy choruses. It's funny the line that I kept singing
even after the album is over was "if I could get inside your head," because
Marc
Heal and his cohorts did exactly that and I believe that to be the
strength in the band.
The new sound might be a little more annoying or difficult to listen
to, but once a person gets past that there are rewards waiting for him,
and christ, what else are you going to listen to?
[Victor Mejia]
AMON TOBIN
Permutation
(Ninja Tune)
This disc kicks serious booty. It's electronica that doesn't sound
overly electronic. It has some acid basslines and looped breakbeats,
but the breakbeats will sometimes morph into long drums solos. I
often found myself asking "is it live, or is it looped?" (and I think,
as a listener, one should rarely if ever be made aware of _how_ a sound
is produced, it should just be enjoyed). Permutation
often sounds like old jazz, yet consistently maintains a more modern density
of sound. That, and Amon Tobin's songs generally clock in
at around 6 minutes, more of a dance-song-friendly length.
Tracks like "Nightlife" are excellent blends of goofy, loungy
loops with a few good breakbeats thrown in-- kind of like Tipsy,
only much much better. Other tracks like "Sordid" are totally
groovin', rhythmically worthy of a Roni Size song, but with many many jazzy
loops and buzzy synth basslines. And, unlike most DnB or Acid Jazz,
Amon
Tobin is quite dynamic (oh, and more listenable).
All in all, I have to say this is one of the best releases of 1998.
[Laird Sheldahl]
DREAM INTO DUST
No Man’s Land [EP]
(Chthonic Streams)
This is a 4-song (25 min.) EP of dark, brooding music that ranges from
plodding darkwave to ambient to almost folk without losing focus.
The band is led by Derek Rush and mixes samples very effectively
with synth pads, live instrumentation and clean, emotional vocals to create
a definite atmosphere. The 12-minute track “Dissolution” is
particularly effective, with its spoken vocals and its eerie soundscape
- definite night-time headphone music here. The acoustic guitar that
comes in midway through the final number is almost expected and a perfect
way to cap off the proceedings.
Dream Into Dust have really created some quality music here and
I am looking forward to hearing more in the future. Oh, they are
also big fans of The Prisoner and dedicated a 7” single to
the show, so you know they’re on track! More info at: http://www.brainlink.com/~chthonic/
[Daniel Hinds]
SHADOW PROJECT
From the Heart
(Hollows Hill)
This CD comes with a very sad footnote attached to it with Rozz Williams
suicide back in April, but this album almost seems fitting as a milestone
to remember him by. Through the years I have respected what Rozz
Williams accomplished, but From the Heart is the most
beautiful and powerful work I associate with his name. This is the
first time that respect has transcended into a love for the actual work.
This is the most beautiful and most flowing work I can remember Rozz
taking part in. The tracks on this CD vary between his songs, Eva
O's songs, and the songs that actually comprised of both their delicate
touch. I think that was the biggest surprise for me when I listened to
this CD, was the delicacy of the songs. I was ready for a bit more
of a rock album, but I must admit I was found this much more touching than
I could have ever expected.
Eva O continues with her songs about Christianity, but she avoids
getting preachy with it. They are all very personal songs of faith
and although I don't agree with the beliefs, I am still moved by her conviction
and her ability to express it. Rozz's lyrics are powerful, but that
has always been the strength of his art, his words and his own personal
vision, and this album is emblematic of this fact.
If you had to purchase any CD at the moment, I would highly recommend
this one. No one can over-estimate the importance and the influence
of Rozz Williams on the American gothic scene and From the
Heart is a most beautiful way to remember Rozz, his art
and his indelible spirit.
[Victor Mejia]
MOLLY HATCHET
Silent Reign of Heroes
(CMC)
Even though Dukes of Hazard reruns are shown on TNN (the
Nashville Network), I don’t really think of country music when flip through
the channels and see Bo and Luke outrunning Boss Hog in the Dixie Lee,
a 69 Charger with a big confederate flag painted on it.
No, I think of music like what you get on the new Molly Hatchet
reunion album, Silent Reign of Heroes. I think
of southern rock. Southern rock is as static and unchanging as a
Savannah sidewalk. Sure, in rock and roll we don’t expect a band
like AC/DC to ever change, but southern rock is an entire genre
of music that has not changed one iota since it was invented by Lynyrd
Skynyrd nearly 30 years ago.
Molly Hatchet, like Blackfoot or 38 Special, was
one group that jumped on the Southern rock bandwagon and refused to get
off. The music celebrates the man who works hard and plays hard,
drinks whiskey, screws whores, fist fights, and outruns the law just like
the good ol’ Dukes of Hazard.
So baring all that in mind, I guess Silent Reign of Heroes
is a pretty good album. The plodding-through-swamp-mush riffs are
nice and heavy, and all those rebel yells we just talked about come through
loud and clear in songs like "Mississippi Moon Dog," "Saddle Tramp,"
"Junkyard Dawg," and "Dead and Gone (Redneck Song)." The
latter boldly states in parentheses that it is a “redneck song,” just in
case you fail understand the lyrics “singing an ol’ Hank song…Baby’s barefoot
and pregnant…Redneck riviera…gator city…45 in hand…”
It’s all done pretty dawg gone good, and if you the kind that k’ain’t
get ‘nuff of this, well then I reckon you should by this record.
But you know what, it’s all been done before, and it was all done better
the first time around.
[Ted Hinds]
VAST
Visual Audio Sensory Theater
(Elektra)
If you can get past the pretentious band and album names (and believe me,
it wasn’t easy...), this is a decent if somewhat blah album. Given
the fact that VAST is a one-man band (John Crosby) and titles
like “Pretty When You Cry” and “Dirty Hole,” I was expecting
some kind of NIN-wannabe, but this is more like what might happen
if someone like Stabbing Westward tried to do a concept album.
It is very well played and sung and produced and a lot of diverse instrumentation
and styles are incorporated, yet somehow the songs never really gain their
own identity. Perhaps it is meant to be heard more as a whole and
not indivudual tracks. I do like certain bits of certain songs, so
maybe the songwriting process just needs to gel some more. But some
bits just don’t work at all. The heavy guitar parts seem out of place,
as do the sampled chants ala Delerium. I would personally
drop the alterna-beats too, but hey, at least they fit the music.
The general vibe of the music tends more toward some of the more experimental
alternative acts out there rather than darkwave or any of the other less
mainstream genres, but then again, it’s on a major so that’s no real surprise.
I guess if I have to listen to alternative music, I’d much rather it be
VAST
than The Verve, but that’s not saying much.
[Daniel Hinds]
CALEDONIA
Spires
(Clocwyse Records)
I have been looking forward to the release of this CD for a very long time
now after having the privilege of hearing their demo, The Lure of
Sin, a while back. This debut CD from the New York goth
quartet caught me a bit off guard.
Spires is much more gothic sounding than their earlier
demo. There are many more textures in the music and a darker vibe, which
might come from the prominence given to the bass in the mix.
Caledonia's main strength is their ability to write songs. Their
songs move freely and smoothly from one transition to the next. With the
CD, comes a mix where everything seems to blend better than on their earlier
tape.
Still, the songs I tend to like the most are the ones where Mikaela
Pearson's voice is at the forefront. This includes songs like
"Justine,"
"White Lilies," and "Mary."
My favorite of all of these songs
though is probably "L'Heure Verte (The Absinthe Song)."
I do miss some of the raw energy from the demo though, especially on
the more rocking songs like "Dr. Demonic (At the Edge of Light)."
Although this song is a rocker, the production keeps it somewhat subdued,
mostly with Scott Varol's weeping guitar. It works a lot better
on the mellower tracks.
The use of mandolin on "Mary" and "Ashes" was also a nice
touch. I like the fact that they only used mandolin where it adds to the
song and came nowhere near overdoing it.
This is a really good album and it's nice to see someone give a CD a
really solid gothic vibe without pushing it too far. I like this album
more each time I listen to it and I probably would have liked it more the
very first time if I would have been ready for the change in their sound.
For more information feel free to contact Caledonia through their
website: http://www.bway.net/~mikaela/caledonia
or reach them by snail mail: PO Box 97, New York, NY 10012.
[Victor Mejia]
INDIVIDUAL TOTEM
Mind Sculptures Flesh
(Pendragon Records)
This is some damned fine, super-bloopy IDM. You can expect nice heavy
dance beats, resonant synth basses and swirly pads. While not quite as
80's sounding as recent X Marks the Pedwalk, Individual Totem does
sound somewhat similar-- very synth heavy and thickly layered. I think
this approach works really well when there is one predominant hook, such
as in "Subsistence". Usually, though, its layers of 16th note filter
sweeps on top of 16th note sweeps on top of sweeps, creating a dense psychedelic
mesh of buzzy sounds. The vocals are processed to the point of being paper
thin, they slide into the mix nicely. I definitely recommend this disc.
http://www.edtrecords.com/pendragon/
[Laird Sheldahl]
PRIMAL FEAR
Primal Fear
[Nuclear Blast]
Now that classic heavy metal is ‘cool’ again, we are beginning to see an
increasing number of bands coming out of the woodwork ready to bang your
head like the 90s never happened. One of the best I’ve heard yet has to
be Primal Fear, the new group founded by ex-Gamma Ray and
near-Judas Priest vocalist Ralf Scheepers, a man with that
rare blend of power and range. The rest of the band keep up their end,
too, and
Tom Naumann has one of the rawest and most thoroughly metal
guitar sounds I’ve heard in ages.
Musically, Primal Fear tread ground previously mapped out by
the likes of Accept, Helloween and Priest in the mid-80s,
but they do it with such energy and an obvious love for the music that
it is truly infectious. Some slightly more modern elements pop up on songs
like “Promised Land” and “Tears of Rage,” bringing to mind
Ralf’s
previous
band, but they blend the styles of melodic speed metal and classic HM seamlessly
and really define their own sound. Lyrically, nothing too inventive but
they do cover all the classic metal themes, from social injustice to fast
cars, with a raucous cover of Deep Purple’s “Speed King” thrown
in for good measure.
The production is the icing on the cake, as it just bristles with energy.
If the opening riff to “Battalions of Hate” doesn’t get you moving,
you may need to check for a pulse.
[Daniel Hinds]
PEPPER ACTON
Marrow
(Sound of the Sea)
From time to time one is blessed with being able to discover an artist
that really has something special going for them and that was the case
when I contacted Pepper Acton via the internet. Pepper is
a singer/songwriter that performs all of her music with just a piano. That
gives the music a more personal feel to it than most other music. Listening
to the music, I am touched and honored that someone like Pepper Acton
would share her music with me.
Comparisons are likely to be drawn with Tori Amos, but Pepper
is
very much her own artist and her music is totally separate from miss Amos
and
any such comparisons are totally unfair. Pepper's music is timeless,
in the sense that her songs seems to draw quite liberally from different
periods in music history, but she twists things just enough to allow her
songs to transcend the genres into something which is purely her own. Lyrics
are a strength in Pepper's music and are delivered with care and
beauty.
"Reba" and "For Johnny" are probably my favorite tracks
on the CD. They piano seems to flow more during these songs and the lyrics
take me right there where it is all taking place. One of my favorite lyrics
is in "Reba" where Pepper sings, "she shines lives like someone
born in may her eyes glow emeralds."
Other highlights include "Molly" which has the fullest sound
of all her songs. It has a deep slow rock groove. And the most moving song
on the CD is "Marilyn's Son." The combination of the longing in
the piano combined with the lyrics create a very true sense of loss.
The one song that just doesn't quite work for me is "Star." At
moments I like it, but at moments I get this 60s or 70s easy listening
vibe from it and for some reason it just doesn't sit well with me.
Overall, an impressive release. The fact that Pepper has a large
backing by the goth scene in Ohio is welcome news as the scene has just
branched out a bit further to welcome someone truly special into the fold.
If you wish to know more about Pepper or to get a hold of her CD, the
information can be attained at: PO Box 43552 Cleveland OH 44143
or at her official website: http://members.aol.com/peppersite
(Victor Mejia)
CANISTER
Blame
[Sanction music]
Hmmm.... there's some gorgeous guitar work here reminiscent of
Clan
of Xymox's eponymous LP-- it can make your hair stand on end and your
heart sink. Sadly, it comes inseperatable from some vocals I can only call
'bad' and some drum-machine programming that is unexciting at best. For
tone-deaf dark-rock fans, you might consider checking out Canister,
but for the rest of us, wait until they get a new vocalist. http://www.ultranet.com/trystero/canister
(Laird Sheldahl)
BLUE OYSTER CULT
Heaven Forbid
[CMC]
It has been over ten years now since the last full-length BOC
release,
though the band has kept busy touring almost constantly during that time.
So the expectations were incredibly high for this disc, past the point
that the band could possibly live up to, which seems to have resulted in
people either nit-picking the album’s flaws or, conversely, singing only
its praises. I fall somewhere in between but I will say this - Heaven
Forbid is an excellent album..
The most glaring problem is the low budget packaging - not so much the
cover art itself but more the presentation. It isn’t terrible but it just
doesn’t sit well with the rest of the band’s discography (except maybe
Bad
Channels...)
Onto the music. The usual mix of incredible, great and merely good songs
we’ve come to expect from BOC. I cannot think of another band that
has been around this long, produced a consistently strong output of material,
and is still able to put on a great live show and record a kick-ass album
25+ years into their career. The tunes on offer sound modern but not trendy
and maintain that trademark ‘Cult sound that no one else has come
close to. “See You In Black” is a great, up-tempo metal cruncher
that has been a staple in their live set these past few years. It is quickly
followed by “Harvest Moon,” a classic Buck Dharma tune if
there ever was one (and there have been several). Sci-fi author John
Shirley helped pen the lyrics to almost every tune on here and, though
his gritty, realistic style doesn’t always work within the BOC framework,
cuts like “Harvest Moon” and “Cold Gray Light of Dawn” clearly
demonstrate why the band chose to work with him.
One of the things that threw me for a loop on the first few spins was
the more off-beat Buck tracks like “X-Ray Eyes” and “Real
World,” that seemed more at home on his next solo album than a proper
BOC
record.
On further listenings, however, I have come to appreciate them and the
diversity they add, much the way songs like “Deadline” and
“Tenderloin”
have on past albums. And there are just as many solidly
BOC-styled
tunes, like “Live For Me,” to balance things out.
I thought adding a rather half-hearted live version of the great
“In Thee” as the album closer was a poor decision, but a minor complaint
that, coupled with my few other minor complaints, don’t do anything to
keep me from loving this album and recommending it is a must-buy release.
[Daniel Hinds]
RACHAEL SAGE
Smashing the Serene
(Mpress)
Rachael Sage is an outstanding songwriter. She somehow manages to
compose the perfect pop songs that stick in your head for hours after you
listen to them. Unlike most pop songs though,
Rachael's songs are
full of emotion and wonderfully deep. All of the arrangements, especially
when there are multiple vocal tracks, are handled perfectly.
Listening to Rachael Sage recalls so many great artists that
I've loved over the years including The Pogues, Jane Siberry, EdieBrickell,
Brenda Kahn and Lone Justice. While reminding me of all of these
artists at varying points in time on her album, she manages to create a
sound that is strictly her own and a pleasure to listen to.
When I first heard of her, I was expecting to hear a lot more obvious
piano in her music. It's there, but it is balanced by other instruments,
so nothing ever dominates over the rest. The chemistry is just right.
My two favorite tracks are "Sister Song" with it's terrific lyrics
and wonderfully flowing music and the groovy
"Air We Share." Songs
like these along with other have built Rachael quite a following
in New York and I think it will soon grow nationwide.
For more information regarding Rachael and how to score a copy
of the CD try her website: http://www.humbucker.com/rachael, or send an
e-mail to Wickedroz@aol.com,
or simply write to: MPress Records, 61 E. 8th St., P.O. Box 109, New
York, NY 10003.
(Victor Mejia)
VARIOUS ARTISTS
Escape the Furnace vol I and II
[Blacklight records]
I was told this was a 2CD comp of christian industrial music... I think
it's more christian-rock. I'll name a few notable exceptions, but for the
most part, this comp features young bands with drum machines, power chords
and four-tracks.
Thymikon stands out on the first disc with their Butthole
Surfers's-esque quirkitude. The second disc fares much better, starting
off with Cult of Jester and his evil hip-hop. Cool beats, goofy
synth toms, monstrous rappin' and a touch of acid make for a damn good
song. Incorporated and Industry Eleven add a few good elements
to their NIN-ish rock. Jagged Doctrine gets a really cool
clanky rhythm going, but then kills it with In Slaughter Natives
vocals. Pivot Clowj takes their time with murky synth-pop before
finally kicking in the groove-- nice vocals here. Fester, if they had nice
vocals... and some dynamics... could be a ReConstriction act. Nucre8tion
lays
down some DM dark-synthpop. Sadly, their recording is quite murky.
Finally I'd like to mention Signal Bleed for their dorky use of
"Gof Rest Ye Merry Gentlemen" on bells. Too bad it isn't an industrial
Christmas carol, its just a sound collage.
Sadly, I can't say "If you like Christianity and you like Industrial,
you'll love this CD". Maybe volumes III and IV (one can only hope). http://www.blacklight.com
(Laird Sheldahl)
FRONT LINE ASSEMBLY
FLAvour of the Weak
[Offbeat/Metropolis]
In the past year or so, it has pretty much become standard for any new
industrial release to be a disappointment (with a few rare exceptions like
Dive
and
Leather
Strip), so the new Front Line (or is it just
FLA
now
guys?) wasn't exactly a shocker. Unlike other recent releases like
Hellsau
and
Cubanate, however, the new
FLA isn't a crap album - it is
just not a Front Line album.
The usual Bill Leeb elements are all there, from the dense electronics
to the clever beats and samples to the awesome production, but he has toned
down his caustic vocals a bit and confined them to only a handful of the
songs. In the past, FLA
was always the project you could count on
for the more memorable and structured songs, but FLAvour of the Weak
puts an end to that. This material would have been better off being released
as Noise Unit or some other project name, as it significantly differs
from previous outings under the FLA
banner. Of course, you could
make the same argument for the last couple Delerium albums or the
last Intermix, so whatever Bill's master plan for all these
projects is, consistency obviously isn't a big part of it.
The disc is a bold attempt to update the Front Line sound, incorporating
a lot of elements from the various trendy electronic bands out there, and
Bill
and
Chris
prove themselves masters of sound manipulation (as if there were any
doubt). I would have had no problem with all the changes if they had delivered
a great album, but, I think they were too concerned about showing off their
skills and trying to maintain a 'current' sound and should have focused
more on writing some good SONGS. "Columbian Necktie" is a classic
FLA tune and a couple others have their moments, but overall,
FLAvour
of the Weak is even weaker than Hard Wired was and is another
sad step down the ladder for a once-brilliant band.
[Daniel Hinds]
VARIOUS ARTISTS
Circuit Noir
[United Endangered Front]
This compilation comes close to being a CD I'd actually listen to rather
than one I'd buy just to hear a few of the bands. There's actually an overall
mood here... and better yet, it's not spoiled by industrial/metal crossover
bands!!! My personal tastes aside, Circuit Noir leaves growling
vocals, big rigid beats, aggro basslines and chunky guitars behind. The
focus is mainly dark atmospheres... there are more pianos and synth bells
than rock guitars.
The Azoic kicks off the disc with an excellent track that reminds
me of Die Form. I am definitely looking forward to their forthcoming
CD at the end of May.
Crimson Boy does a nice industrialish/horror-soundtrack song.
And if you haven't heard Numantra, you should. They are a good mixture
of female vocals, live drums, almost-acid basslines and sitar for flavor.
Oneirod Psychosis is one of the more well-known acts here, but
not one of the better songs imo. Fockewolf, whom I first heard on
the Resurgence CD comp, provides another nice dark industrial
piece with slightly warbly female vocals. I hope they push their dynamics
more in the future, though.
Noxious Emotion brings in the only EBM track-- big dance beats
and growly vocals. You'd almost think it wouldn't fit, but some VERY excellent
digital squeaks and blips push this well beyond the realm of cold-synth
music and into the realm of sinister. This track should have appeared earlier
on the comp, because it's one of the best.
Nefarium achieves their dark edge with guitars and goth vocals.
Society.Burning
actually breaks from the super aggro synthcore that is every ReConstriction
band.
However, the over-angsty vocals just didn't do it for me. http://www.guillotinegraphics.com/UEF
(Laird Sheldahl)
THE AZOIC
Where Broken Angels Lie
(Worm)
This is the second CD from this Ohio trio and it follows in the
same vein as the first with a slightly different sound. The production
quality on this CD is much more clear and crisp and I think it works. The
first CD was like a grainy low budget horror movie, while this new CD is
more like the soundtrack to a creepy horror film with a budget.
The programming on this CD is quite well done, except for one small
detail. I still think The Azoic uses a few two many spoken samples
in their songs. I wasn't sure if they become distracting after a while
or as the CD progressed I just had a tendency to blow them off completely
because the parts without the samples were more interesting because at
least they were different. The general impression I get is their seems
to be a lack of confidence in their own programming skills and they feel
that certain parts of songs cannot stand on their own without the use of
a sample over them and I think this is truly a shame because they are very
capable with their songwriting skills.
That being said, this is a really nice CD. It is engaging at the very
start and begins to enter more of a realm of general creepy atmosphere
by the time the CD reaches "Suffocation" and "Only Flesh."
I think both Kristy Venrick's and Shawn Lower's vocals work
well, but the alternation between the two of them in "Intimate Incisions"
seemed to interrupt the flow of the song. My favorite of the non-ambient
tracks was the more gothic "Summoning" and the second version of
"Drown"
on
the CD, which I think displays the true potential of the band.
To communicate with The Azoic or to purchase a copy of their
CD, write them at theazoic@netwalk.com
or at 401 E. Oakland Ave., Columbus, OH 43202. They have a website
at http://www.netwalk.com/~theazoic/
(Victor Mejia)
KROME
Enough Rage
[Chromium]
You remember my review of this band's demo a while back (then known as
Krom).
Well, they have finally issued a full-length CD and the results are quite
satisfying. Krome have updated their sound considerably, with some
nods to Pantera and
Sepultura, but they have maintained their
blend of angst-driven metal and thrash. The title track is a great example
of how Krome put a lot of thought into crafting their songs. It
is built on a solid, heavy foundation, but adds some great melody and builds
to a rousing climax. Their bio touts them as 'power groove,' but they don't
fall into the trap of letting groove mean monotony like so many others
do. The songs have variety and depth, not just one riff bashed to death.
Another thing I must mention is how guitarist Chris Chubb actually
lays down some great solos - very cool and a rarity these days.
The weak spot on their demo, the mix, has been improved considerably
and the overall sound on Enough Rage is excellent. So, if you are looking
for some well-played, powerful post-thrash metal, Krome are it.
More info: RockRoll66@aol.com
[Daniel Hinds]
GODHEAD
Power Tool Stigmata
[Sol 3 records]
Instantly, comparisons to NIN or Machines of Loving Grace
would be easy to make here-- big guitars and rock vox-tinged choruses mixed
with more subdued electronics in-between make that industrial/rock standard.
But after a few of these songs Godhead's goth side emerges (and
emerges nicely in their version of "Eleanor Rigby"). So, mix it
all together and you just get a goth/industrial act, right? Well, yes.
This is, though, the better of the industrial/goth acts I've heard. Unlike,
say, Cradle of Thorns,
Godhead's guitarwork is more
often melodic than wall-of-sound, the electronics are interesting and the
rhythms aren't static and overly-teutonic. Oh yes, and vocalist Jason
Miller can actually sing.
The first time I actually spun this disc it didn't grab me. Now, though,
I think Godhead's strengths aren't in the big heavy choruses but
in the moodier, subdued sections in-between. Luckily, the majority of the
album is composed of these parts. http://www.neverrecords.com
(Laird Sheldahl)
CAELUM BLISS
Caelum Bliss
(WJR)
This is a beautiful CD, beginning with the package and ending with the
actual music. Although this CD was recorded in December, 1995, I think
this is their last offering, but I am hoping they are working on something
new.
Caelum Bliss seem like a descendant of what 4AD was doing
10 years ago. It is that kind of familiarity in their music that is so
comforting and inviting. But they are far more than a copy of all those
bands of yesteryear. The CD is well-produced, but not overly so which is
often the case with bands of this nature. Their music is both powerful
and gripping and stirs up several strong emotions.
There are several different elements that blend together to create their
lush sound. There is the standard drums, bass, guitar and keyboards, but
their is also violin and a harp to round out the ensemble. No one single
element is overshadowed by another and in the middle of it all to hold
it all together is Melissa Emily's sweet and melodic voice.
My favorite track is the waltzy "Current." Their is something
about when goth bands do a waltz right that really gets to me. They show
some of their range towards the middle of the CDs with back to back tracks:
"Black Rose" which displays a darker element to the band's sound and
the more rocking song ironically titled "Soothing." Caelum Bliss
has fangs too, so watch out.
To contact the band and possibly get your own copy of this CD feel free
to e-mail them at caelum@flash.net
or check out their website: http://members.aol.com./caelumweb/index.htm.
(Victor Mejia)
[various artists]
Resurgence
[Doppler Effect Records]
Resurgence is a double CD of Northwest electronic
bands brought to you by Mr. Sonic-Boom himself. This compilation
has a variety of sounds including EBM, experimental, darkwave, and cybercore.
No complaining about variety here. Amazingly enough, every band on this
CD comp is from either Oregon or Washington. I'm not sure
what is in the water out there, but the underground electro scene seems
to be growing like a plague. Resurgence showcases these fairly
unknown bands in hopes of educating the rest of us.
Disc 1: The first few songs are that catchy industrial sound slightly
reminiscent of early NIN. Nothing to terribly innovative, but perhaps
radio friendly. Thine Eyes breaks the barriers with 'Short But
Crushable', a unique "trippy" experimental groove that leaves you questioning.
OMNIbOX
impressed
me with their radio edit of 'Hold'. Bauk Blinden was the most European
sounding
with their instrumental
'The Ebonic Plague'. Triple Point
proves
there are no barriers in variety of styles, and Fell.Head
is hypnotically
soothing in a demented machine-like systematic way.
Disc 2: Nefarium's 'Sleeping Beauty' reminded me a bit of the
80's with a catchy beat and good male/female vocals. Spinefolder's 'Illartia
(PDX Edit)' was one of my favorites on this disc. Perfect for a soundtrack.
Violation,
RKiK, and |x| also deserve to be noted for their strong electro
sounds. I'm sure the DJ's will take note.
Overall, a decent collection of the Northwest's young electro
scene. I think given a few years, these bands will have a better grip on
their "sound" and continue to move forward. Maybe Jester will release
a sequel in a few years so we can hear their music progression.
[Kristy Venrick]
RAMMSTEIN
Sehnsucht
[Slash]
This is the second effort from this gang of insane Germans and I
think it has to be one of my favorite releases from last year. Of course,
there wasn't much to listen to last year, so that's not saying all that
much. The music here is really straight-up. There is nothing groundbreaking
at all. They have a derivative sound which mixes Ministry, Laibach,
and Oomph!, just to name a few. What they do, they manage to pull
off with great amount of skill. The hero on this album though has got to
be the production by Jacob Hellner and the band. Everything is crisp
and clean and mixed perfectly.
All of the songs are in German, minus the final two, which are
English
versions
of two of the German songs. I think this is part of the charm of
Rammstein.
The German lyrics really add this gruff quality to the songs that
I think is necessary in the grand scheme of things. Each song tends to
have its own little thing that differentiates it from the other, be it
some vocal technique or short keyboard line. My favorite song on the CD,
easily, is "Engel." The chorus uses melodic female vocals, up until
the end when the singer comes back in with the lyrics, "Gott weiss ich
will kein Engel sein." The difference between the two vocal stylings works
really well here.
The first 23 minutes of the CD hold up the best in all. It's not that
the rest of the CD sucks in any way, but it's where Rammstein begins
to experiment with more mid-tempo to down-tempo songs. I think some rearranging
the song order on this CD would be of some benefit, but I guess it's too
late for that now.
(Victor Mejia)
ALL THE PRETTY HORSES
Queens and Angels
[TRG Records]
All the Pretty Horses are one of the blossoming bands coming out
of Minneapolis at the moment. Their leader is S. Grandell,
a true transgender artist, and I do mean artist. He/she delves in all media,
not only music. I think a hard look should be given to a project like this,
to decide if there is quality music being performed or if it is just someone
exploiting their own sexuality. After a few listens, I believe there is
plenty of talent to be found in this band.
The band is difficult to label or classify in a way. They skirt around
so many genres, including goth music (remind me of Bauhaus and early
Love
and Rockets at times). The best I can go here is they have a very retro
sound. All the Pretty Horses could very easily have been part of
the 70s glam and/or psychedelic scene (I'm thinking David Bowie
and Velvet Underground). What separates them from the 70s is the
driving guitar lines that are featured on a lot of the songs. This band
certainly can rock, but the production certainly keeps it restrained. The
production is the main thing that makes me think of the 70s as well. Listening
to All the Pretty Horses makes me feel like I am listening to some
old LP on a dusty turntable with a bottle of red wine soaking in the warmth
from the sun.
(Victor Mejia)
THE GETAWAY PEOPLE
the Getaway People
[Columbia]
I have been bombarded with e-mail from the people at Columbia about
this band, so I thought I might as well go ahead and review it. This might
not be the greatest idea, because I am reviewing this as I listen to it
for the first time. A little background: this is a five-piece from Norway
with
cute little names like Boots, Honda, Stone and Race. Final
member is Leroy doesn't sound very Norwegian to me, but oh
well.
I have to admit, the names and all really wants to make me hate this,
but it really isn't too bad. It seems to be really soul based...some laid-back
rap tracks highlighting this CD. I don't how racially diverse of a small
town Stravanger, Norway, really is, but I don't think it
offers the background that I think the Getaway People try to cover
in their music.
As much as I don't think their music isn't bad -- I am really impartial
about it...I simply don't care for it much. This being said, I really question
the sincerity behind this band and whether they are just trying to exploit
a certain kind of musical style simply to make money. Not to mention the
music they are doing seemed to have died out about six or seven years ago...still,
this has potential to be huge...go figure.
(Victor Mejia) |
