______________ _____ ______ __ ____/__ /________________________(_)________ /____________ _ / __ __ \_ ___/ __ \_ __ \_ /_ ___/_ /_ _ \_ ___/ / /___ _ / / / / / /_/ / / / / / / /__ _ / / __/(__ ) \____/ /_/ /_//_/ \____//_/ /_//_/ \___/ /_/ \___//____/ ________ ______________ _________ __/ __ ____/__ /_______ ______________ _ __ \_ /_ _ / __ __ \ __ `/ __ \_ ___/ / /_/ / __/ / /___ _ / / / /_/ // /_/ /(__ ) \____//_/ \____/ /_/ /_/\__,_/ \____//____/ CHRONICLES OF CHAOS E-Zine, April 9, 1997, Issue #19 Editor-in-Chief: Gino Filicetti Coordinator: Adrian Bromley Assistant Editor: Alain M. Gaudrault Contributor: Brian Meloon Contributor: Steve Hoeltzel Contributor: Adam Wasylyk Contributor: Drew Schinzel Contributor: Andrew Lewandowski Contributor: Pedro Azevedo 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@interlog.com -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 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. If you'd be interested in writing for CoC, drop us a line at mailto:ginof@interlog.com. Concert reviews are especially welcome, but please bear in mind that we cannot accept every submission we receive." 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.interlog.com/~ginof/coc.html. If you have any comments or suggestions, please e-mail Brian Meloon . FTP ARCHIVE ~~~~~~~~~~~ All of our back issues and various other Chronicles of Chaos related files are stored in the e-zine archive at ftp.etext.org. Connect to this site using your favorite FTP program and chdir to /pub/Zines/ChroniclesOfChaos. For a description of each file in the archive, check out the README file. You can also reach this site through a web browser by pointing it at: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos. 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 #19 Contents, 4/9/97 -------------------------- * Editorial * Loud Letters * Ferocious Features -- My Dying Bride: Behold The Bride -- In Flames: Serious About Success -- Pain: Peter's Pain * Chaotic Chat Sessions -- Cradle of Filth: Capturing The Cradle Of Creativity -- Edge of Sanity: Swano's Edge -- Impaled Nazarene: Nazarene With A Fax Machine -- Behemoth: Bards Of The Black Baltic -- Grip Inc: Dave Dishes It Out Again -- Oxiplegatz: Alf Articulates All * Independent Interrogations -- Blood of Christ: The Blood Is The Life * Record Revelations -- Abigor - _Apokalypse_ -- Avernus - _Of the Falling_ -- Pat Boone - _Pat Boone in a Metal Mood: No More Mr. Nice Guy_ -- Broken Hope - _Loathing_ -- Dark - _Endless Dreams of Sadness_ -- Darkness Enshroud - _Unveiled Ghostly Shadows_ -- Die Sonne Satans - _Sigillo_ -- Dimmu Borgir - _Devil's Path_ -- Disgust - _A World of No Beauty_ -- Elend - _Les tenebres du dehors_ -- Edge of Sanity - _Infernal_ -- Falkenbach - _En their medh riki fara_ -- Hades - _The Dawn of the Dying Sun_ -- Various Artists - _Identity 3... D!_ -- Immortal - _Blizzard Beasts_ -- Kalisia - _Skies_ -- Killing Culture - _Killing Culture_ -- Killing Spree - _Terror from Beyond Space_ -- Lake of Tears - _Lady Rosenred_ -- Various Artists - _Violent World: A Tribute to the Misfits_ -- Nastrond - _Age of Fire_ -- Oppressor - _Agony_ -- Phlebotomized - _Skycontact_ -- Slough Feg - _The Lord Weird_ -- Various Artists - _Sonic Obliteration Vol.2_ -- Trial of the Bow - _Rite of Passage_ -- Troll - _Drep De Kristne_ -- Windham Hell - _Mirror of Souls_ * New Noise -- Black Mass of Absu - _Black Mass of Absu_ -- Bongwater - _Pissed Off and... Fuzzed Out_ -- Master - _Demo '96_ -- Pressure Point - _Grasp_ -- Putrocorpse - _Bowel Chronicles_ -- Rich Hoak/Family Harsh Noise Experimentation - _Disassociative Cognition_ -- Semi-Auto Reflex - _Semi-Auto Reflex_ * Chaotic Concerts -- Fuck The Fog: Hemdale with Blood of Christ, Flesh Fest and Wicked * What We Have Cranked * The Final Word =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= E D I T O R I A L ~~~~~~~~~~~~~~~~~ by: Gino Filicetti Well people, I don't have much to say this month except that I'm in the middle of studying for finals. Therefore, I hope you understand that I can not write an editorial for this issue. Never fear though, next month I will finally be free of my shackles, and I'll be back in full force. Until then, take care. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 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: Wed, 12 Mar 1997 From: Gregory Nalbandian Subject: Attention Loud Letters Dear Brady Bunch, Issue #16 of COC really pissed me off! Where's the fucking Death Metal?!!! Number 17 was better but, in general, I'm tired of spacebaring through over a hundred kb's of Black/Doom metal bullshit just to find a few paragraphs about DM. It's a shame COC won't give this genre the attention it deserves when you consider all of the great DM releases that have been coming out recently. Since your zine refuses to deliver a respectable amount of Death Metal news, I hereby request that you unsubscribe me from such useless text. Sincerely, Greg Nalbandian P.S. If you freaks would just focus on DM, you'd have a great zine. Maybe when Gino and Brian leave COC to start up their new Classical Music zine? Then Alain--a real man with good taste in DM--can takeover operations and turn this publication into something that Death fans can appreciate! Date: Sun, 16 Mar 1997 From: Wayno -- Integrated WIN 95 - OS/2 Subject: Re: Chronicles of Chaos #18 (3/3) hey d00d good edition -- kinda sorry to see that machine head's album is sorta a bust -- after all rob flynn could be my long lost bro. (we look remarkably alike..) what does Mork have against Christians? All these guys that hate Christians have a story to tell -- as a Christian, i'd be interested in hearing it --- Sanctuary Much, Wayno http://www.pobox.com/~sanctuary Date: Mon, 17 Mar 1997 From: Tate Bengtson Subject: Attention Loud Letters Great issue, as always, especially the SINISTER interview and the SIX FEET UNDER review (couldn't agree more!). ===================================================================== CHAOTIC CRITIQUES #7 IS OUT NOW 28 jam-packed pages exploring the musical underground with a distinctive writing style and an open-minded approach. Tons of honest, in-depth reviews (including a brutal bashing of SIX FEET UNDER), a crisp layout, few advertisements, and more interviews than ever before. Interviewed bands include SAMAEL, A.S.A., MILLENIA, and THE GAMMA MEN, in addition to a seven-page industrial section that features interviews with THE RAZOR SKYLINE, DYSTOPIA-ONE, TESTIFY, SLAVE UNIT, and WINDS DIED DOWN. There is also a label directory, a zine review section, label reports on REPULSE RECORDS (Spain) and HILJAISET LEVYT (Finland), and much more. Purchase a copy for $3 USA & Canada, $4 World (well-hidden cash or money order made out to 'Tate Bengtson'). CHAOTIC CRITIQUES, c/o Tate Bengtson, P.O. Box 426 Lumby, BC, Canada, V0E 2G0 mailto:tbengtso@junction.net http://www.geocities.com/SunsetStrip/Palms/6031/ Bands and labels: I am interested in covering your products in the next issue of CHAOTIC CRITIQUES - please write for further information or send your promotional packages. Thanks!!! ===================================================================== Date: Tue, 18 Mar 1997 From: "Matthew D. Landgren" Subject: Attention Loud Letters Hey, I've be a reader of CoC since number 4 and I think you guys do a kick ass job (although I do not generally agree with half the reviews thats a matter of taste) I would like to comment on Metalfest, I live in milwaukee when I'm not in school and I've been to the last 4 metalfests. Has anyone else noticed that every year this damn thing gets a little bit worse and a little more expensive? Last year they wouldn't even let you leave the show and come back in and they charged $2.50 or whatever it was for a shitty hamburger (the place is right next to a McDonalds, not the greatest food in the world but it's cheaper). They also have a pay to play policy which I was told is something they didn't always do and because of this some great bands decide not to perform. Is there any hope for the Future of Metalfest? On a different note, I was wondering if anyone knows what happened to the band Phantasm. They are/were from milwaukee and the kick some ass, but I've been told they borke up and I haven't seen them perform in two maybe three years. Any info is appreciated. -Peace Date: Thu, 20 Mar 1997 From: Pimm Subject: ATTENTION LOUD LETTERS Yo, Gonkulator of Death here. I'm a huge Black/Death Metal fan, just starting to get into Doom, and I've read the zine for quite some time now. All you guys do a great job there, but a bone to pick with you guys (The size of your fuckin spinal cord...). Lately, I have seen no amazing ratings given to many hardcore Death, or Black metal CD's that I love, except if they have heavy Doom influences in them. What is going on?? Sometimes I think a Doom CD will get close to perfect, just becuase they have no "cliches"??? Hardcore CD's can be just as good, it seems all thats out there right now is "Doom influenced BLACK/DEATH metal". Another thing that REALLY pisses me off, is the constant bashing of sword pics and corpse paint in all Black Metal. I always love to see a guy sitting on his throne, like in the newest Satryicon CD(fuckin rocks), and for the corpse paint, I can't get enough!!!! Just mock the bands that suck and are just in it for the money, but don't give a great Black metal release an 8 out of 10 because they have cool castles, paint, and swords..... The Gonkulator of Death =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ___________ .__ \_ _____/__________ ____ ____ |__| ____ __ __ ______ | __)/ __ \_ __ \/ _ \_/ ___\| |/ _ \| | \/ ___/ | \\ ___/| | \( <_> ) \___| ( <_> ) | /\___ \ \___ / \___ >__| \____/ \___ >__|\____/|____//____ > \/ \/ \/ \/ ___________ __ \_ _____/___ _____ _/ |_ __ _________ ____ ______ | __)/ __ \\__ \\ __\ | \_ __ \_/ __ \ / ___/ | \\ ___/ / __ \| | | | /| | \/\ ___/ \___ \ \___ / \___ >____ /__| |____/ |__| \___ >____ > \/ \/ \/ \/ \/ 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. B E H O L D T H E B R I D E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An interview with England's My Dying Bride by: Adrian Bromley Few bands of the gothic/doom metal variety have stirred up as much press and critical acclaim than English sextet My Dying Bride. The band has worked hard to gain fans worldwide with each release, and as the years go on, the band also manages to shapeshift their sound, making minor adjustments on the way to perfecting their sound and style. Their most recent transformation: _Like Gods of the Sun_. "We had a natural progression happen with this record, something that always seems to happen with the music of My Dying Bride", reveals guitarist Calvin over the phone from Mayhem/Fierce offices in New York when discussing the change in _LGotS_. "We didn't have any guidelines or instructions of what the next album was going to sound like. There was no real conscious effort to change the sound of My Dying Bride." He adds, "I think this is our heaviest album we have ever done in regards to the production and overall sound of the album. It still holds a lot of the imagery, atmosphere, and emotions that have been carried throughout early MDB releases, but with a harder edge to the overall sound." Since forming in 1990, the band has released many EPs and numerous LPs. Following two successful demos in 1990, in 1992 the band released their first full-length LP, _As the Flower Withers_. The band gradually moved onto releasing their sophomore effort _Turn Loose the Swans_ in 1993, a collaboration of all EPs entitled _Trinity_ in 1995, and in 1996 we saw _Angel and the Dark River_ released. About not fitting into one set style or sound, Calvin says, "We have done that since the first few demos or releases. We have always done what we wanted and never really catered to anyone or even the record company. We never went out to find or produce a hit single. We just created music close to us." Calvin, along with the other members of the band - Aaron (singer), Andrew (guitar), Martin (keyboard/violin), bassist Adrian and drummer Rick - are concerned with one thing right now: touring. Seeing that the album was released in October 1996 in Europe, the band has already done some shows in Europe in support of the new LP. As singer Aaron had mentioned in the last interview with My Dying Bride (CoC #8/March 96), the band has had a hard time cracking the U.S. market or even tour here. While the band is a huge force in Europe, Stateside it is almost nothing. That may change, says Calvin. "I think the success of many acts in territories is the live aspect, being able to get out there and play to people no matter how many show up to the show. You have to show respect to the people that have supported you. When we started going out on tour in the beginning in 1991 or 1992 throughout Europe, the shows were small, but you go out and you hope to build up a fan base. Over the years, with luck, the crowds get bigger and you are able to release albums and tour. That is the only thing that we have not been able to do in North America, and maybe why we aren't as big over here as we are back home. Hopefully that will change this year." (The band is said to be opening for Ronnie James Dio on the second leg of his North American tour in March/April.) Unlike where the band has been able to toy with emotions or symphonic sounds on past release, _LGotS_ shows off a more vibrant and emotionally charged My Dying Bride, a more passionate and soothing element that seems to work quite effectively. Completing material for this record was a challenge as Calvin will explain. "It was very difficult for us to write material in 1996 when we were beginning to write this album. There was a lot of anger in the band", reveals Calvin. "We have always been content with each other on other releases. But this time out it was a struggle to get material and ideas to surface. We had writer's block I believe. I don't really want to use that expression but I think that is the best description of what happened to us. It depicts what went on." He continues, "It took us almost three months to sift through and create new music for the album. We weren't happy with what we were writing. Then we began to get our act together and something happened and then we came together and were able to create music for this album - all within the span of four weeks", states Calvin. One of the most interesting aspects of the band's latest LP is the reason/story behind the use of the title _Like Gods of the Sun_. Calvin explains. "It is about the relationship between two people, whether they be a man and a woman or whatever. It is about their love and passion for each other. It is that strong and if you could imagine what the gods of the sun would be, then the size of their passion would be that size too." As most bands change style and sound, so do the people that create them. When asked the question, 'How have you changed as a musician?', Calvin had to give it a bit of thought. "I think we have all matured over the years. When we started we were more of a death metal-influenced band. Now we have changed, and as a person I have changed. I am now married and I settled down into a house. Everything that you do in your life affects your writing and music. We are more content and calmer in our lives so we can focus more clearly and effectively on our writing now. It is easier to write what we feel." "Music has now become a full-time profession for us now", notes Calvin. "We don't have to hold any daytime jobs. We can now concentrate on creating music all the time now and working on material. It's great. We are now doing what we always wanted to do with our lives and not do music as a hobby anymore. To be able to do this is an unbelievable accomplishment for us." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= S E R I O U S A B O U T S U C C E S S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Sweden's In Flames by: Adrian Bromley "We didn't intentionally try to change our style with _The Jester Race_, but we did tune down our guitars with this record because we felt it would be a good complement to the melodies", responds guitarist Jesper Stromblad to the question of how the band has changed since their inception in 1990. "We aimed to try to find a good combination of brutality and melody. I think we found it." Through lineup changes (their current lineup includes vocalist Andres Fridan, bassist Johan Larsson, drummer Bjorn Gelotte, and other guitarist Glenn Ljungstrom), touring, and studio work, which saw the release of _Lunar Strain_ in 1993 and the _Subterranean_ EP in 1994, In Flames have worked hard to perfect their melodic death metal sound. Time and energy has paid off with the excellent and well-received second full-length LP, _The Jester Race_. "I don't think there is one real element that stands out with this record", says Stromblad. "We are very happy with the results because it is a very compact album, interesting from start to finish. Also that there is a lot of different influences radiating throughout the record and that we worked hard to make it interesting for the listener." On the topic of studio work he says, "We were prepared when we went into the studio and everything went as we had expected. I think there is a lot of variation between songs on this record. There are the death-ish tunes, folksy-styled tunes, and some progressive instrumental ideas that use keyboards. I think we have gotten all of the elements that we wanted to bring to _The Jester Race_". He adds, "Song writing is a lot easier for us now. A few years back we were working with studio musicians and from about two years ago till now we have had the same band lineup which has helped us become tighter and more creative. It allows us to be a unit and to write as one. We rarely have problems coming up with ideas to bring into the band." When asked about the state of metal music being perceived as underground once again, and not as big as it was, Stromblad offers this comment: "I think death metal music has always been big and not that it has gone back to underground exposure once again. When the media finds time to hype music, they do it and it gets big, and then when the media forgets about it, people think it has gone away, you know? Gone underground... I think this music has always been very strong and there are lots of bands out there. Bands change but that is required to keep it fresh and innovative at times. We have changed our music from the sound we were doing four years ago, but it has been natural for us. Some bands change to keep up with what is going on at the moment and they will never succeed in the long run because they keep having to change to be accepted." Seeing that the music has changed as the band goes along, how has Stromblad changed as either a musician or a person? "Obviously, I have become better from what I do. I have more thirst to explore my musical talent, meaning that I don't try to limit what I want to attempt to do. I don't want to be sectioned off into a certain style or sound of what I am doing. Years ago I might have been in the studio and come up with a riff and said, 'We can't use this. This isn't In Flames sounding.' Now that doesn't occur and we try to use whatever we can incorporate into our music. We are more open-minded now than ever before. We are not afraid to try stuff like keyboards or violins. For us, the use of violins and keyboards are a complement. I think if they were not into the record, it would be very boring from start to finish", states Stomblad, "I think the addition of those two qualities lift our music. You have to be sure to use the right amount of sounds and by all means don't over do it either." He finishes, "I think people are drawn to In Flames because of our diversity. As well, our fans, or people that may know us, know that they are going to get something different with each release and not have us repeat the same song styles. I think from looking at our music and career from this point, we have not stagnated ourselves. I think we have done the complete opposite. That was quite humble wasn't it?", laughs Stromblad. "Okay... enough of that. The answer: It has been a very positive evolution for the band." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= P E T E R ' S P A I N ~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Peter Tagtgren by: Adrian Bromley Peter Tagtgren is a busy man. Whether it be his work with his other projects Hypocrisy or The Abyss, or even his producer work with other bands out of his Abyss Studio in Sweden, Peter Tagtgren always finds some time - somehow - to come up with some new direction or sound that interests him. The results this time around from some heavy brainstorming? The industrial-fueled metal band Pain. The self-titled debut release for Pain was written, mixed, produced, and performed by Tagtgren alone, a process he feels comfortable with. "My musical career is going by very fast with all the bands I am working with and the stuff I am doing", says Tagtgren from Abyss Studio. "I am cutting down with the projects I do or the bands that I work producing. This is a creative outlet for me and as long as I can keep being creative with all the things I do, then I will do it." But the hard work, multiple projects and long hours seems to be catching up with Tagtgren. "For personal reasons, I can't do as much of this stuff as I want. There is too much shit. I just can't do it. What I am gonna do in the future now is focus primarily on the Pain project and not do any more Hypocrisy or other projects. We are gonna do one more Hypocrisy record, starting to record it in May, and then I am just gonna put everything aside except the studio and Pain." And why that decision? "I don't have time. Too much stress. I feel really tired. I just got home yesterday from a tour (he played guitar for Marduk on a 10-day tour in Europe) and today there is a band waiting to record an album. I am totally shot and this is the way all my days are. Always working on either projects or producing bands." The more you hear the Pain record, the more you get the impression and feel of Tagtgren moving on with his creativity into more modern sounding musical ideas and sounds. Sure, Pain's debut is far from what he has done with other projects, but there is no denying that the industrial-tinged offerings of Pain do hit the listener fast and furious, leaving us with memorable hooks and a pulsing rhythm echoing in our heads. "I am glad with what I did with this record, sound- and style-wise , but I wanted it to have more of a more techno feel to it but I didn't have time. But next Pain record, it will be more industrial and techno sounding. The thing I like about industrial or techno music is the amazing sounds you can get from machines", he explains, about why he used such styles in Pain's music. "I like the weirdness of the style. There seems to be just a huge onslaught of sounds and then all of a sudden there is a melody to work off of. It's quite fascinating." About the Pain record, Tagtgren has mixed feelings about the way the album ended up. He is a tough person to please in the studio and even his own work is easily criticized by himself. "There are a few songs on this record that are not as good as some other ones and I wish the whole album was totally strong, but you can only do so much", notes Tagtgren. "I put a lot of pressure on myself because I am doing this all by myself and you get confused. And when you listen back to the record you think, 'Oh... I should have done this, or did that.' While there are the good songs on this record and the others that I am sort of happy with, the main thing is that they all work off each other and make a pretty solid record in my mind." Like a lot of his other projects, Tagtgren brings a lot of ideas into a studio and works them there. He and whomever he is working with collaborate in the studio and emerge with material and strengthened ideas. But unlike preparation in the past, when going into the studio with Pain, Tagtgren had the basis for what he wanted to do (four songs) but not a complete roster of ideas. Studio time, hell, even some stressful nights preparing ideas, helped create the music on the debut album. "When I went into the studio, I had four songs, and in the studio I had to write four more. That was tough. Songwriting is an easy process when you are in the mood to write. I can write easily... if I am in the mood to write. I had to work hard to get the ideas out for this record." He concludes, "This record is a very depressing record. Like the name of the band, it is a painful assortment of songs, though heavy. Not death metal heavy, but like a fist to the face heavy." One thing that can also be noted about Tagtgren is his love for experimentation in his music and not really fitting into a set mold of ideas. Through past releases with Hypocrisy and The Abyss, even with Pain, he and his former bandmates have always geared their music to pushing the envelope with ideas and interpretations of how heavy music should be directed and delivered to the masses. "I have always been open to experimentation. If you listen to all the Hypocrisy records, they are all very different. I think it is cool to do something original and something cool because then people notice and you get applauded for what you did. I can't stay grounded with an idea, I do, I explore with my music. That is what I do and what I will always do." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _______ __ _ _______ __ / ___/ / ___ ____ / /_(_)___ / ___/ / ___ _/ /_ / /__/ _ \/ _ `/ _ \/ __/ / __/ / /__/ _ \/ _ `/ __/ \___/_//_/\_,_/\___/\__/_/\__/ \___/_//_/\_,_/\__/ ____ _ / __/__ ___ ___ (_)__ ___ ___ _\ \/ -_|_-<(_-, and then a live track, but we won't be playing on tour in the video, it's going to be like a short film, an art film. Then there'll be an interview. But we've been given quite a good budget for it, so it's going to be interesting. That's about it; we've been really, really busy. CoC: Which members contributed most of the material to the new full length? Dani: A lot of the material was actually written with the original lineup, a while ago. We were waiting for this business with our previous record company, "Crap"cophonous records . To cut a long story short, we placed a litigation order upon them, and it looked like our career was in jeopardy, like the band, there were arguments and stuff because we were getting frustrated, so there were three of us left to deal with the court case, to end it, you know, so we could get on with our musical careers. We recorded the _Vempire..._ EP for them, so we were then free, because we withheld the masters for _Dusk and Her Embrace_, to re-record it, which we did, and changed a lot of it with the new members, and also wrote a couple of new tracks for it. "Malice Through the Looking Glass" was a new track, "Humana Inspired to Nightmare" was a new track, and we did some extensive work with the other songs as well. CoC: What are your feelings on the other bands that some of the former members have formed? Some of them have a pretty similar sound, wouldn't you say? Actually one of them (Hecate Enthroned) is -extremely- similar in sound. Dani: Yeah, well I won't even -mention- that band's name because I mean, people say "Are you worried about it?" Well what have we got to worry about, it's an imitation, and it's ridiculous. It doesn't even make much sense, really. But, you know, good luck to them, if they want to rip off our ideas... it's flattering, really. As for Blood Divine, I think they're kicking themselves now, because one of the reasons that... well, the two brothers were kicked out, but the other guy, I was the best man at his wedding about a month before he left, which made me the godfather to his son. But I've often spoken to him since then, and he's just a completely different character now. I'm sure he's kicking himself. And, you know, that's his just fucking reward. But I'm not going to run my mouth and slag off his band, because they're probably quite good, I mean they were in our band. I still have a lot of respect for them, but as far as I'm concerned they're getting their just rewards. CoC: Any plans for a U.S. tour this summer, or anything else of that nature? Dani: Apparently yes, we're supposed to be doing the Milwaukee Metal Fest this year, and then the preparation for the tour is underway. Their's talk of us doing, I can't name the band, but a big band, supporting a re-formed band, if you know what I mean. I don't really want to disclose who it is, because if it doesn't pull off then everyone'll just go "awww..." CoC: What, is it Venom? Dani: Ehh... could be. Anyway... CoC: What would you guys be doing if you weren't playing in Cradle of Filth? Where do you see yourself, as far as your career, if you weren't in the band, or even in music? Dani: I probably would be dead from a drug overdose, I reckon. No, I don't know really, because music is my life. As well as doing Cradle of Filth, I partially run Vamperotica (merchandising company). I mean, I don't do the production of the shirts, obviously, but essentially I sort of run that label and do the designs and everything. It's a full-time job. But I suppose I would be in design or something, something along those lines, but this is my life, and I really enjoy it. CoC: What do you think of the people who think you're a bunch of rock stars, because of your image, and your appeal to the 13 and 14 year-olds, and your whole merchandising company? Dani: Well, you get that anywhere, people say that sort of thing. Usually it just comes from jealousy, and that kind of stuff... generally you just end up tending to ignore that kind of shit, because -I- know different than that. And I know better than anyone, because I'm me. I was on the Internet last night, and no offense, but some of the kids on the Internet you can reckon are probably like 12 or 13 years old, and they just sit in their room with their computer and they've got no experience in real life, so it's a window for them to view the world. They can say what they want, and act as tough as they want. We got some funny things here like, they were obviously young because they were fixated with asses, and the idea of me sucking blokes' dicks, which is all very amusing. And this is where a lot of this stuff came from, this ideology you've put forth, about people saying 'image image image' or 'hype hype'... Fuck 'em. So, things like this are a necessity, to come here and do a press trip, it's what's required of you if you view it as a job. CoC: The vocal style you use must be pretty hard on your throat. Do you think it'll have any effect on you, later in life, or are you just going to keep screaming it out for the rest of your time in Cradle of Filth, or what? Dani: Well I tend not to think about it. I smoke as well, so that probably doesn't help. I tend to look after it, not as much as I should. I mean, it sounds painful, but it isn't. CoC: Do you use much overdubbing, during the longer screams, or is it all natural? Dani: Nah, it's natural. It's surprising really, I'm only a little guy as well. People are like 'How do you do that? If I could sing like that I'd just do it all the time, in the street!' But you just have to get in a frame of mind to do that sort of thing. It's not as hard as it seems; it sounds as if it's really really taxing. I can't sing like, I don't know, Ronnie James Dio, or that kind of thing you know. I've got admiration for someone like Joe Lynn Turner for example, I'm not a fan, but he's an incredible vocalist. To each their own. CoC: What have the album sales been like for _Vempire..._, and now _Dusk and Her Embrace_? Dani: Well, we've sold quite a few records in Europe and what have you, and obviously the sales haven't been massive over here, because it's been on import. This is the purpose of this press trip, you know, having just signed to Music for Nations, well, we've got to let people know who we are. And I guess the reason why some people tag this band as all imagery or what have you is because all they see of the band are the scraps that have been thrown from the tables in Europe. And the general magazines that you would get over here, you know, magazines like Kerrang, and also Hit Parader, and stuff like that, that's all talk. They need stuff that sells magazines, they're not really interested in the music. And the good thing about that, is that people don't seem to realize that (A) it gives publicity anyway, and (B) if kids want to know more about the band, they turn to things that matter, like the underground fanzines. CoC: What's your view of the Internet, as far as helping Cradle of Filth out, and the underground metal scene? Dani: Oh, well I am total techno-fear-man, all-the-machines-are- ganging-up-on-me type of person. I am hopeless with computers, but that's really because I haven't paid much attention to them, but I'm going to try and get some sort of PC, because that's just going to help more with the artwork, and the Internet just looks like a lot of fun. Yeah, I've seen some of our websites, like in England. Some people who are fans, or with their own fanzines, just set up websites, and it's like 'Fuck yeah, how did he know that? I only stubbed my toe yesterday!' So yeah, it's incredible. It's like a whole underground culture, isn't it? CoC: What size do you want to see Cradle of Filth grow to, in terms of popularity? Do you want to be any more popular than you already are? Dani: Now, this must be a trick question. No, I see your point, but I'd be a liar if I said 'oh, I think I'd like to stay this size for the rest of my life.' No, of course I'd like to see us get to enormous stature, but we're not going to compromise. We don't have to do that because, essentially, our music... it's -our- music, and we don't really like to have anybody fuck with it and what have you. It just so happens that, okay, people dig us and buy our records now. So you know, we don't go and compromise... because, fuck, we're not in this to compromise, you know what I mean? We know that we're not going to be fucking huge, and the rock star thing doesn't appeal to us anyway. It's just not our cup of tea. The best thing to get from a band is to get respect, to get people to appreciate you for creating music. And the best thing in the world is when people, genuine people, not buttfuckers, love the record so much they tell you about it and they want to know more, and it's such a cool feeling to know that you affect someone's life that much. That is the cool feeling, not the money. The money isn't important, it's a bonus. That's all it is. You've got to live, but the main thing is respect, that's cool. CoC: In an interview about 10 or 12 months ago (in Voices from the Darkside #9), you said that you'd written about 80 minutes of music for _Dusk and Her Embrace_, but of course it's only 53 minutes long (the regular version, anyway). Dani: "Queen of Winter, Throned" was originally a _Dusk..._ track, which was changed for _Vempire..._; we re-wrote it, added some new parts in there and what have you. But I love that, I think it's great. But we had time to do that you see, when we were going through the litigation with the record company, we had a lot of free time on our hands, because they weren't putting us out on tour, and weren't getting us into the right places and what have you, so it's understandable isn't it? CoC: The kid who was arrested for wearing the Cradle of Filth shirt... would you mind talking about that a bit? Dani: Yeah, well I'm not too clued up exactly what happened, because it was all happening while we were out of the country. We pledged our support to his case, but unfortunately we were again out of the fucking country when his case came up. He lost his appeal, which meant that he lost legal aid, so he couldn't pay for his own solicitor. He did want to fight it, out of principle. But it's all up in the air really, because he was determined not to lose, and all eyes were on it on the press side of things in England, because had he lost, and they enforced this law they would have had to rewrite everything to do with censorship. That would have had massive repercussions, it would have sent shockwaves throughout any form of artistry, film, television, and music. In general, the music business was kind of crapping its pants, so to speak, because, you know, a lot of bands make a lot of money being outspoken. That's what England should be, it's a land where you can have free speech so it was kind of worrying. But we ended up giving him the money that he was charged, basically because it was our fault if you think about it. I think it's cool. We've got another shirt now, well we've got quite a few shirts on the way, because the best thing about it is meeting up with all the photographers, and also to see the women, it's great fun you know, it's brilliant. But this one shirt, it's like an attack back, a retort to the "Jesus Is a Cunt" shirt, and we're going to get this guy to model it for this issue of Terrorizer. Basically, it's just Cradle of Filth, with our faces down the sleeve, along with our names. Why we are cunts, you know, like the Irish-born keyboardist Damien is referred to as a terrorist on it, and Nicholas is referred to as Necroboar. It's a cool, funny shirt. But, I felt we had to say it before everyone else did. CoC: Why did you sign to Music for Nations, as opposed to one of the top labels like Nuclear Blast? Dani: Firstly, to be perfectly honest, what we did, we led Cacophonous on, we led them up the gardened path for about four months saying we were going to re-sign to them so they'd take us out to business meals and, you know, just pamper us because we'd been treated like shit before then. We were kind of reveling in it. Behind their backs, we were just going everywhere. We flew out to Germany, we went to East/West and were taken out, we went up to see Earache and other people expressed interest as well. It was like a pick of about six or seven labels, we had a solicitor to get the best deal for us, and we got a good one in the end. Because obviously we needed cash to buy new gear, but it was cool, because we visited everywhere and got loads of free CDs. 'Alright see ya, yeah, yeah' or 'Yeah, we'll get back to you tomorrow.' That kind of thing. The reason why we settled with Music for Nations was because, if I wanted to have a go at the record company because they had fucked up, you'd have to go to Germany for it, you know what I mean, you can't hit anyone over the telephone. Music for Nations is, okay we live in the countryside, but London is like an hour and a half, at most, and then you're there at the office. So if you have to go up to check on some artwork, or pick up some mail, or talk to the M.D. to discuss your next plan of attack, or whatever... plus, they're a good label and they've got some great bands on their label. CoC: What do you think about the new wave of "unholy evil black metal" bands, from Norway or elsewhere, who rely totally on image, and who have no real musical qualities? Dani: I don't think it's fair for me to talk about people's bands because, you know, it's their life as well, and I don't really want to bitch about it. Although we've done our fair share of it in the past, I must admit. But it was fair, it wasn't for no reason. What -does- annoy me, which we get, is when people say 'oh you're appearing in these magazines... that's not black metal' And it's like, who the fuck are these people to dictate to us what is and what isn't, you know, exactly. But I think that whole Norwegian thing burnt itself out when they realized they didn't have anything else left to say. But there's some great fucking music still coming from Norway, like Arcturus, you know? CoC: What do you see in the future for Cradle of Filth, as far as the rest of this year, and next year? Anything special planned, besides the video and tours? Dani: We've got new material for a new release, untitled as of yet, because really we've been too busy to turn our attention towards writing any lyrics, which is sort of a sad thing to say, but it's perfectly true. It's going to be like a _Vempire..._-length mini-album which will see release probably around September to October, is the plan, and then a new album will follow next March. Obviously, you know, there's a lot of work involved there, because the tracks have got to be the fucking dog's bollocks, and they will be, but time will tell. Then we've got a big festival, because we've got to get our faces out there a bit more, and give the fans a good show. Then I'm getting married this year and I've got to squeeze that in . I love commitments like that, so... But the actual thought though, now that you're talking about it, thinking about the rest of the year, and the fact that I'm tired, I'm like 'Ohhh God... just let me melt.' CoC: Sure, but it'll be fun though, wouldn't you say? Touring, etc.? Dani: Well, to be perfectly honest, I'm not a big fan of touring. I mean I love playing shows, but when it comes to touring... I get gradually worn down, you know? Like I start really good, and my voice will get stronger, but my mental outlook gets more and more worn down, like a fucking pebble on the beach. We've got a six-week tour coming up, and we've never done anything as long as six weeks, and to tell the truth, I'm not looking forward to it. I can be an outgoing character you know, go out and enjoy myself, but my favorite thing is being at home, you know. I miss my pets, and it sounds sad, but I really miss my girlfriend. It's just work done from home, I can do a lot more things there. CoC: Well, that's about it. Is there anything you want to say, or end the interview with? Dani: Ehhmm... No, because if I open my mouth and say something ridiculous then I'll just get bad for it. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= S W A N O ' S E D G E ~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with the legendary Dan Swano by: Pedro Azevedo After the epic _Crimson_, much was expected of Edge of Sanity's sixth full-length album, _Infernal_. Having always been one of Sweden's leading bands, EoS never were predictable, and _Infernal_ surely isn't a predictable album - many thought this would just be a soften-up album, after _Crimson_ showed more melody than their previous album, _Purgatory Afterglow_. However, _Infernal_ turns out to be overall harsher and less melodic than _Crimson_, and still a great album in its own right. This time the songwriting has been split between Swano and Axelsson/Larsson, with Swano playing all instruments (except drums) in the songs he wrote, as well as doing all the vocals except in a couple of tracks where Axelsson takes over. However, they have undergone some tough times lately, and, get ready for this, EoS ARE SPLITTING UP. Dan Swano himself told me (after the interview) that he was going to go on his own now, although he wouldn't "give up metal" (in his own words). Therefore, this might very well be EoS's last interview, at least as you and I knew them so far... so enjoy our e-mail chat with EoS's creative genius and frontman Dan Swano. CoC: Would you like to tell our readers some more about your new album, _Infernal_? Dan Swano: No! Just kidding! What is there to say? It is one more album with this weird project. This time we split the songwriting between me and the rest of the band. I think it turned out okay. CoC: Why did you choose to go back to the old Edge of Sanity logo, which wasn't used in _Purgatory Afterglow_ and _Crimson_? DS: Ask Black Mark. I would never have let that happen if they had asked first but they didn't so what can I do? CoC: Speaking of those two, what's the meaning of all those short silent tracks in the end of _Purgatory Afterglow_? DS: We wanted to have 99 tracks but it took such a long time so we did it just to confuse people and to avoid the "shuffle/random" play for the consumers, ha, ha! CoC: About _Crimson_, what process did you use to write it? Did you write a few melodies and riffs and put them all together, or was it a sequential process, or none of the above? DS: We wrote it sequential (nice word). We jammed and had DAT tapes running. Once every hour we listened to what we'd done and then we wrote something more serious out of it and all of a sudden it was 40 minutes! CoC: What exactly is the meaning of the _Crimson_ cover art? DS: It shows the young child encaged in the crimson water that brings eternal pain. CoC: How well have Edge of Sanity been doing in sales? DS: We have sold about 100,000 records worldwide until now. I think it's cool! CoC: Do you think EoS's quality and success should be measured by that kind of number (sales)? DS: Not really. Our records are really good compared to some shit out there that sell a lot more but these bands tour and really exist as a band while we are a project that hardly even meet when we aren't recording! CoC: Back to _Infernal_, which I found to be a very good album and a very worthy follow-up to your previous works, why did you use Axelsson's voice in the two fastest tracks instead of inviting Mike Akerfeldt again? Was he unavailable? DS: Mike was not a part of the plan. These songs were written by Andreas and he just wanted to sign on them. I don't know if I like it, but it gives the whole thing a different side. Mike is not into doing session stuff anymore, he did too much! CoC: Why didn't Sami Nerberg appear on this album? Is everything alright with him? DS: He is not totally alright. He had serious drug problems and went to jail/treatment a few months before the recording and now he's out, a bit better I guess but they easily fall back, but I hope he is strong enough to not do so. I hardly know the guy so I don't know which I believe is the possible outcome. CoC: How did the work go at The Abyss studio with Peter Tagtgren? DS: Perfect. Peter is the perfect studio engineer. He is eager to make things better than possible and I like that. He made a good job in a short time for our album. CoC: Is Unisound "dead"? DS: Yep. Totally fucking dead. I have a new studio now for personal use only called The Sanctuary. CoC: Why did you choose to have such different writers for your lyrics? DS: Mainly because I didn't have any inspiration or time to complete them myself. Lyrics are the worst thing! If anyone out there have some cool stuff laying around, sent it to me! CoC: What was the reason behind the strange tempos used in the beginning and end of "15:36"? DS: My weird mind! Did I fool you? Every one gets fooled by that weird change. Benny had a tough time playing it but he did it finally! I will fool you even more with the next album! Beware! CoC: What was the idea/concept behind "The Last Song"? DS: I wanted to show you all what I feel deep inside. It is the most personal song I have ever written and I wanted the end of this album to be first soft and then almost chaotic because that is the way I feel when I write. But for the next album, I will hopefully have more time to record and fix and tricks. Like a year or so! CoC: I heard that Pan-Thy-Monium was coming back to life without you. What's your view on that? DS: It is all up to them. I have kArAbOuDjAn which is my version of PTM but much more weird and bizarre! Then can do what they want but I don't think too many will enjoy it. The finesse is gone. CoC: I'd like to ask you your opinion on a few Swedish bands I personally enjoy. Please give a short opinion on each, if that's alright with you CoC: Katatonia. DS: Good band with some problems to find their style. Their latest releases are kind of different to the first ones but it is fine with me. CoC: Dark Tranquillity. DS: Haven't heard much. The stuff I have heard is better than Septic Broiler! CoC: In Flames. DS: Among the best bands to come out of the metal scene in Sweden. They really make great material and have a great sense of quality and their records have a wonderful sound. CoC: Dissection. DS: I think this band would be the best in the whole genre if Jon did all the stuff alone with lets say Hellhammer on drums. Some moments on the first album is superb while some stuff on the second album is Zzzzzzzz. CoC: Opeth. DS: The best metal band Sweden ever produced in my opinion. This is the way I want my metal. Progressive and with long epic tracks and a combination of evil and beautiful things. They rule! They kicked out their bass player by the way! And have studio time for the 3rd album in Fredman in September. CoC: Therion. DS: I think their death metal had some good sides, especially tracks like "The Return". But they have too much junk in the music nowadays. I think it was cool to sing on their latest record but the best song wasn't on the album! I am not a fan of horns and choirs, etc., let the normal 5-piece speak! CoC: Hypocrisy. DS: Peter is a clever bastard. He is writing death metal with the same vision as myself. I think their next album might kick some serious ass! "Roswell 47" might be THE death metal song of the 90s. CoC: Godgory. DS: Good outfit. Good ideas, and whatever people say, [they have] a style of their own. There are things that could be done, like the lyrics and the arrangements, but all in all a fucking fine piece of flesh, and their rhythm guitarist is the robot from hell. James Hetfield go home! CoC: And, of course, Edge of Sanity. DS: We suck! CoC: A lot of bands have been quitting the death vocals lately, but you haven't (and I'm glad for that). Why? What are the chances of death vocals for the next EoS album? DS: It will probably have about the same balance as _Infernal_. I like that combination. Growlings fuck your throat but having a lot of spare time between the takes now enables me to give 101% in every song, not having to think about doing all 10 songs in one day. That rules! CoC: Well, wrapping up, anything you'd like to tell our readers, any final message? DS: I want to do some serious eating now! Sorry for some limited answers but I am not used to typing my answers. Call me up and you'll have 10 pages worth of conversation. Ask anyone who tried me out! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= N A Z A R E N E W I T H A F A X M A C H I N E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Impaled Nazarene's Mika Luttinen by: Steve Hoeltzel Imagine my surprise when I tried to fax a set of questions to Mika Luttinen, owner of the deranged throat which fronts this craziest of bands - and got his voice coming out of my modem instead, "Hello?... Hello?" It's a surprisingly deep voice, too, especially when you consider Mika's throat-ripping high-end performance on _Latex Cult_ (reviewed in CoC #11), not to mention the band's three prior full-length releases. Anyway, we exchanged pleasantries for a (very expensive) minute or two, then fired up the faxes. And now, thanks to the miracle of modern communications technology, all you Karmakeddon Warriors out there can check out what transpired and read Mika's report on current Impaled activities. CoC: What's new with the band? How has the recent touring gone? Mika Luttinen: Not much happening; writing new songs. Touring's been okay. It has been great to play with Cannibal Corpse, Immolation, Angel Corpse, and Gehennah. CoC: What kind of activities have you got planned for 1997? ML: We will tour South America in March. We'll do Chile, Columbia, Argentina, and Brazil. After that, no plans, except we'll try to get to Mexico before summer as well. Late 97: studio! CoC: The latest update from Osmose says that one of your concerts in Paris was sabotaged. What is the story there? Do you know who committed the sabotage, and why? ML: Believe it or not, until today I thought that we had a normal power break during the gig in Paris, but as I just spoke with Herve of Osmose, it indeed was caused by some anti-Impaled Nazarene people... My guess goes for some black metal nerds. CoC: The update also mentions some controversy about the cover art for _Ugra-Karma_. What can you tell us about all that? ML: I cannot reveal too much, as it seems likely we'll go to court because of that. Anyway, nobody fucks with us like that, so some action is to follow. This just proves that Hare Krishnas or whatever they call themselves are just like any other religion: they seek cheap publicity and are money hungry. Fuck them. CoC: After _Suomi Finland Perkele_, I was somewhat surprised to see the band return to the all-out aggression of earlier releases. What prompted this return? And how do you answer people who say that you were simply "playing it safe" by sounding so extreme on _Latex Cult_? ML: The bottom line is that Kimmo [Luttinen - Mika's brother and the band's former drummer] changed our style pretty much after the release of _Ugra-Karma_. It was his vision of how we should sound, and the rest of us weren't happy at all. It is useless for a band like us to try to be a copy of Danzig or fucking Paradise Lost. So, after Kimmo was replaced, it was normal for us to go back to what we do best, i.e. play aggressive and fast metal. I guess you're referring to Metal Maniacs, where they said we just wanted to play it safe. If we wanted to play it safe, we would be doing fucking gothic metal or whatever, in the line of "Blood Is Thicker Than Water" from _Suomi Finland Perkele_. It was one guy who wanted to go a different way, and the rest did not agree. Nobody expected such a release as _Latex Cult_ from us anymore, but we fucking proved that we are still here, doing our thing our way. We can get only nastier. CoC: You seem to approach your band's lyrics and image with a sense of humour. Is that a fair assessment? What is your opinion of those who are (or claim to be) one hundred percent serious about all this black metal stuff? ML: If somebody is one hundred percent serious about black metal, then so what? It does not bother us. Certainly there's some humour on our first three CDs, but on _Latex Cult_ there's none. We were pissed off when we wrote it, and I think it shows. Lots of shit went down two months before we entered the studio, and it fucking shows. CoC: I have read interviews in which you describe yourself as a "cynical individualist." For the benefit of readers who may think of Impaled Nazarene as a bunch of devil-worshippers, or whatever, could you please explain what you mean by cynical individualism? ML: A better term would actually be "fucking asshole", but anyway, I see the whole band as individualists, as we do not belong to or support any political or religious movement or organization. We have come this far by being ourselves, and that's what I'm proud of! We never kissed ass or jumped the next trend or sold ourselves out. For sure, we would have a way bigger following if we had been into "evil guys and their doings", but we did not fucking care about them. CoC: The year 2000 will soon arrive. How does the future look, from your own perspective? ML: Things are starting to boil up, I guess. CoC: What would the next hundred years look like, if Sir Luttinen were in charge? ML: Sir Luttinen is actually a name my brother (our ex-drummer) uses. [Oops! My mistake. - Steve] If I were in charge, it would be the end of Greenpeace and all things green. Cement or nothing. CoC: If you could be born again during any past period of history, what period would you choose, and why? ML: I prefer present over past, so I am just happy here, thank you. CoC: What sort of thing have you been listening to lately? ML: Nothing but my own guitar playing, as the last three weeks I have been composing new songs - speaking of which, everybody check out the forthcoming _World Domination II_ CD by Osmose, as it has a brand new Impaled Nazarene track on it. CoC: When all is said and done, how would you like Impaled Nazarene to be remembered? ML: As a cult band - but I do hope this won't happen for a long, long time. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B A R D S O F T H E B L A C K B A L T I C ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC speaks with Nergal of Behemoth by: Steve Hoeltzel Proud "Bards of Pomeranian Heathendom", Poland's Behemoth prove that you don't have to be from Scandinavia to create immense, intense black metal with originality and flair. Last year's excellent _Grom_ impressed me a great deal (see my gushing review in CoC #15), and the album remains a big favorite around here still. The band's earlier material is much more raw and simplistic, but I still think that their demo and first MCD (whose names you'll find below) are killer takes on the just-as-raw-as-possible style of black metal. _Grom_, on the other hand, is quite a bit more muscular and dynamic, an impassioned, thundering monster of a record. The first time I heard it, I decided that I'd definitely try to get an interview with these guys for the zine. Here's the result. CoC: For readers who may not be familiar with the band, could you please give a brief history, including your recent activities? Nergal: Behemoth was formed by [guitarist/vocalist/songwriter] Nergal in mid-1991. Since the beginning, the music of the band has been oriented within the canons of black metal. We recorded a few demo tapes which were very successful and gained a lot of excellent opinions from all over the world. After the recording of the _From the Pagan Vastlands_ demo tape, we got an offer from a German label, Nazgul's Eyre, and an American one, Wild Rags, to release it on CD format. Shortly after this, the editions of this demo CD were available on both continents. Our first real piece was the MCD _And the Forests Dream Eternally_, which can be ordered from the German [label] Last Epitaph Productions. Also available is our first full-length CD called _Sventivith_. In the end of '95, we recorded our second opus, _Grom_, and months later we went on a European tour with Pagan Triumph, which made our position among the black metal bands much stronger. At the moment, we're promoting our new EP, _Bewitching the Pomerania_, which is an announcement of our third opus, _Pandemonic Incantations_, which should hit humanity in the fall of 1997. CoC: What do you think sets Behemoth apart from the many other bands in today's crowded extreme metal scene? N: I think we are far more dedicated to the black metal scene than most of the other bands on this planet. Behemoth is something I pay all my attention to, and I put all my heart in it. Because of that, we stand above the average-ism of today's black metal scene, and believe me, we shall bombard the human race with our new album, that's sure! CoC: The band's sound has really grown from the early days of your first releases (which I still really like). Do you still consider Behemoth to be a black metal band? Today, what does black metal represent to you? N: Black metal stands for extreme individuality and expression of yourself within its realm. That's what black metal means to me. Of course, this is a great style of MUSIC, but I believe that's not everything that black metal stands for. It's strongly connected to your life, and it's a kind of thing, an irrational being that exists among us, feeds our hungry hearts with its magnificent and totally unique atmosphere and meaning. Something which is hard to express in any mortal language. CoC: Many of the lyrics on _Grom_ speak of the power of nature, and of a return to "ancient pride" - and pride and power are very evident in your sound. Please tell us a bit more about the personal convictions behind your lyrics and music. N: The lyrics are a very integral part of our music, and certainly one can't exist without the other. I don't want people to look upon my poems as a kind of manifesto, because it simply isn't one. They are a kind of mirror of my inner self, the expression of the inner voice of my soul. I try to express all that's important in my life, and these are the emotions that are born from my love for Pomerania and what it's all about, the history, the ancient pride, etc. I hope you can feel even a little piece of this feeling while reading my lyrics... if not, then try again until you find what I call the essence of life. CoC: If you could be reborn during any period of past history, what period would you choose, and why? N: Sometimes I really think that I belong to a different reality, that I'm the kind of man who belongs to the past or the future, but its surely a great kingdom of freedom. I'm deeply into history, but I'm not so sure if there is any period in it which I'd love so much. Of course, I find it extremely interesting to read about ancient civilizations, barbaric tribes, etc., but all in all, I'd prefer to stay in my own world. I still believe there are some things left to be done on this damn earth, and I shall realize myself as long as the gods help me in the present life. CoC: How does the future look to you? N: As always, it's filled with emotions, and it's exciting to wait and see how humanity will change when we will have had our third son. As I said in the first answer, we're working hard on our third album, which should be out in the end of the year on German Solstitium Records. Until then, we will be promoting our MCD, which shows our present face. Just check it out, and you'll easily notice that we're stronger than ever! CoC: Tell us about your new material. N: The new songs differ from the ones on _Grom_. They are surely more mature in each way. You'll see, we've developed as musicians, and it's audible on our new record. It's full of extreme emotions. The sound is also much better than on our previous release. There may be some more melodies, some more synth parts, but it stays brutal and fast as hell! CoC: I believe you recently played quite a few clubs around Europe in support of _Grom_. How did that go? N: I must admit that the tour we did in September '96 went really great. Well, there were still some places where the crowd's behaviour was really annoying, but fortunately, we are quite a well known band, and there were always a few individuals who seemed to know what was going on when Behemoth performed. I just want to hail all of them, hoping we meet together in the nearest future... We have played in countries like Germany, Belgium, and Holland, and in most places the reaction of the crowd was really amazing. They seemed to know our lyrics very well, which was quite a surprise for me. After finishing the next recording, we'll go on tour again, most possibly in the fall of this year or in the beginning of 1998. Time shall tell. CoC: Please name four or five albums from the past year or so which you would consider essential. N: It's extremely hard to name the most essential ones, but I'll have a try: Mercyful Fate, _Into the Unknown_; King Diamond, _Graveyard_; Manowar, _Louder than Hell_; Satyricon, _Nemesis Divina_; Nephilim, _Zoon_. Well, it's sure that there are still some important titles left out, but it's really impossible to decide what counts as the most essential ones, really. CoC: In the end, how would you like Behemoth to be remembered? N: Even if we are dead one day, the memory of us will stay immortal, as our music surely is. Just remember that even if the black metal wave will pass, never to return, there will come the day of wrath, and then we will enter the eternal night, rape your bodies with our magnificent art... This ART forever shall be. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= D A V E D I S H E S I T O U T A G A I N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats Grip Inc.'s Dave Lombardo by: Adrian Bromley Before we even get into this Chaotic Chat Session, I have to be perfectly honest with you. I was not really into or even impressed with Grip Inc.'s debut album, _The Power of Inner Strength_, when it came out in 1995. While the band was the new outfit for ex-Slayer drummer Dave Lombardo, I felt that the four-piece lacked something within their music. While it was intense and delivered solid thrusts of anger and strength at certain points of the record, the music seemed monotonous and rather stale. Needless to say, upon hearing of the second effort, _Nemesis_, surfacing, I was anticipating a somewhat similar outing. Man, was I wrong. The band's latest effort, _Nemesis_, is a ball-busting, hard-hitting ride of metal groove. The groove and variety of song structures, plus throw in vocalist Gus Chamber's rawness in his vocals, has taken the shape of an immense music machine. Sure, there seems to be more of a groove here than rip-roarin' metal riffs, but those who have heard _TPoIS_ and this new record will clearly see the difference in releases and be happier that Grip Inc. (now a three-piece with guitarist/producer Waldemar Sorychta rounding out the band) cleaned up and condensed their sound into something worth cranking. Chronicles of Chaos caught up with Grip Inc. founder/drummer Dave Lombardo to talk about _Nemesis_ and how life has been two years down the road for Grip Inc. CoC: With all the press, touring, and work that came along with the first record, what kind of emphasis or work did you take into the recording of _Nemesis_? Dave Lombardo: _TPoIS_ was such a heavy, aggressive, in-yer-face kind of record, and then we were in the studio thinking about what we were going to do with this record. I wanted to set the tone and try to make the new record more groove-oriented. A little bit funky but still heavy. I wanted the band to be heard as a band. And as it goes along we try to continue branching out. We already have two songs for the next record now and that is going to be a screwed up, dysfunctional record with lots of time changes but still sounding like Grip Inc. What we want to do is with every album to set a different tone. We just want to be able to play all the different material live and have all the styles take you through different mood swings. CoC: From the critics point of view, some people enjoyed the work of Grip Inc. while others had their own opinions about the band, whether it be leaving Slayer to do this or the sound you had created for the band. What kind of response have you heard from fans, friends, musicians, or even the label, Metal Blade? DL: Everything regarding the record has been great. People around the world are loving it. Europe has been great for us for the most part, too. Except England. In England they don't really like us and I think that has something to do with Gus leaving the country and trying to start a life in the United States. There are three major magazines over there: Kerrang!, Metal Hammer, and Terrorizer. We got a hell of a review in one of the underground magazines over there but in Kerrang! and Metal Hammer, they didn't have too many favorable things to say. I am gonna make toilet paper out of those reviews. I'm gonna let them know, 'I wipe my ass with what you say.' CoC: With your years of experience touring with Slayer and playing the last few years with Grip Inc., do you feel that your musicianship has changed? DL: Definitely. My musicianship goes in cycles and constantly changes, and I like that because I am able to experiment with every different style. I am able to express the aggressive Dave Lombardo style with bits and pieces of music that I have picked up on. This process of listening to various types of music allows me to bring those ideas into Grip Inc. and make it its own thing. CoC: Does music and song writing come a lot easier now? DL: Grip Inc. is like a writing machine now. Waldemar and myself can get together at anytime to write music and it still is fresh and sounding like Grip Inc. Writing is more enjoyable now for us. CoC: How has the last few years been for you with Grip Inc. and life in general? DL: 1996 for me personally was the worst year of my life. A lot of things happened that year. We had recorded the record and we, as musicians, were learning to deal and communicate with each other. There was a lot of turmoil. Now in 1997, it seems much better for us and we are tighter. We are a close-knit family now. The three of us are the brains of the group and if something goes wrong, we are all to blame and not just one individual. We all work off each other, provide input, and other useful ideas to keep the band tight. CoC: The thing that I think sets this album apart from the last record is the ability for all the musicians involved in the making of the record to be able to add their own input and ideas, and not be afraid to try or experiment. Do you agree? DL: Yes. I find that when you try to keep a musician into a certain style or mold, they can only do so much, but if you sit back and let them take control of what they want to bring to a song or a project, their musical ideas start to flourish. That is what I wanted from both Gus and Waldemar. I wanted that. Anything that they felt we could bring to Grip Inc., I told them to bring it to the music. CoC: When you started Grip Inc., a lot of people saw it as the 'ex-drummer' of Slayer's band, and that plagued you for your debut release and pretty much within the press. It has been a couple of years now since your departure from Slayer: Do you think with _Nemesis_ that you have severed completely any affiliation with Slayer? DL: I believe strongly that we have done that. No one can say that this even remotely sounds like Slayer in any way. I mean, there are so many bands out there that sound closer to Slayer than Grip Inc. could ever be. People have to understand that I was their drummer and I have my own style, and I can't get away from that. The band, in a way, revolved around my drumming and that is maybe why people are placing comparisons on our music. I think we have dropped the comparisons with _Nemesis_. CoC: A description of Grip Inc.'s _Nemesis_? DL: This record is not a total metal record in my mind. I would call it power-rock or power-metal or even a little bit of speed metal. I think it is good, solid, tasteful music that anybody can appreciate a little bit no matter what scene or style they are into. This record can be like a door opening for someone who may not be into metal but may find it a stepping stone into getting interested into metal music. Who knows? I'm not trying to turn people off of metal with my music, rather trying to get more people interested with our style of music and metal itself. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A L F A R T I C U L A T E S A L L ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ An interview with Oxiplegatz by: Drew Schinzel Oxiplegatz is truly one of the more original acts in the death metal underground. Utilizing a mesmerizing sci-fi atmosphere, baritone male vocals, wonderful female vocals, and of course some more typical death/black vocals, this project, solely the hobby of Alf Svensson, deserves more recognition than it receives. The complex compositions are all of inspiring, diverse, beautiful, brutal, and everything in between, encompassing the entire spectrum of emotion and musical intensity. The man behind Oxiplegatz is obviously -not- one to follow the current trends, and it will remain that way forever, it seems, as it should. Alf had some very interesting, and very -true-, things to say, so do read on. CoC: Could you please explain how Oxiplegatz came into being, and give a little background on the band? Alf: As you might already know, I played for a couple of years with At the Gates, which was formed by myself and some other guys from Gothenburg, Sweden, after our first band Grotesque was split up. After recording the album _With fear I Kiss the Burning Darkness_, I felt I could no longer go on playing with the band. We had been on a few shorter tours through Europe and I felt it was not really my thing, and since the band gained popularity it was likely there would be a lot of gigs coming up. Furthermore, we were starting to have different points of view on the future of the band. Anders was taking over the role of songwriter more and more, not that I thought his material was bad, I just felt like experimenting a whole lot more then the rest of the guys seemed to do. So, I decided to let them develop in their own direction and do what I wanted to do for myself. I had a lot of old material that was never used with At the Gates, and I put together some songs of rather uneven quality. This was released as the first Oxiplegatz album: _Fairytales_. Unfortunately, I was not used to doing everything on my own and the result was, looking back now, not what I would have liked it to be. I let myself be influenced by others' opinions and ideas, which I have learned since to ignore completely. The second album, _Worlds & Worlds_, is in a sense the first real Oxiplegatz album, with the style formed and the direction for the band set, even though some songs also on this album are old material. "Graveyard dream" is an old song I wrote for Grotesque, which was never recorded. "The End Is Nigh" and "Journey" were originally meant to be on the first album, but the recording really sucked so I did a re-mix and added a new song - this is the last part on the CD, recorded in Studio Fredman. As I think of it, perhaps the next release will be the first complete Oxiplegatz album. CoC: What is the current state of the band? Alf: I don't know if I would really call it a -band-; it's more like a hobby of mine. Anyway, I haven't quit yet. I hope to make at least one more attempt at creating something I won't have to be ashamed of in ten years or so. CoC: What's been going on since the release of _Worlds & Worlds_? Alf: I'm currently working on the next Oxiplegatz project, no title is yet decided, but it will be an album more or less consisting of one long piece of music. One day as I was listening to the radio at work, I was suddenly sickened by the way all music is essentially the same, in structure and melody. So I thought: "Sad, sad is the state of society. Has the evolution of the human brain turned into regression?" Everybody only does what others have done before them, following the mainstream like a flock of mindless sheep. The visionary is looked upon with scorn, people lack insight and depth of vision, rejoicing only in the image of the familiar and even simple. Unfortunately, this goes also for the better part of the metal scene. I really don't understand it - would I pick up the cover of a new band, decipher the logo, look at the photos of guys in black leather with long hair, corpsepaint, and inverted crosses, desperately trying to look evil, read the blasphemous titles and say: "Wow - cool, this looks interesting, I'm buying?" - I don't think so... I'm not saying I'm the most original composer there is, but at least I try not to do exactly what everyone else does, just to sell. This whole thing with Satan, inverted crosses, and evil is purely ludicrous. I personally refuse to believe in anything that was invented by some old goat-fucking shepherd thousands of years ago in Israel. It's all crap. My interest lies in the future, and man's evolution into homo sapiens stellaris. Oxiplegatz is dedicated to the unknown of the final frontier. Alf: The new project will be the story of a world perishing in the gravitation of a huge black hole. The inhabitants are forced to emigrate into space. Strange adventures await them between the stars as the mystical journey unfolds. CoC: Where do you get such inspiration for the sci-fi aspect of the album? Alf: I have always been a sci-fi fan. Periodically I read a lot, the problem is only that there are so few good writers. Most concepts have already been used before, also in this field. My personal favourite is Jack Vance, who never seems to run out of ideas for new and strange societies on remote worlds. Besides reading sci-fi, I have, ever since being a child, been an amateur astronomer. It's a thrilling feeling to gaze through a telescope at some distant star and ponder: "What lies out there? Maybe I'm right now staring at a future home of mankind, or the blazing scene of an interstellar war going on beyond the knowledge of us feeble, earth-based primitives. If only I was born a few hundred years into the future!" CoC: How has the response been to _Worlds & Worlds_? Alf: Fairly good I would say. I do not get much mail, but the few positive words I receive from fans over the world is what counts. I never expected to satisfy the taste of the commoner. The album has sold okay, but that don't matter much to me, I write music mainly for the fun of it. CoC: Why was there such a time/studio difference between the recording sessions for the album? Alf: Periodically I lose interest in music and spend my time with some of my main interests, which are things like drawing comics, writing or painting. Recently I've gotten into 3-D graphics, that is making computer games, and learning this has taken a lot of time. Music is something I rarely occupy my thoughts with, only when I'm fed up with other things. CoC: The artwork which adorns the album is spectacular. Would you care to talk about this further? Alf: Thank you - it's actually one of the things I like the most about the CD. The front cover is made from a mixing of techniques. I had decided to have a naked woman on the sleeve, so I took a photo of my girlfriend and blended it into a scenery made in a 3-D program. The goatbot is one of my first tries at creating figures with the computer, and as it turned out pretty cool I thought: this will do for the cover and will also give a hint at the black metal parts of the music. One thing about the cover: I wanted it to be white. This color seems to be banned in metal circles, which suits me fine. The back cover was created first as a mesh of 3-D objects and later worked upon in a 2-D art program. All in all I like it a lot - the contrasts between the white, the black star fields and the metal surfaces are striking. There, enough of boasting. CoC: Are you involved in any other projects besides Oxiplegatz? Alf: Some lesser projects. I recently made a few songs together with my younger brother, who is into punk. A CD is to be released shortly. It has not many things in common with Oxiplegatz. I'm also in a punk band called Oral, which has existed by and by since 1985. It was my first band and we played Discharge-inspired music. We released a CD in 1995 with some old songs, and it is now sold out. I have a few projects of my own which I don't know if they will ever be completed. CoC: What is meant by the name Oxiplegatz? Alf: According to an old Donald Duck magazine, it means "How?" A gold-devouring creature uttered the word when deceived by the clever Donald and his nephews. I figured: Most bands have names that are totally incomprehensible, I'll use an even worse... CoC: The CD packaging, theme, etc., are all not things that are familiar to the black or death metal scene, yet the music retains many of the trademarks. Are you trying to separate Oxiplegatz from the rest of the faceless bands in the genre? Alf: I would hope so. I'm sure all the cool satanic bands laugh at my image, but so what - I laugh at theirs. At least I don't wear makeup like a raccoon... As you might be aware of black metal is big here in Scandinavia and I know a lot of guys who actually claim to be serious satanists or rather devil worshippers. They perform rites out in the woods, drink blood and cut themselves up with knives. Ridiculous. I hold them for no better than all the religious vomit of Christianity and Islam, it's only the other side of the same coin. Sure, we had inverted crosses when I played with Grotesque, but that was only to make fun and provoke. So you could say I try to separate myself from them. CoC: Towards what direction do you think you are heading, musically, for the next Oxiplegatz release? Alf: I have given up the concept of putting songs together in the standard way. I will just put together a lot of riffs and melodies as I see fit, one thing inevitably leads to another. I had an intention to have a really intricate setup of instrumentation and a lot of orchestral arrangements, but now as I've made a few attempts at putting the pieces together on my computer (I record at home using hard disc recording) I find that the sound tends to be blurred and the details hard to discern when using too many instruments at once. I'm not sure yet but perhaps I'll cut the original concept down to a rather basic setup of drums , bass, guitars and a few choirs and synth sounds. Simplicity has it's charm, I listened to some old At the Gates stuff the other day (I rarely do) and I was struck by the simplicity of the songs - but still, they are clear and definite in composition. So the next Oxiplegatz album might hold a few things for those who liked the early At the Gates, since I have reached the conclusion that bigger is not always better when it comes to arranging songs. It will still be death metal, not as fast and aggressive as some of the songs from _Worlds & Worlds_, but more variations and strange melodies. CoC: Is Oxiplegatz solely a manifestation of your mind's eye? Do you think you will ever tire of it? Alf: Oh yes, I tire of it from time to time and think 'I've had enough of this shit now! Never again will I waste hours upon hours on pointless musical exertions.' After all, every new piece is merely a rearrangement of the same old notes and beats. But as long as I feel I can do better than the last attempt, I guess I will try again and make another album... And, most important of all, I still think it's fun to write music. It's a way of expressing oneself and visualize your ideas, not as good as drawing and painting, but still... CoC: What else do you do in life, besides Oxiplegatz? Alf: I tend to get involved in more things than I really have time for. To start with, I work like most others do, a necessary evil to get enough money to be convenient in life. Since four years back I run a tattoo studio in Gothenburg, and I work about 25-30 hours a week there. Actually, I'm sick of tattooing and I try to cut down on the hours in favour of more interesting things. A year ago I started learning 3-D graphics. I spend an average of three hours a day at my computer, constructing meshes in 3-D Studio. I hope to put together a commercial adventure game in the near future together with a friend who is a C++ programmer. Another big interest of mine is comics. I try to do at least one page every week on some story. I recently finished a ninety-page sci-fi story, inspired by Jack Vance's "Dying Earth" novels. It will hopefully be released in Sweden during 1997. I also have another story going, a tale from around the year 1000, when the Icelander Grette Asmundsson lived a life as an outlaw in medieval Scandinavia. Lots of violence and sword swinging there. It's almost completed. Besides these main interests, I train a lot. There's a good Thai boxing club here that I've been going to for some time, but recently I changed to shoot fighting, which is a kind of mixed style of Thai boxing, wrestling, and Jiu Jitsu. If you've seen the Ultimate Fighting Championships and those kind of no-rules competitions, you know what it's about. I train maybe three, four evenings a week. Well, apart from that, there's not much. I almost never hang out with friends, sit around listening to music or just do nothing, I think that's a complete waste of time. Life is short. So, I'm pretty busy, but on the other hand I'm never bored. CoC: When can we expect a new release? Alf: As soon as I feel satisfied with the new stuff. I record a few parts now and then as I get the inspiration (at home with a hard-disc-recording system on my PC). I'm not sure when it will be finished, since I have to start working on the cover and all that, but I hope maybe in autumn of 1997. CoC: What are some of your inspirations, musically, and which other bands in the scene today do you respect and listen to? Alf: I try to get influenced as little as possible from other music. "Getting inspiration" sounds pretty much the same to me as "stealing ideas from others". To be true, I haven't bought a CD in the last two years, because I never have time to listen to them anyway. So I'm not really following what has happened in the scene lately. I kind of lost interest when most bands that I like left the old death metal style and evolved into something less inventive or aggressive. I get a demo tape or a CD from fans now and then, and this is what I mostly listen to, if anything. New, unexperienced bands often project an energy that the -big- bands lack. The latest CD I got was an Israeli band - Grimoire, _A requiem..._ - it's pretty good. I still like a lot of old stuff though, like Napalm Death's _Harmony Corruption_, the first Deicide, Incubus' _Beyond the Unknown_, almost everything with Bolt Thrower, Macabre, and Discharge... I listen mostly to opera, medieval music, and music from the early part of this century, Bing Crosby, Frank Sinatra, and all their Swedish likes. I respect every band, whatever their style, that has something original to give and not only follows the mainstream. I have problems accepting that everyone must always try to be so cool all the time and put up a facade, even if I realize the same could probably be said about myself. CoC: Why don't you work with any other musicians for Oxiplegatz, as far as writing/performing music and lyrics is concerned? Alf: Because I can't stand it when people interfere with my ideas. I want to be in total control and free to follow my every whim. Music is always better when created by one individual. I hardly think that any of the old composers like Puccini, Schubert or Mahler would have accepted to get their ideas voted down by others? I personally had enough of this with At the Gates. CoC: I think that's about all my questions, Alf. You can take this opportunity to say anything you want. Alf: Thank you for your interest in my insignificant music. For those who want to visit my website, the URL is http://home3.swipnet.se/w-30444. My E-mail address is alf.svensson@swipnet.se. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ::::::| :| :| :| ::| :::\ :':| :~~/ :::\ :~~/ :::\ :':| :~~/ :::\ :::| ::::::|:|:| :::| :::, :::/ :::, :|:| :::| :::, :|:| :| :| ::::::| :| :| ++ ::| :::\ :::| :~~/ :::| :::| ,::\ .::\ /::| :::| :| ,::\ :::\ <::< ::::::|:|:| :| :::, :| :| `::/ `::| \::| :| :| `::/ :|:| >::> ,.:/ 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. T H E B L O O D I S T H E L I F E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interrogates Blood of Christ by: Adam Wasylyk Most people in Southern Ontario know that Toronto's metal scene is dead, with the exception of a few small indie bands. What has grown to become Ontario's metal hot-spot is London, which has had visits from bands like Suffocation and Deicide in the past few months. There is also a very sturdy underground with some very talented bands. Blood of Christ is one of those bands, who have become the first to sign to a label, Pulverizer Records. I talked to brothers Jeff (guitars) and Jason (drums) Longo about BoC's past, present, and what seems like a very bright future. This is what transpired. CoC: Tell me about the band's origins, how the band members joined together to become Blood of Christ? Jeff: Blood of Christ started out in early 1994, actually probably earlier around late '93. In the summer of '94 we did two demos, _Divine Requiem_ and _Frozen Dreams_. The only remaining members from these demos are Jason Longo (drums), Marek Kopola (bass), and myself on guitar. Then we started playing live shows. Our first (which was promoted, booked, and set up by BoC) was with Cryptopsy and Nefarious on September 2nd, 1995. A while after this, after a whole year of constant problems and differences with our vocalist, Conan Bulani joined (August '96). The rest is history I guess, or is still to come. CoC: How would you describe your sound to someone who hasn't heard your music? What bands have influenced BoC's sound? Jason: Well, our music is very different from any other death metal band. For example we have a lot of time changes and we hardly ever play the same riff twice in our newer material. Some of the bands I personally listen to are Immolation, Korn, Suffocation, Cryptopsy, Primus, and the list goes on. Jeff: There really aren't any "influences", we just play what comes to us naturally. CoC: Tell me about your demo, _The Lonely Flowers of Autumn_. Did it result in the band receiving any international attention? Jason: Our demo, _TLFoA_, was recorded in September 1995 and contains four songs. It was our first demo that introduced our new sound to people. We sold a lot of demos and made t-shirts for it, too. We also got reviews in magazines around the world. We got a lot of attention for this demo, there was interest from labels, bands, and 'zines alike. Jeff: It also is what brought us to be heard by Randy Williams at Pulverizer Records! CoC: Didn't the band release a 7-inch a while back? Jason: Well, we recorded two songs for it but we never saw those 7-inches. It was with Torture Records (Italy) and I don't know if it got released in Europe or not, but it definitely didn't come out over here to us in the mail. By the way, we've waited for over eight months for that fucking 7-inch! CoC: Of those recordings, what did the lyrics deal with? Jeff: Well, our lyrics on the demo and the two songs (which will be released soon - so one way or another we've finally got those songs out) which were intended for the 7-inch, they're about life I suppose, but with a very morose outlook. Very depressing and sometimes using mythical or fantasy ideas to get the meanings across. CoC: As you've hinted to earlier, and from what I've heard, Blood of Christ has signed to Pulverizer Records. What circumstances led up to signing with them? Did you have any other labels interested in you prior to signing with Pulverizer? Jeff: Basically, Marek had sent the demo a very long time ago to Inner Source 'zine. Randy Williams is the editor of the 'zine, so he gets the demos and mail. Since he gets hundreds of demos, he doesn't get to listen to them very fast. But eventually he came across ours, and he said that it "kicked his ass!" So then he sent me a letter saying he wanted to do a CD with us, so we did. Jason: There was interest from other labels, such as Torture, we were actually talking with him to do a CD, but... and other labels from around... well it doesn't matter, we're on Pulverizer now. CoC: When will the debut CD be released? Jason: _...A Dream to Remember_ is the name of our full-length. It will be released some time around the end of February. There are seven new tracks on it, "The Lost Shrine", "Moonlight Eclipse", and "Nocturnal Desire", to name a few, and then there are two older tunes re-recorded. Also, around March or later, we'll be re-releasing _TLFoA_ on CD [along with] the two songs from that aforementioned 7-inch, and a bonus track - it comes out on Pulverizer Records! CoC: Has there been any talk about you touring out of country? Jason: Yes, there has been a lot of talking amongst the band. In fact, we are playing some shows coming up in the States, hopefully Milwaukee Metal Fest, but I don't think that's for sure. CoC: How is the London scene right now? Some feel that it is only second to Montreal in the way of underground metal bands in Canada? Jason: The "scene" is weird because when we play with bands like Cryptopsy, maybe 80-100 people (and half of those 80 are from out of town anyway!) show up (at the most) and that pisses me off because you see people downtown with their death metal shirts on and they say that they're die hard fans, but where are they when it comes down to it? Personally, I'm sick of London, I hate it here. As far as bands go, there is some good talent here, my favorite band is Flesh Feast, they're brutal. Jeff: Yes, I agree, but other than Flesh Feast and us, I don't think there's anything good (in death metal), and the other death metal bands here (well, they'd like to think they're death metal), all they do is let their jealousy ruin our scene. They have destroyed it 100% for the past two years. I am talking about, well, let's just call them the "S(t)D"'s for the sake of having a name to go by. They're fuckers to us and to Flesh Feast, but they're sad because both us and FF are what they wish they were. Sorry guys, but I've had enough of your carving on other bands. Oh, and there's also Porno, they're cool too with what they're doing, but I'm not too sure how they are with line-up changes and all... I just don't know. CoC: What are your views on the Canadian metal scene? Jason: I really don't know what my views are but, I'll tell you Europe and USA kick ass for death metal. Canada is not as good. I don't know why, but I think it will always be the "last stop" sort of things for bands. CoC: Which bigger bands have you played with and did you learn anything from them? Jason: We have played with bands like Cryptopsy, Kataklysm, Gorguts, Enemy Soil, and Oppressor. We learned some things but most of the learning was done on our own. CoC: What personal achievements do you have for Blood of Christ? Jason: I want to play a lot more shows around the world and make lots of CDs and move to Europe! Jeff: Yes, moving to Europe would be cool! We've both been there and it's amazing. I also just want to play the music we love and play to all kinds of different crowds in different places. I'm also looking very hard for a seven-string Ibanez (Universe), that's a big goal of mine, to get the 7th string! So if anyone's got one they'd be willing to part with, call me now! Contact address and merchandise information: Demo: _The Lonely Flowers of Autumn_ -- $5 US Jeff Longo, 27 Century Pl. London, ONT, N6H 4W9, 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! Abigor - _Apokalypse_ (Napalm Records, March 1997) by: Steve Hoeltzel (8 out of 10) Once again, Abigor uphold their tradition of simultaneous preservation and innovation on each new release. Like the excellent _Opus IV_, this six-track, seventeen-minute MCD features raw, fevered, and ominous black metal as only this band can create it. Yet compared to _Opus IV_, the new material is less involved and experimental, more uncomplicated and direct. Keyboards are not used at all this time. Nor are the rousing, medieval-styled instrumental flourishes which the band excels at. And Silenius' trademark anguished shriek is gone as well. This time, the vocals are delivered in two distinct voices, sometimes alternating, sometimes overlapping. The first is a sharp, mid-ranged variation on the standard black metal rasp; the second, an eerily processed, echoing whisper or croak. Mixed in with strange musical passages, haunting phrasings, and murky, funereal guitar tones, the manifold vocal effects lend a stifling, menacing atmosphere to an already grim sound. On songs like "Verwustung" and "Ubique Daemon", the results are impressive: ripping, stirring black metal that retains Abigor's distinctive feel without merely echoing their prior material. Although they're brief, the six songs all manage to be interestingly distinct from each other. Some, like opener "Celestial", are impassioned and simple; others, like "Ubique Daemon", feature more drastic changes in tone and speed. All in all, a very cool release - recommended to anyone interested in hearing totally grim, no-frills black metal done in a weird and creative way. Avernus - _Of the Falling_ (MIA Records, March 1997) by: Adam Wasylyk (10 out of 10) This is my first "10" given for a review in CoC, and I must say it earned EVERY mark. After seeing Avernus at last year's Milwaukee MetalFest (and who will be playing this year as well) and reviewing their amazing _Farewell to Eden_ demo (review in CoC #14), I had no idea why these guys weren't signed. Since then Avernus have signed to MIA records and have released their first full-length which is comprised of new tracks along with a couple off _FtE_. A doom band at heart, they also incorporate Arabic and Celtic influences into their sound which really accounted for the enjoyability factor I got out of this. Littered on _OtF_ are dueling male and femme vocals which play off each other beautifully. Eight tracks of melancholic doom with some flair. Definitely my favorite record of 1997 thus far and is highly, highly recommended. Pat Boone - _Pat Boone in a Metal Mood: No More Mr. Nice Guy_ by: Brian Meloon (7 out of 10) (Hip-O Records, 1997) This is the most hilarious album I've heard since William Shatner's _The Transformed Man_. This album isn't quite as pathetically funny, because Boone is actually an accomplished singer who has some knowledge about things like timing and melody. In any case, this is an album of metal and hard rock covers done in big-band style, many of which turned out better than the originals. Included are such cuts as "You've Got Another Thing Coming", "Paradise City", "Smoke on the Water", "Holy Diver", "Stairway to Heaven" (as a jazz waltz), and "Enter Sandman". Given the inherent difficulties of translating hard rock and metal songs to a big-band style, the songs actually follow surprisingly close to the originals. For example, the fast lick in the middle of the chorus of "Crazy Train" was transcribed for a trumpet (or some similar instrument). However, a few sections were altered, usually adding to the comedic value. A case in point is the altered quiet part in the middle of "Panama": "Think I'll just reach down... ease the seat back... fasten my *seat belt*." Unlike most joke bands (GWAR, AC, etc.) which get old very quickly, this album remains funny long after you've first heard it, which I think has mostly to do with the fact that it's difficult to tell whether it's intended to be serious or a joke. Pat Boone has said about this album that his critics simply didn't get the joke, but I for one found it extremely amusing. Official Web site: http://www.mcarecords.com/amp14/reverb/boone.html Broken Hope - _Loathing_ (Metal Blade, February 1997) by: Adrian Bromley (6 out of 10) Unlike their last record, _Hope_ (which I did not like much), I found myself getting into the grindcore/death grooves of _Loathing_. There seems to be more of a collective feel of strength and attention put towards a lot of the song structures. Musically, the band has evolved somewhat into a more dominant sound with _Loathing_, but still not enough to separate them from the pack of other bands within their genre. One thing the record has going for it is the continuous onslaught of rampaging riffs and growls; the intensity almost never ceases from start to finish and singer Joe Ptacek slaps on some seriously brutal growls. Intense to say the least. The album lacks substance and creativity in some places, but overall the record makes a hard dent into our foreheads. Dark - _Endless Dreams of Sadness_ (Great Unlimited Noises, 1997) by: Pedro Azevedo (7 out of 10) These guys really try to fool people. It's almost like they don't want people to buy their album. First off, an extremely ugly, unremarkable, simplistic, -crap- four letter (Dark) logo taking up half the front cover. Gee, great. Then the title, _Endless Dreams of Sadness_, which may get quite a few guys who enjoy doom (like myself) to take a listen, but most of them (unlike myself) will drop this CD, they won't buy it. Why? Because it's not doom - Dark are actually a German death metal band who incorporates keyboards to add some extra melody. You're probably thinking of Crematory by now, but these guys lean more towards death and aren't as melodic as Crematory - perhaps not as good either, at least not as good as _Illusions_. But enough of that, because Dark do have a sound of their own, even if they tend to sometimes sound a bit like a mix of several other bands. This is a 60-minute album, none of the tracks being what you'd call slow (some are actually pretty damn fast-paced), through which Dark use both strong death metal parts and more melodic and ambient passages. They have a consistent sound: the drumming is excellent and very powerful, the grunts are pretty good and strong too, and the rest fits in nicely, the guitars showing enough strength when the keyboards aren't there. Speaking of keyboards, which are the main reason why Dark aren't just "another" death metal band, they use keys most of the time throughout the album, both for melody and for background or ambient parts. The songwriting is very reasonable, and Dark come up with several interesting riffs and keyboard melodies. They also incorporate some acoustic guitars and female vocals here and there. Dark manage to keep the quality level high enough during the album - they hardly ever blow you away, although there are some damn good parts, but they do keep up a very interesting album during the whole 60 minutes, thus assuring a good buy for any fan of melodic death metal. Besides, they keep shifting styles during each track, so you're unlikely to get bored. Interesting stuff, like I said, it won't blow you away but it does have the potential to keep you interested for 60 minutes, which is well above the average. Darkness Enshroud - _Unveiled Ghostly Shadows_ by: Andrew Lewandowski (1 out of 10) (Moribund Records, 1996) The subconscious nature of ambient music results in a tight rope for all those (and there are many) who dare dabble in the genre; succeed in crossing the rope, and your satisfaction will be transcendental. If you fall from the rope, all that will be detected is the dead air resonating around your immobile bones. Darkness Enshroud do not merely fall from this rope, they plummet, thus hitting the ground harder than most. Dulled by 666 layers of tape hiss, the occasional maggot or fly (rarely manifested in anything but a bass heavy synth drone or constipated groan) sounds as lifeless as the carcass in which it explores. Wait! The body twitches ever so slightly! The sputterings of DE are no less amusing than those of any impotent creature; an elitist ejaculation of "pure bewilderment for most" can be found on the CD booklet! A word of wisdom: if you intend on sucking your own penis in a public forum, please have some reason for doing so. Die Sonne Satans - _Sigillo_ (Sadisque, 1996) by: Andrew Lewandowski (7 out of 10) One of the less prolific artists in the ambient genre, _Sigillo_ is a collection of the better material recorded over the course of the band's five-year history. Even though this is a collection of 13 tracks usurped from several different sources, DSS avoid incoherence, as they rarely stray from a typical dark ambient sound. As in many of the better minimalist ambient albums exploring metaphysical soundscapes, choral and sacred elements work at enthralling the listener. While effective at producing a sonic realm segregated from reality, this provides nothing that, say, Archon Satani and Raison d'etre have not already experimented in. Besides unoriginality, a larger problem manifests in confining song structures. Few tracks propagate beyond five minutes, thus DSS are rarely capable of exploring dynamic, or meditative, sounds within a singular track. Although, the variety of sounds explored by DSS are more numerous than on most ambient albums, and the problem is rectified once each song is viewed as a faceless entity amidst a socialist machine than as a free-thinking individual. Dimmu Borgir - _Devil's Path_ (Hot Records, 1996) by: Steve Hoeltzel (8 out of 10) This four-song MCD has been out for awhile now, but I only just got around to tracking it down. My mistake, because the two new songs presented here are quite good. They're also noticeably different from the band's earlier material: melancholic keyboard lines are no longer the center of the sound (in fact, Stian Aarstad, who used to handle synthesizers and piano, is apparently no longer in the band). This time, the sonic focus is on (great-sounding) guitars and drums, which gallop at compelling speed through moody black metal, featuring lots of fluid changes in rhythm and tone. Well-performed, melodious guitar solos appear in each song, further enhancing the overall feeling of flow. The agile, riff-heavy style of Old Man's Child definitely comes to mind, especially in the title track's flowing time changes and (this is a cliche, but) epic-sounding riffs. Opener "Master of Harmony" is somewhat harsher, showcasing plenty of blackened speed with some cool changes and unexpected breaks. In addition to these two new songs, there are two versions of Celtic Frost's 1984 classic, "Nocturnal Fear". (The difference between the two versions is in the vocals: first, there's Shagrath's fairly standard black metal technique; then, vocals done more in the gruff Celtic Frost style.) As covers go, this is pretty good, since they nicely recreate the original's killer groove, in addition to livening up the song with some cool soloing. Anyway, the two new songs demonstrate musical proficiency that ranks with the best in the genre. The band's black metal image may be utterly generic, but their talent is definitely distinctive. Disgust - _A World of No Beauty_ (Nuclear Blast, February 1997) by: Adrian Bromley (7 out of 10) Managing to mix crust/grind metal, death metal, and punk rock into one heap of musical mayhem comes Disgust and their second release, _The World of No Beauty._ It ain't pretty at times, as the music seems to be scattered with multiple ideas, and the vocals seem very monotonous and stale for the most part, but the music does rampage on almost every track. It delivers solid blasts from an intense and vigorous rhythm section, and slick sounding guitars pour from each song with such might and intensity that we almost manage to forget about the adequate vocal stylings. Disgust features ex-members from such bands as Extreme Noise Terror and Motorhead (Wurzel from Motorhead plays guitar), which may conclude why the band has such a diverse musical agenda. While not the most intense or creative band out on the metal circuit, Disgust does deliver some heavy duty shots of experimentation that'll surely attract listeners. Elend - _Les tenebres du dehors_ (Holy Records, 1997) by: Pedro Azevedo (no rating) I haven't rated this album because I can't compare it to any other album ever reviewed here. So why rate it? I chose not to. This is an album that really depends on the listener, this could be a masterpiece for some and just a weird uninteresting album for others. How the hell do I even start describing this album?!? Well... let's say that if you haven't heard these guys yet, then this is -not- what you're thinking. First off, this is -not- a metal album. Elend do -not- use guitars, bass, or the usual drums. This is -extremely- dark classical music combined with black metal vocals. Still with me? So you want to know how they do it? Elend are a four-piece band from France, featuring two female vocalists (two sopranos) and two other guys who take care of all the songwriting, spoken, and whispered vocals, black metal screams (and I mean SCREAMS), violin, piano, viola, and overall orchestral synths and keyboards. I must state that both these guys used to play in orchestras, and so did the female singers, so they're not exactly a few pretentious guys who think they can do this stuff - they actually have all the knowledge and training to back them up. Now why would these guys be reviewed here? Well, because both of the band's founders were (and are) very much into death and black metal and their intention was precisely to mix these musical styles with classical music. Basically, take a piece of classical music, turn it into something truly dark, magnificent, deep, melodic, and -not- cheesy, and add two sweet female voices, one male voice and, very often, black metal screams that sound as if they came from beyond. It's really hard for me to describe Elend any better, you just have to listen to it. What I can tell you is that several other metallers have liked Elend as much as I have. If you're into either symphonic black metal or just doom, you really should try this. The album is over 60 minutes long, and Elend manage to apply an unbelievably dark and moody feel to the sort of structures and melodies one would expect of a classical piece, just that on top of this they are just so intense, so violent, and yet so melodic... No way I'll be choosing favourite tracks or whatever on this one, as they vary from soft melodic pieces with whispered female vocals and violins to powerful, truly dark pieces with the most tortured, anguished and extreme black metal screams I can recall enjoying. It's just all so intense... one minute the music soothes you, the next minute takes you to the depths of despair and anger. Just a final note for the great digi-pak, featuring some true artwork from such artists as Victor Hugo and Da Vinci, all about this album's theme, which is basically Elend's version of the Luciferian revolution (very good lyrics, by the way). This is such an emotionally powerful album that it leaves you cold inside when you finish listening to it... like you have been taken on some journey beyond. Be warned that this is not an album for everyone to like, and you really must be in a very special mood to fully enjoy it. It really has to be heard to be believed. Unique. Edge of Sanity - _Infernal_ (Black Mark, March 1997) by: Drew Schinzel (7 out of 10) I really, -really-, wanted to just love this album. I'd been eagerly awaiting the master Dan Swano's next effort (no, I'm not talking about the next Unicorn album, either), and upon seeing the old EoS logo resurrected front and center of the cover, and Unorthodox-sounding song titles, my spirits went up; I dreamt that EoS had remained true to the sound they had developed on previous masterpieces _Purgatory Afterglow_ and _Crimson_, not to mention the other godly albums in the hallowed Edge of Sanity back catalog. Now, however, after listening to _Infernal_ a few times, reality hits: The new Edge of Sanity album is somewhat of a disappointment. Granted, it would be difficult to match the last two incredibly melodic, catchy, and indeed, beautiful EoS albums, but _Infernal_ doesn't even come close. With a decided lack of the high-tuned melodies and the epic feeling that enveloped previous efforts, _Infernal_ is instead an eclectic mix of different influences, some good, some bad. All one needs to do to prove this is to look at the song credits; guitarist Andreas Axelsson sings lead (black) vocals on two songs, Swano sings cleanly on three songs, he only wrote the lyrics for one song, and Axelsson and drummer Benny Larsson wrote the majority of the music. The biggest difference can be heard in the riffs and song style. The majority of the riffs are heavy and distorted, and while this style came out just fine on such _PA_ tracks as "Elegy" and "Blood Colored", they just seem uninspired and rather unoriginal here. The clean melodies are all too rare, and to add insult to injury, when they -are- present, they're usually outstanding, simply punctuating their dearth. The actual songs seem somewhat lacking as well. Whereas on _PA_ they had a real sense of feeling and seriousness, on _Infernal_ that feeling is missing, except on one or two lonely tracks. Of course, there are some highlights to the album, such as the third song, "15:36", with its brilliant contrast of clean and death vocals, and the opener "Hell Is Where the Heart Is" (both, not coincidentally, written by Swano), however, none of the songs can match the awesome power of the classics like "Twilight" or "Elegy", or even the older material like "Enigma" and "Darkday". What else is there to say? If you are an Edge of Sanity fan, you, of course, have to have this, since most EoS fans are fanatics and would buy anything with the Edge of Sanity name on it (not me though, no way ). If you're not familiar with EoS, however, I suggest starting with the now-classic _Purgatory Afterglow_ for a taste of what EoS is all about. Falkenbach - _En their medh riki fara_ (No Colours, 1997) by: Drew Schinzel (7 out of 10) Falkenbach are German folk-inspired black metal, with a few resemblances to Burzum, along with a little similarity to other northern folk-influenced acts such as Storm. Simple, mostly mid-paced drums pace the music, and the guitars are in the same style; you won't see any hyper-blast action going on here, and it would be completely out of place, anyway; Falkenbach aren't one of the hordes of unholy play-as-fast-as-we-can-because-we're-evil-and-we-do-as- Lord-Satanas-commands bands. Rather, they instead focus on the slower side, with a little keyboard embellishment here and there, some flute, and lyrics dealing with the usual desecration of churches, wandering through dark forests, etc. For the most part, Falkenbach strike me as just a bit boring. Nothing exciting going on, just plodding along at mid-pace, waiting for the song to end, the only exceptions being the second and final songs, both predominantly clean vocal efforts, sounding a little like Storm (except not as good), and the fifth song, an interesting instrumental with majority flute and some thunder thrown in to complete the cliche quotient. Bottom line: with so much other great new stuff out there, it seems hard to justify recommending Falkenbach over other, similar acts. Hades - _The Dawn of the Dying Sun_ (Full Moon Productions, 1997) by: Drew Schinzel (8 out of 10) Hades' second full length release is an extremely solid and fulfilling 47 minutes of epic, mid-paced, Bathory-influenced black metal. Having never heard anything by Hades before, neither the previous album _Again Shall Be_, nor the demo pressed onto CD, _Alone Walkyng_, I went into the album with no preconceptions at all, and came out pleasantly surprised. Epic, melodic compositions like "Awakening of Kings", with its terrific melodies, and "Alone Walkyng", with its Chaucer lyrics (in original middle English) and pummeling, ominous sound, highlight the album, proving that Hades have actual -talent- in composing memorable songs, rather than just putting out any cheesy old schlock with little or no musical skill and little emphasis on originality. The production is noteworthy as well; fuzzy on the guitars but maintaining a feeling of control, the bass is actually audible and plays a rather large part in the recording. Sure, Hades won't be like nothing you've ever heard before, but they've managed to carve their own sound out of the faceless masses, maybe even taking their place among the top, "elite" bands. Various Artists - _Identity 3... D!_ (Century Media, 1997) by: Brian Meloon (6 out of 10) As compilations go, this is one of the better ones I've heard. Granted, there isn't anything on this album that isn't available elsewhere, but it does give a thorough sampling of the various bands on the Century Media roster. There are eighteen tracks, clocking in at around 70 minutes, and representing a large variety of styles, from black metal (Arcturus, Rotting Christ) to hardcore (Turmoil) to rap-metal (Stuck Mojo) to melodic powermetal (Nevermore, Iced Earth) to goth-metal (Moonspell) to death metal (Grave, Morgoth). Also appearing are Sentenced, Strapping Young Lad, Samael, My Own Victim, Eyehategod, Chum, Merauder, The Gathering, and Trouble. Most of the bands here are relatively well-known already, but it's well worth picking up if you're not familiar with Century Media's roster. Unfortunately, as with most compilations, there are more misses than hits. Immortal - _Blizzard Beasts_ (Osmose Productions, February 1997) by: Steve Hoeltzel (8 out of 10) "Inhale the effluence of the demon worlds", Abbath snarls on "Nebular Ravens Winter". I think I'll pass on that, but I will tell you this: these guys have definitely been inhaling Morbid Angel dust. Especially Demonaz: his drastic, jagged riffing technique on this album is heavily indebted to the ferocious early Trey Azagthoth style. The Horgh/Abbath rhythm section also displays a notable death metal influence this time, performing numerous sharp changes in speed, from mid-paced to hyper-fast, and with plenty of alternation between double bass, blast beats, and even some semi-grinding parts. Compared to their previous material, especially _Battles in the North_, the new songs are surprisingly winding and angular, mostly due to the frequent variations in speed, but also because there are several quite distinct riffs in every song. Songs like "Noctambulant", "Frostdemonstorms", and "Suns that Sank Below" make especially good use of weird, cutting riffs and sudden shifts from cruising speed into blasting overdrive. "Mountains of Might" and "Battlefields" take a more measured approach, but I definitely prefer the more frenetic material, like the title track and the other songs mentioned above. New drummer Horgh sounds quick and dexterous, but the drums are actually rather low and thin in the mix, which is dominated instead by biting guitars and icy vocals. The guitars retain their grim, alien sound, though the riffing style has changed. Also, Abbath's vocals are as icy as ever - so Popeye fans will continue to be gratified. :) Overall, I've really enjoyed this release. It's an unexpected and interesting change for the band, with some fierce and engaging material. The heavy Morbid Angel influence waters down Immortal's uniqueness a bit, but there's still something singularly chilly about their sound. Kalisia - _Skies_ (Adipocere, 1996) by: Drew Schinzel (9 out of 10) Finally out after almost a year of delay, comes Kalisia's debut MCD, _Skies_, an excellent, refreshing release of extremely progressive, melodic, skillfully played death metal (and -not- from Sweden). Three of the four songs on the album are in the 7-10 minute range, but Kalisia don't just fill up time with useless repetition or long, "atmospheric" intros and outros; instead, they develop each composition to its fullest, whether it be through a ripping guitar solo (or three), spoken female narrative, or a refreshing infusion of keyboard or flute. Every instrument shares equal space in the clean production, and each member of the band handles their respective tools -very- well, an all too rare quality of today's bands. The lyrics lean towards the more mystical, spiritual, individual side of things, and are in themselves great, but honestly, it doesn't matter; the lyrics could be about scissors for all I care, because Kalisia, above all, are a band based on music. Sure, of course all the other bands in the world are based on music, but Kalisia are not ones to rely on a set mold, structure, or any other meaningless restraint placed on bands (by themselves). Basically, there's not much in the manner of negative things to share about Kalisia, and all too many positive things, which ends in my high recommendation of this outstanding MCD. Do yourself, and Kalisia, a favour, and pick up _Skies_ for an awesome listening experience. Killing Culture - _Killing Culture_ (Edel America, March 1997) by: Adrian Bromley (8 out of 10) Few new bands possess the traits of a great band that may possibly lead them to success. May I introduce to you Killing Culture. The Los Angeles-based quartet deliver fast and furious riffs of intensity and might, wrapped within a darkened shell of hatred and anger. I really like this record. Why, you ask? The production is killer (let's thank Anthrax' Scott Ian for that), the music flows vigorously, and the band's music has a cool Slayer-like sound (_Reign in Blood_/_South of Heaven_ era) to it. So will this band be successful? Why not? They have worked hard to get their music so well-executed and I feel that the speed/thrash feel to the record radiates a very positive 90s feel to it. It also allows the band to bring more modern elements to a sound that never really died but was just left by the roadside and never given the opportunity to make a leap into a more modern era of metal. Loud, brash, and extremely tight, Killing Culture lash out at us with its jagged claws in hopes to strike us down. Could happen as this record plays hardball from the start. Check this band out. Killing Spree - _Terror from Beyond Space_ by: Steve Hoeltzel (8 out of 10) (Napalm Records, February 1997) This is an impressive debut CD of hard, biting, and well-produced cyber metal, dominated by punchy riffs, precision percussion, and lots of cool electronic loops and samples. Beginning in fine fashion with the no-nonsense, tribal-styled groove that propels opener "Cosmic Trigger", Killing Spree combine the regimented precision of industrial music with tough, organic riffs and hard, heavy bass lines in roaring arrangements. The drummer is not an electronic rhythm machine, but a human one, and the guitars sound thick and clear. The riffs are for the most part straightforward and chunky, hard-hitting, yet not particularly complex. Vocals are delivered in a gruff, mid-ranged voice that manages to be both expressive and aggressive. But what really sets this album apart from other purveyors of the "industrial metal" style is the band's wily use of electronics. One member does programming and sampling exclusively, and this guy's effort really pays off, giving the music a cutting, futuristic edge without becoming overbearing at all. All kinds of cool, looped effects and whacked frequencies whisper and crackle just underneath the guitars, adding lots of color and interest to the sound. (It really pays to listen closely.) Also, samples are used with more skill and restraint than they usually are by metal bands who sample. (See the chorus to the thundering "Believe".) A number of short tracks are completely electronic excursions into a warped, aggressive variant on techno music: for enjoyable examples, check out "1248 F.P.S." and "Drugs Anyone?". A couple of other songs suffer, I think, from riffs that are a little bit flat. But strong tracks like those already mentioned, plus the potent "Whore" and "Cross", display a talented band with big potential. Compelling stuff, and for those interested in the more futuristic strains of extreme metal, it's definitely worth seeking out. Lake of Tears - _Lady Rosenred_ (Black Mark, March 1997) by: Adrian Bromley (7 out of 10) As the melodic/doom metal band Lake of Tears has evolved over the last few years with two previous records (_Headstones_ and _Greater Art_), it seems as though the band decides more and more to make their music take on multiple personalities, rather than gearing towards a certain genre of music. Case in point: _Lady Rosenred_ EP. Each song on this three-song offering (a release issued before the forthcoming third LP, _A Crimson Cosmos_) is different from one another, as the band explores duo singing arrangements on the title track, a dance/techno metal feel on "Devil's Dinner" and the Pink Floyd-esque song "A Crimson Cosmos". Much like the experimental ways of Cathedral's _Hopkins: The Witchfinder General_ EP, this release just goes to show that Lake of Tears feels the need to search out and find new ideas to bring to their music. It also shows that they enjoy playing those creations too. Various Artists - _Violent World: A Tribute to the Misfits_ by: Zena Tsarfin (3 out of 10) (Caroline Records, February 1997) Some ideas are just better conceptually than they are practically. Such is the case with _Violent World..._, a compilation of hardcore bands covering the horror-punk legends, the Misfits. While I love both the Misfits and several of the bands that appear on the record, I found that the combination didn't work when fused together. The Misfits were unique because of their dark humor and outlandish charm, but when covered by straightforward minimalists like Pennywise and Snapcase, the macabre and campy essence of the band is lost. Among the weakest tracks on the 14-song record are White Z--err--Prong's "London Dungeon", Goldfinger's "Ghouls Night Out", and Therapy?'s lame version of "Where Eagles Dare". _Violent World..._ does have its moments: Sick of It All's "All Hell Breaks Loose" rages and Deadguy's "Horror Business" is worth a listen. But for my money, the hands-down winner here is Earth Crisis' rumbling metalcore cover of "Earth A.D." Luckily, no one tried their hand at "Bullet" or "Skulls", and while a handful of the included bands did deliver ardent versions of the Misfits' tracks, it seems that the crux of the fiendish legends simply cannot be captured by the baggy-pants generation. Nastrond - _Age of Fire_ (Napalm Records, February 1997) by: Steve Hoeltzel (8 out of 10) This one gets high marks on the strength of its many strange musical twists and weird atmospheres. As on the band's debut CD, _Todeslaut_, basic, raw-sounding black metal techniques provide the sound's foundation, but the songs on _Age of Fire_ are distinguished by strange, oddly memorable structures and numerous unexpected surprises. Case in point: "Vanished from the World", which begins with raw, clunky black metal, then instantly transforms into a weird dark ambient piece including an ultra-deep-voiced lecture about how "History proves that man is a beast of prey." Next song, "The Red Force (of the Trapezoid)" weaves through a maze of weird breaks and creepy, buzzing guitar tones. On the follower, "Emancipation", more buzzing black metal is punctuated with laid back, toe-tapping piano interludes during which two voices, one normal and one sped up, utter occult incantations (or something like that). Two spoken pieces about Satanism (LaVey's atheistic version) close out the album, while Biblical quotation and rebellious exhortation begin it. A couple of these spoken tracks feature some cool synthesizer work - especially "Opening of the Mouth". The vocals are a raw, blackened yell, snarling in the upper-middle range, while the guitars are a loud, abrasive, high-end buzz. There are numerous tempo changes, usually between mid pace and high speed, and in many cases, these changes are sudden and drastic. For my money, the best songs (the ones mentioned above) occupy the album's second half, but the first tracks contain some great moments, too, especially the riff-laden "Womb of Chaos". Interesting stuff: odd and effective, and not quite like any other band I've heard. Oppressor - _Agony_ (MIA Records, Winter 1996) by: Adrian Bromley (6 out of 10) Much like their bland live show, Oppressor seems to be stuck in a rut of sorts with this, their second release, _Agony_, a follow-up to 1993's _Solstice of Oppression_ (Red Light Records). The problem is that nothing seems to keep us, at least myself, too interested as the record plays through its nine tracks. While full of some strong guttural vocals, some cool ideas scattered throughout and a predominant technical style added to their music, the Chicago four-piece never really gets past neutral with this metal machine. The heaviness of the record loses momentum throughout as we reach each individual technical section. I like the rough and coherent vocals of singer Tim King, it's just that this record needs to stick to one idea, rather than breaking momentum at halfway marks to go onto another technical metal influenced idea. Approach this if you like somewhat technical-influenced death metal. Phlebotomized - _Skycontact_ (Cyber, February 1997) by: Drew Schinzel (9 out of 10) For those not familiar with Phlebotomized, they are the Dutch sextet who released their awesome grindy death/doom debut full-length _Immense, Intense, Suspense_ a year or two back, with some extremely guttural vocals, atmospheric violins, and keyboards, and an all-out heavy, yet sorrowful and melodic release. Now, put that Phlebotomized out of your mind, because the material that the band has put forth on their followup, _Skycontact_, has undergone a -major- musical transformation, and bears almost zero resemblance to _IIS_ at all. The eight tracks and nearly sixty minutes of music present on _Skycontact_ represents a giant metamorphosis, combining several elements, from atmospheric, psychedelic interludes complete with spacey sound effects, to toe-tapping, upbeat guitar riffs, to quiet, ballad-esque sections, and the occasional lapse back to the days of old with double-bass frenzies and guttural vocals. No, _Skycontact_ is definitely -not- for the close-minded listeners out there who shut themselves off into one genre and shun all others, this is open-minded music, for open-minded people, and Phlebotomized pull it off perfectly. I guarantee there was never a period during songwriting when the band came to an impasse because "this riff doesn't fit the style" or something "wasn't extreme enough"; they put their souls into the music with no restraints at all, and it shows. There are just so many different styles, melded perfectly into a one-hour release of pure feeling and emotion, that it's impossible not to give this original, and indeed -brave-, album a very high recommendation. Slough Feg - _The Lord Weird_ (Beef Rock Records, Winter 1996) by: Adrian Bromley (6 out of 10) How I got to review this CD I'll never know... but anyway I did and actually liked it a bit. The record is an assorted musical melding pot with ample amounts of rock, 80s-era metal music and progressive metal all rolled into one. Reminiscent of a more rock-oriented Manowar-meets-Megadeth, the three-piece of Slough Feg deliver their battle cries of metal to the fullest extent. Such dedication of their music and what they do shine within the music of _TLW_ and that helps make the music seem worthy of a listen rather than turning your head to it. The production and musicianship is top notch. To note, as the band's album twists and turns with various styles, the music of Slough Feg seems to take on somewhat of an operatic feel to it as we reach the end of the record: "High Season III", "High Season IV", and "Highway Corsair". Kinda corny at times, but so is the music of Manowar (most of the time) and people still buy their music and go to their shows, right? Slough Feg carries and waves the flag of metal quite well. Various Artists - _Sonic Obliteration Vol.2_ (Black Mark, March 1997) by: Adrian Bromley (9 out of 10) Following in the footsteps of the excellent double-CD offering of Sonic Obliteration Vol.1 (1995) comes this release, a fine collection (13 songs) of some of Canada's hardest working metal or metal/industrial acts. For those who may not know of any of these bands, I highly recommend checking out this release to get a taste of what the Great North has to offer to the metal masses. Get floored by the dominating thrusts of power by such powerhouse acts as Solus, Jaww, and Summertime Daisies, and knocked into frenzy by varied metal hybrid acts like Mundane or Jane Doe, the industrial-tinged outfit of Inner Thought or the Cathedral-esque riffage of Tchort and the Family Mantis. While there are literally hundreds of metal acts across Canada, I believe that this compilation (assembled by Ed Balog at Black Mark Productions' North American office in Toronto) truly represents the best multiple-styled metal bands in all of Canada. Get it or be a loser for years to come. Trial of the Bow - _Rite of Passage_ (Relapse, February 1997) by: Adrian Bromley (9 out of 10) The Australian duo of Renato Gallina and Matthew Skarajew create some of the most passionate and flawlessly executed, not to mention mind-blowing, musical arrangements on their debut release for Relapse Records entitled _Rite of Passage_. Beautiful, sensual, and downright thought-provoking sounds emanate from the ambient/experimental/world music passages created by the two musicians, thanks in part to the use of unique instruments (tabala, manjira, etc.) and the ever flowing creativity of the two. No words can really describe the emotions this album releases, as you must hear it yourself. Truly breathtaking. Troll - _Drep De Kristne_ (Damnation Records, 1996) by: Drew Schinzel (7 out of 10) Behold, another cold, frosty release for dark souls from the northern lands. Okay, I really shouldn't poke too much fun at Troll's unoriginal image and posing, but it's hard to resist, with an album name such as _Drep De Kristne_ ("Kill the Christian"), two giant pentagrams inside the lush digipak, and a member named Nagash Blackheart. Besides, such stupid image-mongering just takes away from what should be the focal-point of Troll: fairly high-quality, atmospheric black metal. Droll as it is, _DDK_ is a fairly solid attempt, although not bold in terms of originality, with many similarities to Emperor and other purveyors of this rather overcrowded style, with all eight tracks being of the very listenable variety, including two great, ominously foreboding synth instrumentals. However, it's difficult to forgive Troll's unabashed lack of originality, and indeed a little hard to see their role in the future of black metal. In addition, _DDK_ is rather short, at only 36 minutes, so you can decide for yourself if you want to pay the toll. Maybe I'm not the right person to question their motives, but I'm having some problems seeing Troll's goal with _DDK_ as it looks to me like, on the whole, they're much more concerned with appearing like the brave, mighty warriors of the Frosty Desolate Northland that they obviously are than with trying to maybe be a little more creative. With hearts of the blackest coal, Troll have produced a worthy effort, low on creativity and high on derativity, but good nonetheless. Windham Hell - _Mirror of Souls_ (Moribund Records, 1996) by: Andrew Lewandowski (4 out of 10) Windham Hell are possibly the best example of "experimental" metal, representing both the positive and negative aspects of the genre. Acoustic guitars and keyboards intersperse the "traditional" riffing of melodic death metal, yet the latter aspects are degenerate in comparison to practitioners of "pure" metal. Incessant repetition and a muddy production drains all energy from the guitar work. Only pretentious guitar solos disrupt the monotony. These dominate each song, yet an intrinsic vapidity does not allocate them enough power to build a foundation of their own. Once combined with ineffectually grunted vocalizations, the resulting mix lacks any energy. Yet once the guitars dissipate and the "experimentation" commences, WH display the melancholy and talent that never fully surfaces during their more voracious moments. Any metal band willing to cover Vivaldi (twice, no less) and experiment in sound collages on the same album deserves some amount of praise. Unfortunately, WH neglect to sufficiently explore their sedate tendencies, resulting in an album that remains incarcerated within a void between experimentation and aggression. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __ __ _ /\ \ \_____ __ /\ \ \___ (_)___ ___ / \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \ / /\ / __/\ 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 Black Mass of Absu - _Black Mass of Absu_ (4-track demo) by: Adrian Bromley (***--) Heavily loaded down with obscure noise and pummeling slabs of heaviness, the music of doom/ambient/noise band Black Mass of Absu is a deadly concoction delivered with brutal force. It's full of growls of anger and delivered so to-the-point that it manages to get under your skin quite easily, crushing you beneath the weight and gargantuan assault of noises and screams. While the music might be powerful, I feel that the music lacks some creativity and ideas within it, managing to always deliver the same kind of expression and emotions to each song. Not monotonous sounding, rather a sometime lackluster performance in some areas of this demo. In short: the music drags on in places. Besides that, it is overall a good demo that proves that ambient/noise music can be just as heavy as any grindcore record could be. Contact: BLACK MASS OF ABSU, P.O. Box 638 Kenmore, New York, 14217, USA mailto:MrSkiMask@aol.com Bongwater - _Pissed Off and... Fuzzed Out_ (6-track demo) by: Adrian Bromley (****-) Holy fuck! I am almost came in my pants after listening to this demo tape from East Coast sludge-mongers Bongwater. It rocks. Managing to pull in a varied assortment of low-tuned fuzz-sounding guitar chords influences from such bands as Black Sabbath, Kyuss, Fu Manchu, and Monster Magnet, this band hits the nail right on the head with the truly hard-hitting musical deliverance. It's so 'fuzzed out' that it sounds killer. While the production on this 6-song demo could have been better, to make the guitars sound stronger and make the vocals a bit more coherent, I'm pretty sure that that would have taken away from the raw and unpolished way of the recording. I also liked the jam, laid-back feel that the band brought to the music. While the band's music sounds a lot (A LOT!) like the last incarnation of Kyuss' material, 1995's _... And The Circus Leaves Town_ LP, I can't help but feel compelled to follow this band in the future and see what becomes of them. Again... they rock! One of my fave demos from 1997 for sure. Contact: BONGWATER, c/o Neddal Ayad P.O. Box 204, Bay Roberts, Newfoundland, A0A-1G0, CANADA mailto:nayad@morgan.ucs.mun.ca Master - _Demo '96_ (3-track demo) by: Adam Wasylyk (***--) Legends in the underground, not only have they toured Europe and released seven records on Nuclear Blast, but they've influenced countless death metal bands. Being dropped by their label some time ago, I hadn't heard from them since, and assumed they were gone. Well, Master are back and ready to take on the world again, starting with their _Demo '96_. This is truly a testimony to Paul Speckman's "never give up" mentality. Three songs of old-school death metal with some cool guitar hooks that keeps ones interest through each song. Thin production doesn't help this but it doesn't hurt it too much either. _Demo '96_ doesn't offer anything new or particularly exciting, but it does offer some cool tunes that may remind you of yesteryear. It's very doubtful that this demo will land Master a record deal, but down the road, hopefully they'll be on a label where they belong. I must say, it's good to see Master back! Contact: MASTER, 1271 N. Clark St. West Hollywood, CA, 90069, USA Pressure Point - _Grasp_ (4-track demo) by: Adrian Bromley (**---) Focusing heavily on the hardcore aspect to their music, hardcore/metal outfit Pressure Point work hard to deliver some solid grooves and momentum around their true life experience lyrics. I see this band as a second rate Merauder, Vision of Disorder, or Turmoil with their hard-edged guitar riffs and proficient use of hardcore ideals in their music, all stapled together into a mediocre hardcore/metal packaging. Though the lyrics are (I'm assuming) from life experiences, they sound cheesy and somewhat cliche at times and that also takes away from what maybe the band was aiming for. Also, the music lacks any real kind of zip, rarely breaking any kind of heavy groove with what they have on this 4-song demo. Anyway, Pressure Point is a band that has followed the right steps into becoming a hardcore/metal act, but finally has come to the day in their lives where they either stay as they are (and be like everyone else), or branch out and make a name for themselves. We'll see. Contact: PRESSURE POINT, c/o Reaction Records P.O. Box 763-D Rahway, New Jersey, 07065, USA Putrocorpse - _Bowel Chronicles_ (6-track demo) by: Adam Wasylyk (-----) I didn't know what mark I should give this demo. A two? A one? I decided on a zero (a first for me to give a demo) so people will know that I didn't give this demo pity-marks of any sort. Taking one look at the photo on this demo (guy with eyes popping out), I knew immediately that I was in store for a cheese-fest. Starting off with "Reversed Evacuation (intro)", this is by far the worst keyboard intro I have ever heard (on a demo or a CD). The following five tracks could be described musically as "under-produced Cannibal Corpse-wannabe death metal". Songs like "Death Rattle", "Morbid Fear of Death", and "Constipation" are laughable and also angering at the same time. C'mon guys, can't you think of anything original or interesting? I review enough bad death metal as it is, I don't need more of it! Again I could have given this one or two out of five for effort and brutality, but this is my stand against Cannibal Corpse clones and monotonous death metal. Sorry Putrocorpse, but you've become my sacrificial pig. No more time will be wasted on this fecal matter. Contact: PUTROCORPSE, c/o Stucchi Marco, via Villa Paradiso 42 Cornate d'Adda, 20040 MI, ITALY mailto:putro@freenet.hut.fi Rich Hoak/Family Harsh Noise Experimentation - _Disassociative Cognition_ (split demo) by: Adrian Bromley (***--/***--) Once again we are reunited with the world of FHNE (aka chaotic music aficionado Bill Sannwald) with this split demo called _Disassociative Cognition_. On one side we have the experimental work of Brutal Truth drummer Rich Hoak called "Confusion of The Passers-By" and the second side, a section devoted to FHNE madness, consisting of 16-chaotically grown ideas by Sannwald. While Hoak's piece may be long and never-ending at times, the task of trying to get the listener to have an 'altered state of perception' succeeds. From the start, Hoak's piece is truly odd and eccentric, moving at varied paces of combating noise elements and rehashed emotional tidbits. It's fucked and quite annoying at times... but cool. Speaking of fucked, you need not get past the opening track, "Bombing", to feel the insanity brewing in Sannwald's... er... FHNE's musical creations. While this may not be one of the better demos from one of Sannwald's side-projects (like the Thought Masticator and Intellectually Raped demos I have gotten), it is quite a collection of obscure noise pieces that stun the senses at regular intervals. With the thought of more FHNE (or Sannwald) demos reaching me in the future (I get at least one a month), I can only sense that the madness and ideas placed into the noise/music will only grow more diverse, extreme, and definitely bizarre. Contact: Rich Hoak, #3 Bethel Church Road Dillsburg, PA, 17019, USA mailto:rich666@voicenet.com Bill Sannwald, 3538 Paseo Salamoner La Mesa, CA, 91941, USA mailto:satan666@ucsd.edu Semi-Auto Reflex - _Semi-Auto Reflex_ (6-track demo) by: Adrian Bromley (***--) Surfacing from the ashes of now defunct Toronto techno/hardcore/metal faves Monster Voodoo Machine comes hardcore/metal outfit Semi-Auto Reflex, a band that has potential to get somewhere if they play their cards right. It's in the music, baby! Having been a *big* MVM fan, and seeing that most of SAR is made up of MVM alumni, it isn't hard to pick up some of the hardcore-esque qualities and sounds that proved to be an integral part of MVM. But forget the MVM past and let's get down to business. This six-song demo by the band is bursting at the seams with true conviction and rawness. Lashing out at us with killer riffs and a cool-ass groove, SAR totally manages to meld hardcore and metal with ease. Reminiscent to more metal-oriented versions of Sick of It All, Biohazard, or maybe (somewhat) the Cro-Mags, SAR's debut demo features strong songs with noteworthy numbers like "Nameless/Faceless" and the odd, but cool cover version of the Talking Heads' "Burning Down the House". A band to watch out for if you live in or near the Toronto area. Contact: SEMI-AUTO REFLEX, 38 Greensides Avenue Toronto, Ontario, M6G-3P6, CANADA Voice: 416-656-7658 (Darren) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ____ __ __ /\ _`\ /\ \ /\ \__ __ \ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___ \ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\ \ \ \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. F U C K T H E F O G ~~~~~~~~~~~~~~~~~~~~~~~ Hemdale with Blood of Christ, Flesh Fest and Wicked At The Embassy in London, Ontario by: Adam Wasylyk It was a terrible night to drive ANY distance to see a show. The fog was so thick that at times it was almost impossible to see the dividing line in the road. After a full two hours of driving in this fog (and getting lost a couple of times as well) we finally arrived, and to our luck a full hour before the first band was to hit the stage. Whew!! Opening the night's festivities was Wicked who played an industrial/gothic/black metal hybrid that neglected to entertain neither I nor the audience. It's apparent that Wicked don't have any sound of their own as it seems as though they're happy with borrowing ideas from different genres and mixing them up and passing it off as their own sound. Sorry guys, but a new musical direction or more originality is in order. The most entertaining and endearing aspect of Wicked's set was that the singer looked like Alanis Morisette with corpse paint. NO JOKE!!! Following were local death/grind band Flesh Feast, who played a good set of Deicide/Cannibal Corpse-influenced death metal that kept the crowd enthralled for the entire set. Having the most intense mosh pit of the night, FF's dueling vocalists kept things interesting while the drumming never got monotonous. Having seen Flesh Feast a couple of years ago, tonight they sounded more tight and intense and the crowd responded accordingly. Recently signed to Pulverizer Records (see an interview with them in this issue), Blood of Christ followed and went on to play the best set of the night. Playing songs off their demo _Lonely Flowers of Autumn_ and some newer tracks that will appear on their debut CD for said label, they simply could not be denied on this night (despite the sound problems). Look for Blood of Christ at this year's Milwaukee Metal Fest! Headliners Hemdale finished out the show and admittedly in a somewhat negative fashion. Playing gore-inspired grind numbers, the bass sound was great while the guitar could hardly be heard. The band's antics on stage provided for some visual entertainment but they couldn't do the same musically. About five songs into their set the songs became interchangable as you couldn't tell the difference between each song. But I guess that's why they call it grindcore, right? It became painfully clear that Hemdale were the wrong band to headline. The absence of a pit and lack of crowd response were the indicators of this. Hemdale started off somewhat entertaining but ended off just tiring. Encountering fog for most of the trip back, I was truly lucky to have survived the night. But then again, I'd do almost anything for Chronicles of Chaos! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Gino's Top 5 1. KMFDM - Xtort 2. Heavy Water Factory - _Author of Pain_ 3. Chemical Brothers - _Exit Planet Dust_ 4. Korn - _Korn_ 5. Carcass - _Necroticism: Descanting The Insalubrious_ Adrian's Top 5 1. Hammerfall - _When the Dragon Lies Bleeding_ 2. L7 - _The Beauty Process: Triple Platinum_ 3. Pain - _Pain_ 4. Ephemeron/Thought Masticator - _Removing Seminal Stains_ 5. Cathedral - _The Carnival Bizarre_ Brian's Top 5 1. Quo Vadis _... Forever_ 2. Pat Boone _Pat Boone in a Metal Mood: No More Mr. Nice Guy_ 3. Elend _Les tenebres du dehors_ 4. Meshuggah _All This Because of Greed_ <2-song promo> 5. Leger de Main _The Concept of Our Reality_ Alain's Top 5 1. Necromantia - _Scarlet Evil Witching Black_ 2. Voivod - _Rrroooaaarrr_ 3. Pungent Stench - _Been Caught Buttering_ 4. Manowar - _Louder than Hell_ 5. Obliveon - _Cybervoid_ Steve's Top 5 1. Abigor - _Apokalypse_ 2. Absu - _The Third Storm of Cythraul_ 3. Immortal - _Blizzard Beasts_ 4. Meatmen - _War of the SuperBikes II: The Double Album_ 5. Atrax Morgue - _Sickness Report_ Adam's Top 5 1. Avernus - _Of the Fallen_ 2. Satyricon - _Dark Medieval Times_ 3. Satyricon - _The Shadowthrone_ 4. Another black metal compilation Steve dubbed for me, you rule! 5. Pan-Thy-Monium - _Khaooohs & Kon-Fus-ion_ Drew's Top 5 1. Phlebotomized - _Skycontact_ 2. Kalisia - _Skies_ 3. Hammerfall - _Glory to the Brave_ 4. Excretion - _Voice of Harmony_ 5. Immortal - _Blizzard Beasts_ Andrew's Top 5 1. Legendary Pink Dots - _The Chemical Playschool Volumes 8 & 9_ 2. Steve Stapleton & David Tibet - _The Sadness of Things_ 3. Carcass - _Symphonies of Sickness_ 4. Alchemist - _Lunasphere_ 5. Regard Extreme - _Resurgence_ Pedro's Top 5 1. My Dying Bride - _Trinity_ 2. Dissection - _Storm of the Light's Bane_ 3. Dark Tranquillity - _Skydancer_ 4. Edge of Sanity - _Infernal_ 5. Elend - _Les tenebres du dehors_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= T H E F I N A L W O R D ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Goodbye everyone, it's been nice having you once again. Next month will mark our twentieth issue, we hope to see you then. -- Gino Filicetti =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= End Chronicles of Chaos, Issue #19 All contents copyright 1997 by individual creators of included work. All opinions expressed herein are those of the individuals expressing them, and do not necessarily reflect the views of anyone else.