,- _~. ,, ,, /\ (' /| || ' || || (( || ||/\\ ,._-_ /'\\ \\/\\ \\ _-_ || _-_ _-_, /'\\ =||= (( || || || || || || || || || || || || \\ ||_. || || || ( / | || || || || || || || || || || ||/ ~ || || || || -____- \\ |/ \\, \\,/ \\ \\ \\ \\,/ \\ \\,/ ,-_- \\,/ \\, _/ ,- _~. ,, (' /| || _ (( || ||/\\ < \, /'\\ _-_, (( || || || /-|| || || ||_. ( / | || || (( || || || ~ || -____- \\ |/ \/\\ \\,/ ,-_- _/ CHRONICLES OF CHAOS E-Zine, February 9, 1996, Issue #7 Co-Editor: Gino Filicetti <_DeaTH_ on #metal> Co-Editor: Adrian Bromley Assistant Editor: Alain M. Gaudrault Web Page Manager: Brian Meloon Mailing List provided by: The University of Colorado at Boulder --> Interested in being reviewed? Send us your demo and a bio to: -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CHRONICLES OF CHAOS 57 Lexfield Ave Downsview Ont. M3M-1M6, Canada Fax: (416) 693-5240 Voice: (416) 693-9517 e-mail: ginof@io.org -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= DESCRIPTION ~~~~~~~~~~~ Chronicles of Chaos is a monthly magazine electronically distributed worldwide via the Internet. Chronicles of Chaos focuses on all forms of brutal music; from thrash to death to black metal, we have it all. Each issue will feature interviews with your favorite bands, written from the perspective of a true fan. Each issue will also include record reviews and previews, concert reviews and tour dates, as well as various happenings in the metal scene worldwide. We here at Chronicles of Chaos also believe in reader participation, so we encourage you to submit any material you may have to Gino Filicetti . HOW TO SUBSCRIBE ~~~~~~~~~~~~~~~~ You may subscribe to Chronicles of Chaos at any time by sending a message with "SUBSCRIBE coc-ezine " in the BODY of your message to the list handler at listproc@lists.colorado.edu. Please note that this command must NOT be sent to the list address , but to the mail server which handles this mailing list. WORLD WIDE WEB SITE ~~~~~~~~~~~~~~~~~~~ We are currently in the process of constructing a website for Chronicles of Chaos. You can check it out by pointing your web browser to http://www.io.org/~ginof/coc.html. If you have any comments or suggestions, please e-mail Brian Meloon . >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< Issue #7 Contents, 2/9/96 ------------------------- * Editorial * Loud Letters * Ferocious Features -- Rainforest Rumblings Revealed -- Continuing The Crucifixion -- Resurrecting the Reich * Chaotic Chat Sessions -- Past and Present: Belladonna Shoots the Shit -- Hotrods, Highways and Haircuts * Independent Interrogations -- Independent Feature: Aeon * Record Revelations -- Hypocrisy - _Abducted_ -- Bestial Warlust - _Blood & Valor_ -- Scorn - _Gyral_ -- The Gathering - _Mandylion_ -- Scum - _Purple Dreams & Magic Poems_ -- Helloween - _Master Of The Rings_ -- Destroyer 666 - _Violence Is The Prince Of The World_ -- Exoto - _A Thousand Dreams Ago_ -- Mortician - _House By The Cemetary_ -- Clotted Symmetrical Sexual Organ - _Nagro Lauxes VIII_ -- Dark Tranquility - _The Gallery_ -- Nightingale - _The Breathing Shadow_ -- Ghostorm - _Frozen In Fire_ -- End Of Green - _Infinity_ -- Disgrace - _Superhuman Dome_ -- Masquerade - _Surface of Pain_ -- Time Machine - _Act II: Galileo_ -- Mass Psychosis - _Face_ -- gut-sonic - _Impetus 23_ * New Noise -- Nueairea - _Alter The Regular_ -- Mortal Decay - _Brutalizing Creations_ -- Project X - demo -- Within - _The Unaccepted_ * Chaotic Concerts -- No Stopping The Locomotive * What We Have Cranked * The Final Word =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= E D I T O R I A L ~~~~~~~~~~~~~~~~~ by: Gino Filicetti Well, here we are, in the first ten days of February, and CoC #7 is actually ready. Are you all surprised or what? Really though, we thought it was important this time around to get the issue out at a reasonable time, both for your sake, and for ours in that we will have more time to put CoC #8 together. The first thing you will probably notice about this issue is that we have less than our 'usual' amount of feature stories. This is mainly because of the fact that we had half as much time to do this issue than we usually have. However, one piece of good news is that our 'Independent Interrogations' section is back, AND WITH A VENGEANCE! Check out the story on Croatia's Aeon, who are keeping the spirit of heavy music alive in a country we rarely associate with said genre. Next, I have a bone to pick with all of you, and that is about the lackadaisical response I received with regard to our Loud Letters section. I know I can't force any of you to write in to us, but I hope you can understand how disappointing it is not see any response to something like that. I hope that this time around, more of you will have something to say, remember, it doesn't have to PRAISE this 'glorious' magazine or anything of that sort; just write about what's on your mind, it could be a reaction you have towards a story we've run, your opinion on 'the scene,' what you've had for breakfast today, or best of all, a flame mail telling off one of your 'favorite' writers! So come on everyone, show me that you're still alive out there. Anyway, hope you enjoy this issue, we have more reviews than ever before; that should make up for the lack of stories. Next issue is going to be a big one, two of heavy metal's founding groups will be featured, maybe not in their most glorious days, but still kicking out the shit. Have a good month, see you all next time. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= M""MMMMMMMM dP M MMMMMMMM 88 M MMMMMMMM .d8888b. dP dP .d888b88 M MMMMMMMM 88' `88 88 88 88' `88 M MMMMMMMM 88. .88 88. .88 88. .88 M M `88888P' `88888P' `88888P8 MMMMMMMMMMM M""MMMMMMMM dP dP M MMMMMMMM 88 88 M MMMMMMMM .d8888b. d8888P d8888P .d8888b. 88d888b. .d8888b. M MMMMMMMM 88ooood8 88 88 88ooood8 88' `88 Y8ooooo. M MMMMMMMM 88. ... 88 88 88. ... 88 88 M M `88888P' dP dP `88888P' dP `88888P' MMMMMMMMMMM This is the column where we print those lovely letters our readers decide so graciously to write us. Whether they be positive, negative, ignorant or just plain spelled wrong, you can rest assured that they'll be here in their original form. If you'd like to see your own letter here, e-mail it to and enter 'Attention Loud Letters' in the subject field. Hopefully all letters received will be featured in upcoming issues of Chronicles of Chaos. Date: Thu, 18 Jan 1996 15:39:07 From: Stephen Ryan Subject: Thanks Hey thanks for putting out a respectable ezine. A got a real surprise in this latest issue when a band from the past popped up..."Sacred Reich". An interview with this band would be incredible. Even some trivial info would be great. Thanks for a great read and timely information. And of course, I now have to respect your taste since you toasted their new record with a 9. OK, so it was Adrian, whatever. Steve =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ___________ .__ \_ _____/__________ ____ ____ |__| ____ __ __ ______ | __)/ __ \_ __ \/ _ \_/ ___\| |/ _ \| | \/ ___/ | \\ ___/| | \( <_> ) \___| ( <_> ) | /\___ \ \___ / \___ >__| \____/ \___ >__|\____/|____//____ > \/ \/ \/ \/ ___________ __ \_ _____/___ _____ _/ |_ __ _________ ____ ______ | __)/ __ \\__ \\ __\ | \_ __ \_/ __ \ / ___/ | \\ ___/ / __ \| | | | /| | \/\ ___/ \___ \ \___ / \___ >____ /__| |____/ |__| \___ >____ > \/ \/ \/ \/ \/ The meat of the matter lies here. Read on for the juiciest morsels on bands ranging from the reknowned to the obscure. No fat, no gristle, just blood-soaked slabs served hot and ready. Dig in, readers. R A I N F O R E S T R U M B L I N G S R E V E A L E D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An Interview with Sepultura by: Adrian Bromley Few will argue that Sepultura is one of the most powerful metal machines ever conceived. Even fewer will fight the fact that they stand apart from hundreds of metal bands and continue to grow with each album. And with each release, they continue to mold a solidified rampage of chugging riffs, pounding rhythms and gut wrenching growls around the strong political and social issues of their lyrics. Listening to the band's latest and most compelling album to date, _Roots_ (release street date March 13th), many will see a band at the edge of creativity and anarchy. Fused by anger, tension, frustration and personal release, _Roots_ finds itself home to a truly unique format for Sepultura: the addition of the primal, furious tribalistic sounds of the Xavantes tribe, a group of Indians living deep in the heart of the Amazon Jungle. Even as some may see this as a gigantic leap of experimentation for the band, one has just to point to the obvious Brazilian sounds and styles that Sepultura have always added to their brilliant masterpieces. The Brazilian sound has always been evident within their music and always manages to smoothly bind with their pounding guitar riffs inspired by such acts as Motorhead, Slayer and Metallica. Just listen to songs off of 1993's hard-hitting _Chaos A.D._ with tracks such as "Refuse/Resist" and its use of South American percussion stylings, the rhythmic beats within the true tale of "Manifest" and the stunning song "Kaiowas", a tribute to the tribe of the same name. This time around, with _Roots_, the band went right to the source of Brazilian culture and music, and brought out a triumphant taste of generations of music that allow the album to spark an interest in how two distinct cultures molded as one for the recording of _Roots_. Sepultura has not had to take on such a load of responsibility since the transition the band took upon themselves after struggling to release their first two efforts, _Morbid Visions_ (1986) and _Schizophrenia_ (1987) and metamorphosizing their talent to produce such prominent masterpieces as their Roadrunner debut _Beneath The Remains_ (1989) and _Arise_ (1991). These boys are more of a band now, still trying to find their niche; as their writing matures, their visions become clearer. They are searching for the Sepultura sound that'll keep their fanbase growing and their integrity and maturity intact. In 1993, the band stepped in the right direction with _Chaos A.D._. That record opened the doors to a greater variety of fans, with the album selling a million units worldwide and two years of extensive touring with such acts as Ozzy Osbourne and Pantera as well as a successful headlining jaunt. To make the perfect addition to a long line of successful LPs was a task that lead vocalist/guitarist/lyricist Max Cavalera would have to undertake and in the process, he had to retain a sturdy will for the band in the face of commercialism. Cavalera, and his group - brother/drummer Igor Cavalera, bassist Paulo Jr., and lead guitarist Andreas Kisser - locked themselves away in Indigo Ranch studios in Malibu, California to create _Roots_. As the album came together bit by bit, over a long lengthy process, it was evident that the album was very personal for the band, but it also helped preserve the music of Sepultura's homeland. "We thought it was a real important record," starts Max Cavalera over the phone from Phoenix, Arizona. "We wanted to give the fans more than what they expected and that takes time. We want fans to see and experience what we created, more than what they did with _Chaos A.D._. To be able to listen to the new record and every time they hear it to see and hear something new from the record. Sepultura has always been known to do different things and try to play music and show the fans stuff they may not have known before. So far the responses for us has always been good when we release an album because fans know they will get something unique with one of our records. Working with the tribe is just another experience for them to be part of." Cavalera continues on about the recording process; "We took a lot of time with this record. More time and effort than any other record because we recorded the record in different phases and also the writing process was done different so the end result is obviously a different record." But Cavalera assures us that the band has not lost their trademark aggressive anger. "The main element is that the intensity and heaviness is there and not that it is stronger than before. It is just that there is a lot going on. It is a very open record." Another component to the makeup of this album is the addition of several other musicians who helped bring about a certain new slant to the Sepultura sound. About the other musicians' help - which included famed Brazilian percussionist Carlihnos Brown, Faith No More's Mike Patton and Korn's Jonathan Davis - Cavalera says, "It was very cool and very experimental." He continues, "I like all those artists and what they do with their bands," speaking about his choice of artists to work with. "It was cool that they came into Sepultura and made music adding their own style and characteristic." The biggest outside contribution to _Roots_ came from a most unexpected contributor: the Xavantes tribe. Solely for the purpose of recording with a tribe that has thrived for thousands of years in the heart of the Amazon Jungle, the band decided to pack up their recording gear and venture into the heart of the Brazilian foliage for three days to meet, live and be a part of the Xavantes tribe. It was without question one of the most amazing experiences that Cavalera and his band have ever gone through, and it is something they won't soon forget. Max says, "The band became part of the tribe and lived like they did." In order to get this planned expedition off the ground, Cavalera explained that there was an extensive amount of communication and paperwork between the tribe and the record label and the process of actually getting the early November (1995) trek underway took months of planning. About the idea for the use of the tribe's music and culture he says, "Once we decided to call the album _Roots_, with us wanting to show the roots of Brazil, the tribe had to be included or we would have had to call the album something else." Another reason reveals Cavalera: "It was an attempt to show people the different sides of Brazilian music and we did that with the Xavantes tribe." He states, "It was hard to pull it off, dealing with several people and the people who were working with the indians. It took a couple of months to get it going and we had to work hard to bring in gear and record. I think though, the end result was worth it." Does Cavalera feel that the two extremes, Sepultura's rage and the Xavantes culture and mystique, clash in any way, shape or form? "I think the tribal music is very spiritual and it allows us a more spiritual feeling to that part of the record and I believe that it is very strong." Adds Cavalera, "I wouldn't say that the Xavantes music is very mild. It is aggressive in its own way." As the music takes on another shape or form this time around, so does the lyrical content of the album. Cavalera explains that the album's music lends itself to being captivated by emotions, their political ideas and thoughts are avoided this time; making _Roots_ a very emotionally charged and personal album for Cavalera. "Every song is different from each other. The music is mostly about life and stuff like that. To tell people that listen to this kind of music to not take shit from no one and believe in yourself. This album is less political and more personal." He is quick to state that the band's musical knowledge has not been the only change for Sepultura. The actual direction and definition of the Sepultura sound has been finally discovered; "Our music is very original now. It has its own face and now leaves an impression which is what we have been looking for all these years. We don't want to be the 'next anything' like what most record companies want. We just want to be a band that can sound different and be proud of it." And the appeal of Sepultura's music? "We are not trapped in any genre and we have created our style and will continue to grow deeper and deeper into our style. To become a stronger Sepultura. I hope the next record tops _Roots_ where it will be a more exciting and intricate album." While on the topic of success, I ask Cavalera if the band feels that, after so many releases, world tours, and respect from critics, they have reached a successful point in their careers? "We try to reach success that comes together with integrity and fan appreciation without having to compromise ourselves," acknowledges Cavalera. "If you can do that, it is the best success you can get. For me, that is important to me even though we could get bigger than we are by being commercial. This way we feel like we have earned it without feeling like a music whore." About today's music scene he mentions, "It is fucked up with all these bands sounding like one another. It is like, why bother ripping shit off like that? Bands are so disposable. They make the cash and that's that, and that is what record labels like. I am not like that, don't want to be and never will be like that. I am not into that greed stuff. I do this because I like to make music and watch how people react to it." If success hasn't changed Max Cavalera's outlook on life much, marriage and fatherhood sure have (Max is married to Sepultura's manager Gloria Cavalera and father to his toddler Zyon). Max relates, "It hasn't changed me much except maybe that I spend more time at home doing some recording with my four track. My son spends time with me while I record. I used to spend less time with music and more time just getting fucked up," he chuckles and says, "Now I live a different lifestyle but it is in some way or another interconnected with music all the time." The topic now turns to the fact that Sepultura will be heading out on tour once _Roots_ hits stores in March and, like the _Chaos A.D._ tour, it will be an extensive one. "I am convinced that we will tour more than ever before with this album. We toured two years with the last record and it just seems that there is a whole lot more to do and places to play." Cavalera outlines the reasoning for such a long tour by saying, "We don't see just Europe and America as the only places to play. We gotta go everywhere because that is what we are all about: playing out." Mentioning the possibilities of the band going out on a headlining tour, Cavalera says, "I'd like to play at clubs and venues without seats where fans can be close to the band and can get a better show. I don't like arenas too much [noting the size of the Ozzy tour]. If there is a chance to go out on tour in arenas with a big band, I will do it in order to promote the band and the record." When asked about the band's attitude and aggression on the stage he responds, "We are all very different on and off the stage. When playing, Paulo, Igor, and Andreas just go all out on stage, but they are not like me. I just let anything happen sometimes as I don't hold myself to anything. The stage is where I am and do let all my frustrations and feelings out." Seeing that Cavalera has lived with his wife and family in Phoenix for some time, does he miss living in Brazil? "I go back home a lot and as much as I love it, Brazil still pisses me off. For me, it is better to be here [U.S.A.] where my head is clean," explains Cavalera about all of the problems facing his homeland, including drugs, police corruption, illegal government activities, and so on. Many of these problems have been the backbone behind numerous Sepultura songs about politics and social issues. "It is all true. All the shit that is going on there, it is just that people are afraid to say things because there is a code of silence amongst many." Cavalera is very much aware of the dangers of travelling there too; "When I was there last time, I was paranoid that I would be sabotaged by police or kidnapped. I was paranoid because I think I am too outspoken. When I was there last time, I did a few interviews with some big newspapers and basically said that the police there are a pile of shit. And now I realized and have thought to myself that saying stuff like that could cost me my life. So now I don't go back as much and it is because now that I have kids and a wife. Why risk it? I mean, why have them kidnapped, tortured or killed when they haven't said anything? I just gotta be more careful from now on." Back to the grind one more time, Sepultura prepares once again to tour the world, and they are hoping in the process that their fans, as well as newcomers, pick up on their 'roots.' It is definitely something that would make them proud this time around. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= C O N T I N U I N G T H E C R U C I F I X I O N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An Interview with Immolation by: Gino Filicetti Seeing as it has been almost five years since you've probably encountered the name Immolation, it would be no wonder if you are a bit fuzzy on the details surrounding this band. In the fateful year of 1988, Immolation was formed after the demise of Robert Vigna and Tom Wilkinson's previous band: Rigor Mortis. The duo went on to form the first incarnation of Immolation that also included Ross Dolan on bass and vox, and Neal Boback on drums. Just before the recording of their first album, the relationship with Neal deteriorated to the point of the band being forced to move on. Enter Craig Smilowski to fill in as a session drummer on Immolation's debut, _Dawn of Possession_ and later staying on for the long bout of touring that followed. Just recently however, the band decided that Craig was not the right person for the job. "He just wasn't into it with all his heart. I mean, Craig's a really good guy but he wasn't one to take initiative. He always had to be told what to do and it just got to the point were we wanted to move on to bigger things, and Craig couldn't handle it. So now we got Alex Hernandez (ex of Fallen Christ) who is an excellent drummer, who knows exactly what he wants to get out of drumming, and is obsessed by the music. I mean, the guy had to be part of four bands just to get the amount of practice he desired." With the release of their album just around the corner, and more than one tour already planned, the band is more than psyched to get out there and get back in people's faces. However, it has been a long time since their previous release (five years). Will this fact hurt the band's chances at all? "No way! I think if anything it actually helps us. I mean, it's not like we are some kind of trendy band that lays low and tries to figure out what the next trend is so we can jump on it and cash in. No, I think people appreciate that we are still the same band we were five years ago. I think that we will have not lost any of our fans, and we hope to grab that many more with this new album." One reason that can account for the gap between albums is Immolation's label switch. It can be said that the band had to start completely from scratch after releasing themselves from Roadrunner, in that they had to shop for a new label themselves. "It was just a matter of us being fed up with the label and all the bullshit we had to put up with. Everything was great with them, we recorded _Dawn of Possession_, and everything was really smooth. Roadrunner then sent us on a couple of tours, and they were ready for us to release another album in the few short months that followed. We tried to tell them, 'Look, we just won't have the album ready by then.' I mean, we all had full time jobs and we couldn't focus our complete attention on the band at that time. But the label wouldn't accept that, so we decided that it was best if we just leave and find someone who would be more into our music, and appreciate us in the same way everyone else appreciates us." One of the most unfortunate things about getting pre-release promos is that more than likely, the album's lyrics will be left out and forgotten. What most labels fail to realize is that (in my opinion) half the album's worth consists of its lyrics. Rob Vigna shares my opinions; "I know, that really sucks about promos. I mean, you'd think that people who are doing interviews and reviewing records are the ones that need the lyrics more than anyone." However, from the song titles alone, it is apparent that Immolation are still keeping up with their anti-Christian beliefs. What is behind the lyrical ideas on this album? "Well, I think that this album is very personal to all the members of the band. Very much more so than the last one. There is more of an anti-Christian theme on this album as well. It just reflects what we feel inside. I mean, in my opinion, it is very hard to write a really good song. I can honestly say that we, as a band, have always taken our time to deliver the best lyrics we can possibly write." In music, we have nasty things called labels. Everyone in this business feels the need to categorize and pigeonhole bands into certain genres: death metal, thrash, grindcore, black metal, etc. How does Immolation fit into all this? "Well, Immolation is just Immolation, plain and simple. Fuck man, you know, we have been called it all, from death metal to black metal to death/black metal. It's just stupid I think, but then again, people need a frame of reference when talking about new bands or unfamiliar bands. I just think people should spend as little time as possible thinking about what certain genre a certain band is." Since their debut album, Immolation has certainly had more than their share of road time. The band has successfully toured America more than once, Europe, South America and even the greatest country on earth, Canada. What are the tour plans this time around? "Well, we are going to go out with Six Feet Under in support of their American tour, and after that we are heading out to Europe to open for Cannibal Corpse. There will probably be an Osmose band opening up as well. After that, we will probably follow Cannibal Corpse back to the US and support their tour here." He continues, "As for headlining a tour, we have nothing planned yet, but these tours will take up most of our time for the rest of this year. Maybe late this year or early next year, we will put together a headlining US tour. The thing is that headlining is just so much better. You are in control, I mean, you pick the food and you get first crack on the sound board, and you go on last, and you get to play all the songs you want. And in the end you know that if you pack a venue, it's because all those people were there to see you." As my interview drew to a close, I asked Rob if there was anything else he'd like to say to everyone out in cyberspace. "Yeah well, we'd just like to thank everyone for all the support and encouragement we've received throughout the years. We know that without the help of each and everyone of you, Immolation would not stand where we are today. I hope everyone completely digs this new album, and hopefully we will see you all on the road." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= R E S U R R E C T I N G T H E R E I C H ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An Interview with Sacred Reich by: Adrian Bromley Few thrash metal bands have survived the destructive stomp of commercialism or the neglect many listeners have given them while moving onto other genres of music. Still around since forming in 1986, thrash metallers Sacred Reich are living proof that thrash metal is alive and well in this day and age with their latest effort _Heal_. _Heal_ is the quartet's fourth full-length album (following 1987's _Ignorance_, _American Way_ (1990), and 1993's brilliant yet dismally selling _Independent_, as well as a few EPs) and with this album, the band has regrouped and brought in a more 'back to the basics' kind of approach, a direction avoided with _Independent_. The band felt that a heavier album with grittier songs needed to be produced in order to get the band back to what they once were. "On the last record I thought it was a really good record. I just thought there was missing something," begins singer/lyricist/bassist Phil Rind about their last record, _Independent_. "I think it was missing our roots of where we were from or what we were about. It was something we felt we needed to re-establish. I think maybe we got a bit too comfortable with the last record but we thought we were missing out so we decided to make a record that was what we are." And what sets _Heal_ apart from their 1993 LP _Independent_? "The songs," responds Rind, "there wasn't a song like "Blue Suit, Brown Shirt" or "The Power Of The Written Word" on the last record. I think we got away from that type of material for a record but I think we realized it in time." Along with guitarists Jason Rainey and Wiley Arnett and drummer Dave McClain, Rind and his ensemble of thrashers are not ashamed of the direction they took with the last effort. They just felt that it was another point in their careers. "You just write where you are at at that time. I think it was a transition record with the way we were at Hollywood Records [their label prior to signing back to Metal Blade] and with a new drummer. It was a weird thing. I mean no one ever told us not to write heavy songs. I don't know why it was done that way," explains Rind. "You gotta do what you like and you can't ignore a part of you." Seeing that a large percentage of bands Sacred Reich played with or shared the same musical genre with in the mid-80's and early 90's are all gone for the most part, does Rind see that metal has fallen from the clutches of the mainstream and back into the underground? "I definitely think so because things go in cycles. There was definite underground and then there was an overexposure, 'flavor of the week' vibe to metal and that kind of music but that was from record companies and people in the media. I think that when things get too big it has to revert back to where it originally came from to survive. That is happening right now." And his views on the band's reason for sticking around? Any secrets to their longevity? "I think the main thing was that we stuck it out. We had good times and bad times and we had in between times." Rind reveals, "There was a point in time when I quit the band not long ago, about a year ago or so. I wasn't sure what I wanted to do and I wasn't happy. It was strange but it gave me a new appreciation of what I do." He continues, "Sometimes it is easy to get caught up and not look around and realize what you got. That was a tough time for me personally. The record [_Heal_] was done when all these things started to happen. I was confused. I think you get to a point in your life when you reach the crossroads and there are a lot of things going on and you got to stop and not make any rash decisions. Luckily I was smart enough to realize that I was going through a thing and I had to get through it. It [the problem] had nothing to do with the band and luckily I worked it out and I feel very comfortable with what I am doing, who I am and where I am at. "I don't know what brought it about but it is a thing that just happened and it is good that it happened because it gave me a renewed enthusiasm and commitment and joy and happiness," says Rind. And things have been getting better for the band as they signed back on with their original label, Metal Blade, and are just loving the new album. "I think this is the best one. Every time we do a new record I think it is the best record we have ever done. I think that is because every time we get better at what we do and we learn stuff along the way." And with that growth does Rind find that the album's songs and lyrics come easier this time around, especially after all these years of songwriting? "I don't think it gets easier or harder. It is just that it is still the same as far as the mystery of the creative process is concerned. It is a mystery of what makes the average song come about." So with the problems aside and things back on track was there a reasoning for _Heal_ to be the album title? "We always try to pick album titles that mean different things. Heal relates to physical healing which is representative by the cover [a picture of a full knee restructuring operation]. Heal can also relate to physical, mental, spiritual or emotional healing too. We just felt it to be an appropriate album title for the album." Seeing the admiration for album number four, does Sacred Reich have any set plans for the immediate future? Aside from a tour of both North America and Europe, which is a major commitment, Rind reveals the urge to get back into the studio soon. "I'd like to make another record. People always ask me, 'What do you want to do to be more successful?' and I think and I would want to make another record within a year of the last one. Maybe that will be some way to break the mold of the release of Sacred Reich records," laughs Rind, noting the long gap between their albums. He finishes by saying, "We want to do that ... though there are no guarantees." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _______ __ _ _______ __ / ___/ / ___ ____ / /_(_)___ / ___/ / ___ _/ /_ / /__/ _ \/ _ `/ _ \/ __/ / __/ / /__/ _ \/ _ `/ __/ \___/_//_/\_,_/\___/\__/_/\__/ \___/_//_/\_,_/\__/ ____ _ / __/__ ___ ___ (_)__ ___ ___ _\ \/ -_|_-<(_-::> ,.:/ Here is where CoC gets the inside story on up-and-coming bands. Check out this column for a variety of fresh, brutal groups. Should you be an aspiring band on your way to super-stardom, send us your demo and bio; our address is included in the zine's header. I N D E P E N D E N T F E A T U R E : A E O N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ by: Brian Meloon "There is no dead which can eternal lie, and with strange aeons even death may die." -- H.P. Lovecraft, as quoted by guitarist Paolo Gavocanov Proving once again that the language of metal knows no boundaries are Croatia's Aeon. I first heard them in the summer of 1995, when their keyboardist Sinisa "Sipy" Bival sent me copies of their two demos: demo #1 (1993, when they were still called Dissection), and demo #2 (1994). They were reviewed way back in CoC #2, and their second demo was given unending praise. I recently asked guitarist Paolo Gavocanov and Sipy some questions about the band and their forthcoming debut album. Since their inception in 1989 as Dissection, the band has gone through numerous lineup changes and a name change. Eventually, the lineup settled down, and has remained constant since the beginning of 1994. However, their name is a different story, as Sipy explains; "The name has always been a problem, but I don't think we're gonna change it. I guess that we're not lucky with our name. I mean when the band was called Dissection, the Swedish guys released their debut _Somberlain_. We figured it would be appropriate to change the name. Now I know of 3 different bands with name AEON, but I don't care about that. We like this name." Hailing from Croatia also made it difficult for the band. "The scene isn't much here. It could be better," says Sipy. "I can say that there are more people that are listening to underground metal bands than bands existing in the scene. The problem is always the same: lack of equipment, space for rehearsals and finally there are not so many places where you can play." Still, the band has managed to promote itself in the European underground, appearing on Dennis Ippel's compilation tapes _A Waste of Tape #1 and #2_, as well as having their video for "Congest" (from demo #1) shown on Croatia's _Metal Mania_ TV show. Although demo #1 was straight ahead death metal, the band progressed towards a more technical and melodic style. In Sipy's words, "Our music has its phases. If you would listen to _demo #1_ and to the stuff we're doing now, you would see a progression going on. From that straightforward death metal, we built our own style. The main thing was the absence of Sasa [Ristic, their former guitar player. He left for military service]. Then Paolo, who's doing all the riffs, is always going for something new, he doesn't like to play the same thing twice, believe me. The keyboard stuff did the thing also, especially by doubling scales and melodies to the guitar. It resulted in a more original musical output. I'm not saying that it's unique but it has its originalities. It's technical, melodic, heavy. We use many different metal styles and other styles that are not metal to express ourselves." Paolo concurs, "I'm a very impatient type of human being, and I really don't like playing always the same songs, and I neither like to play always the same type of music, and it is reflected clearly in my music." Personally I would describe their overall sound as technical, melodic death metal, though the band resists classification, with Sipy citing the usual objection that, "Kids seem to listen to a particular style only because of the trend or something." Paolo is a little more descriptive; "Our music is a sort of progressive metal, and it is the only way in which I can classify it." Currently, the band is preparing to release their debut album on the newly formed Baldrick Hell's Kitchen Records run by Jordi "Billu" Bellaubi, formerly of Abstract Emotions. They are in the process of recording as I write this, and should be finished by the time you read it. In the meantime, BHK will rerelease Aeon's _demo #2_ as a cassette EP under the title _Clean Hands of Eternal Gods_. The re-released version will feature a new live track, "Portent", but will be without the keyboard outro "Dissicated". BHK will also be releasing a home video of the band including covers and studio shots of the band as well as their video for "Blinded by the Afterlife" (from demo #2). Their forthcoming full-length debut album should be a diverse offering, as the band has continued to move into a more progressive sound. Paolo mentions that the new album will feature "some old hippie-groove parts like the old Black Sabbath and Saint Vitus stuff. Of course there'll be lots of guitar & keyboard solos. I hope you'll like this one, they'll not be recorded all in half an hour. [Ed. note: This was my only real complaint with demo #2, see CoC #2], and I hope that there'll be lots of samples (my new passion) on this record." Sipy informed me that the sound would be more like Atheist and Cynic than their previous work. When asked to elaborate, Sipy explains, "We all listen to both of them and we're all highly opinionated about them, but our goal isn't to sound like them. We're going on an original thing. The style will be technical, that's for sure." Quelling my fears that the band were abandoning the complex, technical, melodic death metal style of _demo #2_, Paolo assures me, "There'll be different styles on this record because we'll record two old songs [one from the first demo] with some enhancements and modifications, there'll be 4 or 5 semi-old songs, and there'll be a brand new one which will surely sound different, so I guess it will not be boring." Sipy adds, "On the album, we'll have songs with so many different riffs and many of them are technical, melodic death metal." After the release of the album, Aeon hope to do a month-long European tour to support it, a prospect that Sipy calls, "Our dream come true." What does the future hold for them? In Paolo's words, "My MIDI-Guitar, and a new Aeon, with lots of samples and overlayed musical styles. I have plans to do some strange crossovers from free jazz, hippie-groove, pure heavy-metal, some melodic speed-metal and power-metal like Pantera." Band contact: AEON, c/o Sipy Bival Laginjina 11, 51000 Rijeka, CROATIA Email: sbival@mapef.pefpu.hr Label contact: BALDRICK's HELL KITCHEN Apartat 14148, 08080 Barcelona Catalunya SPAIN Email: billu@bbs.hnet.es =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ______ __ | __ \.-----.----.-----.----.--| | | <| -__| __| _ | _| _ | |___|__||_____|____|_____|__| |_____| ______ __ __ __ | __ \.-----.--.--.-----.| |.---.-.| |_|__|.-----.-----.-----. | <| -__| | | -__|| || _ || _| || _ | |__ --| |___|__||_____|\___/|_____||__||___._||____|__||_____|__|__|_____| This is where we rant, rave, and rip apart albums. Check this column every month for the scoop on the latest in heavy hand-outs. Scoring: 10 out of 10 -- If there was ever a perfect CD, this is it! 8 out of 10 -- A great piece of metallic mayhem 6 out of 10 -- Not too bad of an album 4 out of 10 -- You are treading in dangerous waters 2 out of 10 -- If you like this, you are fucked! 0 out of 10 -- My shit can put out better music than this! Hypocrisy - _Abducted_ (Nuclear Blast, January 1996) by: Gino Filicetti (8 out of 10) Back, and with a vengeance, is Peter Tagtgren's own Hypocrisy. Blazing at mach speed is the fast and furious _Abducted_, a CD that not only pleases the mind, but wrecks the brain in the process. Their fourth album to date, Hypocrisy show that their breed of guitar oriented death metal has not yet died. The album begins with a weird opening track called, "The Gathering". It consists of a distorted sample of some kind of military radio transmission about extra-terrestrials. Then the music comes into play and seizes the listener by the scrotum (or various other genitalia) and doesn't let go for the entire rollercoaster ride. The vocals on this album have a good variety in that they go from high-pitched screeches, to distorted soft-spoken parts, to guttural growls. Guitar work on this release is of the utmost perfection, the multitude of leads throughout this album proving my point. The production of this disc is of the highest calibre, but the biggest disappointment was that, despite a FULL album liner, NO LYRICS WERE INCLUDED! This is perhaps my biggest pet peeve, and especially in this case, I wanted to read about what was being said. The last three tracks of this album show that the band is not modest about being experimental. "Reflections" is a slow, almost ambient instrumental piece that utilizes orchestral arrangements. "Slipping Away" has a melodic guitar approach throughout its course, complemented by soft-spoken, yet distorted vocals. And finally, "Drained" is a quiet, acoustic piece that gently lets the listener exit from Hypocrisy's latest domain of sound. I definitely recommend that everyone at least listen to this album, because you just might find something you've long been looking for. Bestial Warlust - _Blood & Valor_ (Cargo Records, December 1995) by: Gino Filicetti (6 out of 10) Herein lies ANOTHER CD which came to me bio-less. Arrrrggh! This must be the one pet peeve that peeves me the most, but as always, great writing must prevail (so then why the hell are you reading CoC?! :) The album starts off with the title track, "Blood & Valor". The intro to this song brings to mind Slayer, back in the good ol' days of _Hell Awaits_. The music then rapidly progresses into a barrage of black metal acoustical agony. This trend is maintained for the better part of the album, which in my opinion makes this CD seem stagnant and one-sided. The vocals on this album are not the usual ultra-high frequency yelpings that accompany most black metal releases. They tend to be a bit more listenable, but lack the agony and pain of true black metal. One somewhat unique feature to almost EVERY song on this disc is the use of lead work. Solos abound left, right and centre here, and never seem out of place. The tie for my favorite track is between the instrumental, five minute epic, "Within The Storm" and "Legion of Wrath", a song that tries to break away from the blast beat noise that is present on all the other tracks, and also possesses a good heavy element of grind to it. All in all, this album pleased me for the first five minutes, but to someone 'truer' than myself, it could be considered a masterpiece. Scorn - _Gyral_ (Earache Records, November 1995) by: Laura Wiebe (7 out of 10) _Gyral_ is the newest release from the brainchild of Michael Harris, former Napalm Death drummer. On Earache Records and Scorn Recordings, this vocal-less, ambient electronic album is very dark, not entirely suitable for the sunny afternoon on which I first heard it. Some of the machine sounds are quite cool, while others are too high-pitched to be anything but overdone and annoying. When the strings or piano parts come in, it often serves as somewhat of a relief. Although _Gyral_ contains some good ideas, I think in most of the songs it really wasn't necessary to take so long to express them, and there is a lot of repetition. The album's least pleasant offerings consist of Casio-like hip hop drum loops and synth-bass lines. Despite these failings, Scorn works as eerie background music, but this isn't something I'd play at a party or give the headphone treatment. The Gathering - _Mandylion_ (Century Media, November 1995) by: Gino Filicetti (8 out of 10) Beginning their life as a 'primitive, Celtic Frost inspired, death metal band' according to their bio, The Gathering have come a long way since their inception in 1989. Continuing with the new direction of softer, more melodic metal that began with 1993's _Almost a Dance_, The Gathering have made a major leap forward with regards to their music on _Mandylion_, their latest offering to the gods. This album is the first that features the sole vocal abilities of Anneke van Giersbergen. There is absolutely no doubt in my mind that this woman has the hands down best voice that I've ever heard in a metal band. The difference that sets Anneke out from the rest of the femme vox currently singing with some outfits is the fact that she is the lead singer, her vocals dominating throughout. The music on this release is very melodic and very heavy in the same breath. Keyboards have a strong presence in The Gathering's music which makes for a great atmosphere within the songs. The tempo on this record never reaches the red-line, but then again, it wouldn't flow properly if it did. An alternative influence (!) can be heard in songs like, "Fear The Sea". Another notable mention is the title track, "Mandylion", which is an instrumental song featuring tribal beats with trippy flute parts. Definitely not something for the heaviest of heavy metal fans, but if you like to experiment, and especially if femme vox do for you what they do for me, this is the album for you. Scum - _Purple Dreams & Magic Poems_ (Black Mark, January 1996) by: Adrian Bromley (8 out of 10) Album number two for Finnish death metallers Scum (a follow-up to 1994's _Mother Nature_) and it seems like we have a winner here. This effort is full of gems. Look no further than tracks like "Circus Of The Freaks" or "Flames Of The Silver Sea" or even "The Crest Of The Northern Wave" to see that this band is in no way able to be seen merely as a metal act. The precision sound and ace recording allows the music of PD&MP to promote a clear direction. The metallic edge to most of the songs seems to take on a transitional state as it goes from heavy, cumbersome riffs to tranquil almost hypnotic strides at a second's notice - truly captivating. It isn't about how harsh or loud, or even how demonic you can be anymore - it is how you can bring about emotions and provoke thoughts. Such is a standard call to duty provided by other great metal acts such as Paradise Lost, Pyogenesis and Mindrot. Carefully crafted but played with vigorous attention, the music here releases a lot and all the listener can do is fall witness to emotions thrown at them. Pick this one up metalheads. Helloween - _Master Of The Rings_ (Castle Records, January 1996) by: Adrian Bromley (6 out of 10) What can I say? This is metal that has been brought from the mid- 80's, and in true heavy metal fashion the music is raw, heavy and full of some great guitar solos and riffs. The thing that has kept Helloween alive and well after almost eleven years is their persistence to keep their momentum going and never give up. I mean, they have managed to survive band changes and the shift of musical preferences which occurred in the early 90's and are still able to call themselves a heavy metal band. With _Master Of The Rings_, Helloween manages to bring their riffs and ear-piercing vocals into the 90's while still keeping to their roots. While most will write this effort off as just 'old school' metal there is something special about it, whether it be its energy, spirit or just the fact of its loudness. "Where The Rain Goes", "The Game Is On", and "Perfect Gentleman" are all trademark Helloween numbers and something many fans of this musical style will be able to dig. Destroyer 666 - _Violence Is the Prince of the World_ by: Adrian Bromley (4 out of 10) (Cargo Records, December 1995) Few bands nowadays really, really impress me. They've got to have music that is mindbending and riffage to kill (i.e the new Sepultura or Meshuggah's _Destroy Improve Erase_). Strong songs that in particular can be seen as heavy material, despite any preconceived notions of heavy metal. Not the case for Destroyer 666, a band with a strong name, but little else with their metallic dribbling, deathish screams/chants and overplayed theatrics of _VItPotW_. Bored out of my skull midway through, I found that this act has no backbone, no real edge over the hundreds of bands flooding the market. They sound like a weak imitation of Carcass, and in my books if you try to rip THAT band off, you've got to do it well. Seven tracks that really don't pull together much of an album. Exoto - _A Thousand Dreams Ago_ (Black Mark, Fall 1995) by: Adrian Bromley (7 out of 10) Hailed as the leading death metal band in both Belgium and Holland, Exoto have continued to grow in both speed and metallic proportions ever since their inception in 1989. Several demos have since been completed as well as their debut CD on Belgium's Tessa Records entitled _Carnival Of Souls_ in 1994. Now a year and change since their debut, the band seems to be on fire. Reckless, brutal and full of unearthly power, the riffs and growls released on _A Thousand Dreams Ago_ are stimulating to the ear and soul. Infectious if you ask me. You just feel the anger and speed within the beats of such songs as "Screams Inside", "Spirit Within Me" or "Thoughts". With a very similar sound to England's Carcass with respect to vocals, mixed with some classic metal riffs, Exoto seems to take their death metal approach one step to the right, presenting a much more standard sounding death metal album, but with a 90's style direction and conscience. In the end, fans craving speed and metal mayhem will need to look no further as Exoto has what they want. Mortician - _House By The Cemetary_ (Relapse Records, January 1996) by: Gino Filicetti (5 out of 10) As I was putting this CD into my BRAND NEW STEREO, I wasn't expecting a whole hell of a lot out of it. I kind of feel bad that I have to give the first CD reviewed out of my new kick ass system such shitty marks, but hey, it is honesty that you underground types cherish above all else isn't it? Anyways, this is Mortician's latest release to the civilized world. There is but one thing to say about this CD: sick! The album starts with a sample from some obscure horror flick (Will Rahmer, the vocalist, is a horror/slasher film aficionado) that proceeds into some monstrously slow and heavy chugging grind. Blast beats also abound on this album, but since the death of Mortician's drummer, Matt Sicher, the band has been a duo; therefore drum machines are used in place of the real "thang" which makes the blast beats nothing more than a complete joke. The vocals are probably some of the deepest, sickest, most guttural type I've ever heard. I'll leave it up to the reader to decide whether that's his or her cup of tea. Some redeeming qualities about this album are the covers of Celtic Frost's, "Procreation of the Wicked" and the old Napalm Death classic, "Scum". The low tunage of the instruments coupled with the depth of the vocals make for an interesting interpretation of said tunes. I say after you heard the first track, you've heard it all, so you decide. Clotted Symmetrical Sexual Organ - _Nagro Lauxes VIII_ by: Adrian Bromley (7 out of 10) (Morbid/Sepulture Prod., January 1996) Halfway through this album by Japan's CSSO, a rather calm sampled male voice says, 'Listen to this if you dare all of you who think that you know what grind is.' The statement seems rather important as it kind of edges us to continue on into their world of grindcore, satire and humor. But do we want to continue on? I can't decide. Not the most enjoyable thing to slap on and hear, but there is a sure sign of excitement when listening to CSSO's album as it goes from chaotic noisebashing to grindcore, and back to sampled segments from movies, etc. Call them the Japanese equivalent of Penn. State noise rebels Exit-13. The similarities between both bands is scary. Along with noises and other odd bits, you have 80's riffs, melodic beats, screams of anger, and a shitload of grindcore heaviness. Truly unimaginable until you hear it. Fans of Exit-13, take note because these guys are just as fucked up. Not really having a favorite number, I must insist that tracks like "Rolling The Zen", "A Trigonometrical Of Mokuba", "Bara Bara Man", and "Perversion" be cranked loud. Word of caution: If you don't dig the record by "Very Very Blue Belly", don't even bother listening to the rest of it. Dark Tranquility - _The Gallery_ by: Adrian Bromley (3 out of 10) (Osmose/Cargo, December 1995) If speed metal, death metal, and thrash metal could actually weed itself out and put all of the imitators and rip-off artists into a barrel, I'm pretty sure that this Carcass/Brutal Truth clone band called Dark Tranquility would be in there somewhere. From opening riff of "Punish My Heaven" to closing number "Of Melancholy Burning", Dark Tranquility seem destined to run around in circles with their lackluster performance, not to mention the unoriginal approach and styling of their music. The only moment worthy of praise is the title track due to its use of the soft-spoken, choir-like female vocals overlapping the trudge and ripping chords of their instrumentation. Song after song, the album seems to stray from anything original, and the band paints itself into a corner and must be asking themselves, "Where do we go from here?" Bland and uninspired music with no appeal at all - that is, unless you like to hear someone else's music ripped off over and over again. This one is destined to become the newest addition to the delete bin at your favourite music store. Nightingale - _The Breathing Shadow_ (Black Mark, January 1996) by: Adrian Bromley (2 out of 10) I'm guessing producer/musician Dan Swano had some spare time off from producing an album or two to just sit down and try to be creative. Well Dan, _The Breathing Shadow_, (an album he wrote, recorded and mixed) didn't really seem to get anything going except maybe a few hard laughs from death metal fans worldwide - not to mention some unkind words from critics too. This album is not what a lot of people might expect from the very talented Swano. Nothing at all. More like a rock record, _The Breathing Shadow_ is not really rooted by any metallic means. Sure, there is some ambience to some of the songs, maybe even gothic at times, but it sounds more like a carbon copy of an 'old school' 80's band like Dokken or Stryper than a musical mastermind at work. To be honest with you, I couldn't sit through this whole record. Ghostorm - _Frozen In Fire_ (Black Mark, January 1996) by: Adrian Bromley (6 out of 10) Metal is metal no matter where you hail from. As long as you are part of a metal scene, be it small or large, the music still survives. Case in point, Lithuania's Ghostorm. Comprised of a very deep-rooted metal sound and direction, Lithuania's metallic pride and joy carry their music well. Standard riffs and growls surround the music within their raw but crisp debut effort, _Frozen In Fire_ (produced by Edge Of Sanity main man Dan Swano). Seems as though Swano saw something in the music of this band and demanded that he produce their debut - good choice Dan! What we find in _Frozen In Fire_ is a somewhat generic metal element in the make-up of the songs, as well as a definite Napalm Death influence with respect to their vocal style. Generic death metal it may be, but the obvious brutal influences of the past few years (Carcass, Entombed, Brutal Truth) are evident here as well. Tracks like "There", "Frost", and "Come Back" are standouts on this release. Brutal music proves to have no boundaries (speaking geographically, that is) with this timely release by Ghostorm. Stellar production by Swano is the album's key asset. End Of Green - _Infinity_ (Nuclear Blast, January 1996) by: Adrian Bromley (8 out of 10) Truly one of the most impressive debuts of this year - hands down!! Germany's End Of Green are quite a remarkable four-piece that dig deep into the soul and manipulate the mind with their own genre of musical dominance they call 'depressive subcore.' The album, _Infinity_, follows a complex rotation of moody epics that create images of lost hope, anger, and loneliness. Guitarist/vocalist Michael Huber really stands out with his hypnotic vocals reminiscent of Type-O-Negative's Peter Steele or Peter Murphy's work with Bauhaus. Though far from the emotionally depressing reaches of Bauhaus, the obvious stylings of fellow countrymen Pyogenesis allow the music to take on the character of gothic metal. But it is more than that as well. Though each song follows a slow, almost monotonous direction throughout, it is the lyrics and the use of Huber's voice along with the band's clashing of riffs and beats that show the dynamics of a true and earnest album. It is very powerful and I can guarantee you will be drawn in after a listen. Tracks to lookout for are the thrilling "Away", "Nice Day To Die", "Left My Way", as well as the title track. Hope this band gets a big push from their label and a good tour as they deserve it after creating such a remarkable first effort. Disgrace - _Superhuman Dome_ (Morbid/Sepulture Prod., January 1996) by: Adrian Bromley (6 out of 10) Finland's Disgrace are a well-knit energetic band that incorporates the fundamentals of a truly dynamic death metal outfit (in the vein of Entombed and Dismember) and the stomp of a standard hardcore/metallic band. The music here is somewhat lacking in the impressive department, as the music lacks originality or even character; but no one can say that this band doesn't have a vigorously sharp beat going for them. The music is tight and the band is capable of making their songs presentable to us without losing our interest, with a growl here and a head-popping riff there. Heavy duty action happening on numbers "Distress", "Forever", and "The Earth Silence". Not much more to say except that it seems that this outfit has more muscles than brains. But that ain't a bad thing now is it? Masquerade - _Surface of Pain_ (Metal Blade, January 1996) by: Laura Wiebe (5 out of 10) Originally released in 1994, the second album by Swedish band Masquerade is only now arriving in North America courtesy of Metal Blade. Five or six years ago, I might have enjoyed this album more, but now? _Surface of Pain_ has its high points; unfortunately I've heard most of them before. Overall, Masquerade's sound is somewhat of a mix between Alice in Chains, Queensryche, Dokken (in the 80s) and maybe even Boston. Some of the choruses have got to cruise though, along with the guitar solos. Because it's all been done before, the listener tends to lose interest fairly quickly but parts of songs like "Feels Good" and the chorus of "Say Your Prayer" liven things up a bit. This isn't a bad album but it's not consistent, nor is Masquerade all that far from the 'tired and monotonous bands' mocked in their bio. Time Machine - _Act II: Galileo_ (Spell, 1995) by: Brian Meloon (7 out of 10) I'm a sucker for concept albums, and this one, loosely based on the life of Galileo Galilei, is no exception. It's also beautifully packaged and laid out. The album clocks in at approximately 50 minutes, and as you'd expect, there are a number of short interludes and sound effects, with only 7 of the 19 tracks being of any reasonable length. Musically, this is progressive metal, comparable to Savatage, but not as cheesy as their new stuff. At times, they remind me of a number of bands, including Voivod (_Nothingface_ era), Saga, and of course Dream Theater. However, they avoid the "kitchen sink" mentality of many prog metal bands. This album is surprisingly cohesive, but they don't really have their own identifiable style. The playing is a little rough, and the album as a whole has an amateurish/indie sound, but most of the songs are good (or at least passable), with the exceptions of "Dungeons of the Vatican", which is a great instrumental, and "Prisoner of Dreams", which has two horrific sax solos, reminding me of the romantic sex-scene music you'd hear in a bad movie late at night on Cinemax. One thing that I love about this release is that virtually all of the songs are through-composed, which means you won't get bored too easily listening to it, and they also make use of repeated motifs throughout the album. Both of these characteristics really help the album in my opinion. This will be a little hard to find, but it's worth it for prog metal fans. Mass Psychosis - _Face_ (No Bull, November 1995) by: Brian Meloon (5 out of 10) This is a re-release on CD of a bunch of stuff from New Jersey's Mass Psychosis; their demo _Face_ (1991), seven inches _My Private Hell_ and _Goremachine_ (including revocalized versions), and a new track, "I Own Your Soul", from 1993. It's all the same basic heavy thrash mixed with death metal style, but there's a good deal of variety and some melody as well. It's not really innovative, but _Face_ would have been quite impressive in 1991. As it is now, it's a little cliche. It's still reasonably good, but they never really put things together to make a great song. They seem to always manage to mix really bad stuff in with their cool stuff. It's most likely just my personal bias, but it seems like they have more potential than they're exploiting. The playing is decent, and the vocals aren't too bad, though they can be a little obnoxious. Still, nothing about this really strikes me as outstanding. Their newer stuff on here does get better, so I'll give them credit for that. In any case, I'd hesitate to recommend this to all but die-hards, unless you want a version of _Face_ on CD. gut-sonic - _Impetus 23_ (2nd Sun Records, Fall 1995) by: Adrian Bromley (7 out of 10) gut-sonic have been playing the circuit here in Toronto for a few years now but after several years of 'playing out', the band finally has reason to be seen as something other than just another local Toronto act. With their first full-length debut album, _Impetus 23_, the band proves that they are quite a talented band with their chameleon-like roster of metal, hardcore and progressive songs found on this release. The thing that stands out most with this release is singer Andrew Sanger's vocals and the fact that the band can mold its music around the stylings that Sanger reveals with each song. It can be tough to keep the multiple stylings of songs fresh throughout the CD, but gut-sonic do just that. From the infectious stomp of "Frame 313" (my favorite) onto "Knuckle-Head", "Metamorph" or the cool vibes of "Fear Is Life" or "You!", gut-sonic reveal a sturdy framework of riffs, vocals and stamina. End result: a strong, powerful concoction of harshness. Sonically, the band tends to base itself around harmony and somewhat standard riffs but when the fuel gets going watch out. An ideal band for those wishing to let things go rampant every once in a while. Check 'em out. Contact: gut-sonic, 599B Yonge Street, Suite #125 Toronto, Ontario, Canada, M4Y-1Z4 e-mail: 76702.2073@compuserve.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __ __ _ /\ \ \_____ __ /\ \ \___ (_)___ ___ / \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \ / /\ / __/\ V V / / /\ / (_) | \__ \ __/ \_\ \/ \___| \_/\_/ \_\ \/ \___/|_|___/\___| Your best source of information on the newest of the new, and the lowest of the underground, New Noise is the place to read about all the coolest shit you never thought existed! And if you have a band, don't forget to send us your demo with a bio if you want to be reviewed; our address is included in the zine's header. Nueairea - _Alter The Regular_ (8-track demo) by: Adrian Bromley This quartet of progressive metallers hail from East Bay (I assume that means the San Francisco bay area?) - home to Metallica, Testament and Release, and as far as fitting in with the aforementioned crowd of metal outfits, this band is flowing in its own direction. Sounding like a shallower, less powerful replica of Florida's triumphant Savatage, Nueairea do have the metallic edge that Metallica and Testament scattered throughout the Bay area; this is evident on the epic "Guidance Part I" and "Guidance Part II" but also have a very Pink Floyd-ish vibe within their music, thanks in part to the use of harmony, melody and keyboards. Plus the lyrics to many of the songs are well thought out. But sad to say, _Alter The Regular_ is missing a more metallic crunch to keep the listener interested, and that is quite evident with the slow-paced openers of "Systems", "Nevermore", and "Comparisons Of Rage" that were chosen to lead off this eight-song effort, rather than anything with strength or speed like "All" or "The Last Minute", the seventh and eighth songs of the demo. For most fans of both speed metal and progressive metal, this album could be interpreted as a stepping stone to something in the future with better, tighter production and music construction that emphasizes growth and strength as songwriters, or just another one of those bands that'll have a demo and fade off into obscurity in a year or so. Contact: NUEAIREA, 920 Rose Drive Benicia, California, USA, 94510 Voice: (707) 747-5804 or (510) 229-0731 Mortal Decay - _Brutalizing Creations_ (5-track demo) by: Brian Meloon This is semi-technical death metal, well played and reasonably complex, but way too much like Cannibal Corpse for the band's own good. The demo is a little rough, both technically and in production values, as you'd expect, but this isn't a problem. The vocals seem to vary quite a bit, from barely discernible and very guttural to thrash like shouts, and even some black-metallish screams, which help to break up the monotony. Also helping to this end are the complex structures of the songs, which never seem to get stuck in any kind of rut, as they're frequently changing tempos and riffs. This does tend to leave me without a good sense of each song's purpose, but that doesn't bother me. The playing is on all counts good, with some impressive sections here and there, but nothing that really shocked me, especially not the song titles, like "Opening the Graves" and "Soaking in Entrails". Yeah, come on guys, grow up. Still, for what it is, it's well done. Contact: Mortal Decay, c/o Anthony Ipri 415 Oak St., Audubon, NJ, 08106, USA Project X - _demo_ (3-track demo) by: Brian Meloon Quite frankly, I wasn't expecting much from this demo, as it's the reformation of Leviathan without lead guitarist John Lutzow (who wrote my favorite songs from Leviathan's _Deepest Secrets Beneath_). However, this demo surprised me, as it's quite well played, and a lot heavier than I expected. Holding somewhat to the sound of _DSB_, this is prog metal in the vein of older Queensryche, relatively commercial sounding, but not sickly sweet. As you'd expect, there's heavy use of melody and harmony, both done reasonably well. Technically, it's very good, with precise rhythm guitar work (though the leads could use some work), and dense, varied drumming, with healthy doses of double bass work. The vocals are the weak link, because although the vocalist has some of the same nuances to his voice as Geoff Tate, he lacks Tate's power. The songs are also a little too simple for my tastes, mostly holding to some kind of standard format, and at times a little too reminiscent of the 80's. The lyrics could use some work too, but the production is fabulous. I think that most prog metal fans will find this worth having. Contact: Project X 6980 W. Polk Pl. Littleton, CO, 80123, USA Within - _The Unaccepted_ (5-track demo) by: Brian Meloon This is basically death metal, with a nice touch of melody. It's quite good, as it's technical and has enough variety and complexity to keep it interesting, and it doesn't really sound like a clone of anyone else. The production is muddy though, and the bass is mixed higher than usual, both of which hurt the overall effect. Musically, there aren't any real surprises, but no obvious shortcomings either. The vocals vary from a raspy death voice to a more guttural tone, and the music varies from slow to fast death metal, with frequent melodic interludes and an almost Maiden-esque quality to some of the music. The songs aren't too simplistic, and at times show some nice development, avoiding the thrown-together sound of some other bands. The guitar solos are a little sloppy, but not any worse than average. The last song is an acoustic outro with samples, so there really are only four songs here, but this is an impressive demo. Contact: WITHIN, 565 Durand Blvd. Rochester, NY, 14622, USA =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ____ __ __ /\ _`\ /\ \ /\ \__ __ \ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___ \ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\ \ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/ \ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\ \/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/ ____ __ /\ _`\ /\ \__ \ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____ \ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\ \ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\ \ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/ \/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/ Here is where Chronicles of Chaos gives you the low down on the latest shows to come to town. Check out Chaotic Concerts every month for the scoop on which bands are brutalizing the masses with their own form of terror. N O S T O P P I N G T H E L O C O M O T I V E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Motorhead at Lulu's in Kitchener, Ontario, January 20, 1996 with Belladonna and Speedball by: Alain M. Gaudrault Previously having co-headlined with Black Sabbath, Lemmy and his road crew were back with top billing at Lulu's. It was a pleasant surprise to see a decent turnout for such a heavy act which had, in fact, already played at the establishment a mere six months earlier. The opening acts provided limited entertainment. Speedball, with their derivative punk 'n roll, had a lukewarm reception, but were at least tight, fun, and fitting appetizers for Motorhead's main course. Belladonna, featuring ex-Anthrax vocalist Joey Belladonna, played a set of uninspiring 80's speed metal with a 4-song interlude of Anthrax hits thrown in for good measure. While the Anthrax material went over extremely well, their original compositions were less than well-received. For a metal veteran such as Joey Belladonna, it was sad to see them blown off the stage by Speedball. Of course, there was no love lost once the openers stepped off to make way for Phil "Zoom" Campbell (guitar), Mickey Dee (drums), and the inimitable Lemmy Kilmister, Rickenbacker strapped firmly around his neck. There's not a whole lot that can be said about a Motorhead gig that hasn't been said many times before, and likely far more eloquently. Motorhead seems to consistently deliver a good, solid show with few surprises. Hell, they opened their set with "Ace of Spades"; if that's not predictable I don't know what is. A few of their better known songs were noticeably dropped from the set in favour of newer material, which is to be expected from a band which consistently releases such fine, heavy albums. Motorhead were pioneers of metal and still command the attention they rightfully deserve. As long as they keep writing and touring, there will be fans clamouring for tickets at the box office. Next time Lemmy and company roll into your town, cancel your plans, get off your ass, and brace yourself for the onslaught. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Gino's Top 5 1. Various - _Slaytanic Slaughter_ (Slayer Tribute) 2. Marilyn Manson - _Portrait of an American Family_ 3. Unleashed - _Live In Vienna '93_ 4. Filthboy - _Not Again_ (advance demo) 5. Sepultura - _Roots_ (advance cassette) Adrian's Top 5 1. Sepultura - _Roots_ (advance cassette) 2. End Of Green - _Infinity_ 3. Only Living Witness - _Innocents_ 4. Sacred Reich - _Heal_ 5. Scum - _Purple Dreams And Magic Poems_ Brian's Top 5 1. W.A.R. Compilation Vol. 1 2. Threnody - _Locusts of Eden_ 3. Guitar on the Edge (No. 1, Vol. 2) 4. Time Machine - _Act II: Galileo_ 5. Nevermore - _Nevermore_ Alain's Top 5 1. Comecon - _Fable Frolic_ 2. Samael - _Rebellion_ EP 3. Voivod - _Negatron_ 4. Obliveon - _Cybervoid_ (advance cassette) 5. Ministry - _Filth Pig_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= T H E F I N A L W O R D ~~~~~~~~~~~~~~~~~~~~~~~~~~~ And with this, we close off another issue of Chronicles of Chaos. FINALLY we got one out at a reasonable time. Feels good to almost be back on schedule. Well, I don't have much to tell you all at this point in time, just remember to send in those Loud Letters. I can't tell you how disappointed I was that I only got one this past month. I refuse to believe that all my readers are illiterate! :) Anyway, next issue looks to be a good one. We are going to be having not one, but TWO Heavy Metal pioneers featured in CoC #8, so keep your eyes peeled for that, out promptly on March 1st! (Yeah, in my dreams!). Anyway, have a good one people, and get those fingers typing, I want to see some Loud Letters this time around. -- Gino Filicetti =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= End Chronicles of Chaos, Issue #7