_______ __ __ __ ___ | _ | |--.----.-----.-----|__.----| .-----.-----. .-----.' _| |. 1___| | _| _ | | | __| | -__|__ --| | _ | _| |. |___|__|__|__| |_____|__|__|__|____|__|_____|_____| |_____|__| |: 1 | |::.. . | `-------' _______ __ | _ | |--.---.-.-----.-----. |. 1___| | _ | _ |__ --| |. |___|__|__|___._|_____|_____| |: 1 | |::.. . | `-------' CHRONICLES OF CHAOS e-Zine, Monday, July 4, 2003, Issue #63 http://www.ChroniclesOfChaos.com Co-Editor / Founder: Gino Filicetti Co-Editor / Contributor: Pedro Azevedo Contributor: Adrian Bromley Contributor: Brian Meloon Contributor: Paul Schwarz Contributor: Aaron McKay Contributor: David Rocher Contributor: Matthias Noll Contributor: Alvin Wee Contributor: Chris Flaaten Contributor: Quentin Kalis Contributor: Xander Hoose Contributor: Adam Lineker Neophyte: Adrian Magers Neophyte: James Montague Neophyte: Jackie Smit Spiritual Guidance: Alain M. Gaudrault The individual writers can be reached by e-mail at firstname.lastname@ChroniclesOfChaos.com. (e.g. Gino.Filicetti@ChroniclesOfChaos.com). >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< Issue #63 Contents, 7/4/2003 ---------------------------- * Editorial * Chats -- Strapping Young Lad: The World Makes Way -- Burnt by the Sun: Innovators of the Revolution * Albums -- Aeternus - _A Darker Monument_ -- Arcane Wisdom - _Relics of Elder Might_ -- Arckanum / Contamino - _Kosmos wardhin dræpas om sin / Emptiness Enthralls (...and the World Is Not Enough...)_ -- Carcariass - _Killing Process_ -- Charger - _Confessions of a Man (Mad Enough to Live Amongst Beasts)_ -- Circle of Dead Children - _Human Harvest_ -- Con-Dom / The Grey Wolves - _Many Are Called But Few Get Up_ -- Cradle of Filth - _Damnation and a Day_ -- Cripple Bastards - _Desperately Insensitive_ -- Crowhead - _Frozen_ -- Curse of the Golden Vampire - _Mass Destruction_ -- Destinity - _Under the Smell of Chaos_ -- Enthral - _Subterranean Movement_ -- From Beyond - _Thrashin' Machine_ -- Gilla Bruja - _6 Fingered Jesus_ -- Gorgoroth - _Twilight of the Idols_ -- Graveworm - _Engraved in Black_ -- Immolation - _Unholy Cult_ -- Ingrowing - _Sunrape_ -- Intestine Baalism - _Banquet in the Darkness_ -- Iron Justice - _Post_ -- Jesters Moon - _Jesters Moon_ -- Johnny Truant - _Repercussions of a Badly Planned Suicide_ -- Kult ov Azazel - _Oculus Infernum_ -- Malevolent Creation - _The Will to Kill_ -- Malleus Maleficarum - _Taedium Vitae_ -- Marilyn Manson - _The Golden Age of Grotesque_ -- Mastodon - _Remission_ -- Metallica - _St Anger_ -- Misery's Omen - _To Worship Stone Gods_ -- Mystic Prophecy - _Regressus_ -- Napalm Death - _Order of the Leech_ -- Nebel - _Nebel_ -- Nile - _In Their Darkened Shrines_ -- Sepsism - _To Prevail in Disgust_ -- Sindrome - _Severe Damage of Reason and Equilibrium_ -- Sinister - _Savage or Grace_ -- Solefald - _In Harmonia Universali_ -- Steelglory - _Wayward Sons of the Beast_ -- Taliandorogd - _Neverplace_ -- The Haunted - _One Kill Wonder_ -- The Human Condition - _The Human Condition_ -- Tomahawk - _Mit Gas_ -- Unsanctum - _Ignite the Skies_ -- Zao - _All Else Failed_ * Demos -- Born of Thorns - _The Encounter of Light and Dark_ -- Enormity - _Inherent Enslaver_ -- Forcefield - _Casualty_ -- Pitbulls in the Nursery - _Impact_ * Gigs -- The World Ov Worms Descends on London -- Marco Aro Dances for the Cat People =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, _ ___ _, __, _ _, _, |_ | \ | | / \ |_) | /_\ | | |_/ | | \ / | \ | | | | , ~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~~ I M P R O V E M E N T S A N D I N T R O D U C T I O N S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Another one joins the fold by: Gino Filicetti Greetings everyone. I want to take this opportunity to fill you in on some of things that have been going on in the CoC camp over the past couple of months. As I stated in my very first editorial on our new and improved website, the transformation of CoC and our website is an ongoing process. Although at times real life rudely intrudes in our affairs, we've been working on bringing to light new improvements to our website. To that end, Pedro has just completed work on a new set of features for our website. The biggest improvement is to our search engine. You can now search the full text of any article's contents, with search keyword highlighting in the results. We've also enabled searching by label name. Both of these features can be found in our advanced search section by clicking on the "Search" menu and selecting "Advanced Search". Also, a minor but important improvement was made to our related article list. This is the list that appears at the end of each article and provides a link to articles on the same band. We've improved the coverage of this list to include articles from ALL sections instead of just the current section. Although these aren't earth-shattering new features, they are great improvements to the general usability of our site. Stay on the look out for more improvements as we slowly work our way through our Phase Two "to-do" list. Finally, I'd like to introduce the newest member of the CoC clan. Jackie Smit's debut article appeared in Chronicles of Chaos way back on May 18, 2003 (I guess this introduction is a little overdue). Jackie hails from South Africa but currently resides in London; a business graduate who's currently working in the glamourous field of market research. Jackie's been a loyal CoC reader for years and years with multiple published Loud Letters. And I still contend that loyal readers always make for the best writers... as evidenced by most of our current staff. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _,_ _, ___ _, / ` |_| /_\ | (_ \ , | | | | | , ) ~ ~ ~ ~ ~ ~ ~ T H E W O R L D M A K E S W A Y ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Gene Hoglan of Strapping Young Lad by: Aaron McKay Many, many moons ago, I spent a good deal of my high school years in downtown St. Pete at a club known as Jannis Landing. There, one hot, sticky Florida evening, I was blessed to bear witness to a live performance by the colossal Dark Angel on their "Leave Scars" tour. While time has slipped like sand through my fingers, never has a solitary moment of that show eroded from my recollection. Over the years, I've run across Gene Hoglan every now and again as he seems to have made it a personal quest to participate in as many practically inventive outfits in need of drumming talent as he possibly can. Never will you meet a more experienced, kind-hearted student of music and human-nature to talk with, so I began our interview by probing his ability to change drumming styles like most of us change channels on our TVs. CoC: From the get-go, what -really- impressed me, generally speaking, is how Gene Hoglan sounds different with every band you play with. For example, Old Man's Child Gene doesn't sound anything like Strapping Young Lad Gene and that's different from Dark Angel Gene. How do you do it? Gene Hoglan: That's cool man! I actually try to work on that a little bit because if I were to play Testament, it shouldn't sound like Strapping, and that shouldn't sound like Dark Angel, who shouldn't sound like Old Man's Child, or Punch Drunk or anything like that. I try to do something a little different. A lot of that is very easy to work around whatever band you're with -- you'll work around their style of music. You know, that helps me a lot. When I'm doing Strapping, that calls for a lot of chaotic double bass, and a lot of aggro stuff puttin' out a lot of crazy two handed double bills, like Death was. Death's music was very musician-oriented at the time. Chuck Schuldiner would say [to me], "Hey man! Go sick." Having an influence like Shawn from _Human_, the pallet was wide open to paint after that. It was really cool to use the band's own sound to help create the next level of that band's sound. CoC: Having followed your career, I noticed you seem to take whatever the band was before and morph it into you, a little bit, without detracting anything from the band's own originality. Your work with Death is a great example, I think. And I would assume groups would appreciated that. GH: I think so, I think he did. Chuck always stressed, "Go sick, go nuts. I can play over everything you're laying down." I think we only ever changed one beat on all the songs he and I ever did together, and that was just because the producer was like, "Dude, I'm not feeling the riff and the beat working together." So that was no problem. I think we did that twice: "Individual Thought Patterns" and "Symbolic". For all the riffs that we put together and all the other drum beats and stuff, we only ever had to change one per album. CoC: As far as Strapping goes, it is my impression that the interplay between the drums and the bass play a huge part in this band. How do you feel? GH: Yeah, Byron has such a great style. Byron isn't a flashy bassist at all, but the bass lines that we lay down are real solid to augment everything. There are so many metal bands that the bassist is just an extension of the guitarist. He's playing basically what the guitarist is playing. With us, man, Byron is like root note bastard; he pounds on the root note. If you gotta play the same note for sixteen bars or whatever, that's okay, it's -where- you place it. A lot of times, if you're doing a polka beat, we'll boom-bat-boom-bat-boom-bat instead of laying the bass on the 1 and the 3, we'll lay it on the 2 and the 4, you know... bam-bam-bam- bam-bam-bam-bam, so it just sounds more solid. CoC: You guys work so well together, it is not like Byron's bass playing taking a back seat in the music at all; I hear him just as much as the guitars, drums, and vocals. GH: Killer, that's awesome, man! He'd love to hear that. I agree, 'cause Byron is a very important part of this whole everything. CoC: This album, _SYL_, seems to have taken Strapping to the next level. I am extremely happy with the length of this album. In my opinion, it is the perfect length for an album of this kind. It's not too long and it really emphasizes what you guys want to demonstrate in the appropriate amount of time. Was that intentional or something Devin had in mind? GH: No, we didn't say we have to have this album this certain length. Even though some of the tunes seemed kinda long, like "Aftermath" and "Bring on the Young", but I was like "ahh... fuck it!" There's some three minute tunes on there and that's cool. Just turned out that way -- nothing preconceived. CoC: When you went in, I assume that some of the songs were written, but it didn't seem like there was a strategic game plan in. place You guys just went in and did a tremendous album . GH: Actually, we worked on these songs about eight months before we went in. We started writing in January and started tracking on September 10th. We just went in a laid it down. Everybody had their parts sowed together. CoC: Sure seems like a well oiled machine. What do you think about the feeling that nearly everytime I go through this release, I pick up something new. Would you call that multi-layered? GH: Yeah, it definitely is. It is one of the more stripped-down records that we've all put out together. Like Death music totally has, you listen to it once... you get the overall gist, then you put on some headphones and get something else out of it, you get stoned another time and start listening to that other thing you got goin' on there. The new Strapping record is the same way. We could have done a whole industrial side to the whole thing, and had samples everywhere, but we were not really feeling the samples. Everyone else is doing it to the tenth degree anyway, so why not just make it a stripped-down metal record? A prime example of what we think a good metal band is. CoC: This engages the listener to a degree that is fairly rare on the metal scene today. This is provoking, there was a lot to communicate with SYL to the listener. GH: I can see your point totally. Ultimately it did come down to just trying to be the best metal band we could be. That means thoroughly crushing. If we are the best metal band we can be, that means all the other metal bands are gonna start feeling some pain. CoC: Would you say that there is some type of parallel between SYL and a band along the lines of Hate Eternal? It devastates and that's a lot what I get from Erik's music, too. There seems to be a lot of commonality there. GH: There's some Morbid Angel influence on the whole thing. That's one of Jed's and Dev's favorite bands, too. I think we are way more familiar with Morbid Angel than Hate Eternal, though I know Jed loves Hate Eternal. The stuff I've heard from 'em, I think it's totally rippin'. There's nothing wrong with standing apart. CoC: I am -so- impressed with those clean vocals on "Force Fed" -- I think Devin's done an incredible job with that song. What was his thought behind having those vocal styles from clean to out-and- out devastation with what he does on that track? GH: Well, that's Dev, he is the all-encompassing vocalist. He can do anything. That's the main reason Strapping is as crushing as we are -- our vocalist is not tied down to one style or even the two styles of the soft verse and heavy chorus. Dev's dynamics are all over the place and I remember him saying as he was writing the vocal line to the record, "I wanna make things that we can pull off live. Never gonna be a problem for me to sing." We stay within a certain range and get crazy within that range, so any song we wanna pull out of a hat on a given night, we're like BOOM, we're there. When we were writing the songs, Jed would come up with a riff, we'd start honkin' on it. Five minutes into the song when everybody's got their riff down, Dev's already laying down vocal lines right off of that. Dev was saying, "I remember back in the day when I used to take the songs home, listen to them in my head, come up with these crazy vocal lines that were great to sing in the studio, but to do them live when you've got fourteen other songs in your set and you're hittin' this range that is just killing you... I'm not going to do that on this record." Any song from the record we can pull out at any time. That's pretty cool. CoC: I think, personally, -very- few bands are able to pull that off... GH: We all wrote lyrics for the record, too, you know? Dev had a few lyrics for a few of the songs, but a -lot- of the songs were, by God, "I gotta go record this, so let's all sit around in a group and toss out words." [Dev]'d come up with a line and say, "I'm kinda lookin' for somethin' along this line" and Jed'd throw out a line and I'd throw out a line, Byron'd throw out a line... All of us would be in there firing in a line and we'd all come up with vocal lines for him too, and he'd be like, "Yea, cool -- let's try it!" That's the first time I've ever tried this, and it's pretty unique and I like it. CoC: Would you say the lyrics are as important as the music to Strapping Young Lad? GH: We were more going more for the function rather than the form. The lyrics themselves weren't the important thing -- it was the emotion behind them. It was the aggression that had to go into them. Sometimes even the actual syllabic count of them and come up with the lines right then and there. It works. It's cool. And that's why I personally find it humorous when people are like "I read all this -heavy- stuff into the lyrics." I'm like, "Man, you know how we wrote the lyrics to this song?" CoC: Wouldn't you say Devin communicates the emotion of the song with -how- he sings it? GH: Oh, yea -- totally! Exactly. Most of this album has first-take vocals. Everything, really. This is pretty much a first-take - album-. I got my drum track done in five hours. Byron got his bass track down in five hours. Jed did pretty much all the guitars on the album, so it took him ten hours. Dev was laying down vocals from the very first day and some of the vocals Dev laid down even before we laid down the bass or guitars we kept 'cause they were so amazing. There's this one line in "Devoured" that's like, "Oh God help me with these dreams of 100 million souls washed away" -- that was one take! We got that on film, too. Dev was kinda sitting around in the corner to himself and he's like, "I'm going to go try this thing really quick." We had the cameras rollin' for everything. We filmed like 24 hours of footage from the recording of the album for future DVD use or whatever. Dev screams out this line. Chills are goin' up everybody's spine and he comes back and he's like, "That was okay. Lemme try that again." Everyone was, like, "NO!!" So much on this record was like that. CoC: With all your experience in all these bands, have you ever come across anybody who's able to do that? GH: Naw, that's Dev. There's so many things inside this man that other people cannot do. That's why every member of this band is totally important and we all feel like we're on a roll -- to a 'T' -- totally. CoC: You guys have stuck with Century Media straight through. Would you say Strapping has a pretty good working relationship with the label? GH: Up and down there for awhile. Right now it's on the up. Century Media's doing a great job! Everybody there's working hard and the record is selling great and everybody is really happy. We're all working well together and [the band] has a good working relationship with 'em. I think it is totally killer. The things bands need -- we get and we try to be accommodating as well. We try to keep our requests reasonable and they understand that. We renegotiated the contract before this record and it's all killer; it's a good working relationship and hopefully we can keep it rockin'. CoC: With Strapping Young Lad, it seems to me that you are able to flex your drumming muscle that you are known for. Would you say that to be the case? GH: I guess I'd say that I flex the amount I choose. No one is telling me you gotta do more -- that bums me out. No one is telling me you gotta do less -- it's like, "Dude, you're the drummer, you come up with the part." Also, I love it when others come up with the parts, too. One of the greatest things that I've done is when someone else comes up with it on a drum machine or tying to get a pattern across to me, I'd be like, "Hey, cool -- I wasn't even thinking about that. Let's try that!" I get to flex what I want. With this record, I push myself, but there is no song that I dread playing. I remember, my favorite tune from Strapping is "Oh My Fucking God" and I dreaded playing that one every night until I got really comfy with it. That was the first song that Dev and I wrote together. We wrote it in five minutes in our very first jam together, and I was so excited I was doing this crazy stuff, but I dreaded playing it every night. I'm to the point where I don't anymore -- I love playing it live. On the new record, there's nothing I dread. I'm like, "Fuck it! Let's play all of it." CoC: Do you know that chunky, fat, heavy, thick part of "Aftermath"? GH: The fast part? CoC: Yea! GH: Oh yea -- totally! CoC: That is the track I keep coming back to on the album. If I had to point to a spot on the new album, that is where you're able to flex the muscle you're know for... GH: Excellent! That's killer, man. I remember when we wrote that. We had the slow part of the tune together for a couple of months and we knew we had to take that song somewhere. We even came back to the intro and we pinched it down a half-step and were going through it and we got to the spot where it kicks into the polka beat and it breaks down. One day, we played through it and kept chuckin' on the main riff and then that part [you were talking about] came up and it wrote itself. I went into full-on hullin' double bass and Jed went into that triplet riff there; Byron was poundin' -- we all got chills! We were all like, "We got this song now." CoC: Well, Mr. Hoglan, thank you for all your time and agreeing to do this interview while you are on tour. If there is anything at this point that you'd like to communicate to the Chronicles of Chaos readership, I'd be very happy to include it here. GH: I guess if everybody buys a copy of the Strapping Young Lad album, nobody's gonna be disappointed. That could always help. Buy a shirt, too! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= I N N O V A T O R S O F T H E R E V O L U T I O N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Burnt by the Sun's vocalist Mike Olender by: Jackie Smit There are very few acts that can lay claim to having produced such a devastating debut as New Jersey's Burnt by the Sun. _Soundtrack to a Personal Revolution_ was one of the undoubted highlights of 2002 -- a perfectly executed, uber-violent assault on both the mainstream and the underground, proving that there are still a few bands who can manage to avoid metal's clichés with suitable aplomb while retaining the unhinged viciousness of a thousand rabid Rottweilers. With their forthcoming _The Perfect Is the Enemy of the Good_ effort looming on the horizon, who better to discuss the band's past, present, future and quite a bit in between, than their intelligent and affable frontman Mike Olender? CoC: _Soundtrack to a Personal Revolution_ was surrounded by a lot of hype, received outstanding reviews, and quite a few zines and magazines referred to BbtS as "the future of metal". How has that impacted on the band? Mike Olender: To be honest, most of that stuff just passes over us. I mean, obviously we're happy to be well-received, and we hope that people will get enjoyment out of what we do, but it's not something that myself or any of the guys in the band ever really think about too much. I personally don't read too many reviews, and to be honest I don't really know what a phrase like "future of metal" means, so I never pay things like that too much mind. CoC: For _Soundtrack to a Personal Revolution_ you used Matt Bayles (Pearl Jam, etc.) to produce the record and you've chosen to work with him again on _The Perfect Is the Enemy of the Good_. What was the reasoning behind choosing an arguably more commercial producer to work on what is some pretty extreme stuff? MO: We recorded the new album in May and basically the thinking was that we appreciate his talent and his taste and we want to sound different to other bands, and certainly want that to come through on the record as well. There's so many metal records out right now that halfway into a song, you can immediately tell who produced it, and that's creating a lot of really tired sounds in the scene. At the same time, a lot of those records are really good, but in choosing Matt Bayles we just felt like he would help us take things a step up, which we definitely feel he did. CoC: The lyrics to _Soundtrack..._ seem to maintain a balance between extremely personal and well-informed socio-political topics, yet the song titles all seem as though they'd be more suited to a Dead Milkmen album. What was the reason for doing this? MO: I wouldn't really call them political as such, but they're definitely very personal and very serious -- and probably a lot more so than the majority of bands out there right now. By giving the songs more humorous names like "Shooter McGavin" and "Dracula With Glasses", we felt like we'd be able to balance things out a bit. And obviously, like everyone we appreciate and enjoy things like films and other elements of popular culture and we wanted to show that. When you think about it, a lot of those song titles still are relevant in a way to the song, like for instance "Dow Jones & the Temple Doom". CoC: With the political content of your music in mind, would BbtS ever get involved in something like Serj's (System of a Down) Axis of Justice movement? MO: Well, despite the political stuff that's contained in our music, I still see us as more of a personal project, and the political topics in our music were more a reflection on things that I had been dealing with at the time that the first album was recorded. I was working with four different social justice organizations and that's actually still my job -- I'm a public speaker for a social justice organization. So, in that sense there is some activity, but we don't want to limit ourselves to one certain thing and say "this is what we're about -- deal with that". We didn't want people to put us into a mould and say things like "there's a war going on, what does BbtS think about that". We just wanted to offer people lyrics that made them think about things, but we didn't want to tell people what to think or say that this is wrong or this is wrong. If you look at the lyrics to _Soundtrack..._ carefully, they're all kind of turning around and looking inside and seeing things that bother you in terms of yourself and for instance your relationship and attitude toward materialism. So, of course, there's a message to it which is personal, but there's a bit more to it than that. CoC: Okay, so in light of that, how would you define the concept of having a "personal revolution"? MO: I think that a "personal revolution" is something that people should go through sometime in their life, and obviously there are moments in life where we go through big changes or make important decisions for ourselves, whether it be about religion or whether it be about life or getting married or starting a family or getting off drugs -- it could be any number of things. It's actually something that you do throughout your life, and it can be any number of things, but change and progress is certainly a part of life. And in that sense, I really liked _Soundtrack..._, because I thought that it really made things kind of more open in way. I actually gave a copy of the album to my brother, who is a very, very devout born-again Christian, and is somewhat of a scholar and actually studied at Oxford and Yale. And he really listened to the album and looked into it, and I'm not sure if he got anything out of it musically, but certainly he said that it had gotten him to think about things, which was really the point of the record -- to not be something that's limited to a certain age group or whatever. I mean, he generally doesn't even like this type of music, but he admitted that he would certainly be open to other things after that. CoC: You mentioned your brother being a Christian and I saw in the _Soundtrack..._ booklet that John Adubato (guitars) thanks Jesus. Obviously not in reference to your music, but are the band members personally very religious at all? MO: No, no, not really. I mean John isn't what you'd call a born-again Christian, although he does have some deep-seeded beliefs. I myself have actually last year grown a lot due to the certain experiences that I have had, but it's certainly not a band issue or anything like that. John has his own personal feelings about certain things, but it's definitely something that he keeps very quiet about and would only talk to you about it if you actually asked him. CoC: Metallica and Sepultura have both made returned to the fray this year and by all accounts nu-metal is on the way out, so what do you think of the state of metal and extreme music in 2003? MO: Well, I definitely see certain bands becoming a lot bigger and getting more accessible and appealing to a wider variety of people. Thinking purely of acts on Relapse -- I definitely see a band like Dillinger Escape Plan getting even bigger than they already are, branching off into an even wider audience. And the same with Mastadon -- I can definitely see them moving on to bigger and better things. We've known them since the late eighties and they're great guys, great musicians and a great band. And then of course there's other, not necessarily metal, but more hardcore bands -- I know Hatebreed is just getting bigger and bigger. One of my best friends works at Ferret Records and he gave me a bunch of stuff that's very good, and with all the touring their bands are going to be doing I can definitely see them becoming big names soon. A lot of bands aim to do what they do for a living, as opposed to just playing on the weekends, and they're definitely being accepted more easily by the mainstream. You know, probably within the next three years, we'll be seeing more extreme music getting a higher profile and pretty soon the kids who listen to stuff like Korn and think it's dangerous will all of a sudden not be so rebellious anymore. And it's a good thing, I think, except if it gets watered down and commercialised -- but I don't see that happening with the really good bands. CoC: You're about to get married, and you've mentioned that you have a job -- how do you juggle your domestic life, career and band successfully? MO: Well, it keeps things very busy. I mean, my fiancé and I lived together for quite a long time and I supported her financially for some time as well, so I don't see us getting married as really changing things the way they are right now all that much. Certainly if we were to have a kid, then that would be a problem. Our guitar player, John, is actually married and his kid is going on two years, and our bass player, Dave, he's married and his wife is expecting in September. So, I think that after that, things will definitely have to be reassessed a little bit, but even now, we aren't able to tour nearly as much as we would like or probably need to. CoC: Your forthcoming record _The Perfect Is the Enemy of the Good_ is probably on a lot of people's most-wanted lists for 2003, so what can we expect from the album? MO: Well, that record I will say is definitely going to be a lot different from what a lot of people are going to be expecting. And we think that in a good way, because it's reflective of how we allowed things to develop. The _Soundtrack..._ record was recorded as a five- piece, and on this one we had to adapt to doing things as a four- piece. But we're actually very pleased with how it came out. The production -- how it came out is much better than _Soundtrack..._. It's tighter and it has a lot more flow than the last album. On _Soundtrack..._ we tended to change things too quickly, whereas on this one we let things breathe a little more and let the different parts ride out more. Lyrically, it's also definitely very different. This time round, we all sat down and we decided to make the lyrics reflect on various discussions that we had had while we were on the road, and it deals with a lot of stuff that people don't ever really talk about that much. _Soundtrack..._ was more about looking inside oneself, whereas this is more about looking around at what's going on outside and thinking about what's happening around you. I think that people may get the wrong idea and say that BbtS is now a 100% political band, because this is a very harsh record. However, at the same time I would argue that the album is actually very A-political, because what we believe is that what we see on the news, and the people we see who supposedly control the economy or determine various world affairs is actually a far cry from the truth and so all this stuff we see and argue about actually means nothing. I mean, why does the Mayan calendar end on 2012? Why do the majority of religions point to this time right now as being sort of the final chapter in human history? It's things like that and we're sure it'll intrigue a lot of people and certainly it's quite a lyrical departure for us as well, to the extent that we've changed our logo to have a pyramid behind the name instead of a star and the album artwork is actually a 2000-year old blueprint for a flying saucer. CoC: So, it isn't your standard "my parents hate me, life is awful, I want to die" crap then? MO: No, it's ten songs and then people are going to be hit by a shitload of stuff at the end and we think that they're going to be really intrigued by what we have to offer. We hope so, anyway. CoC: Where would you like to ultimately see BbtS go? MO: I have no idea. There was a time, when we started out, where we felt that if we pushed a little harder, got the right tours or whatever, that we could get somewhere in terms of market recognition; but really that doesn't matter. One has to be realistic as well, because in our present situations we can't really afford to go touring every other week or every other month and we can't let BbtS become our sole source of income, if I can put it that way. We have to keep turning down touring opportunities constantly, because our private lives simply don't allow us the time to do it that often. At the same time, we certainly hope that the new record is going to open some doors for us and generally I just feel that if the band stays creative and keeps making good records, then that would be good enough for me and that would be something I'd be comfortable with. CoC: Any last words, then? MO: Look out for the new record -- it should hit the stores at around September. We're really happy with it and so is the label, so we hope that you guys are going to enjoy it. And, while we can't promise anything, we will try our best to maybe do a couple of shows in areas where we haven't been, so keep checking the website (www.burntbythesun.com) and we hope to see you guys soon. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _, __, _,_ _, _ _, / \ | |_) | | |\/| (_ |~| | , |_) | | | | , ) ~ ~ ~~~ ~ `~' ~ ~ ~ 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! Aeternus - _A Darker Monument_ (Nocturnal Art Productions, 2003) by: Pedro Azevedo (7.5 out of 10) Back again with their fifth full-length album, the Norwegian black/doom band that turned death metal has severed ties with long time label Hammerheart Records and joined forces with Nocturnal Art Productions. With _A Darker Monument_ Aeternus have another go at topping their brilliant _Shadows of Old_, which they had failed to do with their last album _Ascension of Terror_. A fresh approach was mandatory, but unfortunately, while Aeternus have come out with something slightly better than _Ascension of Terror_, their approach still suffers from virtually the same shortcomings as last time. _A Darker Monument_ starts off quite well, with the mid to fast-paced "Sword of the Earth", which seems to announce that Aeternus have decided to shed most of their recent American death metal leanings. Second track "Slavestate" dispels this notion, however, and it becomes clear we are in for another mixed bag from Aeternus. Overall I find more engaging passages on _A Darker Monument_ than I did on _Ascension of Terror_, but the answer to whether Aeternus have created an album that can challenge the mighty _Shadows of Old_ is clearly negative. Tracks like "Litany of Ra" and "Seen Through Abhorrent Eyes" make sure _A Darker Monument_ remains a worthy effort, but with all the quality death metal coming out lately (Immolation, Vital Remains, Behemoth), Aeternus fail to make a huge impression. Much like what happened on _Ascension of Terror_, there is simply too much unremarkable mid-paced riffage going on. _A Darker Monument_ is still a very competent album and marginally better than its predecessor, but it has neither as much atmosphere as _Beyond the Wandering Moon_ and _...And So the Night Became_ nor as much intensity as _Shadows of Old_. In case you are wondering why my rating is actually lower than last time even though I find this new album slightly better than the previous, the answer is simple: I wouldn't give _Ascension of Terror_ an 8 today, and _A Darker Monument_ is still not good enough coming from Aeternus. Considering all that this band has done in the past, one continues to get the feeling that Aeternus are underachieving, and so another album has gone by in competent but relatively unremarkable fashion. Contact: http://www.aeternus.ch Arcane Wisdom - _Relics of Elder Might_ (Independent, 2003) by: Pedro Azevedo (8 out of 10) Heed not the history-oriented band name and album title: the music on offer here is a blend of avantgarde black metal akin to some of what Borknagar and Arcturus have done recently -- epic-sounding but not looking to capture the ancient forest feel of a band like Summoning. While this kind of avantgarde tendencies may be a sign of over- ambitious musicians in the early stages of their careers trying to bite a piece they won't be able to chew, in this case Arcane Wisdom actually pull it off very well. The reason for that lies partly in the fact that they are able to retain enough uniqueness in their sound to avoid coming across as second-rate clones of the aforementioned bands. Furthermore, in spite of being an unsigned act, Arcane Wisdom are actually very good at what they do -- in other words, _Relics of Elder Might_ is not a half-baked attempt at creating grandiose, epic blackened metal. There is plenty of talent and ideas to be found on this disc, which is remarkably well rounded considering the band's relative lack of experience. Blackened vocals alternate with well- suited clean ones, with a complex sonic background of guitar and drum work as well as synths and a variety of other instruments. Borknagar's superb _Empiricism_ is the album that comes to my mind most often during opener "Misanthropic Horror Magnified", while "Maelstroms of Majestic Night" adopts a more aggressive stance during its first half before becoming more melodic afterwards. "Symphonia Chaos" loses some of the momentum by exploring arrangements that sound more avantgarde but are generally less interesting, but the more melancholic "Theatre Unfolds" raises the level again. In addition to these four tracks (each of them seven to eight minutes long), one can also find two instrumentals -- one a very good acoustic song, the other more synthetic. The quality of the instrumental work, songwriting and production throughout _Relics of Elder Might_ is made all the more impressive by the fact that this is an independent release, but I suspect Arcane Wisdom won't stay unsigned for much longer. Contact: http://www.arcanewisdom.pt.vu Arckanum / Contamino - _Kosmos wardhin dræpas om sin / Emptiness Enthralls (...and the World Is Not Enough...)_ by: James Montague (6.5 out of 10) (Carnal Records, 2003) Split 7" EPs are a great idea -- they're cheap, they often pair up little-known bands with bigger names, and they're often quite well presented as the two bands face each other off on the vinyl battlefield. In this case, the established band is Arckanum, who have plenty of full-length releases behind them (or him, as it's a one-man project) and a strong reputation in the black metal world. The one track on offer here is straight-up Arckanum -- this means classic riffs in the early '90s Scandinavian black metal style, with a touch of thrash and an epic, ancient vibe. The continuing habit of writing all lyrics and liner notes in Swedish and in an almost illegible old script reinforces this feel. To be honest, this isn't the best material I've heard from the band, but it is another strong composition by one of Sweden's finest black metal exponents. The unknown quantity (at least to yours truly) is Contamino, who play raw, old school death metal. Opening with some amplifier fuzz, just to remind the listener of the demo recording conditions, the band launches into some fairly unoriginal but very catchy death hymns. The vocalist is like a cross between a standard death metal growler and a grim, unfeeling croaker like Inquisition's Dagon, providing an interesting focal point for the band. Contamino also provides the bulk of the content on this 7" EP, giving two full songs and a nice instrumental coda for good measure. As is so often the case, a split EP has seen the lesser light take the honours. Now if only Sabbat would be upstaged on their next shared effort, that would truly be something... Contact: http://arckanum.cjb.net Carcariass - _Killing Process_ (Adipocere Records, 2002) by: Pedro Azevedo (7 out of 10) How someone can actually choose to keep a name such as Carcariass when a certain band with a similar name is such a legend in the metal world is beyond me, but in any case the third album by this French band is worth looking into. There is some rather technical melodic death metal going on here, with four out of the nine tracks on offer remaining instrumental. The album opens with a solo bass line, and soon enough the first Death-like dissonant riff with an odd time signature comes along, as does the first guitar solo. Even though there is a lot of emphasis on the technical side of things, the music still remains listenable -- not exactly a barrel of metallic fun or an onslaught of raw energy, but still enjoyable in its own way. The production is clear and gives every instrument some room. While not exactly brimming with intensity and nowhere near an album like Death's _The Sound of Perseverance_, _Killing Process_ is still a commendable effort that should be of interest for fans of technical death metal. Contact: http://www.adipocere.fr Charger - _Confessions of a Man (Mad Enough to Live Amongst Beasts)_ by: Pedro Azevedo (7 out of 10) (Peaceville, 2003) It is undeniable that a smart title and suggestive cover art go a considerable way to increasing one's appetite for perusing the CD inside, and while Charger have little of the latter, they do have a significant bit of the former. _Confessions of a Man (Mad Enough to Live Amongst Beasts)_ may not be as musically complex and thought- provoking as its title seems to indicate, but the man's confessions certainly come out hard as nails and black as tar. Recorded in Wales by Billy Anderson (Eyehategod, Neurosis, Sleep), Charger's punkish sludge sounds every bit as heavy as those names indicate. And if you want more name-dropping, this band from Stoke on Trent will be touring Europe in support of Today Is the Day this year. Back to _CoaM(MEtLAB) _, you will find a live feeling mainly coming up in between songs that may not be to everyone's liking, but the massive sound should make up for that. The delivery remains varied, which in a way detracts from my enjoyment of the album. From the doom of "A Ventilation System for Cooling Poultry" to the punk of "God Made Us in the Image of His Ass" (they do have a bit of a knack for song titles, don't they?), Charger keep their sludge ugly and very heavy. What they fail to do is keep my interest level stable throughout. The slower, painful doom sections might get repetitive after some time in the absence of some contrast, but I would still definitely rather have more of those and less of the mid-paced punk-laced material. Nevertheless, Charger remain a band to look out for in case you are a fan of the genre; _CoaM(MEtLAB)_ is at least an intriguing album with several interesting sequences and a devastating sound. Contact: http://www.peaceville.com Circle of Dead Children - _Human Harvest_ (Displeased, 2003) by: Xander Hoose (8 out of 10) Circle of Dead Children from Pennsylvania have been around for quite a bunch of albums now -- to be exact, _Human Harvest_ is their fourth outing. Currently operating without a bass player, this three-piece is hell-bent on achieving only one thing: sonic terror, or as they put it, "creating aural decimation". Well, _Human Harvest_ comes dangerously close to just that, with its hybrid of Brutal Truth-ish grindcore, Agoraphobic-style hyperfast drumming and Mortician-like grumbling. While never being as good as any of these bands, _HH_ does feature nineteen pretty solid slaps-in-the-face that'll have even the tamest grind-freak banging his head into the walls for the sheer fun of it. Most intriguing are the lyrics, which more than often read like sinister, introspective poetry; rarely does one find such well- written, intelligent lyrics in grind. Production and packaging are sufficient, making _HH_ a good addition to your grind collection. Contact: http://www.circleofdeadchildren.net Con-Dom / The Grey Wolves - _Many Are Called But Few Get Up_ by: Alvin Wee (7 out of 10) (LOKI - Power and Steel, 2002) Con-Dom opens up Side A of this split 12" with more restraint than we're accustomed to, stitching muffled samples of declamatory voices (largely unintelligible, contributing more atmosphere than message) into a rippling fabric of crackling and sonorous cosmic dronings. The subsequent "Hate Crime" takes us back to familiar tongue-in-cheek Con- Dom territory with a direct song sample clearly recalling the artist's obsession with black/white race wars, segueing into a blizzard of derogatory ranting with another droning backdrop, more industrial/mechanical than before but quite surprisingly avoiding their trademark power electronics violence throughout. Highly atmospheric and stimulating, setting the stage nicely for The Grey Wolves' more direct assault on Side B. "Goin' home" seems to consist of one long sample (from some movie?) set to a curtain of typically high-pitched electronic squealings and subtle mid-range waves; taken out of context it lacks the orchestrated conviction of Con-Dom's material (although remaining an excellent track). Something which is taken up rather nicely by the caustic title track, an angry voice spitting out the words of the title to a seething mass of mid-range analogue distortion, building up to an inexorable, blood-boiling climax of the words "my eyes are burning". Bringing together two of the most (in)famous names in the power electronics is bound to conjure up high expectations -- which are well met by this lamentably short offering. Contact: http://www.loki-found.de Cradle of Filth - _Damnation and a Day_ (Sony Music, 2003) by: Adam Lineker (6.5 out of 10) An essential part of the black metal scene, cross-genre innovators, the world's most unholy boy-band, the worst thing to ever come out of Ipswich -- whatever be your opinion of Cradle of Filth, it is difficult to ignore them. Personally, I have eagerly anticipated this record since 2001's _Bitter Suites to Succubi_ EP (of sorts) began a deluge of stop-gap fan bait. Couple this tedium with their recent major label signing, and the stakes are high over Dani's head. So, to the good parts of _Damnation and a Day_ first: it sounds awesome. Guilty in the past of swamping their more metal elements in ambience, the band have evidently taken special care to preserve their bite. The guitars sound more powerful and polished on this work than any other previous CoF release, synching those heavy riffs into place beautifully. Yet all this glossy riffola would be nothing without Adrian Erlandsson, whose drumming sounds simply magnificent on _Damnation..._. Not only does he display tight technique and essential rhythmic control, the production on his kit lends him a more powerful attack than ever before, making his fills and blasts a real pleasure. Unfortunately Robin Graves' nocturnal pulse is woefully missing from the rhythm section. With no disrespect to Dave Pybus, who provides some very effective melodic bass lines, the instrument mostly blends into the mix and lacks the presence of past CoF releases. Dani also sounds more subdued on this album; it is a relief to hear his voice a little less intrusive than usual, but after a career peak on 2000's _Midian_ opus, it is a little disappointing to find him below par. One big question hanging over this album prior to release was the decision to use the Hungarian Film Orchestra and a real choir instead of synthesized instruments. The good news is that these new components sound great, often subtly working in and out of counter melodies and accompaniment. Yet, even though it bewilders me from a musician's point of view, one could argue that the rich analogue sounds of Martin Foul's Kurzweill Keyboard served the music as well as, if not better than the real instruments(!). The inclusion of the orchestra and choir has also lead to two rather unsettling developments. Firstly, dispossessed 'boardsman Martin has had to arrange things other than his traditional surges of ambience to keep him busy, resulting in a mixed bag of effects that dabble in electronica. Occasionally it works, more often than not it provokes a raised eyebrow; the sampled fireworks in "Better to Reign in Hell" are a fine example of this awkward frippery. Secondly, although sounding fine behind the prominent metalwork, someone gave into temptation and decided to compose a multitude of classical instrumentals. Cradle of Filth have been known to undertake such musical excursions in the past, but allowing the orchestra four opportunities to explore dark and epic moods does nothing more than dilute the album. To make matters worse, the resultant music is distractingly cringeworthy; rather than arouse my taste for classical music, they do more to convince me that Cradle of Filth are planning to write a soundtrack for Conan 3. Musically _Damnation and a Day_ is similar to the work on _Midian_, but with a far greater scope and a wider incorporation of sonic elements. Make no mistake, this record is huge in execution and concept. Yet almost inevitably, one is left feeling that Cradle have over-egged the pudding. The songs are lengthy without exception, exploring multiple motifs, but the quality has been stretched out to breaking point . Whereas _Midian_ offered us glossy slabs of great atmospheric metal, _Damnation..._ serves up overblown constructions that only capture your interest in sporadic bursts. There is very little of Sarah Jezebel Deva on this record, and there is also a pitiful amount of lead guitar melody -- the guitar solos have completely disappeared from Cradle's sonic palette. For all the grand elements brought to this album, so much of it washes over you. There are moments of classic metal brilliance, but these are countered by excessive, meandering dirge. There are some innovative melodic passages, but mostly they sound forced and confused. Dani's lyrical creations on this record are equally convoluted, muddying a familiar concept (Milton's Paradise Lost and then some more) with unnecessarily vague word play. It is a real shame that Cradle's mainstream label debut should sound this misguided; one can painfully hear the effort that has been put into making _Damnation and a Day_ a reality. What will sadden most CoF devotees is the reality that the insidious atmosphere that suffused _The Principle of Evil Made Flesh_ through to _Dusk... and Her Embrace_ has all but disappeared; this opus doesn't even have the dark metal glory that gave _Midian_ its magic. I can't bring myself to deem this record a totally bad one, but it is far from the crowning musical achievement that the band needed. Cradle of Filth haven't lost an inch of their musicianship, nor do they seem devoid of creative ideas, but with _Damnation and a Day_ they have lost more than they have gained. Cripple Bastards - _Desperately Insensitive_ by: Xander Hoose (9 out of 10) (Necropolis / Deathvomit, 2003) One of my highly anticipated albums for this year comes from the Cripple Bastards. Having had the pleasure of reviewing their _Misantropo a Senso Unico_ album and seeing them play live, they've rapidly become one of my favourite hardcore/grind bands in the scene. Upon first listen, _Desperately Insensitive_ was a bit of a disappointment, but after tweaking the bass and treble a bit and increasing the volume, my faith was restored. In true Cripple Bastard way, _Desperately Insensitive_ includes more than a handful of songs (nineteen this time around) and there's a great stylistic diversity, especially in the vocal approach. Guilio manages to alternate his growling death metal style with a Kevin Sharp (Brutal Truth) screech, then turns to hardcore shouting, and ends up mixing it all together. Nice! With songs rarely clocking over two minutes, _Desperately Insensitive_ is a good album for those with attention deficit -- but a total running time of 28 minutes is still a bit on the short side for me. Lyrics are in English, Italian and -- correct me if I'm mistaken -- Czech ("Rak Ne Prestaje"), and the artwork looks excellent. If you're into hardcore/grind, then do yourself a favor and pick this album up. Contact: http://www.cripplebastards.com Crowhead - _Frozen_ (My Kingdom Music, 2003) by: Xander Hoose (5.5 out of 10) It seems to be a very popular thing nowadays: mixing gothic with poppy danceable elements, creating something commercially safe for the young impressionable goth-heads, EBMers and new wavers. Some bands are easily forgiven for it: Funker Vogt have made it their trademark, Peter Tagtgren's Pain does it with such style and grace that it's a pleasure to listen to, and Misery Loves Co's swansong _Your Vision Was Never Mine to Share_ never received the credit it deserved. Crowhead, on the other side, lack the genius and instead present us with cheesy song structures, horribly sentimental vocals and cliché keyboards. Only at the end of _Frozen_ do we see some guts with the usage of harsher electronics and a sinister atmosphere, but by then it's too late to save the album from going under. True gothic/electro lovers will be much better off with Apoptygma Berzerk, Pain or VNV Nation. A word of consolation for Crowhead: my goth girlfriend does seem to like this album. Figures... Contact: http://www.crowhead.com Curse of the Golden Vampire - _Mass Destruction_ (IPECAC, 2003) by: Xander Hoose (9 out of 10) Those of you unfamiliar with Curse of the Golden Vampire cannot be blamed, because this collaboration between Alec Empire (Atari Teenage Riot), Kevin Martin (Techno Animal) and Justin Broadwick (ex- Godflesh) has never received the proper attention it deserved. The first collaboration album was released in 1998 on Alec's label DHR and featured aggressive techno breaks with a strong hint of industrial. The album wasn't a big success, even though it explored some new territories for all parties involved. _Mass Destruction_, the new Curse of the Golden Vampire album, is a second attempt at bringing new and refreshed music to the masses, strangely without the help of founder Alec Empire. Mixing the aggression and vocals of Godflesh with the heavily distorted beats of Techno Animal turns _Mass Destruction_ into something far more lethal than what we're used to from either artist -- think of a bass-driven hardcore/noise version of Phantomsmasher and you might be on the right track. Don't be mistaken, the material on this album might be a little bit too inaccessible for Godflesh fans who think that guitars are a vital part of music, while the aggro-vocals might turn away the more hardcore electronics crowd. Still, _Mass Destruction_ is definitely worth a try for fans of Atomsmasher, Atari Teenage Riot and the Fear Factory remixes. IPECAC did a good job on signing CotGV and I can only express my hopes that we will see more material in the future because the 36 minutes on this album went by a little too quickly for my taste. Destinity - _Under the Smell of Chaos_ (Adipocere Records, 2003) by: Pedro Azevedo (4 out of 10) From the onset this disc invites reviewers to sharpen their critical teeth on it: amateurish front cover, terribly cliché band photos, a dubious band name, and (last but not least) the kind of album title that is likely to have you shaking your head in disbelief. Get past all that though, and what you have is essentially a Cradle of Filth derivative. Many moons ago, back in 1996, a band called Hecate Enthroned was heavily criticized for sounding too much like CoF; yet anno 2003, what Destinity have come up with is just another second rate imitation of Cradle of Filth, in this case with some touches of Limbonic Art in the keyboard department. Much like another band I recently reviewed, Illnath, Destinity seem to have made no effort whatsoever to avoid such an obvious trap on this, their -third- disc. I can excuse a debuting band to some extent for trying to emulate their idols a bit too much, but when you've been around for a few albums this lack of originality is bound to seriously weigh you down. The album is competently carried out for the most part and even features some good passages, as Destinity seem to have improved somewhat since their last offering (at least judging by the rating it was awarded). Nevertheless, this band still has a long way to go both in terms of musical relevance and of course originality. Contact: http://www.adipocere.fr Enthral - _Subterranean Movement_ (Displeased, 2003) by: Xander Hoose (7.5 out of 10) Norwegian black metal band Enthral might not ring a bell with everyone, but in the past they've shared members with Dimmu Borgir and The Flesh and their resumé includes two full-lengths. Having been around since 1996, they've had some style changes -- from a more classical sound with cello and soprano vocals, they moved towards a style reminiscent of earlier Covenant and Satyricon. The main problem with Enthral and their _Subterranean Movement_ album is that they have to compete in a league where bands with a cult status get all the attention, while smaller bands have to be really innovative or extremely good in order to reach a target audience. Enthral is neither: innovation is not what Enthral is aiming at with their rock- solid textbook black songwriting; and while Enthral are good, they are not extremely good. If they're good enough to make it to the next level remains to be seen, but those who give this album a try might be pleasantly surprised. _Subterranean Movement_ won't do you any wrong, that's for sure. Contact: http://www.enthral.org From Beyond - _Thrashin' Machine_ (Painkiller, 2003) by: Alvin Wee (6 out of 10) No prizes for guessing where this Belgian duo draw their influences: this mini-album continues the German mid-'80s legacy with twenty minutes of non-stop Kreator worship by ex-members of "cult Black Metal act" Moribund (according to the press-sheet). Impressively tight, the band rips through four energetic and well-structured thrashers replete with melodic solos and neck-breaking riffs, albeit without breaking any new ground or sounding particularly exciting. This is one of those albums you can't really fault for being poor in any department, but somehow lacks the requisite punch of great retro albums like Swordmaster's _Deathraider_ or Nifelheim's early work on most tracks. Which is a sad thing, as these headbangers sometimes manage to get the '80s feeling down pat, especially on the wild thrasher "Nightmare" where Slayer-esque leads duel with pounding riffs and maniacal drumming to create a masterpiece worthy of any Destruction or Sodom record. I'd recommend waiting for a full-length to see these maniacs' true power, but then again '80s fanatics might already be drooling at this. [Note: Last I heard, Painkiller was not responding to e-mails. Try their snail-mail address on the website.] Contact: http://www.painkiller-records.com Gilla Bruja - _6 Fingered Jesus_ (Retribute Records, 2003) by: Xander Hoose (8 out of 10) Retribute Records has rapidly become the home of some very promising extreme bands, and with the second Gilla Bruja album they show they're still on the right track. This four-piece from England is mixing plenty of good riffin' with dirty growls and chilled-out grooves; think of Brutal Truth jamming with Buzz:oven trying to cover Iron Monkey -- you'll get the idea. I can't say I haven't heard this style of music before, but it's being done expertly here, and if you add a perfect production to that you get an album that can't do much wrong. Songs like "Where Low Life Grows" and "The Door" will have you bouncing round the house in mere seconds, while some of the dual vocal parts ("All for Blame", "A Season to Wither") show a different side of the band. For the restless ones among us, there are the obligatory up- tempo songs as well ("Harvest"). A minor drawback is that even a short album like this gets quite repetitive after a while -- something I see happening with many bands in this genre. Still, Gilla Bruja has done their best to satisfy us all with _6 Fingered Jesus_, which I can only qualify as sludge in its finest form, and hopefully we'll see them touring around soon. Contact: http://www.gillabruja.com Gorgoroth - _Twilight of the Idols_ (Nuclear Blast, 2003) by: Jackie Smit (8 out of 10) I last encountered Gorgoroth on their crushing 1997 _Destroyer_ effort -- the title track of which I once convinced a radio DJ for an adult- contemporary station to play at 11:00 am. Six years and thirty phoned- in complaints later, it would appear, judging by the sound of opening track "Procreating Satan", that not much has changed at Camp 'Roth, and I'd happily wager that the band's influence on the recent spate of necro black metal has been somewhat overlooked by critics and fans alike. However, it is on the following number, "Proclaiming Mercy" that I'm quite surprised to hear a rather dramatic drop in pace. Perhaps this is the "more mature and refined" approach that their bio alludes to? Either way, they incorporate the more subtle tempo very effectively, and despite the slowdown, the music still bristles with malevolence and anger. Their darker, more haunting side is brought to the fore even more vividly on "Exit Through Carved Stones" and "Teethgrinding" -- without a doubt two of the best black metal songs to grace these ears so far in 2003. Warp nine blasts aren't completely cast aside however, and purists may breathe a sigh of unholy relief when "Of Ice & Movement" launches into its raw, frostbitten dirge. Unfortunately though, this is the last proper track on the album -- a mere 25 minutes into proceedings. Considering that this is supposed to be the full-length follow-up to _Incipit Satan_, I would have expected the band to at least attempt to come up with something a little longer and more substantial than your average MCD. _Twilight of the Idols_ is without a doubt a top notch, if not excellent release, but (and I feel in this case that it's more than reasonable to direct this as a criticism) the experience is over far too soon to truly justify its existence. Graveworm - _Engraved in Black_ (Nuclear Blast, 2003) by: Jackie Smit (6.5 out of 10) Listening to Graveworm's latest effort, you'd be forgiven for thinking that you'd fallen asleep and awoke back in 1996. Certainly, if Graveworm had their way, then that would surely have been the case, as the music on offer on their Nuclear Blast debut doesn't sound at all unlike Cradle of Filth's _Dusk... and Her Embrace_ and Dimmu Borgir's _Enthrone Darkness Triumphant_. It should also then come as no surprise to learn that Sarah Jezebel Deva herself at one point collaborated with the band -- though unfortunately her efforts weren't captured on this, their fourth full-length record. To be honest, Andy Classen's outstanding production job probably makes this band sound a notch better than they really are, but it's hard to deny the instant appeal of songs like "Legions Unleashed" or "Abhorence". Likewise, the overall feel of the record is captured well by the group's tight and corrosive performance. The problem is that we've seen this all done before -- and executed with greater flair -- by a fair amount of other acts, who have mostly now moved on to greater heights. That said however, Graveworm's latest attempt sounds a hell of a lot more convincing than the new Cradle of Filth, so if that's your musical tipple, then you might be well served to give these guys a look. Immolation - _Unholy Cult_ (Listenable, 2002) by: Paul Schwarz (9 out of 10) It has been a long road for Immolation; and still, in the ever unjust "scene", these New Jersey natives are not widely recognised. It's a pity really; not only have Immolation "got back on the horse" --- having released three albums in the last four years, compared to their two in the preceding seven -- they've successively bettered themselves ever since Dee Snider / Riot producer Paul Orofino got behind the desk for _Failures for Gods_ (and stayed there). Each new Immolation album has given the band a better-suited and more encapsulating sound, and with each album, Immolation sharpened their skills as twisted, technical death metal songwriters. Unlike so many "good" death metal bands around today, Immolation aren't only for the nostalgia freaks: they aren't struggling to catch up with anyone. Instead, they play their own game. Of course, there is much about Immolation which is - rooted- in the American death metal "tradition" of which they are a part; but these roots are not rules -- or if they are, then Immolation have certainly gone beyond bending them: _Unholy Cult_ moves to its own twisted, lurching and yet ever arresting beat. If you're familiar with any of Immolation's last three albums, you'll recognise them as the authors of the eight songs here presented after hearing a mere few seconds of any track. Yet when you've given more time to _UC_ -- a full listen to any single track will do -- you'll notice just how far Immolation have come; even since 2000's classy _Close to a World Below_. Though thoroughly brutal and uncompromising, Immolation's fifth album is expertly nuanced, and blessed with a sound that beautifully articulates its tortured malevolence. A sinister amalgamation of magnificent riffs, incredible rhythms, sterling solos and arresting arrangements -- to name but a few of its qualities -- _UC_'s main body is a near-masterpiece of modern death metal. Unfortunately, there are "buts". Firstly, there's the album's cover. Depicting the crucifixial shadow cast from the top of a foreground church with an evil face -- apparently lupine -- dwelling in its darkness, the image only serves to reinforce scene stereotypes, and will doubtless put off many who would relish the music it encloses. Put simply, _UC_ looks like your average, boring, by-the-numbers death metal album -- though it is actually something much more special. _UC_'s opening minute is also disappointing; a droning three-note progression creates a dynamic which the crushing kick-off of "Of Martyrs and Men" capitalises on; but it's old news. It's a tactic Immolation have used more than once -- on their last two albums, in fact: they would have done well to do something different this time, or at least not repeat themselves in such a bland style. But the most frustrating part of _Unholy Cult_ is its close. As "Bring Them Down" builds toward a final climax, expectations are running high: but instead of delivering a majestic final stroke -- or bringing proceedings to a close by gradually fading out on a riff as ominously portentous as the one which capped off "The Devil I Know" on 1999's _Failures for Gods_ -- Immolation fade out on a bland repeated progression, leaving you feeling cheated and frustrated. It's unfortunate that these low points cannot be satisfactorily edited out -- as duff tracks could be. Yet, despite their crucial placings, they don't spoil _UC_ but simply mar its near-perfection. Immolation would do well to re-evaluate -- or at least vary -- aspects of their image and overall album structuring in the future; but if they continue to write music as compelling, crushing and differentiated from the norm as they have with _Unholy Cult_, I must admit that I'll keep listening even if they don't vary their more formulaic elements. [Jackie Smit: ""Of Martyrs and Men" leads Immolation's latest assault; a sublime guitar piece begins the song, hinting at the approach of something unspeakably sinister, before all hell breaks loose. With the force of a nuclear hurricane, the beast that is Immolation roars to life. Make no mistake -- this is as good as death metal gets. Ross Dolan's vocals are immense, powerful, threatening -- an essential cog in the bleak, violently melodic Immolation framework. "Sinful Nature" follows, annihilating any doubt one may have had about Immolation's dominance. Elsewhere, the sprawling, eight-minute title track lends a progressive edge to the proceedings, while "A Kingdom Divided" shows off the band at their most crushingly effective -- almost murderously determined, blending seamlessly through more tempo and riff changes than most so-called "math-metal" bands could ever dream of. _Unholy Cult_ then culminates in "Bring Them Down", the sound of the beast obliterating the final drabs of resistance. If _Close to a World Below_ was Immolation's ascension to the veritable 'next level', then _Unholy Cult_ is the ultimate consolidation of all their strengths and the final expulsion of every single thing that could possibly hold them back."] Contact: http://www.immolationdirect.com Ingrowing - _Sunrape_ (Obscene Productions, 2003) by: Xander Hoose (6.5 out of 10) Ingrowing's debut album _Suicide Binary Reflections_ didn't do much for me, and its logical follow-up _Sunrape_ fails to change my opinion about the band. This Czech four-piece plays grindcore the heads-on, unsubtle, straightforward way. Aggressive riffs and growling vocals make up the lion's share of the sound, but unfortunately they are not dense enough to cover up the tinny drum sound. The production is reasonable; nothing cutting-edge here, so with most songs sounding very much alike -- and also very much like those on the last album -- I can hardly recommend _Sunrape_ unless you're a die-hard grind fan. Apparently though, these guys are worth checking out live, so if they're playing close by give them a try. Contact: http://www.obscene.cz Intestine Baalism - _Banquet in the Darkness_ (Blackend, 2003) by: Pedro Azevedo (8 out of 10) Six years ago, Intestine Baalism released their debut album _An Anatomy of the Beast_, which so far remained their only outing. Back then it really weaved its way nicely into my CD player, evolving from what initially appeared to be an average death metal release into a truly addictive disc full of leads and hooks that wouldn't let go. It took this Japanese band a damn long time, but they're finally back with _Banquet in the Darkness_, and I'm pleased to report that the musical elements essential to the success of their debut are still present. Furthermore, _Banquet in the Darkness_ has managed to repeat anno 2003 the kind of addictiveness its predecessor showed six years ago -- relatively speaking, since the competition has been very tough in the death metal field lately. _Banquet in the Darkness_ is one of those rare albums that sounds old-school without coming across as outdated, just bringing back fond memories while remaining worthwhile in its own right. Though Japanese geographically, Intestine Baalism remain mostly Swedish musically, ranging from reasonably brutal Swedish riffs to downright crystalline lead guitar comparable to Arch Enemy. While Intestine Baalism do not sound like a band aiming to outshine everyone else's technicality or shame their brutality, they still rank sufficiently high on both aspects; and more importantly, they have a remarkable knack for keeping it all entertaining and memorable. _Banquet in the Darkness_ is unlikely to change anyone's perception of death metal or make it into many end-of-year charts, but it remains a very competent and unpretentiously enjoyable album. Contact: http://www.intestinebaalism.com Iron Justice - _Post_ (L.S.D.O., 2002) by: Alvin Wee (9 out of 10) This long-delayed material was once thought lost forever when Jonathan Kan of L.S.D.O. apparently went MIA in 2001; the double 7" set now rightfully sees the light of day with the label's revival this year. And what a reappearance: _Post_ showcases Iron Justice at their vitriolic best, finally delivering the high standards I've always felt this duo were capable of. Spewing deliciously venomous vocals and harsh industrial percussion, opener "Defeated" hammers home the project's new-found rhythmic side, showing a distinct sense of structure and focus as the track shifts and pans into varied levels of metallic harshness. The three remaining tracks continue in a vicious, rhythmic vein, a tad surprising to those expecting the classic Whitehouse / G.O. power electronics drift on their previous Cold Meat offerings. A fair bit of analogue synth abuse (put to good use on the delicious Haus Arafna-esque final track) coupled with tons of cleaner high-end noise, and no lack of machine-gun metallic bangings, whipping up an overwhelming cacophony when coupled with the insane hate-filled rantings. Reminiscent of the old industrial masters in terms of structure, but injecting a modern sense of aggression and dynamism to the old-school aesthetic which few pure power electronics acts seem capable of (aside from Tarmvred and the like). Packaging is taken down more than a notch from the elaborate box-set promised long ago, but still in slick L.S.D.O. fashion with a black and a white disc and the obligatory postcards. Another feather in this excellent label's cap, and surely one of the highlights in recent times. Contact: http://www.lsdo.us Jesters Moon - _Jesters Moon_ (Independent, 2002) by: Aaron McKay (8 out of 10) This tight, experienced four man outfit from America's Northeast scene have a rough 'n' tumble sound that's very provoking even to someone as wrapped in the complexities of other styles of metal as I am. Back in the day, a band known as Blackkout stalked the Florida metal scene. In a lot of ways, Blackkout's flexibility of sound lives on in Portland, Oregon's Jesters Moon. Punchy and straightforward, this four-piece seem to know exactly what kind of music they want to put out and accomplish it rather brilliantly with this self-titled effort. While their scope is mostly limited, their power and expertise is never drawn into question on this ten track offering. Starting off with some mood-laced ambience on "The Battle", Jesters Moon pulls the listener in almost immediately with their hard-hitting approach. Change-ups pepper the CD and provide a not-so-delicate method to capture attention from its very first notes. Understandable vocals take center stage as Bryce Van Patten undertakes guitar and keyboard duties in addition to serving as JM's man behind the mic. Bryce has moments in his throaty technique like one might expect from a Dio or Udo. Fantastically distinctive instrumentation litters this effort without ever detracting even a single iota from the full metal rampage created by Jesters Moon; the sixth cut, "Amnesia", speaks volumes to this point. Imagine a revved-up Queensryche doused in '80s Accept meets Jake E. Lee's Badlands. Check out the evolution of this band into the group now referred to as Jesters Moon and all the experience evident on this disc. Fans of effective guitar work without the over- the-top, showy solos have soul-mates in Bryce as well as second guitarist, Vido Sinn. Preston Hatch on drums and bassist Alvin complete JM's line-up -- all very proficient at their respective crafts and display it rather well on this album. There is a lot to enjoy on this nearly 55 minute release. Snap to it, folks, and belly up to the bar for Jesters Moon's brew of nostalgia; you'll even thank me the next day. Contact: http://maninblackmusic.com Johnny Truant - _Repercussions of a Badly Planned Suicide_ by: Xander Hoose (8 out of 10) (Undergroove, 2003) I'm always sceptical when the press announce a band to be 'the next big thing'. Well, in the noisecore scene, Johnny Truant has been called so by more than one magazine, so I was anxious to find out if _Repercussions of a Badly Planned Suicide_ would live up to my expectations. The album contains a mere seven songs, but clocking around 50 minutes altogether they can hardly be blamed for writing simple songs -- au contraire. _RoaBPS_ is very multi-layered, dense, and manages to portray a great diversity within the individual songs while still sounding spacious. Not for a moment do the individual instruments blend together; they're all carved out sharply in the mix. Excellent. Musically I'm very much reminded of noisecore mates Coalesce, Converge and Knut. Which is where I'll have to make a strong point against Johnny Truant: even though they're very skilled and professional players, there is not really anything on _RoaBPS_ that I haven't heard before by their competition. For instance, incorporating clean vocals is nice, but done before by Drowningman; the superb incorporation of breaks into the music is something Dillinger Escape Plan is renowned for... I could go on citing references but the point is clear: Johnny Truant is an excellent band that has brought us an excellent album, but they're not the next big thing. For now, my money is set on the next Dillinger Escape Plan album with their new vocalist, but those who cannot wait for that have a very good temporary alternative with _Repercussions of a Badly Planned Suicide_. Contact: http://www.johnnytruant.co.uk Kult ov Azazel - _Oculus Infernum_ (Arctic Music, 2003) by: Adrian Magers (6.5 out of 10) In a word: fierce. The calculated chaos that is Kult Ov Azazel has ushered forth its second full length (their other album _Triumph of Fire_, and initial offering _Order of the Fly_ have both sold out in CD format) and it's a monster. Poised at the forefront of raw American black metal, this four-piece subscribes to a no-frills ideology. No keyboard, no melodic breakdowns, no clean vocals, and strategically roughened production. Luckily, Kult Ov Azazel are a good enough band to not pigeon hole themselves. They write some damn catchy riffs (though only conventional to ears conditioned to harshness), and coupled with the excellent drumming of Goss "The Hammer", _Oculus Infernum_ becomes a lesson in brutality. However, the ongoing unrelenting hatred may become tiresome after a few tracks to some listeners, and the vocals could use a little more variety. Despite a few drawbacks, I found this album to be enjoyable in small to medium doses, despite the fact that I generally prefer this style of metal sprinkled with gothic moments and guitar harmonies. So kudos to KOA for representing America to the rest of the black metal world. On a side note: _Oculus Infernum_ hasn't been released in the States as of this review, but one can order the CD directly from the band from their website. Contact: http://www.kultovazazel.com Malevolent Creation - _The Will to Kill_ (Nuclear Blast, 2002) by: Jackie Smit (8.5 out of 10) Let's face it: there aren't too many people out there who would have lost much sleep over the idea of Malevolent Creation calling it a day after 1994's _Eternal_. Following up four strong releases with an equal amount of mediocre hogwash, struggling to clutch on to the slightest semblance of an original idea, Phil Fasciana and Co nearly had us forget all about the mammoth potential and class that this band had once exuded. Seemingly determined to confound our expectations of their Nuclear Blast debut however, Malevolent Creation have returned to the fray with one of the most powerful and wholly surprising comebacks possibly ever pulled off in the death metal genre. A key factor in this turnaround is the presence of Hate Plow vocalist Kyle Simmons, replacing Brett Hoffman. He may look like a member of Bad Religion, but he can shred a larynx with the best of them, and infuses tracks like "All That Remain" and "The Will to Kill" with a bristling, almost frantic energy that dropkicks the listener into submission. Notwithstanding the instrumental effort though -- for a band fifteen years into their career, Malevolent Creation look to have discovered riffs and grooves I doubt they even thought they had in them. The bulldozer chug of "Reborn" or the Tyson-uppercut of "Divide and Conquer" not only sound more exciting and dangerous than anything MC have attempted in many a moon, but also seethe with the kind of energy and violence you'd expect from a band in their prime. Yet, impressive as it may be, _The Will to Kill_ doesn't always hit the mark quite so effectively. "Assassin Squad" is dull and cliché; the kind of throwback death metal snore I'd have expected the band to produce five years ago. Thankfully, however, this is no longer the standard, but rather the exception. And not a moment too soon. [Matthias Noll: "Is it possible to be in the death metal business for twelve years, release your nine albums, and still have no trademarks? The new vocalist sounds a bit like Gorefest's Jan Chris, which is not a bad thing, but how can I explain what the band behind him sounds like? Well, much like Arnie's opponent in "Terminator 2", who was able to shift shape and look like the floor, the band that once released the brilliant _Retribution_ seems to have managed to cleanse their music from everything that would have made it possible to identify them as Malevolent Creation in a blind test. And unfortunately, with the exception of the killer title track, I hear nothing but faceless mediocrity on this album."] Contact: http://malevolentcreation.cjb.net Malleus Maleficarum - _Taedium Vitae_ by: Pedro Azevedo (9 out of 10) (Oaken Shield / Adipocere, 2002) _Taedium Vitae_ may sound pretty raw and dirty, but it is remarkably engaging right from the first scream, riff and drum barrage on opening track "Bleeding Runes". The rough production is nonetheless powerful and drives Malleus Maleficarum's black/thrash home very efficiently. Desperate, searing vocals; harsh, inspired riffs; intense, varied drumming: these are the ingredients that Malleus Maleficarum have combined to turn _Taedium Vitae_ into a just over half hour long veritable black/thrash feast. While the vocals and guitar work are top notch for this genre, the quality of the drumming (which is well highlighted by the production) has to be emphasized: S. Nergal dazzles with the sheer speed of his drumming, but what's more unusual, also for the way the various elements of the drum kit are explored to keep the drum work interesting. Truly a powerful beast, in some ways akin to Svartsyn's excellent _...His Majesty_, _Taedium Vitae_ sees Malleus Maleficarum grow from unknown newcomers to top of their barrel in my books. Shame about the apparent production level problems during the otherwise great "Ancient Blood", but this is definitely one of those special records that can be thrown on for a half hour rush of sheer energy and metallic inspiration. Contact: http://www.adipocere.fr Marilyn Manson - _The Golden Age of Grotesque_ by: Xander Hoose (9 out of 10) (Nothing / Interscope, 2003) Marilyn Manson's star rose quick in the mid-nineties; _Antichrist Superstar_ became the ultimate album for frustrated alternative teens who felt that most electro/industrial bands on one side were too dull or traditional, and alternative music on the other side being just too damn nice. Marilyn Manson provoked, shocked, amazed, horrified millions of parents and thus became an instant icon. Regarded as a modern-day incarnation of the devil by some and a cheap musician cashing in on Trent Reznor's popularity by others, there's no doubt that any artist in the late nineties has provoked so much discussion and sold so many albums because of it than Marilyn Manson. But instead of milking his image further, he chose a different path and reinvented himself as Omega, a modern Ziggy Stardust. _Mechanical Animals_, artistically and musically his greatest achievement, was too big a leap from the aggressive _Antichrist Superstar_ for many of his fans. As a result, the press started looking for a new black sheep (and briefly found one in Eminem) and the hype subdued a little. With _Holy Wood_, Manson tried desperately to reclaim his former throne by rehashing _Antichrist Superstar_ elements -- without much success. The album was in many ways a big disappointment. Manson disappeared from the spotlights, and most remarkably replaced bassplayer Twiggy Ramirez with electrowizard Tim Skold (KMFDM). The result is _The Golden Age of Grotesque_, an album unlike any other Manson album. Where most of Manson's albums had a very strong identity, identity is something completely lacking on _The Golden Age of Grotesque_. Most of the songs are heavily influenced by Skold and are especially similar to material on the KMFDM album if you disregard the vocals. Another over-obvious influence is Ministry, in riffing and drumming. But _The Golden Age of Grotesque_ shares most with another group from the eighties: My Life With the Thrill Kill Kult. The lyrical silliness and inanity (songtitles: "Doll-Dagga Buzz-Buzz Ziggety-Zag", "Ka-Boom Ka-Boom", "Use Your Fist and Not Your Mouth") breathe the same Kult atmosphere, and the female background choir of "mOBSCENE" is more than a wink at the Kult's _Hit & Run Holiday_ album. So what does this all make _The Golden Age of Grotesque_? Marilyn Manson succeeded well in creating a soundtrack to the decadence of the '30s. In not taking his songs and lyrics too seriously, Marilyn Manson created a two-headed monster: _The Golden Age of Grotesque_ doesn't sound much like a Manson album, but it might very well be one of his best. Contact: http://www.marilynmanson.com Mastodon - _Remission_ (Relapse Records, 2002) by: Jackie Smit (9.5 out of 10) Every once in a while, those of us who have been listening to metal for longer than the duration of yesterday's craze can't help but get a little bored. Sure, there are a lot of good bands and some excellent albums doing the rounds, but sometimes one craves the overwhelmingly jubilant exuberance experienced when you heard that first Slayer or Morbid Angel record. With thrash -- a tasty, albeit far from new, prospect -- set to seemingly make a comeback, this could well have been a relatively slow period for metal with regards to true innovation, but for the outstanding efforts of bands like Mastodon. If your jaw hasn't nestled itself in comfortably next to your feet at the sound of the aptly titled opening track "Crusher Destroyer", then you probably don't like heavy music. A flurry of dramatic drum-rolls, accompanied by one of the nastiest riffs this side of _Hell Awaits_ and augmented with near off-the-scale aggressive vocals mounts the first attack, before Mastodon suddenly throw an almost stoner-like curveball on "March of the Fire Ants" and then mainline a ferocious, dense wall of sound back into the listener's veins. Mastodon's magic lies in their ability to remain constantly unique on their second album, and to constantly surprise and challenge the listener. Thick, sludgy guitar-led stampedes are followed seamlessly by lengthy jazz- like soundscapes -- every element polarised from the other, yet remaining thoroughly appropriate at all times. They defy categorization and just when one thinks you have them figured out, a track like "Trilobite" leaps out and replaces the curious question- mark above your head. Along with the equally excellent Burnt by the Sun, Mastodon are possibly one of the freshest, most thrillingly entertaining and captivating bands to be unleashed in aeons. And if ever you needed your faith replaced in the beautifully diverse monster that is metal, then Mastodon is sure to have you back on your knees in no time -- in a strictly non-sexual sense, that is. Metallica - _St Anger_ (Vertigo, 2003) by: Jackie Smit (7 out of 10) Before even attempting to listen to Metallica's much-hyped and talked about "return to form", one needs to clarify for oneself the extent to which you're willing to overlook their past indiscretions. It's probably a fair assumption to say that for most people reading this review, Metallica more or less lost the plot after _...And Justice for All_. Their infamous self-titled follow-up, while an adequate record by most fair standards, already failed to come within sniffing distance of its predecessors, and by the time _Load_ and _Reload_ came into being, Metallica had become everyone's favourite band to hate. Of course, musical reasons were not the only motivation behind particularly older fans' growing disdain of the fallen thrash heroes. The widely publicised legal spat with file-sharing pioneers Napster was not only regarded as an attack on their fans, but as a clearly money-hungry behemoth grubbing for yet more of the almighty dollar. So, enter _St Anger_ -- touted by the mainstream press as a return to the band's roots, the rediscovery of the _Ride the Lightning_ sound and a million other promising PR slogans. In the meantime, Lars Ulrich has stated somewhat suspiciously that he "no longer wants to be a control freak" and James Hetfield is fresh out of rehab and clearly more together than ever before. So, are we to believe that _St Anger_ is indeed any good? Well, the proof is in the listening and the answer is both yes and no. The reason for my earlier reference to the listener's capacity for forgiveness is because however much _St Anger_ kicks dirt in the face of Metallica's preceding three records, the cynical ex-fan could quite easily find fault with the album, despite its heavier and faster approach. For one, the lyrics on the album at times appear to be almost absurdly immature -- more like a bunch of has-beens attempting to recapture former glories than a veteran act with a new lease on life. Likewise, the music, while certainly the heaviest the band has produced since _...And Justice for All_, at times fails to sound natural and spontaneous -- a particular symptom of opening track "Frantic". Despite these complaints however, _St Anger_ is a good, if not great record. Truly this should have been the sequel to _...And Justice for All_. As promised, the band have succeeded in taking much of what made them great in the eighties, given it a contemporary edge and distilled these elements into a proper heavy metal album. While this is sure to confound and probably upset a great chunk of their mainstream-weaned audience, those among us who have longed for them to show the Linkin Parks and Papa Roaches of this world how it's done may well have a reason to rejoice. Misery's Omen - _To Worship Stone Gods_ (Hellflame Productions, 2003) by: James Montague (9 out of 10) Here's one for the books -- a killer Australian band that -doesn't- play in the old-school black/thrash or war metal vein. Misery's Omen is an ambitious trio from South Australia that plays black metal with a twist (they call it "Abysmal Dark Progressive Black Metal", and the music lives up to the self-inflicted hype). Sometimes it will rip along mercilessly, with the versatile vocalist screaming, growling and shrieking in falsetto. Other times it will slow down with some psychedelic melodies and excellent clean bass lines that twist and cycle, writhing over one another in a way reminiscent of the finest Greek metal acts like Necromantia, or the Italian gods Mortuary Drape. Another band that comes to mind is Bethlehem, simply because of the reckless, wrist-slashing nightmare that this music conjures up. _To Worship Stone Gods_ is a 7" EP featuring two 5-6 minute long pieces, "Antarctic Ice Chasms" and "To Worship Stone Gods". The former track is closest to pure black metal with its speed and agression, while the latter is a slower, more brooding epic with haunting bass melodies. Both songs come with the highest recommendations, and although this vinyl release was limited to 500 copies and is now sold out, they also appear on the band's debut CD, just released on Bindrune Recordings (http://crionicmind.org/bindrune/). You should definitely seek out this CD -- it's rare you'll find a new metal band with such a fine combination of instrumental ability, songwriting nous and originality. Contact: http://www.miserysomen.com Mystic Prophecy - _Regressus_ (Nuclear Blast, 2003) by: Jackie Smit (6 out of 10) Aaaah, power metal -- a sub genre as equally easy to poke fun at, as it is to enjoy in a popcorn-movie sort of way. Quite what made Mystic Prophecy special enough to capture the attention of the powers that be at Nuclear Blast is anyone's guess, but whichever way you look at it, the opening riff to "Eternal Flame" is killer and almost manages to silence the deafening laughter which is sure to accompany their many lyrical references to hell, demons, wizards, and "having no time for regrets". Elsewhere on the record, "Lords of Pain" unleashes an almost Nevermore-esque guitar cluster-bomb, before dissipating into a dire mess of predictability. Of course, "The Traveller" (the album's halfway mark) couldn't ever have been anything but the 'reflective' acoustic interlude, while the solo on "Forgotten Soul" proves, if anything, that Mystic Prophecy can at least play their instruments with greater flair than your average leather-clad gorilla. The haunting "Regressus - Lost in Time" meanwhile actually manages to transcend to some extent the trappings of their power metal prison. The point, however, is that their music is so unashamedly by-the- numbers that if your tastes veer even slightly toward the challenging, then _Regressus_ will have you nodding off after five minutes. They may appeal to fans of testosterone-addled, fist-in-the-air, (most importantly) overtly masculine metal, but there's simply not enough successful experimentation and innovation on offer here to give them an edgeways over the many other power metal acts vying for your hard- earned right now. Napalm Death - _Order of the Leech_ by: Jackie Smit (9 out of 10) (Snapper Music / Feto Records, 2002) Love or hate them, but few can refute the fact that Napalm Death are one of the most persistent and hard-working death metal bands in the scene today -- a point hammered home quite bluntly on 2000's outstanding _Enemy of the Music Business_. _Order of the Leech_ is the logical sequel to said album: faster, heavier and even more aggressive, showcasing a band who come across as commendably more vibrant and alive than probably ever before in their career. Layering the kind of intelligent socio-political lyrics that would make Jello Biafra proud over their frenetic deathgrind maelstrom, Napalm ignite proceedings with "The On-Going War on Stupidity" -- a brilliantly bludgeoning statement of intent. "Forced to Fear" proves that Napalm can easily hold their own next to math-metallers like The Dillinger Escape Plan, and "Out of Sight, Out of Mind" stands out easily as one of the most aggressive tunes you are likely to hear (possibly) in your life. Unlike _Enemy of the Music Business_ however, the disc does have its weaker moments. "Lower Yourself" for instance, while aiming its assault at a highly deserving British monarchy, is musically not much more than a semi-coherent mesh of ideas that never quite manage to gel. Ultimately though, _Order of the Leech_ is another great album -- a reliably Napalm Death album -- and one which any fan of the band is bound to lap up. [Matthias Noll: "If there ever was an extreme metal band that managed to rise from the dead after several disastrous albums, it has to be Napalm Death with their amazing _Enemy of the Music Business_. Fortunately, there are no signs on _Order of the Leech_ that Napalm Death will ever return to the mosh-core borefests of albums like _Inside the Torn Apart_. Barney and Co. grind on in a fashion which is similar to _EotMB_ but sometimes more dissonant and a good deal crustier and more like late '80s UK hardcore. Comparatively I find the songwriting on _EotMB_ a lot more interesting, and the artificial drum sound this time around tends to get on my nerves, but it's certainly good to see Napalm Death coming forward with an album that manages to crush a lot of the competition even if it's just good and not excellent."] Contact: http://www.enemyofthemusicbusiness.com Nebel - _Nebel_ (Oaken Shield / Adipocere, 2002) by: Pedro Azevedo (4 out of 10) It seems that for every Malleus Maleficarum there has to be a Nebel -- or rather a bunch of them, unfortunately. This apparently self-titled release (unless the words "Hymns of Destruction" that make up the entirety of their booklet are to be taken as the album title) suffers from a shortcoming of virtually every aspect that makes Malleus Maleficarum's _Taedium Vitae_ so damn good. The production is flat, the vocals are unimpressive, the riffs are mostly uninspired, and the drumming remains monotonous throughout. The below average production might still have resulted in a cavernous, sinister sound with some potential, but ultimately the material is too straightforward, unoriginal and repetitive. Furthermore, the ending of every song seems to have been lazily chopped off, which is quite annoying. The band apparently split up after this debut album, something that is unlikely to be noticed by too many people. Nebel's 35 minute blackened effort isn't utterly terrible, but it pales so much in comparison to albums such as their labelmates Malleus Maleficarum's _Taedium Vitae_ that it has to be discarded as just another unremarkable disc. Contact: http://www.adipocere.fr Nile - _In Their Darkened Shrines_ (Relapse Records, 2002) by: Jackie Smit (9 out of 10) Nile have become somewhat of an anomaly of late -- a band which by all rights is too devastatingly brutal to ever be in danger of mass- acceptance, yet somehow seems to be getting a harder push in the media than a lot of nu metal acts these days. Perhaps publications like Kerrang! are trying to mask their bias against death metal by including a comparatively safe act like Nile in their weekly regurgitation, but either way, it could well lead to a boom in the genre of nigh on late eighties proportions, particularly when the uninitiated realise the genius of _In Their Darkened Shrines_. Where _Black Seeds of Vengeance_ often eluded perfection by straying into less than coherent sub-progressive rambling, _In Their Darkened Shrines_ instantly captures the listener with a more mature and focused approach, while at the same time blending in several elements new to the Nile formulae. Of particular note is the swirling overture of "Unas Slayer of the Gods" -- a lengthy, diverse and powerful track, which ultimately stands out as the centre-point and highlight of the recording. Similarly "Sarcophagus", with its slow-thudding tempo and chugging riff, adds a new dynamic to the album, which previous Nile releases have lacked up to this point. Far from being polished and toned-down however, Nile's brutality appears to be in overdrive on album opener "The Blessed Dead". And while Nile thrash away mercilessly on their instruments, the Egyptian theme is ever-present in the form of sampled sounds and epic synths which complete the band's beautifully grotesque, alluring soundscape. While I would not go as far as to call _In Their Darkened Shrines_ the death metal highlight of 2002, it is undoubtedly a worthy purchase -- an album which reveals more of itself with every listen, and stands as testament to the tremendous amount of talent alive in extreme music today. Contact: http://www.nile-catacombs.net Sepsism - _To Prevail in Disgust_ (Displeased, 2003) by: Xander Hoose (5 out of 10) I usually do my best to try and find positive aspects about albums, but some bands make it very hard for me. Sepsism is such a case; I've tried to listen to _To Prevail in Disgust_ a couple of times now, but the songs are so uninspiring my attention is drawn to basically anything happening around me except the music itself. Through a sloppy and gruff production, we're fed ten songs that have nothing to add to our death metal catalogues. Except for some interesting song structures (like in "Soiled With Corruption" and "Advanced Mental Collapse") the guitar work is standard, drumming is only average and the vocals aren't worth mentioning. And instead of using original movie samples we're treated to the same average sound cuts we can find on any other death/grind album. Instead of _TPiD_ I'd rather recommend you Cannibal Corpse, The Ravenous or Dying Fetus. Contact: http://www.sepsism.net Sindrome - _Severe Damage of Reason and Equilibrium_ by: Pedro Azevedo (7 out of 10) (Independent, 2003) Newcomers Sindrome clearly take their music very seriously, at least judging by this EP: complex structures and arrangements form the basis of their musical creations, although from a technical perspective things never get really flashy. Sindrome's subtle complexity stems from an apparent yearning to create music that has plenty to offer beyond the first few listens, and that is something they have already achieved to a considerable extent on this debut EP. Indeed, Sindrome sit pretty high on the evolutionary ladder already, with a sense of musical layering that is not initially obvious. Sindrome's closest musical reference is possibly Tool, a band I am not overly familiar with; either way, the sprawling, atmospheric compositions are certainly far from being chorus-based or very metallic. The song structures remain mostly interesting, but the music tends to feel like it could use some more intensity. The glowing exception is provided by the instrumental closing track: a superb, tranquil piano dirge with some vague background noise that requires no intensity whatsoever. The vocals are generally very melodic, often effect-laden to the point of coming across as vaguely synthetic (a couple of times even slightly reminiscent of Cynic), and merge very well with the guitar work. _Severe Damage of Reason and Equilibrium_ is certainly an interesting debut EP which, though somewhat lacking in intensity, shows plenty of potential for Sindrome. Contact: http://www.spiralsektor.com Sinister - _Savage or Grace_ (Nuclear Blast, 2003) by: Xander Hoose (7 out of 10) Sinister has a long record of getting rated 7 out of 10 by my colleagues at CoC, with the exception of a 7.5 for their last album. Although I tend to hold Sinister's _Hate_ album in a somewhat higher esteem than that, I more or less agree with the conclusion that can be drawn from this trend: they're definitely not bad, it's just that they're not that good. With _Savage or Grace_, Sinister continue nicely along this path. Some of the songs show a slight increase in technical skill compared to some of the previous albums, but the (female) vocals tend to blend in with the wall of sound. Almost on purpose I would say, as if they realize that Rachel isn't the best of death metal vocalists, but having a female singer is a big asset when it comes to live performances. Ah well, having seen them live more than once I can't really blame them for it. _Savage or Grace_ (in its meager thirty minute glory) is an album that won't conquer any new souls and remains faithful to the old ones. A safe pick, but definitely no recommendation. Contact: http://www.sinistercentral.cjb.net Solefald - _In Harmonia Universali_ (Century Media, 2003) by: Pedro Azevedo (8.5 out of 10) Having released a superb debut album (_The Linear Scaffold_) and a virtually indigestible follow-up (_Neonism_), Solefald recovered to a large extent from that faux pas with 2001's relatively simple but effective _Pills Against the Ageless Ills_. This time we are no longer treated to the yarns of Pornographer Cain and Philosopher Fuck (the two characters from _PAtAI_), but you can rest assured Solefald's creativity is as vibrant and unbridled as ever. Contrary to what happened in the past, _In Harmonia Universali_ sounds much like an amalgam of Solefald's previous albums -- with yet more elements thrown in, of course. The seven minute long masterful album opener "Nutrisco et Extinguo" shows that there's often more to describe in a single Solefald song than in many a band's entire album: starting with Ulver-like acoustics and whispered Norwegian words that bode well for what's to come, it also includes brilliantly integrated saxophone segues and an outstanding doomy section with slow piano, as well as a variety of riffs, keyboard work and vocal approaches -- and it all makes sense together. An amazing track, and although this level of consecutive brilliance is never quite repeated, the first half of the album remains on a superb quality level most of the time. "Mont Blanc Providence Crow" harks back to the more rocking _Pills Against the Ageless Ills_ in fine form; "Christiania (E. Munch Commemoration)" contributes three different languages (English, French and German) and some innovative choirs and synths; "Epictetus & Irreversibility" speaks of dichotomy with its blackening and softening; and "Dionysify This Night of Spring" contains another catchy chorus and a masterful mid-section crescendo. Indeed, _IHU_ moves along extremely well until just over its midpoint, when track six (the inventive instrumental "Red Music Diabolos") finishes. At this stage the listener has already been bombarded with a huge array of musical twists and turns, four languages, and a multitude of styles and feelings -- only a mere sample of which is described above. From this instrumental track onwards, however, the last four tracks (especially "Buy My Sperm") seem a bit lacklustre compared to the superb first six and end up dragging the overall rating down a notch. Still, not everything is a waste on these tracks, with good moments on "Fraternité de la Grande Lumière" (the doomy mid- section) and "The Liberation of Destiny" (the occasional fast bits). As ever before, the listener is likely to often feel teased, and sometimes even mocked, by the music of this remarkably (over)educated Norwegian duo. Most of the time the listener will almost certainly believe he is eating a highly delectable meat roll that Solefald have carefully prepared, but every now and again he will be forced to wonder whether what he is eating isn't actually his own brain, finely chopped and palatably seasoned by the grinning Cornelius and Lazare. Whichever the case, this is a dish that demands patience and attention to detail in order to reveal all its hidden flavours, ultimately offering up some fine rewards to those who persevere. Solefald remain one of the most unique bands around, and when, in spite of some inconsistency, they really get it right, they can achieve great things. Contact: http://www.solefald.org Steelglory - _Wayward Sons of the Beast_ (Independent, 2003) by: Alvin Wee (8 out of 10) A very welcome surprise from these Singaporean lads still holding the torch of true metal high; a piece of trad-metal from a country favouring the extreme black and death styles is always a special thing. The opening track wastes no time in starting the headbanging: rooted firmly in the early Metal Blade camp, this anthem bristles with raw yet melodic riffs, epic singing and blazing leads. Things continue pretty much in the same vein with uplifting and catchy choruses, setting feet stomping and fists pounding in a charmingly unpolished way reminiscent of early Skullview or Gothic Knights. Great stuff to set any true metaller's blood boiling, marred only by the occasional wailing of what appears to be the session vocalist, who manages to carry all the tunes with great effort, but fails lamentably on the difficult high passages. Still, these boys aren't afraid to rock out with hummable melodies a la Stormwitch like on "Lucifer's Path", but in a considerably more American vein ( the '80s Cleveland / Auburn Records sound comes to mind), and even epic _Fear of the Dark_-era Maiden references abound on "Apparition (Spirits Within)". With a little experience and a stronger vocalist, these warriors should have no problems standing alongside all the Metalucifers and October 31s of the scene; meanwhile this $6 slab of steel is highly recommended for all those still loyally keeping the faith. Contact: hauntedmelody@hotmail.com Taliandorogd - _Neverplace_ (Adipocere Records, 2002) by: Pedro Azevedo (6 out of 10) This six song, half hour long disc belongs to the ever-growing class of releases that are not bad at all, but fail to bring much that is new to the world. Think polished, melodic black metal; think a somewhat softer Dimmu Borgir with more heavy metal leanings and guitar solos, and you won't be far off the mark. The oddly-named Taliandorogd fortunately avoid the more-evil-than-thou imagery trappings, and stick to creating well played and well produced melodic black metal. They are unlikely to cause much impression with this competent if rather indifferent and unoriginal debut, but nevertheless it does leave the lingering impression that better things may well come from this band in the future. For the time being, however, they just about barely escape dismissal as a Dimmu Borgir clone; they should therefore build on their strengths and distinctive elements, and work on finding an identity that is more their own in the future -- so that the follow-up to the reasonably promising material on _Neverplace_ won't end up in the second-rate-clones bin like their labelmates Destinity. Contact: http://www.adipocere.fr The Haunted - _One Kill Wonder_ (Earache, 2003) by: Adam Lineker (8.5 out of 10) Ambient snarls of distorted metal drill into your psyche before the introductory bludgeon of "Privation of Faith Inc." erupts from the speakers, confirming your suspicion that The Haunted have become just that little bit darker. The first track proper "Godpuppet" is a chaotic and violent mining of the traditional thrash vein, with some of the most blistering riffs the band have recorded since "Undead". _One Kill Wonder_ is also the heaviest record that The Haunted have released so far. Aside from the production, the major perpetrator of this new found brutality is vocalist Marco Aro, who delivers a far more assured performance than his debut on 2000's _The Haunted Made Me Do It_ opus. The frontman's voice has become thicker and more powerful since he first joined The Haunted and he dominates this record, asserting merciless authority over the deep and aggressive music. "Shadow World" is one of the best tracks The Haunted have ever put their name to: a melodic and infectious work that has potential for 'classic' status track. "Everlasting" is a more thrash orientated piece of violence, burning with choice riffwork and malevolence, before the second peak of the album arrives to the sound of marching feet. "DOA" recalls the ending motif from "Forensick" (_The Haunted_, 1998) and is a masterpiece of musical intensity; it also is another reminder of how Marco Aro has transformed from Pete Dolving- worshipping hopeful into one of extreme metal's finest singers. With an irresistible chorus and an excellent development section, the piece ends in a cataclysm of duelling lead tremolos that merge into the wail of an air raid siren, leaving a disturbing pause before "Demon Eyes" kicks in. The first moment of respite from the onslaught, the instrumental is a rather average affair. With little virtuosity to impress us, this is something of an interval before the carnage continues. Although the tracks are solid and the musicianship high, the thrash engine loses a little steam (going into downward spiral) for a couple of tracks until the opening riff of "Shithead" bites in and pulls things back up again. "Bloodletting" is a change of pace, an insidious barrage of grooving riffage held together by Per Moller Jensen's drumming. As the music surges in and out, we are treated to the lead interplay of Anders Bjorler and guest Michael Amott (Arch Enemy, Spiritual Beggars, formerly of Carcass). The album closes with the title track providing an exciting but all too brief full stop. _One Kill Wonder_ is a strong work, displaying all the talent of one of metal's finest bands. As a devout fan, I feel that a couple of tracks are a little bit Haunted-by-numbers; although a few more wouldn't have gone a miss. Yet this is still one of the best records I have heard all year; I am deeply sorry to break the straight run of nines awarded by CoC in the past -- don't let it put you off! The Human Condition - _The Human Condition_ (Independent, 2003) by: Adrian Magers (5 out of 10) Former Sacred Reich guitarist Wiley Arnett has resurfaced in the metal world with The Human Condition, a kind of bare-bones, four-piece, rock metal band. Chances are, some Sacred Reich fans might be into this, but THC isn't quite as aggressive as Arnett's former band. Rather, on their debut offering (in the form of a short four-song EP) they exhibit a slightly more "bar band" quality. Unfortunately this tends to dull the songs a bit, and little stands out. The solos are excellent, but always seem to come at predictable times. Overall, though executed with a lot of passion, The Human Condition lacks a strong identity. With Arnett's technical prowess and skill, and the ambition that these four obviously exhibit, it won't take too much for them to put out a hell of a full length when the time comes. However, until then, there's definitely room for improvement. Contact: http://www.thehumancondition.us Tomahawk - _Mit Gas_ (IPECAC, 2003) by: Xander Hoose (6.5 out of 10) Being a big fan of Tomahawk's self-titled debut album, my anticipation rose higher and higher the closer this follow-up came to its release date. Now, after a dozen listens, I have to admit I'm a bit disappointed. Well, quite a bit disappointed, really. It's hard to point out where it all goes wrong for me, but I can't shake off the impression that Mike Patton's vision is becoming blurred trying to divide his attention between all the different projects he's involved with. I'm not claiming there are bad songs on _Mit Gas_: "Rape This Day" is a happy twisted punk-tale, "You Can't Win" a Zappa-esque surfish song, "Rotgut" and "When the Stars Begin to Fall" could've been left-overs of the debut, while "Captain Midnight" is turned into an electro-ballad, "Desastre Natural" a Mexican waltz... On paper, it's the ideal Tomahawk album mixing fucked up ingredients into fucked up songs. But somewhere along the way Mike Patton has lost his track of the red line that's supposed to run through the album, connecting it all together. Without it, _Mit Gas_ sounds like a bunch of blanks shot by someone who doesn't know what he's aiming at. Memorable songs that stick in your head after the album has been played are sparse, which is a shame because all the Tomahawk members are top-quality musicians. Anyway, _Mit Gas_ will find its way to the fans. Undoubtedly, many will not feel the same mixed emotions I do, but in all honesty, I'm hoping a third Tomahawk album will be able to truly surprise me once more. Contact: http://www.ipecac.com Unsanctum - _Ignite the Skies_ (Cacophonous / Visible Noise, 2003) by: Xander Hoose (6.5 out of 10) UK's Unsanctum is a relatively fresh and young band (with an average age of around 17), having existed for a mere two years and with one demo to their name. They did however manage to get picked up by Cacophonous, who gave the band the opportunity to record _Ignite The Skies_ at Necrodeath studios. A crusade against pop music, _ItS_ features a mix between death metal, black metal and some hardcore elements -- they call it deathcore. For eleven tracks we're exposed to average guitar and bass playing and interesting drumming. It's a shame, however, that the vocals have such a bland sound in the mix. I can't honestly say that I'm a big fan of Unsanctum's screeching vocal style, but on _ItS_ the vocals seem to be detached from the rest of the music, creating a vocal layer with very limited use of the frequencies. Halfway through the album you either manage to block out the vocals and enjoy the music, or the vocals start annoying you too much to keep listening to the album. A shame, and hopefully their next attempt will be better than this. Zao - _All Else Failed_ (Solid State (re-release), 2003) by: Xander Hoose (7 out of 10) Not having heard the original _All Else Failed_ record, it's hard for me to delve very deep in the differences between the original and this re-recording of their 1995 album. Why a band would completely re- record one of their own albums is still a big question to me, but nonetheless Zao did it and this is the result. Objectively, _All Else Failed_ is a very good mix between metalcore and black metal influences. Songs are atmospheric, tight, catchy and it's obvious all the musicians are very skilled. However, there's too much midtempo riffing on the album, making some of the songs drag on towards their end, which is a shame. A little more variation wouldn't have hurt here, and a good example of a band who operates in this exact same style while keeping a better eye on diversity is Shogun (now defunct, unfortunately). Even through Zao is obviously more skilled technically than Shogun, the latter manage to keep their songs more interesting; if it wasn't for Zao's excellent closing song "All Else Failed" I doubt many people would remember how the album ended. Another curious fact is the omission of two tracks that were present on the original _All Else Failed_ album, "In These Times of Silence" and "Simple Reminder", making this not just a re-recording but an incomplete re- recording. Strange. Still, this album is a good pick for both Zao fans and metalcore fans in general if you see through the flaws. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, _, _ _, _, | \ |_ |\/| / \ (_ |_/ | | | \ / , ) ~ ~~~ ~ ~ ~ ~ Scoring: 5 out of 5 -- A flawless demo 4 out of 5 -- Great piece of work 3 out of 5 -- Good effort 2 out of 5 -- A major overhaul is in order 1 out of 5 -- A career change is advisable Born of Thorns - _The Encounter of Light and Dark_ by: Adrian Magers (4.5 out of 5) Symphonic black metallers Born of Thorns have slowly been carving their mark deeper and deeper into Finland over the last few years, and also appeared on the recent Cradle of Filth tribute _Covered in Filth_, on which they contributed the standout track -- a faithful rendition of "To Eve the Art of Witchcraft". However, once one introduces himself to Born of Thorns' other material he soon realizes the band's full talents. They compose metal that is beautiful, melodic, dramatic, and is put together in a very grandiose manner. Their biggest strength lies in their transitions; the songs are structured perfectly. The one complaint I can think of is length, as there are only three songs ("The Encounter", "Of Light", "And Dark") on this demo EP totaling under 20 minutes of material. But the CD serves its purpose, as I'm definitely craving more Born of Thorns. _The Encounter of Light and Dark_ was recently picked up and re- distributed by Oak Knoll Productions, so think of this as a second chance to pick up some top-notch melodic black metal. Contact: http://www.bornofthorns.com Enormity - _Inherent Enslaver_ by: Adrian Magers (3.5 out of 5) _Inherent Enslaver_ wastes no time getting started. Enormity put on display some great riffs in the opening track "Better Without Reserve" and stay consistent throughout the four tracks on a quite impressive demo. If I were to play devil's advocate I could nitpick that the band's treading on familiar territory, but it's hard to argue with the deadly guitar lines on this CD. Enormity dabbles in a few different areas in the realm of melodic death/black, leaning mainly towards the death side, and taking heavy influence from the older Gothenburg artists. There are a few blackened moments -- most notably Jani Nistaken's vocals, which most closely resemble those of Shagrath, but overall are recognizable in their own regard. The songs are to the point, all around just over three minutes. Enormity utilize a formula that, when done right, can keep a listener interested in songs twice that length, but apparently they've decided to take a less predictable route, thus sharpening their songs to bite-size pieces of crushing melodies and lead-inspired twin guitar interplay that beg to be played over and over. Contact: http://www.enormityband.cjb.net Forcefield - _Casualty_ by: Jackie Smit (1.5 out of 5) The first Forcefield effort to be brought to my attention may have a far superior sound to most of the many demos I had under scrutiny during the past few years, but did a three year-old come up with the main riff to "Afterlife", the disc's opening track? Two (count 'em) notes repeated in what makes Korn sound like Dillinger Escape Plan, and just when things seem ready to kick into gear, the band pour sulphuric acid on their thrash/death attempt with one of the worst attempts at funk/rapping I have ever heard in my life. While this may still have been somewhat understandable coming from a group of overzealous third world youths, Forcefield's bio leads me to believe that they have been active in music since the early nineties. No surprise then that they have yet to be paid attention by any labels of note. The title track fares a bit better than its predecessor, but the band still persist on incorporating the most ludicrous of nu metal clichés at the most inopportune times -- never mind the fact that their primary style is actually quite old school. "Morning Booze" rounds out the three song collection and its dire subject matter pretty much suits the quality of the song. I'd hate to sound nasty, but this is one of those times where my only advice to Forcefield would be to get back to the drawing board in a hurry. Contact: http://www.forcefield.tmfweb.nl Pitbulls in the Nursery - _Impact_ by: Pedro Azevedo (3.5 out of 5) Armed with the kind of name that will spark curiousity in some people as to their sound, Pitbulls in the Nursery aim for the throat with their first demo CD. However, _Impact_ doesn't quite make the kind of damage one might imagine from their name -- at least in the sense that the onslaught here is a lot less frantic. Pitbulls in the Nursery are essentially a groovy death metal band with a Chris Barnes doppelganger on vocals; rather than an all-out hyperblast death metal machine set to unleash bloody chaos. Their sound does have considerable "impact" though, with a production that emphasizes the low-end frequencies nicely and comes across as very adequate considering this is just a demo. PitN's approach is based on percussive riffs and rhythmic hooks rather than melodic leads, resulting in a very American-sounding concoction. Again as their name might suggest, the music is hardly very cerebral, but it does remain tight, reasonably involved and entertaining despite its lack of originality. Overall, apart from the unusual band name, _Impact_ is a very competent, albeit not extraordinary, death metal demo. Contact: http://pitn.free.fr =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _ _, _, / _ | / _ (_ \ / | \ / , ) ~ ~ ~ ~ THE WORLD OV WORMS DESCENDS ON LONDON ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Zyklon, Myrkskog, Reign of Erebus and Void @ London Camden Underworld, 6 June 2003 by: Jackie Smit Before I begin this review, I feel that I should clarify an important point from my perspective. Living in the British capital has afforded me the opportunity to see several live acts, and with greater frequency, I find myself agreeing with Mr Kerry King's opinion that there's more to a stage performance than simply playing your band's music. Regardless of how good a band might sound on disc, or how technically proficient songs are rendered to the audience, the keys to the success of the group's set lie in the outfit's ability to communicate with and to the audience, the band's conviction, attitude and enthusiasm for their work. Having attended upwards of thirty gigs in the past twelve months, I find that in this sense the Americans seem to generally have the edge over their European counterparts in a big way. Where Cannibal Corpse, Deicide, Nile and Immolation simply resonate with visceral on-stage intensity and consistently create an atmosphere of excitement throughout their shows, the same can not be said of bands like Samael, Sinister or unfortunately in tonight's case Zyklon and Myrkskog. Opening acts are pretty much always set for a rough ride, particularly when they are the lead-in for two bands as eagerly anticipated by an audience as tonight's main attractions. However at the same time an opening slot of this profile can provide an excellent platform for a band to win over many new fans. Too bad then, that nobody seems to have told this to industrial black metallers Void -- the first act to take to the Underworld stage this evening. With beats and samples provided by a very nonchalant looking character standing behind a fully set up PC, the band already lack the dynamic of a live drummer and don't seem motivated to launch a plausible attempt to compensate for this. While both the guitarist and bassist at times indulge the audience with the odd bout of headbanging, it is the vocalist who pours acid all over the band's performance. Either drunk or stoned and utterly disinterested, he treats the audience with a veritable sense of contempt. Never once even thanking the few members of the crowd who do applaud, he flays himself around in a distinctly patronizing fashion in between vocal sections and storms off stage halfway through the final song. The reason for this is quite unapparent, because even though Void suffer from the odd sound gremlin it certainly isn't comparable to some of the acoustic disasters the Camden Underworld has been host to in the past. Now were their actual music any good, this unprofessional and frankly disgusting display would not have bothered me so much; but for the most part every song just sounds like an incoherent, pretentious mess. I have seen some shoddy opening acts in my time, but Void are possibly the biggest pile of shit to ever darken a bill with their presence. With both their _Superior Massacre_ and _Deathmachine_ records being current favourites of mine, things look set to get much, much better when Norway's Myrkskog hit the stage. While playing as a three piece diminishes their stage presence somewhat, they do a great job of recreating their hellish noise on stage. The problem is that in between songs, both front man and bassist retire to the rear area of the stage and spend easily thirty seconds to a minute talking to each other and taking swigs of water. Now, I certainly don't begrudge them a bit of liquid refreshment (Lord knows, they probably need it), but when this happens after every song, it starts to feel more like you're watching a rehearsal as opposed to an actual performance, and ironically -- seeing as how Myrkskog drummer Secthdamon fronts them -- the same problem will hamper Zyklon's set later on. On the bright side, "Domain of the Superior" and "Bleeding Wrists" sound fantastic, and although Myrkskog's constant 1000 BPM sometimes makes them sound a bit one dimensional, they at least seem excited to actually be on stage. I'm not sure why I was initially a bit sceptic about Reign of Erebus, but they turn out to be the highlight of the evening. Not being particularly familiar with any of the their material, their furious, aggressive and raw black metal assault is made all the more enjoyable by the fact that the band seem literally overjoyed to have been included on the evening's bill. For the duration of their thirty minute set, they give their absolute all -- to the extent that I find myself genuinely sorry for the vocalist when his microphone cuts out during a storming rendition of what I'm led to believe is a new track. In fine style (and unlike Void before them) their sheer determination simply bulldozes through this proverbial roadblock. It's almost a shame to hear them announce their last song for the evening, but one thing is for sure -- Immortal, Marduk and others of their ilk had better start looking over their shoulders. With their forthcoming sophomore opus, _Aeon_, looming on the horizon, tonight is the perfect opportunity for Zyklon to not only show off their new front man, Secthdamon, to a rabid English audience, but also stir up some valuable word of mouth for their upcoming record. They succeed admirably in both respects, but like Myrkskog they have yet to master the art of connecting properly with an audience. On the bright side, Secthdamon's vastly superior vocal range adds a whole new dynamic to Zyklon's already impressive veneer and new tracks like "Psyklon Aeon" and "Core Solution" sound fantastic. Ex-Emperor man Zamoth towers over the left of the stage, leering at the audience and overseeing the chaos spewed forth by his new proteges, his previous highly-acclaimed musical endeavours clearly awarding him a level of charisma far above that of his bandmates. But despite excellent performances of "Chaos Deathkult", "Transcendental War" and a rapturously received rendition of "I Am the Black Wizards", it still feels like Zyklon should have offered more. And when they conclude their set after just forty five minutes, one can't help but feel even more saddened at the thought of Emperor's demise. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= MARCO ARO DANCES FOR THE CAT PEOPLE ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The Haunted, Stampin' Ground and December at the Glasgow Cathouse, February 28th 2003 by: Adam Lineker Sometimes a journalist really appreciates his privileges. Upon arrival at the Cathouse I am greeted with one of the larger queues of metallers I have ever seen. At the door one learns that this multitude of blackened, spiky figures waits in line for the eight remaining tickets. It would seem that word has spread about the majesty of The Haunted and most of the Glasgow scene want to know what all of the fuss is about. Once through the doors, I don't look back. With the venue jammed to the rafters, December are welcomed by an expectant and buzzing audience. One of the more un-uniform bands I have witnessed, December perform adequately. The band would seem to have quite a 'no-frills' approach to slamming out their death metal and this strikes a chord with the audience, who remain attentive throughout. When not casually addressing the throng in an American drawl, the bespectacled vocalist lurches between deep guttural roars and dog-bothering screeches, never failing to cut through the noise and grate on your brain. The rest of the band perform tightly and efficiently, and although somewhat linear in style, December are blessed with a strong sound and good form. Their presence on this bill seems appropriate. With the foundations firmly laid, Stampin' Ground are left to take the evening to the next level, which they do in style. Delivering an inspired and energetic performance, one could be forgiven for believing they are the headliners; in their own words, "for the next forty minutes, this is Stampin' Ground's time". Sinewy vocalist Adam Frakes-Sime is truly at ease in the heated and claustrophobic environment, taking great delight in exchanging banter with a mock- patriotic Scottish audience. Spending as much time in or on the crowd as on stage (as per usual), the frontman's efforts provoke one of the most joyous and chaotic moshes I've ever had to escape from. With the bouncing riffs and thumping hardcore grooves matched by the pogo-ing guitarists, the band seem almost synchronised with the beat. Special mention must go to bassist Ian Glasper, who commands a zen-like presence through his musical and physical performance. Incorporating much of their most effective material and stylistic trademarks, Stampin' Ground are truly awesome. As the show climaxes with Frakes- Sime splitting the crowd in two and smashing them together, one is left wondering how The Haunted can possibly top the evening. If anything, this proves exactly how caught up in the moment I was. As a devout fan of the headliners, I should have known that tonight's performance was going to be no less than excellent. Yet, in truth, it is far from merely excellent; it is a phenomenal, almost revelatory experience. From the moment guitarist Jensen strolls onstage to the furious ending rendition of Hate Song, The Haunted maintain a crescendo that begins with awe and ends in euphoria. Blending the strongest material from new opus _One Kill Wonder_ with an abundance of older favourites, The Haunted seem nothing short of titanic as they thrash out songs like "Chasm", "D.O.A." and the anthemic "In Vein". Oft regarded as the modern Slayer, the band show exactly why they possess such a title with a display of musicianship and solidarity that defies belief. Marco Aro seems to take particular (and peculiar) satisfaction from the fact that he is playing at The Cathouse, meowing at the girls in the audience before "Hollow Ground" and inexplicably skanking like Michael Jackson, but aside from these bizarre moments of japery he holds an unquestionable presence on the stage, delivering his vocals with confident power and ferocity. The intricate lead interplay between Jensen and Anders Bjorler is flawless and thankfully well supported by the sound; one should expect so as producer Frederik Nordstrom is seen lurking behind the onstage equipment. Underneath the axemanship of these two virtuosos thumps the rhythm section of Jonas Bjorler and Per Moller Jensen, who efficiently keep the reigns taught and still find space to pull off blinding fills. As the band close their set it seems believable that they are able to put the ghost of At the Gates to rest; in response to shouted requests, Marco Aro distractedly replies with "C'mon Guys, that band aren't around anymore". One can only commend them for this; tonight is theirs and they know it. Grinning appreciatively throughout and lovingly praising the ecstatic audience, The Haunted remind everyone present just why they fell in love with metal in the first place. As the lights come up, there is a triumphant smile on every face in the building -- including the Bjorler twins. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, ___ _, _ _, _, | \ |_ | /_\ | | (_ |_/ | | | | | | , , ) ~ ~~~ ~ ~ ~ ~ ~~~ ~ Web Site: http://www.ChroniclesOfChaos.com FTP Archive: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos --> Interested in being reviewed? 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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 . =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= End Chronicles of Chaos, Issue #63 All contents copyright (c) 1995-2003 by individual creators of included work. All rights reserved. All opinions expressed herein are those of the individuals expressing them, and do not necessarily reflect the views of anyone else.