.|'''', '|| '||` || || '' || || ||''|, '||''| .|''|, `||''|, || .|'', || .|''|, ('''' || || || || || || || || || || || ||..|| `'') `|....' .|| || .||. `|..|' .|| ||. .||. `|..' .||. `|... `...' .|'; .|'''', '|| || || || .|''|, '||' || ||''|, '''|. .|''|, ('''' || || || || || || .|''|| || || `'') `|..|' .||. `|....' .|| || `|..||. `|..|' `...' CHRONICLES OF CHAOS E-Zine, November 18, 1996, Issue #15 Editor-in-Chief: Gino Filicetti <_DeaTH_ on #metal> Coordinator: Adrian Bromley Assistant Editor: Alain M. Gaudrault Contributor: Brian Meloon Contributor: Steve Hoeltzel Contributor: Adam Wasylyk Contributor: Drew Schinzel Contributor: Andrew Lewandowski Mailing List provided by: The University of Colorado at Boulder --> Interested in being reviewed? Send us your demo and 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 "coc subscribe " in the SUBJECT of your message to . Please note that this command must NOT be sent to the list address . 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 . AUTOMATIC FILESERVER ~~~~~~~~~~~~~~~~~~~~ All back issues and various other CoC related files are available for automatic retrieval through our e-mail fileserver. All you have to do is send a message to us at . The 'Subject:' field of your message must read: "send file X" where 'X' is the name of the requested file. Back issues are named 'coc-n', where 'n' is the issue number. For a description of all files available through this fileserver, request 'list'. Remember to use lowercase letters for all file names. If you experience any problems or are having difficulty, feel free to e-mail us the usual way at . >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< Issue #15 Contents, 11/18/96 ---------------------------- * Editorial * Loud Letters * Ferocious Features -- Revealing the Brutal Truth -- Exit-13: Exit to Euphoria -- Human Remains: Revealing the Remains -- Type O Negative: Spreading the Darkness Once Again -- Vision of Disorder: Expressing the Vision * Chaotic Chat Sessions -- Dimmu Borgir: Storming the Black Castle -- Stuck Mojo: When Pigs Fly * Independent Interrogations -- Anhkrehg: Montreal's Maniacs * Record Revelations -- Abscess - _Seminal Vampires and Maggot Men_ -- Acid Bath - _Paegan Terrorism Tactics_ -- Dio - _Angry Machines_ -- Dismal Euphony - _Soria Moria Slott_ -- Twelve After Elf - _Twelve After Elf_ -- Equinox of the Gods - _Images of Forgotten Memories_ -- N.A.O.S. - _Melancholia_ -- Shadowcaster - _Abandonment_ -- Sort Vokter - _Folkloric Necro Metal_ -- Tsatthoggua - _Hosanna Bizarre_ -- Gomorrah - _Caress the Grotesque_ -- Human Remains - _Using Sickness as a Hero_ -- Inner Thought - _Perspectives_ -- Korn - _Life Is Peachy_ -- Iron Maiden - _Best of the Beast_ -- Manhole - _All Is Not Well_ -- Manowar - _Louder Than Hell_ -- Merzbow - _Rainbow Electronics 2_ -- Morgoth - _Feel Sorry for the Fanatic_ -- Atrax Morgue - _Cut My Throat_ -- Nevermore - _The Politics of Ecstasy_ -- Old Man's Child - _In the Shades of Life_ MCD -- Overdose - _Scars_ -- Oxiplegatz - _Worlds and Worlds_ -- Pyogenesis - _Love Nation Sugarhead_ EP -- Serenade - _The 28th Parallel_ -- Slapdash - _Slapdash_ * New Noise -- Anhkrehg - _Brutal Witching-Metal_ -- Engulfed - _Castellated Architecture_ -- Human Disorder - _Twisted Sane_ -- Jim Studnicki - _The Second Day_ -- Mono Grande - _Mono Grande_ -- Phycus - _Sonderkommando Now_ -- Prototype - _Seed_ -- Thug - _Monochrome_ -- Within - _Bliss_ * Chaotic Concerts -- An Evening of Intensity: Anal Cunt with Incantation -- Danzig Does Detroit: Danzig with Speedball -- Vicious Violence Vented: Voivod with Crisis and Pro-pain * Writer's Wrath -- Scouring the Scottish Scene * Tours of Torture * What We Have Cranked -- Special Samhain Edition * The Final Word =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= E D I T O R I A L ~~~~~~~~~~~~~~~~~ by: Gino Filicetti Here it is folks, the big 1-5. That's right, CoC #15! What's so special about this issue you ask? Well, nothing really: except the fact that we're still around, pumping out the finest features for all you fiends. That said, I must make an announcement about CoC #16. It will be released a little later than usual, but that is because we need time to prepare a wealth of great material for it. It is going to be a special issue, jam-packed with shitloads of interviews and reviews. You'll be in for a shock in December, believe you me. As you may have noticed, the survey I've been promising you all hasn't been sent out yet. Things are just too hectic around here right now. The projected release date for the survey (which will be a separate mailing from the magazine), is some time after the 18th of December (my last exam). I hope you will all participate! As you'll notice in this month's Loud Letters, as well as the past couple of months, there is another request for an "oldies" review section where we review some classic albums. At first, I was closed to the idea, but since it seems that more than one of you is in favour of the idea, I've decided to entertain the suggestion. However, this will not be a regular monthly column; instead, it will be part of next month's special issue and any other special issues we may have in the future. Your Loud Letters seem to be coming in at a steady pace lately, so I can't complain about lack of feedback. Thanks to all of you who have taken a few milliseconds out of your life to send us some e-mail. You rule. Lastly, I just want to mention that our subscriber list has topped 800 since our last issue, and right now it's hovering around the 850 range. Add to this the number of people who read our magazine via our web page, and those who are not privileged enough to own a computer and must rely on the few of you who actually print up CoC. I am, and always will be, in awe of the number of people we've managed to reach through CoC. I hope we've been living up to your standards, and we will endeavor to continue doing so. Until then, I'm Gino Filicetti saying, "Enjoy the rest of the 'zine!" =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 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: Thr, 17 Oct 1996 From: JDBowden Subject: Great Death/Black Metal Source Gino: I am going to give you a great little operation to plug in the Chronicles. Elergy is a kick ass source for cassettes and CDs. His selection isn't the biggest, but sells the Brutal best. He works out of his home and his prices are rock bottom and no postal charge for the continental U.S. He is extremely knowledgeable in these genres. His stock is for the Extreme Metalhead. This kudos is totally unsolicited. He is just a no bullshit dude trying to make a living selling what he enjoys, how many of us wish we could do that. Here is his number: ELEGY - (201) 614-0670 (6:30pm to 11:00pm EST) Check out his Website: http://www.grave.com/~elegy Date: Fri, 15 Nov 1996 From: "Jason St. Jacques" Subject: Festival FESTIVAL OF FIENDS (FIENDS NOT FRIENDS) When: Saturday, December 21st, 1996. Doors open at 3 p.m. Where: Royal Canadian Legion (Branch 60), 828 Burlington, Ontario. Who: 17 bands from Hamilton, Burlington, Oakville, and Waterdown. Disgruntled Postal Workers, Brown Like Dirt, the Vapids, Tom's Lunch, Six Sins Left(formerly known as State of Grace), Helen's Basement, Balm, Photosiren, failsafe, Remotely Kosher, Marvin K. Mooney, Chauvez, This Side Down..., Overhead, and three bands who are presently choosing new names. In an effort to avoid labels I have not mentioned what style each band plays, What: $8 admision at the door. The show is all ages/licensed. How: Festival of Fiends Hot-line--(905)-336-3376 Thank you for your time; Jason St. Jacques Date: Tue, 15 Oct 1996 From: Kris Subject: Hail to the Metalic conspiracy Hail Gino! I appreciate a lot COC although I do not like all bands exposed! Keep on going with it I appreciate your willpower and honor to proceed as you do so!! Never let the scene die! NEVER! I wonder it if is possible to write a short note about Rites and that I will be taking part in Blood servant mag on COC? Thanxsssssssss Constance/ aka NataSSsja.......... Date: Tue, 15 Oct 1996 From: Jack Subject: Loud Letters Dear CoC, Great job on issue #14! I can find little fault with your excellent 'zine. My primary purpose for writing is to second the motion proposed by Zev Toledano in October's Loud Letters section. Zev suggested a new column that would have a few reviews of old CD's that merit attention. As he wrote, this section would be most interesting to new fans who may not have heard the music of bands like Destruction, Blood Feast, Assassin, etc. I'd be happy to contribute each month a review or two of albums from my collection of classic extreme metal. We should not let this music be forgotten! -Jack Medley * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * "All things please Nature. * * * - Exodus * FUCK CENSORSHIP * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * P.S. Keyboards rule! ;) Date: Wed, 16 Oct 1996 From: Fin Allman Subject: Re: Chronicles of Chaos #14 (1/4) LOUD LETTERS. FROM FIN ALLMAN RE: Letter from GREGORY NALBANDIAN DEAR GREGORY, Well hello mr expert i know everything and i am the biggest death metal know it all in the universe. Gee i wish i was as powerfull as you. You know everything about music. And you are such an expert you know how shit pan thy is. Well dickhead since your such an expert where is your fantastic brutal evil death metal band and what is your cd called. You seem to know so much your album would have to sell 48 billion copies. I dont even like pan thy and i can still say it is one of the best releases to date. You kneed a brain to make music like that. Bet you could not play it. You weak minded winner. Date: Tue, 5 Nov 96 From: wizard@finet.rosmail.com Subject: Loud Letter Hi guys! I'm Dmitry Kobozev from Russia, Stavropol (aka Unholy Black Wizard) Yours e-zine is fucking amazing stuff! Keep working in this way! I'm a great fan of Black Metal and your `zine help me to check out some new releases. I've reading these e-zine from #8 and now want to write some words. Did you know anything about EMPEROR? What these guys are doing now? I'm tired to waiting for new album. And what about ex-MAYHEM members? There are they (except Hellhammer)? Some about COC#14 -> All was ok, but why you write MORK GRYNING release date as May 1996?? I've purchased this CD at end of 1995! Dmitry [Black Wizard] BLACK METAL forever! Date: Tue, 22 Oct 96 From: "GONCHAROV I.A." Subject: Loud Letters Hi, Gino! With pleasure I was reading your last e-zine. In one I foundmany interest for me reviews and letters. In section "Loud Letters" I've read the letter of Zev Toledano about old releases. It's good idea. Let's suscribers will write about which release they want to read and if you can you'll write in zine (if it's possible certainly). Ok? Also I want to answer on letter Gregory Nalbandian. From first side he is right. Often and my mark's of releases don't identical with CoC's one. But from second side... In Russia says "On color and taste don't find a friend". It's all. P.S. Your e-zine is good work guys. Keep it forever. Best regards. Andy Sayanov Russia ivan@rsuss1.rnd.runnet.ru [Well, it looks like we're going to have to please you all, so if it's oldies you want, it's oldies you're gonna get. We've decided to include a special section in our next issue where we will review some of our favorite albums of yesteryear. Hope you all like it -- Gino] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ___________ .__ \_ _____/__________ ____ ____ |__| ____ __ __ ______ | __)/ __ \_ __ \/ _ \_/ ___\| |/ _ \| | \/ ___/ | \\ ___/| | \( <_> ) \___| ( <_> ) | /\___ \ \___ / \___ >__| \____/ \___ >__|\____/|____//____ > \/ \/ \/ \/ ___________ __ \_ _____/___ _____ _/ |_ __ _________ ____ ______ | __)/ __ \\__ \\ __\ | \_ __ \_/ __ \ / ___/ | \\ ___/ / __ \| | | | /| | \/\ ___/ \___ \ \___ / \___ >____ /__| |____/ |__| \___ >____ > \/ \/ \/ \/ \/ 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 E V E A L I N G T H E B R U T A L T R U T H ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An interview with New York's kings of grind by: Adrian Bromley The leap from Earache Records to Relapse Records has been a positive one for Brutal Truth members Danny Lilker (bass), guitarist Brent "Gurn" McCarty, vocalist Kevin Sharp, and drummer Richard Hoak. The band's debut album/EP release for Relapse Records, entitled _Kill Trend Suicide_ and produced by Billy Anderson (The Melvins, Neurosis), is thirty-five minutes of insanely violent guitar riffs fused between spurts of anger and raw intensity. In the end, _KTS_ is a powerhouse of sound and might that would shake even the strongest foundations. While with Earache, the band made its mark with the well-received releases of _Need to Control_, the _Perpetual Conversion_ EP, and _Extreme Conditions Demand Extreme Responses_, but as time went on, the band and label parted ways leading the band in the direction of Relapse Records. Now with the EP (and full-length debut for the label to surface in early 1997), the band plans to once again make some noise with their multifaceted and original sound. From grindcore to death metal, Brutal Truth has managed to keep things different with each release since forming in 1990. "A lot of the material was written when we were in limbo between Earache and Relapse," starts drummer Richard Hoak over the phone from the Relapse offices. "At that time, we were in the rehearsal studio three times a week. We didn't stop writing music just because we didn't have a label. We always kept recording. A lot of the stuff we had recorded on an 8-track in the studio. When we had decided to work with Billy (Anderson), we had sent him the live 8-track recordings which we had liked because of the live and raw intensity. The songs sounded like they would if we were playing them live and we wanted to capture that," describes Hoak about making the record. "We didn't do everything we wanted to do with this record but we did pretty much what we could do." And why an EP as opposed to a full-length debut? Answers Hoak, "We knew we had to record it cheaply and quickly, and had to have a live overall sound. So we made the EP and it turned out the live way we wanted it. I describe this record as a "full-on-grindcore-chaotic-noise-mayhem" that'll rip your head off, but at the same time seems so beautiful." He laughs. One thing that most fans will note of the newer Brutal Truth stuff is the sound. As opposed to what the band had done with _NtC_ or _ECDER_, the newer material is much more focused on speed and raw aggression rather than a dominating factor of being extreme and grindcore sounding. Hoak thinks that might turn off some older fans of the band. "I'm afraid some of the older fans might not dig this record as it doesn't sound like the older records sound. There are real people who get offended by that. Some people will come up to us and say, 'Man, _ECDER_ was such a heavy record and why doesn't the new record sound like that? I dug _ECDER_ but why is this record like this?' I say that is great for those people and they will have to listen to _ECDER_ all the time then. Like I say to all those people, this is where we are at. These songs were written in a very natural way and came out of us while we were sitting around playing with nothing to do. I think they are more musical and coherent. We like the way they sound. It sounds like the music sounds when we play it and that was important to us when we started to record this record." So what is different? What are people seeing to be the different factor between this album and the older material? "A lot of the older fans dig it. They think our blasts of speed and intensity have gotten a lot more intense and faster which is hard to believe. Everything is not so mechanical anymore as it was. It is like all the other records and their intensity is controlled going 'Grrr!' and with _KTS_, the intensity is more raw and primal. It is more of a natural growl going 'Grr..ah..ah..grrr! It is hard to explain but I hope you see what I mean." About the making of music he says, "We please ourselves when we make music, first. If it doesn't sound good to us then we don't record it. It is a natural way of songwriting. For me personally as a drummer, I like being able to play the whole thing through and having all the parts fit together nicely. The song as a whole has to work, and then I am comfortable with it." One thing Hoak will attest to is the way his role as a musician has changed over the years. Whether it be going from record label to record label, recording albums and/or touring, Hoak has been a part of a changing scene and now feels things are on the up and up for the band. "It has gotten a lot better since signing to Relapse," says Hoak. "It was such a horror story at Earache for us. They work hard here at Relapse and expect us to work hard too which we do. I have run into a bunch of jerks in the long run whether it be club owners or label people but I have also met a lot of nice people in the end too. And that makes being in this business a lot more enjoyable." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= E X I T T O E U P H O R I A ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An interview with Exit-13 by: Adam Wasylyk Exit-13 have always been on the experimental side. On both prior albums, _Don't Spare the Green Love_ and _Ethos Musick_, the use of pro-pot lyrics and their jazzy-grindcore sound separated them from the horde of generic grindcore bands. With their latest opus, _Smoking Songs_, Exit-13 have further experimented with their sound by dropping the blast beat drumming and grinding guitars, and instead playing the trombone and piano! What can be heard on the album are jazz/blues cover tunes of 1920s, 30s, and 40s marijuana anthems. On my first listen, I didn't quite understand what I was hearing, but I soon found myself snapping my fingers and tapping my toes to the music. I had a pleasant chat with Bliss Blood, better known for her work in Pain Teens, from her New York home. Bliss contributed all of the female vocals that can be heard on _Smoking Songs_, and the amazing kazoo playing on the track "1'1 (Thirteen Inches of Fun)", which was on the _UHF/VHF_ Relapse compilation. Her vocal work is definitely one of the outstanding points on the record, which really complements the jazzy music. First off, Bliss explained how she came to meet up with a couple of the members of Exit-13 and how she ended up singing on _Smoking Songs_. "I've known Dan (Lilker) and Rich (Hoak) from Brutal Truth since 1993 when my band Pain Teens did a tour with them and the Boredoms. Danny had been playing on Exit-13 records with Bill (Yurkiewicz) and Steve (O'Donnell), so when they started kicking around this idea to do this record, Danny immediately thought of me as far as a female vocalist that sang jazz. Although that's not what the Pain Teens was about, he knew I was into jazz. I talked to Bill and we clicked as far as our aesthetics of what we wanted to do, so I just flew up and we did some sections [of songs]". When recording, Bliss did have some choice as to which songs were going to be covered for the album. "I picked out the songs with the female vocals that I liked, and they had already picked out some other songs that they wanted to do, like "Hemp Cake". We basically all agreed on the songs that we were covering, as there weren't that many to choose from, so it was pretty easy". On my first listen to _Smoking Songs_, I truly wondered if this was some sort of joke or gag. Was this album a serious one? I shared my feelings with Bliss, who answered, "It's sort of a novelty album, compared to the grindy stuff. But most of Exit-13's albums have been thematically along the same lines, like "smoke a lot of pot." In that sense, it was a continuation of their ideas with a different format for it. It's pretty adventurous of them to even think of doing what they did". On listening to all 13 tracks, what is evident is each track had been modernized to a more 1990s sound, while still sounding true to the original. Bliss acknowledged this and also informed me on her involvement in the studio. "I had a little bit of influence as far as ideas for the arrangement of some of the songs," she began, "especially when the trombone player came in. I was giving him some ideas as far as the parts that he was playing. He could play Dixieland music anyway, but I did help him with specific licks. I thought that the guys were going to modernize [the songs] a lot more when they mixed them down, like add lots of weird, tripped-out stuff. Like the mix that I did on "If You're a Viper", you can hear the bass [which was] a later re-mix that they did. I suggested that they make it sound like it was in a big room, like Carnegie Hall. I was pretty surprised when I got the tape later on, and that they mixed it really straight. I wish I would have had more imput if I had been here when they mixed it. It would have been a little different". Will older fans like _Smoking Songs_? "What Bill told me is that the fans of Exit-13 were intelligent and open minded enough to check out different things. But basically, they're not really concerned with doing music for the fans, they're concerned with doing music they dig. I'm sure a lot people who just like grindcore won't check it out, but you'd be surprised, a lot of people like variety, and especially if they're big pot smokers they're going to like it." And finally, I asked Bliss if she'll record with Exit-13 again, and if she knew where the band was headed next. "I don't know. We've been talking about maybe doing a series of these records. Like doing one record about getting drunk, and one record of sexy blues songs from the '30s, because there's ton's of those. We may do some other projects, it just depends on how busy everyone is." I wondered out loud if perhaps some of the attraction to Exit-13 is not knowing what they'll do next? "They definitely are looking for ways to amuse themselves, as far as sheer variety [goes]. They want to keep the audience on their toes". =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= S P R E A D I N G D A R K N E S S O N C E A G A I N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC Interviews Type O Negative by: Adrian Bromley Gothic/metal Brooklyn-ites Type O Negative return to the music scene with _October Rust_, the follow-up opus to 1993's well-received and breakthrough record for the band, _Bloody Kisses_. On _OR_, Type O have somewhat shifted their darkened, aggressive tendencies into a more eloquent and seductive method of pleasing the listener this time out. The music on _OR_ is a very sinister, yet ethereal dose of gothic mayhem (VERY Sisters Of Mercy-ish) bounded by overwhelming guitar riffs, haunting vocals, and atmospheric keyboards. The band has once again set their goals on achieving success with their latest long player, and to tour extensively, something they did (2 years of touring) with _BK_. Sitting with keyboardist/producer Josh Silver (the band is rounded out by bassist/singer Peter Steele, drummer Johnny Kelly, and guitarist Kenny Hickey) it isn't hard to sense the compassion and the admiration he has for Type O's new release and the direction the band is now headed. "The album we have created is a natural evolution. I think many bands find a click or sound that works with them and they stick with it," points out Silver. "We don't do that. We try to be as different as we can and we never try to repeat ourselves and what we do. Just because _BK_ was successful or did well doesn't mean we are going to make _BK II_. We have such an admiration for bands like The Beatles who put out a variety of stuff." The album, which Silver calls "psychedelic, sexual, smooth, and satirical," is a rather assorted supply of melodic pieces of music and full of trademark Type O sounds. Silver agrees. "I think that this album has some of the elements we used with _BK_, and some of the ideas and sounds of _Slow, Deep and Hard_ (1991). To me this is where the band was always going." He adds, "It was never intentional to write melodic or commercial songs. We do what we do and I think that will bring in more fans, ultimately, than be what we are not." "Recording is an experimental process that never ends," states Silver about the making of the record. "I mean, when we were in the studio mixing the record, we were changing things around. I don't think this record came easier or harder for us. We were under a different set of conditions to work under and we adapted to it." The album _OR_ was recorded in a short period of time following the finale of the _BK_ tour and the start up of this tour. The band, with Silver and Steele producing, took time to get the mood and sounds right for them on _OR_. Sure there was some pressure from labels and fans to repeat success, there always is, but Silver says there are ultimate methods to block those pressures out. "We take lots of drugs trying to forget about the whole business end of it while recording. If it sounds good to us then we'll do it but if we are not happy, then there is no point in doing it." Silver also notes that bands do change, and the years of touring and road experience do bring about changes, something Type O has witnessed. He smirks and says, "Man... if you are the same person you were six years ago, then you are in deep shit and something is really wrong." Silver, who is 33, says that as things evolve and the band grows, his views of the industry shift. He has been exposed to the ways of the industry and has had to find ways to get by and still remain the same person. But things have changed. Confident that he will be involved in the music industry in years to come, whether it be in the band or behind the table twiddling knobs as a producer, Silver is still figuring out what his role will be. "We are not seventeen year-olds in a band thinking, 'I want to do this for the rest of my life.' I don't know what I will be doing in the years to come. I know it will have something to do with music. I know that being in a band is tough; I chose this way to go, but being on the road 3 or 4 years does rip apart your life. It was my choice to do this and in your life you make lots of choices and sometimes you don't know what the consequences will be. You give it a shot, go out on a limb, and take it from there. What else is there to do in life? You are here, this is the waiting room for death so try to make something good out of it." About the whole view of the band being seen as evil, women hating racists, Silver says, "I think people misunderstand us or take us way too seriously. We don't take ourselves seriously as well. We are not out to preach, think we are gonna move people or change the world. We are not setting out to do that and we don't plan to do that. We express our feelings, but there is also a lot of camp and satire in what we do." He closes by saying, "Sometimes misconception works for you and sometimes it works against you, but either way it is funny to see people's interpretation of your music and what you do." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= R E V E A L I N G T H E R E M A I N S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An interview with Human Remains by: Adam Wasylyk A lot of people reading this interview may be asking themselves "Human Who"? Others may have heard their sole track, "Rote", off the _Death Is Just the Beginning 3_ compilation (named on the comp "Weeding Out the Thorns", incorrectly) and wondered when they would release an album. Human Remains' recently released mini-CD, _Using Sickness as a Hero_, is the band's first, but last record as the band is now defunct. Fans, as well as I, will miss the band's music trademarks: quirky riffing, harsh vocals, and insane drumming. However three of the five members will go on to form a new band named The Sky Is Denied. I talked with drummer Dave Witte who was calling from Relapse's home office in Pennsylvania. Dave has kept himself very busy as he can be heard in a couple of other bands. He is busy at work recording the second CD for Discordance Axis and has also done some 7" work with Exit-13. Dave and I discussed Human Remains' death and the birth of his new project. "I guess we were getting tired of it," begins Dave on the reason why Human Remains broke up. "Everybody in the band had different ideas and directions to go into, and it didn't work out, so we decided to stop. We're going to do our own thing, the bass player is doing his own thing now, and the guitarist is doing his own thing. Me, Steve, and Paul are going to be doing the new band." As to whether there was any resentment between ex-band members, Dave answered comfortably, "Oh no, everything's all right. It's just that we all had different ways in how we wanted to do things, and it wasn't working out." On how Human Remains came to sign to Relapse, Dave made it sound so easy. "We pretty much just sent them the tape," Dave chuckles. "We sent them the tape a couple of times, and then [the band and Relapse] started talking. We convinced them to come see us one time, and afterwards, when they were really interested in us, they set us up a show, and they all came down. They dug us and we took it from there." A lot of people's first exposure to Human Remains was through Relapse's compilation, _Death Is Just the Beginning 3_. Dave gave his comments on its success in getting the band's name out, and gave his opinion on how the tracks sounded. "It got [the Human Remains name] around, but we weren't too happy with the mix and the playing of the song, but it represented us, definitely." Since relatively little is known about the band, I asked about musical influences of the band. "The major influence was Ripping Corpse in the beginning. A couple of us, including myself, didn't even play until we heard that band. They just opened up our world. And during the band's existence, bands like Rush and Skinny Puppy and some fast stuff. It's like a big melting pot." _Using Sickness as a Hero_, a 6-song mini-CD (the 7th song, "Beyond Human Perception" is blank), is again the first and last recording for Human Remains. Dave gave his opinion on the record, which were far from great. "I think it could have been better," Dave starts with his criticisms, "but it represented us kind of well. I wasn't too happy with the mix; there was too much reverb on the drums. Next time we'll be better." Delays also plagued the recording, including re-recordings and even a foot injury suffered by Dave. Dave begins with an uncomfortable chuckle, "We had a bass player change and I had some torn ligaments in my foot. It was just a mess. I've listened to it, there's a lot of stuff that I'll hear myself that no one else will hear because it's my own little errors, little things here and there that irritate me". One of my favorite aspects on _Using Sickness as a Hero_ is Dave's drumming ability, which still amazes me to this day. I asked him about his drum training, and was shocked to hear his lack of any. "I'm self-trained," Dave says with pride. "I took one lesson and I was pretty bored with it. I almost felt robbed! I didn't really like lessons so I just stayed home, so when everyone went out I just stayed home and played." With Human Remains gone, the majority of its members will join and form The Sky Is Denied. So I asked Dave what the band sounds like compared to Human Remains, and when it will release its first record. "It's kinda hard to say when we'll release a record. We want to primarily write for ourselves at first, and once we're happy with it, then we'll see if anyone (labels) wants to do anything with it, with first choice to Relapse. [The sound] will be very experimental, it'll be a new form. It'll still have aspects and traits of Human Remains, but it'll be progressed, it'll be multiplied by a hundred." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= E X P R E S S I N G T H E V I S I O N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An interview with Vision of Disorder by: Adrian Bromley Long Island's Vision of Disorder are a band that feels the need for intensity and the ability of being able to channel one's anger, life's experiences, and visions within one's music. On their debut album, _Vision of Disorder_ (Roadrunner/Supersoul), the quintet's music blares powerful chants of hatred, respect, love, and despair, coated with thick metallic tones and hardcore tendencies. But as much as they believe in the power of a hard-hitting song, they also believe in the need for growth in a band. "We are very happy with the style and sound that we have progressed into," says frontman Tim Williams in a thick Long Island accent over the phone from Roadrunner Records New York H.Q. You see, Williams and his band - guitarist Mike Kennedy and Matt Baumbach, bassist Mike Fleischmann, and drummer Brendon Cohen - have grown with their music ever since the formation of the band in 1992, a process that has involved numerous live shows, being included on a compilation titled _New York's Hardest_, and the release of a popular 7". "I don't think we have lost anything with growing," continues Williams, " I think we are still completing our goals. One of which is being able to reach a larger audience which we are doing now, being able to tour and have a record out. It was tough for us to do that in the beginning, but now we have people out there doing it for us and spreading the message. I don't think we have lost anything in growing. We have gained through experience and being on a label and releasing our record." Most new bands will notice the vast amount of requirements and conditions that come with being on a label: press, record company executives, touring, etc. It is all part of being on a label, and Williams and the rest of his crew are seeing this first hand. "I can't tell you how much I have learned. It is fucking ridiculous. The whole recording process of making the record was one in its own. It was very difficult. I still don't know much about it and we let them (record company) deal with it, but I am still learning. I guess I have learned a shit load since getting signed." When asking Williams what he thinks sets VoD apart from other bands, he responds, "One thing is the drums. People always for some reason hear the drums. People also tell us the vocals separate really well. I don't think that my vocals are the key. I think it is everyone doing their own part for the record and each one of those parts coming together. I think the whole unit and our sound together is was sets us apart." The sound of the band is something to behold. The debut album, shows off the band as a monstrous flow of reality and hard-life tales told through the words of Williams. Tough to take, but nonetheless realism thrown into our faces. And live the band is something also to see says Williams. According to Williams, the music and live show are two very different things. "When people come to our shows, they get a completely different slap of reality. We are not a fake band that stands up behind a microphone or on a pedestal. People know we interact and mingle. We know that they know that we know that we are not above them, rather they are above us. They are what made us. They got us to Roadrunner. Maybe our music got us there but without the fan base it wouldn't have happened. The labels go for someone when they see money. If they see a thousand kids going to a show they go 'Wow' and see money. Then they listen to the music. But first you hear the buzz from the kids." About signing to Roadrunner or a label in general, Williams says, "I had a feeling that it would happen, that all of this would pay off one day. This is what we worked hard to do and something had to go right for us. It hasn't paid off yet but it is starting to. I have been doing this since I got out of high school, four years ago, and every fuckin' day it has been the band. I went out of my way all the time for the band. The band has been my number one priority in life for the last four years now. It will always be that way and I'm glad to be doing it on this level now." "I am doing this for self-gratification and getting my message out," says Williams about his music and wanting to keep at this band for years to come. "I also want to see different lands and meet lots of people and acquire knowledge. I think knowledge is the key. You can get knowledge from anything, you don't have to go to school for it. I did, but I think the best knowledge comes from experience." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _______ __ _ _______ __ / ___/ / ___ ____ / /_(_)___ / ___/ / ___ _/ /_ / /__/ _ \/ _ `/ _ \/ __/ / __/ / /__/ _ \/ _ `/ __/ \___/_//_/\_,_/\___/\__/_/\__/ \___/_//_/\_,_/\__/ ____ _ / __/__ ___ ___ (_)__ ___ ___ _\ \/ -_|_-<(_- Be ready, we are here to beat up your eardrums. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ::::::| :| :| :| ::| :::\ :':| :~~/ :::\ :~~/ :::\ :':| :~~/ :::\ :::| ::::::|:|:| :::| :::, :::/ :::, :|:| :::| :::, :|:| :| :| ::::::| :| :| ++ ::| :::\ :::| :~~/ :::| :::| ,::\ .::\ /::| :::| :| ,::\ :::\ <::< ::::::|:|:| :| :::, :| :| `::/ `::| \::| :| :| `::/ :|:| >::> ,.:/ 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. M O N T R E A L ' S M A N I A C S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interrogates Anhkrehg by: Adam Wasylyk What has become legend in Canada is the strength of the Montreal metal scene and the number of talented metal bands from the region. Bands like Kataklysm and Cryptopsy have gone from relative obscurity to international recognition. Anhkrehg are one of many Montreal bands who have high hopes in obtaining the success that the aforementioned bands already have. Conducted through Canada Post is an interview with guitarist Michel Monette [a.k.a. Shrapnel (Angel of Hate)] which touched on the band's history, prior work, and their newly released demo _Brutal Witching-Metal_. CoC: How did the members come to join and form Anhkrehg? Didn't the band have two bassists at one point? Shrapnel: It started in the winter of 1992, with Khayr (bass/vocals), Dead Christian (drums), Blac(K)night (guitar) and Killer (guitar) just jamming to heavy music. After the _The Oath of Sorcerer-King_ demo release, Killer left because of personal obligations and the band continued on as a trio. Shortly after I joined (with me knowing Khayr for some time prior to joining) as a helper, I then became band manager, mainly because I saw the potential in the band, music-wise. As the months went by, the second demo arrived which was called _Sacrificial Goat_. [The demo] was more serious than the first one, it helped us to establish ourselves within the very crowded Montreal death metal scene as well as gaining recognition for our still developing style of music. It is also then that I joined Anhkrehg on guitar, having Black(K)night become the second bassist. It didn't last long (only two shows), but we felt that it had to be tried (with him leaving afterwards). I still think playing live as a trio is the best line-up, for us anyway. Demo #3 _Brutal Witching-Metal_ was released in July 1996 with our new concepts and our own black metal trademark (Brutal Witching-Metal). CoC: How would you describe the band's sound? I had always thought of the band being black metal, but to label it just black metal would be quite misleading. S: Fast, infernal, and furious. That's how I describe it. Grindcore-ish type of riffs splattered with black screaming vocals with bits of the good ol' "blast'n'heavy" parts. CoC: What has Anhkrehg released up till now, demo-wise? What is each release like/how do they sound/your thoughts on each of them. S: First was the '94 demo _The Oath of Sorcerer-King_ which was our first try. A little underproduced and our sound wasn't quite perfected at that point. It was followed by our '95 demo _Sacrificial Goat_, which sound-wise needed better production. Next we were featured on a CD-compilation called _Underground Symphonies #2_ which helped to get contacts with different people. Following it was a live promo we did called _Howls from the North_ which was just a promo and isn't really for sale. It had a great live sound, the kind of sound I would like us to have all the time. Finally to the present with our release _Brutal Witching- Metal_ which is in our opinion the best release so far. Music-wise and lyric-wise a lot better, it's where Anhkrehg dwell now. CoC: Tell me about the new demo _Brutal Witching-Metal_ and describe it musically and lyrically. S: We lurk under our brutal witching metal banner which stands for black-grind music with lyrics about ancient history, merciless warriors, and forgotten wars. CoC: There's a live track on the demo isn't there? What show was it recorded at and who were you playing with? S: It was recorded August 31st 1995 in Montreal when we played a show with Sarnia, Ontario's Inner Misery and headliners Malevolent Creation. CoC: What other bands have Anhkrehg played with that you consider notable? S: In my opinion, most of the bands we've played with that I consider notable are Malevolent Creation, Kataklysm, Hidden Pride, Agony, Cryptopsy, Demence, Resisting Arrest (ex-Majester), Inner Misery, Corpus, Elements, etc. CoC: Are there any other outside influences on the band, like perhaps an interest in the occult, or reading about history or war, etc.? S: Khayr reads A LOT of books on history and wars, as well as having interests in role-playing games like Dungeons & Dragons, Warhammer, etc. CoC: You also run a management company called E.S.T Management. What bands do you handle? How did you start the business/why/when? S: It started in the summer of '94 with bands Mortify and Anhkrehg, both from the same home town in the eastern part of Quebec. It was just basically me helping them from Montreal. A year later I became manager for Montreal's Demence and Repentigny's (Quebec) Hidden Pride and then Agony asked for me to do the same in November '95. Since then, I now work full-time for Anhkrehg, Agony, and Hidden Pride. I began on my own being insecure and unaware, making phone calls to people I didn't even know, contacting promoters, etc. After awhile I really got comfortable doing those sort of things. Helping my friends, meeting new people, and most of all, listening to great music all the time! CoC: How is the Montreal scene right now? How many people go to your average show? S: Everybody knows that Montreal is overcrowded with all sorts of bands (especially metal/alternative). Just last month, I received news from three death metal bands who are planning to relocate to Montreal! As far as shows go, it's very unpredictable. I'd say an average show is somewhere between 60 and 100 people (for smaller bands). For bands like Deicide and Morbid Angel, you could expect around 800 people. CoC: Do the Montreal bands support each other? Do bands like Cryptopsy and Kataklysm help and support the lesser-known bands? S: Yes of course. Each time a big band plays, inevitably they will need an opening act. And that's where the smaller bands come in. CoC: You've played shows in Quebec and Ontario. Will Anhkrehg venture out further, like to the U.S? S: We'd love to, but for now we try to conquer our own backyard before invading others. CoC: Are you happy with the demo, production-wise? S: I'm much happier with this one than the last one. It also had to do with the manufacturer we worked with this time. I'm looking forward to the next one. I've got a lot of new ideas. CoC: Why was the decision made to have a good portion of the songs sung in French? S: Khayr is in a better position to answer that question since he's the lyricist/vocalist of the band. I'd say it has to do with our French Canadian roots that he wants to explore and represent in the music. CoC: What's the band doing now? Writing any new material? Touring Quebec? S: Right now we're not doing much, as far as the whole band together. As for myself, I'm keeping very busy with my distribution for E.S.T. management, as well as keeping in contact with various people in the metal scene. CoC: And finally, what do you feel sets you apart from other bands that play extreme forms of metal?? S: The fact that we are from an unknown region of eastern Quebec and that we play intense metal, and also the fact that we emphasize on our "brutal witching-metal" trademark. We also do not dwell on typical black metal trademarks (like female voices, chains'n'leather, Hollywood make-up, gothic keyboards, etc). Demo prices: _The Oath of Sorcerer-King_: $4 _Sacrificial Goat_: $7 _Underground Symphonies #2_ CD: $12 _Brutal Witching-Metal_: $5 Contact: E.S.T Management, c/o Michel Monette 755 Muir, Suite #205, Saint-Laurent, Quebec H4L-5G9, Canada =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ______ __ | __ \.-----.----.-----.----.--| | | <| -__| __| _ | _| _ | |___|__||_____|____|_____|__| |_____| ______ __ __ __ | __ \.-----.--.--.-----.| |.---.-.| |_|__|.-----.-----.-----. | <| -__| | | -__|| || _ || _| || _ | |__ --| |___|__||_____|\___/|_____||__||___._||____|__||_____|__|__|_____| 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! Abscess - _Seminal Vampires and Maggot Men_ by: Adrian Bromley (4 out of 10) (Relapse Records, Fall 1996) Ugh! It's loud, poorly recorded and, extremely lame at times. Welcome to the world of Abscess. The music of Abscess floats in an endless supply of reckless guitar riffs, screams, bad lyrics, and sick, demented humor. Most of the time, the songs (i.e. "Freak Fuck Fest", "Burn, Die And Fucking Fry" and "Removing The Leech") are an endless supply of bad, loud music that seems to make the listener cringe and want to turn off the music. So why would we listen to this? Humor? A fascination with sick humor? A lust for multiple music styles? I can see some of the reasoning behind cranking up an Abscess record, much like an Anal Cunt record, to be amused by someone's idea of being as loud or as sick as possible. That's about it. This material gets old real fast. Acid Bath - _Paegan Terrorism Tactics_ (October 1996, Rotten Records) by: Adrian Bromley (9 out of 10) _Paegan Terrorism Tactics_, Acid Bath's follow-up album to 1994's disturbing and violently coated release _When the Kite String Pops_ (killer John Wayne Gacy artwork serving as its cover), follows much of the same direction and sound of _WtKSP_ with an unclean, well-powered slab of heavy guitar riffs, flowing grooves, and a vast assortment of screams and growls all thrown together. I thoroughly enjoyed - and still do - this release as it has enhanced the groove and diversity of the band with singer Dax Riggs providing some killer vocals (both the clear and unclear ones) and the band shaping its sound into a more proportioned deliverance of their musical "terrorism tactics" this time around. Being from Louisiana, the band radiates a Southern-style flare to their music, much like that of Corrosion of Conformity or newcomers Floodgate, but still manages to fuck shit up with their incorporation of death metal growls and fast-paced guitar licks. This record is like a rollercoaster ride. It's fast and slow-paced at times but you always know there is a good thrill around the bend. Attention grabbers include the stomp of "New Corpse", "Locust Spawning", and "Bleed Me an Ocean", as well "Graveflower" and "Venus Blue". There is also a neat and lengthy (and pretty morbid) acoustic track called "Dead Girl" that rounds out the record. Note: The mid-point of the record, "Old Skin", has to be one of the creepiest things I have heard in some time. Creepy. Also, to keep up with the controversy, the band has included a painting by "Dr. Death" himself, Dr. Jack Kevorkian (called "For He Is Raised"), to serve as the cover artwork. Gotta love it. The "sophomore jinx" has not affected Acid Bath as _PTT_ delivers a well-balanced and diverse offering that'll surely grab the attention of many fans of multiple musical genres. This album comes highly recomended. Dio - _Angry Machines_ (Mayhem, October 1996) by: Adrian Bromley (8 out of 10) One listen to Ronnie James Dio's latest release of _Angry Machines_, even look at the cover artwork, and it isn't hard to see that Dio's music has become more modern. A modern Dio? Cool. For those of you that loved his last Black Sabbath contribution, 1990's _Dehumanizer_, then you will enjoy the direction and sound of _AM_. The music on _AM_ has a very 90's feel to it as do the lyrics and writings of Dio, dealing with topics such as divorce and the role of women in society. Managing to piece together a stellar group to record with, guitarist Tracy G., bassist Jeff Pilson, and drummer Vinnie Appice, Dio (who produced the record) manages to take his music to new heights with some great vocal arrangements and some real slick musical interludes. The music of _AM_ stands as a test of time for the singer that brought about so many ideas and creations with his other work with the bands Elf, Rainbow, and Sabbath, not to mention his strong effort and accomplishments of releasing seven solo efforts. Dio has managed to carry on with his ways for more than three decades now, and seems to be just as content now as he did when he started. Standouts include: "Big Sister", "Black", "Institutional Man", and "Stay Out Of My Mind". This man is a legend and continues to create stunning masterpieces. Dismal Euphony - _Soria Moria Slott_ (Napalm Records, September 1996) by: Steve Hoeltzel (8 out of 10) This is an imaginative and adventurous release, one in which the creative forces released by the black metal explosion take on a striking new form. Like many bands, Dismal Euphony augment the basic black metal vocal, guitar, and drumming style with synthesizers, female vocals, acoustic guitars, flute, piano, and so on. But while most black metal bands only rely on such "non-metal" touches occasionally, and locate them at the edges of their sound, these four highly talented Norwegians proudly give such instruments extensive, starring roles in their compositions. Propelled by Austrheim's muscular percussion, their songs are dark mini-symphonies, usually arranged around Elin's excellent, epic synth lines, which sound great and don't overly dominate the mix. Guitar by Ole and Austrheim adds an eerie, buzzing tone, mixed fairly quietly to leave space for the more interesting components of the sound - especially the vocals, which alternate in very creative ways between haunting melody lines sung beautifully by Keltziva (who is female, in case you couldn't tell) and Ole's chilling black growls. It sounds crazy, I know, but it's very thoughtfully done, and it works amazingly well. The songwriting is confident and imaginative, and the arrangements are rich, textured, and inventive - rolling soundscapes blanketed with gently falling synthesized snow, brushed by Keltziva's eerie melodies and the icy gusts of Ole's snarl. "Atmospheric" doesn't begin to describe this stuff, and "wild" doesn't either. Yet all the while, it stays true to black metal's unquiet spirit, as the eerie "Natten Loftet Sitt Tunge Ansikt" attests. "Isgrav, Det Siste Hvilested" does the same. _Soria Moria Slott_ is an awesome addition to black metal's sonic legacy. Twelve After Elf - _Twelve After Elf_ (WOM, September 1996) by: Drew Schinzel (5 out of 10) Hailing from Germany, and having a name that sounds like it belongs to a Tolkien-inspired black metal band (it actually just means "Twelve After Eleven", in German), Twelve After Elf play a kind of mid-paced metal/rock hybrid which, on the surface, is fairly good, but after a few listens changes into just mildly annoying. The vocals alternate between very Alice In Chains-like "clean," and some pretty bad death growls, by far the worse of the two. The playing is pretty simplistic, also, without much melody to be heard. Maybe I'm just not the person for whom this album was intended, and I've heard that, in a live setting, Twelve After Elf are awesome, so I can't totally dismiss this album, but take caution when considering its purchase. Equinox of the Gods - _Images of Forgotten Memories_ by: Steve Hoeltzel (7 out of 10) (Unisound Records, 1996) This band's hybrid "gothic metal" style is not exactly my cup of tea, but they definitely deserve credit for their ability to craft catchy, yet somber melodies, and embed them in rich, layered arrangements. "Welcome Home", "N.L.S.", and the impressive "Dance of the Dead" are memorable songs loaded with melodic hooks, cool vocal phrasings, and nice ambient touches like piano, chiming bells, female vocals, and the like. Without a doubt, these guys have got tons of talent. Lead vocals are mostly delivered in the usual sonorous gothic style, and the tempos are slow to mid-paced throughout. My only substantial gripe with _Images..._ is that the guitar tone is rather thin. Granted, this helps to accentuate the other diverse elements of the band's multi-faceted sound - but I can't help thinking that a bit more metallic punch would greatly increase their overall impact. (In fact, I think they'd sound a lot like Moonspell if they beefed up the guitar. But these guys aren't copycats; they've been around.) Anyway, even if it isn't maximally heavy, this is a first release that showcases real creativity and talent. N.A.O.S. - _Melancholia_ (Cacophonous Records, 1996) by: Steve Hoeltzel (2 out of 10) My advice to the reader this month: Beware of keyboard-based solo projects which claim to have some kind of affinity with the extreme metal scene!! N.A.O.S. is just such a project, the brainchild of none other than the estimable Magus Wampyr Daoloth - an integral member of both Diabolos Rising and the excellent Necromantia. Knowing that much, I expected to find this fairly interesting, but frankly, I hated it. Maybe this is killer stuff by "dark wave" standards, but I just couldn't take it. Three of the eight tracks are boring keyboard pieces of the sort that kick off way too many black metal albums; three more sound like a (one-man) new wave band singing about the occult; one sounds like a couple of goths playing a circus march on their synthesizers. I did find "Ourobouros" somewhat enjoyable, but it's a far cry from metallic: It sounds like a crazy cross between dark wave and R&B. If you're a fan of Mr. Daoloth's other bands, don't expect to hear anything even remotely like them on this release. (... And now, for even more reasons to be suspicious of projects like this, see the review of Shadowcaster below.) Shadowcaster - _Abandonment_ (Unisound Records, 1996) by: Steve Hoeltzel (3 out of 10) Shadowcaster is touted as an "experimental" entry into the black metal genre, but "tedious one-man keyboard project" would be a much more accurate description of this release. _Abandonment_ features loads of synth, some slow programmed percussion, and plenty of tortured vocalizations "sung" in the black metal style - but there is not one note of guitar (or bass) to be heard at any point in its 71-minute playing time. That's not why I'm giving it the low rating, though. No, it's because the incessant keyboards sound cheap and rather goofy - and, frankly, they're not played with much skill. Moreover, the compositions tend to be really simplistic, monotonous, and overly long. Some moments even end up being unintentionally funny (to me, at any rate). In comparison to the awesome ritual music of Equimanthorn (also on Unisound) or the spellbinding "dark ambient" music of the mighty Mortiis, this is incredibly doltish sounding stuff. The album does contain a few moments of weird, nocturnal charm, but those moments are way too few and far between. Sort Vokter - _Folkloric Necro Metal_ (Napalm Records/Norse League, by: Steve Hoeltzel (8 out of 10) September 1996) Wow!! This disk sounds like the recorded output of some freaked-out, inhuman woodland entity who does lots of drugs and thinks that early Bathory is God!! "This album was fully recorded under the influence of T.H.C., with no care for technical details," says the back cover. Sort Vokter is a one-man project from Norway dedicated to producing only the most abrasive and ultra-simplistic forest black metal. Indeed, this stuff is -so- primitive, raw, and distorted that it's outright psychedelic. The guitars are a wall of super-crusty fuzz; so is the bass, and the rudimentary arrangements are propelled by harsh programmed percussion that creates a supremely chilly feel. Vocals are done in the standard black metal style (occasionally filtered through various effects), and synthesizers are used in a genuinely creepy way. _FNM_ is a very deceptive recording: If you listen casually, it sounds totally crude and unimaginative - yet closer attention (headphones help) reveals multiple layers of morbid sound carefully designed to congeal into a juggernaut of stark, atmospheric black scorch. "Grdlysning" is very simple, yet very cool; "Bak to Lysende Oyne" just sounds mean as hell; and the inhuman shrieks in "Hatefulle Tanker ut I Natten" are incredible. This whole album is one mighty, resounding "Fuck off!" to those who proclaim their love of black metal, then whine about bands who don't have slick production or fancy-pants arrangements. Hell, I'm tempted to give it a nine.... (Killer packaging, too.) Tsatthoggua - _Hosanna Bizarre_ (Osmose Productions, July 1996) by: Steve Hoeltzel (6 out of 10) These over-energetic lunatics proudly describe their style as "satanic-devastating-black-sadomaso-mad-whipping HYPERSPEED metal." Apparently this is the style you get when you take the basic Impaled Nazarene sound, augment it with loud, screechy keyboards, and crank out compositions as quirky and furious as anything by Brutal Truth. Kinda weird. (In fact, there are quite a few parts of the disk that sound, I swear, like old Destruction LP's played at 45 rpm instead of 33. Not that that's necessarily bad.) This is totally crazed music which only occasionally attempts to be catchy, and often becomes so frenetic that it makes more famous purveyors of the standard fast-black-metal formula seem laid back by comparison. But even though that description might sound enticing, I end up being kind of bored by this release. It definitely has its moments (best among them the blasting "Worm of Sin"), but most of the album's riffs are quite uninspired, and the jumpy song structures do little to hold one's interest. (Plus, the overall sound, though thick, is incredibly high-pitched, with keyboards mixed very loud.) This is totally ferocious stuff; it's just that Tsatthogua's song-writing prowess doesn't keep pace with their all-out need for speed. Gomorrah - _Caress the Grotesque_ (Black Mark, October 1996) by: Adrian Bromley (7 out of 10) Unlike the rather harsh mentality and direction that was essential to the strong debut album, 1994's _Reflections of Inanimate Objects_, Gomorrah's follow-up, is a downscaled version in terms of aggression and anger, though increasing substantially in both groove and focus in songwriting. While some fans of England's quintet may feel less invited to take a listen because of lack of growls, it is the clear and precise attempt at developing a well-rounded feel to the music that need be explored and taken note of. Personally, I enjoyed _RoIO_ a lot and felt that the band had a lot to offer in the future with their music. _CtG_ has some great numbers, most notably "Fireball", "33 Utopia", and "Feed On Me", but at times seems to lack some kind of burst of energy. Maybe trying too hard to focus has lessened the aggressive lunge of the band's musical drive? No problem, when you look past that, the album is pretty strong in its own right. Human Remains - _Using Sickness as a Hero_ (Relapse, Summer 1996) by: Brian Meloon (7 out of 10) After a lengthy delay that included a name change or two (to "Remains" and back again), Human Remains finally released their debut EP. The band hails from New Jersey, and play a chaotic, heavy brand of death metal. As with Within (see review this issue), they have a few sections which sound "quirky" or "goofy", which helps to break the monotony. This EP is pretty short, with seven songs clocking in at roughly 20 minutes. But this might be just as well, as a little of this style goes a long way, and the album might get boring if it were any longer. Overall, this is a good effort, but I find it a little too unfocussed for its own good. Some of the parts are too chaotic to retain the heaviness that they appear to be going for. In fact, I can't really judge how tight they are in these sections, because they usually go by in a blur, with the bass and drum parts totally decoupled from the guitar parts. Otherwise, though, the playing is very tight. The vocals are okay, and the singer reminds me of a more aggressive Chuck Schuldiner, as some of his vocal parts have the same kind of discernible sneer. In any case, the production is great, with a heavily distorted bass, and brutal guitar tone. It's an enjoyable listen, but with a little focus (like Within), it could be better. Inner Thought - _Perspectives_ (Dwell Records, October 1996) by: Gino Filicetti (9 out of 10) Since the first time I heard Inner Thought, I found it hard to believe that one man, Bobby Sadzak, could compose the masterpieces that are Inner Thought's songs. Perhaps you have heard his name before, that's because Bobby was once in the legendary Canadian band Slaughter, who, along with their American contemporaries, pioneered the death metal genre. On this record Bobby plays guitar, programs his drum machine, and plays keyboards. The only other member of Inner Thought is Dennis Balesdent who's superb vocal talents grace this release. The CD starts off with "Words" which gives the listener a taste of the brutality and intensity that is to follow. This entire album was recorded with the help of drum machines, however that's not to say that the power of the drums have been compromised in any way. On the contrary, this is probably the best use of drum machines I've heard since Skrew. Also appearing on "Sanctioned Situations", "Tortured", and "Autodogmatic" are female vocals care of Mary Giordano. These, mixed with Dennis' brutal growls, create an amazing complementary effect. My favorite song here is "Tortured", which starts off with a sample and proceeds into one of the best riffs on this album. This track truly encompasses all aspects of Inner Thought with its keyboard section and female vocals close to the end of the song. Another favorite is "Rack of Lethargy", which appeared on the Utopian Vision Music double CD compilation, _Sonic Obliteration Part I_. This song utilizes an array of samples, techno beats, driving guitars and both clean and growled vocals to give the listener a unique listening experience. I'd recommend this album to all fans of death metal, and even industrial. A superb release to say the least. Korn - _Life Is Peachy_ (Immortal Records/Epic, October 1996) by: Adrian Bromley (8 out of 10) The band's debut album on Immortal Records sold one million copies. So will this one... maybe more... who knows? I'm impressed with the strength and sound quality the band has been able to magnify with _Life Is Peachy_. The screams are louder, the music seems harsher and the dementia of the band has magnified ten-fold. This stuff scares me at times - I'm serious. The album's "fucked-up" nature seems to carry this album into a different state of mind several times as _Life Is Peachy_ plays, and for those who expected Korn to sell-out with album number two, you're wrong. _Life Is Peachy_ is an intense shot of anger, frustration and maniacal tendencies all rolled up into one fist-pounding blow to the skull. An album very similar, yet at times far from what they had done with their self-titled debut release. Heavy tracks include "Twist", "K@#*%!", the ever-cool "A.D.I.D.A.S.", and "Kill You". They even cover Ice Cube's "Wicked". Korn returns with a deafening, hard-edged dose of might that will surely bring a smile to their fans and keep them moshing. Iron Maiden - _Best of the Beast_ <2-CD box set> by: Adrian Bromley (10 out of 10) (Castle Records, Sept. 1996) First off, if you are a Maiden fan and don't have this release yet, you must be on crack or something. This release should get 10 out of 10 just for the stellar packaging - amazing!!! But the fun doesn't stop with the packaging as within this double-CD (27-song) release is a thorough and well thought out assortment of some of Iron Maiden's most memorable numbers from over the years, such as "Fear of the Dark", "Can I Play With Madness," "The Trooper", "Running Free"... the list goes on. Another good thing is that the material on this release caters to songs sung by the numerous lead singers of the band over the years: Paul DiAnno, Bruce Dickinson, and current frontman Blaze Bayley. The box set also has many pictures and facts about the band's releases and years on the road too. But wait... there is more! The most prized gem of this release is the inclusion of material from the band's first recording session, 1979's _The Soundhouse Tapes_ - a much desired find for any Maiden fan. Songs from that session include, "Iron Maiden", "Strange World", "Phantom of the Opera", and "Sanctuary". Sure, there have been countless releases by the band over the years of assorted material (the double-live Donnington record, _A Real Dead One_ and _A Real Live One_), but none so well-packaged and well assembled as what the band and Castle Records have done with _Best of the Beast_. A worthwhile purchase for any Iron Maiden fan. Manhole - _All Is Not Well_ (Noise Records, August 1996) by: Adrian Bromley (8 out of 10) Heavy shit happening here. The debut album by Los Angeles rap/metal/hardcore quartet Manhole, _All Is Not Well_, is a bludgeoning assault of socially conscious lyrics and anger. The album's songs deal with topics ranging from rape to racism to sexism, and when singer/screamer Tairrie B. sings them, they seem so real and so "in-yer-face." From the opening chords of "Hypocrite", the albums kicks into some serious grooves and rhythms that do some serious work on your cranium. Get kicked hard and violently by such lash-outs as "Empty", "Victim", and "Cycle of Violence". Producer Ross Robinson (Korn/Deftones/Sepultura) has done a remarkable job capturing the intensity and live feel of the band on CD and the band play off that work by delivering overbearing doses of adrenaline numerous times throughout the debut. Raw and downright ruthless at times, Manhole's debut will no doubt catch the ears of fans of such diverse bands as Korn, Rage Against the Machine, and Life of Agony. Manowar - _Louder Than Hell_ (Geffen/MCA, October 1996) by: Adrian Bromley (8 out of 10) For those of you who grew up in the 1980s listening to Judas Priest, Accept, Iron Maiden, and Anvil material (there were hundreds more), you will definitely cream your pants with Manowar's latest installment of "manly metal" with _Louder Than Hell_. As if written from the tales of Conan the Barbarian or Thundarr the Barbarian (80s cartoon hero), the material on _LTH_ lashes out in a blinding fury of aggression, speed, and harmony. It's tight, loud, and brings forth a tremendous feeling of power with every song. Stomp your feet and strap on your spiked-arm bands and head bang fast and furious with such delights as "Return of the Warlord", "The Gods Made Heavy Metal", and "Outlaw." At times cheesy, but for the remainder of the time, Manowar's _LTH_ is a definite ear-pleaser. This album may do moderately well and get some exposure seeing that they are on a major label (Geffen). Metallic mayhem unleashed! Merzbow - _Rainbow Electronics 2_ (Drag City, 1996) by: Andrew Lewandowski (8 out of 10) Recently, one of the many people uninitiated in the ways of Japanoise attempted to provoke an argument with me about whether or not all of Merzbow's albums sounded the same; of course, my initial response was that such a rash comment could only be coming from the mouth of one posessing an extreme amount of ignorance. Still, a sense of accord permeated beneath my unwavering veneer; many of the "wall o'noise" (for examples, see _Noise Embryo_, or the disappointing, yet easy to locate, _Venerology_) releases that Masami Akita, Merzbow's dictator and sole member, has composed for the past decade have started to sound quite generic and, at times, even stale. Has the godfather of noise started to run out of fresh ideas? After a few listens to _Rainbow Electronics 2_, I can proudly respond with an irrefutable nope. While still equaling many of his latter day releases in their unadulterated bombastic nature (especially during the last two tracks), in this sequel/remix of a rare five-year old CD of the same name - sans the "2" - Akita throws in more of an ambient influence this time around. Also, this release is neither manic nor monotonous when compared to previous compositions, as the soundscapes are constantly evolving, yet still remaining harsh throughout (especially during the album's final two tracks; as usual, Akita bestows chronological titles on each track) . What results is a surprisingly subdued whole; instead of tearing apart'n'mutilating your eardrums, _RE2_ appears to attack the listener's nerve cells, creating an experience which is simultaneously enthralling and unbearable. Morgoth - _Feel Sorry for the Fanatic_ by: Adam Wasylyk (8 out of 10) (Century Media, September 1996) Morgoth, after a three-year hiatus, have released a record that is full of experimentation that really pays off. With me having their first effort _Cursed_, they never impressed me as I found their sound quite boring. With _Feel Sorry for the Fanatic_, Morgoth stray from their death metal roots and embrace a more hard rock sound. The vocals have lost every shred of death metal influence, sounding rough and husky rather than low. Fans may not know what to think about track four, "... and its amazing consequences", which is a techno track with keyboards, but is oddly one of my favorite tracks. Others like the powerful opener "This Fantastic Decade", "Cash", and "Curiosity" are catchy and memorable, the opposite of what I thought of the tracks on _Cursed_. There is also a heavy use of keyboards on the album, which I think deserve credit in making this album as good as it is. I think track 10 sums up this record, "A New Start". It really is, and a great one at that. [Note: I found this album simply atrocious, having loved their old material, _Odium_ in particular. Fans of the old stuff, *BEWARE*! -- Alain] Atrax Morgue - _Cut My Throat_ (Slaughter Productions, 1996) by: Andrew Lewandowski (6 out of 10) After producing numerous cassettes under the Atrax Morgue moniker throughout the past three years, Marco Corbelli has released his first four CDs in 1996. The most recent of which is this limited edition CD (250 copies with a bandage on the jewel case), the ominously titled _Cut My Throat_. This one continues the sparsity of his past works; one constantly moving sound pattern occupies the foreground, while random distortion and noises dwell in the background. During the first track, "Before", these sounds are quite docile; they evoke images ranging from sirens and chainsaws to more childlike (ie: something that would appeal to a four year old) patterns, and never become overbearing. The second track, the longer "I Cut Yours", is comparatively harsher, largely due to more background distortion and a pulsating foreground, yet still never reaches an unlistenable level. Although this makes for an intriguing listen, it lacks both the harsh and disturbing nature of better noise artists. Nevermore - _The Politics of Ecstasy_ (Century Media, October 1996) by: Adrian Bromley (9 out of 10) Holy shit! What an intense record! From the opening chords of "Seven Tongues of God" onto the stunning "Passenger", "Politics of Ecstasy", and till the end of the album, this 60-minute+ sophomore release by Seattle's Nevermore never seems to falter. Led by the vocal charge of frontman Warrel Dane, Nevermore continues on with their style and direction with a crisier, more detailed vision of the progressive metal they create. The music is more balanced with the melodies and vocal styles taking shape into full-fledged epics as well as the sound has become more firm with triumphant guitar riffs (thanks to guitarists Jeff Loomis and Pat O'Brien) that seem to garnish the musical platter of the band. The debut album by the band, 1995's _Nevermore_, seems so minimal and off-center when played back to back with _PoE_. Maturity will do that. Bottom line: _PoE_ is a truly remarkable second release. In the same vein as Queensryche, Angra, and Fates Warning (though heavier), Nevermore's latest truly sets the standard for what ALL progressive records should follow. Old Man's Child - _In the Shades of Life_ MCD by: Drew Schinzel (8 out of 10) (Hot Records, October 1996) Following in the footsteps of their debut full length album, _Born of the Flickering_, Old Man's Child are back (sort of) with a new MCD, _In the Shades of Life_. Why the "sort of?" Well, the MCD isn't actually filled with new material, but instead consists of their demo, remastered and pressed onto CD for mass consumption. Originally recorded in 1994, this latest offering is fairly lengthy, for an MCD, at 27m:10s, encompassing five tracks. Be forewarned though, the final track is mostly synth and really nothing like the rest of the album. Other than that, though, this release is filled with more awesome black metal with a melodic edge and incorporation of acoustics and the very rhythmic guitar sound embodied by OMC. Slightly slowed down from _BotF_, _ItSoL_ doesn't sound like demo material at all, but a mature and diverse mixture of different elements to form a complete and pretty original sound. Of the five tracks, the second one, "Seeds of the Ancient Gods", stands out as the best; from its blend of acoustic guitar layered over a simple guitar melody with mid-paced drum beat, to the high-speed black metal assault, to the clean vocals mixed with acoustics and alternating double bass, it represents the sound of Old Man's Child perfectly. Those familiar with OMC's style should not miss this fantastic release, and those who are yet to experience them would do well to pick this MCD up. Overdose - _Scars_ (Fierce Records, July 1996) by: Adrian Bromley (4 out of 10) Brazil's metal outfit Overdose is a band that has the potential to break away from being seen as a Sepultura clone, and they almost do it on this, their second release. Almost. But unfortunately, breaking away from a stereotype is one of the hardest things to do. _Scars_ is full of powerful rhythm sections and works well to provide a focused Brazilian feel to the music and vibe of the album (as seen on numbers like "How To Pray", "The Front", and "Still Primitive"), but after all that, _Scars_ still sets no real identity for the band. Round three should be promising for the band... I hope? Oxiplegatz - _Worlds and Worlds_ (Seasons in Mist, October 1996) by: Drew Schinzel (9 out of 10) How to describe the awesome music of Oxiplegatz? They use so many different styles in this offering, from straightforward primitive black metal, to death metal, to a seeming opera. The music is adorned with trumpets, acoustic guitar, and beautiful synth. Upon hearing the relatively straightforward opening track, one might think this is "just another average black metal album." Not so. Take one listen to the amazing second track, and from then on you are hooked; there is no turning back. It is not the individual parts on their own that make this release so wonderful, but their seamless integration and resulting variation which create an aura of wonderment (and a definite sci-fi twist) while listening to some tracks. The sheer atmosphere and feeling during the slower, clean vocal sections is enough to base a purchase of this CD on. Also, the use of a (probably synthesized) trumpet adds much to the overall quality, with a majestic, monumental touch. While this is definitely not the first time a horned instrument has been used in a black metal release, it definitely creates a unique sound and adds to the atmosphere. In addition, the fantastic female vocals, which are prominent during the synth sections of the songs, are some of the best performed that I've ever heard; they actually produce feeling, unlike the female vocals in some other black metal bands, which create the perception that the vocalist was just a little bored while recording. For those who look for a little diversity in their music, this is almost a must have. Pyogenesis - _Love Nation Sugarhead_ EP by: Adrian Bromley (2 out of 10) (Nuclear Blast, October 1996) I really wanted to like this record - seriously - but instead am left totally disappointed. The German four-piece have left their metal roots and gone more for that alternative/punk rock feel to their music. The band dabbled with alternative-ness with their last effort _Twinaleblood_ (a la Smashing Pumpkins) but still managed to keep some metal qualities intact. Not the case for _LNS_, a record that shakes any past Pyogenesis qualities and focuses more on the sounds of God Lives Underwater (techno-oriented feedback rock), Mudhoney (rough grunge/rock), and Redd Kross (pop/punk rock) to bring forth a new musical direction for the band. Sad. Really sad. Serenade - _The 28th Parallel_ (Deviation Records, 1996) by: Alain M. Gaudrault (6 out of 10) Their label calls them "progressive doomrock", and while the band, comprised of John Alexander on vocals, Gerry Magee and Fraser McGartland on guitars, Stephen Mitchell on bass, and Graeme McGartland on drums, prefers not to be labeled, I can't say that it isn't a fitting description of the music composed by this Glasgow-based outfit. Combining doom, death, plenty of Iron Maiden, and 90s prog metal stylings, Serenade are out to write epics. On their first full-length album, they chose a concept album format "based on the voyages of Christopher Columbus and the discovery of the Americas" (from The Crypt Fanzine, see Writer's Wrath). Pretty strange move for a Scottish act to delve so deeply into Spanish history, but delve they did through songs such as "Introduction: 1492", "Oceans of Despair", and "Eden After the Fall". Thin guitar sound aside, I found the tone of the greater part of the music somewhat same-y, although relatively complex and intricate, rendering it mildly enjoyable to listen to. What will keep me from ever listening to this album again, though, are the truly horrid vocals. Part death growl, part clean, and occasionally spoken, I can't begin to explain just how poorly sung this material is. I'll give Alexander a few points for effort, but basically, his growling voice is monotonous, weak, and directionless. What's more, they just don't seem to mesh well with the accompanying music. His clean vocals are even worse, grating sorely on my nerves whenever they come up, being off key, and lacking in control. With a singer having such a poor grasp of melody and harmony, and lyricist(s) with such a lack of depth and sense for the poetic, these Dream Theater/Queensryche aficionados will be hard-pressed to attract the same type of audience, if that's remotely what they're after. Despite there being so few Scottish metal acts, I'm sad to say I can't much recommend this release other than to those who are more forgiving of such singing limitations. Contact: SERENADE, 19 Castlehill Drive, Newton Mearns Glasgow, Scotland, G77-5J3 Slapdash - _Slapdash_ (Nuclear Blast/EastWest Records, October 1996) by: Adrian Bromley (2 out of 10) Read my review of Slapdash's _Bound_ in CoC #14. More songs, same shit. Not impressed with this power-groove-metal quintet's debut album at all. Next. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __ __ _ /\ \ \_____ __ /\ \ \___ (_)___ ___ / \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \ / /\ / __/\ V V / / /\ / (_) | \__ \ __/ \_\ \/ \___| \_/\_/ \_\ \/ \___/|_|___/\___| Your best source of information on the newest of the new, and the deepest 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. Scoring: ***** -- I see a record deal in the future **** -- Great piece of work *** -- Good effort ** -- A major overhaul is in order * -- A career change is advisable Anhkrehg - _Brutal Witching-Metal_ (10-track demo) by: Adam Wasylyk (****-) A three-piece from Montreal, Anhkrehg show that the smaller bands in Quebec have something to offer too. The band combines death metal grunting and black metal screaming with heavy and catchy guitar riffing, and often speedy drumming. On _Brutal Witching-Metal_, there are 10 tracks, with most of the songs sung in French, about ancient wars and battles. Songs like "Acte II (L'Armee De Dieu)", "Acte IV (L'Invasion)", the great title track (with military drumming and grinding bass), "Under the Reign of Leviathan", "Satan's Curse", and "To the Devil... A Daughter" are really strong and enjoyable to listen to. Also included is a live track, which I must say is quite rare to see on a demo. The layout isn't bad, mostly b/w but contains three small colour photos, one of each band member. Production is much better here than on their previous demo, _Sacrificial Goat_ (see review in CoC #10). A better than average demo, and a band to be reckoned with. Contact: ANHKREHG c/o E.S.T Management 755 Muir Suite #205, Saint-Laurent, Quebec H4L-5G9, Canada Send $5 for a copy of _Brutal Witching-Metal_ Engulfed - _Castellated Architecture_ (6-track demo) by: Alain M. Gaudrault (***--) This is without a doubt the heaviest band I've heard come out of Scotland. I hear shades of Carcass, older Entombed, and even Bolt Thrower. Takes a while to get past the thin production and odd guitar sound, but underneath the mire are some passable tunes played with much conviction. What this band needs, in my opinion is time; time to become better songwriters, time to become a better unit. This isn't the tightest demo I've heard, not by a longshot, but then, that's not really a prerequisite for grindcore, by which this is heavily influenced. Lyrics to the first three songs deal with medieval imagery, while the last three are inspired more by Satan. Odd combo, but to each his own, I say. Vocals are your standard grind fare, combining warped growls with high-pitched screaming, generally unwavering albeit well delivered. While not very original in nature, _Castellated Architecture_ is still a decent listen for grind/death enthousiasts. Contact: ENGULFED, c/o Kelvin Cook 26 Nithsdale Drive, Glasgow, Scotland, G41-2PN Voice: 0141 423 5714 Human Disorder - _Twisted Sane_ (10-track demo) by: Adrian Bromley (****-) Southern Ontario metal quartet Human Disorder's debut album, _Twisted Sane_, is quite the piece of work. The riffs are thick, the vocals are abrasive and the pounding rhythm section is tight throughout the debut album. Molding their music after such thrash metal bands as Anthrax and Sacred Reich, and working hard to create well-crafted metal numbers as we would see with bands like Flotsam Jetsam and Metal Church, Human Disorder's 10-song release is pleasing as it flows a very consistent pattern of groove and tightness. I enjoyed this release as it seems the band has managed to capture a very honest feel to the way their music comes across. It doesn't seem contrived or fake. Get drawn in by such numbers as "Horrorscope", "Fever", and "Afraid". Musically, the band is doing something of the kind of music that some people have ignored in the past few years (that being thrash/groove metal), but with bands out there like Anthrax still kicking around and new killer LPs by Sacred Reich (_Heal_) and Meliah Rage (_Death Valley Dream_), there may be a place for Human Disorder in the realms of Canadian metal. An independent release worth looking into. Contact: Human Disorder c/o New Music Management 27 Balfour Street, St. Catherines, Ontario, Canada, L2R-2G4 Voice: (905) 687-4825 Jim Studnicki - _The Second Day_ (3-track demo) by: Brian Meloon (**---) Jim Studnicki comes from Florida, and was able to convince Shawn Malone and Sean Reinert (both ex-Cynic) to play on this demo. As you'd expect, the playing is good, but unfortunately too restrained, and the songs aren't very interesting. A late 80s metal/hard rock feel permeates the demo, and there's a general dated sound to it. The three songs all have a different feel, so I'll give them individual attention. "Ensnared" starts out okay, but goes downhill after the singing starts. The guitar riffs bring to mind the late 80s hard rock/metal style, and the vocals added on top caused the word "Dokken" to pop into my head. I think the vocalist is the weak point of the whole demo. His voice is too whiney, and gives the demo an overly commercial feel that it wouldn't otherwise have. The title track follows, and this is the worst song on here. It's a soft acoustic number, which reminds me a lot of Dream Theater's "The Silent Man", or for that matter any of a number of similar songs. I can't find anything interesting in this song, as much of it (and especially the ending) are very cliche. Closing off the demo is the best song, "Wolves", an instrumental that reminds me of Vinnie Moore's _Meltdown_ in the guitar leads and rhythm parts. There is a short but cool bass solo, and a few heavier parts, but this song doesn't really get off the ground either. I'll give Jim credit for playing music that isn't trendy, and for not trying to be the next "guitar god," but I just can't enjoy this. Contact: Jim Studnicki, 13808 Lazy Oak Drive, Tampa, Florida 33613 e-mail: studnick@soleil.acomp.usf.edu Mono Grande - _Mono Grande_ (11-track demo) by: Alain M. Gaudrault (***--) Scored this one in Aberdeen in a small CD/vinyl store on Belmont Street. One of the band members works in the store and wanted for me to listen to his work. While I suppose this could be considered heavy by some, it's more in the so-called alternative vein of rock/metal. And for what it is, it's a decent effort. While somewhat hit-and-miss in nature, it sports the occasional Prong-drenched riff and vocal combo. Vocals are in the vein of Helmet, albeit more melodious, and generally happier. The Nirvana-loving bass-heavy grooves and punkish touches give it the 90s alternative feel overall, but despite that, there are some half-way decent tunes. If you're into "hard alternative" and happen upon a copy of this Scottish band's self-produced affair, you could do worse than to pick it up. Contact: MONO GRANDE, 18 Pinkie Road, Newmachar Aberdeen, Scotland, AB2-0RG Voice: (01224) 642662 Phycus - _Sonderkommando Now_ (13-track demo) by: Adrian Bromley (8 out of 10) First off, I spelled this band's name wrong last time I reviewed their full-length release _Brainmower_. It is Phycus not Psycus. Continuing on in the same vein as their last release with heavy NIN, Skinny Puppy, and Ministry sounds and influences, _Sonderkommando Now_ remains pretty much the same style as _Brainmower_ except for the fact that the band has somewhat darkened their visions a bit more and become a bit more experimental with sounds and samples. The album has a lot going on within it but at the same time seems to have too much going on within it. There seems to be no real pattern of sound and direction, and at times, the listener is thrust back and forth into realms of darkness and warped ideas. But maybe that is the plan? Songs like "Zero Years," "Metal Mantra", "Mental Illness", and "You're Killing Me" come off as disfigured concoctions of sounds and ideas but in many ways pleasing to the ear. Regardless of my dislikes (a few small things) of this release, I still believe this band to be one of the few of its genre in Canada making music that can not only sound good but really disturb you at the same time. Contact: MUSICUS PHYCUS, P.O. Box 55083, 240 Sparks St. Ottawa, Ontario K1P-1A1, Canada e-mail: phycus@cyberus.ca Prototype - _Seed_ (3-track demo) by: Adrian Bromley (***--) This Los Angeles-based quartet has got the right thing going on here. With a very defined thrash metal sound, sounding much like the newer/slicker version of Megadeth in some spots and still incorporating some old school thrash metal elements, not to mention progressive metal styles of Damn the Machine and Fates Warning at times too, L.A.'s Prototype are aiming towards bringing variety and uniqueness back to music to some extent. What happens with the _Seed_ demo is that the band leads us through a sample of their music roster: "Seed", "Shine", and "Dead of Jericho" - songs that while similar in some spots, radiate variety and craftsmanship. This band consists of great musicians and do nothing wrong in making us believe those qualities exist, it is just that even though the music on this demo is well executed, it seems to lack a notion of integrity and feeling. The music sounds great (don't get me wrong), it is just that after a few listens I am left with little of any impression of what the band has delivered to me musically. Sound is one thing but also is reaching out to the audience and shaking them a bit. A mixed review nonetheless. Contact: Prototype, P.O. Box 993, Pacific Palisades, CA 90272, USA Thug - _Monochrome_ (13-track demo) by: Adrian Bromley (****-) An eerie feeling seems to take over my body with every listen of Thug's debut album, _Monochrome_. Heavily into the radiating emotions and sounds through music, this industrial/metal trio from Oshawa, Ontario taunt us, scare us, and take pleasure in disfiguring their sounds and visions of material off their debut album. I'm still trying to figure out why this album gives me the creeps. I think it has to do with one of these three reasons: a) a top secret mission by C.I.A. to scare music critics like myself from the business, b) a bizarre pre-Halloween scare (it worked!) or c) this band really knows how to manipulate sounds and music and can flawlessly incorporate samples and feedback into songs, making them more volatile and demented as it goes along. I think it is the last one. Interesting numbers include: "Fucker", "Reject", "Science Fiction Organ", and "Vole". _Monochrome_ is much like a bad nightmare that you can't seem to wake up out of. Haven't heard shit this fucked up since my first encounter with Skinny Puppy material. Weird shit. Goosebumps guaranteed every time. Contact: THUG, c/o Negative Air Research 285 Taunton Rd. P.O. Box 82571 Oshawa, Ontario, Canada, L1G-7W7 Within - _Bliss_ (7-track demo) by: Brian Meloon (****-) Within are from Rochester, NY, and like their contemporaries Windbreed, play a style that can be described roughly as a more death metal version of Lethargy (see review in CoC #4 or #14). They seem to have fused the semi-melodic death metal style of their previous demo, _The Unaccepted_ (see review in CoC #7), with the quirky death/thrash of Lethargy, which I think is a change for the better. Their sound is more diverse than either Lethargy or their previous work, as it incorporates many acoustic/clean sections and a lot of slow parts as well. While this is a good thing from a variety perspective, the slow parts tend to drag on, making it boring at times. When the songs speed up, they sound fine though; they're (semi-technical) death metal with excellent production, and an especially clear bass tone. The playing isn't quite as tight as it could be, but it's still very good. The songs are usually short (seven tracks fill up about 25 minutes), but the structures avoid standard form. The singer is typical death metal style, actually sounding a lot like the guy from Crematory at one part. I enjoy this tape a lot, and I hope these guys get signed in the near future. In a head-to-head competition, I'd rank these guys above Human Remains (see review this issue), because of their more impressive control and diversity. Contact: WITHIN, 56 Durand Blvd, Rochester, NY, 14622, USA =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ____ __ __ /\ _`\ /\ \ /\ \__ __ \ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___ \ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\ \ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/ \ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\ \/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/ ____ __ /\ _`\ /\ \__ \ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____ \ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\ \ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\ \ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/ \/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/ Here is where Chronicles of Chaos gives you the lowdown on the latest shows coming your way. Check out Chaotic Concerts every month for the scoop on the bands brutalizing the masses with their own form of terror. A N E V E N I N G O F I N T E N S I T Y ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Anal Cunt with Incantation October 27, 1996 at The Velvet Elvis in Savannah, GA by: Steve Cannon Wow! A show like this coming to our town! Actually, they were appearing with local band Damad, who I didn't get to see, but can best be described as a punk/death metal combo with a female lead singer who is absolutely brutal, and puts most guys to shame in the genre. They have a CD coming out which I will tell y'all more about! The strangest thing about this show was the local band played last. Incantation went on first, and lemme tell ya, there were about 30 people who drove 5 hours from Gainseville Florida to be here! Incantation did not prove to be a disappointment, though the vocals were a bit lower in the mix than the rest of the band. Their material, most of which was from their previous efforts, was a good mix of blistering speed and slow grinding riffs, and there was a good bit of moshing about! Unfortunately, as I was not very familiar with their stuff, I don't know exactly what songs they played, but all who know Incantation know they are quite vicious live. Anal Cunt was next, and this reporter definitely enjoyed the craziness, although there were a couple of times when I didn't think I would live through the show! Lead singer Seth was half drunk, and fell off the stage at many points, one time falling right onto his back and still singing in that crazed half death/half screech that most black metal bands might wanna grab! He threw a few chairs directly into the crowd, and some probably feared for their lives! They did a rather short set, only a drummer and guitarist were present besides Seth. They did the Oi version of Staying Alive, Pepe the Gay Waiter, and the crowd was 100 percent behind them (those who are A.C. fans) when they covered Gloves of Metal (the old manowar hit) of which I got to sing several lines along with Seth, the second show I've ever been to where I was allowed to sing with the singer (Corrosion of Conformity being the first). The bouncer had a problem with the throwing of chairs and the obvious gay bashing going on, to which the lead singer replied "Hey, kick that gay freak's ass!" Quite a wild troop on stage; Seth is a total madman. Many people I talked with afterwards were saying what a great show A.C. put on, but others still were rather put off by Seth's antics. Two bands who are almost virtual unknowns down here got rather a mixed reception, but it's obvious that to this backwards ass town, there are still quite a few people who want to see a good show. -- Steven G. Cannon Editor in Chief of Vibrations of Doom Magazine. Email address: ax487@freenet.uchsc.edu =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= D A N Z I G D O E S D E T R O I T ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Danzig with Speedball at The State Theatre in Detroit, MI Halloween - October 31, 1996 by: Alyson Morrow On October 31, 1996, I had ventured off to the State Theatre in downtown Detroit to see Danzig with local openers, Speedball. Speedball are a cross between Nirvana and White Zombie, and were pretty good. The crowd went nuts though just before Danzig was to take the stage. The crowd of about 6,000 people were all cheering Danzig, all waiting to see the God of Darkness himself, Glenn Danzig. He had stood on stage wearing his usual tight, black jeans and his black fishnet hole shirt which is like the Danzig trademark fashion. As the lights went down the background of Danzig's latest effort, _blackacidevil_, had been displayed and the crowd went crazy. Danzig chose to open with his classic song, "Mother". The band then proceeded into the long set list of favorable Danzig songs from his first four albums. Songs included "Twist of Cain", "Long Way Back >From Hell", "Her Black Wings", "Dirty Black Summer", and "Until You Call On The Dark". Danzig played three songs off of his latest album (which had been released a day prior to the show): "Sacrifice", "7th House", and title track "blackacidevil". The show was incredible due to the fact that everyone was singing all the words to the songs and the fans really got into the new music off _blackacidevil_. There was a lot of moshing and stage diving during the show and the pit was horrible. It had begun at the start of the show and lasted until the bitter end of Danzig's set. All in all the Danzig show of Halloween '96 will go down in history as being a "treat" and not a "trick." Look out for Danzig's album, it rules! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= V I C I O U S V I O L E N C E V E N T E D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Voivod with Crisis and Pro-Pain October 30, 1996 at The Masquerades in Atlanta, GA by: Steve Cannon As I arrived at the Masquerades in Atlanta, Georgia, I was 3 hours early for the show and proceeded to head backstage (since I had all the necessary "credentials" that a magazine editor must have in order to "hang with the stars") where I met up with all the members of the three bands. Piggy from Voivod and Dan from Pro-Pain were jamming together, in the sense that Piggy was playing guitar with no amps, and Dan was tapping his feet on the floor and using his hands and a table to simulate various drum parts. All the guys and Karen from Crisis were very friendly, and we enjoyed many interesting conversations, especially the 30-minute tirade about various groupies the bands encountered. Finally, at 21:00, the first band, Crisis, went onstage. Though the crowd was not very large, they were very appreciative, as was I, of Karen's obvious talents to be able to sing as well, hitting bloodcurdling screams that would have the lead singer from Drill running in fear. As they mentioned in the interview that was done by myself and the friends of mine from a radio station in Alabama, the lead and bass guitar work blended nicely with each other, oftentimes giving no hint as to which was what. After a 30-minute set, which left everyone quite pleased, the moment I had been waiting for had finally arrived. They did take their sweet time arriving; after a 25-minute wait, in which time I smelled strong essences of pot, they finally burst through the back stage door in a cloud of smoke. It's obvious what was going on back there! Though they only played a 40-minute set, ripping through newer tunes like "Project X", and "Negatron", they also played a few classics, like the ever popular "Voivod" and my most personal favorite, "Nuclear War", from their first album, _War and Pain_. They did "Astronomy Domine", and were joined by both guitarist and lead vocalist from Crisis to do a ripping version of "Nanoman" off their new album. Many heads were banging on the front row, and all in attendance were overly pleased at the sound, and no surprise that new Voivod member Eric Forrest sounds a LOT like the former singer from years back! Go pick up the new Voivod album 'cause it's an obvious return to the heavy days of _War and Pain_ and _RRROOOAAARRR_, but with the technical intricacy and trippy space themes found in _Killing Technology_, _Angel Rat_, and _Nothingface_. Finally, Pro-Pain hit the stage, and their set was thunderous! I rushed in as I heard the first few notes of "Shine" blast from offstage. The only band to have an active thrashing pit, they were quite vicious in their attack, as I knew they would be! (See Vibrations of Doom issue #13 for the interview.) I went into this full force, loving every minute of their ultra brutal hardcore riffs on old tracks like "Foul Taste of Freedom", and "Death on the Dance Floor". The new stuff was undeniably raw, and for those of you who don't have their newest release, _Contents Under Pressure_, MUST go grab this! They performed "Odd Man Out", "Against the Grain", and many others from this epic masterpiece, and from the intense moshing going around (and the fact that many were knocked down to the floor several times), it was obvious that many fans had been waiting for this night. In fact, this kind of material sounds so much heavier live than on disc. I want to thank all three bands involved for being friendly and letting me drink their beer, eat their food, and enjoy one of the best shows I've seen in quite awhile. -- Steven G. Cannon Editor in Chief of Vibrations of Doom Magazine. Email address: ax487@freenet.uchsc.edu =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= @@@ @@@ @@@ @@@@@@@ @@@ @@@@@@@ @@@@@@@@ @@@@@@@ @@ @@@@@@ @@! @@! @@! @@! @@@ @@! @@! @@! @@! @@@ !@ !@@ @!! !!@ @!@ @!@!!@! !!@ @!! @!!!:! @!@!!@! !@@!! !: !!: !! !!: :!! !!: !!: !!: !!: :!! !:! ::.: ::: : : : : : : :: ::: : : : ::.: : @@@ @@@ @@@ @@@@@@@ @@@@@@ @@@@@@@ @@@ @@@ @@! @@! @@! @@! @@@ @@! @@@ @@! @@! @@@ @!! !!@ @!@ @!@!!@! @!@!@!@! @!! @!@!@!@! !: !!: !! !!: :!! !!: !!! !!: !!: !!! ::.: ::: : : : : : : : : : : Here is where things get ugly. Writer's Wrath gives our writers a chance to voice their own opinions about certain hot topics in the scene today. Check out this semi-monthly column for the most obscene and controversial ramblings this side of the National Enquirer. S C O U R I N G T H E S C O T T I S H S C E N E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ by: Alain Gaudrault As the plane touched down on the Glasgow Airport runway, I recall making mental preparations for the 3-week adventure that lay ahead for me as I trekked throughout awe-inspiring Scotland. Being the tenacious, relentless metal fan that I am, this trip wasn't just going to be majestic scenery and copious Scotch whiskey. There would be metal, I thought to myself. So as my mate and I meandered about the country in our economy rental car, fearing for our lives as a result of right-hand steering and left-hand shifting, I daydreamed of the remote possibility of there being a wholly undiscovered underground scene taking place in a country greatly unrepresented in the annals of metal history. My first clue that Scotland was not devoid of metalheads was spotted in a downtown Glasgow marketplace. There, right before my eyes, a letter-sized poster indicating the whereabouts of a club that featured extreme forms of metal. Things were looking up. We decided to check out the club one night, only to find out that the extreme metal was only a weekly event. The lower area that night had a stage featuring a blues-rock band, while the upstairs section had a few pool tables, and a DJ playing rock and early metal. We'd come on the wrong night, but decided to stick around, as we just wanted to hang out and have a few drinks. Saw a guy with an At the Gates shirt, so I figured at least *somebody* had taste in the country's biggest city. Since we were leaving for the Highlands in a few days, we would have to wait awhile before making an appearance at The Crypt, the extreme metal theme night at Ragnarok, the bar in question. The Highlands, while absolutely breathtaking and making for an insane driving experience, do not offer quite the mayhem I was seeking. Even in Inverness, the biggest northern city, I was hard-pressed to find metal in music shops. Scotland, as a whole, seems to be obsessed with dance, rap, euro-pop, and traditional folk; a major bummer, indeed. Once we arrived in Aberdeen, things started looking up. I not only found a small CD shop which had a few of the more obscure Monster Magnet titles, but another shop, One Up, on Belmont Street, that sold vinyl as well as CD. The staff was extremely helpful; playing music for me that they thought I might like, given my interests; pointing out a CD convention going on that week; handing me a promo copy of one of the clerk's industro-alterna-metal band, Mono Grande (see review this issue). Amongst the alt-rock, dance, and euro-pop, I was lucky enough to find Gorgoroth's _Antichrist_ and Fu Manchu's _In Search of..._. I was also told that Korpse (Candlelight Records), a band I'd heard of for some time, was in fact Scottish. Unfortunately, I was unable to find a copy of their latest release, _Revirgin_. The next day saw me spending a few hours at the Stakis City Hotel, poring over thousands of CDs at the convention which was packing up at the end of the day. Found a few older titles I'd wanted for some time, but nothing terribly exciting. On we went to the nation's capital, Edinburgh, easily the most visually impressive city in Scotland. Not much metal, found a few small shops with the occasional metal CD, plenty of punk though. In fact, we were visiting just as a big punk festival was raging throughout the city; mohawks, neon dye jobs, Doc Martens, and piercings abounded on the city streets, all in anticipation of the evening shows. Finally, we managed to get back to Glasgow on the last Thursday of our trip. Went to The Crypt, and lo and behold, live heavy music could be heard. I spoke at length with Kelvin Cook, organizer of the weekly event, and bassist/singer of Engulfed, a local grind/death outfit. Here was a dedicated fan of genre, excited about what he saw as a burgeoning scene in Glasgow. As well as providing a stage for heavy acts and creating his own music with Engulfed, Cook also manages a few other acts. Further, he provides space at The Crypt for his friends at Deviation Records (see end of article for more details) to sell their wares. I found several current underground titles, all reasonably priced, in a country where music prices are through the roof compared to North America. Kelvin was gracious enough to provide me not only with a copy of his band's demo, _Castellated Architecture_, but a complimentary copy of Serenade's _The 28th Parallel_ (Deviation Records) and an issue of a friend's publication, The Crypt Fanzine (not to be confused with the venue's theme night), a Scottish extreme metal zine, put out sporadically whenever the author finds the will to do so. See the end of the article for more details. A busy man, Kelvin Cook, that's for certain. See the end of the article for more info, should you wish to get in touch with him. The entertainment that night, unfortunately, left much to be desired. Kelvin felt simply mortified, and apologized profusely. He'd apparently been pressured by the venue management to permit a pop punk/hard rock/alternative act to play that evening as an opening act. He chose other less-than-extreme (more Machine Head/Biohazard-like) acts to play that night to level things out. Not really a wise decision, in my opinion. The crowd was somewhat sparse, the bands lacklustre. I wouldn't discourage anybody from going, though, as he does legitimately bring in brutal acts on a regular basis. It was all just poor timing on our part. In retrospect, while I can't exactly say that Scotland is a metal haven, it does offer some glimmer of hope. Along with Korpse, Engulfed, and Confusion Corporation are the Scottish bands to watch for, the latter band appearing on Shiver Records' (see end of article for details) _Sometimes... Death Is Better_ 3-CD compilation of European death/grind/black acts. With encouragement, the scene in Glasgow could pick up, unleashing bands who could possibly make use of the discontent and rage which they feel towards the fate of their country and countrymen, not to mention the British government who seems to dog them at every turn. I would encourage Scottish metal fans that may be reading this to send in their reports on the Scottish metal scene for our new up and coming column, Regional Rage, or informal comments for our Loud Letters section. ----- Deviation Records 49 Carfin Road Newarthill, Scotland, ML1-5JZ Voice/Fax: +44 (0)1698 734 344 The Crypt Fanzine c/o Gregory Whalen 49 Bellevue Crescent Ayr, Scotland, KA7-2DP The Crypt/Engulfed c/o Kelvin Cook 26 Nithsdale Drive Glasgow, Scotland, G41-2PN Voice: +44 (0)1414 235 714 Shiver Records c/o Hans De Wijngaert Bossepleinstraat 6 3128 Baal, BELGIUM =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ________ ________ ___ __/_________ ________________ _________ __/ __ / _ __ \ / / /_ ___/_ ___/ _ __ \_ /_ _ / / /_/ / /_/ /_ / _(__ ) / /_/ / __/ /_/ \____/\__,_/ /_/ /____/ \____//_/ ________ _____ ___ __/______________ /____ _____________ __ / _ __ \_ ___/ __/ / / /_ ___/ _ \ _ / / /_/ / / / /_ / /_/ /_ / / __/ /_/ \____//_/ \__/ \__,_/ /_/ \___/ Welcome to Chronicles of Chaos' tour listing column. Check out Tours of Torture every month for the scoop on who's coming to town and where to catch your favorite bands. If you have any information about upcoming tours, we'd be more than happy to hear about it. Contact us at . Brutal Truth/Cannibal Corpse/Immolation ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nov 18 - Rockafella's, Columbia, SC Nov 19 - Biograph, Richmond, VA Nov 20 - Jaxx, West Springfield, VA Nov 21 - Memory Lane, Baltimore, MD Nov 22 - Bogies, Albany, NY Nov 23 - PWAC, Lindenhurst, NY Nov 24 - Wetlands, New York City, NY Nov 25 - Zootz, Portland, MA Nov 26 - The Rat, Boston, MA Nov 27 - Obsessions, Randolph, NJ Nov 28 - Sub Gallery, Dayton, OH Nov 29 - Metropol, Pittsburgh, PA Nov 30 - Harpo's, Detroit, MI Dec 1 - Rave, Milwaukee, WI Dec 2 - Mirage, Minneapolis, MN Dec 3 - Pomp Room, Sioux Falls, SD Dec 4 - Bottleneck, Lawrence, KA Dec 5 - Mercury Theater, Denver, CO Dec 6 - Ranch Bowl, Omaha, NE Dec 7 - Galaxy, St Louis, MO Dec 8 - Masquerade, Atlanta, GA Dec 20 - El And Gee, New London, CT Dec 21 - Twisters, Richmond, VA Dec 22 - Jaxx, West Springfield, VA (with Deceased) Godflesh with Vision Of Disorder ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Nov 17 - Rave Bar, Milwaukee, WI Nov 18 - Mirage, Minneapolis, MN Nov 19 - Empty Bottle, Chicago, IL Nov 20 - Bottleneck, Lawrence, KS Nov 21 - Mercury Theatre, Denver, CO Nov 22 - North Star Pavilion, Salt Lake City, UT Nov 24 - EJ's, Portland, OR Nov 26 - The Fenix, Seattle, WA Dirge ~~~~~ Nov 17 - The X Club, Hamilton, ON (with Shallow N.D.) Nov 18 - The El Mocambo, Toronto, ON (with various bands) Dec 4 - Lee's Palace, Toronto, ON (with Solus and Xanax) DIO ~~~ Nov 18 - Sneaker's, San Antonio, TX Nov 19 - Piranha, Corpus Christi, TX Nov 20 - Villa Real, McAllen, TX Thanatos with Allegory ~~~~~~~~~~~~~~~~~~~~~~ Nov 17 - The Kitchen, Miami, FL Nov 18 - 1784 Club Z, Winter Park, FL Nov 19 - Outa Control, Atlanta, GA Nov 20 - Jimmy's Club, New Orleans, LA Nov 21 - The Abyss, Houston, TX Nov 22 - The Impala, Fort Worth, TX Nov 25 - Reptile House, Grand Rapids, MI =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Now is the icy season of Samhain - a period of steadily growing darkness and cold, the apparent decline of the living world. An old pagan tradition holds that the barrier between the worlds of the living and the dead is at its thinnest at this time of year - which makes this the perfect time for a special edition of "What We Have Cranked", featuring our picks for the top five creepiest metal releases ever. So read on, if you dare... Gino's Top 5 1. Various - _... And Even Wolves Hid Their Teeth_ 2. Impaled Nazerene - _Tol Cormpt Norz Norz Norz_ 3. King Diamond - _Them_ 4. Marilyn Manson - _Smells Like Children_ (Unedited) 5. Ultraviolence - _Psychodrama_ Adrian's Top 5 1. Arckanum - _Frad Marder_ 2. Mindrot - _Dawning_ 3. Black Sabbath - _Black Sabbath_ 4. Various - Halloween Movie Soundtrack 5. Profane Grace - _The Divination of Souls_ Brian's Top 5 1. Abigor - _Nachthymnen_ 2. Setherial - _Nord..._ 3. Within - _Bliss_ 4. Dawn - _Sorgh Pa Svarte Vingar Flogh_ 5. Mekong Delta - _Kaleidoscope_ Alain's Top 5 1. Alice Cooper - _Welcome to My Nightmare_ 2. Black Sabbath - _Black Sabbath_ 3. Hellhammer - _Apocalyptic Raids_ 4. Hypocrisy - _Abducted_ 5. Incantation - _Mortal Throne of Nazarene_ Steve's Top 5 1. Bathory - _The Return..._ 2. Darkthrone - _Panzerfaust_ 3. Impaled Nazarene - _Tol Cormpt Norz Norz Norz_ 4. Black Funeral - _Vampyr - Throne of the Beast_ 5. Incantation - _Upon the Throne of Apocalypse_ Adam's Top 5 1. The black metal compilation Steve dubbed for me... you rule!!! 2. Emperor - _In the Nightside Eclipse_ 3. Samael - _Rebellion_ EP 4. Samael - _Passage_ 5. V/A - _Nordic Metal - A Tribute to Euronymous_ Drew's Top 5 1. Emperor - _Emperor_ (off the split with Enslaved: _Hordane's Land_) 2. Gehenna - _First Spell_ 3. Entombed - _Left Hand Path_ 4. Mayhem - _De Mysteriis Dom Sathanas_ 5. The Black - _The Priest of Satan_ Andrew's Top 5 1. Brighter Death Now - _The Slaughterhouse_ 2. Mayhem - _Live In Leipzig_ 3. Archon Satani - _Virgin Birth (Born Again)_ 4. Current 93 - _Dog's Blood Rising_ 5. Thergothon - _Stream From The Heavens_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= T H E F I N A L W O R D ~~~~~~~~~~~~~~~~~~~~~~~~~~~ So, you've actually made it to the end of another issue of Chronicles of Chaos have you? Well good for you, your mother would be proud! Hope you guys enjoyed this issue, including our Top Five creepiest albums. Remember that we'll be a little late next month in lieu of our special issue. I'm sure you'll all enjoy it. See you then! -- Gino Filicetti =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= End Chronicles of Chaos, Issue #15