MERCYFUL FATE
Dead Again
(Metal Blade)
One of the absolute best heavy metal bands in history, Mercyful Fate
made a successful comeback in the mid-90s and this is the fourth full-length
release since then. Stylistically, Dead Again is very
much in line with last couple releases, though I would give it the edge
in terms of quality.
“Torture (1629)” kicks things off in fine style, featuring the
band’s trademark heavy but melodic riffing, well-placed tempo changes and
King’s
patented ghostly wail. “The Night” is a bit more mediocre
but then you’re hit with “Since Forever,” “The Lady Who Cries” and
“Banshee,”
all
three classic Fate tracks. How these guys can come up with
these riffs that just drip evil is beyond me, but it’s a skill that hasn’t
been lost. The fact that these three tracks were all penned by King
Diamond is no real surprise, as, with very few exceptions, the best
tracks since the reunion have all been his. Guitarist Hank Sherman
(the only other original member and still a genius when it comes to playing)
does provide us with “Mandrake,” a solid, driving track that has
a break in the middle that will bring back memories of classic
Fate.
The band stumbles a bit on the overwrought title track and I would have
liked to have seen more input from newcomer Mike Wead, but
I still consider Dead Again an excellent album by any standards
and the best Mercyful Fate record since In The Shadows.
True, they may never recreate the magic of tracks like “Evil” or
“Come
to the Sabbath,” but I am just so happy to have the band still around
and producing some top-notch heavy metal in 1998.
[Daniel Hinds]
APOCALYPSE THEATRE
Cain or an Open Vein
(Hollows Hill)
Apocalypse Theatre is more of a traveling caravan than just a regular
gothic band. They have managed to span the 90s with various members
and Cain or an Open Vein being their latest offering.
This is one of those brilliant albums that encompasses everything that
makes gothic music such a wonderful genre. Apox has incredible
range. None of their songs sound alike, but they still manage to
create enough cohesion to make it all work. For starters, the vocals
tend to be unique on each track starting with the whispered lyrics on
"Silver Nails." That is followed by "Waiting For the End"
which resurrects the spirit of the early gothic rock. It is like
so many of the tracks on this CD, completely timeless. The title
track creates much the same vibe, but works on a different level with the
blending of male and female vocals. So few bands within the genre
seem to be able to pull this off, but it works here.
"Slaughterhouse X" seems to introduce more of a horror element
to the CD which is later echoed in "Monsters," but not as well.
Apox
is definitely at their best during their moodier tracks that are seeping
with raw emotion. "Pour Paris" is a wonderful example of this,
but I think the band peaks on "Speaking Tongues." The song is beautiful,
with lush wonderful lyrics, that are sung in various languages...once again,
wholly unique.
My least favorite track on this CD is the cover of Cyndi Lauper's
"Time
After Time." It sounds like the band is trying just a little
too hard at fucking it up and it just never quite works on a whole.
Still, the rest of the album is exceptionally strong.
[Victor Mejia]
IDIOT STARE
The Hate Cage
(Bodybag Prod.)
I remember being suitably impressed by the intense, harsh guitar/electro
crossover of Idiot Stare’s debut, Blinded, a couple
years back. This So. Cal mob had truly created a unique sound that
mixed punk and industrial in just the right measures.
The Hate Cage is the much-anticipated follow-up to that
release and it does quite well holding its own, though some of the impact
of the debut is missing. “Smile” starts things off in fine
style, showing an increased interest in techno elements without losing
that highly-processed guitar, but it’s second track “Number One”
where Idiot Stare let loose with an all-out speed assault.
There are mellower moments, too, such as the title track, where the band
shows off their diversity a bit more. It is this restraint that gives
the songs a bit more individual identity this time.
The vocals are less effected and more up-front this time around, thus
rendering the lyrics more discernible. The mix in general is a bit
dryer, which I think actually detracts a bit from the power of the tracks,
but it is still pretty good. While I don’t think The Hate Cage
quite matches Blinded, the band has successfully given us
a follow-up that retains their trademark sound while branching out a bit,
and further helps cement Idiot Stare's position as one of the top
US industrial bands.
[Daniel Hinds]
EINHERJER
Dragons of the North
(Napalm)
Okay, I realize this is old and the band has released an EP and new album
since then, but it is a great album and I wanted to give it some attention.
Einherjer
are a five-piece from Norway who proudly proclaim their music as
Viking Metal. An apt description, too, as the music has an epic quality
while the lyrics deal with strength and honor and battles in the name of
Odin.
The music is cleanly produced but not overproduced, allowing all the
instruments to breathe. Einherjer tend to stick to fairly
mid-tempo rhythms and are very adept at seamlessly adding in keyboards
and acoustic guitars at just the right times. The songs are very
spirited, making you want to believe in the myths, with “The Forever
Empire” and the title track being particularly effective. Rune
Bjelland’s voice is harsh but a far cry from the usual black/death
metal styles – it’s actually possible to understand what he’s singing!
Sadly, three-fifths of this line-up left before their most recent release
(Odin Owns ye All), including Rune. All the
more reason to grab a copy of this while you can – it’s a formula not likely
to be repeated.
[Daniel Hinds]
FADING COLOURS
I’m Scared Of…
(SPV/Dion Fortune)
This Polish outfit consists of vocalist Kataryzna (“De Coy”) Rakowska,
Lezek Rakowski and Daniel Kleczynski. The style here is
hard to define, mixing elements of world, ambient techno and gothic into
a pretty unique sound. De Coy’s vocals are particularly worthy
of note as she has a really rich, vibrant timbre that gives Fading Colours
their unique sound.
My first encounter with this trio was the excellent “Spring”
track from the COP comp Diva X Machina last year and
I am pleased to see that the quality and style presented on that cut wasn’t
a fluke. Opener “In This Garden of Mine” is a slow, relaxed
song that does well to showcase Fading Colours strengths.
Next up is an odd choice, a cover or Depeche Mode’s “Clean.”
De Coy’s accent gives a nice twist to this otherwise pretty faithful
adaption. I particularly like the fact that, even though songs tend
to be slow and moody, there is a great deal of light on this album – it’s
not all gloom and doom. Even the up-tempo tracks, like “Lorelei,”
have a sense of space and grandeur to them.
This is not their first release but it is the first (I believe) to gain
such extensive distribution. The only downside to this CD is the
CD-ROM track shows up as an audio track and thus you are greeted with a
nice burst of noise if you just pop in the CD and press play – an easily
avoided error. Musically, though, Fading Colours are on the
ball and fans of Delerium and ethereal goth should check them out.
[Daniel Hinds]
MURDER OF CROWS
Toys of Desperation (EP)
(self-released)
I’ve tended to stay away from a lot of local (Seattle) bands, just
because the whole indie/punk thing seems to still be far too pervasive
and it bores me to tears. So, it was nice to hear this debut EP from
our own Murder of Crows. Sure it has ‘alternative’ elements,
but it is the alternative of days gone by, when the term referred to interesting,
challenging music instead of underproduced artsy crap. There are
also some elements of old-school goth rock and even the likes of Tool
thrown in, too, giving MoC a pretty unique flavour.
“Broken Mirror” kicks things off well and gives you a good idea
what to expect from MoC. Winter Jaye’s vocals are alternately
sweet and venomous, while The Deuce’s edgy guitar sets the mood.
“The Scream” follows and is the weakest track here, partly because
it is too long for its own good and the vocals overpower the mix too often.
The subtle but effective drumming is the one thing that redeems this song.
Things brighten up immediately afterward, though, with “Don Juan
in Hell.” This one is slower, with some really cool clean guitar
thrown in. A very balanced track that showcases the best elements
of MoC. And “Who’s the Bitch” compliments it well,
with a much harder edge and some truly memorable lyrics (what, no Parental
Advisory label…? : )
If you’re looking for some enjoyable alternative rock with a dark edge,
Murder
of Crows are your ticket. More info at: http://www.nwlink.com/~noah/
[Daniel Hinds]
SACRED STEEL
Reborn In Steel
(Metal Blade)
With song titles like “Battle Angel,” “The Force of Iron Glory”
and “Metal Reigns Supreme,” it’s not too hard to figure out what
genre these guys fit into. I’ve seen this German quintet compared
to Manowar, but the only thing they have in common is the love of
metal. Musically, Sacred Steel are much more in the speedy
power metal vein of the mid 80s, ala Liege Lord and Omen.
There are a couple problems with Reborn in Steel, however.
First off, the production does nothing but dull the band’s attack.
The guitars don’t have much of an edge and the drums are a bit limp sounding,
plus the leads (some of which are quite cool) tend to get buried in the
mix. Their new disc is supposed to be produced by Bill Metoyer
(this one was self-produced, on a shoe-string budget no doubt), so hopefully
that will solve this problem.
The other problem I had was with vocalist Gerrit P. Mutz.
He has a rather nasal tone and likes to sing higher than maybe he should
– kind of reminds me of the guy from Manilla Road at times.
This, coupled with the production, tends to make the songs sound rather
same-y.
Sacred Steel have really managed to re-create the indie metal
from the mid-80s thing, to the point where it’s frightening. The
lyrics, vocals, production, album art, image – hell, even the band name
itself, all reek of days gone by. And there are some cool riffs here
and there, plus the epic “Sword of the King” shows real promise,
but overall, Reborn In Steel comes off as rather mediocre
and one of the weaker entries into the whole retro stakes.
[Daniel Hinds]
KING DIAMOND
Voodoo
(Metal Blade)
This is King Diamond’s 8th solo record and, not only is it the most
consistently good record since The Eye, it’s probably the
most adventurous album he has ever made. Lots of odd-ball riffs and
complex arrangements, most notably on the title track, these songs are
the re-hashed tunes you might expect of someone eight albums along (not
even counting his many Mercyful Fate discs).
After a short but effective intro, King Diamond and crew blast
into “’LOA’ House,” a high-speed romp that immediately re-affirms
everything we have come to love about King, from the wide range
of vocal styles to the brilliant guitar pyro of Andy LaRocque
and newcomer Herb Simonsen. In an age of attitude over ability,
it’s great to hear players of this caliber really showing what they can
do. Other tracks worthy of note are “One Down, Two To Go”
with it’s infectious chorus, the brooding “The Exorcist,” and “Cross
of Baron Samedi” with it’s killer riff, but all the tracks are of superior
quality, even more than usual for a KD record.
My only real bitch about Voodoo is the concept itself.
It’s not bad, but a lot of the elements here have already been covered
(and done better) before on albums like Abigail and Conspiracy.
Don’t get me wrong, I love concept albums and King’s in particular,
but I would just like to see him branch out a bit more. How about
a storyline revolving around government conspiracies ala The X-Files?
Or more true-life history like on The Eye? Somehow,
it was just harder to identify with the characters on Voodoo
than on like The Graveyard, for example.
If you were a bit disappointed with The Spider’s Lullabye
or The Graveyard, definitely give Voodoo a
spin. It’s a strong record from every aspect, even down to the superb
production and cover art.
[Daniel Hinds]
[various artists]
Dim View of the Future
(Hollows Hill)
This seems to be a collection of a trio of Hollows Hill artists
and a bunch of new gothic rock bands. I try to keep up with what
is new and breaking ground in the gothic community and this is a great
resource to have as a lot of these bands have a great chance of making
a splash if the gothic community opens their minds to their efforts.
The CD opens with Symphony of Terror who go out of their way
to prove that The Doors were the original goth band. The vocalist
sounds so much like Jim Morrison, it is incredibly spooky.
A little too spooky, but a great song. The next track is provided
by scene veterans Apocalypse Theater with the title track from their
very good album. Next is Shadow Project with Rozz singing
a haunting song -- it hurts to think he is gone.
The other main highlights were provided by Near Death Experience
who just recently received an award from Rock City as the best gothic band
and "Anastasia" seems a great example of why. I look forward
to hearing an album from this band soon. Gitane Demone contributes
a solid track ("My Classic Ego") from her most recent album.
Other bands worth mention on this CD include Dichotomy, Hexenhaus,
Morgana Athena and Funeral in Berlin. It always amazes
me how much fresh talent is out there in the gothic underground...the question
is whether the goth scene wants any new faces.
[Victor Mejia]
AMON AMARTH
Once Sent From the Golden Halls
(Metal Blade)
Still catching up on my reviews… This disc has been out for a while
already but is still worthy of note. This is the full-length debut
from this Swedish four-piece and bodes well for their future.
No wispy intros here, just straight into full-throttle melodic death metal.
Unlike many who inject melody into their death metal, Amon Amarth
have managed to maintain a fairly brutal edge. A lot of this is due
to the nice, thick production and Martin Lopez’s awesome drumming
– very powerful.
Thematically, Once Sent.. is centered around Viking history
and mythology, but the music sets it more in league with bands like In
Flames and Night In Gales than the likes of Einherjer
or Enslaved – no folk elements here. Bypassing keyboards,
acoustic instruments and female vocals, Amon Amarth buck the
trends and simultaneously produce a precise, pounding sound that makes
full use of the instrumentation on hand. Hard to pick a stand-out
cut (they’re all very good), though I would probably go with “Victorious
March” for its inspiring mid-tempo riffing.
[Daniel Hinds]
BORKNAGAR
The Olden Domain
(Century Black)
Guess it’s about time I reviewed this, seeing as how the new Borknagar
record will be out later this month (d’oh!!). This Norwegian
quintet features ex-members of various noteworthy black metal outfits,
such as Arcturus, Immortal, Ved Buens Ende, and Enslaved,
but Borknagar have very much created their own identity. The
Olden Domain is their second album and a stunning piece of Viking
metal it most certainly is.
Garm’s singing is the first thing I noticed, as he does an excellent
job of delivering both clear and grim vocals effectively. He delivers
some really memorable melodies, such as the chorus to “To Mount and
Rove," and further adds to the folk feel of the disc. The other
main thing that really struck me about Borknagar is the way they
use the guitar. Oystein G. Brun utilizes off-beat riffs and
unusual chords to such wonderful effect, you definitely won’t be confusing
these guys with the rest of the black/Viking metal crowd. Also, they
make effective use of well-placed acoustic passages – check out the break
halfway through “The Dawn of the End.” If that wasn’t enough,
the band also have a definite love for odd time-signatures and tempo changes
– lots of 3 / 4 folky bits with keyboards and such that turn around and
rush headlong into a high-speed (but never chaotic) black metal riff.
I know there has to be some shitty bands out there flying the “Viking
metal” banner, but so far, everything I’ve come across, from Enslaved
to Einherjer to Falkenbach to Borknagar, has been
top-notch, inspiring stuff. And this is one of the absolute best.
[Daniel Hinds]
THE HAUNTED
The Haunted
(Earache)
The hype on this band is really out of hand – they are being hailed as
the saviors of thrash, for god’s sake. So, my initial spin left me
a bit disappointed, but further plays reveal that, while it may not be
a genre-resuscitating album, it is pretty good.
The band doesn’t fuck around and quickly rip into “Hate Song,” as
good as any indication of what The Haunted is all about. The
music is fast, well-played thrash with elements of old Slayer, Testament,
and plenty of their own. The vocals are harsh and modern-sounding,
however, giving me flashes of Pantera at times. The pace doesn’t
relent much throughout the disc, though there are a couple of slower tracks,
but even those retain the heaviness and intensity of the fast ones.
As usual with thrash bands, it’s the high-speed tracks that really kick
ass and stuff like “Shattered” is just ruthless. Lyrically,
TheHaunted
have a fascination with societal violence not unlike recent
Slayer
and like to focus on the brutal elements in human nature.
“Forensick”
is
particularly icky, though not typical death icky, as The Haunted
actually
put some thought into the words.
The only drawback I really found was the vocals, but if you like the
style, they are as good as anyone. A couple moments were a little
familiar – tell me the opening of “Three Times” doesn’t remind you
of “Hook In Mouth” – but The Haunted do a good job of defining
their own sound. I think the reason so many people are hyped is because
(a) the band features members of everyone’s favorite Swedish death
metal band At The Gates (well, everyone but me) and, (b) they mix
modern and classic elements in equal proportion and therefore actually
have a chance of making it big.
[Daniel Hinds]
SAVATAGE
The Wake of Magellan
(Atlantic)
I was a huge fan of Savatage back in the Sirens/Power of the
Night days, though I did start to lose interest around the time
Streets
came out and especially when Zak Stevens took over the vocal duties.
He’s a great singer and probably technically better than Jon Oliva,
but he just doesn’t have the same charisma – Jon is a big part of
what made Savatage stand out from the crowd. The other void
is due to the untimely death of guitarist
Criss Oliva, whose amazing
technical abilities never failed to blow me away. Al Pitrelli
has
taken his place this time around and, once again, the talent is definitely
there, but it’s just not the same.
The band has forged ahead, though, and managed to build a really solid
fanbase worldwide, no small feat for a progressive heavy metal band in
the 90s. The Wake of Magellan is another full-on concept
record, something Savatage has done a pretty good job with over
the years, especially considering the difficulty of pulling off a good
one. The album starts off with a very pomp-rock intro that reminds
me of Styx, but then plows forward into “Turns To Me,” a
much more metallic track. The two styles are mixed pretty well throughout
the album, with some more progressive elements thrown in, too.
“Morning Sun” is a particularly good example of modern Savatage
doing what they do best, with its many layers and memorable chorus.
The 8-minute “The Hourglass” is also worthy of note, reminding me
of the better cuts from Dead Winter Dead.
There are echoes of the past on here, too, such as “Paragons of Innocence,”
whose intro is almost identical to “Legions” and also features vocals
by Jon. The booklet includes a ton of background story and
cool artwork, helping to solidify the concept. The CD is rounded
out with 3 bonus tracks, acoustic versions of songs from previous albums.
They’re not bad, but an odd thing to tack onto an already lengthy, conceptual
piece like this.
The Wake of Magellan is a decent record. It’s well
thought-out, has good production and features some good performances from
all concerned. Fans of the past few records should dig it, but it
ultimately left me just a little bored and pining for the days of old.
The dungeons are indeed calling…
[Daniel Hinds]
RIOT
Inishmore
(Metal Blade)
In the early 80s, albums like Fire Down Under and Restless
Breed succeeded in making Riot my absolute most favorite
band and that love lasted well through Born In America and
beyond. However, I was never quite as happy with Mark Reale’s
work when he assembled a new line-up in the late 80s and proceeded with
a more melodic speed metal direction. It was good, but not classic
like the early material.
Well, another decade on and Riot have issued the best album since
Born
In America, easily. Inishmore is excellent
in every respect – the playing, the production, the songwriting.
Kicking off with “Black Water,” a traditional Irish-inspired instrumental
featuring keys and violin, Mark and co. then storm forward with
the stunning “Angel Eyes.” Sounding like a super-charged version
of classic Rainbow, this song sets the pace for most of the album.
The speed is still there but tempered with some very memorable and well-played
melodies along the way. Mark Reale has only gotten better
over time, turning out not just great riff after riff but some breathtaking
leads as well. Fans of the old Riot will find tracks like
“Kings
Are Falling” and “Should I Run” particularly satisfying, esp.
the latter’s echoes of “Warrior.”
The rest of the band must be mentioned, too. Bobby Jarzombek
turns
in a fiery performance on the drums and vocalist MikeDiMeo’s throaty
charisma is perfectly suited for the material. The lyrics (penned
by Mike, I believe) are probably the least interesting element,
though they aren’t bad. Inishmore is a concept album
and the overall story is more interesting than the individual lyrics, but
this does nothing to detract from the experience as far as I’m concerned.
Riot are one of the best and most criminally-overlooked metal
bands from the 80s. With the current resurgence of classic metal,
Inishmore
is perfectly timed release and should do very well -–it deserves to.
[Daniel Hinds]
ROTTING CHRIST
A Dead Poem
(Century Black)
Though I understand that Rotting Christ started out as much more
of a black metal band, I have yet to hear their earlier material, so I’ll
stick to just commenting on this, their latest. A Dead Poem
shows Rotting Christ playing some excellent, mid-tempo metal with
rock influences, not too dissimilar to Sentenced last couple.
The vocals are harsher, though, still in a black/death vein.
Musically, I was really impressed with this album. The riffs are
nice and up-front and there is a lot of melody injected into these tracks,
especially on the leads. Xy from Samael does a wonderful
job on the production, giving the band a very full sound. Keyboards
are employed but not obtrusively so, more to just extend the atmosphere
on certain songs. Fernando from Moonspell contributes
some backing vocals to “Among Two Storms,” one of the album’s finest
moments.
One of the originators of the Greek black metal scene, Rotting
Christ have really developed into a powerful force to be reckoned with.
The packaging on A Dead Poem is quite stunning, too, and
Century
Media has even included a bonus CD, a label comp that features great
tracks by the likes of Sentenced, The Gathering, Moonspell, Old Man’s
Child, Sundown, Borknagar, and many others.
[Daniel Hinds]
CHILDREN OF BODOM
Something Wild
(Nuclear Blast/Spinefarm)
This Finnish five-piece have unleashed a debut that is so impressive in
every respect, it could very well be the best metal album released this
year. Start with the pure energy of the first two Maiden albums,
mix in the heavy complexity and riff-shifting of "Blood For the Bloodgod"-era
Sabbat and top it off with the speed and precision riffing of Dark
Tranquility and you’ll have a pretty good idea what to expect from
Something
Wild.
From the opening riff of “Deadnight Warrior,” this album is a
non-stop thrill-ride of incredible riffing, melodic but OTT keyboards,
precision drumming and raw vocal power. Other highlights would include
“Red
Light In My Eyes (pt. 1 & 2)” and the slightly more atmospheric
“Touch
Like Angel of Death,” but there isn’t a weak song on this album – not
even a weak section of a song!
The great thing about COB is that, while the music is very technical,
they never lose the edge or intensity that many in this genre do.
Actually, defining what genre these guys fall into is a bit difficult.
The feature many of the elements that have made bands like In Flames
popular,
but twist in some modern BM influences as well as some classic metal sounds,
ala Yngwie and the aforementioned Maiden, for a truly unique
sound. They are equally good at the mid-tempo material as the fast
stuff, too, another endearing feature.
Everything about this release is top-notch: the production, the
music, the artwork. Anyone into the NWOSDM should love this and anyone
who calls themselves a metal fan and has been disillusioned by a lot of
90’s bands – let Children of Bodom restore your faith.
[Daniel Hinds]
DARK TRANQUILITY
The Mind’s I
(Osmose)
This has been out for a spell but is still worth commenting on, as Dark
Tranquility have established themselves as one of the leaders (if not
THE leader) of the recent explosion of melodic Swedish death metal bands
and this is their most complete release to date.
Within five seconds of opener “Dreamlore Degenerate” and you
have a pretty good idea what to expect. Speedy bass/snare thrash
rhythms rule this album, but there are a good deal of mid-tempo bits, too.
The band are extremely melodic, taking cues from Iron Maiden circa
Somewhere
In Time, but adding a more powerful rhythm section and some seriously
raspy vocals. And, while a lot of the material on here travels a
similar path, there are surprises, such as “Insanity’s Crescendo” which
features some excellent acoustic guitar and well-placed female lead vocals,
and the more experimental title track.
As with others in this ever-growing genre, the production is slick,
but crisp and punchy enough to retain the power of the music. And
the playing is incredibly tight throughout – these guys must be amazing
live! There are a couple tracks that don’t lodge themselves in your
brain the way “Zodijackyl Light” does, but nevertheless, The
Mind’s I is a very strong album and sets the bar one notch higher
for their up-and-coming contemporaries.
[Daniel Hinds]
THE ELECTRIC HELLFIRE CLUB
Unholy Roller
(Cleopatra)
It’s not always easy to tell how serious EHC are taking themselves,
though interviews with Thomas Thorn would indicate it is plenty
serious. Still, one listen to the title track on this remix EP will
probably have you rolling on the floor with its “S-A-T-A-N, he’s our man,
hey!” cheer and the gleeful anti-Christian lyrics. This track (the
only new original on here) is yet another step away from the industrial-dance
sound they began with, toward a more rock/metal approach not unlike…Motley
Crue. So, the cover of “Shout at the Devil” that comes
in later isn’t too much of a surprise and Mr. Thorn’s ability to
sing that much like Vince Neil is rather impressive (and truly frightening).
The rest of the tracks are remixed by various folks, including Spahn
Ranch, Razed in Black and DJ Cykophuk, among others. The
RIB
mix of “Prince of Darkness” is particularly strong. Production/mixing
has always been one of EHC’s main weaknesses, so a lot of these
tunes sound better in the hands of others.
As much as I have always despised this band, I have to admit I found
this disc fairly entertaining, esp. the title cut and the Crue cover.
It’s silly but kinda fun. If you feel like you just must own something
by the EHC, I would definitely recommend this as your choice.
Hopefully, they will take “Unholy Roller” as the cue for their next
album and I won’t have to dread its release.
[Daniel Hinds]
FALKENBACH
…Magni Blandinn Ok Megintiri…
(Napalm/SPV)
This German outfit fall loosely under the heading “Viking metal,” but come
across a lot more seriously than most. Tales of heathen gods, dragonships
and black ravens complement the music perfectly, sung alternately in a
clean timber and a more grim, BM style. The songs are not complex,
relying instead on one or two very simple melodies that really seem to
capture the spirit of long-gone days at sea, when the world was still magical
and hadn’t been sold out to Christianity and Western Progress. Keeping
a mid-paced tempo, Falkenbach construct long (but never boring)
songs that overflow with a sense of majesty. These songs transport
you.
The music features nice heavy guitar that, coupled with the inspiring
keyboards, help drive the songs forward without losing the listener's attention.
The production suits the music, with a nice even mix throughout.
The only track that lost me a bit was “…where blood will soon be shed,”
which seems to cop a bit more toward standard BM/viking fare, but the rest
of the album displays a very well-conceived and original sound – no small
feat these days.
[Daniel Hinds]
HELLSAU
Vain
(Invisible/Audioglobe)
This is a disappointment. Having loved the Swamp Terrorists,
particularly their last one, Killer, I was really psyched
to hear STR’s first release with his new project. And there
are plenty of elements from the ST sound here, with most of the
album coming across as a mix of “Full Killer” and “Vivid Cell”
– two of the best cuts on that disc. Involvement from previous ST
collaborators such as Ane H., DJ Killroy and Bruno S.
furthers the hopes for a kick-ass release. Alas, it is not to be.
STR’s love for mixing high-velocity techno rhythms with sample
guitar riffs carries over, taking it to a new level of sheer abandon on
most of the 15 tracks offered up. The problem is that the songs tend
to sound very similar, an effect further pronounced by the relative lack
of vocals. The sounds Hellsau come up with are great and I’m
sure this stuff sounds amazing in a dance club, but I think that is where
it is meant to stay. There just isn’t enough substance or variety
here to warrant repeat listenings. Although the sound is reasonably
recognizable, the forays into gabber and drum ‘n’ bass only detract from
the material and go a long way to explaining why this album gets so boring
after a while.
Like I said, the talent is still there and I really want to like Hellsau,
but they are going to have to deliver more actual songs next time around
if they hope to ever emerge from the shadow of the Swamp Terrorists.
[Daniel Hinds]
COVENANT
Nexus Polaris
(Nuclear Blast)
Despite Covenant being a black metal 'supergroup' of sorts (featuring
members of Dimmu Borgir, Mayhem, Arcturus and Cradle of Filth),
main song-writer Blackheart insists that Covenant are NOT
a black metal band. Rather, they play 'space metal.'
Well, before visions of Hawkwind become too vivid, let me make
it clear that Covenant can call themselves whatever they want, but
musically, Nexus Polaris falls right in with the likes of
Arcturus
and Dimmu Borgir. The keyboards are a bit more up-front and
the songs tend to temper the speed with more melody, but the classical
embellishments, grim vocals and complex songwriting should make fans of
the above-cited bands reasonably happy. Sarah Jezebel Deva
adds some lovely, operatic backing vocals that serve to make the songs
that much more listenable.
The cover art is gorgeous, giving me flashbacks to Fates Warning's
glory days. The production and playing are both rock-solid, giving
Covenant
a very professional sound. The sound is a nice mix of the members'
other projects, but because guitarist Blackheart wrote the bulk
of the material, Covenant have their own sound and it's a decent
one. Oddly, despite the fact that the album drips with melody, the
songs themselves really aren't as memorable as I was expecting. Still,
they are all good, with "The Sulphur Feast" and "The Last of
Dragons" particularly impressing. Not a lot of variety, no ballads,
just lots of atmospheric, hard-driving bla-err, space metal...
[Daniel Hinds]
SENTENCED
Frozen
(Century Media)
When Sentenced released Amok, it took me a few listens
to really get into it at all and, even then, I kept thinking they would
do better with a different singer. Enter Ville Laihiala and
the markedly more melodic album Down, a beautiful piece of
work that laid the blue-print for the band's future.
It's 1998 and this Finnish quintet have unleashed their most stunning
release to date, a landmark in modern metal. Frozen
has all the strengths of Down, from the gothic-tinged melodies
and memorable riffs to the dark, emotionally-charged lyrics, but gives
the songs even more individual character than ever before. "Dead
Leaves" immediately evokes feelings of the impending winter, arriving
at a contented feeling of resignation. Elsewhere, the band take a
more up-tempo approach ("The Suicider") and even hark back
to the harsher days with off-beat "Burn." They even hint at
prog-rock on "Let Go (The Last Chapter)," though it quickly turns
into storming metal track with a ripping solo. Themes of suicide,
emotional isolation and the beauty and peace of death permeate the record.
While many might consider the subject matter as negative, Sentenced
don't treat it that way and Frozen never fails to leave me
in a better mood. Don't get me wrong - Sentenced aren't a
happy band by any means. It's just that they embrace the darkness
rather than rail against it and they do it without the usual self-consciousness
that often comes with this territory.
Frozen takes a few listens to really settle into, but
once you do, it is well worth the effort. The production is a little
claustrophobic but very solid and it fits the music nicely. The musicianship
is faultless, with some nice wah-ed out leads here and there. Ville's
singing is strong throughout, whether he is delivering the lines in his
usual gruff approach or singing in a clear voice, such as on the ballad
"The
Rain Comes Falling Down."
Starting life as a death metal band, Sentenced have followed
a path similar to Cemetary and Paradise Lost - taking a new
direction without losing any power or conviction. With Frozen,
they have achieved a masterpiece that demands attention and is going to
be very difficult to top next time out.
[Daniel Hinds]
BRUCE DICKINSON
The Chemical Wedding
(CMC International)
In an interview that appeared in The Plague after his departure from Iron
Maiden, Bruce Dickinson explained that he would have wanted for Maiden
to abandon the course it had taken on its later records and "gamble it
all on one album" by returning to the more experimental songwriting of
classic Iron Maiden. Had Bruce mended relations with
Steve
Harris and got his way, that album might have sounded like
The
Chemical Wedding.
The second solo album with former Iron Maiden guitarist, Adrian
Smith, at his side, The Chemical Wedding is the product
of a heavy metal songwriting relationship that has matured naturally.
Two 80s rockers trying to relive their glory days on the rock and roll
stage, this is not.
It's hard to find a single song on this record that could be labeled
a "filler." From the opening chords of "King In Crimson,"
through the outstanding title song, and beyond, the rekindled partnership
of Dickinson and Smith lacks neither fire nor creativity.
In essence, this is half of the magic that was classic Iron Maiden.
The slightly pop-oriented, buoyant style of Adrian Smith's guitar
playing was as critical a part of that band as was the haunting wail of
Dickinson's
voice. Together again with an impressive ensemble of young musicians,
they have left behind their individual careers to play what they play best-heavy
metal music.
[Ted Hinds]
PULSE LEGION
Evolve
(COP Intl.)
This debut came out a while ago but somehow keeps falling through the cracks
when it comes time to write reviews. Part of the problem is the music
itself is rather flat and doesn't do much to inspire repeated listenings.
John
Ricker's vocals are of the effect-laden-whisper variety, only further
removing any semblance of identity, and the lyrics are just plain blah.
That isn't to say Pulse Legion are bad, per se. "Who
Decides" is an excellent slab of industrial dance music the way it
used to be done (i.e. properly) and "Hideaway" will jolt you back
to attention at the close of the disc with its sudden inclusion of sampled
guitar riffs. Elsewhere, however, the band could use some more energy
and the pads and synth washes tend to dilute the songs even more.
The songs just need a good kick and a little more individual personality.
Evolve is the perfect example of an album that has all
the right parts, they're just not assembled properly. Strong production,
good programming, a readable lyric sheet (an increasingly unique event
these days) and at least two examples of how much potential is present.
Hopefully the follow-up will show the duo breaking out and really defining
themselves.
[Daniel Hinds]
EBONY TEARS
Tortura Insomniae
(Black Sun)
I guess I should be used to this by now, but once again I find myself blown
away by the debut from a melodic Swedish death metal band, this time the
wonderful four-piece known as Ebony Tears. Something has got
to give eventually, but for the moment, I'm not complaining.
"Moonlight" kicks off the proceedings perfectly, with its up-tempo
thrash approach, coarse vocals, and some truly awesome drumming.
Another feature of Ebony Tears shows up right away: the use
of violin. Unlike many of the goth-oriented acts, ET use the
instrument to bring more of a folk feel to the sound. Later, on tracks
like "Nectars of Eden," there is something of a Celtic feel coming
in to play as well, further separating ET from the crowd.
The addition of female vocals on a couple tracks works to great effect,
especially on "Opacity," where all the elements that make Ebony
Tears so great come together perfectly.
Guitarist Conny delivers some thoroughly vicious riffs throughout,
but is just as adept at serving up beautiful leads and acoustic pieces.
The mixture is seamless, as evidenced by tracks like "With Tears In
My Eyes" and "Involuntary Existence." That latter cut
is particularly interesting, as it careens from modern, hardcore-tinged
metal to catchy power-metal to something else entirely, all without batting
an eye. The one constant is heaviness.
Thomas Skogsberg holds up the production end of things with great
finesse, as usual. Fans of modern Euro metal ala Children of Bodom,
Dark Tranquility, In Flames, et al, are highly encouraged to check
out Ebony Tears.
[Daniel Hinds]
ARCANA
Cantar de Procella
(Cold Meat Industry)
This is the second full-length effort by this Swedish duo and, while it
isn't the step forward I was hoping for, it holds its own. The band
still produce some striking passages of dark, atmospheric music, with a
medieval flavor and a very grand feel to it. Lots of tympanis and
chimes mixed with epic horns lay the foundation for most of the tracks.
The mix of deep male (Peter Pettersson) and operatic female (Ida
Bengtsson) vocals adds the perfect counter-balance to the music that
Arcana create. Two great examples of all these forces coming together
perfectly are "Chant of the Awakening" and the title cut.
Elsewhere, such as on "The Song of Solitude," they strive for a
much more minimal sound, more than on the debut disc. Another difference
is it seems like they tried to stretch some of the songs out a bit longer,
as the debut featured a lot of fairly short cuts. The songs themselves
aren't terribly complex, it is in the way the various instruments come
in and interact with the vocals that make Arcana's music special.
If you have heard Arcana before, there's nothing that will surprise
you on Cantar de Procella. If you haven't but are a
fan of Dead Can Dance, Mortiis or some of the other melodic CMI
bands, I highly recommend Arcana.
[Daniel Hinds]
NIGHTWISH
Angels Fall First
(Spinefarm)
Angels Fall First is one of the most interesting and listenable
metal records I've heard in a while, and that's really saying something
considering how many great CDs have come out this past year. Nightwish
are a Finnish four-piece that really define a new sound for themselves,
combining elements of classical, prog-rock, and nice crunchy metal.
Add in the atmospheric keyboards of Tuomas and the sweet, operatic
vocals of Tarja and you've got a truly classic album.
"Elvenpath" starts things off perfectly, with its mystical intro
and lyrics, giving way to a melodic speed metal approach. Later,
we are treated to the truly beautiful title track, a ballad of epic proportions.
Tarja's
voice is endearing from the first note and sounds like no one else out
there. Every element of the band is right on, though, with some beautiful
guitar-work throughout. Nightwish are very adept at giving
each song its own personality, whether it is the Egyptian-tinged
"Tutankhamen"
or
the offbeat "Nymphomaniac Fantasia." Each one comes alive
in its own light and there isn't a bad one in the lot.
I've seen some comments about Nightwish being rather 'cheesy,'
but I think it is just a case of English as a second language and
it gives the album more charm than anything. The lyrics are fairly
simple but cover some really diverse topics, from history to fantasy to
spirituality, and do it pretty well.
The production is superb: crisp, clear and perfectly mixed.
They must have some kick-ass studios and engineers in Finland, as just
about every album I've heard emanating from this Northern land lately has
sounded killer. Look for Nightwish's new one to be out soon,
too, but don't miss out on this debut.
[Daniel Hinds]
INFERNO
Downtown Hades
(Osmose)
There is an umlaut over the 'o' in Inferno, in case you didn't already
catch the Motorhead similarity of the logo. When people talk
about the retro-thrash movement getting out of hand, this is probably one
of the bands they are referring to. Inferno have meticulously
recreated the 80s thrash sound, from the screeching vocals to the galloping
speed rhythms to the overly evil lyrics. Oh, and let us certainly
not forget the band members' names! We have Aggressor on guitar,
BestialTormentor
on bass, Necrodevil pounding away on the drums, and the unforgettable
Hazardous
Pussy Desecrator belting out the vocals like a cross between
Snake
and Blaine from
The Accused.
The music on Downtown Hades is simple, gritty thrash metal
ala early Destruction, early Voivod and early Sodom
with a bit of Warfare and Venom thrown in. Words like
'tight' and 'technical' and 'intelligent' just have no place when referring
to Inferno. The drums are relentless, the solos blistering
and the lyrics all about Hell, drinking and metal - what more could you
want? Song titles like "Metal Attack," "Alcoholocaust" and
"Rot
In Hell" pretty much say it all.
Inferno go beyond just the image and music, though, with album
art and photos that would have been right at home next to pix of Possessed
and Exciter in old issues of Metal Mania, not to mention
a fitting but thoroughly dated-sounding production job. I'm not sure
if they can make a career out of it, but I personally like this kind of
stuff and Inferno do it pretty well. The songs are all rather
same-y, but likewise there are no disappointments in the lot and it isn't
an overly long album. For those who long for the days before death
and black metal ruled the underground, grab a copy of Downtown Hades
and indulge...
[Daniel Hinds]
MOONSPELL
Sin
(Century Media)
Moonspell are an intriguing lot. They have gone from being a black
metal band to a goth metal band to whatever the hell you call this.
It has elements of metal and goth and even industrial, yet sounds uniquely
Moonspell.
The intro "Slow Down!" quickly gives way to one of the best tracks,
"handmadeGod."
Here we get to hear the odd drum patterns that permeate this album, along
with Fernando Ribeiro's distinctively deep vocals and a stunning
solo from Ricardo Amorim. It is also the first track
where you get to hear a bit of the middle-Eastern influence that just seeps
in around the edges of the whole album - it's not blatant, but it definitely
helps define the sound.
Elsewhere, "2econd Skin" (the first single off the album), displays
a slightly more traditional arrangement, though still shot through with
Moonspell's
newfound sound. The production on Sin is odd, tending
to blunt all the edges. It isn't bad but I think the power level
suffers a bit because of it. "Abysmo" and "Flesh"
further
showcase the band's talent at incorporating samples and off-beat percussion
into their sound, not to mention the ability to write memorable melodies.
The band can really create an atmosphere when they want to, drawing heavily
on the gothic side of their nature. They utilize a multitude of cool
guitar effects to this end, as well. "EuroticA"
shows the
more experimental side to the band, dispensing with all standard song structuring.
This is a long album, clocking in at over 62 minutes, and I think that
fact detracts a bit from the impact. The latter tracks are among
the weaker ones, too, which doesn't help matters. Overall, though,
Sin
is well worth getting and Moonspell have struck out in a bold new
direction with quite pleasing results. Fans of modern Katatonia
and Tiamat as well as the more open-minded goth rockers out there
are well-advised to check into this release.
[Daniel Hinds]
DIMMU BORGIR
For All Tid
(Nuclear Blast America)
Black Metal's best loved/hated Norwegians got their debut re-issued a while
ago by the Nuclear Blast folks, including a nice digi-pack and two
bonus tracks. As much as I recognize the achievement of Enthrone
Darkness Triumphant, in a lot of ways, I find this to be my favorite
Dimmu
album There is a definite atmosphere to For All Tid and
the sound is actually more original than their later work, utilizing some
folk and gothic elements to good effect. I particularly like the
mix of grim vocals with spoken word and grandiose clean vox. Dimmu Borgir
have
always been good at using keyboards to their advantage and, despite the
primitiveness of this album, they are just as effective here.
I've read a lot of criticism of the production and, sure, it's a bit
thin, but I like it and I think it compliments the music really well.
The guitar sound in particular is perfect - high-endy and raw, giving it
a classic metal feel. The riffs, coupled with the synth lines, give
Dimmu's
work an almost joyous feel at times, something that has carried on through
all their work. I'm wondering if it is this element that has caused
a lot of folks to write them off as 'commercial.' I think it's great
and helps the band stand even further out from the crowd. The title
track is a great example of all these elements coming together in a wonderful
combination.
The cover art (strangely and badly colorized for this re-issue, by the
way) depicts a dark rider approaching a very foreboding castle. The
image is effective and reflected well with the epic, medieval feel of the
music. The fact that all the lyrics are in Norwegian also goes a
long way to remove this disc from the norm. Anyone with even a passing
interest in black metal or gothic metal would do very well to check out
For
All Tid.
[Daniel Hinds]
VENOM
Cast In Stone
(Cleopatra/CBH)
The creators of Black Metal have returned to bring their brand of evil
to a world in desperate need of a kick in the ass. Back when Welcome
to Hell and Black Metal first hit the shelves, Venom
were regarded as either brilliant innovators of the most extreme form of
metal yet or written off as a joke. Granted, Venom were never
100% serious about the larger-than-life image they created (one listen
to “Women, Leather & Hell” should tell you that…), but they
did define a genre and produced some truly memorable, raw metal in the
process.
The fourteen new tracks on Cast In Stone show the British
trio taking up where At War With Satan left off, recapturing
some of the Satanic majesty generally left behind on subsequent releases.
Though there are a couple of excellent speedy numbers (“Raised in Hell”
and
“Flight
of the Hydra”), the majority of this record is slow to mid-tempo and,
thanks to the much-improved production, one of the heaviest they’ve ever
done. The overall sound reminds me most of the old singles like
“Nightmare”
and “Seven Gates of Hell,” which is certainly no bad thing.
And Venom even inject some fresh ideas into the mix, such as “Destroyed
and Damned,” which starts off like a
Metallica ballad before
lurching into a brutally-heavy, doom-laden groove, or “Domus Mundi”
and its incorporation of sampling technology. Cronos’ voice is also
worth noting, as his patented growl hasn’t lost its edge over the years
at all, which actually surprised me. The playing in general is a
bit better, too, though you still won’t be mistaking this for a Dream
Theater record any time soon.
Rest assured, though, this is pure Venom and caters to no trends.
Modern black metal might as well have never existed, as Venom takes
the dirty, raw crunch they created way back when one step further.
The bonus disc with re-recorded versions of those classic songs is a nice
touch, too, especially the inclusion of the song “Venom.”
Any song where the band spells out the title is always a winner in my book!
The re-union shows have been hugely successful and, from all accounts,
Venom’s
return has been met with open arms by all. Cast in Stone
is a strong come-back and hopefully the three can hold it together to continue
the blasphemy.
[Daniel Hinds]
GAMMA RAY
Somewhere Out In Space
(FAD)
Kai Hansen’s songwriting and guitar-playing was the highlight of
the early Helloween albums, yet when he ventured out on his own
with the Gamma Ray debut, the result was somewhat hit and miss.
Sure, the title track (“Heading For Tomorrow”) was an instant classic,
but the rest rarely measured up.
It’s a few albums and years down the road now and Kai has taken
on vocal duties now as well, leaving Ralf Scheepers to fend for
himself with Primal Fear (and doing a damn good job, I might add!)
While Kai’s voice has definitely improved since the Walls
of Jericho days, I’m still not completely convinced he should
be singing the leads. He does have his own style, though, and handles
the high-speed songs as well as he does the ballads.
I think the one thing Gamma Ray has achieved over time is consistency.
The lesser cuts aren’t so bad as to make you dread their arrival and the
majority of the album falls in the good to excellent realm. Kai
seems to have no interest in trends whatsoever as he proceeds from classic
German speed metal to progressive-almost-pomp rock to straight-up power
ballads. His ability to pull out the ultra-speedy riff at the drop
of a dime has, if anything, only intensified over time, as evidenced by
the awesome title track. Drummer Dan Zimmermann must also
be mentioned for his rock-steady double-bass pummeling that keeps everything
moving at breakneck speed when necessary.
On the downside, the somewhat obvious lyrics and occasional over-blown
chorus tend to detract from the power of the music a bit. Still,
I think it is safe to say that Somewhere Out In Space is
Gamma
Ray's finest moment yet and shows that Kai isn’t even close
to losing his creative edge. Along with Angra, Blind Guardian
and Stratovarius, Gamma Ray have really kept powerful, progressive
speed metal alive and thriving in the 90s and for that alone I salute them
and hope they continue to explore and expand this style.
[Daniel Hinds]
NAGLFAR
Diabolical
(WAR Music)
This is black metal, (un)pure and simple. Actually, it's fairly complex,
but never loses its brutality. The songs are mostly very fast, with
little or no space between tracks, yet the album never gets dull. Naglfar
know just when to put in the breaks or slow things down. Check out
the guitar break in the middle of "Embracing the Apocalypse" or
the piano that comes in halfway through "Into the Cold Voids of Eternity"
- both very effective. Another departure is the piano & synth
instrumental "A Departure in Solitude," a short but beautiful
interlude that serves as an intro to the hellish title track.
Of the serious black metal bands out there at the moment, I'd have to
list Naglfar as one of my faves. Jens Ryden's vocals
are harsh and chilling and blend with the music perfectly. Andreas
Nilsson's omnipresent guitar-work is melodic at times, brutal at others,
but always heavy and unrelenting.
All of the playing on Diabolical is stellar and the production
is crisp. Like Emperor, I have to give Naglfar credit
for being able to remain a true black metal outfit without repeating the
same stale lyrics and imagery done before. No catchy hit singles
here, but if you want some evil, crushing metal, look no further.
[Daniel Hinds]
GRAVEN IMAGE
Black Lung Cathedral
(Jevan Records)
This is cool. Usually when I get an unknown band with a self-released
CD, I can pretty much guarantee disappointment. Graven Image,
however, have really done well with their debut, delivering a nice blend
of old-school industrial, goth and techno.
Opener "Coming On" exemplifies the harder edge of the Graven
Image sound: noisy drums, highly-processed vocals, and a backdrop
of synth pads. "Descriptive Lines" shows a gothic tinge creeping
into the vocals and "Smear" softens the blow even more. I
like how the band varies their approach and focuses more on the individual
song than on trying to achieve an overall 'sound.' Still, it comes
as somewhat of a shock when you hit "Sync" late in the album - an
up-tempo techno piece. The use of vocal samples is quite effective throughout,
culminating in the sample-frenzy of "Flags" to finish off the album.
If I had to make a complaint about Black Lung Cathedral I
guess it would be the production. It's not bad, it just could be
better. The various song elements are very distinct, giving the overall
sound a very stark feel. This works well at times but sounds a little
empty at other times. Of course, this is a self-financed debut so,
taking that into account, the production is plenty adequate.
There is an element of old Project Pitchfork to the sound of
some of these cuts, more to do with the percussion than anything.
Overall, though, Graven Image have developed their own sound and
it's an enjoyable one. Considering the relative dearth of good electronic
bands at the moment, Graven Image's take on darkwave is a welcome
release indeed. Contact: Graven Image, P.O. BOX 771269,
Lakewood, Ohio, 44107, USA or e-mail to: gravenimage@bge.net
[Daniel Hinds]
RHAPSODY
Legendary Tales
(LMP/SPV)
I remember back in the 80s, Italian metal was considered something of a
joke, with a lot of the bands lacking the sophistication and production
of bands from England, Germany and the US. Times have certainly changed,
though, and Rhapsody couldn't be a better example.
Legendary Tales is a phenomenal display of progressive
metal, full of classical and folk references, made all the more impressive
by the fact that it is the quartet's debut album. Thematically, the
album is built around a mythical land (mapped out and described in the
CD booklet), a setting that the band plans to use for future releases as
well. Unlike many metal acts, Rhapsody emphasize the positive:
love, life and honor, to name a few.
The music itself is a stunning mix of melodic speed metal, classical
and medieval folk, with nods towards the likes of Angra and Stratovarius,
though Rhapsody strive for a more majestic sound. Songs like
"Rage
of the Winter" and "Lord of the Thunder" are as inspiring as
they are catchy. The use of flutes, mandolins and keyboards really
helps to round out their sound, too, especially on the quieter tracks like
"Forest
of Unicorns" and "Legendary Tales." Vocalist
Fabio
Lione does a thoroughly impressive job, singing the high parts perfectly
without overdoing it the way a lot of metal singers do. Luca Turilli
must
also be mentioned, as his performance on guitar is just top-notch.
I'm sure the more cynical listeners will be put off by the mythical
themes and bombastic songwriting, but for the people who matter, Rhapsody
have created a truly beautiful record that bodes well for their future.
[Daniel Hinds]
JUDAS PRIEST
'98 Live Meltdown
(CMC International)
"The Priest is back," screams Ripper Owens before the roar of the
crowd gets pushed way up in the mix and Judas Priest launch into
"Grinder." There's no doubt about that as Glenn Tipton, KK
Downing, Ian Hill, and Fight refugee Scott Travis
make good on their threat to carry on one of the pioneering bands of heavy
metal long after the departure of Rob Halford.
Rob Halford was, of course, the original lyricist and banshee
wail that not only defined much of Judas Priest's sound, but that
of the entire heavy metal genre as well. Much has been said of Ripper
Owen's voice, which doesn't sound exactly like that of Halford,
but is close enough that when he dons the classic Halford attire
of studded, black leather and rides onto stage on a Harley-Davidson, you
can't fault the casting of Downing and Tipton.
It is in that frame of mind that one must approach Judas Priest these
days. This isn't so much the proverbial new direction in life that
was achieved by Van Halen with Sammy Hagar, Black Sabbath
with Ronnie James Dio, or Anthrax with John Bush.
This is Judas Priest, the musical, with Ripper Owens assuming
the leading role of the cooly manic Lifer, a man who came from the outskirts
of society and developed a peculiar state of psychosis where he hears and
responds to the voices of ancient Metal Gods, Hellions, and Sinners.
A double CD, '98 Live Meltdown, is 24 examples of classic
Judas
Priest performed with the same fury that the musical element of this
band has been providing for years. "Rapid Fire," "Beyond the Realms
of Death," and "Electric Eye," add to an interesting set that
draws from pre-Turbo and post-Painkiller recordings.
The best live Judas Priest album since Unleashed In The East,
'98 Live is produced the way 1988's Priest...Live
should have been-heavy.
[Ted Hinds]
GARBAGE
Version 2.0
(ALMO)
Garbage were one of those bands that I would hear on the radio and
go, "Hey, that's not bad," but didn't interest me enough to pursue any
further. Their second album, however, is worth investigating, as
it is full of great tunes and much more consistent than the debut.
"Temptation Waits" starts things off just right, showing off
the band's ability to mix modern rock with electronic music and a few unidentifiable
ingredients. Shirley Manson may not be technically the greatest
singer in the world, but she is very good at using her voice to evoke different
moods. The vocal melodies are what really carry the songs, too, ultimately.
I find that the band are at their best when they are playing the extremes.
"Hammering In My Head" and "Dumb" rocket along with boundless
energy, while "The Trick Is To Keep Breathing" is quietly emotive.
"Sleep Together" is a great blend of the extremes and should be a great
single. "Wicked Ways" is also worthy of mention, as it is
really offbeat in a jazzy, lounge kind of way, but still rocks as hard
as anything on here.
The one downside is the slightly soft production. The drums in
particular could use a little more 'thump' to them. Still, the mix
is good and the important thing, the songs, are delivered in full. Garbage:
keeping alternative radio from completely sucking in 1998.
[Daniel Hinds]
CYBELE
Brightly Blackhearted
(Head Not Found)
I've been having problems finding any info about this band on the net,
but I do believe this is their debut. Cybele are five Norwegian
(I believe) women who play a rather difficult to categorize style of music.
I've seen some comparisons to the classic 4AD sound and that aspect
is certainly present, but there are also more rock elements ("Imaginative
Winds") and darker gothic overtones ("Flying" and "The Withering
Position"). Vocalist Lene Vaagland has a pretty original
style, though I think her voice works a lot better on the mellower songs
where she really sings, like on "Deterioration" and the Eden-like
"Paralyzed." I must also mention the album closer, "Haze,"
as one of the most distinctive tracks, building layer upon layer with strange
keyboard sounds and effects. Monica Ruud does an excellent
job handling all the keyboard and sample duties, not to mention some fine
drumming to boot.
No clue if Cybele still exists but I certainly hope so.
This album takes a number of listens to really get into properly, but it's
a nice change of pace from the usual gothic and metal fare. I particularly
like how Cybele give each song its own distinct personality, a trait
I am finding more and more precious these days.
[Daniel Hinds] |
