____ _ ____ ____ _ _ ____ _ _____ ____ / _\/ \ /|/ __\/ _ \/ \ /|/ \/ _X \ / __// ___\ | / | |_||| \/|| / \|| |\ ||| || / | | | \ | \ | \__| | ||| /| \_/|| | \||| || \_| |_/\| /_ \___ | \____/\_/ \|\_/\_\\____/\_/ \|\_/\____X____/\____\\____/ ____ _____ / _ \/ / | / \|| __\ | \_/|| | \____/\_/ ____ _ ____ ____ ____ / _\/ \ /|/ _ \/ _ \/ ___\ | / | |_||| / \|| / \|| \ | \__| | ||| |-||| \_/|\___ | \____/\_/ \|\_/ \|\____/\____/ CHRONICLES OF CHAOS e-Zine, May 13, 2001, Issue #53 http://www.ChroniclesOfChaos.com Editor-in-Chief: Gino Filicetti Coordinator: Adrian Bromley Copy Editor / Contributor: Pedro Azevedo Assistant Copy Editor / Contributor: Paul Schwarz Contributor: Brian Meloon Contributor: Adam Wasylyk Contributor: Aaron McKay Contributor: David Rocher Contributor: Alex Cantwell Contributor: Matthias Noll Contributor: Alvin Wee Contributor: Gabriel Sanchez Contributor: Chris Flaaten Spiritual Guidance: Alain M. Gaudrault The individual writers can be reached by e-mail at firstname@ChroniclesOfChaos.com ("firstname" must be replaced by the respective writer's first name, e.g. Gino@ChroniclesOfChaos.com). NOTE: You may unsubscribe from Chronicles of Chaos at any time by sending a blank e-mail to . For more Chronicles of Chaos information, check out the Details section at the end of this issue. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< Issue #53 Contents, 5/13/01 --------------------------- * Editorial * Loud Letters * Deadly Dialogues -- Nile: They Couldn't Dam This River... -- Darkthrone: Of the Lupine Lords That Lurk in the Shadows -- Zyklon/Emperor: Detoxed But Not Disarmed -- Dimmu Borgir: Majestic Visions, Triumphant Sounds -- Opeth: Harvest of Blackness -- Proscriptor: I Am the One -- Monster Magnet: Dave Says Yes! -- Immolation: A Truly Individual Sin -- Lacuna Coil: Unleashed and Ready for Stardom -- Gandalf: Death 'n' Roll Machine Rolls On -- The Embraced: Norway's Gothenburg Sons -- W.A.S.P.: Unleashing Terror Once Again -- Relapse Records: Comments From Captain Contamination * Album Asylum -- Abyssic Hate - _Suicidal Emotions_ -- Archaean Harmony - _Nihility Mundane Soul_ -- Arghoslent - _Troops of Unfeigned Might_ 7" -- Arthemesia - _Devs-Iratvs_ -- At the Gates - _Suicidal Final Art_ -- Aurora Borealis - _Northern Lights_ -- Blood Stained Dusk - _Dirge of Death's Silence_ -- Burnt by the Sun - _Burnt by the Sun_ -- Cathedral - _Endtyme_ -- Charnel House - _Sample of Murder_ -- Chikmountain - _Porn on the Cob_ -- Children of Bodom - _Follow the Reaper_ -- Craft - _Total Soul Rape_ -- Cybernetic Erosion - _Materialisation of Abomination_ -- Daeonia - _Crescendo_ -- Defiled - _Ugliness Revealed_ -- Demence - _Goutte a Goutte_ -- Desecrator - _Negative Progress_ -- Detachment - _Suspended in Stone_ -- Evanesce - _Sower of Sedition_ -- Falconer - _Falconer_ -- Feikn - _Helhesten/Aamanden_ 7" -- Fictional Prison - _Dream Killer_ -- Freedom Call - _Crystal Empire_ -- Funeral Rites - _Necroeater_ -- Funker Vogt - _t_ -- God Forbid - _Determination_ -- Haste - _When Reason Sleeps_ -- Himinbjorg - _Third_ -- hurt - _hurt_ -- Ikon - _On the Edge of Forever_ -- Impaled - _Choice Cuts_ -- Judas Iscariot - _Dethroned, Conquered and Forgotten_ +4 LP -- Jungle Rot - _Dead and Buried_ -- Kaos Rising - _Wiped Away_ -- KorovaKill - _WaterHells_ -- Lacuna Coil - _Unleashed Memories_ -- Love Like Blood - _Chronology of a Love Affair_ -- Marduk - _La Grande Danse Macabre_ -- Mentallo & the Fixer - _ Return to Grimpen Ward_ -- Midnight Syndicate - _Gates of Delirium_ -- Minas Tirith - _Demons Are Forever_ -- Monument - _The Millennial Death of Success_ -- Moshquito - _Worlds End_ -- Mourning Beloveth - _Dust_ -- Mudslinger - _Cover the Sun_ -- Nocturnal Winds - _Of Art and Suffering_ -- Obsidian - _On the Path of Others We Follow_ -- Octinomos - _Fuckhole Armageddon_ -- Opeth - _Blackwater Park_ -- Pagan Altar - _Volume 1_ -- PCP - _Evil Hate Motherfucker_ -- Plan E - _Found & Lost_ -- Pro-Pain - _Round 6_ -- Psycroptic - _The Isle of Disenchantment_ -- Purgation - _Realm of the Dead_ -- Regurgitate - _Carnivorous Erection_ -- Various - _Requiems of Revulsion: A Tribute to Carcass_ -- Sabbat - _Live Meltdown_ -- Sacred Sin - _Translucid Dream Mirror_ -- Savatage - _Poets and Madmen_ -- Schizoid - _All Things Are Connected_ -- Serberus - _In Eternity_ -- Shadowbreed - _Only Shadows Remain_ -- Sirius - _Spectral Transition - Dimension Sirius_ -- Sisthema - _The Fourth Discontinuity_ -- Skinless - _Foreshadowing Our Demise_ -- Skylark - _The Divine Gates Pt. II - Gate of Heaven_ -- Soils of Fate - _Sandstorm_ -- Susperia - _Predominance_ -- Various - _The Return of Darkness and Hate_ -- Thorns - _Thorns_ -- Thornspawn - _Empress From the Realms of Blasphemy_ -- Watain - _Rabid Death's Curse_ -- Zyklon - _World Ov Worms_ * New Noise -- Arctic Circle - _Arctic Circle_ -- Arctic Circle - _Weird Winds_ -- Arctic Circle - _Dimension Dreaming_ -- Aurora - _Promo 2001_ -- Mithras - _Dreaming in Splendour_ -- Vokodlok - _Unchain the Wolf_ -- Znich - _Adchuwanni Vyasny_ * Chaotic Concerts -- Massachusetts + Metal = Wicked Brutal Pissa!: New England Fest -- Baptized by Fire and Beer: Marduk, Mortician, Vader, etc. -- At the Haunted Gates of Vengeance: Nile and The Haunted in France -- Infernal Festivities: Norway's Inferno Festival -- CoC Marches on the Metal Meltdown -- Crimes in the Mourning Palace: Dimmu Borgir, In Flames & Nevermore -- Too Fast for Love: Dying Fetus, Gorguts, Skinless & The Berserker -- Norwegian Oldies and Norwegian Oldschool: Mayhem & co. in Norway -- How Time Flies: Pantera, Soulfly and Morbid Angel in Iowa * What We Have Cranked * Details =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _____) / /) , , /) )__ _(/ _/_ _____ _ // / (_(__(_(__(_)/ (__(_(_(_(/_ (_____) by: Gino Filicetti It isn't very often that an issue such as this one comes along. Only once before in the five and a half year lifespan of Chronicles of Chaos has an issue been packed full of as much material as this one. It is my great pleasure to present to you Chronicles of Chaos #53, or as we like to call it, THE BEAST. In these pages you'll find nine concert reviews, loads and loads of record reviews and easily our best interview line up EVER! How else would you categorize the following impressive list: Nile, Darkthrone, Zyklon/Emperor, Dimmu Borgir, Opeth, Monster Magnet, and my personal mentor and idol: Proscriptor. Meanwhile, the EuroCoC saga has been forced to take some time off, but will be back in full strength for our next issue. It is with great reluctance that I must report the retirement of another CoC staff member: Alex Cantwell, who has been with CoC ever since our New Year's Evil Edition III in January of 1999. Alex leaves CoC with his plate more full than empty as the lead vocalist for a new band, the co-editor on a brand new print 'zine entitled: Dirt Culture, as well as a husband and father. We all wish Alex the best of luck as he joins our esteemed group of CoC alumni -- one of the most elite groups in the world, I might add. I want to thank everyone that wrote a Loud Letter in response to my lamentations for the lack thereof. We definitely got a few doozies in there, so check them out. We've decided to keep our own opinions OUT of our Loud Letters section since we want to promote the freedom of speech and freedom of representation without deletion or editing. I believe it is up to our readers to respond and for Loud Letters to be as open a forum for discussion as possible. So please feel free to e-mail us at: loudletters@chroniclesofchaos.com and let it all out. I'm pleased to report that we've had a few auditions recently and we are very pleased with the results. Suffice it to say that some new faces will be hitting our pages over the next couple of issues. As always, we are looking for talented, bright and highly misanthropic individuals to join our staff. If you think you've got what it takes then e-mail: auditions@chroniclesofchaos.com and let us know what makes you so special. Don't forget to send a personal bio and a few samples of your material. That wraps it up for me kids, as always, enjoy the issue and stay TRUE. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= 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 . All letters received will be featured in upcoming issues of Chronicles of Chaos. Date: Tue, 13 Mar 2001 From: "Brad" Subject: Festivals Hey, This may be an idea for an article, or a topic for discussion. I am wondering about festivals that are worth travelling to. How well organized they are, wether you get your monies worth, or other travelling issues. I have been to Milwuakee, Dynamo, Wave-Gothic Treffen, and Ozzfest. Opinions on Wacken, New Jersey, With Full Force or any others would be appreciated. COC's concert reviews are great... and sure make me jealous, thanks! Brad Date: Sat, 17 Mar 2001 From: DER TODESKIN Subject: Just some freakin feedback.,..... Darkest Hails, I enjoyed the latest issue of CoC..I really liked the fact that you didn't slag either Cannibal Corpse or Dimmu Borgir this issue. This seems to be the trend now....and is quite typical. A band comes out, people sing their praises then after they "make it" suddenly they are sell-outs or trendies, etc. I have been following CC ever since they came out and will until they call it a day. What the hell is wrong with simply putting out consistant material every release? As for Dimmu (as well as Cradle of Fith) they were quite popular in the underground until they started getting press, then all of a sudden "they suck", "they sold out" yada yada yada. Give me a goddamn break. So what if they cater to their fans. There is nothing wrong with giving the people what they want. Yeah, I know...."they aren't black metal"......well what the hell is black metal anymore? Venom coined the term but they are more in the death metal vein.... Bathory also, though it became "viking metal" after a bit..... Wytchfind? Black Widow? Coven? Black Sabbath? Is it the lyrics that make black metal or the music (or both?)? Deicide, Incantation and Acheron all have strong anti-xtian lyrics yet they are most often refered to as death metal......perhaps Mayhem, Burzum or Darkthrone? All have death metal roots which slowly transformed.....Emperor? But they use keyboards just like COF and Dimmu. Enslaved or Immortal? Both bands state they are not black metal. Is it the production? Must black metal be raw? Again, this leaves out Emperor and King Diamond.....Is it corpse paint and bullet belts? The Mersey Monsters, Alice Cooper, and Kiss were wearing a form of corpse paint way back when I was a kid yet none of the 3 are even remotely likened to black metal....It's pretty asinine isn't it? Personally I think black metal is lyric based and so I consider Dimmu, COF, etc black metal. I may be in the minority but I never did follow trends anyhow. Just needed to spout off..! ......by the way, in regards to Graveland.....the music is ok, but I refuse to buy any of their releases. Why? Because of their constant slagging of the US and of people wanting autographs, etc. I find it quite hypocritical that they trash the US in every breath yet have no problem accepting $17 for their releases.....I'll probably get flamed for this but I welcome it.......I wouldn't expect anyone to buy a US release if the band slagged their country either. Thanks for letting me sound off, darkest hails....Splattergod ps: if you are unfamiliar with some of the bands I mentioned check them out, you gotta know your roots. Wytchfind is playing the NJ meltdown this years too, you don't want to miss this! S Check Out My Radio Program!!Splattergod's Underground Metal Show Date: Mon, 26 Mar 2001 From: "Frederik Okholm" Subject: War on atheism Greetings. How sad to see an issue of CoC without any loud letters. I will make a suggestion to why no one can think of anything worthwhile to share with our cultural colleagues. In the twin darkness of the global/nationalist mind, there can be no constructivity or creationism without a spirit to light up the truth of humans: That the primary qualities of any human is shared with all others - we just have different ways of responding to this. For example, Gino mentions a success in CoC - the 'war on christianity' thread, which is a way of man to confront what is blocking his evolutionary path. Let's have a war on atheism. With the dead, stinking god of Christianity out of the way, we have a new battle: What should we put in his stead? Nothingness? I can't be an atheist. I have tried though, in my teens, when I was also fascinated with Satan (Satanism is NOT post-christianity) and the Loch Ness monster. I still am, but I don't believe in them any more. My persuasion says that this world and universe is a living, breathing god who is an eternal image of your mind and the minds of all other living beings. I go for 'Everything possible to be believed is an image of truth'. Thus, atheism and Christianity is truth, but only for those who believe in it. I would like them to open their minds. But not to the known gods, since they are hopelessly tied to outdated cultural traditions and hate in general (hate=love gone bad). What I would like to see emerge from the war on atheism is more courage to accept a spiritual reality. Among atheists, people who does this are somehow mentally weak, hiding behind some fairytale to obscure the hard facts of materialism. That is not how I see it. Going from an atheist stance to accepting what feels real but is unprovable takes a lot of personal courage. Denial is easy - spiritual evolution is hard. To end this for now, I will make this letter relevant to its surroundings by claiming that metal music cannot be atheistic. It is a manifestation of the spirit's will to be diverse, individual and hard on its adversaries. It is a way of reinventing god. Frederik. From: Sentinel Steel Subject: Manilla Road Mystification review Hello Alvin, Your review and e-mail address was passed on to me by a friend. The review was fantastic and I want to express my deepest gratitude for such a wonderful review. I forwarded it to Mark Shelton as well and I am sure he will be pleased. But there is one correction I would like to make: in the last sentence of the review, you make a comment about European sales of Sentinel Steel titles which is not true. All Sentinel Steel releases are available in Europe from over a dozen major mail-order distributors. My releases are very easy to get in Europe. It is true that I am not servicing individual foreign orders but this is because the European distributors are doing their job well. Sentinel Steel releases can be obtained from places like Hellion, Rising Sun, Hard-Boiled, Metal Merchant, Nuclear Blast, and many others. Cyclone Empire even puts the CDs into shops in Europe. I hope you can correct the last sentence in your review because it really gives the wrong impression to fans. In addition, it may make it appear to the band (Manilla Road) that I am not doing my job. Thanks for understanding and thanks again for the great review! Best regards, Denis P.S. By the way, 'The Deluge' has not been reissued yet. [Denis (and all), The statement I made regarding overseas distribution was referring to the fact that Sentinel Steel does not handle overseas mailorders directly, and must have been very misleading, given the widespread distribution by many other large labels. I apologise for making such a misleading statement. As a matter of fact, Hellion Records is the place I turn to for most Euro-metal releases; readers might be interested in contacting them about Sentinel Steel stuff as well (mailto:hellion-juergen@gmx.de). _The Deluge_ is supposed to be released by Italy's Underground Symphony in two formats, but as yet we don't know what's going on with this release. Thanks Denis! -- Alvin Wee] Date: Tue, 10 Apr 2001 From: Robert Subject: letter Hi Seeing as you seem desperate to print something for the loud letters section I thought I'd write something in for it. Might as well get it off my chest. First off- why is it not possible to unsubscribe via the address the newsletter is sent from? I initially tried at least three times to unsubscribe using the return address, simply because the one you suggest is at the bottom of the newsletter, and I'd never read that far down. I've since relented, but it was all the more annoying given that I don't remember signing up in the first place. Second of all, you claim to show that COC is "dedicated to the underground" by reviewing demos "from all indie bands who send us material". This isn't dedication to the underground, this is a concession to the underground. Dedication would be going out there and looking for good underground band. It would be buying and reviewing demos having merely heard a whisper about the band. Given that your zine isn't hard copy, the outgoings are negligible compared to a printed zine, so you can't claim the "I've spent too much on printing and postage" defense. Though I appreciate that you get a lot of stuff coming in through your offices, there should be enough of you to deal with this. Regardless, if you can't devote enough time to demos then you aren't devoted to the underground. I've been in the zine business for as long as you have, so I am fully aware of how much work it takes, and how draining and demanding the whole thing is. Yet, to summarise, if you're not prepared to go out there looking for underground bands, you're not in any way dedicated. Feel free to reply to me directly if you disagree, or if you'd like to be on the mailing list for my newsletter: mailto:robert_s@cwcom.net Robert Date: Tue, 10 Apr 2001 From: "Muller Bernard" Subject: Questions Hi all, When I read a record review, I like sometimes to get a reference to previous albums of the band/artist, or of their other work, to know a bit what is the music direction on their latest offer. So, if I read the last Groinchurn review ('whoami') I would hope to know a bit if there is an evolution compared to 'Fink', which was a big step forward compared to 'sixtimesnine'. Instead, I read something that remains totally abstract to me. That Kirsty doesn't like the record is clear to me, but that doesn't mean that I won't like it either. What I wanted to know was for example if she did like their previous record, so I would know more precisely what she's speaking about. But it looks more like she even don't know that they have already other records in their discography. The same for Catastrophic. Not to mention that I'm sad because Matthias doesn't like at all Obituary records post-'Cause of Death' (personnaly, I love 'World Demise'), I can't read at least once the name Pyrexia in his review of the Catastropic album. On the contrary, after reading the review, I'm almost sure he doesn't know at all the existence of Pyrexia, and that all members of Catastrophic except Trevor are Pyrexia members. Does 'Sermon of Mockery' or 'Sustem Of The Animal' ring a bell, Matthias? But, beside this, you still one of the very best e-zine on the web. Continue like this. Something else, do you agree with the new Death Metal direction on the new Extreme Noise Terror record? Take care. Bernard [Dear Bernard, Thanks for your feedback! In fact, I'm not familiar with Pyrexia. Neither the music on _The Cleansing_ nor the way Catastrophic got promoted led me to the conclusion that the Pyrexia-connection did really matter. About _World Demise_: I do indeed think it's a boring record, offering nothing Obituary hadn't done three times before, besides the lyrics and samples, with a better sound than its predecessors. But it's still much better than _The Cleansing_. I wouldn't go so far as to say I dislike it, but "Don't Care" and the bonus track "Killing Victims Found" are the only ones I really enjoy. By the way: Editor-in-Chief Gino is as confused as you are about my lack of enthusiasm for latter-day Obituary. So let's put a big IMO in front of everything I say. I'm glad you enjoy reading CoC and I really appreciate your feedback! -- Matthias Noll] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __ \ | | | | _ \ _` | _` | | | | | | __/ ( | ( | | | | ____/ \___|\__,_|\__,_|_|\__, | ____/ __ \ _) | | | | _` | | _ \ _` | | | _ \ __| | | | ( | | ( | ( | | | __/\__ \ ____/ _|\__,_|_|\___/ \__, |\__,_|\___|____/ |___/ T H E Y C O U L D N ' T D A M T H I S R I V E R . . . ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Karl Sanders and Dallas Toller Wade of Nile by: Paul Schwarz At Glasgow's Cathouse, the evening's mostly underexposed line-up of extreme metal entertainment prepare themselves for the evening ahead. Local Glasgow acts Co-Exist (grind/hardcore nutters with a noted sense of humour, formed from ex-Confusion Corporation members) and Regorge (promising death/grinders with technicality, invention and brutality fairly proportioned, and a singer -obsessed- with Manowar) talk, laugh and soundcheck. Ex-Dearly Beheaded's Sleath are also present. Nile are the exceptions of the night. The band have gone from strength to strength since they came howling, desert-swept out of South Carolina with their second CD release, _Amongst the Catacombs of Nephren-Ka_ nearly three years ago [CoC #32]. Three years! On the one hand it feels like a longer time than Nile have been in my consciousness -- they still feel new, yet already they feel classic -- and on the other it is such a short time for a band to rise to the very top of death metal's hierarchy. In our last issue we voted the storming, creative, brutal monstrosity of _Black Seeds of Vengeance_ [CoC #50] the top of our writers' chart, and we were no exception. The response to their latest album has been phenomenal for a band so groundedly still death metal, yet not easy. And Nile still have a long way to go before they gain the notoriety and sales of a Morbid Angel or a Cannibal Corpse, but the point they have got to already -- and in such a short time -- is to be celebrated, not merely accepted. I put Nile's popularity and many other issues up for debate when I met up with Karl Sanders and Dallas Toller Wade backstage at the Cathouse. Here it is, in a pretty raw transcribed format. I hope it helps you understand more not only about Nile, but about the kind of people who make up the band. CoC: It really looks like Nile are progressing onto a whole new level from _Black Seeds of Vengeance_. Where do you see things going? Did you ever see yourselves getting to such a point as this? Karl Sanders: Well, the point is... that is exactly not the point. Dallas Toller Wade: Exactly. KS: We started this band and certainly when Dallas joined up with us, we were still a band that was lucky to get a gig and we were gonna be happy if -five- people heard our record. We would have been happy because this is the music that we've put all of the years into, all the blood and sweat, and we didn't care if it was... if it was whatever. We were just playing our music and that's the way I feel today. I think it's wonderful that some metal fans are getting the chance to hear it and, uh, maybe we're getting a little bit of, a small amount of, recognition: I think that's great and it certainly feels good and we've put a lot of hard work in over the years. But it's not the point, the point, the point is we love the music we make, that's why we're here and really, we still work day jobs. I mean, that's what we do, it's metal, you're not gonna be rich and famous if you play death metal. If you play death metal, you're playing it because you love metal, because that's what you believe in, that's what you wanna do, it's what you give your life to. And that's what we're about, despite enormous personal sacrifices we've done what it took to keep going with the band, just to fuckin' survive. And to us that's really the ultimate... reward. Just to keep goin', keep playin' our music, fuck, at this point I'm happy, I'll feel pretty comfortable if the record company'll let us make another record. And yes, y'know, fuck, I'm happy! CoC: Doesn't pay to be over-optimistic, that's fair, but if Nile continues to grow and if Relapse as a label, as well, continues to grow, one of the things you'll be able to do is do more with the records, with money. For _Black Seeds..._, for example, you definitely seem to have put much more into it production wise and had more time to do it. KS: Well, you know, it's not like we've got a budget fit for the out-of-state prince. We're still shaving corners wherever we have to just come in on the budget. We ran into a lot of trouble on this record and, yeah, budget was a problem. Certainly, we're trying to do some ambitious things and it would be nice to have a proper budget, but this is the real world, this is death metal and you know, you can only ask for so much with good reason, so I'm realistic about it. CoC: Why did you choose ancient Egypt as a subject matter in the first place? I remember last time we talked [CoC #43] you were saying it was to do with hearing Middle Eastern music at Pete's house when you were younger. KS: Yeah, sure. Well, here again, it really comes down to: when we started this band, what really mattered was, we're gonna play some music, we're gonna do what we like to do. So, I was interested in Egypt, Pete had an interest in that sort of thing, so... it's what we wanted to do! Since we didn't expect to be big, we expected that no-one would give a -fuck- what some guys from South Carolina were doing. So we just said: let's do what we wanna do, let's do what we like, fuck everyone else. CoC: But for this record as well you did a hell of a lot of research. I think that was really cool, it definitely comes out on the album, it's far more well rounded than some other records, but would you say in any way you're trying to educate people as to, kind of, the ancient texts of Egypt? KS: No. No, I think it's in the entertainment realm. DTW: It's more of an inspirational tool for the songs than anything else. CoC: Are you thinking of moving on in the history of Egypt? I've been studying ancient history at university, so it's quite curious to kind of come across the same stuff. For example, did you get the "Eternal Oceans of Sand" thing from an old inscription [actually a source from Arrian, I think -- Paul] on Alexander the Great where he goes to see the oracle of Amon, and it says that the sand makes some eternal ocean so you can't see the path and he gets led by two talking snakes? KS: Yeah, I read that, y'know, but most of the song comes from an H.P. Lovecraft story called "The Outsider". "Beneath Eternal Oceans of Sand" was just... that's what it felt like when I played that acoustic riff. That's what that riff feels like to me: the eternal oceans of sand. I don't know, you stick it together, it might mean something or... or it might not. CoC: But I think it's always been one of the things with Nile that the music does kind of gel with the subject matter. You can kind of feel the violence or feel whatever you're trying to express. I think that's something you've definitely managed to capture. What happened with Pete and with changing drummers? I've heard various different stories... DTW: Well, uh, he tore his arm up really bad and he needed a lot of time to heal. That's pretty much all that needs to be said about it. He tore his arm up and we got Derrick in to do most of the record and got Tony to do the tours. But it's very unfortunate, the guy is 150% metal and it saddens us all, but even he wouldn't want to see us quit so... CoC: Do you think his arm will recover? KS: I don't think people ever get back to the level of physical endurance necessary to do this kind of music on a thirty or forty date tour. He could play one or two nights, I think, but I don't think that injury will ever heal to the point where he can sustain the endurance over a month-long tour. CoC: That means that Pete, effectively, will have to leave the band. KS: Like Dallas said, we're all very sad about it. Pete has been my best friend for twenty years. It feels like I've lost my brother. But, y'know, sometimes the metal gods are cruel. Pete Hammoura is one of the people that worked so fucking hard over the years, with a long-term commitment to this band. Without him I don't exactly think we would have done all the things that we did. He was one of the really key elements within the band. It's saddening for us all, but what are we supposed to do, just piss off? CoC: Yeah, absolutely: you've gotta keep the band going. "That's what he would've wanted", I guess, would be the phrase. DTW: Yeah. CoC: With the subject matter again, do you think you're gonna just continue looking into ancient Egypt or do you think maybe that subject matter might get a bit old? [I never even realised at the time how silly that sounds -- Paul] KS: Well, I've been asked that question before but when I get tired of it, y'know, I imagine the rest of the band will start getting tired of it. But I don't think that that's happened yet, I think we've got a few more Nile albums! CoC: Totally, I was curious whether you might branch out into the later history of Egypt: the Greeks taking over Egypt, the Romans taking over Egypt, what have you. KS: Who knows, the new album is not finished yet. We're just kicking around a few song ideas so far. Who knows, we've gotta finish working this record a little more before we start making ultimate grandiose plans . CoC: Well, if you want some help, I'll be up for doing some research. KS: Right on. I might call you... what's that gameshow where they ask if you wanna phone a friend? CoC: "Who Wants to Be a Millionaire?". KS: Yeah, yeah. I'll call you up: "We're in the studio, I need some more lyrics!" CoC: It was funny 'cause you remember those T-shirts you printed up with "Ithyphallic death metal"? KS: Yeah. CoC: I never realised what that meant until I read the Ithyphallic hymn from Ptolemy [Ithyphallic means "upright phallus"]. Would you be interested in maybe going through some of your favourite gods or rules from ancient Egypt for us? KS: I don't know, that's kinda gay. That's like saying what's my favourite Barbie doll. At home I've got I couple of Annubis statues. I have a Set statue. I have a Sekhemet statue. I have an Annubis that's on like an altar. Some Ankhs, some papyri hanging. Dallas has a few things at his house. DTW: I have a [vira, I think -- Paul] that I put candles around and stuff when I'm practising. Sets the mood a little bit. CoC: So you guys really immerse yourselves in that stuff? KS: I don't know... DTW: It just kinda helps get into the spirit of it, it just kinda helps the inspiration. KS: Yeah, that's it. It definitely helps 'cause I have all that stuff where I write my music. It helps, but we still live in the real world. DTW: You gotta find a way to escape every now and then, stay glued together. CoC: Yeah, I mean you guys haven't gone to the next level, the kind of Manowar level of wearing all the stuff on stage. KS: Be careful when we speak of Manowar. CoC: I love Manowar. I had to decide between "Battle Hymns" or The Chasm today [that's which shirt I was to wear -- Paul]. KS: OK, alright. CoC: I snowboarded down mountains with Manowar on, very proudly. KS: Yeah? DTW: Alright! CoC: Me and my mate put them over our jackets. Wiped out to Manowar. So do you think you'd go to that next level, or do you think that's maybe a bit too kitsch for death metal? DTW: We're just a bunch of guys, y'know. I mean, we kinda like to leave that to the music. KS: Yeah, if your music doesn't say it, then no amount of posturing is going to do it for you. Death metal fans are not stupid. You can not fool a kid... CoC: Are you saying Manowar fans are? [Dallas laughs, as do I after a second or two. Karl is a little defensive, not instantly realising the joke] KS: No, no, no, no, that's not what I mean. I mean, we couldn't dress up like ancient Egypt gods and take ourselves seriously. CoC: Right. KS: The music's got to do it. If the music doesn't do it, if the music is not getting there and doing it by itself, then it's... it's funville, it's Vegas. CoC: I agree. DTW: It's really silly. KS: Yeah, it's gay! DTW: Yeah, and you know plus the fact too that even if we did ever decide we wanted to do something like that -- which we wouldn't -- you'd have a bunch of people saying that they thought it was cool and a bunch of other people saying we were a bunch of posers. 'Cause you've got some serious hardcore death metal fans that're just totally not into that and you got other people that are into that. That's cool and all but it's best to just keep it to music. KS: I really like it -- just like you said -- keep it to the fucking music, 'cause you won't find any political messages in our music, you won't find any fascist, Nazi stuff. I mean, we just totally avoid all that 'cause we really don't care! The Satan/Christian argument? Well, who cares: we're writing about stuff that's before Christ, so it's irrelevant. You come to a Nile show, you don't have to deal with any of that crap. I mean, you can believe whatever you wanna believe, that's fine, you can still come to a Nile show. You know, you're not gonna get any opinion from us one way or the other. We're not concerned with those things. CoC: Whatever your personal sentiments are, they're not part of the band. DTW: Exactly. KS: Exactly. We're just here, we love the music, that's why we're here! CoC: I think that's always been a part of death metal, the whole appearance of death metal. It has moved into Satanic areas but essentially it seems to be a bit removed from that. On that note, where the extreme music scene's going these days, it does seem to me that the scene's split up, it has kind of fragmented in a good way -- as much as that can be a bad thing. Nowadays, Cryptopsy describe themselves as extreme metal rather than death metal 'cause death metal just doesn't fit them anymore. How would you say that fits into Nile? Would you say you're still -championing- death metal? KS: We're waving the flag of death metal. We've always been metal, but really, no matter what tag you stick on it, it's -still, metal!-. We still feel a brotherhood with, say, Metal Church or Iron Maiden or Manowar or whoever you want: Slayer. All the way down the line, all the years back we feel all that is a part of our metal heritage and we're proud to be contributing to the world of metal. Even if what we have is that we're just a small little contribution, you know. I mean, how do you argue with Iron Maiden? They're an institution. Compared to an Iron Maiden we're just this little tiny blip on the screen, but we're proud to be that little fucking blip on the TV screen of metal. DTW: Yeah, that's it. CoC: I think that's really good and that's cool: I'm a metal fan and I've been a metal fan for years, but I also like various other styles of music. I like hardcore and things and the thing I find today in 2001 is that hardcore kids and metal kids, they enjoy the same things. I've a load of friends here today who're into Nile, Converge, old hardcore, new hardcore and all sorts of things. Would you say it even broadens out to beyond metal, to just kind of being "extreme music"? Or would you say Nile stick with the metal side of it? DTW: It's what we like to do. I mean, hopefully people that are into all kinds of different styles will have an open mind, and like a little metal, and like a little hardcore, and not, you know, pick sides and start a fuckin' holy war. That would be ridiculous. It's just best to keep an open mind. KS: Eventually, people will still like what they like anyway, so why separate it? I believe there's a lot of different elements of different sorts of metal within what we do. But you won't find any hip-hop or hardcore elements... CoC: You're not gonna do rapping on the next album? KS: No. No, you won't catch us doing that, but we sort of... we champion the cause of metal. Everywhere we go -- we're kinda new to this international thing, this is only our second European tour, but every country we go, metal is sort of the international language. Maybe other people already know this, but it's new to me. So, to me it really means something. We go somewhere and the kids all look the same, they look just like us, they wear boots and T-shirts and long hair and when we throw the goat horns , the metal horns, on stage, and the kids throw it back to us, it's like an international language of metal. I feel like we're part of an international solidarity of metal. It means something, some of them might not even speak the same fuckin' language you do, but they understand metal, they understand a powerchord. You know, you hit that fucking chord, it's like, you feel an instant communion, you know. It's a bonding. And I'm really a great believer in: metal should be a unifying force, not a destructive force. I don't like to see bands who go: "My metal is the only kind of metal that exists and all others suck". I don't believe that. I believe there's lots of different good things in different kinds of metal... except, you know, dance music that's -disguised- as metal. I know the difference. If you want a fucking disco beat and you have people going like this to heavy guitar and call it metal, it's -not fucking metal-! Real metal bands know what the fuck metal is, and that's a wide area. CoC: What I think is great as well, what you were saying about the international language, is that not only are people understanding metal, I think what Nile and Cryptopsy have shown is that they also understand that metal can progress, that it can go in different areas without them rejecting it. KS: Right on. CoC: _Black Seeds..._, for example, is very symphonic in parts, it's very curious and I think it's good that kids have got into that. DTW: I totally agree. Metal is like a vessel that brings unity throughout the entire world; it can travel, that vessel. And even though we might speak different languages, different cultures, we all understand the feeling that metal gives us. It's a very empowering thing. KS: Yeah, man, when we were hangin' out with Krisiun, man, you talk to those guys, stand with 'em for five minutes, and you feel... you feel stronger, you can -feel- the metal. It's a thing that sends chills down my spine. You know, I've been asking myself a lot of questions lately, like: OK, why are the metal gods being kind to us? There's a lot of fucking bands that work fucking hard, a lot of bands that deserve to be heard, why us? Why are the metal gods being kind to us? And it's our responsibility, so I'm taking it seriously. I believe: there is a cause, there is a reason. Metal is a good thing, it's a worthwhile thing and it's a good feeling to have. When you go to a show and you reach people from, you know, wherever, all-over and you have something in common with them, you know. It's a good thing, it's a powerful thing and I believe that we owe a certain debt to the world of metal to stand up for what's right and play our music to champion the cause of metal. CoC: I agree. I definitely think it's a positive thing. It was very cathartic for me when I was at school. I think it's a pity a lot of people don't see that and see it as a negative thing that kids have to get over. KS: It's not! It's not: there's been times when I got fired from my job or whatever because I was doing whatever. I'd stick in a Manowar CD, I'd feel the power and I'd have the courage to go: alright, I'm gonna go get another fuckin' job, fuck that motherfucker if he don't like my long hair, fuck 'im! DTW: You're just too metal for 'im. KS: Damn right! 'Cause, I know I'm a worthwhile human being and I know I've got something positive to contribute to this world and I've gotta work hard like anybody else: at my job, at my music, at whatever. You know, and sometimes, metal will carry you through. If you're feeling a little bit weak, you need a little inspiration from the metal gods... DTW: Crank it up! KS: Yeah! Crank it up, feel the power, let your brothers help you through. CoC: And Manowar's pretty damn good for that one. DTW: Oh yeah! CoC: I got a lot of my friends who aren't even into metal into Manowar. It just has that spirit to it. KS: Right on. CoC: It must be a lot of work doing all these shows, right? KS: Yeah, but touring Europe is a piece of cake compared to the States. Dude, in the States we travelled in a little van, loaded our gear ourselves and we get paid. Over here, we get treated like human beings, it's wonderful. Coping with the PAs is a challenge, but what're you gonna do, cry about it? No, you gotta deal with what the gods give you. The gods give you a chance, they say: OK, you've got this gig. They give it to us. What're we gonna do with it, cry about it or work with what we've got? No, we fucking work with what we've got. We were in Wakefield, first show of the tour, and the sound was bad, we lost power and my computer cut out. We had the choice, we could toss the show and walk away -- because the sound wasn't gonna be great -- just walk away. We'd already been paid for it, what the hell. But there were kids, lined up, for -three hours- outside. So, what're you gonna do? Those kids came here for metal. [As sound-checking ensues, we cease talking, the noise around us stifling fluid conversation. I break the mini-silence by commenting on Dallas' Immolation T-shirt.] CoC: Nice shirt man! DTW: That new record is one of the greatest fuckin' records. CoC: Fuckin' a! DTW: That is one of the -baddest- fuckin' records ever, man. They're just so fuckin' heavy. _Close..._ is the best thing since _Here in After_. CoC: I was very impressed. DTW: Getting popular's not what they care about, they care about making the music that moves them as musicians, making themselves and the people that do listen to them happy. That's all that really matters. [Another interruption of sound-checking ensues, then I decide to breach a particularly hot topic of the time with Nile] CoC: Do you think Tony [Laureno] is going to take over as permanent drummer? KS: Well... That is one of those delicate questions which is best left to the band room. DTW: We haven't sorted it out ourselves. CoC: On a personal note, I'd say: technically, do it. Obviously how he works in the band is what matters. KS: Well, he's a great guy. He's a great drummer, he's a nice guy to work with, he's certainly a solid individual. You can count on him when you're out on tour. DTW: Yeah, he works hard. He's got a good work ethic. KS: Yeah, we don't have many complaints. CoC: But you just haven't made a decision yet? DTW: Yeah. CoC: There probably aren't many drummers out there who you could've got to do this tour, though. KS: Well, don't say that to him, he might start asking for more money. CoC: I was quite worried when I heard about Pete [Hammoura] 'cause I didn't know who would take over and I could see some drummers not quite getting it right. KS: I can see that too. It's a double-edged sword. Any time that you want to push harder, any time that you want to say to yourself: OK, I'm gonna push myself to the extreme limits of human endurance with these songs. You know, you set lofty goals for yourself like that, and not only do you have to, yourself, somehow achieve them, but you gotta get a fuckin' drummer that can do it, and that's no walk in the park. DTW: Yeah, then [Derrick] Roddy just totally smoked the record. KS: We've known Derrick for years 'cause he's from Columbia, South Carolina and he used to play in bands with Bob Moore, our producer. Derrick does most of his recordings with Bob Moore: they're old buddies. And every band that Derrick ever played in over the years recorded at the Soundlab. [I bought Rebaelliun's _Bringer of War_ EP at the Nile gig; the next section of conversation led on from Karl and Dallas studying the CD] CoC: D'you ever check out Rebaelliun? KS: No. CoC: From a similar vein to Krisiun. Pretty good band, actually. KS: They covered "Day of Suffering", that's one of my favourite Morbid songs. CoC: They covered it live, actually. They were on a great tour package with Vader and Vital Remains. DTW: That's a wicked album cover. CoC: It's a bit more sort of _Altars of Madness_ / Slayer tinged, but very similar to Krisiun. KS: That's kinda the Brazil vibe. CoC: Yeah, totally. DTW: Yeah, just hold it to the floor as long as you can. It's the song of death. CoC: I don't know how the fuck Krisiun manage it with three people. KS: They're fuckin' brutal! They are the fuckin' brutallest metal band on this planet as far as I'm concerned: Krisiun. And one day, they will own the world. DTW: Yeah, even if they have to take it over by force. Definitely, those guys are amazing live and amazing guys. They're the coolest guys you'll ever meet. They have the shreddingest damn guitar player I think I've ever seen in my life. God! KS: We're pretty lucky. The entire Cannibal tour we had to share dressing rooms so every day while Dallas and I are sitting backstage practising, Moyses was back there and would pick up our guitars and go: . Every day we got to witness this guy: up close and personal. DTW: In the raw. KS: We'd go: hey, uh, would you mind doing that again a little slower? CoC: You'd have to put it in slow motion just to see what he was doing. DTW: It would still blur. KS: Yeah. Those guys are so true. You will not find a truer band. To me, it's kind of like the Vader story. Vader had to make their own guitars and Krisiun is pretty much the same story. They had to work their way up from difficult beginnings. To me, that is a whole lot more meaningful than say, in America where your parents will buy you instruments, they're readily available and all the kids have great guitars... but none of them bother to fuckin' practice! Then you see someone like Vader who had to work for every damn thing they got. Man, I respect that man, those guys... CoC: From behind the iron curtain as well. KS: Yeah, they have integrity. They have fuckin' integrity. Look at this man, more Egypt stuff. Everywhere I look there's more Egypt stuff. Egypt stuff everywhere. There was a band with flyers on the wall yesterday called "Egypt". DTW: There's another band in the states called Coffin Texts. I think they've been around as long as Nile has, so I think that may possibly have just been a coincidence. KS: Yeah, it's a coincidence. Septic Flesh! Septic Flesh are gods! They're genius! I have nothing but respect for Septic Flesh: we should be opening for them. They are a great fuckin' band. I've got all their albums, well actually, my wife has all of them and I have listened to all of them 'cause she plays it incessantly. They're incredible. I feel very privileged to have been able to hear Septic Flesh 'cause in America they don't get so much press or hype or anything. But they're incredible! They're a fuckin' incredible band! Very, very amazing, the compositions are great, the musicianship is great, the orchestrations are great, the production is great, their fuckin' album artwork is great. Their fuckin' album cover is ten times better than ours. Is there a fucking cover even mentioned [in the Terrorizer readers poll] because it deserves to be? CoC: No. KS: No? CoC: I don't think Septic Flesh made it into the readers poll anywhere. KS: Well that's a fuckin' tragedy that needs to be fuckin' remedied, 'cause they're a great fuckin' band. CoC: Where did you get that cover from? Was it made up by the graphic designers? KS: Well, do you want the real story? CoC: Yeah. KS: Alright, we had our own ideas about what the album cover should be, and Relapse had theirs. And, um, well, when I look at the album cover now I really can appreciate the beauty of it, it's a great album cover. It's beautiful, I mean, what can I say, it's great. It wasn't exactly what we wanted but we've grown to like it. DTW: Yeah, it grew on us. At first we were like ewwumm... KS: Yeah, like: what!? Another mother fucking mummy. DTW: Yeah. KS: But I've grown to like it, appreciate it. It's a beautiful piece of work. DTW: The colouring really set it off. And it looked better printed than it did on a computer screen too, so that led us to begin with. KS: They sent us a JPEG all downsized and grainy and the colours were all weird and we were like: what the fuck is this? DTW: You had to scroll it from side to side... CoC: At first I didn't like that particular cover myself and when I saw it quite big in an advert it made an impact on me and I understood where it was coming from. KS: Yeah, in the States we have nice big posters of it and it's a beautiful record. CoC: Have you been contacted to do any soundtrack work on "The Mummy 2" ("The Mummy Returns")? KS: You know, that pisses me off so much, 'cause I called up our management and said: look, listen, these fuckers are making a sequel and I want a chance, I want a chance to do some stuff. And they go: well, we'll send 'em an album but, you know, you're really not big enough for them to care about, because unless you're big enough to actually get more people to the movie, then they don't care. CoC: This is a weird idea, but one way some bands get on soundtracks is one guy down the production company going: I love this band, let's stick 'em on. So, hopefully, if the right person gets it maybe someone will figure it out. DTW: There are some pieces on the record that'd be perfect for it. What I'd really like to see is "Khetti Satha Shemsu" . [Karl nods in agreement as they both make enthusiastic noises about the idea] CoC: That would be fuckin' cool, when the thing rises from the fuckin' sarcophagus. DTW: Yeah. CoC: That would be excellent. DTW: I think even people that were not into a death metal realm would still appreciate it because it is a very chanty piece. KS: It has lots of feeling. DTW: It has the spirit and it just so happens to be death metal growling, but it fits perfectly. You can see serpents rising. [Karl laughs in a distinctly evil, pronounced way] CoC: Do you know if The Rock is a fan of Nile, 'cause he's in that film? CoC: He's like the bad guy in it or something. DTW: Wow... CoC: Can you smell what the Mummy is cooking? [I mention a commercial for Film Suez, a company in Argentina, who had an advert which could have been the beginning to a Nile video] CoC: Bands back in the day used to make videos, but MTV just aren't playing that shit anymore. There's no "Into the Pit" anymore. DTW: You had to wait for the triple-thrash threat when "Headbangers Ball" was around even to see stuff then. KS: "Into the Pit"... DTW: Yeah, they totally took that out and "Headbangers Ball" was just totally wiped out. CoC: In Europe at least, it was like three years ago that they took it away and they never brought it back. Even in Germany, there was Superock and there was fuck all metal on it. It's all Korn and Limp Bizkit. I can't believe it, a country full of metal, and there's no metal on MTV. KS: It's gay, isn't it? CoC: That is pretty gay, yeah. DTW: That's OK because metal has always proven that it doesn't need a whole bunch of hype around it to exist. KS: The fuckin' fans know what the deal is. The fans are everything, they don't need a fuckin' radio, they don't need a fuckin' TV, they go, they see it for themselves and if you can't convince 'em in the real world, in the real setting... You know, if you suck live the kids know, man. You can't fool 'em, you've got to deliver the goods. And I think the bands who deliver the goods, ultimately, through genuine hard work, eventually will do well, just because it's... death metal is a thing, I believe, founded on truth. There's a certain truth -- when you go see the band it's right there, there's no trickery involved in death metal. How you gonna hide? You got your drums: they're right there. You got the guitars: they're right there. Where you gonna hide? You can't hide, that's the truth. You got kids this far from you . They see it. They know because they see every other band. There's a foundation of truth: either you're good or you're not or whatever, but the kids fuckin' know. You need to deliver the real fuckin' thing. And television, radio or whatever, it's irrelevant to me. CoC: I'd say, once you're in the realm of metal it is irrelevant. The thing I find is that when I got into metal I didn't get into Nile or whatever was underground at the time, I got into Pantera and Metallica... KS: Yeah, and then you work your way... DTW: ...and search for something heavier. Descend into hell. CoC: And if those bands aren't even on MTV at all and if people are being pushed away from metal... I'm curious to see where Limp Bizkit and Korn takes people. I talked to Matt Jacobson the other day and he was saying that these kids -- because the jocks listen to that stuff now it's not cool anymore -- so he thinks they're gonna go underground from there, and possibly head towards more stuff like what Dillinger or Nile are doing or more of the stuff that's on the underground side of things. DTW: Well, if that happens, whatever, but the people we care about -- that come to the shows -- are the true die-hard metal followers. Not the people that are gonna change genres because of who they're hangin' out with or blah blah blah. You either like the shit in your heart or you don't, and if you're there just 'cause you're trying to be trendy then you may as well just leave, 'cause that's not the people that we wanna play to. KS: Right. DTW: We wanna play to the true, metal followers. KS: Those are the ones who cared about us when we were no-one. We're not gonna do a 'Cold' Lake or anything like that. Anybody you wanna name like that, we're not gonna do it, because frankly we're adults, we've been playing metal all of our lives, we played metal when no-one gave a fuck who we were, we played metal when we couldn't get paid for a gig, we played metal when we couldn't get a gig. So now that we've got a gig, what do I play? Metal! Dude, we're not gonna do anything except do what the fuck we do. And people that have been with us since the beginning, that liked us because of who we are and what we do, that's who we're playing it to, and if some new people wanna come and join in with that, that's nice, that's fucking cool, and maybe we can bring them to metal, but we're not going to dilute what we do, we're not going to cheese it. We care about metal, we care about the kid that pays his fuckin' twenty bucks a ticket, buys a T-shirt. When a kid buys a T-shirt you know where it goes? It goes in our fuckin' van for gas to go to the next fuckin' show. We care about those people because we are those people. When I'm at home, you know what I do? I have to pay to get into shows. I don't have any grand status or anything. I still have to work for a living. I still have to pay for my CDs just like everybody else. So I feel a certain fucking -common bond-. When I'm at a show -- and all of us too -- we go out and we talk to the people who come to our shows because they like us and they took enough care to make us feel welcome: to come to the show, to drive however long they have to drive -- sometimes in the States kids'll drive six, seven, eight hours, I 'm sure it's the same over here -- to come to our fucking show. Now, if somebody does that, just to come hear your music -- fuck, man, that means something. DTW: That's a true metalhead right there. KS: Damn right! That's who we care about. DTW: That's who I feel that I am about metal. I can play to three people, I can play to three thousand, I don't care -- as long as it's metal, I'm gonna do it. I've been metal whether it was popular or not. It has never been difficult for me whatsoever to say that I like fuckin' metal. If people make comments about my CD collection or my hair, I'd just say: well, go listen to your shit, go get spoon-fed some more music. That's the ones I really respect too, the metalheads who've stayed metal all the years, they didn't switch over to something that was popular, they stayed metal all the time. CoC: I got into death metal when it was at its least popular in 1995/6. I just got into the music. I never got to see Carcass live, they split up before I ever got time. DTW: Yeah, that's how I felt about Suffocation. CoC: I saw them once at Milwaukee 1998. DTW: Awww, I hate you! CoC: That band has to reform someday. DTW: I know. I think it would really do some good to the scene, I think there's a lot of people out there who are -starving- for some more Suffocation. CoC: And the fucking respect they got out of _Despise the Sun_, I can't believe they never followed that up. That's one of the most brutal things ever. DTW: I wish they would have written even some more tunes for that one. [Note: This interview occurred before Chief Spires left Nile. I have no information on how this sits in the band apart from Relapse/Nile's official press statements.] [I wish it to be noted that though I cannot speak for Karl, and had no occasion to ask him, the use of the word "gay" as a pejorative adjective by me is done purely out of habit and its unfortunate phonetic snugness, not through any prejudice whatsoever against homosexuality or homosexuals. -- Paul] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= OF THE LUPINE LORDS THAT LURK IN THE SHADOWS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Fenriz of Darkthrone by: David Rocher "Darkthrone, Holy Darkthrone" -- when the now literally mythical Norwegians' sophomore _Soulside Journey_ was released by Peaceville a full ten years ago, after Darkthrone's demo _Thulcandra_ had already earned great reviews in the extreme metal subterranea, little could possibly have foretold that this obscure, darkened death metal band were in time to become the uncontested, all-godlike flamebearers of the Satanic Norwegian blackness which took the metal world by storm in the mid-nineties. With their consecutive releases -- the savage, enrapturing _A Blaze in the Northern Sky_, the bleak _Under a Funeral Moon_ and the chilling _Transylvanian Hunger_ -- Darkthrone then unwittingly began to set, in their own concealed, obscure and meaningful ways, landmarks in the brimstone landscapes of black metal by which countless hordes of derivative and more-or-less inspired impious hordes were to be rated. And with the darkness, came secrecy -- the utterly black, evil and almost unfathomable shroud which always so fittingly cloaked Darkthrone's myth also fed the wildest contradictory rumours and beliefs -- and gradually, as a new tombstone was added to the landscape in the guise of each of Darkthrone's new releases, the intangible, obscure Norwegian growing legend thrived and strengthened, letting no light be shed on it other than a grim, blackened aura that gradually evolved into a near-religious form of reverence -- "Darkthrone, Holy Darkthrone". Needless to say, I felt both graced and definitely apprehensive when, shortly after the release of Darkthrone's seventh full-length, _Ravishing Grimness_, I accepted an interview with the emblematic black metal personage named Fenriz -- for who, other than Darkthrone's lyricist, could better embody the most inscrutable, impenetrable darkness I was ever to encounter? In fact, adding to the mystery that will always enshroud this band, even with my numerous questions politely and extensively answered, what Fenriz accepted to disclose of himself revealed him as a startlingly acute, affable and talkative person -- who nonetheless retains a form of unfathomable, extremely disconcerting shape-shifting obscurity into which, I presume, no interviewer may ever be let. So come now, and revel in the shadow of the horns... CoC: It's been a while since _Total Death_ was released, and many rumours had announced Darkthrone had split up -- so what's Darkthrone been up to, exactly? Fenriz: Well, Nocturno Culto has been settling down, trying to find a steady place to live; he's used a lot of energy in his life to try and find himself the right, the right home... He's been settling down with kids and things, and I've basically been feeding my ears, because I did a lot creative things from '92 to '95, and maybe I got "burned out", so I've been mostly just listening to music, and breaking barriers when it comes down to what sort of music I listen to. CoC: What barriers? F: Well, what it means to me is to listen to music that I normally wouldn't have been interested in ten years ago, so that would be extreme, for me. I mean, it's almost quite disgusting to listen to old Commodores, but I'm getting into it! CoC: So, you mean music that completely leaves the field of metal? F: No, no! It's always in metal, I'm proud to say I'm always a death metal fan, so it's metal everyday for me -- but it's a lot of other things everyday too. Music is larger than life for me; this occurred to me maybe three or four years ago, and it's totally exploded in my life, so I've just been into getting a huge record collection. But I have to tell you that for Darkthrone influences, Nocturno Culto and I just listen to what we always did, because we don't want to change. The thing is that if I listen to all this weird stuff -- and Nocturno Culto is also listening to a lot of psytrance -- it doesn't influence our sound at all, because this is important for us. A lot of people get very enthusiastic when they discover a new style of music, and they try to... no, they don't try, they -put- it with the music that they play, and then it comes like a new style, entertainment, crossover or stuff, but not what I would call the old school black metal that Darkthrone is about. Any influences coming from the new things we listen to will not enter Darkthrone, we will just stay the same. CoC: You just said Nocturno Culto is pretty much into techno... F: It's mostly psytrance. Uh, it's just that we're not talking about this or that trance, we're talking about -psytrance-. It's really important for us, it's like what we are discussing right now -- we know the difference between death and black metal, so it's important to get things right. I'm more of the aesthetic techno, underground techno, house and everything, and he's getting into darker drum 'n' bass, but I've been through all possible styles within the electronic field, and I'm still into that. I'm checking out a lot of older music, now. CoC: So what do you think of the way several black metal bands, among which Samael and Arcturus, despite never having been really raw black metal bands, have recently opened their sounds to electronics; I'm particularly referring to Samael post-_Passage_ era, and to Arcturus' latest output, _Disguised Masters_? F: I haven't really heard either -- I haven't heard the latest Arcturus, and I haven't really checked out Samael since the first one! But I love the first Samael, it was important. They were a very important band for us -- not that we're inspired by them, but it was a great thing that they could stay occult at a time when the scene was not really interested in this. The same thing goes for bands like Tormentor and Sarcofago. CoC: And what do you think of the more industrial way... F: I don't like Fear Factory, for instance... CoC: I was more precisely thinking of a band like Attila Csihar's band, Aborym. F: Oh, Aborym? Is that Italian? I haven't heard it yet... I'm supposed to be sent a copy of that, because I was meant to do an interview with a guy who's playing in the band. When he explained the idea, it sounded like old Necromantia -- it was black metal, and then some esoteric parts like Cold Meat Industry bands. It sounded like he was analysing some old Necromantia things, because I was into Necromantia for several years. CoC: To get back to _Ravishing Grimness_... F: Oh yeah, I completely forgot! CoC: What does it represent to you in terms of Darkthrone's life? F: For us, it's one more nail in the coffin -- just another album, really! We don't try to make a big thing about it -- of course we are, actually, because we're doing all these interviews; but I've been told to do interviews and to be nice! CoC: I'm glad you're broaching this -- you do it rather well, actually... F: Well, because I fucked up so many things I said in the earlier years, so... we're trying to hold the distribution that we have, but I think I'm actually undermining the credibility of Darkthrone by doing all these interviews. But at least we're not doing more photos -- we haven't been doing photos since '93, so why the hell should we start now? We should have decided then to do it in the _Total Death_ era. If I were a Darkthrone fan seeing all these things from the outside, I would not want to read all these interviews, see new photo sessions in a nice studio and that shit -- but for us too, this is -not- a good idea. CoC: Fair enough. That's comprehensible to me... F: I usually use this argument, and now you will hear my argument , and I'm saying: I've been liking Bathory since '86, and you don't see me crying for new photos! So if Bathory can do this, why the fuck can't we, man?! Basically, we're not trying to say we are changing anything with this new album, but we are offering one more alternative to the new school style, which is now dominant in the scene, while we are still able to make some old school shit, so that the people who are interested in that can also have something to listen to. We're sort of Samaritans! CoC: I was looking at the lyrics sheet I received with _Ravishing Grimness_... F: There's a lot of misprints there, but it's not my fault, I'm not the dyslexic! CoC: I was quite surprised by the lyrics, actually... F: I know, it's just me, I'm a big cry-baby, and I've been having some problems with my mind recently, so I'm writing a lot about that, and a lot about death and hatred and things. CoC: It looks like a lot of instinctive writing... F: Hmm, it's instinctive, but it is also poetic, and it is sort of calculated, because I have been writing lyrics for a long, long time, and I have a certain set of aesthetic rules that I won't change; and I'm also trying to put these words into the mouth of the guy who's singing, which is Nocturno Culto, so I'm trying to make words that are great, and cut out in rock for some of them -- but they still must be something new, and still must be good for Nocturno Culto to sing them. It's a very difficult job, and this time I worked my ass off for that shit, and it feels like we're moving a lever for every word. It's painful. CoC: And how did you come across words like "necrohate", "panzergrim"? F: For me, they're totally logical. "Panzer" is like "very", so it's something "very grim". These are small details that are very important for me -- a good example of a new word is "deathsane", instead of "insane". A very strange word, but I knew exactly what it meant for me when I wrote it down, but now I think I've forgotten already. There's a lot of pain involved here, and I think my mind has attempted to suppress it when I couldn't deal with it. CoC: The way the mind automatically tends to sort good memories from bad ones... F: Yeah! Man, my life is totally fucked! CoC: So "necrohated" would then mean "hated to death"? F: Yeah. To me, it's also a magical word, "hating to death" means you're so rotten that even the angels hate you, because usually, they won't hate you. [The quote from the track "Claws of Time" is "Necrohated by angels..." -- David] CoC: _Ravishing Grimness_ also has a very melancholic-sounding track, "Claws of Time", which is rather unusual by Darkthrone standards... F: Oh yeah, yeah... People keep mentioning that track, but I didn't make it, so there! I don't know, but if you saw the fucking place where Nocturno Culto is living now, maybe you'd understand, because it's rather beautiful, and the place where he lives sounds like the opening riff. I'm in nature the whole fucking time, and he lives in nature too, and although he doesn't go out walking in the mountains, I still think he uses nature as a source of inspiration. When I make riffs, I don't refer to that anymore, because I'm really close to nature all the time. [I suppose Fenriz meant that he had got used to nature, and didn't actually notice it any more -- David] I spend two or three days a week in the forest when I can -- because we have a problem with the weather here in Oslo, it's really unstable --, but the thing is that when I write riffs, I rather think of smoking and drinking beer, and Hellhammer and shit. I think Nocturno Culto takes care of the melodies now. CoC: I noticed _Ravishing Grimness_ has no more lyrics in Norwegian... F: No, there's just a line in there which is Norwegian. We were the first band to sing in Norwegian, and that was very brave. What happened at that time was I had been told by the guys from a Norwegian band called [I couldn't quite make out what Fenriz said at this point, it sounded like "Moment" -- David], they were around in '85-'86, and made -excellent- death metal, but they broke up, and the two guys started playing for Mayhem. So they told us, "hey, it's about time somebody sung in Norwegian" -- by then, they [the band] weren't about to do it, because they didn't want to play any more; so I guess I just had that in the back of my mind for a couple of years before I actually wrote some lyrics -- it's very suitable for being sung by Nocturno Culto. After that, I think a lot of people tried to sing in Norwegian, and some of it's been great, and some of it's been not so great. When you sing in your own language, you should be really careful about using the words. It easily feels pathetic for us, and sometimes it works, sometimes it doesn't work, I don't know. I don't want to mean that I've done everything perfectly, but still -- but we didn't have any lyrics in Norwegian on _A Blaze in the Northern Sky_, so what's the big deal, man? [This is indeed true, but Darkthrone -did- use Norwegian lyrics on releases consecutive to _A Blaze..._, which is where my question arose from -- David] CoC: What do you think of Darkthrone's earlier albums when you look back upon them? F: The point is that Nocturno Culto and me really agree on this: when we look upon the albums, we're looking at things that happened in our lives, around this album, whereas the people that will read your interview and have the albums will not -- they will just think about the music, that's all. It's really not that interesting, and when people ask me if I have a favourite album, I'd rather say I have favourite songs. You have what studio it was recorded in, things that don't matter to the audience at all -- and also, this has nothing to do with what the album will sound like for the audience. I don't really travel much, so when I'm in the studio, it's like very exciting for me, I'm getting out of Oslo, and that's what I'm thinking about -- the car trip, the cheeseburger I ate on the way and things like this, and that uninteresting shit! Well, at least we never used more than 30 hours to make an album, this time neither. We just go straight in and straight out again, and it goes very quickly. This time it took four days with the mix and everything like that! But why am I saying this?! I didn't fucking remember, sorry! CoC: Erm -- no problem at all... After _Soulside Journey_ had disclosed Darkthrone as being an excellent occult death metal band, with _A Blaze in the Northern Sky_ you actually created a musical and thinking style, with the raw sound and repetitive riffing of the Norwegian black metal style, that actually became a trademark which thousands then followed -- how did you first move towards this musical extremism? F: Uh -- I'm going to give you a really long answer now, I guess. The thing is, we had all the important albums from before in the eighties, because we bought all that shit you -need- to make black metal, like everyone else thought they all had the right albums, like Hellhammer, old Bathory, and that shit. But then we got totally worked up in the underground and death metal scene, at least I did, and there were compilation tapes out, and death metal was still pretty uninteresting shit, and I think it was late '89, and I remember the whole side A was nothing really interesting for me, and the first song on side B was sung by Tormentor, from Hungary. And I was like, "ooooh yeah, that -old- feeling, this is IT", and suddenly, the interest was there again, it was just like picking up the whole fucking Destruction and Kreator shit again, and this time I saw it in a new light, in what I would call a -black- light, then I hooked up with Mayhem pretty quickly after that -- I hadn't been talking with Mayhem for about a year at that time -- and thought "this is really where it is". Still we were playing death metal, and even better death metal after _Soulside Journey_ -- the _Goatlord_ stuff that we made was really good riffs, and would be one killer death metal album, but we couldn't really continue, because the rest of the band was also starting to get into the whole sound of Bathory and Celtic Frost, and that was IT for us, except for our bass player, who wanted to play more technical, so he had to leave. This was it, and one thing that I have to say is that we're still doing this primitive style, and this is because we've already been through the evolution of the band -- you know, we started playing, and we weren't really good in the start, and then suddenly we could play difficult things in death metal, and playing a lot of complex drum stuff and shit like that, and we've been through it, so when we took the decision that we wanted to play black metal, it was like "we will not play technical again", at least not in black metal, but a lot of black metal bands you see today are totally technical -- it even sounds like death metal with some minor changes. These are bands that haven't gone through the evolution first; they started out as black metal, and the natural evolution still has to happen, and it happens within black metal. We took that outside black metal, we didn't start playing black metal until we were finished with the evolution, that's why it's easy for us to make primitive black metal. Other people I know have really big problems if they play a riff eight times in a row -- they become very insecure and think "this is boring, this is shit", but it's not -- it's like, just listen to Hellhammer -- if you like that, it's not shit to play primitive! CoC: Sure. And where did the idea of the really thin sound come from? F: The thin sound is typical Bathory, along the lines of _Bathory_ and _Under the Sign of the Black Mark_, there you have the really thin sound, and this is what we want. You have a totally thin sound on an album like _Eternal Devastation_ by Destruction. CoC: It's pretty amazing now when you see the number of bands that took to this sound. F: Well, I think Immortal, for instance, went through the same thing, and Burzum too -- Count Grishnack was a part of Old Funeral and shit, and I think we have the same background, and Emperor also had the same type of background, and Mayhem was there too, to keep it all together. And then Thorns were there, and they were among the ones who really invented the typical Norwegian black metal riffing, which is sort of special. I don't wan to hum it to you , but I can easily tell you what that sort of riffing is all about. That's really the typical Norwegian sound, and what the press have been saying is typically Norwegian often isn't -- but they don't really know. But I've seen the history -- I've been there, so I know what's what! CoC: And this black metal movement actually grew more than anything you could expect, and actually became a social movement... F: Yeah, but that's because it leaked through to the press, and all the shit. I'm always going back to '91/'92 when I think about the black metal shit. I can't deal with all this press, man, it's horrible, man, horrible. I wasn't really smiling back in '94, I can tell you! That was a fucking drag, man! CoC: Was this the reason why Darkthrone was such a secretive band back then? F: Yeah, we didn't want to do that media thing. I was like hanging around in Euronymous' shop back in '91-'92, and I thought it was great, but Zephyrous and Nocturno Culto quickly drew out of that small circle because they thought it was beginning to look like a social club, and we were like -- eight! No big thing, you know? We were all centred here in Oslo, but no-one actually came from Oslo. In '90, there was actually not one single black metal dude in Oslo -- it's only 500 000 people here, but you can imagine how small it all was at that time. Later there were like eight, ten of us, and then that grew into a stronger following. Enslaved and Emperor were also important, although Enslaved didn't want to be part of the black metal scene, they wanted to do that Viking stuff, and then you had like Satyricon and Gorgoroth coming into the scene, and then other bands from Bergen, like Hades and others, and I'm sure I'm forgetting some -- it's really embarrassing when I do. There were just a few of us, but it was really disgusting when that whole thing blew up in the press, it was so tabloid. That's also why I liked to keep playing old school, like nothing ever happened, you know? I'm living a lie!!!! We'll just do old school stuff until the day we die. CoC: What does Darkthrone represent to you now, as an individual? F: It represents at least that I'm very proud that I was born when I was born, so that I could be able to take my place in creating a strong style. That's great, to have released at least a couple of classics, that is fucking beautiful. That makes me feel that I am someone, but I don't know if people will remember this thirty years from now -- at least I hope they will remember Mayhem. CoC: Darkthrone were also granted a nearly "religious" status throughout these years... F: Not after I've been doing all these interviews! I feel I'm exposing Darkthrone to death, I'm really worried about this situation. CoC: I don't really follow you -- do you think Darkthrone audiences are going to turn their backs on the band now? F: Well, I would! I don't know, man, I've been told to be polite and to have as much fun as possible, but the typical Darkthrone fan may not be into so much fellowship... but I am, you know? CoC: Do you think it would actually be preferable for the band not to give any interviews at all? F: Well, it would be... preferable, actually, but it would be killing for the label. But I wouldn't mind -- there was a long, long period when we did no interviews, and I have no problems with that. The rumours will still circulate, I don't even do interviews to stop rumours, I usually get misquoted a lot, so the rumours will always be there. I'm just talking, and talking... Where I was brought up, my first six years were like I had no kids around to play with, so I'm doing all the talking I missed then! But at some point, I had a lot of people refusing to do interviews with me. They were expecting that I would be really mean! CoC: Talking about this, what do you think of the often excessively misanthropic attitude that is displayed by many followers of the black metal genre? F: Oh, I think it's important to go through this sort of phase the first two or three years, I really do. If you get that black metal feeling, man, you're not the most positive character in the world, you know? But this wears off, but it's important that I've had this, that I've been through this myself, and I've been enemies with a lot of people I never should have been enemies with, and all that shit, but I think that was necessary for me, and I hope a lot of people will be like that. But I guess you're a bit sick to start with when you -are- into the likes of Morbid Angel and stuff -- it's "blessed are the sick", man! CoC: OK, thanks for your time, Fenriz -- what are the chances seeing Darkthrone on tour? F: Well, unless we're shipped away against our will, you won't get to see us, because we don't like to travel, and to play live, we want Newman from the "Seinfeld" series playing bass for us, and if we don't get that, we want JR from "Dallas". And I think this will not happen. And even if it does, we will only tour in Peru! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= D E T O X E D B U T N O T D I S A R M E D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Zamoth/Samoth of Zyklon/Emperor by: Paul Schwarz OK, I guess you might be wondering why I've used that strange two names / two bands format on the interview header there. Well, essentially it's because Emperor founder and guitarist Samoth has put together a new full-time band, Zyklon (their name shortened from Samoth's retro side-project of five years ago, Zyklon-B), but the press release to their debut album, _World Ov Worms_ on Candlelight [reviewed in this issue], notes his name as Zamoth but does not specify whether this is his "Zyklon-name" or whether he has "officially" altered his pseudonym. Ultimately, it's not important: Zamoth (as I'll continue to reference him) should be judged by words and not deeds, and on this basis, his judgement is emerging as resoundingly favourable. For a band essentially constituting an offshoot of a band as big as Emperor, I found it surprising that I'd not even heard of Zyklon until after the _World Ov Worms_ promo was already in my possession. I probably just missed the hype, but once I found this out _World Ov Worms_ was soon after spinning in my CD drive. A percussive assault reminding me centrally of the impressive Myrkskog and flavoured with curious mechanical and electronic sections greeted my ears. Upon perusing the press release, I was hardly surprised to find a member of the aforementioned Myrkskog residing in Zyklon, and even less surprised that that "percussive assault" I mentioned was courtesy of Samoth's fellow Emperor (sic) Trym. In this interview from the latter part of December 2000 I attempted not only to extract from Zamoth as much about Zyklon as seemed appropriate, but also to delve into the past of Emperor (it being around a full decade since the band had first emerged) and further to try to ascertain what would be the course of their future actions -- whether there would be more than one more Emperor album before the band was no more, for example. I hope the results are informative. CoC: Zyklon shows a huge mix of influences. It definitely doesn't sound the same as Emperor, but at the same time it doesn't sound -- y'know -- very specifically black metal. Would you say that you took a very different approach to how you wrote the music compared to how you did it with Emperor? Zamoth: No, not really. I mean, I do not really ever decide what kind of music I write; I just write. And a lot of the music I write -- out of Emperor -- is rather more primitive. With Emperor I work together with Ihsahn and he's always developing my ideas into more symphonic ideas or monumental parts, and adding a lot of stuff, while with Zyklon we kind of kept it more in your face and straightforward, primitive and intense. CoC: It's definitely more riff-heavy. It has a lot of that sort of machine-gun riff and drum work and things like that. Do you think using different people -- apart from Trym who does the drumming for Emperor, obviously -- like the guy from Myrkskog [Destructhor] made an impact? Z: Yeah, he had a huge impact on the final outcome of the music, I think. I mean, me and Trym worked for it for, like, a while -- got the basic material ready -- but as soon as we got Destructhor in the band we got more like a unit and we improved all the songs and, yeah, got a more totality of the music. CoC: It definitely shows an influence. I remember getting [Myrkskog's] _Deathmachine_ [CoC #47] nearly a year ago. And the sound of Zyklon reminded me of that somewhat, but far more developed... Z: Yeah, there's a little, I can hear that. I think Myrkskog is actually more death metal and more -- Zyklon is even more intense and extreme in a way, I think. And also more sharp in sound. CoC: I think so. It's a lot more of a -cutting-, -ripping- sound. One of the things about it is that it's almost completely the opposite to what you do with Emperor on a conceptual, lyrical scale. I mean, nowadays Emperor have developed a lot, but certainly in the beginning Emperor, like a lot of black metal bands, had this sort of throwback, past concept to it, whereas Zyklon is very much futuristic. What made you choose that slant and musically, what made you use electronic elements? Z: Well, I guess it's because I'm a little bit more up-to-date, on-the-ball: living in today. I mean, I realise I don't live a thousand years ago. So I'm rather taking the inspiration maybe more from things that I absorb in this life. Before, with Emperor, we had a lot of this longing for the past, the old ancient days. CoC: Medievalism and that sort of thing. Z: Yeah. So in a way I kind of grew tired of that whole concept. I still have an interest in the old days, but my main influence these days is more like horror from the real life of today. CoC: What was the motivation behind the title "World Ov Worms"? Z: Well, that title is obviously open to interpretation, but it's based around the song "Worm World". So, it's just like a twist on that title and that specific lyric is a quite primitive hate-text describing human depravity, in a way. CoC: Unfortunately I don't have a lyrics sheet, but I do know from the press release that Faust did the lyrics. I know from reading interviews that you've kept in contact with Faust through his prison sentence, but I was curious why you chose to use his lyrics for this project. Was it due to his involvement in the -other- incarnation of Zyklon, Zyklon-B? Z: No, it was not really due to that, it's just that we have a good communication and he has for these last years been doing a lot of studies while he's been in prison and he's on a university level now on the religion of history. So he has a lot of intellectual insight into the topics of religion and history and this whole thing. And I gave him some ideas and hinted that maybe he could come up with some lyrics and he wrote a set of lyrics and it was really good stuff. So he will be doing the lyrics for the next album as well. I think he's a big part of the conceptual side of the band, actually. CoC: And I'm assuming that that makes you quite happy, working with him again. Z: Yeah, yeah, and I think it's also good for him. He's also a bit more active in the scene again. CoC: Any idea of him taking over on drums at any point? Z: Actually he did some drums on -- you know the band Sirius which I released on Nocturnal Art? CoC: No. Z: It's a Portuguese black metal band. He did some drums on their new album, actually, which is coming out on Nocturnal Art in March [reviewed in this issue -- Paul]. CoC: What would you think of him doing drumming for Zyklon? Z: Yeah, I mean he still has several years to go in prison. I don't know how good his talent is these days. CoC: Fair enough, I guess they don't allow you those sorts of things. [Thank you, Mr. Obvious... DOH! -- Paul] Z: No, it's strict. CoC: OK. Basically, with Zyklon being a full-time band, as you've stated [in the press and promotion] a number of times, how is that gonna fit in with Emperor? And on that note, could you address the rumours that have been going around that the next Emperor album may be the last one? Z: Uuuuuuh, well... I mean, we haven't made any decisions about that being the last one or not, that's just rumours because we're not -- I mean, we have now officially said we're not gonna be an active touring band for this new album and Ihsahn has a few bands on the side and I have Zyklon on the side, so I think due to all these things people started to think: is this gonna be the last? And who knows, maybe it will be the last, but it's never been a decision: we have not made a decision that this next Emperor album is the last one. CoC: Fair enough. Z: And, as I said, Ihsahn has a few bands on the side and so do I -- so I feel I have the time for it as well, especially now that Emperor is not gonna be an active touring band. It's no problem to have Zyklon as a full-time band. CoC: Are you looking forward to touring with Zyklon? Z: Yeah, absolutely. CoC: Where are you guys heading out to? Z: Well, we've done a few gigs in Norway now -- last month and this month and we have a few more gigs coming up in the beginning of 2001 and then hopefully we'll be off on a full European tour in April or May. CoC: So how's the whole kind of sound been working live? 'Cause, I mean, the majority of the material is, you know, riffs, drums and vocals, but I think for me what makes the album a lot more special and good is that -- for example, on "Chaos Deathcult" and "Zykloned" -- it spirals off into electronic parts which really work. Z: Yeah. That's the thing, like, live we won't be having all those effects as we have on the album -- except for "Zykloned", the mid-part, obviously we'll have the industrial part 'cause that's half of the song. Can't leave that out. But so far it's been working quite OK live. It's really intense, I mean everybody who saw us was like: wow, it's brutal! And also I think with Daemon [of Limbonic Art -- Paul], he is a very good stage character. He's got a very strong charisma. CoC: His vocals worked really well on the album. Z: Yeah, yeah. So he's doing very well, looking like he's gonna kill ya...! CoC: So he'll probably continue as vocalist? You're hoping he'll join? [The PR for Zyklon has him down as doing live work but not necessarily being a permanent member; he is not in the press photos. -- Paul] Z: Yeah, he is actually to be seen as a permanent member now. So he's gonna follow us all next year on live stuff and on the next album. CoC: When is the next album planned for? Do you have any ideas of where you wanna go with it? Z: No, not really. I mean, we'll have to see how much touring we're gonna be doing first. Probably, if that is going well, maybe we'll have another tour in the Autumn. Then it will take a long time before we get started on the new album. And it's depending on Emperor: how well the new album is doing and... yeah , many things and the label and everything. CoC: The two guests on the album -- Trickster G [a.k.a. Garm, of Ulver] and [US fetish queen] Persephone -- did they help only with vocals or did they also help with the electronic parts? Z: No, they were only doing vocals. CoC: So the electronic parts are just something that you and the band decided to include just for variety and interest? Z: Yeah. Intentionally, like in the beginning, we wanted to use more electronic parts, but after a while we found out that the basic drums and guitar worked by itself as well so we didn't feel we needed to add any more than was necessary. CoC: On the subject of Emperor, what is the status of Emperor at the moment? What is the band doing? Is the album planned? What ideas do you have? Z: Yeah, I would say with Emperor it's quite -- we are on a quite positive vibe at the moment. Of course there has been quite a long silence now for some time. I mean, since we did the last gig for _IX Equilibrium_ in, I think it was Poland, October last year [remember that's 1999 -- Paul] and since then we didn't really play together until now. So it's been a long silence, but now we are getting back together and working again and Ihsahn has got all the material ready for the new album and so we hope to start to record it in January. But it might be a bit later. So, if all goes according to plan, then it should be ready for a Spring release, but most likely it's gonna be in Autumn. CoC: Do you think the fact that the band's been over a year apart from touring will change the vibe of the album a lot, because you won't have been playing together, on a stage, for so long? Z: No, but I think the change may be the vibe a bit between us as, uh, people, because in the end, not everybody was overly excited about this touring and we some bullshit with some of the tours, so I think it was good for us to just have a little break, to get things into perspective. Now I feel it's a positive vibe going. CoC: That's cool. It should be interesting to see what that results in. OK, on a different tack I wanted to see what you said to some ideas of mine. I think when black metal started, it started in many respects as a reaction against other musical styles, against the way that things had gone in music. I don't know whether you'd agree with that, but certainly the way that Euronymous put it was that, like, the death metal scene had killed whatever vibe came from the earlier "death metal" music. When you were originally doing Emperor, if you can remember, on the one hand were you strongly influenced by either Euronymous personally or that whole ethos, and in other respects were you kind of trying to create something evil, trying to create something -like- something else? Z: Well, when we started Emperor -- well, I mean, it was me who started it and I started it with the intention of creating, like, to... almost copy Celtic Frost and Bathory. And that was like: we gotta make old school extreme black metal. And Celtic Frost and Bathory were my favourite bands, so we took them as direct influences. If you listen to the _Wrath of the Tyrant_ demo you can easily hear it. It's nothing original, really. As for this Euronymous... I mean, obviously we were really young back then and he was pretty much older than everybody else back then and he was like -the- character in the Norwegian scene, and he was the leader of Mayhem and the Deathlike Silence [label], the Helvete shop and everything, and so obviously he had quite some respect from people and he managed to put quite a lot of influence to people. CoC: Would you say that Emperor would have progressed -- I mean one of the things that I thought of was: if Euronymous hadn't have died, hadn't have been killed in 1993, how would things have been different? Because in the end where black metal has got to in the year 2000, it's a significant, recognised musical scene and it's progressed in a huge, crazy sort of way -- none of which seems to have been his, or anyone else's, intention at the original point. Do you think Emperor and other bands would have progressed if Euronymous hadn't disappeared from the scene? Z: Yes, I think so, but it's difficult to imagine how it would be if he hadn't died. But I mean, he wasn't like a god, he didn't decide everything, so I think it's natural for a human being to progress. And a lot of the black metal bands then were teenagers or [in their] really early twenties. So if you stop progressing at that age -- it's not normal, it's normal to have an evolution in your life. But I noticed a change with him as well, because in the beginning he was like: underground, underground, everything was really very strict underground. But they were running Deathlike Silence for many years and it went nowhere: they were broke, they had nothing and it was crap, really. At some point you have to kind of earn some money to get anywhere. So there was a certain time when he kind of like, changed his attitudes, like to get the bands big and get the money so that you can build up your own thing stronger. In a way that's what happened, but it has got a little bit out of hand because the term "black metal", it's completely watered out. Like, what is black metal today? I don't really know. I mean, you have all kinds of bands claiming to play black metal and the original idea is completely gone. CoC: It seems so ridiculous now when you get bands who sort of come out, make their production values extremely low and basically try and copy, I don't know, _Wrath of the Tyrant_ or [Darkthrone's] _A Blaze in the Northern Sky_ or what have you, and say: right, this is true black metal. It's kind of like, in the end you can't just keep ripping off the same bands and calling it true... Z: No, exactly. I mean, you kill the genre by doing that. There has to be some fresh blood. Also,I think you have the stuff that's going a bit softer: you have all this keyboard, like these Cradle copies and I'm not thinking of Cradle of Filth but all the copy bands, third generation bands copying Dimmu Borgir and Cradle. I mean, such bands, they are not interesting at all. I think these bands are watering things out. And then you have the ones who're really extreme, who don't know how to play anything, who just make some noise and say: this is true and it's whatever. CoC: Do you think that now black metal has become diverse or do you think that many bands have simply ceased to be black metal bands? 'Cause I mean, with Emperor, Mayhem and pretty much most other major black metal bands apart from Darkthrone, you all branched out in what I'd say was a very interesting and good way. I have no problem with that, but it's certainly not the same as what you were doing years ago. Z: No. CoC: And would you say that that's progressive black metal or would you say that that's ceased to be black metal? Z: Well, I guess that's open for interpretation, but for me it's not really that important that Emperor has to be labelled as black metal today -- but it started as a black metal band and I still have quite the same ideas as I had before. I still have some of these ideas, but musically we have kind of progressed, like beyond what people used to think of as black metal. I don't really see any problem with that. CoC: What's interesting about black metal, is that in a similar way to punk -- I mean punk on a musical level to some extent tries to rebel against things, but certainly on a social level it was an expression of rebellion. I'd say with black metal what's interesting is that, through a musical style which was trying to repeat the past, I think people managed -- yourselves, possibly Mayhem, possibly others -- to actually reach new places. I'd say for example Dodheimsgard did that. Z: I think that is really cool. I mean, we started this thing with strong inspirations from a genre which basically was dead, almost. I mean when this rise of black metal came in Norway in '92/'93, bands like Bathory and Venom, they were completely out. So we kind of brought that thing in again and we took inspirations from these bands but then we developed and mixed it with our own personal musical ideas. And developed, in a way, a new form of extreme music. CoC: I think maybe somehow it's kind of, in one sense, highlighted that kind of darker, earlier thrash feel and in another sense, kind of put a lot of that back into music. Even as far forward as Zyklon, the riffing is not all from the late '80s; a lot of it is kind of a darker, harder sound. Z: Yeah. CoC: Which you've kind of gone back to. Z: Absolutely. CoC: Do you have any final words for us? Z: "Check out the album" is basically all I've gotta say. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= M A J E S T I C V I S I O N S , T R I U M P H A N T S O U N D S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC talks to Silenoz of Dimmu Borgir by: Adrian Bromley When I first received an advance copy of the new Dimmu Borgir disc _Puritanical Euphoric Misanthropia_ [CoC #52], I was a little apprehensive about spinning it. Not that I was not looking forward to a new album by this Norwegian black metal sextet (singer Shagrath, guitarists Silenoz and Galder (Old Man's Child), bassist/singer Vortex (ex-Borknagar), drummer Nick Barker (ex-Cradle of Filth) and keyboardist Mustis), but more wondering where the band would have taken their sound in 2001. Their last effort _Spiritual Black Dimensions_ [CoC #38] was good, but a little too slick sounding, and for sure breaking away from the black metal roots. Die-hard black metal fans were starting to feel some disgust with Dimmu Borgir as they had already done with the work of Cradle of Filth. But, as it turns out, the new disc is an abrasive and totally majestic state of affairs full of killer guitar riffs, menacing vocal cries, eerie atmosphere and some collaborating work with a real orchestra. You heard me -- an orchestra! So the phone call comes in late one afternoon from guitarist Silenoz to talk about what could just be the best Dimmu Borgir album. Here is how it all went down.. . "This new record is by far the best album Dimmu Borgir has done so far", starts Silenoz. "I am sure a lot of people out there don't like what we do, but to tell you the truth, we don't care. We have never really cared what people thought about what we do. We just do what we think needs to be achieved within our music. The whole powerful aspect of this record isn't really a statement to all those who didn't care for us, this is just where we are right now. People can either love or hate us." What was the studio experience like this time out, seeing that the band had switched producers (from Peter Tagtgren to Fredrik Nordstrom) and had worked with an orchestra (conducted by Gaute Storas)? Was it hard to get _PEM_ assembled? "This was a great experience for us all. It was a bit of work to get it all going, but once we got into the studio and we started laying down guitar tracks, I knew this was going to be killer. We were excited about using the orchestra as well. Gaute Storas had worked with us a few years ago when we had performed on the [Norwegian] Grammy Awards. It was a great time and we offered to work with him again, and the end result was his magnificent work on _PEM_." "When you play the new record against any of the past records, especially _Spiritual Black Dimensions_ you can definitely hear the difference in the arrangements and the production", he says when talking of the new disc. "This record is totally different. For example, we used Fredrik this time around. The reason why is because we felt that Peter and the way he works in the studio, is kind of like following an old recipe and knowing how it will taste each time out. He needs to maybe try a few new things and re-arrange how he does his production. Fredrik is great because he is able to do what we ask him to do. That is the main reason why we wanted to work with him. He came to Norway to hear some of the songs and we discussed what we wanted to do and he said he'd be able to do it, with a bit of work. That really got us wanting to work with him. Peter would be saying stuff like, "Well, you can do that, I guess, but you should try it this way". Fredrik is much easier going when it comes to band ideas in the studio and would say something like, "It might not work, but at least we can try". I think we made a record that will hopefully open up more borders. I think we have done a superb album has helped expand and keep the music of Dimmu Borgir interesting." How would you rate your guitar playing on this record? "Better than the last album. I think my guitar work is pretty good. I let Galder take on the leads on this record while I concentrated on the rhythm and making it all sound so tight." One question that must be asked: what do you think about the cover artwork for _PEM_ being censored by the label? "The label already censored the cover. We had to tone it down. Originally you had the torso with chopped off legs and arms and they thought it was too much. We told them to put a black sleeve over it, but they wanted changes. They got the final word on this, and if there had been any bigger problems stemming from it, it might have affected the promotion, the North American tour and the release of the record. I guess we were on the weak end of that decision, but you have to swallow shit sometimes in this business to get somewhere." He continues, "I remember years ago they had macabre looking covers from bands like Pungent Stench and Dismember, but I guess it is just an old thing for them and they want to move on. We got the freedom to do ideas for the bandmember shots within the CD sleeve, so we are happy with that." Looking back at the career of the band -- way back to the early black metal experience of _Inn I Evighetens Morke_ (1993) or _For All Tid_ (1994) --, it is amazing to see how the band has not only altered their sound, but remained tight and in focus. Their sound has evolved, but their musicianship has grown and tightened ten-fold. "Each record of Dimmu Borgir sounds like us. But each time out we always manage to do something different and that is a very natural experience for us, to tell you the truth. Even though there are six of us in the band with different ideas and visions, we all pretty much have the same goal with this band. When we put our minds together we will always come out varied and different sounding from any other acts out there." And Silenoz's take on the whole black metal scene -- does he care? What are his views on it? "I don't really follow it much anymore. I don't really have the time anymore to follow the bands that are playing the scene and hear all of the new bands that are making black metal music. I just hope I get to hear the good ones. I hope I don't miss out on anything good." One of the band's most infamous traits is the large amount of musicians that have come and gone throughout the years of Dimmu Borgir's existence -- how has that helped or hindered the band? "All of these line-up changes have definitely helped the band", Silenoz states. "But at the same time, it can be extremely frustrating to be in a situation where you need to teach people the songs you have played for so long. With new people, you need to help them get familiar with the songs and work with the band. It is a great feeling to have someone like Galder in the band because we have pretty much the same background of playing music. It just felt natural when he joined the band." He adds, "I remember saying on the last promotional tour that that was the best line-up we had ever had. Well, I guess I am saying the same thing for this album. "This is the best line-up we've ever had." Every line-up change has made us stronger and better." "We still get excited with the music we make and what we do", he notes when asked why he still plays black metal-inspired music after all of these years. "I think a lot of bands out there get bored of what they do and want to try new things. That is great for them, but for us, we want to evolve the sound and take it where we want to go. I think each Dimmu Borgir record becomes more extreme each time out. That is how bands vary differently -- some want to change, some don't." About their longevity in this music business, Silenoz comments, "Yeah, we're stubborn bastards. We don't want to give up. You have to be really confident and have ambitions to be in this music business and you need to fulfil those ambitions. If problems arise, you need to get rid of them and move on. That is why we are still here and why we'll be here next year as well." "After so many years in this business you know how to take people for what they are. This is the shittiest business to be in. You see a lot of fake people and it really disgusts you, but playing music is what I do and I can take care of those fake people anyway. As long as I can make music and be creative, I'll stay in this business. I just have to -- as I have done in the past -- deal with the bad side of this job." In closing I comment, "I can see you guys getting some weird groupies. Is that true?" Silenoz pauses. "Yeah, we get girls around our tour buses all the time, but I have never been into that whole groupie thing, really. I'm engaged right now, so that whole groupie thing means nothing [to me]. Let the other bandmembers have fun. I just stay focused on my relationship and the music I bring to the band." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= H A R V E S T O F B L A C K N E S S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Mikael Akerfeldt of Opeth by: Adrian Bromley While Opeth's singer/songwriter/guitarist Mikael Akerfeldt is excited about the buzz that his band's latest offering _Blackwater Park_ [reviewed in this issue] is receiving, his love for his music is greater than what fans or critics have to say: good or bad. "It is great to hear all of that, but to be honest with you I stopped caring about all of that a long time ago", Akerfeldt starts. "I don't really care about reviews anymore or what people have to say. It's great to read a great review or be nominated for the album of year, but at the end of the day it doesn't change much for me. Even if this was a super underground release, it would still be a great album for me." "This record, like many other records, is a big task for me to take on", says Akerfeldt. "When I go into making a record I try not to think about how the record will sound or what we will do differently or how the guitar will sound. The way I make music is the way it has always been. I just sit down and play guitar every day and just gather together a bunch of riffs and arrangements and then try to piece it all together. I only try to come up with cool songs and not a master plan of how certain songs will sound on an album. This just happens for us. We don't really know how the album will sound until it has been mastered and finished because we experiment so much in the studio. When we go in to make a record we just let the music flow. That's it." About his work with _Blackwater Park_, Akerfeldt says: "I am very proud of everything on this record. I am proud of all the songs. I am proud of the vocal lines that we did on the song "The Drapery Falls" and also the overall production of the record. We worked with Steven Wilson this time and he did a lot of great things to help the album sound good." He adds, "It is hard for me to say if this is the ultimate Opeth album, but right now it feels like it is the best one." "The studio is a very inspirational environment", Akerfeldt admits. "The only thing I wanted to make sure of when we wrote and recorded this album was that we liked it. That was the only thing that mattered. We wrote a few songs together and went in to record them. It wasn't that tough at all. People think that we rehearse like one hundred times a day or go sit out in the forest and play guitars, but it isn't like that. Like any guitar player, I get the urge to play every day and sometimes I come up with some cool riffs and ideas." "We are willing to try a lot of things within our music, but we don't want to stray too far from our sound", says Akerfeldt about the band's love of experimenting with each recording. "I think ever since we found the sound we did on the first record, we have gone on to try and develop it over the years. We will continue to try and develop it. Opeth's sound covers a lot of ground and we can go in many different directions and still be Opeth. I think we are going to try and milk this sound of Opeth until there is nothing left. I think we have a long way to go. I think we will be able to come up with some cool albums in the future." Does Akerfeldt ever listen to older Opeth records when making an album? "No", he sharply juts in. "I want to keep a clear head. If I repeat something I have already done, I don't want to know about it till afterwards. We basically concentrate on what we have before us in the studio and take it from there. The past is pretty much gone when we enter the studio for a new record." Having seen the band two times in the past month, live the band (the rest of Opeth is rounded out by guitarist Peter Lindgren, drummer Martin Lopez and bassist Martin Mendez) make sure to cover all of Opeth's work, from the early days of 1995's _Orchid_ onto 1998's _My Arms, Your Hearse_ [CoC #32] and onto the new material. What does Akerfeldt think about playing the older songs with the newer ones? "I think those songs are very representative of what we sounded like seven years ago. Playing those songs live is a bit different because of the way they were done. We don't think "oh, this will sound cheesy, we better not play it". We just bring it into the mix of things and crank it out. I don't feel the contrast between those songs. The listener in the audience may. I'm just there to have a good time live and have some diversity with our set." One of the most rewarding factors about the new releases is that it marks the first time the band has solid distribution in North America via Koch Records. Is he excited about the deal to get the band's name out even more now? "It feels real good", says the singer. "We've never had proper distribution in North America till now and the album is everywhere. Those at Koch are doing a great job at promoting us and they are one of the key reasons why we are touring over here right now. This is a big deal for us -- we are playing fifty dates in North America. After this tour we will go back to Europe and play festivals and wrap it all up with a European tour in the Fall. After that, we will stop this and take some time off till we put out the next album, which should be late next year." What are you going to do with your time off? "I have some other stuff I want to do music wise with some friends of mine." Really? Does it sound different from Opeth? Who else is involved? "The band consists of myself, the keyboard player from Spiritual Beggars and a famous guitar player from over here in Sweden named Renneh. We want to do something together, and I have written some songs, but we have yet to play together. We are going to record some material soon. Once that is all done and finished, I will then begin assembling new material for the next Opeth album." "I've always wanted to do this. I just have urge to work with other musicians", confides Akerfeldt about the need to work on the new, yet unnamed project. "I really want to work with a keyboard player because I love the vintage sounds of keyboard work. It'll be very dark, gloomy '70s stuff. It'll be very mellow. The keyboardist can sing as well, so we plan to have these Simon & Garfunkle harmony lines, but not your run-of-the-mill vocal lines. This will be a lot of fun for me to break away from Opeth." As most fans know, Opeth's music is very hard to categorize. While the band plays metal music, with intense mood swings and melodic overtones, everyone has their own take on what Opeth is about. Even Akerfeldt does. And because of that, he finds that to be strong characteristic about the band's music. "People call us a metal band and I am happy with that. Metal to me is a very wide term. It is not just 100% speed all of the time. To me, metal is ranging from The Beatles onward", he explains. "It just sounds ridiculous for me to say something like Opeth plays symphonic extreme progressive gothic epic metal -- that just sounds like too much." Akerfeldt ends, "We are not a run-of-the-mill type of death metal band. We play metal music. I like the fact that we can go about doing what we want and have fun creating the sounds with Opeth. It seems the fans do too." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= I A M T H E O N E ~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Proscriptor by: Adam Wasylyk One of the American black metal scene's most prolific artists, Absu's vocalist/percussionist Sir Proscriptor McGovern, is also responsible for one of the better darkwave/ambient acts I've had the pleasure to hear -- named Proscriptor. Making its debut with _The Venus Bellona_ (Cruel Moon), the occultic/atmospheric flavour which revolves around the ancestral bloodlines of Proscriptor's Scottish roots proved not only to be an invigorating and an almost magical listen, but also served as a truly original recording. Twenty songs (or "acts") immersed the listener into the mystical world of this most fascinating musician, one in which dedicated fans, such as myself and the editor of this fine publication, are quite grateful for. Despite delays and unforeseen circumstances, a follow up has been released in the form of _The Serpentine Has Risen_ (Dark Age Productions). Taking off from where _TVB_ left off, the newest Proscriptor recording sees more concentration being placed on songwriting (eight tracks grace _The Serpentine..._ compared to twenty on its predecessor) and, as a nice surprise, features some echoes from the past (who could forget the immortal line, "My Words are the Flames for you..."). There's no question that Proscriptor are a cult band, one whose recordings will always be relished by its dedicated fan base. The prerequisite to have a few questions answered was gladly accepted by Proscriptor McGovern, so hopefully those unfamiliar with this most special band will find the following informative and enlightening. Onward! CoC: I'm sure that there are those who are unfamiliar with Proscriptor, so perhaps you can detail how it differs from your work in Absu. Do you see any similarities between the two bands? Proscriptor McGovern: Absu can be classified as "mythological occult metal", as Proscriptor can be classified as "Allaxitonian/Glenorchy Fantasy Musick" or "Scotch Folkwave". Absu has the set mind to execute the most baneful fashion of metal projected towards mankind, as Proscriptor does not have a set mind; I personally execute whatever I ethereally feel when writing that style of music. The only similarity that Absu and Proscriptor share are two things: the inner domains of immortality and some Celtic themes, but not too many. CoC: I read that _The Serpentine Has Risen_ was recorded in 1997... what were the causes for its delay? PM: In 1997, my initial idea was to release _The Serpentine Has Risen_ as a picture-disque 7" EP. After I kept writing more songs and collaborating various ideologies, it turned into a mini CD and then eventually it became a full-length opus. The Cold Meat Industry subsidiary label for Dark Age Productions, Cruel Moon International, decided to follow up with a second release off-shooting from _The Venus Bellona_. After the album was recorded, I planned on releasing _The Serpentine Has Risen_ on both Cruel Moon as well as Dark Age. After I sent all of the master materials to Roger Karmanik (Cold Meat's label manager), I did not hear any feedback from him in almost three months. I was rather curious to know what his reaction was towards the new album, yet I knew he'd have different notions regarding it. In an e-mail he replied back to me, he told me that it was completely horrendous and there was no way he would release it. His opinion did not affect me at all, so I simply asked for the master materials back from him. I received them from Sweden five days later. Afterwards, I sent the album to roughly 50 labels (most of them non-metal) and they refused it by saying that it was "too diverse" and "not directed towards a certain market". I realize this because every song I wrote for it came from a spontaneous thought in my mind and whatever style best fits its ideology is the way it will come out to be. Most humans that have been indulged by the "personal" music of Proscriptor ever love it or hate it. It's not black metal, nor is it hardly metal at all, but a concoction of styles, such as pre/post wave rock, art rock, oscillation/experimental, and Allaxtonian folklore. Finally, a breakthrough arrived in the latter portion of 1999 when a company here in Dallas called Reality Music assisted me in the biggest way. The founder of Reality Music, Cristal Clopton (a.k.a. Tiamatsu McGovern), decided that she would help me release the _Serpentine..._ album and help promote it for me as well. So with her facilitation, she was able to release it with me through both Dark Age and Reality Music. Well last year, a Greek record label called In Vision Musick decided that they wanted to license it from me and release it on a worldwide basis. However, it is still not out yet and I am presently being ripped off by a particular, deceiving mortal from that enterprise! In hindsight and in conclusion, _The Serpentine Has Risen_ has not been crowned with too much success, but ironically speaking, I think it's my best solo work up to date. CoC: Does Proscriptor have ambitions to play in a live setting, or does the complexity of the music render this impossible? PM: It is possible that I could perform in a concert atmosphere, but not in the near future. I have three other live acts to be concerned with at the moment. CoC: Do you take influences from other ambient/atmospheric bands, who therefore influence the music of Proscriptor? PM: The chief inspiration of Proscriptor really comes from dogmas of Thoth, metaphysical expeditions concerning my past immortality, yet my deathless spirit throughout the Glenorchy District of Central-Western Alba (Scotland). Of course, occultic lifestyles inspire me; however, I can say that there are many influences of music that interest me and my solo efforts, such as the Art Bears, Henry Cow, Magma, Granada, Holy Toy, Tangerine Dream, Captain Beefheart, The Tubes, Mellow Candle, Lucifer, Blondie, Human League, A Flock of Seagulls, Sparks, Plasma Pool, Devo, Kraftwerk, Popol Vuh, King Crimson, Genesis, Soft Machine, Ween, M, Joe Jackson, Pat Benatar, Styx, Dan Fogelberg, ABC, Split Enz, Romeo Void, Yello, and Aphrodite's Child. CoC: The tracks on _The Serpentine..._ are lengthier and sound much more epic than those on _The Venus Bellona_. Was it a preconceived idea to write lengthier pieces of music as opposed to the numerous tracks on The Venus Bellona, or did this just occur naturally? PM: Yes, it was intentional to write longer and more abstruse-like songs and I'll tell you why. _The Venus Bellona_ is an actual past life experience I have dealt with in the 13th Century, [while] _The Serpentine Has Risen_ is a collection of dreams and subconscious realms I have encountered directly after the debut opus. What more can I say? CoC: Will Proscriptor continue to release recordings (or has new material been written since the recording of the new album)? PM: Yes, my first project I will be working on is a seven-inch EP called _Thoth Music(k)_ and I shall follow up with my third full-length nightmare called _726: The Sign of My Number_. And always recall this equation: 726=6x11 (ii) / 33x22 (Vitriolistic Nous). "The sign of my number is the arithmetical formula to the Universal Solvent, which lies beneath the soil you are currently standing on. The abyss: it's right below you." Contact: Dark Age Productions (Southern Tower), c/o Cristal Clopton, P.O. Box 743307, Dallas, TX 75374-3307, USA http://www.realitymusic.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= D A V E S A Y S Y E S ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC talks to Dave Wyndorf of Monster Magnet by: Adrian Bromley I know there are a lot of Monster Magnet fans in North America wondering why the Hell it has taken so long to get the new Monster Magnet _God Says No_ [CoC #51] on store shelves in North America. I mean, the record was released five months ago in Europe. What the Hell?! Don't fret any longer, metal heads, as Chronicles of Chaos hooked up with supergalactic rebel leader Dave Wyndorf to talk about the new album, drugs, comic books and of course, why it took so long to get _GSN_ in our hands. We begin... CoC: The record came out in November in Europe and I had heard that the reason why it wasn't released here was because of the release schedule for North America around that time and that you didn't want to get buried beneath all of these bigger releases. Is that true? Dave Wyndorf: What happened was that we had finished up the album a bit late and it was too late to get it out in the Summer of last year, so the only time they had to put it out was in September or October. They were trying to get it out before Christmas because the only thing that really sells around Christmas are box sets, Electric Light Orchestra or Billy Joel. So I was cool with September and I thought it was a bold move seeing that we weren't the biggest band in the world and we had never released a record then. Then I walked into my own record company and saw that they had on the same release schedule, or around that time, Limp Bizkit, Marilyn Manson, U2, The Wallflowers and somebody else, and I was like, "No! This is going to kill us!". Monster Magnet has always stood to the left of everything else and we thought the best way to go about this was to come in the back way and have it released after New Year's. CoC: And how was the record received in Europe? DW: Really well. The best one ever. We always do well over there. They are just eating it up. It worked out goof to have it out in Europe. We also played six weeks over there and it is good for us here [in North America] because we are ready. CoC: Initially, when you sat down to record this album and soaked up the success of the last disc (_Powertrip_ [CoC#31]), what was the mindset going into this record? Did you feel the need to rush in and put out another record or did you want to take your time? DW: I didn't want to rush into this, but I did want a record out sooner than the last one. The last one I was dicking off for two years when I wrote it. This one, I said to myself, "Okay, we've been on the road for two years with _Powertrip_, everyone take six months off and I'll write the record." So we did that and I had never written that long and I just let it come together real easy. I started putting together a little here and a little there, some words from this day and some music ideas here and collect them together. Then after I get all of these ideas together and get ready to throw it together, it'll be like a cache of ammunition when it becomes really serious. I had done this over those six months and more or so was ready to get it all down and recorded. About two months before we went in to record, I was seriously grouping together the ideas. In the middle of all that, I had my stuff stolen from me. CoC: What!? Really? What happened? DW: It was a real bummer. I was driving around and I was at some truck stop just outside of Toledo. So my stuff was gone. I dunno what I really lost, as it was just being assembled half-assed and I don't know how much was gone. Once again I was forced to write _Powertrip_ style and I just freaked out, came right home and went in to my kitchen and set up the four-track and started writing. I was able to come up with about fifteen songs in twenty days. It was scary. My whole time of taking it easy went right out the window. CoC: Were you able to piece back together any ideas you had lost? Or did you say "Fuck it!" and started from scratch again? DW: First I was terrified and thought I would never be able to remember any of the ideas I had come up with. But in the process of working on those songs in my kitchen, a lot of the stuff came back. The words didn't come back and that is what I miss the most, but the music did. Music always comes back because it percolates in you all the time. I remember turning phrases and stuff I liked in those notes and not really making an effort to record knowing that I would eventually bring the ideas together. I'll never really know what I lost. CoC: So someone out there right now is trying to decipher your notes? DW: Yeah! Some crackhead is burning my notes. CoC: It has been a long career for Monster Magnet, with the band shapeshifting sounds and ideas as the career has gone on. Each album is different and represents new ideas and new vibes. Do you like to feel that from each record? DW: Totally. If I didn't get a different vibe from each record, I wouldn't do this. I have limited musical ability and so what I have to do is change things around with the mood and atmosphere on each record. As the producer and writer I'll try to write songs in different keys and different ways to get the most out of the band, yet remaining true to my core and what I am strong at doing. In order to keep myself sane, I need a new mood each record. And the hard part, seeing that I am limited and just a rock 'n' roll guy, is to do that successfully each time out. Making a record is amazing. You can colour anything anyway you want it. It is important for me to be happy with a record and the way it sounds and the way it moves me as a musician. CoC: Do you get tired of doing certain song ideas and moods for the Monster Magnet albums? DW: What I want to do, especially on this record, is to compress the things I like about each record into shorter forms and try to get the most out of those parts. If something in the past was glossed over with psychedelic sounds, it would go on for three or four minutes. On this album I wanted to have a song structure and use the psychedelic sounds as something that would pop out and then go away. This record is stripped down, but in my mind it is the most complicated of all the Monster Magnet records because I really needed to pay attention to each and every step that I wanted in there and more importantly what I didn't want in there. Y'know? Don't scream the whole record, try to sing. CoC: A lot of bands who get into the flow of making a record really make an effort to just clamp down for four weeks and just finish it up, rarely taking a break from recording and resting. Are you like that or do you like to take "breathers" from songwriting/recording? DW: I love to walk away from something for two days, but I normally don't do that very often, only if I am having problems. 20% of a Monster Magnet record is do over, the rest is just almost straight down. There comes a point for me where I just figure it just won't be right for me and I just let it go. If I am 60% happy with the disc, I let it go. After that it is up to the listeners to decide if they like what they hear. CoC: What excites you about the new record when you play it back and hear it? DW: This record I am proud of the diversity, which is what I was really trying for. I wanted to have different scopes for my voice 'cause the voice rhythm is one of the most important pieces for a record -- at least I think. I wanted this record to be much more subtle too. Not weak, but just subtle. I wanted it to be less screaming than the last record. I like the fact that I can go off into insanity with songs like "Melt" and "Heads Explode" and then take it down a bit and go off an do a song like "Gravity Well". CoC: Do you find yourself going back to listen to older Monster Magnet records either in preparation for a new record or just to listen to them for nostalgia sake? DW: I don't listen to the older Magnet records that often. But every once in a while after we come off tour I'll throw on all of the records over the course of the week and just listen to them and go, "I should have done this better". Or I'll just know what to do or what not to do and just bring ideas that I have done into the new recording as an idea. It is very weird to go back and listen to your own music. It is like reading a diary. I don't want to listen to my music too much because I might get caught up in it. CoC: What is your least favourite Monster Magnet record? Is there one? DW: The one that totally bagged out on me and was the most trouble was _Superjudge_. It was a very troublesome record for me. _Superjudge_ and _Dopes to Infinity_ were both pains in the ass, really. _Powertrip_ too, but it was a lot quicker. I just love knowing it is what it is. I love having mistakes and I love unhappy mistakes. When I listen to _Superjudge_ now I get frustrated because I knew how little time I had to make the record. I get mad knowing how I didn't plan out the production correctly and I can hear songs that are unfinished on it. As a songwriter and producer I had to wear all of these hats and I was wasn't prepared to and sometimes the songs suffer. On the other hand, some of it is really psychotically cool because of that fact. I was pissed off when I wrote that record and it sounds like it. I just take it all for what it is, but if you ask me which one I am least happy with, it is that one. That record was over and done before I knew it was done. If I could have walked away and come back, it would have been a million times better. CoC: You seem to be like the kind of musician who doesn't mind dealing with the business aspect of things, but you don't want to get too caught up in it. Is that a valid assessment, Dave? DW: Yeah. I don't want to get too caught up in it. I don't think it pays off spiritually or financially. If I was into all of the business sides of things I would go crazy, I think. Being involved in that is just so anti-art. Part of rock 'n' roll is when commerce meets creativity. You can see now what happens when people take complete control of it. You get people like Fred Durst [Limp Bizkit]. There is a guy who is more concerned with money than music and it shows. He is just out there saying, "Hey, I'm the big daddy! Oh, and I also make music." Whatever. He is like a goddamn clothing ad. I am just so old school, I think, when it comes to all of that. I just want to make sure all the bills get paid and that no one dies. Let's just make music and think in concept rather than what the single is going to sound like. CoC: Seeing that you played a few weeks over in Europe, how'd the new stuff go over in the live environment and with the older Monster Magnet material? DW: Surprisingly well. I was a little scared that it wasn't going to work, to be honest. As usual, when we play live, if I see that we have an organ part and no organ player, we switch that with a guitar part. From that the songs get different, yet still stay the same somewhat. A lot of the songs sound more rocking too, I think. You just really need to go out. Play the songs and turn up the volume. I am happy they are going over well. They seem to meld with the old stuff well. It took me like five times to get the right set list that would work for the new songs and old songs to work off one another well. CoC: When Monster Magnet took off almost a decade ago, it was a different musical state. The sounds were different and bands were doing different things. There was just a different vibe going on. What is your take on music nowadays? DW: The late '80s and the early '90s was a really cool time. It was a time of a lot of promise and a lot of cool bands. There was a lot of psychedelia for those of us who enjoyed it. Bands like Screaming Trees, first couple of Soundgarden records, Spaceman3. A lot of bands had psychedelic tinges and just really rocked. Not indie rock, but real rock. Now that promise was bought up by record companies and it just ran its course up to where it is today, at the bottom of the pop mountain. Nowadays there doesn't seem to be any breeding ground that is far away from record companies to gestate properly. There are no scenes because the scenes get co-opted immediately by guys with checkbooks. I think the next big thing to come and maybe make a change to the scene will be from the Internet. But that is a lot less human. CoC: So where do you see Monster Magnet heading over the next few years? Is there still longevity in the band and its music? DW: I think about that all the time, really. It has been about ten years since we really became a real band, but the concept has been around since 1989. Every time I turn around, it seems like I have been out for only like two or three years. When it actually hits me how long it has been and I say, "Man, it feels like I have been out for twelve years", that is when I'll say I can't do this anymore. I just get so excited making records. Music is never going to go away from me. I'll be doing this for a long time, with Monster Magnet or without. There are a lot of other things I would like to do... CoC: Like what? DW: I'd like to go to school. I quit when I was in high school. I'd like to study pop culture. I just like to indulge in all of that. Twentieth century pop culture just fascinates me. I'd also like to write. I am starting to get at my point where I can sit still for a couple of seconds. I am not there totally, but I am sitting still a bit. That is why rock 'n' roll is so cool: 'cause you don't have to sit still. You get to jump around and rock out. CoC: You obviously lived the rock 'n' roll experience. A lot of excess, a lot of ups and downs and a lot of drugs and sex. But it does take its toll. How do you feel about all of that which you have experienced? DW: The drinking and the drugs: that is what killed me. I have been straight for six years now. That stuff, what it did, it just blocked my imagination and my songwriting process. When you are a consumer, that is one thing; when you are a creator, that is something else. When you work on things and create stuff all the time and use drugs, you are just blocking yourself and what you do. It wasn't for me. I just realized after a lot of drug and alcohol abuse that it wasn't for me. This was just so crazy. I was trying to get in touch with my inner child. That is mostly what drugs are about. If it is not about pain, it is about your inner child. It is not about smothering pain, really, it is more about feeling uninhibited, the way you did when you were five. I realized if I could get through that without the drugs, then I can be seeing clearer and having a good time. The excess part got more out of hand. It just got way out of hand. It wasn't just sloppy stoner sex. It was full on, like the next plateau. It was extreme behavior. It really spooked me. Here I was running this rock 'n' roll ship and I felt like Captain Kirk on the Enterprise in "Star Trek". Captain Kirk in the '60s would fuck up every mission because he was too busy trying to ball some purple woman on a planet. That is what it was like for me. I was making bad business decisions and that took me into the real rock 'n' roll excess: money and women. It was the whole power thing. I just needed to step back from all of that, I realized, and now when I look back I can see where I went wrong. Now I try to conserve my energy for when it is absolutely necessary. It is a very crazy world out there and it is very stereotypical. I look back and everything looks very Spinal Tap-like. CoC: I remember the last time we chatted, for the _Powertrip_ album, you mentioned an interest in electronic music. Are you still into electronic music? DW: I love all of that stuff. I haven't heard anything recently that has blown me away, but I'm always looking. CoC: Would you ever do an electronic record or band project? DW: I do it home and I have all these sequencers around the house, but it strikes me as something almost anyone can do; but in reality, it should be made by the people who listen to it and not by artists. Part of the fun of electronic music is being able to add stuff to sounds so quickly and play it back almost immediately. I just think sometimes, "Why should I do this when everyone else out there can do it and probably better than me?" It is fun to do, and make music and all these crazy sounds, but I'll stick to putting out my rock records. CoC: As we close down here with the interview, I'd like to know: how would you describe this record to Monster Magnet fans? DW: This is a very lush and deep record. I think this is more psychedelic than _Powertrip_. I hate to say varied or diverse, because it scares people away and can be the "Kiss of Death" in the music business, but it has more diverse character than any Monster Magnet record. CoC: And with each recording, is the excitement still there? DW: Every record is totally exciting. It gets better as you go on and there is less stuff to stress you out. When I was first working on records I was scared to make them and work with 24-track studio equipment. Now it is like a breeze and a real enjoyment to do studio work. Now the thing for me is to try and get into a lot of challenging situations with a record and the music I make. I want to pull off a huge song and then go onto a real simple song. I just want to make a record that works well with one another and not follow a certain style. Making records is a lot of fun and after so many years of doing it I get excited. I'm like, "New record? Let's go!" It is like being in a circus or military camp. Y'know? Forward! Forward! CoC: Is it still worth it? DW: Yeah. It was worth it the first year I was doing the band. This is just a natural part of my life. I can't imagine not making music. Discography: _God Says No_ (2001) _Powertrip_ (1998) _Dopes to Infinity_ (1995) _Superjudge_ (1993) _Tab_ (1992) _Spine Of God_ (1991) =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A T R U L Y I N D I V I D U A L S I N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Robert Vigna and Ross Dolan of Immolation by: Paul Schwarz It is hard to know what qualities other people look for when they search out music. Judging by the amount of bands in the world who make a living out of essentially contributing to a collective stockpile of albums that sound more or less the same, it seems evident that many people hear one thing they like and just want more of the same. I'll admit, I have been guilty of succumbing to this tendency -- and many times without shame, even in retrospect. However, more and more I am finding that records, or bands, without something unique to themselves -- something that can't be found elsewhere or at least can't be found in a "better" form -- are gradually disappearing from my music collection. This is why, for example, _The Bleeding_ is the only Cannibal Corpse album I still own -- every other one except _Eaten Back to Life_ has been sold-on through lack of interest. I have been realising recently that many bands only make a few albums which are truly worth owning, and many more merely a handful of songs. Mostly, the bands who suffer from this syndrome are what I would describe roughly as "genre" bands: bands who produce music of a certain "type" (e.g. "Florida death metal", "Gothenburg death metal", "standard American brutal death metal"), not music which is unmistakably a product of the band in question. I can't see the point of listening to many of these bands who don't have something individual to offer. Why would you bother with Fleshcrawl when you have Entombed, Mangled when you have Cannibal Corpse, or Primal Fear when you have Judas Priest? I really do wonder. Immolation are a band I have never wondered about, at least not in this way. It's not that Immolation are the best at what they do, it's that they don't "do" the same thing as any other band. Immolation are a fiercely, fiercely singular musical entity. They may be a death metal band, but they're a death metal band living entirely by their own rules. To paraphrase Nile guitarist Dallas Toller Wade, Immolation don't care about pandering to the popular, they care about making music that moves them, and about making themselves and their listeners happy. Last November, Immolation delivered the finest album of their career thus far, their fourth release _Close to a World Below_ [CoC #51]. The album's production, for the first time in Immolation's decade-spanning history, managed to properly and fully represent their individual sound in the full glory it so long cried out for. Immolation wrote their sharpest songs and committed to tape their finest performances. This may all sound like typical fan hyperbole, but it isn't -- Immolation really have far exceeded reasonable expectations with _CtaWB_. Long-standing fans of the band like Dallas or myself agree that _CtaWB_ is Immolation's finest album, while even previous haters or doubters of the band's work such as CoC's beloved David Rocher have found an album they can't deny its worth. I hope if you haven't given it a chance yet, you will in the near future. This interview is in two parts. First is a conversation with Immolation guitarist Robert Vigna conducted one week before _CtaWB_ was released. Second is a short e-mail chat with bassist and vocalist Ross Dolan done in mid-February. I hope the insights into this very special band's work, as well as the "before-and-after" aspect of this particular story, prove interesting for you. Immolation are currently on the road in support of _CtaWB_ playing dates on both sides of the pond. See http://www.ImmolationDirect.com for details of whether they'll hit a town near you at a convenient time. If they are, don't miss them: I assure you, you'd be missing quite a treat. November 2000: Robert Vigna ~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC: How are things in the band going at the moment, what have you got lined up for the next little while? Robert Vigna: We've got the album coming out in a couple of weeks. Right now we're just working on the website. We wanna change that by the time the album is out. We were going to do some tours with Morbid Angel at the end of the year, but that didn't work out because they've got some other things goin' on so we're gonna probably postpone that 'til February. So we don't have any touring planned until early February. We're just going to let the album get out there, let everyone absorb it for a couple of months. From now until February we're probably just gonna work on the next album and get that written. CoC: That's pretty good, I guess, 'cause this album is the first album that has really seen you get onto a good track with releasing. RV: Without a doubt. CoC: It's one year from _Failures for Gods_ [CoC #41] and the others had been (at least) three year gaps. How did it feel to actually get it out on time for the first time? RV: Well, we used to be real lazy bastards back in the day, so this is pretty good. We got _Failures..._ out last June [of 1999] and it was recorded in June of '98. It didn't come out 'til a year later 'cause we couldn't get in touch with Andreas Marschall about the artwork. It was delayed but it was well worth the wait, 'cause it was a fantastic cover. That was what we wanted, so we had to wait. When we'd got the album out -- and we were happy with it -- we did the [Milwaukee] MetalFest, did a few headlining tours, we did a tour with Six Feet Under at the beginning of this year and pretty much in March we were thinking about doing some touring on our own and we just decided to get this album done: to get an album out this year. In March we made the decision. We made the studio time for June: two months later we were in the studio with a new album. So that's basically it. We wanted to get it done and we just pulled it together and did it and I think it's the best thing we've ever done. CoC: Yeah. To be honest, I love pretty much all your albums and I am a fan, but I am very surprised 'cause I really think it's the best one. RV: Without a doubt. CoC: Surprisingly enough because it's coming out only a year later, and I was very worried that it might be written too quickly or written in a rush. RV: You thought it was gonna be crap! CoC: It happens to a lot of bands, but this really has come out excellently well. And you've worked again with Paul Orofino. Again, you've never before repeated use of a producer, so you were particularly happy with his production, right? RV: We had met Paul when we were looking for studios for _Failures..._ and we had a mutual friend, so we went up, met with Paul -- his studio's about an hour north of where we're at here --, saw the studio, obviously the studio was definitely capable and he was. He'd worked with a lot of classic metal acts such as Between Kids, Dee Snider, Riot, Blue Oyster Cult and Liquid Tension -- he'd also worked with big jazz names -- so he was definitely capable and more importantly he was a very personal person, a very nice guy, down to earth. We went in, the whole _Failures..._ session was a great session, very comfortable, the most comfortable we've been in the studio, not only because it was our third time in the studio but because of him too. Our relationship was very calm. None of them in the past were bad, but this one was just that bit more comfortable. It worked out very well, we had a good rapport with each other, so when it came time to doing this album he was the first guy we wanted to call. _Failures..._ was the first album he ever did in any kind of death/black metal ever -- and I think he did a fantastic job --, so this time we thought he'd do that much better. And not only did we do better in the studio as a tighter unit, but I think he did a hundred times better and he actually enjoyed the music that much more and the whole thing just worked out 'cause we were both using each other and knew what to expect from each other. So it was very comfortable and it came out fantastic. CoC: I agree. I think it's the first time you've got a production which has really, really pushed out everything about the sound that's good. RV: Oh, definitely. CoC: It's really powerful, it really emphasises the drums but also the guitars. RV: A fantastic job. CoC: Absolutely. Also, you were saying you got tighter in the studio: it is faster -- not in the sense that it's all fast but the parts that are fast are faster and it's harder, it's more percussive. RV: Right, I mean this band's never been about speed for speed's sake or anything like that anyway, so what we do is just try to make things as creative as possible. So there's probably some of the best slow and medium stuff we've ever done, but there's also the fastest stuff we've ever done and there's also just a lot of in-between, because when we're writing music we don't say: OK, this is -gonna- be this way -- we need a song like this -- we just keep going, and it's whatever comes out. And I think this album in particular flows the best out of any one we've done and flows from the first second to the last. The music is easier to get into but at the same time it's very... CoC: Cohesive? RV: Dimensional. CoC: Absolutely. I think also it's the first album you've done where everything's come together and it's like with Slayer or certain other bands: every album you do seems to be very much you. I'd say you're a great example of someone from the American death metal scene because you're very good but you're not scene based. It's not a scene sound, it's an "Immolation" sound. RV: Without a doubt, yeah. I mean, we've always strived to be different and do our own thing: from day one. We never got on a trend or what was the new thing or the thing going on at that time. We just went with what we believed in and how we thought the music should sound. The first album [1991's _Dawn of Possession_], where the whole Florida scene was such a big thing -- Scott Burns and Morrisound great producers, nothing against them, but so many bands that went there, there was no reason for them to go there and [they] sounded like other bands. So we went with Harris Johns, who did the classic stuff like Kreator, Sodom and Voivod. To us that was so classic and it came out really great: it was a different kind of production and it really had a lot of atmosphere. And with the second album [1996's _Here In After_, CoC #6], it just worked out where we decided to try something a little different and we ended up doing kind of like our own thing with an engineer and it came out different but again it came out Immolation, but maybe a bit more straightforward -- the production was a bit more intense and dynamic but when we went to Paul Orofino I think he put the two together and on this album he did that even better. CoC: Absolutely, I mean the drums are just like -thunder-! RV: Thanks man, I mean that's what we look for, we want a nice big, heavy sound. We want to emphasise those qualities. That's really what it's about: the feeling, the atmosphere, that's what we're looking for. CoC: Atmosphere would be a word I'd definitely use. Especially in the last year, the death metal scene has really been starting to run out of steam in the case of certain bands. I think a lot of bands have run dry on creativity. [Morbid Angel, I'm looking at you!] I think one of the things you guys have is atmosphere. I think that's exemplified on the album on the final track -- the title track -- "Close to a World Below". It's long, it's an eight minute affair, and you haven't done much like that except for "Christ's Cage" [_Here in After_], I think. RV: That one's pretty short too. [He was right, only 5:51. -- Paul] I think this song is definitely the longest one we've ever done and the funny part is it didn't take that long to write but we were on such a roll with it that it all came together so nicely. And it's an eight minute song but it doesn't feel like eight minutes: that's the important thing. CoC: Absolutely. RV: It flows. Everything's there and before you know it it's done and it's eight minutes later. So it wasn't intentionally made to be a long song but it came out that way and yeah, we're real happy with everything on the sound. CoC: It really brings out the dynamics, it goes up and down and really captures a lot. I was gonna talk about the lyrics. No offence, but I thought I was gonna be talking to Ross, who I talked to last time. So I don't know how far we're gonna get on the lyrics. Are they written by the whole band? RV: We all have a play in the lyric department, and a lot of times I don't wanna be too descriptive about the lyrics 'cause sometimes you describe it too much and everyone has their own idea when they listen to the music: they get their own thing out of it. When you look at songs like "Father, You're Not a Father", which is a pretty straightforward song: it's pretty much about the people in the priesthood out there that have abused children for years and have got away with it. And we saw stuff on the news just last week about one person in particular that had abused tons of kids and people, and he was on his deathbed now, at 90, and what good does it do now, you know? I mean, he's already destroyed countless lives. That was one thing we targeted. A song like "Lost Passion", for instance, deals with, in the song and the context, it deals with a poor soul who believes in Christ, believes in God and was disappointed and let down, and all the effort and time they put into that: it meant nothing. But at the same time, the song can also reflect anything from a relationship with someone or a type of person, or another type of thing you look up to. I mean, the world has let-downs all around us, you know what I mean? CoC: Absolutely. RV: The songs are one thing on the surface but they always have double meanings and they always have other things inside them. So, we always like to put a lot of thought and time into the lyrics and the music 'cause to us one without the other loses the meaning and the feeling, so we always do 100% on both. CoC: I was gonna just say a couple of things about the lyrics as well. I felt one of the things about the lyrics this time was that they were a lot more personal. On _FfG_ I felt that it was very much about the concepts a lot more. There are concepts on _CtaWB_ but _FfG_ was more conceptual, it was more about movements of religion, like "Failures for Gods" was about organised religion. This seems to be on a much more personal level. RV: Without a doubt, without a doubt and it's just the way it came out. We're always trying new angles, new ideas and pretty much we mature as musicians and as songwriters as we go, so this time it came out that much better. We always try to go deeper and deeper, so this one just goes that much deeper into the feel of everything. CoC: Two bits I wanted to mention out of the lyrics. First, the beginning of "Unpardonable Sin": "Take your Heaven and your hell and leave them for the children. I refuse to believe these lies." Is this connected with the fact that you guys were brought up in quite a Catholic background? RV: It's really saying that all these types of icons of religion and all that -- to us -- is just nonsense. And the song "Unpardonable Sin" is saying like: all the stuff that was created by people over the centuries or whatever, is just nonsense. Believe in yourself! For instance: "I commend myself for this unpardonable sin. For now more than ever I see clearer than before." "Unpardonable Sin" is basically saying: I defy and deny God and Christ as existing or anything, I am totally against it, I don't believe in it, I am disgusted with it. And anyone that goes up, according to the church, and defies the lord consciously, it's unpardonable sin: it'll never be forgiven by the church. We're proud of that fact 'cause we believe that everyone that doesn't believe in that isn't a bad person. I think we're better people than most people 'cause people in religion and stuff like that, a lot of them tend to be either weak or pretty much doing stuff behind everyone's doors anyway. So that's what that song kind of like teeters on. CoC: Absolutely, the Catholic church is notoriously corrupt. The other lyrics I really liked were the set for "Close to a World Below". It sounds like it's toying with the idea of "hell on earth" or that earth is more like hell than anything else. RV: Pretty much, I mean there's other meanings too. Like I said, if you start dissecting the stuff -- I was just talking to Ross about this like half an hour ago, and he said, "I'm gonna try not to dissect stuff" -- like if I tell you this is exactly what it's about and this and that, maybe you'll look at it a little differently, and maybe it's not as cool for you anymore, it doesn't fit you personally anymore, you know what I'm saying? Some people just listen to the music -- I've had a couple of people e-mail us recently saying: "I'm really into the band, I've heard this new album, it's great. I'm a Christian, and maybe I'm don't particularly agree with the lyrics, but I love your music and you know what? Your lyrics are more intelligible than most death/black metal bands and I kinda understand where you're coming from." So they might not even agree with what we're saying, but they can accept the fact of what we believe in, and enjoy the music for what it is. Whatever anyone's gonna get out of it is their own thing, so when -you- say what it depicts to -you-, you're right, 'cause that's what it means to you. That's really what it's about. CoC: So from that perspective what you'd basically say is: read the lyrics, see what they're about. RV: Exactly, see what they're about for you, see what they draw out of you. Some people are gonna get one thing out of it and some people are gonna get something else. That's cool. Whatever suits the person, that's what music is about. Mainly it's obviously entertainment and enjoyment. Also, we wanna make you think too and those who wanna keep thinking more and more and look deeper into it then that's cool. CoC: One last thing I wanted to touch on was the inlay and the beginning of the CD which, being an atheist, I thought was great -- "Didn't you say... Jesus was coming". Were you just waiting for the millennium to put that one on? RV: That's been an idea of Tom's for a while. All these Christians out there are just expecting Christ to show up any minute now and it's just a way of kinda being sarcastic about it. Like: didn't you say Jesus was coming? 'Cause we know for a fact that he's not, you know. And the way it's written is distorted and the sample at the beginning is distorted, which sort of represents how it's one of the distorted views of religion. The album cover in general, Andreas did a phenomenal job on that. It's unbelievable 'cause we give him concepts and he just knows what to do. He's really on the same level. He makes it happen. With this album we really wanted to try something different and with the cover we really wanted to try doing something where people didn't know what it was at first. Then they see that it's fire and then you kinda notice the crucifix and then you notice that there's all these figures in the fire and the flames kinda like making it something interesting. The whole packing in general: we have a team so that it reflects the songs and there's a lot of symbolism and stuff. We pretty much put that together ourselves. I did that with my brother. To us everything's gotta be 100 percent. The look of the CD has to be right too. I think this CD looks a lot more brutal and intense than _Failures..._ did. February 2001: Ross Dolan ~~~~~~~~~~~~~~~~~~~~~~~~~ CoC: Were you happy/satisfied with the reaction _Close to a World Below_ garnered, in the end? Ross Dolan: Yes, we are very happy and satisfied with the reaction we have been and still are getting for the new album. The reaction has in fact been even better than we had hoped for. We are constantly getting e-mails from people who really like the new album, as well as getting many great reviews and positive write-ups in the press, so it is a very nice feeling since we are very proud of _Close to a World Below_ and feel it is by far our strongest release yet. So it is nice to see most people feel as we do about it. CoC: Looking back on the album, are you still as satisfied with it as you were October/November time? Anything really specific you wish wasn't on there or that you had changed? RD: Our feelings for the new album have not changed a bit since we last spoke. We feel even stronger about it now since we have finally received some feedback. It is really the first time in our thirteen year career that we are completely satisfied with every aspect of a release, especially production. We have always felt our past releases could have been a bit better in the production department, but this release we feel has it all. The music is strong, dark and very intense. The lyrics, I feel, are some of our best. The packaging is right on the money and most of all, it sounds incredible. This is definitely the production we have been striving for for the past three releases and we have finally found it. We don't feel there is anything we could change that would make this CD any better. CoC: What has been happening with Immolation in the last three or so months since _Close..._ was released? RD: Well, we are really getting ready for our world wide assault. We have Bill Taylor [ex-AngelCorpse] playing guitar with us for all of our live performances now since Tom [Wilkinson] will not be able to come out on the road with us this time around. Bill learned all the songs very quickly and fits in perfectly. He will be a strong addition to the Immolation live show. We have been getting ready for our US "World of Darkness" Tour which will run for 43 dates starting mid March, and will also include the awesome talents of Incantation and Goatwhore. This is truly a tour we are really looking forward to and we feel it will make its mark as far as tours go. Then immediately following, we begin the "Darkness Over Europe" Tour, a 20 date European tour starting on May 1st in London. Joining us on this tour will be Deranged from Sweden, Destroyer666 from Australia and Decapitated from Poland, so this will surely be an event for all fans of extreme dark music. So we have been real busy. This is just the calm before the storm! CoC: Do you have much or any material written for the next Immolation album? Any idea when that will be or hints as to what it will be like? RD: We have not begun writing any material yet for the next album, although we do have some ideas lyrically which will follow closely to the subject matter on _Close to a World Below_. Musically, our intentions are to keep the new material as intense and dark as _CtaWB_, with of course some new elements just to drive the point home; what one can usually expect from one of our CDs. I think we plan to push the next album a bit farther, a bit more intense and a bit more extreme. And of course, we do plan to use Paul Orofino and Millbrook Studios again to capture the great sound we had for this album. CoC: Have you done any touring so far for the record, if so, how have shows gone, and are you looking forward to playing the UK again? RD: We have only played one show since the new record was released. We did a belated record release show at CBGB's in New York City, playing almost two straight hours of material from the first album up until the new album, which we played in its entirety. We played close to twenty songs and it went over great. It was a truly great night, the crowd really knew and liked the new material, so it was just a boost for us in preparation for the upcoming tours. We are really looking forward to the tours and we are especially looking forward to the London show. We had such a great response there the last time around for the _Failures for Gods_ tour that we can't wait to bring some new darkness and chaos for them to enjoy. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= U N L E A S H E D A N D R E A D Y F O R S T A R D O M ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Cristina Scabbia of Lacuna Coil by: Adrian Bromley You don't have to tell Lacuna Coil singer Cristina Scabbia that the band's new disc _Unleashed Memories_ [reviewed in this issue] is going to break the Milan, Italy-based band into stardom. She knows this already. She just wants the metal world to discover the record and let fate take its course. "This is a very emotional and powerful record", starts a vibrant Scabbia down the line from Milan, Italy. "We have become more than just a gothic metal band with a female singer and male growled vocals. The band has grown tremendously. We've have matured as singers and as songwriters and I think people, especially those who have followed our career up to this point, will hear that with _Unleashed Memories_. We worked hard with this record and I know it'll open a lot of doors for us, doors we haven't been able to open yet." Listening to the passionate and expressive compositions making up _Unleashed Memories_, such as the beautiful opener "Heir of a Dying Day", "When a Dead Man Walks" and "Cold Heritage" (the song closest to Scabbia's heart), one must wonder what inspired Scabbia and the rest of Lacuna Coil -- the sextet is rounded out by Andrea Ferro (male vocals), guitarists Cristiano Migliore and Marco Biazzi, bassist Marco Coti Zelati and drummer Cristiano Mozzati -- to really make an effort to take flight and be able to produce a unique offering for metal fans to digest. "I think we just wanted to have a record that we could be really happy about, both as songwriters and as musicians", she relays. "The last few recordings were great, but they didn't really capture what Lacuna Coil was about, I think. This record is all that. I feel very strongly about the disc. I love it!" And what about The Gathering references that seem to have dogged the band since signing on with Century Media back in 1998 with the self-titled EP [CoC #31]? Does it bother her and her band mates? "Not really", she comments. "I mean, I can see how it happened early on. Two gothic metal bands with female singers and soft melodies. The comparisons were expected. But that has all changed now, really. We both have changed so much as bands. The Gathering are going off and doing their thing and bringing new sounds into their music and we are just doing our own thing too, just getting better at it. People can say what they want. It doesn't bother me." The topic of conversation turns toward the recording of _Unleashed Memories_ and how it all came about. While it wasn't really an arduous task, seeing that the band was working once again with gifted producer Waldemar Sorychta (Moonspell, Tiamat), finding the time and initiative to get the ball rolling was another thing. States Scabbia, "Making a record is always a big deal for us. We know what we want and how we want to do things. It's just the act of getting into the studio and getting it all down on record. After the last EP (_Halflife_ in 2000) we set a goal to have another disc out within a year. A month went by and no real work, then four months and then another couple of months and then we realized we wouldn't be keeping our commitment to have something out. So we got our act together and went in to record the new disc." "I really get excited about my music and just making music in the studio and playing live", says the singer. "I don't know... I just think making records and being creative with all of those involved in the band is such a wonderful experience. Making a record is tiring, yes, but so rewarding. I couldn't be happier with the end result. It just adds another direction and style for Lacuna Coil. I can see the changes within what we do." Unlike the way things were going for the European metal community a few years back with a major emphasis on Scandinavian acts, Italy seems to be spurting out some quality bands like Rhapsody, Domine, Power Symphony and White Skull. What does Scabbia credit this to? Why are these bands making names for themselves after years of not getting noticed? "I am so proud to see a lot of these bands, a lot of good bands, getting noticed by the metal fans around the world. There are a lot of good acts here", she insists. "I think the reason why a lot of bands have never really taken off is because most of them were afraid to try new things and just copied other acts and it all sounded too much of the same and fans never caught on. Now a lot of Italian bands are making an effort to be true to what they want to do and make music for the sake of making music, not just to be a part of a trend or to copy bands they worship." She adds: "I think we were in the same frame of mind when we started out and we just realized we needed to make an effort to be true to what we wanted to do as a band. We needed to grow and expand." "When I listen to the new record, I get this real strong feeling of passion. The record is full of some great moments, both from myself and all of the others in the band. The real strength is in the songwriting this time. I think this is some of our deepest, as well as best work", she notes. "We knew we had a lot to provide for this record and one listen and you'll know we were on fire when it came to songwriting." Scabbia continues: "I think it was important for us to explore new ideas and not be worried with what people would say", she says of the band's varied approach to certain songs. "Nothing on this record sounds the same, yet it all meshes together quite well. That is the way any good record should be." "Being part of this creative team is like no other job. Every day it is a new experience. And the music just makes it even more enjoyable", she ends. "I'm just proud to be a part of music that not only moves our fans, but moves me as well." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= D E A T H ' N ' R O L L M A C H I N E R O L L S O N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Nalle Osterman of Gandalf by: Adrian Bromley Sophomore jinx? I think not. Finland's death 'n' roll machine Gandalf move forward with their sophomore effort _Rock Hell_ (Wicked World / Earache), a potent fire 'n' brimstone, balls to the wall concoction of AC/DC drive and devil worshipping attitude. [See CoC #52 for a different opinion.] Lock up the kids, Gandalf is ready to rock the house! Unfortunately, that same drive can't be associated with Gandalf drummer Nalle Osterman right now, as it closes in on 1:30am his time and he is dead tired. But like a true trooper of metal, and from under the covers in his bed, he relates to Chronicles of Chaos why rock 'n' roll drives his band's music and why he doesn't like Entombed anymore. "I think we really wanted to capture the essence of every metal era with this new record", starts Osterman. "We took a bit of everything from those eras. From the '60s with Black Sabbath and Deep Purple, onto the '70s with what Rainbow, Judas Priest and Led Zeppelin and what they did with the music, then moving into the '80s and what Iron Maiden and Slayer provided us with, and then into the '90s with what bands like Machine Head were doing. We took all of those influences and brought them into the new millennium with our music. We aimed for something unique and I think we were able to bring that out in _Rock Hell_." Has Osterman seen changes in his playing since the band's Wicked World debut disc titled _Deadly Fairytales_ (1998)? "Of course you become more mature as things go on, and I think we as a band [rounded out by singer Jari Hurskainen, guitarist Timo Nyberg and bassist Kimmo Aroluoma -- Adrian] have been able to see what we want to do. We definitely understand music a lot more than we did when we first started out as a band. Those changes have helped us to not only evolve our sound but become more original in what we do as a band. We want to make things more interesting as the years go on and I think you can hear that with the new record." About the studio experience for this record, he says: "We knew exactly how this whole studio experience was supposed to work out. We had rehearsed all of our parts and knew what was going to happen, but each studio trip brings out new ideas as well. Just by trying other ideas in the studio and working with a producer [Hannu "Guts" Leiden at Seawolf Studios -- Adrian] who wanted to get more out of us, I think the record really turned out better than we had ever hoped for. He was able to bring out a lot from inside of us. It was all rehearsed musically, but that whole studio experience was aided by the visions of all these great engineers who just added to the strength of _Rock Hell_. All of these ideas just stand so strong compared to what we have done in the past." On the songwriting process, he comments: "It is always a new musical adventure each time out that we go into record an album. I don't want to see us repeating our ideas or ourselves. Everything has to be new and inspiring for us to go forward with recording material. I make an effort to write songs that are just different from each other. There are so many bands out there right now that have found their particular sound and they just stick with it an cash in and not worry about it all. They can make money now and not worry. But for the visionaries in this music industry, it is much more challenging to find new visions with each song that you create." He adds, "Making an album is supposed to be rewarding. How can you feel rewarded with an album if it sounds like the last one? I think we are one of the few who make an effort to be creative and not predictable." "I want to make records a lot faster, but the label's policy on recording and releasing albums isn't like that. If you look at all of the bands on Wicked World when they started releasing material -- bands like Elysian Fields, December Wolves, etc. -- you will know that we are one of first bands to put out our second record. Obviously we want to record and put stuff out. I don't want to wait too long to record material because you start to lose the momentum and lose fans along the way, because they forget about you. It is as if you have to start from scratch again. This is a good record and we don't want to go unnoticed. We need to make an effort to get back into the scene after not having a record out for two and a half years and let people know we are still here. We are inspired to create music that we want to share with metal fans worldwide." Speaking of inspiring music, what albums influenced Osterman to want to join a band and make music? "I'd have to say Slayer's _Reign in Blood_, At The Gates' disc _Slaughter of the Soul_ and Entombed's _Wolverine Blues_. Slayer's disc at the time just changed things around so much. A lot of people think it is the quantity of music that matters. _Reign in Blood_ is under 30 minutes and it just delivers such a punch. It still stands up after all of these years and hasn't lost any appeal to metal fans. _Slaughter of the Soul_ was such a powerful record. I never liked At the Gates, but after I heard _SotS_ I was like, "What the fuck is happening?" It blew me away! It still does. As for _Wolverine Blues_, I just was so fond of that record. Nicke Andersson [Entombed drummer -- Adrian] was my mentor of sorts. He influenced me so much. He just really made me appreciate what they were all about. This record just really inspired me. After he left the band, it just wasn't the same for me. All of those records, when they came out they added fresh blood to the stagnant death metal scene." So Nalle, is it fair to call Gandalf a "death 'n' roll band"? "I don't know what we should be called", quips Osterman. "Our producer told us it is metal rock or rocking metal. I don't really see a use in putting a term on what we play. We are just here to rock hell! Let the fans decide what they want to call us. I don't care what they all say, as long as it is something good -- that is all that matters." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= N O R W A Y ' S G O T H E N B U R G S O N S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Rune Holm of The Embraced by: Alvin Wee Though not as high-profile as some of their Swedish melodic death counterparts, The Embraced (not to be confused with Regain Records' keyboard-based black metal act Embraced [CoC #51]) pull off a decidedly non-Norwegian stunt on their newest opus _The Birth_. Eschewing the Norse "holocaust-metal" ethic of old and all but ignoring the latest wave of electro-industrial pouring forth from their homeland, this Norwegian quintet embrace (sorry!) a technical death perspective that's refreshing coming from Norway. After numerous line-up changes, a messy deal demise with the now-defunct Invasion Records and the band's subsequent return to original label Aftermath, The Embraced are back with a vengeance and a solid new album, almost a year delayed. Axe-man Rune Holm gave me an idea of their ambitions, and was (I suspect) nearly driven to exasperation with my critical views of the Gothenburg genre. CoC: First off, I'd like to ask about your expectations regarding your new album. How do you expect the response to be this time round? Any hopes? Rune Holm: We're pretty enthusiastic about this release! I think we have a much stronger album than _In My Dreams..._. The songs on _The Birth_ are all more technical, melodic and brutally different than our debut album. This time we have a better distro than the last time so we're promoted basically in all of Europe, Japan, USA and Scandinavia. We look forward to hearing how people will react to our music and we hope they'll like it! CoC: And the label? RH: Aftermath have attained a lot of new distros in the last few years, so they are really working hard to promote their bands. We're very happy with Aftermath so far, but we'll see what happens in the future. Our record deal was only for one album, so now we just sit back and see what happens... CoC: There's been a separate Asian release too, hasn't there? RH: In Japan we let Soundholic records release the album on license from Aftermath. It was easier for both Aftermath and Soundholic, because Soundholic agreed to do all the promotion down there and that was a release for our label. There's also a bonus track on the Japanese version, so it's pretty cool when all of our friends order the Japanese version instead of the European. CoC: A good decision, since Japanese pressings seem to be doing pretty well in terms of demand nowadays. Now I must admit that I'm pretty unfamiliar with your previous releases. How did they do in terms of sales? RH: In 1998 we released our debut album called _In My Dreams... I Am Armageddon_ on Aftermath music. It was Aftermath's first release, so we were both pretty anxious to see how this would turn out. As time went by, we discovered that distros all over Europe [were] interested in our album and Aftermath's forthcoming releases! We had estimated a total sale of 500 ex. [copies -- Alvin] for the album, but it turned out that we sold about 2000! Not the biggest number in terms of sales, but I must say that things look interesting in the future! Soundholic has estimated a sale of 3000 ex. only in Japan, so this looks good for us! CoC: How have you matured since then? RH: Immediately after releasing our debut album we started to rehearse and compose new songs for our follow-up _The Birth_. During this period we listened a lot to Dream Theater, Children of Bodom, Hypocrisy and such. Our music was quickly inspired by these bands, so there is a significant change in how we sound! _The Birth_ is much more powerful, technical, melodic and brutal than our debut. CoC: From what I see you're really quite determined to go beyond the underground and achieve some form of success worldwide... RH: We try to create a name so that people know that Norway has a death metal band included in the black metal jungle here. We're also planning a tour in Scandinavia to begin with, so we try to be recognized in the media wherever we go. What we really want is to go out and play live as much as possible, so we're promoting ourselves quite heavily at the moment to get the people's reaction, you know... CoC: Your bio states that you're now playing a "more brutal, yet technical form of death". Sure, there are faster parts here and there, but your overriding concern seems to be melody and atmosphere rather than the brutal/technical aspects of it. I mean, with all the acoustic segments, melodic leads etc.. So what's the issue here? RH: We like to put in some clean guitars / parts to create a more diverse feeling in the songs. I still believe that this album _The Birth_ is more brutal than _In My Dreams..._, our last album, so we're definitely moving towards a more brutal and technical approach. The new songs for our next album sound a lot like old death metal, [like] Hypocrisy's _Osculum Obscenum_. CoC: This description doesn't sound very different from the fifth-hundred band out there playing cool Gothenburg metal... What's to stop us from labeling you guys as just another generic Gothenburg act? RH: This is the way we like it! If you want to call us "just another generic Gothenburg act", then so be it! We like to put in some of our inspiration sources in our music and if people doesn't [sic] like it they can simply buy a different album! CoC: Hmm? OK, in my opinion, the new wave of melodic death has about as much in common with the traditional Morbid Angel style as Britney Spears has to do with rock. Where have the original attitudes gone? Death metal wasn't meant to be catchy and melodic! RH: I know what you mean...but get ten people to label one band and you get ten different answers! It's pretty hard to label bands these days because they play so many different styles in one album... I like "the originals" as you call them, but a lot of the newcomers have some interesting approaches in their music too. I'm really fond of the '80s hard rock bands and I like to combine that feeling with our death metal inspired music. CoC: Even in the death metal boom of '92 and '93, bands like Suffocation, Cancer and Monstrosity were all playing brutal, crushing music. Today however, the rise of NWOSDM has contributed to the scene being filled with previously non-metallers. Some blame the "pollution" of the scene on this new wave of bands... What's your opinion on this? Isn't the scene exclusive anymore? RH: I really don't care what other people think. If someone thinks that this "new wave" thing is polluting the scene, that's OK! CoC: Uh huh... RH: I don't care what label people put us under, or how they respond to our music. If they like it it's cool, but if not I just don't give a shit! Personally, I think it's good that new bands enter the scene with other inspirations and a different approach to their music. This helps to create a big mass of metal based fans and I think that's a great idea! I must admit that some of the new bands like HammerFall, Rhapsody and Edguy don't appeal that much to me... It seems to me that when people have heard HammerFall or Edguy a few times too much, they begin to listen to more brutal metal! I managed to get my girlfriend to enjoy death/black metal using this technique... CoC: Quite right indeed! So are you still inspired by old-school brutal death? RH: Absolutely! I still listen to Carcass, Death, Hypocrisy and so on... Our new bassist Tom gave me a CD the other [day] to listen to. The CD was [by Nocturnus] and it totally blew me away! I rushed out to buy as many of their albums I could possibly find... CoC: And how do you integrate this into your melodic material? RH: I'm not really sure how we do that... I often get inspired by whatever I hear on my stereo, so everything can turn up! I can listen to Children of Bodom or Dismember and play that kind of style for the rest of the week! When I'm making a song I'm just fooling around trying to mix two, three or four riffs together. At this stage I have ruled out ten other riffs that I didn't like or [couldn't] do anything with. If it's a traditional death metal riff or a Children of Bodom-like riff I don't really care about it. If I (and the rest of the band) like what we hear, I'm happy! CoC: So, bringing things back to the new album, what can the fans expect this time round? RH: This time they can expect (as I mentioned earlier) a more brutal, melodic and technical album than _In My Dreams..._. We have added a lot more technical elements in the songs and the melodies fit the songs in a nicer way than the last album. Maybe we remembered to tune our guitars on _The Birth_ too? On a few of the songs on _In My Dreams..._ we didn't bother to fine-tune our guitars... bad mistake! CoC: So you're satisfied with the result? RH: My personal goal with _The Birth_ was to achieve a decent sound and an overall good production. As I listen to it now I'm pretty satisfied with it, since we got to do all the work ourselves (supervised by the studio owner, of course). CoC: To end off, what are your plans for the future? What can we expect soon: tours, new material, etc.? RH: Well, first of all we're going out touring around Norway, Sweden and Denmark (and possibly Finland). We're also in the process of making a new album, so we'll probably play some new songs on the tour to check out the response. There's also some talk about longsleeve T-shirts and an LP version of _The Birth_. [Readers interested in The Embraced merchandise can contact Aftermath Music at: mailto:ruholm@online.no -- Alvin] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= U N L E A S H I N G T E R R O R O N C E A G A I N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Blackie Lawless of W.A.S.P. by: Adrian Bromley W.A.S.P. guitarist/frontman/songwriter Blackie Lawless has seen himself put through the ringer over the years for whatever reason, but it seems as though today's press day for the new disc _Unholy Terror_ (Metal-is) might take the cake. You see, he has been doing promotional interviews for the album day since 9am PST, and so by the time the phone call comes to my home (an hour and a half late) he as been going solid for almost ten hours, with still four more interviews to go. Not a good day, Blackie, is it? "No, it isn't. It has been quite a grueling day, actually, but what are you going to do." Exactly, there is nothing Lawless can do on the outside world, where his music is put on store shelves, promoted in magazines and played on the airwaves. But in the studio he is the "Master of His Domain". This is where he takes his visions and passion and creates his artwork: his music. The new album -- thanks in part to the now steady line-up of guitarist Chris Holmes, bassist Mike Duda and drummer Stet Howland -- is a much darker record than in recent years. The music is rich in ideas and Lawless has done quite a number on the production here. The terror reigns within the music as expected and Lawless has still managed after all these years to keep the music sounding like W.A.S.P.. "I work hard at keeping up with that continuity on all of our records", he starts. "I have always made an effort to keep W.A.S.P. focused. All of those other bands out there have kind of strayed away from their sound because they are all chasing the tail of the charts and trying to find out what is happening and what is going to be the next big thing. You can't do that. All you can do is what feels right to you. There is no need to be like a chicken with its head cut off running around trying to find out what is going on. You don't want to do that. That is just a fool's game." So what is going on? What does Lawless know about the music industry that we don't? "I think number one, you just need to keep in mind that you have to just make the best record that you can. You put one foot in front of the other and whatever happens after that is just out of your control from that point on. There is nothing you can do about it. All you can do is be true to yourself. I have fairly general tastes when it comes to music. What I am moved by, I'm pretty sure someone else will be moved by too." He adds, "Like I have said in the past, it is all about who you are right now and what you are feeling. When you take people on a trip with your music, and they want to be lifelong fans of the band, you've got to be willing to open up your head and let them be able to run around and see what is going on in your head. You can't be afraid to let people see what is in there. If you are afraid, you'll never be able to develop this intimacy that you need to do this. If you don't have the intimacy, you aren't going to go on this ride for life." So what is Lawless's trip like for W.A.S.P. fans in his own words? "I am a big fan of what we do musically, but I honestly think the lyrics are what I do best. If I am writing lyrics that I believe in, I am basically making up my own storyboard that you can make your own movie to. As the movie is going on in your head, the music acts as a soundtrack for you as the movie is going along. I want to write lyrics that create imagery. I'm not at all interested in writing lyrics that don't have imagery." "I think this record is a good cross between our first record [self-titled disc in 1984 -- Adrian] and _The Headless Children_ [1989]", states Lawless when asked to describe and compare the new disc to older recordings. "I find a lot of similarities with this record and those two. For example, the song "Let It Roar" on the new disc is kind of like a newer version of "I Wanna Be Somebody". It wasn't until after I finished recording it that I noticed the similarities." "Time also seems to be my enemy of everything I do", continues Lawless about the recording of _Unholy Terror_. "That is why I am always so historically late with records and jamming at the last minute. The new album was literally being done as the last song was being mixed. I was in the makeshift situation trying to finish it up. If you had seen that you wouldn't have believed it. It just looked real crude, the way the recording was done and how I got what I needed for that song. It was just something that I felt I needed to do on the last day to that song to make it just a bit better and be happy with the end result. For me, it is a real personal statement for me to get everything in my head about that record out. I want all the ideas swept clean. I want to record a record to the last minute to punctuate what I was thinking at that particular place and time. Then I move on." "I don't like things rattling around", he explains. "If I don't get it out of me at that moment, it just doesn't feel right to go onto the next thing. It isn't always the way for each recording, but most of the time I need to get it all out of me and make sure I have it all done on record." Leading up to this record, a lot of things have changed in the metal music business and life itself. Bands have come and gone, technology is just booming and "Survivor" is ruling television. These times are a changing. What are the W.A.S.P. frontman's thoughts on all of this? "I don't care. I really don't care what is going on", he laughs. "And to tell you the truth, I have never watched "Survivor". I know of it, but have never seen it. I am not at all interested in any of that. My music is what means a lot to me. My music moves me and that is what keeps me interested in all of this. I like to be creative and just let loose and let my fans take in what I have provided them with on each album." And writing music for each album -- has it become easier? "Shit, I wish", blurts out Lawless. "Every time I go into making a record and writing material, the time frame is different each time out. Songs just come together easily sometimes, but sometimes the problem lies within the making of a song where you reach a roadblock. But that is the writing process and how it comes about. A song like "Hate to Love Me" happened immediately. The song "Charisma" took a month to do." "Regardless of if the song makes the record or not, that is the exploration process that comes with songwriting. You need to discover if after all the work -- either a short time frame or not -- if it is worth it all in the end. You have to twist and turn it and take it apart to really get to know the song and the end result." Lawless ends, "A good song will last for ever; it just may take you that long to get it right." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= C O M M E N T S F R O M C A P T A I N C O N T A M I N A T I O N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Matthew F. Jacobson, head of Relapse Records by: Paul Schwarz and Adrian Bromley You will probably have heard of _Contaminated 3.0_. If you haven't, get ye hence with your eight US dollars and purchase what must be the best value-for-money extreme metal-centric compilations around. Two CDs and fifty-one (yes, 51!) tracks await you -- and if you hadn't heard that extreme music and focussed grind label Relapse were putting out this compilation, this will be your education, your first step into a new world of vicious extremity and vibrant variation. Matt F. Jacobson started it all -- just to put out a 7" from a friend's hardcore band! Ten years have passed since then, Relapse has grown, and in the last three years particularly, the label has blossomed to bear the fruit of many of extreme metal's more interesting and most spectacular moments. 2000 was what I'd call a career best so far. As 2001 and its many future possibilities began unfolding before Relapse, I chatted with Matt F. Jacobson... and so did Adrian Bromley -- he had a lot to say! Paul Schwarz ~~~~~~~~~~~~ CoC: What was the idea of putting out _Contaminated 3.0_, in its volume of tracks especially? Matt F. Jacobson: The whole purpose of _Contaminated 3.0_ was to allow people an overview of what Relapse is about and what we've done over the last ten years. And we wanted to be able to put it out there and make it available for a low price -- in the States, it's less that eight bucks. I just wanted to give people a lot of music for a little amount of money and give them an idea of what we're about. CoC: It represents mostly from '95 onwards, it doesn't reach back quite to the beginning; it's got more of a focus on the slightly more developed angle of Relapse. MFJ: Well, I can tell you that when we sat down to come up with the track-listing it was really difficult and I can say that there's certainly some of the early stuff that I'm really excited about, like Exit-13, Disembowelment, Disrupt in particular. Obviously, we didn't get to dig into the 7" round just because there was a limited amount of space. There's certainly a lot more that I wanted to put on there, but it just wasn't feasible for us to put out a five CD package. It really would take five CDs to really get the idea. So we tried to represent as much as we could and of course there is a little bit more of an emphasis on what's happened lately, and we tried to keep it up-to-date by putting some of the new stuff on there as well. I wanted to give the existing Relapse fans who may be familiar with most of that stuff something still that was gonna be interesting and new and worth their eight bucks. One of the things you'll see is that a lot of the earlier tracks are some of the same tracks from like the _Corporate Death_ compilation, but we really just felt that those were the tracks that best represented what we were about and what we did. So that's why we chose to put them on here again. CoC: With where Relapse has got to, did you ever expect it to be as encompassing and as big as it is? MFJ: I certainly didn't in the beginning. When I first started it I just put out a 7" for my friend's hardcore band and one thing led to another and it was probably a year and a half, two years into it before I really realised: wow, we've surpassed everything that I thought we might reach and I realised there's not necessarily a limit on what we can accomplish. So, that was kind of a turning point in my mind when I realised: wow, we can really go far with this and, um, here we are... CoC: Especially the last three to four years Relapse has really shot up. When I first got into the more extreme side of metal in 1996/1997, I knew a few bands on Relapse, it was only pushed into my face every now and again, and it was kind of around 1997/1998, especially after doing Nile and Incantation's _Diabolical Conquest_ -- it really started to take off around that time. From there you've got to where you are now, but do you expect that same thing to happen again, do you expect over the next two years Relapse will grow to "the next level" as it were? MFJ: There's no way to predict for sure, although I feel that that's what gonna happen. From day one we've grown very organically, and frankly our biggest problem is always having enough resources, enough working capital, to do what we want to do. We never do, we never have. And that's why we've been forced to grow creatively, and forced to grow slowly and painfully anyway. So, I've seen a lot of very positive things happen and we've reached levels that we haven't before with some of our bands and especially with bands like Dillinger Escape Plan -- this last release has done so incredibly well and the amazing thing is that it's their first album. So, one thing that I see happening with the label is that we still have a number of artists who are still on their first and second records, and when they reach third or fourth records and they have that catalogue that is there to support it as well, it definitely starts to change the dynamics. So, I expect a lot of growth, for sure. CoC: Virtually none of the bands of the early days of Relapse did as well on their first one or two albums... MFJ: Correct. CoC: ...as Nile and Dillinger have done. MFJ: Except for Amorphis, which is the only exception: they're the exception to every rule. CoC: What I find interesting is that you've got to a point now where you could take a very commercial angle. A lot of the bands will now start to get, if the progression of sales continues, to a point where you can make a lot more money and it's interesting what you were saying: you do put a lot of money on the line as far as I can see... MFJ: Yeah, we certainly do. CoC: ...doing the Contamination tours, doing various other tours and doing Milwaukee, where Relapse's presence is almost omnipresent. Do you feel that if you kept on making more money with the label that you'd keep that close margin, really pushing yourselves to spend money on the bands? MFJ: I think so. I'm just kind of -driven- that way by nature for a number of reasons. Number one, I believe so strongly in what we're doing that I'm convinced that if we had more resources to put our stuff here and here and here, to do this and this and this, that we could just reach a larger audience. My primary objective is to make our bands as popular as possible, not necessarily 'cause we can make a lot of money, but because they're great bands that deserve the exposure. I mean, I started this as a hobby when I was eighteen years old because I wanted to put out cool records, and I didn't really realise in the process I would become a business man, which is something that I have to deal with. But our ultimate goal, what we really deal with is art and we have art and we have to have business and we want a balance -- but with art first. And we try to incorporate great art with creative marketing and smart business and I hope that it continues to grow and expand and I'd love to expand it beyond just where it is today as far as, even the things we are dealing in. Right now, we're a record company and we're a mailorder, but I see many other things that I would love to be involved with in the future, creatively speaking, and we'll have to see what that brings. We're not gonna go in a more commercial direction because we're not Roadrunner, we're not a company that says: OK, now we can try to break the major labels and reach this other level. We're about underground music and while some of our bands may evolve to have a more developed or accessible sound, and while our roster will continue to diversify and expand in other directions, it's not with the intention of: OK, now we can shift 100 million units. And I see some of the labels that are out there that moved away from what established them to begin with and I think it's a shame, because that's their core audience. And we're always going to maintain that direction as well as expanding from there. There are some people who accuse us of selling out and so on and all I can tell them is: look at the new Regurgitate album! Whatever dude, you know. CoC: Would you say that you expect that this sort of music will go more into the mainstream or maybe that just the audience for extreme music will expand? MFJ: I think all of the above. I think that you have kids, the outcasts in high-school, who start out with things like Korn and Limp Bizkit, that now the jocks listen to, so they can't listen to that anymore because it's not cool. So they naturally gravitate to something that's more and more underground. Everyone needs a bridge. I mean, when I started listening to extreme music I didn't go from pop radio to Napalm Death, I went through ZZ Top and Black Sabbath, to Motley Crue and Iron Maiden, to Metallica, Slayer, Celtic Frost, Napalm Death. And I see those same kinds of things happening. I think that there are gonna be more people out there that are conditioned and have the bridge to get them into more underground music, and I just think that over a long period of time word of mouth just builds things, and if you keep doing exactly what you're doing, over a period of time more people will be aware of it, and because more people are aware of it, more people are interested. There's a million bands out there that change what they do to make them more accessible or commercial, when really sometimes, over the long haul, they'd be better off sticking true and wait it out, because their fanbase will build over time -- but they try to take the shortcut and often they lose their fanbase, and go down the tubes. So, I'm conscious of those things and I wanna always do what we've always done and what establishes those things that we love, but I think that we can expand well outside of that as well and we just plan to try to do it all. CoC: I've got to agree, I'd be very interested to see where the generation of nu-metal-type sports metal stuff goes and obviously, as usual, will be watching the progress of the label. MFJ: There's one thing I would like to squeeze in there: I really am proud of our website and would really encourage people to check out Relapse.com because I think it's really at the forefront of the metal sites, and we try to do as much with it as we can and there's a lot to offer. CoC: It is one of few websites where you can really get into it. MFJ: I think some of that has to do with the fact that Relapse has more of a distinct personality than some of the companies that are out there. I'm not slagging anyone 'cause everyone has their own thing, but companies like Century Media and Nuclear Blast, they put out black metal when that's popular and power metal... and they just kind of move with the flow and that's really smart from the business perspective, but we have more of a defined personality that's still nebulous but I think that allows some people to kind of identify with it and be into it and we get a quarter of a million unique visits a month to our website. We've had hundreds of thousands of posts on our bulletin board that we have to keep deleting 'cause otherwise it'll crash our site. And I think that's pretty special. CoC: I think Relapse has a distinct personality where other labels don't. You don't know what to expect from Century Media or Nuclear Blast... MFJ: ...And I don't think you know what to expect with Relapse, necessarily. CoC: I was gonna say: you don't know what to expect with Relapse. The interesting thing is, you don't know what to expect from Relapse but you know that it won't just be something that's coming out on all the other labels. MFJ: Right. CoC: It'll be whatever Relapse sees as interesting and, generally, as going to the extremes of things. MFJ: Definitely. It's kind of hard to narrow it down or put it into words, but there's something there, I think. I think it's true, and what I'm really excited about now is -- I was very frustrated for a long time because these were the kinds of things that I felt but it didn't seem like many other people recognised. But, over the last couple of years especially, other people have started to recognise those very things and I'm really psyched 'cause that's what we set out to do. And I'm happy to see it happening. Adrian Bromley ~~~~~~~~~~~~~~ CoC: Are you surprised that Relapse Records has been able to stay grounded after so many years and not sign a billion acts to the roster and have it all spin out of control? Matt F. Jacobson: It has been deliberate that we haven't done that. We've tried to have a balanced roster. That is really our goal. Sure, sometimes we have a bit too much of this sound and it falls out of whack, but we try to keep it mixed up. We can't really control how our roster goes because we only aim to sign great bands. CoC: I'm sure you are faced day in and day out with numerous other problems that come with this business other than signing bands and putting out records. What inspires you to keep wanting to do this, since this has obviously grown much bigger than you had set out to do with the label? MFJ: I think it is my passion for music. I also think it is because Relapse is my creative outlet for both my involvement with the aesthetics and presentation of our material, as well as the business side of things. I approach our business side of things very creatively and I think we do well, but that just may be behind the scenes. There are times when you are up against something that it is hard to make an advance with certain decisions and it gets difficult at times, but those are just temporary setbacks for us. CoC: How important to you is your relationship with your bands? MFJ: I think it is very important. The relationship with our bands is incredibly important to me and I realize the longer that we do this and the bigger that we become, there are going to be some people that won't be happy with what we do. I think most of our bands are happy with what we do. CoC: How do you think Relapse Records has affected today's metal music scene? MFJ: I am very proud that we have had such an impact on the music scene, because we have such dedicated people and super bands working together. Maybe our bands don't sell the most, but they are doing something that is making an impact somewhere and making people take notice out there. I am glad we have been able to first establish our vibe in the metal scene, especially the death metal scene, and then expand out from there. We are still remaining true to what helped establish us in the beginning, but continuing to push forwards in many different directions. CoC: How does Relapse decide what bands they want to work with? MFJ: We get tons of stuff sent to us all the time. We don't have a checklist or look for bands a certain way. We just look for great music. I don't know if we want a certain band until we hear their music or see them play. But one thing that seems to carry through with most of our artists is that they are either incredibly good at what they do -- I'm talking cream of the crop of their niche or sub genre -- or they are doing something fresh and interesting and can't be labeled. I think we are a lot more interested in putting out music that'll be interesting for the music scene, rather than if it will sell a lot of records. From a business perspective that sounds stupid, but I didn't start this to have a business, I started this to put out cool records. CoC: I don't hear much about and/or from William Yurkiewicz anymore -- is he still with the label? MFJ: Bill became a silent partner of the label. The short of it is that with the pressures of running a serious business with a lot of stress that comes along with it, it just wasn't something he was looking for. When we started the label, he wanted to just put out cool music like I did. But inevitably as the company grew, it wasn't just about hanging out with the bands and smoking pot -- not that that was what he expected. The reality was that it was pretty stressful for him and that put him in a bad mood and he caused stress in the office and it just wasn't creating a positive environment for anyone. As a result from this, it just made sense for him to get on with his life and do other things. He is still a silent partner. CoC: Why has there been such a strong allegiance to death metal music for Relapse Records? MFJ: When we started out, death metal was at its peak and with bands like Suffocation, Incantation and Mortician we were onto something. We were interested in the music style and working with bands of that genre. Death metal had originated in Europe and so we were one of the few labels that was pushing it. Then a few years later other labels like Century Media, Nuclear Blast and Earache dropped all the death metal acts and signed power metal bands, black metal bands and just other genres of bands to promote. We just kept on doing what we wanted to work with and guess what? Now death metal has come back around again and peaked people's interest and all of these labels are signing death metal acts, something we never stopped doing. CoC: Seeing that you are the head guy at Relapse and know all that is going on, what is coming down the Relapse pipeline that you are excited about? MFJ: There are so many coming up. One of the ones I am so excited about is the Burnt by the Sun EP [reviewed in this issue -- Adrian]. Fucking incredible band! I am so excited about this band. I am really into the new Amorphis album, the new Neurosis disc as well as a new signee called Mastedon, which has ex-Today Is the Day members. I'm down with Skinless and Pig Destroyer. I just heard some of the new rough material from Pig Destroyer -- whew! That is all I gotta say. CoC: Tell me about Relapse's role on the Internet. It is a big deal and you guys go all out for promoting Relapse stuff. MFJ: I think that the Internet and our website are a very important part of our focus of moving forward. I do believe we have one of the premiere sites in the metal realm. We wanted to expand that, though, and that is all part of my vision to help move Relapse forward in the coming years. The vision continues to go. By nature, I have always been a dreamer and the more successful I am, the bigger dreams I have and want to carry out. Some of my ideas seem crazy to people, and a fraction of them will become reality, but the ones that do become reality I am very happy about. CoC: What was the reason behind the label name? MFJ: It goes back to the days when I used to do a fanzine before Relapse with John Canady called Horrendified, which was inspired by a Sore Throat song title. We were both going to do compilation tapes and started brainstorming about names for these tapes. I can't remember the name he came up with, but I came up with Relapse. Eventually we couldn't agree on a name so we chose Lethal Records. Coincidentally, when I was set to release a 7" of John's band, I chose to release it under Relapse. The reason I chose that name was 1) it had a nice ring to it and was easy to remember and 2) most importantly, it wasn't limiting. Some people come up with record labels like Deathgrind Records or Fuck Your Mom Records. I didn't know where I was going with this label at the time and I was happy to have it be open-ended. CoC: To give you a bit of a history lesson about Chronicles of Chaos, when Gino [Filicetti, editor] and I started up Chronicles of Chaos, we had another name planned out. We don't think it would have gotten us this far. The name was originally going to be, and I still laugh to this day when I say it, The Brutal Bugle. MFJ: Yeah! That is incredible! CoC: Isn't that funny. Hey! Stop laughing. MFJ: I just want to say that it is good to see you guys stick with a name and continue to support the scene. It always makes me feel good to see publications supporting the cause. Thanks for your time. Contact: http://www.relapse.com Label biography: http://www.relapse.com/high/relapse/biography.html =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _____ .__ ___. / _ \ | |\_ |__ __ __ _____ / /_\ \| | | __ \| | \/ \ / | \ |_| \_\ \ | / Y Y \ \____|__ /____/___ /____/|__|_| / \/ \/ \/ _____ .__ / _ \ _________.__.| | __ __ _____ / /_\ \ / ___< | || | | | \/ \ / | \\___ \ \___ || |_| | / Y Y \ \____|__ /____ >/ ____||____/____/|__|_| / \/ \/ \/ \/ Scoring: 10 out of 10 -- A masterpiece indeed 9 out of 10 -- Highly recommended 7 out of 10 -- Has some redeeming qualities 5 out of 10 -- You are treading in dangerous waters 3 out of 10 -- Nothing here worth looking into 0 out of 10 -- An atrocious album, avoid at all costs! Abyssic Hate - _Suicidal Emotions_ (No Colours, 2001) by: Alvin Wee (8.5 out of 10) Finally... the long awaited full-length from this Aussie cult, after driving fans nuts with a stream of elusive tracks on compilations, split CDs and tapes. Followers of the underground scene should already know what to expect: pure Burzum/Darkthrone worship in the old way like many of the bands in the NSBM scene. For a band that's often mentioned in the same breath as Mutiilation, Nargaroth and Judas Iscariot, Abyssic Hate doesn't fail to deliver the coldest breath of melancholy on _Suicidal Emotions_. The four track titles reading "Depression: Part I", "Betrayed", Depression: Part II" and "Despondency" should be warning enough even before the disc begins spinning; indeed, the opening dirge reeks of Burzum's early repetitive, droning melancholy, setting the stage for more gloom to come. Clocking in at a surprising 49 minutes, the four tracks don't stand out individually as much as create a single oppressive atmosphere. Not a band to work up a sweat, Abyssic Hate never allows the pace to increase beyond a docile canter; rhythm-wise, things are equally understated with the drums tapping out a simplistic Fenriz-type tattoo in the background while the guitars buzz along amiably (well, not quite) with the old atmosphere sadly lacking in the current scene. Not much left to say, really, as originality isn't quite the band's forte. Still not a bad thing for die-hards who can't get over Grischnack's change of style since _Hvis Lyset Tar Oss_, and even the pervasive monotony and repetition on the album can be passed off with a straight face as atmosphere. Certainly up there with the best of 'em in the genre (read: Judas Iscariot, Moonblood, Katharsis, etc.), and it's wonderful to see a few German underground labels spewing out bands like these. Contact: mailto:info@no-colours-records.de Archaean Harmony - _Nihility Mundane Soul_ (Solemn Music, 2000) by: Pedro Azevedo (6 out of 10) A re-release of the band's 1999 demo, _Nihility Mundane Soul_ is also the debut MCD of Malta's Archaean Harmony -- one of these days I'll be able to say I've heard metal from every country in Europe. Starting with a short intro somewhat similar to a passage from Emperor's own intro on _Anthems to the Welkin at Dusk_, Archaean Harmony then present half an hour of their blackened form of progressive metal. Technically adventurous in terms of guitar and keyboard work, on _NMS_ Archaean Harmony relied on a drum machine that will in the future be partially or entirely replaced by a human drummer. The band does achieve interesting passages, but alas these generally don't last for long -- experimenting with strange tempos and often drifting off into seemingly unrelated guitar soloing doesn't do the fluidity of their music much good. _Nihility Mundane Soul_ could do with some more direction and consistency, but considering this is a re-recorded demo, Archaean Harmony may well already be on their way to finding such needed qualities to add to their technical skill and will to innovate. Contact: Archaean Harmony, P.O. Box 8, Zurrieq BPO, Malta mailto:darkmortem@hotmail.com http://www.darkmetal.com/archaean/ Arghoslent - _Troops of Unfeigned Might_ 7" (Horror Records, 2001) by: Alvin Wee (8.5 out of 10) Stateside blasphemers Arghoslent return with a brilliant three-tracker on Horror Records' trademark vinyl. Arghoslent is one of the select few who can rightly claim to play war metal: the atmosphere of pagan battle and pride is unmistakable throughout the all-too-short EP, and is all the more impressive for not resorting to the generic Graveland-type bombastics. Boasting a catchy pagan riff to die for, the title track marches forth bearing traditional metal, folk and death metal banners with equal pride, and will have the most melancholy of you humming all the way to the battlefield. Indeed, few bands have managed to fuse the genres as well as Arghoslent have, and those who have are currently riding on far greater commercial success. B-side "Jaws of the Furnace" turns up the aggression a notch, pummeling out churning waves of old-school death. True death metal hasn't been seen outside the underground arenas for a while now, and it's heartening to see talented formations keeping the tradition alive. Charming as the typically dirty mix may be (characteristic of all Horror Rec. vinyl it seems), it doesn't do justice to the powerful music of the title track; this material begs the clarity and punch of a better production, though it must be said the primitive B-side seems tailor made for such rawness. Limited and hand-numbered to 666 copies (in two colours), it's a wonder there are any left at the label. Contact: $7 to Horror Records, Joergensgaard 49B, 1.-4, DK-6400 Soenderborg, Denmark Arthemesia - _Devs-Iratvs_ (Native North Records, January 2001) by: Pedro Azevedo (8 out of 10) With a style that lies somewhere between old Obtained Enslavement and present day Dimmu Borgir, these Finnish debutantes have produced a very competent hour of classically influenced symphonic black metal. The music is fluid and dynamic, alternatively emphasizing melody and aggression, keyboard and guitar. Most of the melodies and arrangements are quite smart, usually keeping a good balance and avoiding keyboard sweetness. The band achieves some pretty emotional passages as well as effective outbursts of energy and keeps it all flowing quite consistently. Despite a couple of weaker passages (especially the guitar work around the one minute mark in "Celebration of the Heaven Lost"), the band is very competent technically and there is usually enough going on to keep the listener interested throughout the album -- that is in case you are appreciative of classically influenced symphonic black metal; otherwise, it is unlikely that Arthemesia will win you over. However, those who have been moaning about Obtained Enslavement having recently forsaken their keyboards [CoC #46] should find solace in Arthemesia. A very good debut indeed and one of the best records I have heard in a while in this genre, even if the band is hardly breaking new ground. Contact: http://www.arthemesia.com http://www.nativenorth.com At the Gates - _Suicidal Final Art_ (Peaceville, March 2001) by: Pedro Azevedo (7 out of 10) These days Peaceville may be more famous for My Dying Bride and Anathema, but there is huge injustice in forgetting this is also the label that released At the Gates' first three full-length records. In my view, At the Gates have always had the ability to innovate and influence other bands and a whole scene with their talent, uniqueness and vision. Their records remain as classics that to me seem not only virtually ageless but also unparalleled in some ways. _Slaughter of the Soul_ in particular sets the standard [CoC #4, #48], but the uniqueness of _The Red in the Sky Is Ours_ and _With Fear I Kiss the Burning Darkness_ and also the special blend found in _Terminal Spirit Disease_ remain equally unmatched in their own way. In addition to their aggressiveness, technicality and excellent songwriting skills, At the Gates further mark their importance in the history of metal with the sheer emotion they have always managed to imbue their music with. If you don't know these masters of Swedish death metal yet, then I hope that by now I have managed to impart to you at least some of the quality, importance and relevance I find in their work. _Suicidal Final Art_, the compilation now at hand, arrives six years after AtG's swansong album, _Slaughter of the Soul_, the final and also highest point of their career. Only two tracks from _Slaughter of the Soul_ (which came out on Earache) are featured, but I must say I find that a good effort from Peaceville in trying to make sure this compilation isn't flawed through the omission of the band's greatest achievement. The bonuses for those who already own the entire AtG discography are mildly appetising, but far from overwhelming. First, a band biography written by vocalist Tomas Lindberg, which in my case provided an interesting read. Second, two demo versions of songs from _With Fear I Kiss the Burning Darkness_, which are good but not amazingly different from the better known versions. And third, enhanced CD-ROM video clips of "Terminal Spirit Disease" and the very unique "The Burning Darkness", which constitute nice collector's items, but aren't something you are likely to be watching over and over again. All put together, there may be just about enough to justify a purchase if you already own their records, but I would have -really- appreciated a few unreleased live cuts. If you are not familiar with everything AtG released, however, you should definitely consider buying this collection of brilliant tracks as a starting point for purchasing the albums themselves (hence my balanced 7 out of 10 rating). Contrarily to, for example, the first part of the My Dying Bride compilation [CoC #51], I feel the value of _Suicidal Final Art_ depends mostly on how familiar you are with the band; it has something to offer even to those who own their whole discography, but I feel including some unreleased live tracks would have made a lot of difference. If you don't know the band, however, then either buy this or take advantage of Peaceville's current series of reissues, which includes the first three AtG full-length albums. Aurora Borealis - _Northern Lights_ (, 2001) by: Adrian Bromley (9 out of 10) If you are going to play black metal music and you live in the United States, you better be good at it -- none of this Cradle of Filth pansy screaming and cape wearing stuff. If you are into all that, you'd better find a new sound to hone your musical skills on, as that is just getting a tad tiresome. For those into metal music, you know black metal is a big deal for music lovers, and while in recent years it has become somewhat of a commercial commodity in this music business, the raw feel and coldness of it all is what keeps those fans true to the sounds and styles of it all. For fans picking up the latest disc _Northern Lights_ by Maryland act Aurora Borealis, their black hearts will warm up to this. Fast and furious, Aurora Borealis aim high and hard to make sure your time with them is well spent. No doubt fans of black metal will be in awe as they take in the sinister vocals, the monstrous drumming (listen to the fucking blasting drumbeats on "Sky Dweller" -- incredible!) and the raw guitar tone blasting from this disc. While some black metal fans (I guess the "true" ones?) say that there are very few black metal acts in North America keeping the spirit of black metal real and intense, I can think of numerous black metal acts that are doing fine jobs. You can add Aurora Borealis to the list of such notable acts as Noctuary, Acheron, Absu and Canada's Burning Moon. And while Aurora Borealis are black metal at heart, there is a definite death metal feel at times radiating throughout their music, most notably in the guitar work and some vocal arrangements. All of these ideas and sounds work for me, as Aurora Borealis has managed to keep things interesting from start to finish. Black metal is alive and well on the US East Coast. Feel the coldness as it delivers its crushing blow. Contact: Ron Vento, P.O. Box 1327, Clinton, MD 20735-5327, USA mailto:ronvento@auroraborealis.org http://www.auroraborealis.org Blood Stained Dusk - _Dirge of Death's Silence_ by: Aaron McKay (7 out of 10) (Baphomet, February 2001) My first impulse was to take this band over the coals -- not because they were sub-par or inadequate, but instead because I hear -so- much more to Blood Stained Dusk than what I think is offered on _Dirge of Death's Silence_. Possessing a strip-mine, excavatingly harsh sound, this band displayed the right combination of ability and aptitude to attract the attention of Killjoy from Necrophagia / Viking Crown / Eibon fame. Released in cooperation with Red Stream Records, BSD's demo was issued forth as a mini-CD. The way I see things, I believe Blood Stained Dusk's greatest strength rests in their ability to soothe the volcanic chaos they so wantonly create. Take for example the fourth track at about the three and a half minute mark (3:28), a cooling salve is applied to the blistering burn the rest of "The Infernal Praise" scorches on the unprepared listener. Unique and fulfilling riffs also surface from time to time throughout _Dirge of Death's Silence_. "Vastland of the Empire Lost" in its more than eight minute duration displays just such an example. Deep guitar cuts unlike many others in the genre slice intently (2:54) before they slather on the soothing ointment about the starting at the four minute and nineteen second mark. Far from the prospect now with as solid an effort as _Dirge of Death's Silence_ is, this Alabama four-piece needs to emphasize their incomparable attributes or find themselves being held back with the less gifted bands in the black metal class. They say silence is deafening at times, even dirges relating there to, but BSD could profit more from a judicious utilization of quieter stillness amidst the pandemonium. Burnt by the Sun - _Burnt by the Sun_ (Relapse, 2001) by: Aaron McKay (8 out of 10) This kinda shit really blows my hair back. Four tracks seemingly have been pulled behind a tractor trailer through downtown Detroit, as this band smacks down an EP of interminable hardcore/metal. Not too far removed from a Human Remains / Dillinger Escape Plan / Discordance Axis blend, Burnt by the Sun is intriguing and forcefully energetic. "Buffy", "You Will Move", "Lizard-Skin Barbie" and "The Fish Under the Sea Dance" will get you revved-up like a 454 big block for a live show by the band. The rumor mill is churning out that BbtS is confirmed at the Metal Meltdown, New England Metal & Hardcore Fest, and, of course, the Milwaukee MetalFest. That last one I can hardly wait for, 'cause live is where I think Burnt by the Sun will heat things up! Cathedral - _Endtyme_ (Earache, April 2001) by: Alvin Wee (9.5 out of 10) After a two-album sojourn through the realms of groovy stoner-doom, Lee and Co. are back with a hugely surprising, monumental piece of depression. With a heaviness that's reminiscent of the band's pre-_Carnival..._ halcyon days, _Endtyme_ opens with the grindingly sluggish "Cathedral Flames", forcefully pounding home their newfound seriousness chord after crushing chord. The torturously wrenched-out "Melancholy Emperor" has enough bottom-end riffage and anguished wails to make any _Forest of Equilibrium_ maniac cream his pants; yet beneath the utter depression lie the undeniable dynamics characteristic of the band's mid-'90s work. It's a welcome change for die-hard fans to see the band steering back to their monstrously heavy roots, yet retain the psychedelic excitement of the later releases. Backing up the potent mix is a surprisingly grungey production, with the emphasis returning to the infamous Cathedral bottom-end plunged into a vat of grainy psychedelia. A sound which fits the band's new material well, taking the slightly non-serious edge off their previous attempts and coating it in a lysergic haze of leviathan proportions. Dorrian's tongue-in-cheek quirkiness hasn't entirely disappeared, as the no-holds-barred arena-chants towards the end of "Whores to Oblivion" show, and with twists like the soft, cosmic dream-sequence of "Astral Queen" sneaking in among the other devastatingly heavy pounders, there's proof enough that the band's got more tricks up their sleeve than anyone's ready to admit. You've got to hand it to a doom institution like Cathedral to hold their own against the deluge of stoner-rock pretenders to the throne: few others are capable of redefining the genre while revisiting the benchmark merits of their past. That said, this crusher is absolutely essential for both long-time believers in the band and new followers of the stoner-rock scene, and pretty much everybody else in between. European release out since February; the US will have to wait as usual. Charnel House - _Sample of Murder_ (, 2001) by: Adrian Bromley (4 out of 10) There are several reasons why I am not getting too much out of the death metal groove of New York act Charnel House. One of the reasons is the really poor production of their material here. While the production does capture the raw stomp of their death metal grooves effectively, better production would no doubt raise their sound to a much more palatable level for what they are trying to convey with their music. The second reason is the vocals/lyrics. The lyrics sound too cheesy, too cliche. Songs about murder and crushing skulls are sung with such a boring death metal snarl that it is just oh so wrong for Charnel House and the music they play. They sound like a bar band trying to play death metal music. I know the band is getting ready to release their twelve-song _From Birth to Burial_ and I can only hope they got a better producer and kind of cleaned "House" so that their next attempt at providing music to the masses will be much more acceptable. My fingers are crossed. Contact: P.O. Box 570677, Whitestone, NY 11357, USA mailto:charnel10-83@juno.com http://www.mp3.com/ACharnelHouse/ Chikmountain - _Porn on the Cob_ (Tachist Records, 2001) by: Adrian Bromley (5 out of 10) I almost threw this record out my window, seriously, What a truly irritating piece of music, annoying enough to give me a mild headache -- yet I am compelled to listen as the chaos unfolds. Not really rocket science here, folks, as Chikmountain dissect porn clips and mesh them with abrasive sound effects. Throw in a huge wad of nonsense like echoing screams, grinding machinery and incoherent babble and you have the general makeup of _PotC_. In some way -- and this may send the members of Chikmountian into a furious fit of excitement -- I can hear a bit of Neurosis within their music. Just a bit, but the influence is obviously there, even if they don't want to admit it. Neurosis are known for bringing together a vast wave of sounds and styles into a massive flow of energy and Chikmountain does that, but only in small sections of _PotC_. I guess someone out there will go ape-shit about all of this noise; I just can't really get too far into this before I feel like I need a break. Intense and annoying, Chikmountain do their best here and for that I salute them. Now where is the Advil? Contact: 1643 13th St, NW #1, Washington, DC 20009, USA mailto:tachist@yahoo.com Children of Bodom - _Follow the Reaper_ (Nuclear Blast, 2001) by: Alvin Wee (7 out of 10) Yet another melodic assault from the Finnish superstars, _Follow the Reaper_ is everything we've come to expect from the new wave of Finnish talent sweeping the commercial metal world. CoB belt out track after track of virtuosic ear-candy with an unashamed rock 'n' roll ethic to put even their country mates Sentenced to shame. If I thought the opening title track was proof of the band's ability, the second track proves me wrong almost instantly. Blazing with incendiary solos, crunchy riffing and semi-melodic group chorus chants, it's the raw energy and pure fun-ness of the music that makes it so appealing. Setting the band apart from the hordes of Gothenburg clones is their absolute lack of pretensions to being the slightest bit "death metal"; conversely, the music also rises above the lacklustre "gothic"-ness of Sentenced's latter works. The only problem is the lack of depth so characteristic of the genre: after three or four spins it becomes apparent that the initial jaw-dropping impact of the music loses its edge after some time. Still, the album is one huge celebration of heavy metal for heavy metal's sake, and the bonus cover of Blackie Lawless' "Hellion" is a firm hint to where the band's roots lie. Certainly not every metaller's cup of tea, but if a purist like me can enjoy it, it's worth giving it a try! (Look out for the one of three different bonus tracks offered depending on country of release.) Craft - _Total Soul Rape_ (Rage of Achilles, September 2000) by: David Rocher (7.5 out of 10) Standing fast against the ebbing tide, with which as the raucous, harsh, near-primitive tones of primeval black metal have in time mutated into highly sophisticated, intricate and melodious extreme metal, Craft hark back to the malignant times of Darkthrone's _Transylvanian Hunger_ and _Panzerfaust_, _Total Soul Rape_ being their first offering of "vicious black metal". And these Swedes' first effort indeed lives up to its denomination, offering seven tracks (plus an outro programmed by Arckanum's own Shamataae) of grim, raw and extremely misanthropic black metal massively influenced by Darkthrone and Burzum. From the album opener "World of Plague" to the bitter end of "Total Soul Rape", Craft convincingly display their extreme ability to write harsh, violent material, which they successfully fuse with a great sense of dynamics. In fact, although Craft's songwriting is definitely predictable, it nonetheless oozes with energetic time changes, suitably chaotic and un-melodious leads, catchy percussive tricks and -- this is one of Craft's most potent features -- vocalist Mikael's totally insane, painful screams. This hellishly malevolent five-piece clearly have more than just the basic technical abilities and talent required to play quality, compelling black metal, and thus _Total Soul Rape_ is a promising first attempt -- if the squeaky-clean, finely-tuned material of present-day Dimmu Borgir, Cradle of Filth or Marduk fails to whet your appetite for seething, raucous musical unearthliness, fail not to turn to Craft for a rush of true, angered and professional black metal, summoned from the blackest years of the genre. Cybernetic Erosion - _Materialisation of Abomination_ by: Adrian Bromley (9 out of 10) (, 2001) I must admit, after reading the bio for this one-man project by Vadim Ozvald Davidson -- with the tales of a talented young musician leaving his homeland of the Soviet Union to relocate in Tennessee, thrown into a mental institution and later spending years striving to find musical creativity through various projects until he found this one -- I was a little bit worried that this cheesy As the World Turns scenario would result in the music being utter crap. Not the case here with _Materialisation of Abomination_, as I am blown away by the surreal charge of this electronic based project. Atmospheric and eerily sedate at times, the music of _MoA_ moves forward with grace, even though it alters its direction and intensity as the disc goes on. The use of synthesizers is done with excellence, as Davidson really has grand control of this electronic experience we are taking in. Out of the six tracks provided on _MoA_, I'd have to say that "Salt Iron Blood" and the lengthy "2000 Years" really shine as exquisite pieces of work. Even after more than ten minutes of electronic, atmospheric flare on "2000 Years", Davidson still keeps things interesting. Cybernetic Erosion is a great find for fans of this genre to take in. I'm hoping Davidson plans another expedition sometime soon, 'cause this trip has been worth it. Contact: Funeral Decadence Prod., 304 12th St. Apt. #5, Knoxville, TN 37916, USA mailto:ulv815@hotmail.com Daeonia - _Crescendo_ (Candlelight, April 2001) by: Adrian Bromley (1 out of 10) Are bands like this still signed? I just don't understand the reason for bands like Daeonia to exist, really. I like gothic music, I really like gothic metal, but gothic rock sounds just too pansy and really unsure of what it is really doing. There is nothing more irritating than hearing some guy singing like he has a stuffed up nose while the overdone keyboards echo in the background and the band keeps up a real pompous rock and roll beat to go along with the keyboards. I personally think Daeonia are one of the worst gothic rock bands I have heard in some time. The music is very bland, never really getting any momentum worth noting. And the lyrics? Don't get me started, but for a laugh read lyrics to "The Bridge and the Ashes". I am sure these guys worked their asses off to get them where they are, but I think people really need to tell them that they need to call it a day or add some real fire to their sound. Regardless of whether they change or not, I'm keeping my distance from this band -- forever! Defiled - _Ugliness Revealed_ (Baphomet, March 2001) by: Aaron McKay (6 out of 10) Over and over have I listened to _Ugliness Revealed_. I even made a list of things I found interesting about this record and things that I would have done differently. First off, coming from Tokyo, I was instantly drawn to the band. "Oh, something different", I thought. Getting into _Ugliness Revealed_, I delighted in this band's skillful use of atypical beats and "off rhythms". Very wicked indeed. Fitting intros to most songs are a huge plus and, of course, Defiled's speed is nothing if not a bonus. Lastly, having a previous history with Brian Griffin in 1997 bolstered my respect for this Japanese outfit instantly. The drawbacks, however few, have unfortunately largely counterbalanced my built-up esteem for Defiled. Other than the astute use of unique tempos, Defiled's material is same-y and too _Reborn in Chaos_-esque to be overwhelmingly original. Will I listen to Defiled often? No. Do I think they may have an impossibly bright future should they develop themselves further musically? Very definitely! Contact: http://www.necropolisrec.com Demence - _Goutte a Goutte_ (Neoblast/Warfare, April 2001) by: Adrian Bromley (7.5 out of 10) The last thing that I had heard from Montreal death metal / gore act Demence was 1996's _Total Demembrement_ CD and that was a long time ago. Just where would the band's sound be in 2001? Would they still sing in French only? Would they still sing about the evils that men do? In short: could they deliver the goods? After a few spins, I think it is safe to say that Demence have managed to stay focused and not lose their touch over the years. _Goutte a Goutte_ is a punishing and brutal assortment of tight death metal numbers that shape themselves around heavy grooves, technical guitar playing and sadistic vocal growls. The one thing I like about Demence is the kind of dark humour they bring to death metal. You can see it in their artwork and I am sure the lyrics are laced with witty humour (I can't read/write French). Best tracks here: "Vilaine Locuste", "Cervivore" and the title track. Fans of other Quebec acts like Cryptopsy, Quo Vadis and Ghoulunatics will want to find out just what Demence is about. Contact: Demence, 5840 St-Andre Montreal, Quebec H2S 2K4, Canada http://www.neoblast.com/demence/ Desecrator - _Negative Progress_ (, 2001) by: Adrian Bromley (7 out of 10) It is safe to say that Desecrator are indeed good musicians -- just listen to their latest offering _Negative Progress_ --, but I do think a name change is in order. Desecrator sounds like some basement dwelling, brutal death metal act out to shred more riffs than humanly possible, and not a name associated with a gifted prog metal / '80s inspired metal act from New York. In the vein of Iced Earth and Jag Panzer, throw in some synth-inspired ideas a la Rush/Styx and the epic range of early Iron Maiden, and you have the sound of this band. Good, long and interesting song structures for the most part can be found here, with only the cover of the Kansas classic "Dust in the Wind" having me shake my head with some form of uneasiness as I listened to it. Great song, wrong band to cover it. Anyway, the music of Desecrator flows with a deep sense of melody and strong guitar work, aided nicely by intense vocal ranges. While I was excited over the work of another prog metal-tinged band (see Monument), Desecrator make a real lasting impression here. I hope they change their name, 'cause I really think it'll give people the wrong impression of what they are all about. Plus, they'll miss out on the truly impressive numbers like "Strive for Perfection" and "The Struggle Between Good and Evil" if they don't give them a chance. Contact: P.O. Box 170 Celoron, NY 14720, USA http://www.desecrator-usa.com Detachment - _Suspended in Stone_ (, 2000) by: Brian Meloon (9 out of 10) As I've been saying for years, the main problem with Top 10 lists is that they're out of date almost immediately after being put in writing. Such is the case with my Top 10 of 2000 list, as within days of the release of CoC #52, I received two releases which belong in my top 10: Mutant's _The Aeonic Majesty_ [CoC #47] and Detachment's _Suspended in Stone_. Detachment hail from the metal hot spot of Cedar Rapids, Iowa, but their album was recorded at Morrisound, so the production is excellent. Their music is technical, melodic thrash with keyboards, similar to old Nocturnus, but tighter, catchier, more diverse and less sci-fi. As with Nocturnus, their music has a good degree of keyboard work, though the music is heavily guitar-based. The keyboards add melodies and atmosphere to fill out rather than dominate the band's sound. The vocals are shouted in a style which suits the music, but there are some sections with decent power metal style clean vocals ("Empty Attack"). The songs are moderate in complexity: not repetitive, but not straightforward, and generally show a good mix of tempos and riff styles. The playing is excellent on all counts: varied and interesting, as well as being very tight. In particular, the guitar work is exceptional, as their guitarist handles many different styles -- from tight, staccato harmonized single-note lines to chunky power chords to quirky, percussive sections -- with ease. His solos are technical, but appropriate for the song, and not overused. The band diversifies their sound with some experimental sections, most of which are well done, but feel a little out of place. The Cynic-influenced jazz break in "Bloodmirror" is one such section. Overall, this is a very impressive debut, and I hope to hear more from the band in the future. Their website is currently under construction, but it does have some links to downloadable MP3s. Tracks I'd recommend as examples of what the band is capable of are "Unintelligible" and "Empty Attack". CDs are available from the band for now, but the band is working on wider distribution. Contact: mailto:detachment_1@hotmail.com http://www.detachmentkicksass.com (website) http://www.musicbuilder.com/detachment/ (MP3s) Evanesce - _Sower of Sedition_ (Retribute Records, September 2000) by: Pedro Azevedo (7 out of 10) "When I wanna feel close to my special friend Jesus, I sing him a very special song. You wanna hear it?" And then begins "Winters Sun", track seven of _Sower of Sedition_. Evanesce occasionally make an effort, either through a sample like this one or some unexpectedly more subdued instrumental passage, to keep the death metal on _Sower of Sedition_ varied. Evanesce's style of death metal reminds me most of Malevolent Creation's recent efforts, as the band opts for rasped vocals instead of a death grunt much like Malevolent Creation. Evanesce differentiate themselves somewhat from the death metal masses, even if not in a particular original way, and achieve rather pleasant results through their competent musical skills and very reasonable songwriting. The aforementioned "Winters Sun", "Autumnal Death", "Eternal Decadence" and "Second City of Empire" (the only song where they use some death grunts) are all good tracks, and the band occasionally even hints at what might be a slight influence from At the Gates. Evanesce keep things reasonably varied in terms of pace and style, and although not brilliantly, they do succeed in generally keeping the listener interested. A very decent debut in which Evanesce show a good amount of potential. Contact: http://www.evanesce.co.uk Contact: Retribute Recs, P.O. Box 76, New Ferry, CH63 0QT, England mailto:retribute@aol.com Falconer - _Falconer_ (Metal Blade, April 2001) by: Alvin Wee (10 out of 10) For the benefit of readers with short attention spans: BUY THIS!!!!! I haven't been this excited about a new power metal release since Freedom Call's debut, and even then the potential this new outfit shows puts the majority of recent German endeavors to shame! Ex-Mithotyn Viking-warrior Stefan Weinerhall drops his black metal ethic here in favor of a pure folk-based power metal direction not unlike Blind Guardian, producing as close to a perfect album as I dare to imagine. A few seconds into the opening track is all it takes to convince this stunned reviewer of the miraculous powers these guys possess: such a combination of astounding musicianship and divinely-inspired songwriting has seldom been attained in the history of melodic metal. Drawing together the best of the band's Mithotyn-folk past and traditional Maiden-inspired heavy metal, the mesmerizing beauty and infectious energy of metal-hymns like "Wings of Serenity" scale infinitely epic heights while never succumbing to the overblown cheese of Freedom Call or At Vance, retaining its freshness and appeal even after countless replays. Olde English-style ballad "A Quest For the Crown" sweeps many of Blind Guardian's similarly-themed tracks under the carpet for the moment, conjuring up the days of minstrels and bards with its insidiously catchy, authentic-sounding refrain. Traditional seabound rockers like "Royal Galley" put the band on dangerous par with benchmark-setting pirates Running Wild, yet maintaining a distinctly unique sound of their own: something one can only describe as Mithotyn-ian. Lead minstrel Mathias Blad issues a spirited challenge to the ranks of famed metal vocalists like Jeff Scott Soto or Rob Rock, drawing on his unique experience as a full-time stage-musical singer (this I gathered after hearing a radio interview with Stefan), bringing a whole new vocal dimension -- exciting and vibrant -- into a tired genre. Stefan's inimitable songwriting shines through with the impeccable Los Angered Studios production, and even on the twentieth listen, I still marvel at the melodies of the characteristically florid leads on "Substitutional World" and the opening track. Attempting to describe this unbelievable sound in mere words is futile: you have to hear it to understand it. The limited first edition also comes with a bonus track: a purely traditional folk song (reminiscent of Storm's old material), and absolutely worth the extra effort obtaining. All I can say is: beg, steal or borrow; this album is worth dying for, stunning cover-art and all! Blows away all of Mithotyn's back catalogue (not an easy thing to do by any standard), proving the change of direction a worthy one. Without a doubt slated to be this year's top power metal release, and definitely one of the most important releases in the history of the genre! Feikn - _Helhesten/Aamanden_ 7" (Horror Records, 2001) by: Alvin Wee (9.5 out of 10) If you think you've seen this reviewed ages ago, you're right. But the recent re-release of this obscurity on beautiful picture vinyl by Denmark's Horror Records warrants a short note. That the entire edition sold out rapidly from even an underground label like Horror Records attests to the quality of material on offer here. Two tracks of highly, -HIGHLY- atmospheric black metal on offer here, the likes of which hasn't often been encountered since _For All Tid_ and _Bergtatt_. True fans missing the good old days of muffled guitar and soft acoustic passages interspersed with fast yet atmospheric mayhem shouldn't miss this for all the world: one listen to this and you'll be digging up all your old Manes stuff. Coming on a beautifully rendered picture-7" and hand-numbered to 111 copies, this one's sold out from the label too (yes that's right, instantly again) but finding it on distros shouldn't take too much effort. Fictional Prison - _Dream Killer_ (, 2001) by: Adrian Bromley (3 out of 10) Holy bizarreness, Batman! I have to tell you CoC readers, it had been a long time since a record (indie or major label) had really turned my stomach and thrown me for a loop. Coming across the CD for review, I was unsure of what to expect, but from having done this for so long and seeing the layout, song titles and images, I was able to conclude that Fictional Prison would be some kind of progressive rock band. I was somewhat close. This Ohio band plays a really bizarre mixture of progressive rock, hard rock and heavy metal, all tossed into a smorgasbord of sounds and more emotional ups and downs that my grandmother on medication. Think Rush meets Queensryche meets Savatage meets King Diamond and throw in a huge helping of "look what I can play" guitar riffs. Too weird for me to take in. I also have a problem with the singer -- front man Caine gets a little too theatrical for me at times as the disc goes on and that was a total turn off. This isn't a dream, more like a nightmare. Contact: 1519 Harrison Ave. SW, Canton, OH 44706, USA Freedom Call - _Crystal Empire_ (SPV, 2001) by: Alvin Wee (8 out of 10) As much as I'd like to give _Crystal Empire_ another perfect score, something inside just refuses to click. Despite the flawless scripting and performance of each anthemic track, _CE_ just gives the impression of another band going the HammerFall / Nocturnal Rites way: too much of a good thing can hurt. An entire album of "everybody-sing!" choruses and saccharine-sweet melodies is hard enough to bring off as convincing, let alone a sequel of almost-identical nature. Notables include the incredibly cheesy yet somehow embarrassingly catchy "Pharaoh" with its plodding, epic chorus; the blazing "Call of Fame" is reminiscent of latter-day Gamma Ray in its punchy delivery. Closer "The Wanderer" adopts an almost Blind Guardian-esque folksiness, only to lapse into another fairy-tale chorus to make Helloween sound like Venom. If you find yourself inadvertently singing along... don't say I didn't warn you! Semi-legendary Charlie Bauerfeind seems intent on outdoing himself behind the consoles once more, gifting the album with a rock-solid production that puts 1999's _Stairway to Fairyland_ to shame. Still, all the lavish packaging cannot disguise the fact that Freedom Call plays a style of music that's ambrosia only in small quantities -- and no more than that. Funeral Rites - _Necroeater_ (Painkiller, 2000) by: Alvin Wee (4 out of 10) A somewhat old release, but since Painkiller sent it over I thought I'd say a few words. Not that there's a lot to be said about this Japanese quartet claiming to play old-school black metal. If "old-school" has become a euphemism for "outdated", then I'd agree fully with the greatly overstated bio. Seven "Hellish" (certainly not my words) tracks of generic Norsecore replete with kindergarten-level keyboards in the vein of old Covenant don't make for much of a listen, and the fact that most tracks are re-recorded material from their demos barely accounts for the lamentable lack of originality on the album. The embarrassing simplicity of keyboard instrumental "Disenchantment" could make even Mortiis weep with pity. In all fairness, there isn't really anything truly horrendous about this album; it's just the absolute lack of -any- imagination that makes it such a drag. With country-mates like Sigh, Sabbat and Ritual Carnage vying for our attention, this is the stuff we really don't need clogging our shelves. Then again, if you love old Covenant... Contact: mailto:painkiller@infonie.be Funker Vogt - _t_ (Metropolis, 2001) by: Aaron McKay (5 out of 10) Heavily rhythmic, dance-infused electro industrial power is a good description of Funker Vogt, but especially as that statement relates to their newest offering, _t_. I would strongly encourage reading my review of _Maschine Zeit_ in Chronicles of Chaos #49. Much of what I imparted to you, the CoC reader, in that review still holds true for this Funker Vogt offering. Charged electronics disclose the stripped-down, back-to-the-basics effort this band is know for can be found all through this double disc, fourteen track escapade. Some claim they bear witness to KMFDM influences in FV's material -- I do not. Funker Vogt, in my opinion, maintains their own identity, though a strong argument could possibly be made to the contrary. The reason for my uncharacteristically low tally for this usually superior band is the lack of any standouts on this release. I can find no track to point out to you as if to say, "listen to this cut -- it is -really- great". A fine band, but I would rather have -one- CD from _Maschine Zeit_ than -two- from _t_. God Forbid - _Determination_ (Century Media, April 2001) by: Adrian Bromley (9.5 out of 10) If there was any record hitting the market this year that will surely decimate the metal population, God Forbid's debut CD for Century Media titled _Determination_ will surely be leading the charge. Not since The Haunted's self-titled disc a few years' back has a debut disc just knocked me right on my ass. Singer Byron Davis leads the attack with his bellowing screams of aggression as the tight outfit hits solid strides with their rhythm section and creates havoc with the shredding guitar riffs and stomping groove. The shape-shifting sounds of the band, from a violent charge to powerful groove sections, has to be one of their most appealing qualities, as does the intense production. Never does the disc weaken with material, as the listener is constantly embracing eat wallop as the songs keep coming. This is just one solid beating. It is safe to say that God Forbid push all the right buttons on _Determination_ with the brutal factor, but are smart to leave enough room for them to move things around and keep us coming back for more. Haste - _When Reason Sleeps_ (Century Media, March 2001) by: Adrian Bromley (8 out of 10) It's a given that sophomore albums are the most crucial in any band's career. You might make an impact with a debut disc, but the second album always means more. Scary thought, I know, but how many bands can you think of that faded after a debut disc? HammerFall, anyone? Well, Alabama hardcore/metal sextet Haste don't have to worry about being pushed to the wayside with their second offering _When Reason Sleeps_, as it pummels the listener with its dual vocal assault and some of the mightiest guitar riffs to embrace hardcore music in some time. In other words, this is balls to the wall intensity. And while heavy on the intensity, the dual vocals allow Haste to add a much deeper sense of melody to the aggressive nature of the band. Don't believe me? Just check out numbers like "Confessions of a Lesser Known Saint" and "Engine" and see how the band are capable of reaching highs in both aggression and melody. Tres cool! If I was to put my finger on the real uniqueness to Haste, I'd have to say it has to be the unique vocal arrangements the bring into the sometime derivative hardcore realm. I'm excited about seeing these guys on tour this year and so should you. _When Reason Sleeps_ is worthy of multiple spins this year. Himinbjorg - _Third_ (Red Stream, 2001) by: Aaron McKay (9 out of 10) While this is exactly the same rating I gave _In the Raven's Shadow_ back in 2000 [CoC #46], I think the fact that _Third_ is an MCD means it is at least a half a step superior. In all actuality, I am thinking seriously about including this latest Himinbjorg piece of divinity on my Top 10 releases of 2001. Yes!, I realize it is only March, but it is -that- good. A blistered and chapped Opeth/Burzum feel slyly runs through _Third_ as it coils around your interest peaking your intellect. I think that you will find it is one of the finest French arctic chills you've ever had creep over you, freezing your comprehension. Deep diversity, atmospheric anomalies and monumental moods sweep consistently through _Third_'s twenty-five minutes and forty-seven seconds. I'd get my hands on a copy of this if you knew what I know. hurt - _hurt_ (, 2001) by: Adrian Bromley (9 out of 10) If you are looking for no-nonsense, straight-ahead vile and extreme grindcore music, then look no further than disturbingly violent Canuck act hurt. Trust me, the name does this band justice. Transplanting themselves from the prairies of Canada to Vancouver, BC, hurt have spent years trying to take their music to the extreme. Y'know? Push the boundaries of where they can and can't go. As the years have gone on, it is quite obvious that hurt have managed to grow as a unit and with their violent approach to music making. And these guys say they want to take it more extreme? Wow! And while chaotic for the most part (just listen to songs like "deemon" or "lobo"), there is not much I can say other than that fans of Brutal Truth, Discordance Axis (RIP) and Pig Destroyer should scope out these guys and get all whacked out on their crazy-ass songs. In closing, I'll pass this bit of info onto you. The bio on their website says: "No one will be safe from this sonic onslaught. Be forewarned!" Don't say I didn't warn you. Contact: mailto:hurt@idirect.ca http://www.hurting.org Ikon - _On the Edge of Forever_ (Metropolis, 2001) by: Aaron McKay (8.5 out of 10) Strong, stalwart goth rock is what Ikon lays on the cheerless masses with textures of despondency caked on in liberal strokes. Incredible song structures comprise _On the Edge of Forever_ from start to finish. Hailed as the die-hard cross-bearer of the Ikon heritage, Chris McCarter (vocals, guitars, keyboards) works a nice wreathe of clean vocals, sounding at times like The Jesus and Mary Chain or Clan of Xymox, and instrumentation communicating a flushed out, sullen message. This Australian enigma known as Ikon has an inexorably powerful sound pulling musical edifices off ever-so-lightly from Egyptian culture, blurring the point of knowing for sure whether Ikon is talking about the ancient pharaohs or you. Clocking in at over fifty minutes of preeminent goth rock, _On the Edge of Forever_ is as curious as the Sphinx and prying as the thieves of Giza. While inspired from onset to conclusion, the treasure in my mind is just before the finish of the disc. "Afterlife" and "World Beneath the Sand" are positioned so perfectly as closing tracks, Imhotep's architectural prowess could not have placed them any better. Impaled - _Choice Cuts_ (Deathvomit, March 2001) by: Aaron McKay (5 out of 10) Growth seems to be the least of this band's concern. Staying the course, on the other hand, is what Impaled is all about. In CoC #48, I reviewed Impaled's _The Dead Shall Dead Remain_. In #50, I interviewed Leon Del Muerte. Little has changed with this band since then, save this new effort. Exactly a year to the month later, these grind/gore fiends issue forth what they appropriately dubbed their "greatest shits". The tracks comprising _Choice Cuts_, I understand, are mostly unreleased and certainly rare. Serving to pacify fans, _Choice Cuts_ does its job exhaustively with demo versions ("Immaculate Defecation", "Flesh & Blood", "From Here to Colostomy", etc.) to Carcass and Impetigo covers ("Carneous Cacoffiny" and "I Work for the Streetcleaner", respectively). Two new tracks can also be heard on _Choice Cuts_: "Nightsoil" and "Until Death". Expect the same unfailing Impaled sound and style on both of them. Thirteen total songs on this effort to be offered at an EP price, I believe. Impaled fans should relish this, but from my perspective the new full-length to be recorded this coming Winter has a better than average shot at being something more notable. Why? "Nightsoil" and "Until Death", while very representative of Impaled's gore-ish nature, have a certain potential that, properly developed (choppier and more rhythmic), could be their ticket outta the gutter slime and cess. Then again, I'd bet Impaled like it there. Contact: http://www.impaled.net Judas Iscariot - _Dethroned, Conquered and Forgotten_ +4 LP by: Alvin Wee (8 out of 10) (No Colours, 2001) If you think you've seen this review before, you're not completely wrong. But Germany's No Colours has performed another masterstroke by releasing the MCD on vinyl, and throwing on the sought-after, impossible-to-find demo from 1993 that was pressed in only 20 units(!!). For a full review of the MCD material, refer to CoC #50 (although it can't be said I hold the same views -- sorry Aaron!). Raw, bestial and black to the extreme, the material from the eight-year-old demo holds up surprisingly well considering what Akhenaten is doing today, and it's hard to believe that the band is only getting the attention it deserves these days (1997's _Of Great Eternity_ is way out of print and has been all but ignored). Total Burzum worship that wouldn't have sounded out of place in the old scene, and a grim reminder of the direction the wayward scene has taken since then. Of course, the simplicity of tracks like "The Cold Earth" reveal the immaturity of the recording, but hugely atmospheric cuts like "In Den Quaelen de Hoelle" benefit greatly from the rawness of the production. Certainly a cult demo up there with the legendary ones like Strid and Carpathian Forest (back then). Worthy of any Nargaroth / Mutiilation / Abyssic Hate fan to check out, just for the rare demo tracks, especially on this noble, limited piece of vinyl. On a side note, the band seems to be German, but the letters I exchanged with Akhenaten years ago were to/from the States. Go figure. Jungle Rot - _Dead and Buried_ (Olympic Recordings, 2001) by: Aaron McKay (9.5 out of 10) I'll be hung, drawn and quartered (to borrow unpretentiously from a Cancer song) if this CD from Wisconsin's Jungle Rot isn't one of the most riff-ervescent packages ever crushed onto disc. Unlike the camouflaged disc and the _Dead and Buried_ cover would have you believe, this effort is anything but covert -- instead, I would call it the most in-your-fucking-face blast of aggressive confrontation since Dying Fetus' _Purification Through Violence_ [CoC #20]. Great riffing, superiorly technical, and commandingly engaging is this effort. I'd have to say that _Slaughter the Weak_ solidified Jungle Rot's position in the front line of old school extreme death metal, but the raw frontal blitzkrieg executed on _Dead and Buried_ is top brass! Take for instance the choppiness about the one minute and twenty-three second mark area of "Strangulation Mutilation", track five; its roller-coaster guitar chops rhythmically smite the listener violently into a bass line to rival old Overkill on a very good day. "Red Skies" holds the crown for brilliance in sniper-fire, fox-hole slammingly heavy cuts, however. No doubt this newest Jungle Rot slice of rapid-fire barbarity will capture your attention like a firing squad filling a mass grave with civilian women and children. Probably "Top 15" material so far this year for this reviewer. Certainly an advised purchase. Kaos Rising - _Wiped Away_ (, 2001) by: Adrian Bromley (6 out of 10) If I had to lump independent Illinois act Kaos Rising into a grouping of bands who they sound like, I'd have to say Soulfly and/or Skinlab, though with a real brutal death metal stomp to things. Now some may be cringing at that comparison, but this is 2001 and bands like Soulfly and Skinlab can easily be pinpointed as bands that really help establish a solid hardcore/metal groove in metal music. And while those bands are no doubt influences, it is good to see Kaos Rising taking a few bars of inspiration from the classic brutal death metal sound. The combination of both styles helps reinforce their attack, a menacing flow of sinister vocal cries and thick guitar riffs that slash 'n' mash the listener. Kaos Rising are good at what they do, and it is quite obvious they put a lot of work into their band, but I'm hoping they can find a style/sound that they can call their own. I can see some metal fans out there that might listen to their sound and say it has been done before. Let's hope it doesn't come to that with their music in the future. Choice cut: "Pieced Through". Contact: P.O. Box 375, Monea, IL 60449, USA mailto:kaostorise@aol.com http://www.kaosrising.com KorovaKill - _WaterHells_ (Red Stream, 2001) by: Aaron McKay (4 out of 10) Trying to cope with the ebb and flow of this Austrian outfit was like shoveling shit against the tide. Not always a bad thing saying that one cannot easily affix a label to a band immediately, but for KorovaKill it is a mixed bag. The music is often incredible: meticulously played and extremely interesting for the black metal the band claims they belong to. The guitars are gritty, with enough choppy texture to fishnet the interest of even discriminating aficionados. "Drown Symphony", toward the beginning of _WaterHells_, employs many devices to snare intrigue. Well used female vocals (on this track) complement the rough and choppy guitar riff and the deeper vocals lull you in like a lighted port in the storm. My favorite track immediately follows "Drown Symphony": it is entitled "Into the Waterwhils". The song is heavy, somber, but with a quicker tempo. The gruff vocals wash against the sand of your perception with grace witnessed only in the talents of this planet's aquatic inhabitants. Some less than complementary points I would raise might include doing away with the female vocals utilized hit-and-miss on _WaterHells_. Infrequently used, KorovaKill could have drowned the listener in washes of feminine ambience, but I feel _WaterHells_ is overkill in this area. The male vocals stretch from clean to husky to strep-throat a la King Diamond on _Them_. I would struggle to call this effort black metal. Dive into this submersible of an effort if you dare. Personally, I'd stay high and dry and look into something that would provide me with less of a sinking feeling. Lacuna Coil - _Unleashed Memories_ (Century Media, March 2001) by: Adrian Bromley (8.5 out of 10) I'll admit it, folks. I'm in love with Cristina Scabbia's voice. Not only is the woman a work of art physically, but her voice is so angelic and so mesmerizing, it just leaves me powerless with each listen of Lacuna Coil's new disc _Unleashed Memories_. While the Italian band has grown tremendously since their self-titled EP debut for Century Media back in 1998 [CoC #31], the band still maintains the gothic elements and dual vocals they had early on. And that is a good thing. While change has come to the band, no doubt in Scabbia's vocal range and the songwriting aspect of the band, Lacuna Coil don't show off too much with what they do. They just do what needs to be done and move on. Some of the grander moments that permeate throughout _UM_ are songs like "Heir of a Dying Day" and "When a Dead Man Walks", songs that reek of perfection and long hours trying to bring an epic feel to them. I've always liked the dual vocals of Scabbia and Andrea Ferro (growls), a trait I've always appreciated with another great band, Within Temptation. _UM_ is a great record for fans of metal music to take in nowadays, because not only does it offer a solid set of variety, it also takes you on a journey that few bands can take you on. Brutality is left at the door with Lacuna Coil, only to have it creep into the music for short intervals as the beautifully sculpted sound flickers and regroups to take shape as another stunning display of musicianship. This record should break Lacuna Coil open big time -- at least I'm hoping it will. Love Like Blood - _Chronology of a Love Affair_ by: Aaron McKay (9 out of 10) (The End / Hall of Sermon, 2000) My first experience with this goth rock troupe was the "Shed Your Skin" track on the _Beauty in Darkness_ compilation about 1997. The Eysel brothers' music was instantly alluring as their respect for the darker aspect of music unfolded before me by virtue of this single track. _Chronology of a Love Affair_ has a truly professional feel due to production being handled by Gunnar Eysel at Spacepark Studios. There are many things I would point out in relation to this album, but in the interest of brevity, I'll say this: _Chronology of a Love Affair_ is a very fine effort. The CD, running over seventy-eight minutes in length, is a chronology (hence the name) of some of the biggest and more respected goth bands during the majority of my music listening background. For the most part, this release is the textbook definition of a compilation. Love Like Blood spared no expense in time or trouble making this disc one of the better gothic group "tributes" I have heard. Broken down into four time frames, LLB embraces the founders of the movement ('80 to '85), the distant past ('86 to '90), the recent past ('91 to '95) and, more-or-less, the present. Joy Division, Bauhaus (yea! Peter Murphy), The Cure and The Sisters of Mercy constitute the founders of the genre on _Chronology of a Love Affair_. Christian Death, The Mission, The Cult and Jesus and Mary Chain are more of the past far removed. Fields of Nephilim (McCoy's great "Love Under Will" from 1994's _Revelations_), a redone version of LLB's "Injustice" (from the MCD _Ecstacy_), Killing Joke and Paradise Lost all from the not-so-withdrawn age of yesteryear. Most recently categorized on _Chronology of a Love Affair_, Love Like Blood features works from Lacrimosa, Type O Negative, Tiamat, and yes, even a notorious Marilyn Manson cover of "The Great (Big) White World". Unlike Love Like Blood's past renditions from David Bowie, Rolling Stones or King Crimson, this compilation is a fine representation in their own style of dark/goth rock from historically prominent musicians in a methodically laid-out package that can hardly be topped. If this kind of thing blows your hair back as it does mine, I'd not hesitate in snatching myself a copy of _Chronology of a Love Affair_. I've enjoyed every minute of this musically lyrical escapade. I hope you will, too. Contact: http://www.theendrecords.com Contact: http://www.love-like-blood.com Marduk - _La Grande Danse Macabre_ (Regain, 2001) by: Matthias Noll (8 out of 10) Marduk, I think most of our readers will agree, is a band with a rather limited creative potential. Unlike artists who try to explore unknown, visionary territory, Morgan Hakansson and co are extremely skilled craftsmen -- engineers rather than visionaries -- capable of utilizing their skills within a given framework, determined by the merciless laws of the True Black Metal style. On their last studio record, _Panzer Division Marduk_ [CoC #42], they made the right move for a band with such a handicap: they avoided the creativity trap by moving into an even more extreme direction and occupying the throne of the fastest black metal band on earth. Let's not forget that being "the fastest" has been a very popular idea for twenty years or so and countless bands have made this claim. What ultimately matters is that Marduk have succeeded and others haven't. Now that with _LGDM_ the focus has switched back to a more varied, almost unspectacular approach, Marduk's limitations aren't camouflaged by the over-the-top onslaught that characterized _Panzer Division Marduk_. These limitations I see are a rather small arsenal of really inspired riff and break ideas (especially in the mid-tempo range), the foreseeable structure of almost all material on _LGDM_ once the first couple of seconds have indicated the general direction of the song or section, and Legion's unidimensional vocals. This might be true for older material as well, but increased diversity puts it more into the spotlight -- _Nightwing_, for example, had better songs and its two-part structure worked in favor of the general flow. Nevertheless, the super-tight ferocity of faster-than-the-speed-of-light tracks like the opener "Azrael" or the slow and pounding "Bonds of the Unholy Matrimony" are highly impressive and no song on this album is what you would call weak. The accompanying lyrics, which deal with the last theme in the trilogy of blood, war and death, are quite acceptable with the exception of "Jesus Christ... Sodomized". Featuring gems like "Piss on Christ and kill the priest, follow nature -- praise the beast", this is even more stupid and hilarious than almost anything I quoted in my German Metal Lyrics article in CoC #50. If they just wouldn't try to put such crap in rhymes... Excuse my ranting, but I really wonder how someone can seriously consider Marduk to have more integrity than bands with T-Shirt backprints like "Jesus Is a Cunt" or "Cunt Hunters of the Night". Production-wise, the Tagtgren brothers have done another good job and provided the instruments with more space than ever. They have even avoided to make _LGDM_ too Abyss-typical. I would have preferred less treble in exchange for more guitar volume, low end and distortion in the mix, which would have enforced the heaviness of the slower material, but overall the sound is good. With respect to clarity, it is probably the best Abyss work to date. In conclusion, this is a decent, diverse record, unfortunately with some weaknesses that make it inferior to both _Nightwing_ and _Panzer Division Marduk_. It is by no means a milestone, but certainly a necessary purchase for black metal maniacs and of course all of Marduk's broad fanbase. Mentallo & the Fixer - _ Return to Grimpen Ward_ (Metropolis, 2001) by: Aaron McKay (6 out of 10) Mood inducing, beat driven, open-minded industrial tracks flaunt themselves unashamed all throughout _Return to Grimpen Ward_. Totaling fourteen tracks, _Return to Grimpen Ward_ is the latest in a -long- history of releases from this Texas duo who also happen to be brothers. Drawing from a predisposition to bands like The Cars and Gary Numan ("Cars", also -- how 'bout that?), Mentallo & the Fixer began to lay down a framework for new wave material only from their perspective. Coming to Metropolis Records with their last album, _Love Is the Law_, _Return to Grimpen Ward_ denotes only the second release for the band on this label after a history of ten previously, by my count. As you can see, Mentallo & the Fixer have a nice, congenial past of utilitarian efforts that give them a perspective few in the industrial genre possess. Very light, pulsating measures drive songs like "Murders Amoung Us" ever-so-slightly into our sub-conscience. Buttress your skepticism upon Mentallo & the Fixer's history. I can assure you, I did. Other than a somewhat lack of stimulated ingenuity -- hence the rating --, I was, for the most part, not disappointed by the harvest brothers Mentallo & the Fixer (Gary and Dwayne Dessing) reaped with _Return to Grimpen Ward_. Midnight Syndicate - _Gates of Delirium_ by: Adrian Bromley (9 out of 10) (Entity Productions, April 2001) Having followed this band for almost as long as CoC has been around (just comb through the many reviews we have done on this band), the latest installment of horror-inspired atmospheric numbers by Midnight Syndicate is no doubt their most impressive and mind-blowing. Midnight Syndicate, comprised of the duo Edward Douglas and Gavin Goszka, take their visions of the macabre and transform them into huge theatrical numbers that are as eerie as they are magnificent to take in. This is soundtrack music that no doubt inspires the listener to become part of what is going on. _GoD_ is inspired by the madness that goes on within a turn-of-the-century asylum and the treatment of the patients, but there is a lot more to the ambiance of the album than just that. Each listen proves to be as rewarding as the last one. Truly pioneers in their field, this may just be the record that allows Midnight Syndicate to get noticed outside of the realm of fans that already swear by their talented work. Not only should the new disc be heard from start to finish without interruptions, may I suggest a dark candlelit room and just headphones. Geesh! I'm getting freaked out just imagining that. Take a bow Midnight Syndicate, your work is marvelous and oh so creepy. Contact: 7100 Rushmore Way, Concord, OH 44077, USA http://www.midnightsyndicate.com Contact: http://www.entityprod.com Minas Tirith - _Demons Are Forever_ (FaceFront, 1998) by: Chris Flaaten (9 out of 10) Since I refer to Minas Tirith in this issue's Chaotic Concerts, I thought it would be natural to include a retro-review of their newest album as it hasn't been previously reviewed in CoC. Despite having a name from Tolkien, being Norwegian and having opened for Mayhem in Jessheim 1989 and now recently in Oslo March this year, Minas Tirith is not a black metal band. Far from it. They have been around for a long while, but they still have only released one album that wasn't self-financed. This album was released on FaceFront, Norwegian Scream Magazine's tiny label (see contact information below). _Demons Are Forever_ opens with a spooky, somewhat annoying intro. Disregard it -- the music starts at track two. This music is not easy to describe, though: it is truly unique. Imagine a technical fusion of heavy metal, progressive death/thrash with the feel and, at least to some extent, sound from Nevermore's 99(!) release _Dreaming Neon Black_ [CoC #38]. Minas Tirith, a three-piece consisting of extremely talented musicians, have the tightest sound I have ever heard. This comes out especially well in the production of this album, perfect for their "one for all, all for one" style of playing. Bass, guitar and drums have equal weight and on top comes bassist Frode Forsmo's clean, elegiac vocals and death grunts. The album, along with the songs themselves, is greatly varied and you'll hear everything from black metal riffs to cheerful strat-harmonies. Don't let that last statement of merriness, nor song titles like "NecroNoMicOn" or "Mad Alpha (Lunatic-tac)" scare you, though. This album provides a depressive, misanthropic feel, thanks mostly to the vocals and lyrics. Minas Tirith has, in their trademark eccentricity, produced an album that requires some spins before it really makes sense, but it won't take long before it has crawled under your skin. If you like tight, technical metal you should be pleased. Hopefully these musketeers will get a deal with a bigger label and release another album soon, I crave more! Contact: FaceFront, Postboks 3865, Ulleval Stadion, N-0805, Norway ($15) Monument - _The Millennial Death of Success_ (, 2001) by: Adrian Bromley (8 out of 10) If Monument singer Kirk Callaway had to round up the troops to pick a certain style of metal music to play and stick with it, I don't think he and his band could do it. I don't think I would want them to do it. Why ruin something good when it all seems to be headed in the right direction? Monument's third release _The Millennial Death of Success_ is a wonderful array of song vocal styles, prog/power metal musicianship and an old school thrash element that just seems to shape this into a stellar release from all angles. Right from the in-your-face assault of opener "Guilt Is the Sin", the guys have you by the throat, dragging your ass right into the thick of things. And while the power metal aspect of their sound is obviously one of the draws of this band, their metallic heaviness and doom-like groove at times adds a real treat for the listener with _TMDoS_. With the success of such bands as Iced Earth and Nevermore in the past few years, I can definitely see fans of those two acts latching onto Monument and being excited about what they are provided here with. While Monument are still on an independent level, they could easily pass for a signed act on the Century Media or Metal Blade roster. I can only imagine what better production would do to this already impressive sounding disc. Monument are indeed a talented independent act that know the importance of honing your skills with years of practice and taking the time to let the buzz build. Good things are surely coming their way. Contact: P.O. Box 892881 Oklahoma City, Oklahoma 73189, USA mailto:webmaster@monumetal.com http://www.monumetal.com Moshquito - _Worlds End_ (Morbid Records, 2001) by: Matthias Noll (3 out of 10) Once upon a time, in the land where Iron and Steel never rust, the Gods of Metal sat in their assembly hall and polished their mighty broadswords. Suddenly, from out of nowhere a voice was heard. "Gods of Metal, we summon thee!" "Oh no, not Germany again", one of the lesser Gods remarked, and they continued with their daily routine. "Gods of Metal, we summon thee" was heard again and probably because polishing broadswords all day long is a mighty boring task even for Gods, this time they acknowledged the summoning. "What is your desire?", they asked. "We are the band Moshquito and we need your advice." The gods looked at each other and replied: "Moshquito, despite your absolutely stupid band name we look upon you with great sympathy, because you have been around for more than fifteen years. You have even been worshipping us from behind the wall that once separated Eastern and Western Germany. Ask and you will receive advice!" "Gods of Metal, allow us to describe the problem", the band Moshquito said. "Unfortunately we have no clue how to write a song. We also do not know how to write a single really crushing metal riff, but we can come up with a high quantity of less impressive riffs instead. Further on, we have a singer who can neither sing, nor screech, nor growl, and doesn't have any real qualities. On the other hand, our rhythm section is quite tight and enjoys doing intricate stuff, even if they are no match for masters like Meshuggah or Watchtower. We also have no big budget and the sound engineer we plan to use for our next record is not very capable. Almighty Gods of Metal, please help us -- what should we do?" The Gods of Metal looked at each other, already regretting that they had offered their support. "Moshquito", they said, "Why don't you play covers?" "No way, we want to do our own stuff and we have a record deal", Moshquito answered. "Okay, your dedication honours you, Moshquito. There's only one way to go. Play very technical thrash metal. That way you don't need songs, but instead many, many breaks. Just try to sound weird and interesting and use as many average riffs as possible. You also won't need a good singer, because if you engage in pseudo-technical wankery long enough, you'll produce so much intricacy there'll be no need for melodies anyway. And don't worry about the sound. Even producers like our beloved Fredrik Nordstrom and Peter Tagtgren wouldn't be able to substantially improve your record. Now you must leave us alone and start to do the deeds of Metal!" "Gods of Metal, we praise you eternally. Allow us one last question. Will we be successful with that album?" "Moshquito, you are grown up people and you deserve to know the truth. You'll sell records only to your friends and families, because you do not have much talent. And now off with you, or we'll put you under the spell of the disappearing mullet, which will leave you bald-headed forevermore!" And so the band Moshquito, happy with the advice they got from the Gods of Metal, recorded their album, which will soon be available on eBay and bargain bins throughout Europe for extremely reasonable prices. Mourning Beloveth - _Dust_ (Bron, April 2001) by: Pedro Azevedo (8 out of 10) If the fact that a band with a name such as Mourning Beloveth has just recorded their debut full-length at the Academy Studios with Mags as producer doesn't ring a bell (or a whole lot of them), then you should probably skip to the next review. Otherwise, you can surely guess _Dust_ brings back strong memories of early My Dying Bride and Anathema. _Dust_, "a true Irish tragedy", is a crushingly heavy, mournful doom/death dirge comprised of five tracks that last for a total of about an hour. Mourning Beloveth combine sombre clean vocals with a majority of harsh death vox, and add that to the massive sound of their instrumental side. Dismal and bleak, _Dust_ is also an emotional record (though not exactly in a romantic way) that is not concerned with being innovative or experimental, but simply compensates that with quality. _Dust_ reminds me think of Enchantment's _Dance the Marble Naked_, but not because the music is particularly similar (_Dust_ is much slower). Enchantment's only record became, for various reasons, quite a cult album in the doom metal underground -- but either underrated or simply unknown outside it, and the band disappeared shortly after releasing _DtMN_. Here's hoping that Mourning Beloveth will have much more of a fair opportunity to succeed at a higher level. Contact: mailto:mourningbeloveth@ireland.com http://www.clubi.ie/primordial/beloveth/ Mudslinger - _Cover the Sun_ (Lord Slog Recordings, April 2001) by: Adrian Bromley (7 out of 10) Even though it may be hard to breathe at times with the air of heaviness bogging you down as Mudslinger plays on, the doom-influenced sludge machine manages to allow some breathing room as they storm through their tonnage of material. Only a bit, though. Taking some spirit from the ways of EYEHATEGOD and Soilent Green (in regards to the heavy sludge-tone), Mudslinger really digs deep into the ground to set up their attack of noisy mayhem, heard quite effectively on tracks like "Swamp" and "Lambs". The music of Mudslinger is pretty rock solid when it comes to really putting weight on the listener; it is the mediocre death-like growls that sometimes seem too pressured to reach the bowels of the earth that the music hits so effectively. A minor black mark on a disc that shows a lot of promise. I'll be spinning this for a while more till I get my hands on the new Soilent Green. Contact: mailto:dacouch@pacbell.net http://www.mudslinger1.com Nocturnal Winds - _Of Art and Suffering_ (Aftermath, February 2001) by: Alvin Wee (8.5 out of 10) After the numerous accolades gathered for their impressive debut _Everlasting Fall_, Finnish sons Nocturnal Winds opt for a more complex formula on _OAaS_. Way more technical than the catchy, almost simplistically enjoyable _EF_, the new album takes on progressive elements, melding the jazz-like dissonance into other more formulaic Gothenburg portions. The opener "Chaotic Universe of Mind" hints at the band's newfound ability with rapidly evolving hooks and rhythms, moving away from the beaten path and into more technical territory. I'm not really one for the dissonance of progressive death, but like Unmoored, Nocturnal Winds retain enough basic musicality to make listening bearable, unfolding in texture and complexity with each listen. Memorable leads still abound, like on the moving "Erased", but hidden in the sweetness lie the claws of the traditional Florida sound: "Winter in My Heart" opens with a pummeling intro foreshadowing all-out brutality only to diffuse into a nostalgic sound reminiscent of old Eucharist. If _Everlasting Fall_ was too sweetly "Gothenburg" for you, then give _Of Art and Suffering_ a try. Those who remember the good old days of _A Velvet Creation_ will appreciate Nocturnal Winds' newfound maturity. Contact: mailto:ruholm@online.no (Aftermath) Obsidian - _On the Path of Others We Follow_ by: Adrian Bromley (8 out of 10) (Rage of Achilles, April 2001) When I first read the sticker on the album cover ("Ex-members of Cradle of Filth and Infestation -- with guest vocals from Dani Filth"), I'll admit I was a little hesitant about putting on Obsidian. But relatively new British label Rage of Achilles' track record has been pretty good so far (i.e. Goatsblood and Catholicon) so I decided to give it a few spins on my boombox. Consisting of former Cradle of Filth / Infestation drummer Dave Hirschheimer and former Infestation lead guitarist Jamie Evans, Obsidian has managed to gather a strong set of individuals to help add to the demonic death metal assault this five-song EP provides us with. While songs like "Sunsets the Dawn" and "Self Inflicted Enslavement" are tight and as ferocious as can be, check out track five "Massada" (which features Dani Filth doing guest vocals). The sheer brutality of this song -- most notably the drumming and the growls of singer Pete Knight -- is unbelievable. A great closer for a real solid death metal release. Contact: PO Box 20508, London NW8 8WT, England mailto:rageofachilles@clara.net http://www.rageofachilles.clara.net Octinomos - _Fuckhole Armageddon_ (Baphomet, February 2001) by: Aaron McKay (8 out of 10) Like Judas Iscariot, Octinomos is comprised of a single individual: F. Soderlund, of Puissance notoriety. Possessing a proclivity for the misanthropic, Octinomos blasts forth with unhinged aggression and fury. Seven tracks pummel and batter the listener into complete and utter acquiescence. Having never heard this band's freshman effort, _Welcome to My Planet_, I can only guess at its unbridled passion, but calculated thought compels me to inform you definitively of the power _Fuckhole Armageddon_ holds in its command. I usher your attention to track five, "Wipeout", as it is currently my favorite of the bunch. Open disregard for conventionality, "Wipeout" dominates the release with its seething conviction and steep black metal prowess as it dips in and around the feast and the famine that _Fuckhole Armageddon_ controls. If the title doesn't perk your spirit up, the music surely will. When I communicate to you Mr. Soderlund is misanthropic, I am putting things delicately. Only the blackest of orbits are dim enough to estimate the far-reaching scope of Octinomos's dominion. A room with(out) a view. Opeth - _Blackwater Park_ (Music For Nations, 2001) by: Chris Flaaten (8 out of 10) My favorite band is out with their fifth album. When talking to other Opeth fans, no single album seems to be the most liked. Some favour their old material, some think they get better with each album and others, like myself, think _My Arms, Your Hearse_ [CoC #32] is their best yet. _Blackwater Park_ opens very much in the vein of _MAYH_ and my expectations enter lunar orbit. However, I notice the lack of linearity some minutes into the opener, "The Leper Affinity". They started including some verse/chorus elements on _Still Life_ [CoC #44] and this is now the norm on _Blackwater Park_. This does give the songs more identity, but of course makes the album more repetitive. Even though this is Opeth's longest running album, it contains the least music. The lyrics too are separated from each other, not following a concept like previous albums did. Well, enough about the structure -- let's delve into the music. Opeth have always flirted with progressive rock influences and have, by incorporating these into their extreme music, created a truly unique sound. On this album the prog rock elements are clearer than ever, and although this makes the music more melancholic and "beautiful", it also muffles the rawness and intensity and thus creates a small shift in their usual balance between brutality and beauty. This works well in "The Drapery Falls" -- a stunning piece with great atmosphere -- but in other songs I find myself yearning for more fuel. "Dirge For November" is a good example. After a one and a half minute long acoustic opening, the amps are turned on and the typical Opeth mellow-but-hard harmonies continue. This lasts for four minutes, though, with hardly any variation at all, and is then followed by a slow, repetitive acoustic guitar melody going on for two minutes. An eight minute Opeth song with essentially only three different elements... who would have thought? Still, there are solid enough quantities of well written music here to make this a good album; I just feel Opeth can do better. _Morningrise_ [CoC #14] was written over a five year period, _Blackwater Park_ was written and recorded in less than six months. That may be one of the reasons for what I feel is a slight lack of variation and dynamics, but then again, _MAYH_ was written in a hurry too. A good album, but my least favorite by this great band. [Pedro Azevedo: "At times uncannily repetitive for an Opeth record, _Blackwater Park_ nevertheless proved marginally more enjoyable for me than its predecessor _Still Life_. Brilliant music as one would expect from Opeth, fortunately not going too far into their mellow '70s-influenced side, but still not as close to matching the superb _My Arms, Your Hearse_ as I hoped it would be. Excellent record in its own right, though, with remarkable artwork to accompany it."] [Brian Meloon: "I'm disappointed with _Blackwater Park_. Not that it's a bad album, but it isn't an improvement in any way. If anything, these songs are less memorable, partly because some of the riffs and changes are similar to ones on their previous albums. You will probably enjoy it if you like Opeth's style, but if you don't, it won't change your mind about them."] [Paul Schwarz: "Rare are albums which inspire such a feeling of wonder as _Blackwater Park_ does, yet from Opeth such an exquisitely brilliant release is not a surprise, but an expectation. Opeth are songwriters of the highest order who are expert at combining strains of dark, distorted intensity with moments of exquisite melancholic beauty. Opeth are truly in a league all their own."] Pagan Altar - _Volume 1_ (Oracle Records, 1998) by: Alvin Wee (10 out of 10) This album means salvation for true metal devotees! Released ages ago, this only came to me recently. The lack of attention this release has got is lamentable considering this may be one of the most important re-releases in the past few years! Released as a bootleg LP with a b&w cover years ago, it soon became a highly sought-after collector's item, despite the horrendous sound quality. Now, Oracle Records has done the metal world a huge favor by finally exhuming this cult classic with a decent sound-mix. A collection of demo material, the album is monumental in its ability to evoke scales of pitch-dark epicness reached in the commercial metal world only by Candlemass' early works. By turns reminiscent of Ozzy-era Sabbath, Witchfinder General and even some of Manilla Road's slower _Dreams of Eschaton_ demo material, every single track stretches the very limitations of epic doom metal. Words cannot describe the heights these guys reach with their music, and considering the year of recording (1982, with some material written in 1979!), it's only possible to compare their pitch-black image alongside Death SS and perhaps Black Widow. Brimming with unforgettable, epic melody like the old NWOBHM bands (anyone remember Incubus?), it's bands like Pagan Altar who downright embarrass today's commercial impostors HammerFall and Nocturnal Rites. Shrouded in flowing black robes and belting out eerie dirges like "The Black Mass", the band must have cut a terrifying figure onstage as they are pictured on the front cover. It's a pity the lyrics aren't included with the CD, but lyrics like "Blue velvet shrouds the altar, black candles pierce the dark / The skulls of unbelievers peer sightless, bleached and stark" should give you an idea! NWOBHM, doom, or just plain heavy-metal, Pagan Altar are simply Gods, and if you haven't grown up on Dimmu Borgir or In Flames, there's a chance you might be true enough to realize this stands alongside the likes of Pentagram and Death SS. And if you've ever spun a Demon record on your turntable and loved it, spare no effort to lay your hands on this disc. You'll thank me for it. The label (thanks Lynn!) also sent over a T-shirt (which is on sale) with the band logo that's pretty damn cult! Visit the merchandise page at: Contact: mailto:oraclepromotions@lineone.net http://www.btinternet.com/~paganaltar/ (merchandise) PCP - _Evil Hate Motherfucker_ (, 2001) by: Adrian Bromley (7 out of 10) While California act PCP play death metal with a real brutal and heavy edge to it, there is a definite groove going on within the music of _EHM_ as well, bringing some diversity to their attack. The guitar riffs are tight and the drumming is fast and furious, good characteristics to have when you want your death metal to serve up a punch. Mammoth bass player / singer Nate Clark growls like there is no tomorrow on tracks like "Mr. Issimo" and "Hypocrisy, Lies and Deceit", but his real work can be found on the cool "Volatile Ghost". Fans of the Bay Area thrash/death metal scene will find something appealing in the music of PCP as the band pushes all the right buttons in making a record move metal fans with such force it could knock over a trailer park. No doubt better production would have earned them a higher mark, but hey, this still rocks heavy on us! Contact: P.O. Box 332, Vineburg, CA 95487, USA http://hometown.aol.com/evilh8mf/pcp.html Plan E - _Found & Lost_ (Solardisk / Spinefarm, March 2001) by: Pedro Azevedo (3 out of 10) Never having heard of this band before, I had no idea what to expect going into _Found & Lost_. As it turns out, this is a collection of mostly slow and depressed material that relies on electronic-sounding synth and morphine-drenched deep goth vocals accompanied by simple fuzzy guitar riffs and percussion. When I say this is -mostly- slow and depressed, I mean Plan E may also surprise you midway through the record by going into upbeat mode and therefore adding insult to injury, because while the slower material is dull and repetitive, the more upbeat stuff is downright irritating. Recorded at Tico Tico Studio, _F&L_'s only credit is the expectably decent production. I shall not try to guess why the band decided to repeat the entire 35+ minutes of _F&L_ all glued together in the final track and apparently being played -backwards-. Ultimately, in my opinion, Plan E just fall into the abyss that separates being affectingly doomy and being pleasantly catchy without ever getting anywhere near achieving either. Contact: http://www.solardisk.com Pro-Pain - _Round 6_ (Century Media, 2001) by: Matthias Noll (7 out of 10) I have the feeling that the closer music gets to the very basic rock 'n' roll formula, the more I am able to tolerate a lack of innovation and progress. I'm not really able to explain why, but just look at AC/DC. Can it get any simpler and less adventurous than that? And still they enjoy well-deserved massive popularity and are respected for their stubbornness. I already made an AC/DC comparison in my last Pro-Pain review [CoC #38], but it is still valid -- maybe more than ever -- because Pro-Pain have made another record devoid of any changes to their old and well proven formula. The only exception, almost too small to mention, is the use of clean vocals on one chorus. Besides that, _Round 6_ is the typical, Gary Meskil-steered steamroller, perfectly constructed to crush everything in its path. This year's groove-metal attack is slightly more up-tempo than _Act of God_, but other than that there's really nothing to say that I haven't already mentioned in my review of that previous album. Just the thought of seeing them live with this record makes me salivate, and almost every track on _Round 6_ is a killer, but I can't help but wonder how much longer this formula is going to remain effective before even a fan like myself gets bored. Psycroptic - _The Isle of Disenchantment_ (, 2001) by: Adrian Bromley (8.5 out of 10) It is hard nowadays to really find death metal music with an edge to it. Sure there are numerous acts out there (thousands, in fact) that play death metal with passion and honesty, but few manage to bring a distinct element to what they do. Just think of the numerous bands you have heard throughout the years that sounded like Cannibal Corpse, Incantation or Suffocation. Too many to count on two hands, eh? But every once in a while a band will pop up out of nowhere (or in this band's case near the edge of the world) and just dazzle you with their talent and musicianship. With a definite tight sound and a real knack for raw 'n' dark death metal comes Psycroptic, a punishing band that rallies a stunning display of death metal dexterity all over this nine-song debut disc. Singer Matthew Chalk delivers a vicious vocal assault, especially on such tracks as "Condemned by Discontent" (my fave track), the title track and the cleverly chaotic "Beneath the Ground We Dwell". Not only is this band playing death metal with passion but also they are making a strong effort to show variety and not be afraid to move their style from point A to B with a few new twists. This is not complex and varied like Gorguts (who is?), but _TIoD_ pumps a real adrenaline rush into your veins with each listen. Contact: 70 Lochner St., West Hobart, 7000 Tasmania, Australia mailto:psycroptic@hotmail.com http://www.geocities.com/psycroptic/ Purgation - _Realm of the Dead_ (, 2001) by: Adrian Bromley (4 out of 10) While the doom-inspired rock 'n' roll flow of Purgation is addictive and meant to draw you in, there is also another underlying message to their music: the word of God. This three-piece from Louisiana are inspired by God's message and make an effort to let the listener know this through their lyrics. Now, if you decide you've had enough of this religious angle of the band and want to skip this review, go right ahead; but I have to be honest, despite their message (which I have no interest in -- that is my own view), they do have a nice, groove-driven sound at times. I'm particularly fond to track three of this four-song disc, titled "Slumber". A lot of the music here sounds like early '90s rock, with a slightly doomier feel to it. Powerful drumming and eerie vocal cries add some dimension to the mix, but in the end, the music here just seems to come up with less bite than would be needed to draw me in for repeated listens over the next few years. Good luck to Purgation and their crusade for God. Contact: P.O. Box 640672. Kenner, LA 70064, USA mailto:info@purgation.com http://www.purgation.com Regurgitate - _Carnivorous Erection_ (Relapse, 2001) by: Aaron McKay (7.5 out of 10) While I think I would prefer Pig Destroyer's _38 Counts of Battery_, I'd have to say Regurgitate is a gunnery array of physical abuse themselves. Chaotic and wildly violent, this Swedish four-piece sure knows its "Bloody Pile of Human Waste", track 20, from its "Stinking Genital Warts", track 34, when it comes to heinous grindcore! Red-blooded vomitous vocals spew forth gut-wrenchingly as to almost cause the listener empathetic pains. I'd say slurp _Carnivorous Erection_ up in small doses or risk dysentery. After even a small wiff of Regurgitate's stench, you'll know what I mean. Nauseating, to say the very least. Contact: http://www.regurgitate.net Various - _Requiems of Revulsion: A Tribute to Carcass_ by: Aaron McKay (8 out of 10) (Deathvomit, March 2001) Carcass. One of the greats. This effort is sure done pretty fucking well, too, as to reverently pay respect to the one of the giants in the genre. Some tracks listed on this compilation have been mentioned elsewhere by this writer on occasion -- for example, Rotten Sound and their re-do of "Reek of Putrefaction", Impaled's cover of "Carneous Cacoffiny" and Pig Destroyer's brilliant re-working of "Genital Grinder / Regurgitation of Giblets", among others. For the majority of the remaining fifteen tracks or so, I could have not been much more impressed. Some cuts I personally might have left off this tribute, like Machetazo ("Suppuration") and Dead Infection ("Pungent Excruciation"), however the diversity of the participating bands is mostly astounding and their execution of Carcass's material is wonderful. Anyone as transfixed by this now defunct but celebrated great will cherish _Requiems of Revulsion_, I believe, as I have. Godfathers of gore, recognize the retribution! Sabbat - _Live Meltdown_ (HMSS/Horror, 2001) by: Alvin Wee (8 out of 10) Another obscure release from the Japanese-based Heavy Metal Superstar Records, this time a collaboration with Denmark's Horror Records. A blessing for die-hard Sabbat maniacs, for this means this edition of the infuriatingly elusive _Live..._ records will finally be available outside Japan. Notoriously underground and misanthropic, HMSS Rec.'s previous releases of live Sabbat performances on vinyl (_Live Kindergarten_, _Live Curse_, etc.) sold out instantly, with the few remaining copies reaching incredible prices ($40 or so). _Live Meltdown_ presents the Japanese Cult live in Sweden while on tour with Unpure, Denial of God, Urn and Pagan Rites, on beautifully colored picture vinyl complete with obi and backing sheet. On show are the usual cult favorites "Evil Nations" and "Satan Bless You" together with newer cuts like "Charisma" from their latest album, and the recording quality proves remarkable, given the somewhat dodgy nature of the HMSS releases. Accusations of Sabbat putting out too much miscellaneous material are unfounded; despite the incredible slew of 7"s and stuff the band has released on a consistent basis, the material on _Live Meltdown_ speaks for itself: an iron-spiked fist in the face of wimpy commercial black metal. Well worth the high price tag if only you could find a copy, the entire edition of 100(!!) hand-numbered copies sold out from Horror Records even before it was pressed in February, with fans like myself having to buy their copy a month in advance. Contact: http://hmssrex.hoops.ne.jp Sacred Sin - _Translucid Dream Mirror_ (Demolition, April 2001) by: Adrian Bromley (8 out of 10) There is something really unique sounding about the music of Portuguese act Sacred Sin. The epic vibes of their music on _Translucid Dream Mirror_, mixed with the aggressive metal assault and fancy keyboard work, really throws this act into the spotlight in my books. Unlike a lot of bands out there nowadays who try their hardest to fit into a scene or style, it is great to hear an album like _TDM_ where the band has made a conscious effort to explore everything about themselves as musicians and bring that out in the music. The band obviously disregarded whatever is popular in the spectrum of music nowadays and aimed to capture their metal essence within _TDM_. Just listen to the work on songs like "Ravish the Soul" or "Gift of Second Sight" and you can just feel the intensity they bring to their sound and style. This is epic death metal, with a flair for progressive metal at times (though in small doses) and of course the radiance of the black metal aura. A great band that deserves a lot of exposure for the hard work they put into _TDM_. Contact: http://www.demolitionrecords.com Savatage - _Poets and Madmen_ (Nuclear Blast, April 2001) by: Adrian Bromley (8 out of 10) Very few bands in metal music have been as successful at making concept records as Florida's Savatage, who are one of the few bands making metal music that have the talent and control to stay focused and weave a wonderful tale for us to follow. Take for example the plunge we took into a drug-ridden world of _Streets: A Rock Opera_ (1991). That was mind-blowing work, and still stands as one of my favourite albums of all time. While the band has crusaded a lot of other ideas over the years since _Streets_, I haven't been as intrigued with much of their work of late as I have with the new album _Poets and Madmen_. Yet another journey by a group of musicians about an insane asylum (see Midnight Syndicate), the new album (as the bio says) "explores the dangers of not looking deeper at the individuals, objects and incidence that surround all our lives". A big round of applause must go out to Jon Oliva, who returns to the frontman role for this record (though now they have Damond Jiniya, who replaces departing singer Zak Stevens). He does an exceptional job at bringing an older-era flair to the band once again, something chipped away when Stevens began fronting the band in the mid-'90s. While the power of the record relies on the structure of the story, which is quite a good read, the music of Savatage seems to have become a bit more toned down and thus gives the mood of the record a really simple glow of aggressiveness. There is a lot of keyboard work from Oliva here as well. It still sounds tight (listen to the track "I Seek Power" and "Awaken") and it is good to see Savatage still keeping their wheels turning and making quality music. I guess it is true what they say: storytellers never seem to fade away. Schizoid - _All Things Are Connected_ (D-Trash, March 2001) by: Adrian Bromley (8 out of 10) If you were to scrape away all of the sound clips, the gabba techno rhythms, the hypnotic drum beats and all the screams, Schizoid would be nothing more than a dark, evil rock 'n' roll machine. A scary one at that, thought. But with these elements at the band's disposal, Schizoid has managed to take the sound to a higher level, a gargantuan array of song ideas that stomp the listener and destroy everything in its path. At times the electronic mayhem seems to be headed in various directions, thus weakening the drive, but for most of the record the cramming of sounds, ideas and whatever else seems to be the right thing to do. It is hard to say where Schizoid draws most of the inspiration for _All Things Are Connected_, but to be honest, with so much going on you don't really have time to think about that -- you're more worried about what is coming around the bend and bracing for the next sonic charge. Want to piss off a neighbour / your parents / a loved one? Put this on and watch the fireworks start. Can't wait to hear Round 2! Contact: 34 Ontario St. N. #1, Kitchener, Ontario N2H 4Y4, Canada mailto:gfyrecords@hotmail.com http://www.schizoid.org Serberus - _In Eternity_ (, 2001) by: Adrian Bromley (6 out of 10) While at first I was interested in the aggressive overtones of this death metal act (with some melodic grooves), I slowly became disinterested after a few spins. Colorado act Serberus are talented and can play, it just seems like they can't really get the ball rolling when it comes time to avoid the cliche metal music they seem to be gnawing on. The vocals are a bit over the top at times with its raspy, echoing growl, the drums seem a tad bit heavier in the mix and also the drummer seems to have gone loony on wanting to have the double-kick drumming on Mach3. Sounds like a great idea "YES", but when it starts to sound like a typewriter stuck on the "Z" key, it gets out of hand. I'll give out some good marks for the solid and blistering opener of "Ancient Throne" -- heavy, melodic growls accompanied by a sinister guitar riff that would make Tony Iommi proud --, but not really much else stands out as worthy of heavy praising. Serberus play very adequately on _In Eternity_ and it shows. It is quite possible they may win me over with their next outing, but right now I'm not really interested in where they are taking their music. Contact: mailto:info@serberus.com http://www.serberus.com Shadowbreed - _Only Shadows Remain_ (Painkiller, March 2001) by: Alvin Wee (7.5 out of 10) I've always been a huge fan of Dutch death metal, but I have my reservations about Shadowbreed's newest offering. Don't expect the grinding torture of Asphyx, or the thrashy Frost-isms of Pentacle: what's on offer here is a rehashing of Unleashed's brand of semi-melodic northern death metal. Track titles like "In the Shadow of Yggdrassil" and "Battlerager" don't leave much room for doubt as to where their persuasions lie; the Viking/Northern theme shines through musically as well, if not as strongly as in some Aeturnus material. Vocalist Remigius' characteristically torrid Dutch growls have me wondering if there's something in the water over there that gives them all this higher-pitched timbre... then again, it's a refreshing change from the guttural American mic-cuppers. There's little to criticize on this album: the songwriting is competent if somewhat pedestrian, and backed up by the confident musicianship, makes for a pretty solid listen. The press-release's comparisons to Bolt Thrower and Sepultura seem largely unsubstantiated; with the exception of Unleashed (and perhaps Aeturnus) being the fore-runners in this genre, Shadowbreed come off as predominantly original. Still, it lacks the edge to make it a truly exceptional album, and with country-mates God Dethroned releasing an album almost simultaneously, Shadowbreed face tough competition from their home-land itself, not to mention internationally. Great artwork by Kris Verwimp (hey, it's a pagan theme, right?) rounds off a quality package, and all in all it's a pretty good sophomore album for these Dutch Deathsters. Released in (get ready): digipak, jewel case, LP and PicLP formats. Will never go out of print this way... Contact: mailto:painkiller@infonie.be Sirius - _Spectral Transition - Dimension Sirius_ by: Chris Flaaten (8 out of 10) (Nocturnal Art, March 2001) This Portuguese black metal band have toned down the classical and symphonic aspect of their sound since their promising debut _Aeons of Magick_ [CoC #46]. Following in the footsteps of Emperor, they have recorded their newest album in Akkerhaugen studio and ended up with a sound not very far from _IX Equillibrium_ [CoC #39]. As this would indicate, the guitar work is much more present now and since their riffs are much more interesting and aggressive this time around it suits them well. In fact, this album packs quite a punch and yet they have kept enough symphonic elements to ensure variety and maintain interest. Still, I have to comment on their lack of originality. If this album had come out two years ago, it would have raised a lot of eyebrows, but releasing it way into this "black metal bands get vastly inspired by death metal" wave the scene seems to be on, seems like just following the trend. The inspiration from Emperor's _In the Nightside Eclipse_ was very apparent on their debut too, so there seems to be a pattern. Having a cover of "The Majesty of the Nightsky" as a bonus track on their newest album also signals who they look up to musically. Too bad they skipped _Anthems to the Welkin at Dusk_. That being said, one can't deny the quality of this music. These guys can play well and know how to make solid songs. Let's hope they gain enough confidence with this album to truly stand on their own with their next release. [Pedro Azevedo: "Sirius position themselves at the forefront of symphonic black metal with _ST-DS_, updating and developing their sound in this second full-length album of theirs. More guitar-oriented than its predecessor, _ST-DS_ features very good musicianship and songwriting, competent production and a few famous guests. A very worthy purchase for followers of this sub-genre of black metal."] Sisthema - _The Fourth Discontinuity_ (Noise, April 2001) by: Adrian Bromley (5 out of 10) While I am down with the Meshuggah-inspired grooves of Italian act Sisthema, everything from the metallic crunch of the guitars and the vocal pattern of singer Massimo Pirazzoli (who is copying Meshuggah singer Jens Kidman big time!), I have to say that it gets pretty tiring after a while. Not the Meshuggah worshipping -- I don't mind that, really -- I mean the lack of diversity to their sound. They hit one groove pattern and it sticks throughout the disc. And when it isn't Meshuggah they are carving ideas from, it is _Chaos A.D._-era Sepultura they hit up for inspiration. Even though songs like "Distorthica" and "When Everything Turns to None" are quite memorable, it is sad to hear Sisthema trying to play futuristic-style metal when they can't help but dip deep into the past to mold their music. Good for what it is, but only worth buying if all the Meshuggah records are sold out at your local store. Skinless - _Foreshadowing Our Demise_ (Relapse, 2001) by: Aaron McKay (7.5 out of 10) What I can appreciate about Skinless is their in-your-fucking-face style of brutality. The bass guitar, expertly played by Joe Keyser, is another reason for my unabashed fondness for this New York based four piece with an attitude. Does it remind me of the Florida bands I grew up listening to? YEA, but so what?! What 1998's _Progression Towards Evil_ did to rope me in, _Foreshadowing our Demise_ did to solidify my allegiance. Brutal, barbaric, heavy, catching and bold -- everything I like in a death metal band (complete with some audacious sampling). Same-y? Probably, but shit this severe is worth owning. Don't believe me? Check out "The Optimist"; you'll be singing praise for evermore... Skylark - _The Divine Gates Pt. II - Gate of Heaven_ by: Alvin Wee (8.5 out of 10) (Underground Symphony, 2001) Eddie Antonini and crew are back with the second installment in Skylark's "Divine Gates" series (trilogy?). Once again Luis Royo's fantasy cover art almost steals the limelight from the music itself, and presented in the limited A5-digipak format, is simply a stunning sight to behold. Musically a continuation of their previous works -- and effectively a summary of the entire Italian power metal scene --, _Gate of Heaven_ simply bursts with symphonic epicness and soaring atmospheres, all the while maintaining the metallic edge missing in Antonini's solo work. Somewhat handicapped by the horrendously thin, squeaky production and Fabio Dozzo's typically nasal vocal style (another characteristic of the Italian method), the quality of the material still shines through in bursts of brilliant melody and emotion. The deceptively under-produced drumming holds the material together with deft passages of pummeling tightness, the equally understated guitars chug along contentedly in the background with the keyboards providing a subtle, epic backdrop, and it is Dozzo who holds court with an impressively charismatic vocal performance in the forefront. Tracks like "Lady of the Sky" and "The Heaven Church" clock in impressively at 11 and 13 minutes respectively, flaunting Antonini's mastery at creating complex, non-repetitive song-structures, and proving the band's eagerness to make the most of such splendid material. While Skylark never once comes close to Rhapsody's monumental orchestrations, the effectiveness of the music is remarkable considering its relatively effortless simplicity. All in all another masterwork by the maestro and team, reminding their country-mates like Drakkar and Power Symphony that it is still bands like Skylark and Rhapsody who are at the top of Italy's power metal scene. Contact: mailto:underground.symphony@tiscalinet.it Soils of Fate - _Sandstorm_ (Retribute Records, February 2001) by: Pedro Azevedo (4 out of 10) The words "ultra guttural blasting sickness" can be read near the band name and album title in _Sandstorm_'s front cover, and it might make you wonder whether Soils of Fate have been listening to Mortician a bit too much. Well, Soils of Fate do have a human drummer, and a competent one at that, so I thought they might not be that much of a copy of Mortician after all. I was right, but SoF's goal of being considered Sweden's most brutal band ever is decisively hampered by mostly uninspired riffs, generic songwriting and the deeply sad result of their attempt at "ultra guttural" vocals. SoF shoot themselves in the foot by trying so hard to ensure the vocals are as brutal as possible that they completely overdo it. As a result, the ultra-low, barely human death grunts (allegedly effect-free, by the way) sound practically powerless, expressionless and amusing at best -- just a rumbling, unintelligible sound. The final scream that echoes long after the last song is over (before they go into "hidden track" bonanza, that is) provides the proverbial icing on the cake. But even if the vocals didn't ruin the whole thing, their mostly blastbeat-driven riffs are unimpressively passable at best and generic throughout. In this debut album of theirs, SoF seemingly fail to understand that there is far more subtlety to creating really effective aggression than simply exaggerating your sound as much as you can. _Sandstorm_ is a record that could eventually be played simply for fun, but which lacks any real substance. Contact: Retribute Recs, P.O. Box 76, New Ferry, CH63 0QT, England mailto:retribute@aol.com Susperia - _Predominance_ (Nuclear Blast, March 2001) by: Chris Flaaten (8 out of 10) Tjodalv left Dimmu Borgir because their intense touring schedule was incompatible with his personal responsibilities. Now he's playing in Susperia, signed on Nuclear Blast and currently on tour with -- you guessed it -- Dimmu Borgir. Maybe not the biggest change after all, but at least there was a change in music. Susperia doesn't play symphonic black metal like most (myself included) expected. _Predominance_ opens with a riff similar to Immortal's latest album, and Susperia continues with 100% synth-free thrash/death metal throughout the entire album. Cyrus, their lead guitarist, has composed good songs with plenty of interesting and dynamic riffs. Vocalist Athera impresses with very varied vocal work and Tjodalv has continued to improve as a drummer. They have recorded the album in The Abyss and although the production differs a bit from the usual of that studio, there are no big surprises. That's not a bad thing, though; The Abyss sound fits well with guitar-oriented metal. Overall, this is an even and enjoyable thrash album and it is obvious that they got signed to Nuclear Blast for reasons other than Tjodalv's presence. Various - _The Return of Darkness and Hate_ (Drakkar, 2001) by: Alvin Wee (8 out of 10) Probably the most eagerly anticipated underground compilation this year, and understandably so: the mere thought of fifteen previously unreleased tracks by names like Unpure, Sabbat, Mutiilation, Demon Realm, etc. are enough to make a die-hard blackster cream his pants. Aussies Anatomy kick off the festivities with a ripping preview of their new album _The Witches of Dathomir_, while Celestia rapidly takes over with their expected brand of melodic, Swedish-inspired black metal, showing unsurprisingly little progress from their MCD material. French underground proponents Count Nosferatu prove their worth with a semi-symphonic piece of darkness reminiscent of early Mysticum, which turns out to be one of the more memorable tracks on the CD. I've never quite liked Sweden's Unpure, but "Incubus" rapidly makes me reconsider my stand with its unique blend of oppressive dissonance and strangely headbang-inducing crunchiness. It's well followed up by an dual Asian onslaught: Singaporean thrashers Impiety are in fine form after signing to Drakkar and blast the faces off any detractors with the raging "Sodomythical Frostgoats"; the Japanese legend Sabbat follow hot on their heels with a marginally more subdued but no less crushing live outtake "Evoke the Evil". It's doubtful that any band can successfully follow up such killer tracks, but the French-cult Mutiilation holds the fort pretty well in the expected Burzum-esque style. By this time, it isn't so easy to remain clear-headed about each track anymore, and after the following unimpressive track it's easy to understand why Danish destroyers Demon Realm have received mixed reviews in the past. Still not a bad piece, and the same mediocrity could be applied to Norway's Nebular Mystic, who follow on with a typically symphonic approach. Two French hordes come on next with marginally better results: Temple of Baal with a strangely convincing crudeness and mayhem, while Garwall adopt a slightly more sober approach with some semblance of melody lurking at the edges. Japanese crew Magane are a breath of fresh air after the suffocating bout of primitiveness, offering a more melodic style reminiscent of now-defunct country-mates Tyrant, but the repetition of "Izanafi" makes for somewhat tiring listening after a while. Cursed is the only band refusing to provide contact info in the nicely laid-out booklet, but are somehow terribly compelling with their brand of dirty, primitive evilness. Certainly a band to keep an eye on, more so than Grimlord or Nebiros, who round off the gala with two tracks of pedestrian, yet not unpromising blackness. All in all a great buy for any dedicated follower of the underground, and a fantastic introduction for anyone who's ever wondered about the Drakkar circle of bands: they're all here in full glory. $18 from the label. Contact: mailto:drakkar2@wanadoo.fr Thorns - _Thorns_ (Moonfog, March 2001) by: Chris Flaaten (9 out of 10) More than ten years after the legendary Trondertun recordings, perhaps one of the most inspiring sources to Norwegian black metal as we know it today, Thorns finally release their debut(!) album. Contrary to what one would think, this record sounds completely fresh and original. The sound is similar to a mix of other Moonfog artists like Satyricon and Dodheimsgard, but colder, grimmer and perhaps even more futuristic. Thorns mainman Snorre has come up with some psychotic riffs that are truly hypnotising. Add to them magnificent drumming courtesy of Hellhammer and vocals by both Satyr and Aldrahn, and quality is ensured. Songs vary from soothing ambient pieces like the intro to "Underneath the Universe" to the ultrafast and aggressive "Interface to God". Like _Rebel Extravaganza_ [CoC #43], this album is black metal(R) to the bone, albeit in a quite different form from what most are used to. The production is perfect; crystal clear. Sheer coldness, laced with a synthetic, machine-like feel. _Thorns_ has a feel to it that cannot be fully explained; it needs to be experienced. [Paul Schwarz: "Though not as mind-fuckingly weird as Dodheimsgard's _666 International_, _Thorns_ is nonetheless one of the most effectively progressed albums to come from black metal in years -- and is undoubtedly the best yet this year. A strong electronic tendency is explored to great effect without interfering in any negative way whatsoever with a remarkably tight, intense and wonderfully uncomfortable traditional-instrumental assault, iced with top-class vocal performances from Satyr and Dodheimsgard's Aldrahn."] Thornspawn - _Empress From the Realms of Blasphemy_ by: Aaron McKay (7 out of 10) (Baphomet, February 2001) Never an opportunity lost for this damn impressive embodiment of horror to mystify their audience with black metal of the most uncompromising sort. Back in CoC #48 last year, I was floored by _Blood of the Holy, Taint thy Steel_'s unreal fervency, but this Texas four-piece has upped the ante for certain here on this MCD, _Empress From the Realms of Blasphemy_. Only three new tracks were added to the release I have: "Master of Blood Fury", "Everlasting Siege of the Necro-Soldiers" and, of course, "Empress From the Realms of Blasphemy". Without so much as a second thought, I would declare "Everlasting Siege of the Necro-Soldiers" the best new cut on the album. I believe it embodies the direction Thornspawn would be wise to move in: brutal, but uniquely obscure as the eviscerated passages scrimp across occasionally among the wild debauchery. See the review of _Blood of the Holy, Taint thy Steel_ in CoC #48 for more insight into this band, but let it be known these additional three tracks are more than a welcome addition to Thornspawn's repertoire. Watain - _Rabid Death's Curse_ (Drakkar, 2001) by: Alvin Wee (8 out of 10) It's gonna happen again: sold out before anyone realizes what hit them. Latest news is that the last copies of this are moving fast at the Drakkar camp... all without any of the promotion or prior excitement from the other bands on the label. Pure Swedish fury of the highest quality from these unannounced debutantes, and with such astonishing quality for a debut, Watain are set to leave a blazing mark on the international underground. Combining the intensity of Marduk / Dark Funeral with melody akin to Sorhin or early Algaion is something Thy Primordial has already set the stage for, and _RDC_ works hard at pushing the limits here, proving that utter violence and ferocity didn't end with Immortal's _Battles in the North_. Alternating between an all-out Norwegian-style holocaust and razor-sharp melodic hooks, these four blasphemers hurl forth all eight tracks at the altar of Christ with a terrifying tightness and conviction that belies their relative newness on the scene. Lyrically too, the band stand head and shoulders above many of their labelmates; while the subject matter won't be too hard to guess at, it's all said in a lean, refined style that somehow reflects the utter blackness of the musical atmosphere without resorting to crudities. It's great to see there's some life yet in the old corpse of the Swedish scene; not all has gone soft and Gothen-fied, and lately _RDC_ has been getting more air-time on my speakers than Marduk's latest offering. _Rabid Death's Curse_ is also available as a gatefold LP on End All Life, but like their two other 7"s this won't last more than an instant. Contact: mailto:drakkar2@wanadoo.fr (Drakkar) Contact: mailto:eal@wanadoo.fr (End All Life) Zyklon - _World Ov Worms_ (Candlelight, February 2001) by: Pedro Azevedo (9 out of 10) Zyklon sounds like an explosive concept even before you play the CD: it is comprised of Emperor guitarist Samoth (now Zamoth) and drummer Trym, Myrkskog guitarist Destructhor, and Limbonic Art's Daemon on vocals. Furthermore, considerable effort seems to be going into making it clear to everyone that this is a full-time band and not just a side project. So, in the end, what does it sound like? Well, it tends to sit somewhere between Myrkskog and a guitar-oriented Emperor. Daemon's vocals are competent, but a bit different and less remarkable than his work with Limbonic Art, perhaps because the rest of the sound has so little in common with LA's symphonies. Trym's drumming and the guitar playing, however, reveal their imperial origins, but the Myrkskog component in the latter is often clear. The result is a sharp-sounding, agile and dynamic album that combines massive aggression and superior technicality with good ambient-setting, somewhat futuristic (or perhaps present day?) samples and electronic passages. The music is intense and rapidly shifting; modern black/death metal is perhaps the description that suits it better, as their style lies somewhere between Emperor's black metal (sans keyboards) and Myrkskog's stronger death metal influences. The result definitely works well and _World Ov Worms_ is generally consistent and varied throughout. Ulver's Trickster G (i.e. Garm) contributes a few vocal lines in the last track, which turns out to be quite pleasant. _World Ov Worms_ is quite clearly derived from Emperor and Myrkskog, but it is nevertheless a very impressive record in its own right. [Paul Schwarz: "Though solid brutal death/black riff and rhythm work sits comfortably with modern electronic sounds at intervals on _World Ov Worms_, this record focuses on getting the most it can from metal's instrumental set-up. The result is a good, enjoyable record, but looks creatively tame and almost repetitive next to the Thorns album."] =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __ __ _ /\ \ \_____ __ /\ \ \___ (_)___ ___ / \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \ / /\ / __/\ V V / / /\ / (_) | \__ \ __/ \_\ \/ \___| \_/\_/ \_\ \/ \___/|_|___/\___| If you have a band, don't forget to send us your demo, including a bio, if you want to be reviewed. We accept demos either on traditional media or MP3 format. E-mail us at to know which is the most appropriate postal address for you to send your CD or tape, in case you are sending one, or to indicate the location of a website from which we can download the MP3 files of your entire demo (but do NOT send any files attached to your e-mail). Scoring: ***** -- A flawless demo **** -- Great piece of work *** -- Good effort ** -- A major overhaul is in order * -- A career change is advisable Arctic Circle - _Arctic Circle_ (12-track demo) Arctic Circle - _Weird Winds_ Arctic Circle - _Dimension Dreaming_ by: Adrian Bromley (***--) I think it is safe to say that you need to be in another state of mind to fully enjoy the bizarre nature of the one-man outing calling itself Arctic Winds. I don't necessarily mean drug intake, but hey, it could only help. With a real raw production (some might even say "horrible"), Arctic Circle manages to plunge itself deep into the bowels of lunacy, abrasive riffs, samples and screams that are so piercing they seem they could cut through walls. I am actually glad that I received three demos at once from Arctic Circle so that I could see just how far this man, machine and four-track project has taken its sound. The self-titled demo is a mish-mash of ideas really, aiming for a eerie atmospheric sound (with distortion throughout) and moves through certain black metal inspired song structures. The low production seems to take kindly to the song-like sections quite nicely, proving that things are flowing with some form of idea behind them. The following demo, _Weird Winds_, sees the project trying to find a bit more structure in the material, more vocal arrangements and lots of guitar work flow evenly here. It seems as with this demo, Arctic Circle discovered that the anarchy could mold itself. Interesting, as Arctic Circle has somewhat disbanded the notion of atmosphere and gone down the route somewhat of becoming a regular band. As I play the third demo, _Dimension Dreaming_, it is good to see that the anarchy is still there, as is the songwriting (growing as the months go on), but still a sense of uncertainty with what you get as the demo plays on. I like the ideas here, and it is cool to see the strong ideas (and sounds) coming from Arctic Winds; I'm just wondering if people will have time to sit through this and come away with some kind of satisfaction. I did for the most part, but I'm left a little dumbfounded of what was being thrown in my face as the material played on. Good, but there is room for improvement. Arctic Wind's creator Sean should be excited that his creativity has spawned some interesting ideas. Now it is up to him to take them further. Contact: 8-258 12th St., Brandon, MB R7B 2X5, Canada mailto:arcticcircle50@hotmail.com Aurora - _Promo 2001_ (4-track demo) by: Pedro Azevedo (*****) Following the demise of their label Serious Entertainment, Aurora are now seeking a new home. This demo CD therefore contains four tracks which they hope will help them secure a new deal, and for me constitutes a more than welcome surprise after their superb _Devotion_ [CoC #49], which I elected my favourite record of 2000. I entirely expected being treated to another dose of excellent technical, emotional extreme metal, but I was wondering whether the production would be up to par -- fortunately, and somewhat surprisingly, it sounds just like _Devotion_, i.e. clear, sharp and powerful. As for the four songs on display, Aurora simply continue to demonstrate how extensively they master their art, again adding well thought-out songwriting to superb technical skills. The first three songs are all normal Aurora material, mixing dynamic extreme metal with anguished Swedish-sounding vocals and more subdued sections with tortuous clean vox -- memorable, powerful and emotional. I have compared them to Opeth and Dark Tranquillity's _The Gallery_ before, and the comparison still sounds valid to me, even if ultimately these are just influences and these Danes definitely have their own unique sound -- which makes it all the more worthwhile. Fourth and final track "Chains of God", however, is rather different, as Aurora explore their very doomy, tensely tranquil side before exploding onto one final burst of aggression. Overall, surely demo CDs can't come any more brilliant than this. This ought to be such a quick signing that they should already have a label by the time this review comes out, but just in case there's something wrong with all the labels out there and no one's picked them up yet, I'll put it this way to try and get my point across clearly: if -I- had a label, I'd do all I could to make sure I signed Aurora. Contact: http://www.aurora.ms Mithras - _Dreaming in Splendour_ (3-track demo) by: Pedro Azevedo (***--) They may have changed their name from Imperator since their _Gods Among Men_ demo [CoC #46], but their goal still remains the same: to create what they describe as "brutal, experimental, epic death metal". With a massive Morbid Angel influence, I might add. Last time around the band was seeking a new drummer; however, founding member Leon Macey is the one behind the drums on _Dreaming in Splendour_, and I feel they -still- need to look for a new drummer to get some real consistency into their tempos. Nevertheless, _DiS_ is certainly an improvement over _GAM_: the songwriting is less drawn out, more concise, the instrumental side is generally better and the death grunts sound quite competent, if generic. Mithras now need to become a tighter unit and shake off this Morbid Angel shroud they carry around, in the process hopefully creating some more impressive riffs as well. Mithras show they have been working hard, and apparently they have an entire album ready for recording; whilst I think it might be somewhat early for that, I'm pleased to see Mithras improving and it might not be long before they are indeed ready for the next step in their career. For now, however, I would still recommend some more maturing a bit more before moving on. Contact: http://www.mithras.freeserve.co.uk Vokodlok - _Unchain the Wolf_ (5-track demo) by: Pedro Azevedo (****-) With their band name coming from ancient Romanian "vukodlak", meaning "werewolf", and their demo being titled _Unchain the Wolf_, you can probably guess Vokodlok play black metal, and not of a modern kind. These naming choices might even lead you to think Vokodlok are some sort of a Romanian version of Ulver circa their esoteric masterpiece _Nattens Madrigal_ [CoC #21]. The former conclusion would be more accurate than the latter, for Vokodlok do play relatively raw black metal and shun keyboards, but in a rather different way from what Ulver ever did. Vokodlok utilise a guitar-driven style, the guitar work being rather busy in its creation of Norwegian-sounding icy melodies and riffs. _Unchain the Wolf_ is mostly mid-paced, but it does contain plenty of effective outbursts of speed as well. The music harkens back to older black metal influences, whilst at the same time boasting good (yet cold-sounding) production and a drum machine, which is competently used. The vocals work well with the guitar lines and artificial drumming, creating some good, even memorable passages, and the overall result is a rather pleasant demo. I see no reason why this young band would not be able to follow the footsteps of country-mates Negura Bunget, for example, even if their style is quite different. Contact: Andrei Pantiru, str. Aleea Saturn nr. 9, bl. A11, sc. A, Ap. 2, Arad 2900, Romania mailto:vokodloks@usa.net Znich - _Adchuwanni Vyasny_ (3-track demo) by: Pedro Azevedo (**---) Znich are from Belarus and play Slavonic folk metal. How about that for unusual? Wait, there's more: they sing in their native language, and everything on this demo tape is written using their Cyrillic alphabet. By now you're probably getting a feeling that this might be something quite special, different from the norm. Well, it is, and Znich (formerly a doom/death band) should certainly receive some credit for their unusual style -- in fact, you should add another mark to my rating if what I described so far sounds especially interesting to you. As for their music, a simple guitar line leads the way, the female vocals evolving around it rather repetitively -- and it is essentially through the female chanting that the folk element becomes more apparent, as the male vocals (ranging from clean to occasionally growled) and instrumental side are a bit more normal. Znich have been around for some time, having two previous releases to their name and many a live concert (not to mention numerous line-up changes), and all in all that tends to detract from the value of _Adchuwanni Vyasny_: it could have been a reasonably promising and somewhat daring demo from a young band, but given the experience Znich should have by now, one would expect something much more consistently interesting. The very prominent and peculiar female vocals are not to my liking, but at least Znich are trying to do something different from the norm; however, there is still great room for improvement. Contact: Yuhnevich Sergey, Box 473 Minsk, 220047 Belarus mailto:manager@znich.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ____ __ __ /\ _`\ /\ \ /\ \__ __ \ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___ \ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\ \ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/ \ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\ \/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/ ____ __ /\ _`\ /\ \__ \ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____ \ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\ \ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\ \ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/ \/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/ MASSACHUSETTS + METAL = WICKED BRUTAL PISSA! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ New England Hardcore and Metal Festival April 13/14th 2001 @ The Palladium in Worcester, MA by: Adam Wasylyk Ah yes, another road trip. Although a bit early this time around, as our usual haunt of the infamous summer festival the Milwaukee MetalFest has been usurped by the springtime annual New England festival. This year being my first in attendance, reflecting back I must admit, despite not being floored by many of the bands on hand, this was the best scheduled and most effortlessly planned music festival I've had the pleasure to see. Bands played when they were supposed to, cancellations (which are always inevitable) didn't slow things down... it's nice to see some order to the chaos the bands on hand were in the process of delivering. My lasting impressions of the venue, the Palladium, aren't too great. Featuring two stages -- the "Main Stage" and the "Second Stage" -- is a good idea simply because of the diversity of the acts on hand. For example, death/black metal fans could check out Vital Remains while those into the noisecore spectrum of music could witness Burnt by the Sun. There was always a band to check out which matched one's tastes in music, which I'm sure all in attendance were thankful for. My only beef was how small the second stage was, causing standing room only and preventing some from seeing bands simply because of lack of room. The acoustics were average, but that pretty much met the expectation I had going in, so no disappointments there. I hear the venue will be changed to a bigger one that sits close by, which should be a smart move as I only see this festival gaining momentum and popularity in the years to come. The CoC contingent this year consisted of yours truly, the editors Gino and Adrian, along with CoC alumni Alain and Steve. Along with a lot of metal went the usual chemical consumption by some of our crew, including plenty of green (and I'm not just talking about Heineken) and Jager for all. Day 1 ~~~~~ The first band I was able to check out wasn't the greatest way to get things started in my mind. Pessimist took to the Main Stage and surprisingly left a lot to be desired. The shoddy sound had a big hand in it, along with my complete unfamiliarity with the material being played. If any of it was old stuff, I wasn't able to recognize it. I know the band have had line-up problems recently, so that may have factored into it, but what I heard was indistinguishable from the many generic death metal band's I've forgotten about over the years. A true disappointment. Having seen Vital Remains before, it was a good opportunity to check out Burnt by the Sun. Powered by the drumming prowess of Dave Witte (ex-Human Remains, Discordance Axis), the Relapse signee ripped through a half hour set to a -packed- Second Stage. The track "Lizard Skin Barbie" was but one highlight in the noisecore/grind set these guys churned out. Lethal. It was now time to see just how bad Catastrophic could get. Having been completely turned off by their debut album _The Cleansing_ [CoC #52], this was their time -- their second chance essentially -- to prove me wrong and to give me a reason to re-explore their music. Proving that I do know something metal, they went to sound like the pretenders that they are. Some have said they sound like an invigorated Obituary... bah! Just because a band contains an ex-member of Floridian death metal legends Obituary doesn't equate to a spin-off band being as good. Their sound can't compete, in any way, to the gods of this music -- Nile, Morbid Angel, Death... even Cannibal Corpse. There's really no reason for this music. Catastrophic -are- the weakest link. Goodbye. Having seen Monstrosity once before, I was expecting the band to turn in another good performance. Boy was I wrong. Making it to the stage just in time (to the threats of the P.A. guy who announced "Monstrosity to the stage, this is the final time, Monstrosity to the stage"), they fell beneath the bad sound emanating throughout the Main Stage and couldn't free themselves. Sure material like "Fatal Millennium" and "Imperial Doom" is a great idea to perform live, but not coming out of these speakers. I can only pray that I see them again in a better venue, as I know this set wasn't indicative of their live performance. Checking out my set list for the rest of the night's festivities, I soon found that the Main Stage was a lock for the rest of the night. The time in between I was able to peruse the suffocatingly small space the vendors occupied, and become better familiar with the structure and architecture of the building I currently resided. The main stage has a nice gothic feel to it, very similar in both mood and look to the Opera House in Toronto, Canada, but ten times the size. It's unfortunate that the acoustics were so poor, as bands would fight them the entire length of the festival. The Main Stage would soon see one of the biggest tours in metal thus far in 2001, featuring Lamb of God, The Haunted, Dimmu Borgir and Cannibal Corpse. By about 9pm the news circulated that the first night had sold out... metal had indeed scored a big one that night. Lamb of God had the task to begin the four-band tour off, and they did so with a lot of gusto and flair. The noisecoric and jagged metal riffs from the guitars were only magnified by the pissed-off vocals and stage theatrics of singer Randy Blythe, who prowled the stage like a madman and made machine-gun gestures to the thousands in the crowd. A great warm-up for what was to come. The Swedes in The Haunted put on a good performance of their style of metal, which sat well with me, but failed to "move me" in any significant way. Indeed tracks such as "Hate Song", "Bury Your Dead" and "Hollow Ground" were performed exceedingly well, but I'll admit that the excessively melodic nature of the band gets to me. When it gets to sound a little too happy or bouncy, well, that ain't me. The crowd respectfully and faithfully gave the band an enthusiastic response, visibly affecting the band. They deserved it, despite my occasional indifference. Dimmu Borgir were to follow, sure to appease those who crave for pseudo-orchestrated black metal. Opening to an orchestrated piece and a green-coloured fog, the Norwegians entered the battle arena to lay claim to lost souls and badly corpsepainted fans. A good number of fan favourites mostly came from the past three albums, songs including "Spellbound by the Devil", "Master of Disharmony", and a big chuck off their newest LP _Puritanical Euphoric Misanthropia_ [CoC #52]. What did I think? I thought they were capable of attaining some serious atmosphere and chaos, but oftentimes fell into a foray of banality which, again, may be in part due to a lack of the good acoustics a band such as Dimmu Borgir depend on. Deciding to retire early, the preference to hang out and sleep early than to bear witness to the brutal death metal stylings of the closers to the tour, Cannibal Corpse, was too strong. The rest of the night is clouded in memories of green haze and harsh black liquids. Day 2 ~~~~~ Day two began with a slight hangover, but a brisk shower and sunny, warm weather had a positive toll on my head. Forgoing as many forgettable bands as possible, I arrive to see Skinless closing out their set. Playing a powerful blend of mosh-heavy riffs and sick blast beats, Skinless performed a good deal of their Relapse debut _Foreshadowing Our Demise_ [reviewed in this issue], much to the delight of their many fans in attendance. Definitely a band who has potential to perhaps one day lead the brutal death metal scene. Yes, they are that good. Disappointingly, Gorguts had cancelled their set, so Exhumed stormed the stage to the tune of their brand of gore metal. Furious death metal was accentuated by projectile vomiting, fire breathing and corpse head vomiting... how could someone -not- like this? Damn entertaining, hope to see more of them sometime soon. The rumour started to circulate that this was Dying Fetus' farewell tour, although this has been discounted by the band on their website, so fans can rest easy and expect a new line-up for future recordings. Playing a tight and brutal set, which is what has made these guys so popular, kicking into "Killing on Adrenaline" ranks as one my favourite moments at the Fest. My only criticism is with their new vocalist, who takes care of the mid-range growls. His vocals aren't bad, but don't quite measure up to ex-bassist/vocalist Jason Netherton, whose former role in the band may never be filled properly. Nevertheless, it was a very powerful set, easily one of the best. Sweden's Opeth opened to the rousing cheers and shouts of their many fans on hand, delivering a powerful set of their championed melodic death. Despite my alcohol-soaked brain, gems like "White Cluster", "Forest of October", "Advent" and "The Drapery Falls" were performed effortlessly, although they would perform said songs in Toronto about two weeks later with much better sound. But it was nice to enjoy Opeth with what was at least 2000 people minimum, many showing their appreciation with the flame of their lighters. Powerful set. I've always had a love/hate relationship with Amorphis in a live setting. I've always felt that the members never do their recorded material justice. After seeing the band a couple of times in the past, apparently #3 was the trick as it finally offered me a set of Amorphis music I could enjoy. Plush with high quality tracks ("Greed", "The Castaway", "My Kantele", "Better Unborn"), their set was an enjoyable one if not perfect. I still believe their treatment of "Black Winter Day" does not signify the brilliance of said track, but that's just me. And Tomi really needs to start singing the growls again, as even though Pasi is getting better with time it still isn't the same. Oh well, I exist in frustration. Time for Meshuggah! They proved to be the perfect band to headline the second and last night of the festival, as Meshuggah hold musical qualities that both hardcore/noisecore and metal fans can enjoy. Mosh heavy and maniacal, I guess this is as good a place to discuss the "moshing" that went on during the festival. I don't know what they call this in New England, but back in Canada we call that assault! Flying fists and elbows, blind kicks... I'm surprised I didn't hear any serious injury stories during my stay. Anyhow, Meshuggah picked a great set list to perform, songs like "Sane", "Future Breed Machine" and "Vanished" were vomited forth and eagerly devoured by its most rabid fans. There's still debate as to whether "Transfixion" was played... if it was, I must have gone momentarily deaf during its performance. A great way to finish the Fest off, with thoughts of possibly attending next year as strong as ever. My favourite moments of the Fest: hangin' out with the CoC crew, watching some brave soul breakdance in the mosh pit, the brutality (Skinless, Dying Fetus, Meshuggah), the melody (Opeth, Amorphis) and meeting friends both old and new. Thank you all for making it a great Fest. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= B A P T I Z E D B Y F I R E A N D B E E R ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Marduk, Mortician, Vader, God Dethroned, Amon Amarth, Mystic Circle, Sinister, ...And Oceans and Bal Sagoth at the Hafenbahn, Offenbach, Germany, April 14th 2001 by: Matthias Noll No Mercy tour again. And in the shitty Hafenbahn again, too. This place should really get eradicated from the face of the earth. Packed like a cattle transport, incompetent personnel at the entrance, no place to sit or rest other than the slime-covered floor, a heating system running on full power during a seven hour plus gig. The situation was worsened by hordes of stereotypical dumb-faced black metal retards whose intelligence was obviously just sufficient to put on a Burzum T-shirt and by unknown means of transport arrive at the location, only to collapse during the first two or three gigs due to an overdose of German beer. The first two bands, Bal Sagoth and Finland's ...And Oceans, were equally crappy. Bal Sagoth's dwarfish vocalist, his face covered with a leather mask, posed with a sword straight out of the King Arthur memorabilia shop in Cornwall, England, while his colleagues created an absolutely horrible and undistinguishable rumble in the background. Utter crap! Commencing in this interesting style of performance, more appropriate for a bad comedy show, the ...And Oceans singer wore a white T-shirt, white boxer shorts(!) plus biker boots(!!). His bald head and the T-shirt were smeared with blue paint. This looked neither weird nor psycho -- it looked nothing other than totally moronic. Backing him up on his crusade for more humour in metal were two baby-faced six stringers who turned out to possess a master's degree in the art of motionlessly watching their left hands fumbling the neck of their guitars. From time to time they hid their faces behind angelic blond hair and engaged in head banging of a type even people with serious spine injuries would consider healthy. A bass player with a plastic bag over his head and a surprisingly normal looking drummer without any noteworthy skills completed this theatre of tragedy. I'm not really sure if there was a keyboard player, because from where I was watching I couldn't see anyone, but keyboards weren't audible at all anyway. Before someone accuses me of judging a band on the visual impression alone: the music was likewise. My original plan for the night had included buying their new album, _AMGOD_, from which I had heard a convincing track, at the merchandise booth. Some plans are made to be changed. Holland's Sinister, whom I did not really remember for anything but a couple of rather average records in the first half of the '90s, must just recently have joined the ranks of death metal outfits with female vocalists. A dainty brunette with quite a mean grunt. With songs like "Bastard Saints", the Dutchmen sent the audience into a frenzy I had never expected so early and definitely not during Sinister's gig. Their simple but effective death metal was very well executed and there were enough old school death metal freaks to initiate some considerable chaos in front of the stage. Others were also surprised by how well Sinister went down and got rid of objects hindering them in their thrashing. A full plastic mug emerged from the front row. The owner must have been a specialist in ballistics, probably a veteran of the German World War II rocket factories in Peenemunde, because once on its trajectory the mug sailed over the crowd without spilling any of its content. I saw the projectile coming straight at me, but my arms were pinned to my body by the crowd, so I wasn't able to do anything but slightly bow my head. With a weird sound, which was audible to bystanders even with Sinister playing, the mug hit my forehead and provided me with a baptism in true Teutonic style. Despite this unpleasant but funny incident, Sinister were good enough to make me order two of their albums from Nuclear Blast today. Germany's most hated black metal band, Mystic Circle, played in fourth place. I saw quite some people in the audience with Nargaroth T-shirts, having the quite entertaining back print "Anti Count v. Beelzebub Corporation". The much-hated count turned out to be a not really Satanic looking, bald shaven guy, who would have been well advised to wear a T-shirt instead of presenting his wobbly chest. Their music never left the realm of cheesy, typical keyboard laden black metal with incompetent guitar solos. To my ears Mystic Circle sounded like a watered down, simplified and uninspired Dimmu Borgir or Cradle of Filth rip-off. Some in the audience showed their sympathy by constantly flipping the bird towards the stage, others engaged in weird dancing as if listening to disco type music. Mystic Circle completed their set without commenting on any of that, and even if there's no reason to hate them I can agree with the Nargaroth fan base that Mystic Circle suck. Amon Amarth were next and one of the four bands that had already played on the No Mercy tour 2000 [CoC #48]. This time they didn't impress me quite as much as last year. This was mostly due to a muddy sound, which was heavy and in your face but made most of the guitar melodies inaudible. They also omitted all their older material and played only songs from _The Crusher_ [reviewed in this issue]. There's no doubt that this is a great album, but I missed songs like "Victorious March", which worked so brilliantly last time. The band played a very short set of approximately 30 minutes and performed tracks like "Bastards of a Lying Breed", "The Sound of Eight Hooves" and at last the brutal "Masters of War", which must have caused some snapped necks in the crowd. Amon Amarth's stage performance was convincing as usual and singer Johan Hegg (a man with the proportions of a mountain) never lost control of the audience, which in return gave Amon Amarth a level of response worthy of a headliner. Although I failed to understand the reasoning behind this particular sequence of bands, Holland's God Dethroned played after and not before Amon Amarth. They went down a lot better than on the year 2000 version of No Mercy, but considering the amount of crowd participation, they should have been placed before Sinister as well. With a new permanent skinsman and not Tony from AngelCorpse behind the drums, the band played a very tight set, including tracks like "The Art of Immolation", "Boiling Blood" and "Serpent King", plus a couple of tracks from their new album _Ravenous_. Despite some decent song material, they never managed to cross the frontier that separates the good but slightly insipid from the great live acts. They ended their set with an almost unidentifiable cover version of Death's "Evil Dead". The first band to have the full stage and play on the main drum set was Vader. Unfortunately, the continuously bad sound was responsible for the only disappointing show I've seen from the Poles so far. While Peter's solos were more at the forefront than ever, his and Mauser's rhythm guitars remained almost inaudible throughout the set. This became so frustrating that I was almost happy they didn't play my favourite song "Xeper", which would have been completely ruined by the lack of guitars. Still, the audience went crazy to the sound of tracks like "Carnal", "Silent Empire", "Sothis", "Wings" and two songs from their latest release, _Reign Forever World_ [CoC #52]. The band's stage performance was as energetic as ever but could not really make up for the sound problems. Fortunately, they'll be back in late Summer, supported by Cryptopsy and a couple of other bands, and from my last encounter with Vader on the _Litany_ tour I can testify that under more favourable conditions they are on par with the very best live acts. If Vader and Slayer would play on the same day in different places, you wouldn't find me at the Slayer gig. I hope this illustrates how highly I rate this band. Now it was time for the second headliner, Mortician. For some people this band is the most brutal thing around, but I'm more with Paul Schwarz and the 0(!) points he gave Mortician for _Chainsaw Dismemberment_ [CoC #42]. They were entertaining for exactly two songs. And, like a slightly above average joke which is good for a laugh and a half but gets incredibly annoying when told twenty times in a row, things got extremely tiresome from the third song onwards. Would the next song start with the staccato riff and end in the blur of noise or vice versa? It got truly hilarious when the guy at the mixing desk got confused which song-intro to select. Directed by Will Rahmer himself from the stage, he skipped through a couple of tracks on his CD to finally find the right piece of gore movie sample. As if it mattered. Unfortunately I can't give you any song titles, as I didn't bother to take any notes and also did not attempt to unscramble announcements like (in a normal voice) "This is from _Domain of Death_" and then (obviously starting the evil machine from Hell) "Uuuuuuurghhhh uuuuurghhhh uuuuurguguuuurgh". Probably one fifth of the audience enjoyed Mortician's gig and there was some moshing in front of the stage, but most stood and watched and a small minority obviously had a good laugh. It was around 11:15pm now and I had been standing in the shitty venue for more than six hours -- my desire to listen to metal had already given way to complete exhaustion. Even worse, Marduk was not part of my must-see list after one bad and one okay-ish encounter in the past, and only pride made me stay even though I was tempted to leave. Unexpectedly, Marduk did absolutely slay on this occasion. After the intro they launched "Azrael", the lightning-fast opener of _La Grande Danse Macabre_ [reviewed in this issue], operating at an almost unbearable volume. The whole band seemed to be far more agile than at the previous shows I had witnessed. Even B. War had replaced his "stand still and stare, looking as evil as possible" stage acting with serious headbanging. Legion whirled around like a demon from Hell and showed that he has developed remarkable frontman skills. I even became worried about how much longer his voice was going to endure the strain of endless touring and recording. His rasp was popping in and out like listening to music on headphones with a broken cable. Somehow that made the aural onslaught even more ferocious and genuine. I wouldn't have been surprised to see him spitting blood sooner or later without him caring about it. The sound experience was not only like standing behind a starting 747, the engineer got the mix dead right with clear and powerful drums, a punishing guitar sound and, surprisingly for a black metal show, audible bass work. Continuing with a mixture of old and new material, Marduk really convinced me this time, and that means quite a lot taking into account that I had almost left the venue before they started. A killer show, during which almost everybody in the audience mobilized their last bit of energy and which ended with the doomy "Summer's End" -- and at last the No Mercy tour was saved from being a disappointing event. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A T T H E H A U N T E D G A T E S O F V E N G E A N C E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC attends Nile, The Haunted, Carnal Forge and The Forsaken in l'Antipode, Rennes, France, 9th February 2001 by: David Rocher For a devoted follower of the Swedish death metal genre such as myself, the 9th of February 2001 was more than likely going to be a day to remember -- condemned as I am to live with the rancorous insight that I will very likely never get to see At the Gates on stage, the prospect of beholding a full set of Jenssen and the Bjorler brothers' energetic material live was definitely getting me to grow more than just twitchy as I waited for the venue doors to open. Finally, running a full hour late -- I am, in time, getting the inkling that this is a recurring curse punctually bestowed unto me for every each underground metal gig I attend --, the doors opened, and the assembled hairy crowd rushed in to meet tonight's openers, The Forsaken. I am rather perplexed about The Forsaken's debut, _Manifest of Hate_ [CoC #52]. The high 'n' mighty praise cooked up by Century Media's press releases prior to the album's release had somehow succeeded in really firing me up -- what death metal addict could fail to be allured by a band that supposedly, to state their official bio, fuses the "untamed power of the sadly defunct At the Gates, the songwriting wit of Arch Enemy and the obscure atmospheric twists of Morbid Angel"? Well, all in all, _Manifest of Hate_ is a great, intense death metal album, showcasing brilliant musicianship and great songwriting, but The Forsaken simply seem to have occurred -too late- to the metal world to really leave an indelible mark in it the way Arch Enemy's _Black Earth_, Morbid Angel's _Blessed Are the Sick_ or At the Gates' _Slaughter of the Soul_ have. Therefore, it was with great curiosity I awaited to be enthralled or be rebuked by The Forsaken's live appearance. Fronted by Ominous' vocalist Anders Sjoholm, the five-piece very professionally went about rendering a fine selection of tracks from _Manifest of Hate_ on stage, and proved to be precise, efficient, incisive and entertaining. Tracks such as "Seers Hatred", "Demon Breed" or "Manifest of Hate" really worked, and definitely succeeded in opening my ears wide to The Forsaken's cool death metal. Their sound was also fittingly powerful and clear, and completed the five-piece's flawless playing. After a very intense and successful twenty minutes, The Forsaken cleared the stage for labelmates Carnal Forge, who released their _Firedemon_ on Century Media after their rather mitigated debut _Who's Gonna Burn_ was released on Sweden's WAR Music. Fusing hardcore-influenced thrashing metal with Swedish death metal tones, Carnal Forge are capable of writing some very good tracks, just as they are quite as likely to produce some clumsier, less interesting tracks. So, Carnal Forge arrived on stage, and went about their performance with a very honourable dose of enthusiasm and conviction, which made them, for the first few tracks, a worthwhile experience. However, Carnal Forge live suffer from the same defects as Carnal Forge on disc, and after a few tracks, a form of sameness and deja-vu seeped in, dulling my interest for the rest of their show, despite the inflamed passion this band obviously have for their music and, more generally, the metal genre. Their track listing covered an array of material from both their outputs, with some particularly convincing tracks such as "Too Much Hell Ain't Enough For Me" and the title track "Firedemon", and also some rather less convincing material, where they bluntly reverted to sounding like a tachycardiac Pantera on a Swedish death metal spree. I didn't succeed in paying them due attention throughout all of their set, and I deserted the room to give my ears a bit of a rest before The Haunted, the band I had -really- been awaiting, took to the stage. As The Haunted appeared on stage, and immediately proceeded to play the opener "Dark Intentions", followed by the very muscular and catchy "Bury Your Dead", the first striking point was that, as I knew, former Mary Beats Jane vocalist Peter Dolving had been replaced by the sadly missed Face Down's Marco Aro, but as I knew not, At the Gates' skinsman Adrian Erlandsson has also been replaced by Per M. Jensen, of who I know nothing. The Haunted then went through a tasty sample of material from both their albums, including "Leech", "Hollow Ground" (on which Marco Aro's vocals were somewhat flat and disputably pleasant to my ear), as well as "Three Times", "Chasm", "In Vein", with however a wide majority of material from _The Haunted_. The crowd's reaction was amazing, as a huge moshpit formed at the front, and stage divers continually launched off the scene, which unfortunately, as many a time, turned out be a blatant pain. The catch is, I don't mind stage-divers, but some egotistical wannabe showmen just can't refrain from lingering on the stage, sometimes for as much as a full fucking minute -- a minute during which they often succeed in getting in the musician's way, and sometimes also in damaging some equipment, as was the case here, since one of the speaker racks cable was partly torn out at some point, which resulted in a series of minor sound problems that somewhat hampered both The Haunted's and Nile's performance that night. Nonetheless, The Haunted's show was compelling enough to take my mind of these issues, and all seemed more than satisfied with the chaos they stirred up that evening. As The Haunted finished their set with the excellently violent "Hate Song", the audience cheered, roared and raged for an encore, which took the form of a very cool moment indeed -- Marco announced that they were about to play a track specially for Rennes, and, pointing at the sweaty Bjorler brothers, hinted that it was "a track written by these two fuckers here"... And here it came, the awaited and hoped-for crowning final blow, as The Haunted launched themselves into the killer opener from "Blinded by Fear", from At the Gates' godly _Slaughter of the Soul_. At this point, I was totally elated -- although Marco's vocal delivery failed to constantly impress me throughout the whole gig, his rendition of Tompa Lindberg's screamed vocals were spot-on, and made this live performance track an unforgettable two minutes of metal brilliance which I will very likely never -forget-. After this, The Haunted saluted and left, leaving a sweaty mass of fans of theirs dazed and gasping for breath. Totally wicked, to the very bitter end! It was now up to roadies to begin the lengthy setup for Nile to take to the stage, so I sauntered off to the overcrowded bar for a beer or ten during the twenty-something minute wait which preceded Nile's appearance. Finally, as waiting time drew to an end, the lights dimmed, and Nile's memorable intro started playing, foreshadowing the brutal, enrapturing forty-minute set which was to come. Cruising with amazing ease through insanely intricate material off all their releases, Nile were simply enthralling that night. Whether on "Black Seeds of Vengeance", "Pestilence and Iniquity", "Ramses Bringer of War", or "Stones of Sorrow", Nile's performance was flawless, powerful and literally hypnotic. Although a few particularly bovine members of the audience still persisted in wearily moshing and elbowing around, most of the attendance were simply mesmerised by the -perfect- show Nile put on that night. The technically astounding, atmospheric and violent music was perfectly completed by Nile's characteristic three-throated vocal assault, and by ex-Angel Corpse skinthrasher Tony Laureno's totally awe-inspiring performance. I don't think I have, -ever- in my life, seen four musicians play this hard, this fast and this... perfectly. For a full forty minutes, Nile very literally -entranced- the attending crowd with impeccable restitutions of the tantalising "Masturbating the War God" and "Multitude of Foes" from _Black Seeds of Vengeance_, "Opening of the Mouth" and "Howling of the Jinn" from _Amongst the Catacombs of Nephren-Ka_, plus various other tracks whose titles I fail to recall. Although the very predictable encore gimmick was played, I was elated when the ginning four-piece Nile reappeared on stage after a due two minutes of the crowd chanting and growling, and happier still when they kicked into the murderous "Defiling the Gates of Ishtar" -- much-awaited and oh so predictable, but nonetheless, a final, crushing blow to the neck which left the extenuated gathering of fans to slowly descend back the glum reality of modern times after a truly bewitching journey to the Egyptian battlefields. Sadly, shortly after the gig, it was learned that Chief Spires had left Nile -- although Nile's songwriting shall apparently not be hindered by his departure, his warlike scenic presence and wild mass of red hair will be missed direly during Nile's appearances to come. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= I N F E R N A L F E S T I V I T I E S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The Inferno Festival at Rockefeller and John Dee, Oslo, Norway, April 13th and 14th 2001 by: Chris Flaaten Friday the 13th -- Good Friday the 13th even -- saw the first ever Inferno Festival kicking off. The festival bragged about every top Norwegian act and said it would be the greatest gathering of extreme metal bands ever. As it turned out, they had only -asked- the great bands to play, no contracts having yet been signed. Still, they wound up with a decent line-up and 22 bands over two days for roughly $2.50 each, which is a bargain. The festival had two stages. Rockefeller, which was the main stage, and John Dee, a smaller stage / pub in the basement of the same building. Throughout the entire festival, things went as on tracks. As soon as a band were done on one stage, another band started playing on the opposite stage. Very professionally run, big props to the organizers there. Day 1 ~~~~~ Khold kicked the arrangement off. Khold have received much praise from the likes of Satyr, who also signed them to his Moonfog label, and there was also a certain buzz going around about them. Can't say I was too impressed, though. Slow, monotonous metal with black vocals was their thing. Even with the great sound they had, I still got dreadfully bored. Some songs I swear consisted of only one riff, and the variations in tempo within songs were virtually non-existent. I later found out that this band is basically a continuation of Tulus and features two of the same members along with the same music. Many seemed to enjoy their performance, though, so I guess they're good at what they do. Just not my thing. Audiopain were next. Playing quite '80-ish speed metal with semi-brutal vocals, they were just what I needed after Khold. The guitarist/vocalist really knew what he was doing, churning out one hyperspeed riff after another while staring upwards into the mic Lemmy-style. They had decent sound; such metal doesn't require total hi-fi from the PA. They rocked, especially on a song where Apollyon from Cadaver Inc. guested on vocals. When I got back to the main stage Peccatum had already begun playing. I am not a big fan of this band -- the music is great at times, but the vocals leave much to be desired. This was also my impression of them in the concert setting. Ihriel and Lord PZ just don't have the necessary timing and vocal abilities to pull the theatrical thing off. Add to this an overly dramatic appearance and you have to backstreet cats wauling to Ihsahn's guitars. Towards the end of their gig, Peccatum, thanks mostly to Ihriel, also did manage to wreck Bjork's "Play Dead" to a point of no repair. Disappointing performance, even though the sound was good. Crest of Darkness followed at John Dee. I found their sophomore album _The Ogress_ [CoC #39] quite decent, mostly due to the keys and female vocals. At Inferno, they had neither and played mostly songs from their latest album. They had a very poor sound and since they lacked the elements that make their music interesting to me, I left after two very noisy songs. Trail of Tears then seized the main stage. ToT has released two solid albums, but I've never spent much time listening to them, preferring other bands in the same genre and most of all preferring other genres. I might have to rethink this strategy, though, since this seven-piece was magnificent! With professional musicians, glittering vocal performances (unlike the previous band on the main stage) and excellent sound, Trail of Tears was a highlight and also the most positive surprise I had at the Inferno festival. Bloodthorn had terrible sound when I returned to John Dee. Not being in the mood for a wall of feedback and other noise and not knowing their music, I left quickly. I later heard that the sound got better after a while and that Necrobutcher joined them for a cover of "Deathcrush". Oh well... Time for Gehenna. I have not acquainted myself properly with their discography, but it wasn't hard to enjoy their intense performance. They had hired a session keyboardist to do the synth parts and I imagine it could have gotten a tad tiresome without them in the background. Big plus to the drummer for pounding the skins so hard; rare to see drummers to that. Highlights were "A Witch Is Born" and "Lord of Flies". Hades Almighty (Norwegian black metal band previously named just Hades) played at John Dee afterwards, but since I was extremely hungry I opted for a calzone instead of catching them. Witchery cancelled due to illness at the last minute and thus Zyklon were pushed ahead. Instead of closing John Dee, they were next up at the main stage. Zyklon played well, but were plagued by poor sound. Trym had both sound and technical problems with the drums, it seemed, and the guitars were too blurry to drive the music properly ahead. Daemon is an excellent front figure in the live setting and his vocal abilities are awesome -- but still, I feel he fits better in Limbonic Art, where he has time to put some quality length to his screams. Enslaved had the honour of closing day one. Their sound was decent, but on the blurry and chaotic side. That's not that big a deal considering their music, though. Enslaved focused on their heavier material, leaving out the more epic things like my favorite "Storre Enn Tid - Tyngre Enn Natt", but fortunately included the monumental "Aeges Draum", which was the highlight for me. They played songs from their entire discography and the audience seemed -quite- pleased. They finished early, though. They obeyed the original schedule, but since they didn't have anyone playing after them I felt they could have played something extra. Day 2 ~~~~~ Entering the venue day two, I heard some modern metal with angry vocals and pictured a big, mean vocalist. To my surprise, Zeenon was three girls and a male drummer. I had decided to go to John Dee early to hopefully get seats, thus ignoring Zeenon's performance. I never bought Tidfall's _Circular Supremacy_ [CoC #48], thinking I would rather have the originals than copycats. Keyboard driven black metal is always interesting to see live, though, and despite having some problems with the sound they delivered a good performance. They included a taste from their forthcoming album as well -- quite promising. With more identity in their material and a bit more touring experience, Tidfall might become big. Having been successful in finding good seats at John Dee, I skipped M-Eternal's performance altogether. Ram-Zet had close to no live experience beforehand, but one couldn't tell from watching them. In fact, Ram-Zet's performance was by far the most professional of the entire festival! The drummer was probably the most impressive, flawlessly playing the complex staccato rhythms that Ram-Zet is all about. Having a female vocalist, a violinist and a talented fellow on the synths, the atmospheric element was also very well kept intact. They used synth effects and sampling in between their songs to weave everything together. Flawless and very impressive, although Ramseth's vocals got tiresome, just like on their debut album _Pure Therapy_ [CoC #50]. Susperia were next on the main stage. I saw them live a few months ago, before they began touring with Dimmu Borgir, and they were already good back then. Susperia's thrashy, death-ish metal does extremely well in the live setting, and when the sound is great enjoyment is inevitable. They played the best and most riffy material from their debut _Predominance_ [reviewed in this issue], and apart from vocalist Athera seeming a little tired, everything was close to perfect. Burning Rubber was next on John Dee, but were ignored in favor of more calzone. Hypocrisy was, along with Borknagar, the first band to be confirmed for the festival. However, Peter Tagtgren found it was too much trouble rehearsing for only one gig this year and cancelled. He offered Pain as a substitute, though, and they played. I find Pain quite uninteresting. The tempo and beat was the exact same throughout the gig and they rarely put more than two riffs into a song. Their music was better live than on CD, though, despite Peter singing a bit out of tune. They played five or six songs from _Rebirth_, all sounding exactly the same to me, and a version of The Beatles' "Eleanor Rigby". Some of the audience seemed to be enjoying themselves. I wasn't. Farout Fishing had a "gig" outside Rockefeller once while people were waiting to get in at the Satyricon/Pantera gig not long ago. Playing angry and very "American" hard rock, they are not among my favourites and were ignored this time around. Cadaver Inc., formerly named Cadaver, are back. They have a new album, _Discipline_, coming out sometime in April. I was fortunate enough to have heard the album beforehand, unlike the audience. It's usually a big plus to know the material being performed. Cadaver Inc. rocked hard, playing their ultra-hard and brutal death metal. Led by the always smoking and drinking Apollyon, who performed awesome live vocals (possibly due to him putting his cigarettes out in his own forearm for extra effect), Cadaver Inc. won my "being most extreme at Inferno" award, just ahead of Gehenna. I was curious as to how Red Harvest's music would do live. It did great! The drums were much more noticeable and made the music sound more intense. They focused mostly on their latest album, _Cold Dark Matter_ [CoC #48], and live the walls of sound were even more impressive. The synth on "Last Call" could have been stronger, but all in all the sound was great and the gig left me with a great feeling. Borknagar was the only band remaining. Guitarist Jens F. Ryland was actually the one, along with some help of course, in charge of making the festival happen. Borknagar opened with "Rivalry of Phantoms" and "Ruins of the Future" from _Quintessence_ [CoC #48]. The sound was decent, but the drums were a complete mess during the first song and the toms were absent throughout the entire gig. New vocalist Vintersorg surprised me greatly -- he fit much better than I thought, and apart from struggling a bit on "The Black Token" from _The Archaic Course_ [CoC #36], he delivered a very solid performance. It's not easy to imitate Simen Hestnaes's wild, ingenious vocal lines. Borknagar played songs from their last three albums and the set was close to perfect, the most obvious flaw being not having included "The Presence Is Ominous", my favorite. They also introduced us to a new song, but I need to hear it a couple more times before I pass judgement on it. The vocals seemed less interesting on it than I'd hoped, though. It was great to finally see this band live, and I look forward to catching them again. That concluded the first ever Inferno Festival, easily the best metal arrangement in Norway ever. Plans are being made to turn this into an annual event -- may all infernal forces help the people behind the festival make that happen! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= C o C M A R C H E S O N T H E M E T A L M E L T D O W N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Metal Meltdown III, day 1 Asbury Park, NJ, April 6, 2001 by: Brian Meloon This year's edition of the NJ MetalFest (a.k.a. Metal Meltdown III) provided pretty much what you'd expect from such a gathering: lots of people dressed in black, CD hawkers, people handing out flyers, flyers all over the floor, overpriced food and drinks, drunks, last-minute schedule changes, and delays in getting the bands on stage. Asbury Park's Convention Hall is a nearly ideal venue for such an event: not only is there plenty of space to put three stages without too much interference from the other stages, but there is plenty of space for booths without being on top of the stage. The entrance hallway / ticket booth leads directly to a large open warehouse-style area. Immediately as you enter are the booths, and in the back is the Relapse stage. Off to the right is the Digital Metal stage, in a gymnasium, complete with bleachers. Off to the left and down a small hallway is the SnakeNet stage, in what was formerly a playhouse or movie theater. I found the SnakeNet's dilapidated-but-formerly-glamorous stage provides a wonderful "decay of society" backdrop for a death metal concert. That said, the existence of immovable seats in the SnakeNet stage was rather odd. A theater full of death metal fans in their seats watching a death metal concert and politely clapping after each song is almost surreal. Of course, it also makes moshing rather difficult, but there are still those who will try (like that drunk idiot who tried to mosh by himself during Amorphis' set). Although the show started at 4:00, we didn't arrive until 8:00. We caught the last few minutes of a set by a band whose name I didn't catch (Natron, perhaps?), and spent some time wandering around the CD and T-shirt vendors. After a full day of work, I wasn't up for a lot of aimless wandering, so we ended up in the SnakeNet stage for the next few hours. Opeth was scheduled for 10:20, followed by Amorphis at 11:20, and I wanted to catch both of these bands. I was hoping to also catch Monstrosity, but they were scheduled for the same time as Opeth, so I had pretty much ruled that out. The first band we ended up seeing was Austin, Texas' Vesperian Sorrow. I have their debut album _Beyond the Cursed Eclipse_ [CoC #41], and found it pretty decent melodic black metal. They played tracks from that album and their forthcoming Displeased release. The band put on a solid and energetic performance. They had several problems with the sound, as the cheesy keyboards were too way heavy for the first three songs. When the sound finally evened out, it became more impressive, but they only had a song or two left. Still, this was a good showing for them: their performance was tight, and they got a good reception. Their singer's stage presence was excellent, and during the songs, he threw almost a dozen T-shirts to enthusiastic fans. Next up was Sweden's Vintersorg, a band whose music I wasn't overly familiar with. Their Viking metal sound didn't do a lot to impress me, but their performance was solid. They were short on between-song dialog, and lacking a dedicated singer hurt their rapport with the crowd, but their set was moderately well received. After their set was a long delay, followed by the first actual soundcheck of the evening. At around 10:45, Pain finally arrived on stage. They played a short but energetic set of industrial-tinged death metal, finishing with an amusing cover of the Beatles' "Eleanor Rigby". Their set was quite well received, as many people had filtered in to check them out or reserve good seats for Opeth. Finally, at around 11:45, Opeth took the stage. Their performance was nothing short of excellent. The only flaws I could find were the first few notes of each clean singing section, which were slightly off, but the songs were otherwise flawlessly performed. Their manner was very relaxed and informal. Not only did they do their own soundcheck, but after Mikael Akerfeldt's tuning got screwed up (after the first song), he methodically re-tuned his guitar and politely apologized for having difficulties. They played six songs: one each from _Orchid_, _Morningrise_, _My Arms, Your Hearse_, and _Still Life_, and two from _Blackwater Park_ [see CoC #14, #32, #44, and also this issue]. Their set lasted over an hour, finishing around 1:00. One thing that struck me about Opeth during their set was how much their music is influenced by '70s progrock. Of course, one can get this idea just by looking at their photos in the _Blackwater Park_ sleeve, but hearing them live really drove this point home to me. Another thing that struck me was just how much bass player Martin Mendez (whose birthday it was) looks like Spinal Tap's Derek Smalls on stage. Their set was certainly the highlight of my evening, as I'm sure it was for most in attendance. Opeth's website billed their appearance as "Opeth supporting Amorphis", but these roles should have been reversed, as there were roughly half as many people for Amorphis as there were for Opeth. Surprisingly, I only saw one person get up and leave during their set. I know I was tempted to, as Amorphis put on a terrible performance. The only reason I stayed was that I was hoping they'd play an old song or two. I suppose asking for "Exile of the Sons of Iusliu" is a bit much, but they could've played something off of _Tales From the Thousand Lakes_ or even _Elegy_ [CoC #10]. Heck, even Metallica still play old songs. Now, I haven't been a fan of their material since _Tales From the Thousand Lakes_ (Opeth is as much '70s influence as I can stomach), but this performance was particularly bad. The music was adequately performed, though the guitarists seemed half-asleep at times. However, their singer single-handedly ruined their performance. He has a much whinier and more nasally voice than he does on their studio efforts. In addition, I think the poor fellow is having delusions that he's Jim Morrison. In sharp contrast to the informal and personable set of Opeth, Amorphis' performance was haughty and impersonal. To make matters worse, not only was his voice incredibly bad, his stage presence was pathetic. When he wasn't singing, he just stood there like a tree. And at the end of their set, he dropped the mic (with an audible clunk), and walked off stage. And on that note, the first day of the MetalFest ended. There was still a whole day's worth of metal on Saturday, but as there was only one band I was interested in seeing (Gorguts), I didn't attend. Overall, the show seemed pretty well orchestrated. Aside from the scheduling changes -- it turns out I probably could've seen Monstrosity's set after all --, I had few complaints. I'm hoping next year's show is much the same as this year's, as I'll definitely be making the trip again. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= C R I M E S I N T H E M O U R N I N G P A L A C E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dimmu Borgir, In Flames and Nevermore at the Longhorn, Stuttgart, Germany, April 4th 2001 by: Matthias Noll Arriving late due to heavy traffic on the famous German Autobahn (to all ye foreigners: forget about free wheel burning without speed limits) plus a long queue at the entrance, I was just in time to see Lacuna Coil's last song, witnessed by an audience of 800 to 1000 people. A turnout that is not surprising at all, considering that Dimmu Borgir and In Flames usually enter the German charts with every new record of theirs (according to Nuclear Blast, Dimmu Borgir's new _Puritanical Euphoric Misanthropia_ entered the German and Norwegian charts in 16th position). In addition to this high caliber package, the Longhorn was chosen as a film set for the famous German crime series "Tatort" ("Crime Scene"). This proved to be quite a distraction during Nevermore's set, because the lights had to stay on to provide the cameras with sufficient illumination. Although the audience endured it with a stoic, "we don't care" attitude, the resulting atmosphere turned out to be somewhat unreal. Rather than seeing a gig, one had the impression of watching some fake, staged scenario, devoid of the typical characteristics of a live show. Nevermore's show didn't really help to overcome these averse conditions. Singer Warrel Dane had obviously lost almost half of his normal vocal range, due to a cold I assume, and had to leave most of the higher notes to the audience, an extremely painful experience during the likes of "Believe in Nothing". Besides this, his continuous attempts to rally the audience seemed somewhat out of place and would have been better left to bands like Machine Head of Biohazard. "I want to see a moshpit from the front to the back" as an introduction to the thrashing but very complex "The Sound of Silence" cover was logically not followed by anything resembling a pit nor any movement one would call "moshing". Another disappointment was Nevermore's setlist, which consisted solely of material from _Dead Heart in a Dead World_ [CoC #50]. A weird choice, because even if _DHiaDW_ is a fantastic album, the previous Nevermore records are of similar quality and many had expected to even hear some Sanctuary material. Despite the brilliance of their last album, Nevermore failed to do justice to material like "Narcosynthesis", due to an uninspired, mediocre performance, which was plagued by a muddy, weird sound. Fortunately, the end of the filming for "Tatort" shortly after the break between In Flames and Nevermore meant no further disturbance for a brilliant set by the Swedes. It's hard to believe that this is the same band I saw for the first time in 1997, also supporting Dimmu Borgir, that time on the _Enthrone Darkness Triumphant_ tour. On that gig In Flames resembled a bunch of teenagers who by some accident found themselves on a stage with instruments in their hands. Since then, the band has become professional in the most favourable meaning of the word. These days the guitar tandem Gelotte/Stromblad plays with a coolness and tightness that often resembles immortal six string duos like Thin Lizzy's Sykes/Gorham. Anders Friden has become extremely skilled in handling the crowd, entertaining everybody with a good dose of humour and physically and vocally exhausting himself on stage. The coolest thing about In Flames is the complete absence of any kind of image, spikes and leather outfit and the incredible positive vibe they manage to create with their music. Had you been there you would have seen me grinning like a moron while headbanging and air-guitaring during most of the set. The track list was the expected greatest hits collection and included mostly tracks from the last three albums. Beginning with the excellent, in comparison to the recorded version far more dynamic "Bullet Ride", they played "Gyroscope", "Beyond Space", "Episode 666", "Ordinary Story", "Pinball Map", "Only For the Weak", "Embody the Invisible", "Colony" as the encore and a couple of others. They even had a couple of pyros firing off but that didn't do much to enhance the experience. Regarding crowd participation, cheering and visible movement in the front rows, In Flames were celebrated like the headliner and delivered a gig which will be among the best I'll see this year. I couldn't help but feel rather skeptical that Dimmu Borgir would be able to top this tremendous performance. I turned out to be right, but I'm convinced no one in the audience was dissatisfied either. The Norwegians had a bigger sound, but unfortunately Nick Barker's incredible drumming was lost in the mix and only fully audible when I occasionally used my earplugs. Partially making up for that, Simen Hestnaes could be heard clear and strong through the PA. Overall I had the impression that their song material seems to develop more and more into areas where it requires concentrated listening on your home stereo instead of demanding intense thrashing and headbanging. The amount of crowd reaction was definitely less than throughout In Flames' set and in general things stayed rather calm. There was loud cheering in between songs, but instead of going over the top people seemed to prefer to stand and watch. Only during less complicated songs like "Mourning Palace" or "Spellbound" the majority broke out of their stasis. Visually Dimmu Borgir weren't very spectacular. Shagrath isn't the most impressive frontman around and in general there wasn't much going on onstage besides some more pyros. The setlist included "The Insight and the Catharsis", "Arcane Lifeform Mysteria", "Kings of the Carnival Creation", "Puritania", "IndoctriNation", "The Maelstrom Mephisto" and "Tormentor of Christian Souls". In general, Dimmu Borgir played a solid gig but offered nothing to get overly excited about. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= T O O F A S T F O R L O V E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dying Fetus, Gorguts, Skinless and The Berserker at E9, El Paso, Texas, USA, on March 27th 2001 by: Alex Cantwell This night's festivities began with a shock as Australia's The Berserker took the stage wearing crazed monster masks. Having not seen a photo of them previous to this show, I was obviously not expecting this, and it was real hard not to laugh, even though the music was beyond reproach. The band kept having technical problems through the entirety of their set, never knowing which microphone would actually work, and vocalist Luke got more and more agitated and remained visibly frustrated as their set progressed, bumping into band members and throwing the mic down. Their brand of industrial-tinged grindcore just pretty much freaked people out (or was it those darn masks?), and everyone stood still the whole time. The thing I most appreciated about them was their killer rendition of Carcass's "Incarnated Solvent Abuse". Tonight was also my introduction to New York's Skinless, and although their debut album had just been released four days prior, there were some in attendance who were familiar with their material -- much to the amusement of their vocalist, who made his bewilderment known, but then stated "oh yeah, the internet -- nobody has to pay for music anymore, I love it". Skinless tore through songs new and old, and made many new fans in the process, as most everyone I talked to talked about them favorably. Skinless are not the best or the brightest, but their mix of crust, mosh parts, and old style death metal made for a good live set. This was my second time seeing Montreal's Gorguts, so I had a clue as far as what to expect -- but what I did not expect was new guitarist Daniel Mongrain's complete control of the stage and audience. Not to take away from the other members of the band at all, who obviously have to hold their ground to play their over-the-top style of chaotic death metal, but all eyes were on Daniel as he dazzled us with an incredible one-handed tapping technique, wild glares, intense virtuosity, and all around charisma. So there's this wild man on stage left capturing the visual aspect, whilst the rest of the band plays a perfect set of carefully timed mayhem, providing the aural pleasures. Although their set was over much too quickly, they tore through two new songs, and standouts like "Obscura", "With Their Flesh... He'll Create" and "Stiff and Cold", amongst a few others. This band is one which demands to be seen live in order to be understood, because quite honestly, the technicality and the new approaches to squeezing and scraping sound out of guitars which they have taken on their last two albums must be -seen-, or else it runs the risk of being dismissed as noise. A superb set on all counts, and Luc Lemay and the boys must be commended on hitting the road and letting us sit in on a musical experience that can't be forgotten. It was late by the time headliners Dying Fetus took the stage, and most of the night's excitement and enthusiasm had been directed toward Gorguts. It didn't help matters much that it took three songs for Dying Fetus to get up a full head of steam. The guitar sound sucked, and all of the band except the lead vocalist just stood there the whole time. On the other hand, the drummer ruled, and their songs were good, but it was actually too fast to mosh to, and so for a second time, everyone just stood still and watched, clapping politely after each song. I had never seen such a lack of response from an audience towards a headlining band, but it seemed that by some strange course of events many were in agreement with me: that the true headliners had already played and packed up their gear. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= NORWEGIAN OLDIES AND NORWEGIAN OLDSCHOOL ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Mayhem, Carpathian Forest and Minas Tirith at Rockefeller Music Hall, Oslo, March 10th 2001 by: Chris Flaaten Minas Tirith were first up. I had already seen them live once before, but then they had a rotten sound. This time everything was -much- better; in fact, close to perfect. They opened with some new material which turned out to be an intro to "Hellfaith", the opening track from _Demons Are Forever_ [reviewed in this issue]. They played a great set, including some old favorites and a new song. They sounded tight as glue; these guys know each other's musical abilities and the songs intimately. The only drawback is that they do not present a very entertaining visual performance. Both vocalist/bassist Frode Forsmo and guitarist Stian Krobol stood with their feet planted on the ground, never interacting much with the audience. This and the fact that their music is far from black metal are probably the two reasons why most of the audience never got into their performance. The ones who knew them beforehand did, though, as they played marvelously. Carpathian Forest were next. The first thing I noticed was that they seemed to have kept the bass settings from Minas Tirith: you could hardly hear the guitars because it was so high in the mix. Carpathian Forest do not have any interesting bass lines, though, so they sounded dreadfully uninteresting. The second thing that struck me was the guy behind the synth. Big, strapping fellow wearing a ton of spikes, etc.. He touched the synth only during one song, though; the rest of the time he basically stood there looking mean. He did some vocals on a couple of tracks too, but did a poorer job at it than their original vocalist. Near the end of their set the sound got somewhat better and I could hear some riffs. Still wasn't impressed, though. I was not a big fan of their music before the concert and am possibly even less enthusiastic about it now. They had a good vocalist, though. Mayhem opened in a fury of pyrotechnics with "In the Lies Where Upon You Lay". Apart from a slightly messy sound from Hellhammer's V-drums, they had a great sound. Driven by Blasphemer's precision riffing and Hellhammer's drumming-inferno, Mayhem were very convincing musically, and also visually thanks to madman Maniac. Maniac is probably one of my least favourite vocalists, but he does well in the concert setting. Mayhem played a well rounded set including greats such as "Deathcrush" and "Freezing Moon", old obscurities like "Carnage" and four or five songs from their latest album. There was a decent response from the audience, which is rare in Oslo, and Maniac of course responded by cutting himself. All in all it was a good concert, with Mayhem being Mayhem, Minas Tirith ruling musically and Carpathian Forest being somewhat of a disappointment. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= H O W T I M E F L I E S ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Pantera, Soulfly, Morbid Angel and Nothingface at the U.S. Cellular Center in Cedar Rapids, Iowa February 23, 2001 by: Aaron McKay You've all no doubt heard the saying "It's a bitch to get old". Well, I think I am now beginning to have some insight into that particular phrase. Maybe it was the size of the crowd (though that never has bothered me in the past), or maybe it was the type of crowd, or maybe it was something else entirely, but the Pantera / Soulfly / Morbid Angel / Nothingface performance in Cedar Rapids, Iowa at the U.S. Cellular Center was not what I had expected. Three years ago to the month, and nearly to the day, I saw Pantera at the very same venue, then called the Five Seasons Center, with Anthrax. Even though Phil Anselmo and the guys had some serious difficulty with their sound at the time cutting out on them a lot, the crowd was understanding and the band was apologetic. It turned out to be a very killer evening. Whoever is to credit for Pantera thinking enough of Iowa and Cedar Rapids in particular to have the band perform on a weekend back-to-back times is an asset to his or her profession. My comments here have little to do with the band, speaking solely to the crowd aspect: the individuals in attendance were idiotic -- taking an evening out to pull themselves from the primordial ooze of high school athletics to "be seen" acting cool at the Pantera show. More there for the popularity factor than the music, these dolts sought the fights rather than the experience. Follow the herd -- just another cow. 'Nuff said. I think nothing of morons of this caliber and see no reason to dwell on them in this article any further. I spent a portion of the show trying to get to an arranged interview that never happened, so I missed Nothingface. Not seeing them was not that big of a loss for me. As I was chatting with Trey Azagthoth backstage, he was summoned on stage. WHAT?! Morbid Angel next? Shit. As experienced concert-goers know, this meant an abbreviated set. Sure enough, around a half-hour was the entire duration of their set. A band of MA's caliber and experience needs forty-five minutes minimum. If they were trading on an off going on right before Pantera, I understand that. If Morbid Angel was relegated to this position for the entire tour, I am insulted! They are -far- too talented for such an inadequate position on a bill. That aside, Morbid Angel was beyond great; flawless execution of their material from past to present. Phil Anselmo even joined the guys on stage for a song and watched the band's entire set from off-stage. That speaks well of Trey, Steve, Erik and Pete, if you ask me. Also, I picked _Gateways to Annihilation_ in my soon-to-be famous Top 5 albums of last year. This performance did nothing if not reinforce that opinion. I admit, I skipped Soulfly, as I have little time for them. Their music is respectable, but not to my taste, so I sought out some refreshments. Gauging from the time in the beer line, Soulfly got about forty-five minutes or so. At this point I would like to give a special "HELL YEA!" to the awesome security guard who could obviously tell my need for a Michelob and told me where I could find a shorter line... Here's to you, brother! Cheers. Pantera graced the stage at approximately 9:15pm or so. I have always had nothing but respect for these fine gentlemen and this performance did nothing but strengthen that resolve. Personally, I would have included a greater range of Pantera's lasting classics into the set, but no one asked me. The band sounded like a blitzkrieg anyway. Admittedly, I do not own _Reinventing the Steel_ and I would say a fair portion of the songs on friday evening were taken from that release, but I picked out a gem of recognition here and there. A rather killer rendition of a not-so-favorite song of mine, "Floods" from _The Great Southern Trendkill_, came out sounding like a berserker's rage. Fire, theatrics and showmanship accompanied all of Pantera's ninety minutes. Unlike three years ago when I last saw this four-piece, there were no unabashed anti-Metallica tirades a la Anselmo style. DAMN! Hats off Phil, Rex, Dimebag and Vinnie. Next time, Mr. Anselmo, work in a cover of "Invocation Towards the Conjuration of Black Souls"; other than Morbid Angel, that would have been a supreme reason for attendance! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Gino's Top 5 1. Absu - _Tara_ 2. Various - _Campaign of Hate Compilation_ (Hell disc) 3. Proscriptor - _The Serpentine Has Risen_ 4. Nastrond - _Age of Fire_ 5. Judas Priest - _The Best of Judas Priest_ (1978) Adrian's Top 5 1. God Forbid - _Determination_ 2. hurt - _hurt_ 3. Lacuna Coil - _Unleashed Memories_ 4. Sepultura - _Nation_ 5. Arise From Thorns - _Before an Audience of Stars_ Brian's Top 5 1. Weakling - _Dead As Dreams_ 2. Gory Blister - _Art Bleeds_ 3. Nokturnal Mortum - _Lunar Poetry_ 4. Forlorn Legacy - _Dead Man's Fear_ 5. Epoch of Unlight - _Caught in the Unlight!_ Alain's Top 5 1. Thorns - _Thorns_ 2. Dimmu Borgir - _Puritanical Euphoric Misanthropia_ 3. Opeth - _Blackwater Park_ 4. Zyklon - _World Ov Worms_ 5. Monster Magnet - _God Says No_ Adam's Top 5 1. Aborym - _Fire Walk With Us_ 2. Karaboudjan - _Sbrodj_ 3. Katatonia - _Last Fair Deal Gone Down_ 4. Various - Norwegian black metal circa 1989-1995 5. Proscriptor - _The Serpentine Has Risen_ Pedro's Top 5 1. Katatonia - _Last Fair Deal Gone Down_ / _Teargas_ 2. The Forsaken - _Manifest of Hate_ 3. Aurora - _Promo 2001_ 4. Zyklon - _World Ov Worms_ 5. Opeth - _Blackwater Park_ Paul's Top 5 1. Keelhaul - _II_ 2. Old Man Gloom - _Seminars II & III_ 3. Dismember - _Death Metal_ 4. Dismember - _Indecent & Obscene_ 5. Scissorfight - _New Hampshire_ Aaron's Top 5 1. Jungle Rot - _Dead and Buried_ 2. Himinbjorg - _Third_ 3. Dark Tranquillity - _Haven_ 4. Catastrophic - _The Cleansing_ 5. Thorns - _Thorns_ Matthias' Top 5 1. Disbelief - _Worst Enemy_ 2. Katatonia - _Last Fair Deal Gone Down_ 3. Thorns - _Thorns_ 4. Dimmu Borgir - _Puritanical Euphoric Misantrophia_ 5. Ulver - _Perdition City_ Alvin's Top 5 1. Falconer - _Falconer_ 2. Pagan Altar - _Volume One_ 3. Virgin Steele - _The House of Atreus Act II_ 4. Marduk - _La Grande Danse Macabre_ 5. Various - _The Return of Darkness and Hate_ Chris' Top 5 1. Diabolical Masquerade - _Death's Design_ 2. Thorns - _Thorns_ 3. Opeth - _Blackwater Park_ 4. Susperia - _Predominance_ 5. Zyklon - _World Ov Worms_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _____ __ __ __ | \.-----.| |_.---.-.|__| |.-----. | -- | -__|| _| _ || | ||__ --| |_____/|_____||____|___._||__|__||_____| Homepage: http://www.ChroniclesOfChaos.com FTP Archive: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos --> Interested in being reviewed? Send us your demo and bio to: -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= CHRONICLES OF CHAOS 606 Avenue Road Apt. 201 Toronto, Ontario M4V-2K9, Canada mailto:Adrian@ChroniclesOfChaos.com ---- Our European Office can be reached at: CHRONICLES OF CHAOS (Europe) Urb. Souto n.20 4500-117 Anta, PORTUGAL mailto:Pedro@ChroniclesOfChaos.com -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= DESCRIPTION ~~~~~~~~~~~ Chronicles of Chaos is a FREE monthly magazine electronically distributed worldwide via the Internet. Seemingly endless interviews, album reviews and concert reviews encompass the pages of Chronicles of Chaos. Chronicles of Chaos stringently emphasizes all varieties of chaotic music ranging from black and death metal to electronic/noise to dark, doom and ambient forms. Chronicles of Chaos is dedicated to the underground and as such we feature demo reviews from all indie bands who send us material, as well as interviews with a select number of independent acts. Join our mailing list to receive a free copy of Chronicles of Chaos every month. HOW TO SUBSCRIBE ~~~~~~~~~~~~~~~~ You may subscribe to Chronicles of Chaos at any time by sending an e-mail to with your full name in the subject line of the message. You may unsubscribe from Chronicles of Chaos at any time by sending a blank e-mail to . 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 . The 'Subject:' field of your message should contain the issue number that you want (all other text is ignored). To get a copy of our back issue index, send a blank e-mail to . =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= End Chronicles of Chaos, Issue #53 All contents copyright 2001 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.