_______ __ __ __ ___ | _ | |--.----.-----.-----|__.----| .-----.-----. .-----.' _| |. 1___| | _| _ | | | __| | -__|__ --| | _ | _| |. |___|__|__|__| |_____|__|__|__|____|__|_____|_____| |_____|__| |: 1 | |::.. . | `-------' _______ __ | _ | |--.---.-.-----.-----. |. 1___| | _ | _ |__ --| |. |___|__|__|___._|_____|_____| |: 1 | |::.. . | `-------' CHRONICLES OF CHAOS e-Zine, December 7, 2003, Issue #68 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 Contributor: Adrian Magers Contributor: James Montague Contributor: 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 #68 Contents, 12/7/2003 ----------------------------- * Chats -- Arch Enemy: The Rebellion Is Rising * Albums -- Akercocke - _Choronzon_ -- Alchemist - _Austral Alien_ -- Arkhon Infaustus - _Filth Catalyst_ -- Backyard Babies - _Stockholm Syndrome_ -- Behemoth - _Antichristian Phenomenon_ -- Bongzilla - _Gateway_ -- Cavity - _Supercollider_ -- Countess / Megiddo - _Orgasmatron_ / _The Hammer_ -- Cryfemal - _Raising Deads, Buring Alives!_ -- Daemusinem - _Daemusinem Domine Empire_ -- Daylight Dies - _No Reply_ -- Deathwitch - _Violence Blasphemy Sodomy_ -- Demonized - _Demonized_ -- Devolved - _Technologies_ -- Eternal Lies - _Spiritual Deception_ -- Funerus - _Festering Earth_ -- Ginger Leigh - _10 Stories, 10 Lies_ -- Ginger Leigh - _A True Life Story_ -- Graveland - _The Fire of Awakening_ -- Haste - _The Mercury Lift_ -- Hatebreed - _The Rise of Brutality_ -- Homo Iratus - _Knowledge... Their Enemy_ -- Immersed in Blood - _Killing Season_ -- Kralizec - _Origin_ -- Leviathan - _Leviathan_ -- Malmonde - _Malmonde_ -- Manegarm - _Dodsfard_ -- My Minds Mine - _Scenes of the Complete Annihilation of This Planet_ -- Necrophagia - _The Divine Art of Torture_ -- Nephenzy Chaos Order - _Pure Black Disease_ -- Neuraxis - _Truth Beyond..._ -- Noctiferia - _Per Aspera_ -- Planet Killswitch - _You Don't Matter_ -- Regurgitate - _Deviant_ -- Schizoid - _Covered in Metal_ -- Six Feet Under - _Bringer of Blood_ -- Skinless - _From Sacrifice to Survival_ -- Sulaco - _Sulaco_ -- Summer Dying - _One Last Taste of Temptation_ -- The Legion - _Unseen to Creation_ -- Uhrilehto - _Viha Ja Ikuinen Vitutus (Hate Eternal)_ -- Vacant Stare - _Vindication_ -- Various - _Japanese Assault_ * Demos -- Cwn Annwn - _Cwn Annwn_ -- Twytch - _Hatred_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _,_ _, ___ _, / ` |_| /_\ | (_ \ , | | | | | , ) ~ ~ ~ ~ ~ ~ ~ T H E R E B E L L I O N I S R I S I N G ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Christopher Amott of Arch Enemy by: Jackie Smit It seemed an unlikely proposition after the release of 1999's _Burning Bridges_ opus, that Sweden's Arch Enemy would in a relatively short period of time ascend to the peak that they have at our present point in time. Indeed, an even more improbable scenario circa the late nineties, was that this band would transcend the ranks of standard death metal and begin a flirtation with the mainstream that now sees them within a hairsbreadth of taking extreme music to the masses. But, as the overwhelming response to their latest record, _Anthems of Rebellion_, and the praise garnered from such respected stalwarts as Slayer and Hatebreed (with whom they currently share a bill on the US Jagermeister Tour) would indicate, Arch Enemy are very much a band whose time has come. Christopher Amott -- one half of the creative nucleus that powers the band -- is hesitant to take much of this with any semblance of seriousness though, preferring instead to joke about the band's arrogance having gotten them to the point where they are today. Yet, one listen to _Anthems of Rebellion_ reveals that not to be the case. CoC: _Anthems of Rebellion_ hints -- to myself at least -- that Arch Enemy chose to shift away from a lot of the traditional Swedish- style melodies they were using toward a more old-school, and almost Carcass- style approach. Would you agree? Christopher Amott: Carcass? I think that has more to do with Michael [Amott]'s riff style really, which is inspired by things like Rainbow and Deep Purple. But the album is definitely more aggressive, which I think had a lot to do with the arrangement of the songs this time round. We certainly tried to make the songs a bit more straightforward, where in the past we would make a conscious effort to incorporate clean and progressive stuff into a lot of the songs. But we always try to do something different on each album, and with this record we added the clean vocals, the keyboards and the down-tuned stuff. Also, this was the first record where we actually did pre- production, so it ended up being a lot of hard work. At the end of the day, we're all extremely pleased with how _Anthems of Rebellion_ came out. I mean, as far as I'm concerned, it's everything a heavy metal album should be. It's very dynamic and very diverse. We always try and mix in various influences ranging from progressive rock, to death, to thrash, to black metal. We're music fans all of us, and we listen to a lot of stuff. Probably the most die-hard death metal fan out of all of us would be Angela. Whenever we get off stage and we're in the bus, she always insists listening to Morbid Angel or Deicide or whatever, while the rest of us just want to relax and listen to some seventies rock. CoC: I'm saying this purely as a compliment -- I was never much of an Arch Enemy fan and I was very impressed by _Anthems of Rebellion_ despite being quite sceptical. Do you feel that this record has the potential to convert many more to the Arch Enemy cause? CA: Yeah, definitely. It's not something we really think of while we're recording, but you always want a good reaction. When you're recording, you're just basically lost in whatever you're doing, and I haven't yet had the chance to listen to and compare this with earlier stuff; but it could definitely turn on a few new people, I think. CoC: Arch Enemy has been getting a lot of press attention, especially after Angela joined -- did this increased profile place more pressure on you to deliver the goods this time round? CA: Not really. We just do our thing. We write for ourselves, and of course we want to sell albums and sell out shows -- all bands want that; they'd be lying if they said that wasn't the case. But we've never really had to compromise, and we just play whatever comes naturally. Maybe we're just not fussy enough. CoC: It also strikes me how much more settled Angela sounded this time round. CA: Definitely. We played over a hundred shows in support of _Wages of Sin_, and plus, she now has a different technique that she uses. She went to a vocal coach, who changed how she breathed and how she projected her voice. And I think that she's also more settled in on a personal level. I mean, she was always ready to give 100%, so there's never been a problem with that, but she has definitely gained a lot of confidence. CoC: Did Arch Enemy employ the same songwriting process that you have before for _Anthems of Rebellion_? CA: Pretty much. It's usually Mike and myself that write the basic riffs, and then there's a lot of jamming that basically moulds it to where it becomes an Arch Enemy song. And really, anything can inspire us -- maybe it's something new that we just heard or a film that we saw; anything, really... CoC: Speaking of hearing new music -- what's the most impressive thing that you've heard recently? CA: I have to tell you that I have the musical taste of an old man. I like the last In Flames album and the new Nevermore was really good. But it's strange nowadays, because bands are so categorized. I mean, you have twenty bands playing one style of power metal and twenty others playing one style of death metal. Everybody has to be in the same vein and I think that's really boring. CoC: And do you feel that Arch Enemy has transcended these categories? CA: Well, I hope so. I suppose bands like Nile or Rhapsody see themselves in the same light, and I don't know if we're especially original. But, anyway -- we try. CoC: So, out of all the different shows and festivals that you've played during the last year, what stands out as a personal highlight? CA: Well, there's been so many, I don't really know, to be honest. I think that Download was really cool. We had a big crowd there and the vibe was excellent. The two shows we played with Iron Maiden in Europe were amazing as well. I'm a huge fan of theirs, of course, and to meet Bruce Dickinson and just see the whole Maiden stage production in action was incredible. CoC: Would you hope to see Arch Enemy moving into a more theatrical stage production in the future? CA: Well, we're all big fans of that and we do our best shows on big stages. We like running around and making fools of ourselves. It's cool playing in clubs as well -- I mean, any show is cool as long as the fans are enjoying themselves. CoC: I remember seeing you open for Opeth at the [London] Mean Fiddler last year and you did seem a bit claustrophobic on such a small stage. CA: A little, yeah -- we like to be able to move around. CoC: So, looking at the present-day metal scene -- what do you feel sets Arch Enemy apart from the rest of the pack? CA: I don't know... arrogance? We get accused of being arrogant all the time, but seriously though, I do feel that we're a bit different and I do think that we offer something for everything. There's the technical playing for the musos and there's the heavy stuff for the metalheads. There's a lot of stuff for people to sink their teeth into. CoC: Christopher, it's been great talking to you. CA: Thanks. We'll be on tour quite extensively in the upcoming months and I hope that we'll see a lot of you out there. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _, __, _,_ _, _ _, / \ | |_) | | |\/| (_ |~| | , |_) | | | | , ) ~ ~ ~~~ ~ `~' ~ ~ ~ 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! Akercocke - _Choronzon_ (Earache , 2003) by: Jackie Smit (8.5 out of 10) I'm not a fan of Akercocke. Or shall I rephrase that and say: I - wasn't- a fan of Akercocke. To me the hype surrounding the massively lauded _Rape of the Bastard Nazarene_ effort was very much a case of the emperor's new clothes, and after witnessing the band performing a decidedly droll set in support of Cradle of Filth earlier this year, my opinion was virtually set in stone. That is, until I heard _Choronzon_. What is instantly appealing about Akercocke this time round is their overt eagerness to, for lack of a more appropriate phrase, boldly go where no death metal band has gone before. Instead of relentlessly blasting away and attempting to copy peers like Nile and Krisiun, they have opted instead to forge ahead into bleaker and more atmospheric territories with a clear nod given to classical music and the early '80s gothic dabbling of bands like Bauhaus. In this sense, the epic "Leviathan" stands out as perhaps the record's finest moment -- a coming together of every strength that this London-based collective possesses: the superb baritone of Jason Mendoca, the skintight drumming of David Gray and the band's undeniable penchant for conjuring melodies that are truly steeped in darkness. Not everything on _Choronzon_ screams perfection however. While they have definitely made several leaps forward in terms of songwriting and composition, songs like "Becoming the Adversary" are brought down by the band's enduring habit of splicing together sequences of pure genius with the kind of residuary scale-shredding that should by all rights have remained on the cutting room floor. The sheer overpowering impact of tracks like "Enraptured by Evil" more than compensate for these minor flaws however, and with another superb production job by Neil Kernon adding the final ingredient to musical cauldron, I'd think it's safe to say that Akercocke are well on their way to the next level. Alchemist - _Austral Alien_ (Relapse Records, 2003) by: Jackie Smit (9 out of 10) Blending various influences into a veritable musical stew is becoming an increasingly common departure point for a lot of modern-day metal bands in the noughties. Truth be told, with the number of acts nicking riffs, beats and ideas from each other with gay abandon these days, it's almost starting to feel as though I'm repeating myself in my reviews; but such is the nature of the beast, and thankfully Australian psychedelic space-metallers Alchemist don't so much steal as tint their sound with the likes of Fear Factory, Strapping Young Lad, early U2, and Killing Joke. The end-result is a truly gratifying and atmospheric piece of work, defined by such highlights as "Solarburn", "Letter to the Future" and "Alpha Capella Nova Vega". Never simply the tally of their influences though, Alchemist inject every song on this eleven-track opus with ample doses of undeniable and all-important X-factor, making _Austral Alien_ a thoroughly exciting and adventurous prospect, and quite simply seminal in every sense of the word. Arkhon Infaustus - _Filth Catalyst_ (Osmose Productions, 2003) by: Adam Lineker (4 out of 10) As soon I picked this up off of the pile I knew what I was in for, simply because I have seen this record dozens of times over. The hybrid demon cyborg naked woman glared up from the front cover, glazed over in devilish red and black and surrounded by evil, uninspired fontage. The message was clear: abandon hope all ye who listen. Seeping out of the speakers in a mess of thuds, _Filth Catalyst_ is a fine example of mindless death metal slush. The waspish, underpowered production completely buries the vocals into the mix, and the useless whispering that Arkhon Infaustus have deemed essential to their message doesn't help proceedings. I'm sure the lyrics are nice and blasphemous, but that failed to convincingly carry music a long time ago. Arkhon Infaustus do come across as suitably malevolent, creating riffs that are vaguely menacing in tone, so there is a semblance of atmosphere amid the hissing racket. Yet even the better riffs are blended into each other and the few notable melodic figures are squashed. At best _Filth Catalyst_ hits us with some coherent breaks; at worst, it bogs down into a mire of repetitive, generic tosh. Nothing has any real impact, although it feels like Arkhon Infaustus are trying in earnest to create some urgency. For their efforts they manage to create a resemblance of enthusiastic aggression but no real dynamism. Each motif is monotonously beaten to death in the 4by4 trap; _Filth Catalyst_ is the work of yet another band that are too happy to come up with a riff in the 4/4 time signature, repeat it four times over, and then start the process over again with a new figure. Arkhon Infaustus really need to learn that each riff they commit to tape is an important one, and to cease relying on sounding darker than some other bands that play this music. They will undoubtedly get along with the support of a cult audience that care little for invention and look for nothing more than a nasty vibe. Good for them. Personally, _Filth Catalyst_ has added nothing to my life that scores of similar bands haven't already vexed me with. Come and get it people, this is like, really evil scene-metal. Backyard Babies - _Stockholm Syndrome_ (BMG, 2003) by: Xander Hoose (7 out of 10) With their 1993 _Diesel & Power_ release, the Backyard Babies immediately placed themselves in my favourite band list; and they stayed there for a while, gradually slipping down with every album that came out. It wasn't until their 2001 album _Making Enemies Is Good_ that I found myself actually enjoying a Backyard Babies album again. Even though stylistically they almost performed a 180-degree turn, their songs rocked and rolled. _Stockholm Syndrome_ is a logical continuation -- I'd almost say more of the same. Sounding even more accessible, commercial and especially safer than ever before, I fear that BMG has a little more control over their music than I'd want to believe. Some of the songs, like "Earn the Crown" and "Say When", have a little bit too much hit potential for me, and there's too many moments where the Backyard Babies sound too much like what you've heard before and elsewhere. Even with my disappointment at the band's loss of identity, _Stockholm Syndrome_ is a decent album that will satisfy most listeners. Me, I'm popping in my old copy of _Diesel & Power_ instead. Contact: http://www.backyardbabies.com Behemoth - _Antichristian Phenomenon_ (tour-EP, 2001) by: Xander Hoose (no rating) Even though this was released back in 2001, I still decided to review it for the sake of completeness (and the fact that it seems to pop up in stores now and then). Basically a tour-EP, _Antichristian Phenomenon_ contains a few album songs ("Antichristian Phenomenon", "Malice" and "From the Pagan Vastlands"). However, there are some extras that make the EP worth listening to: four cover songs, the first being Sarcofago's "Sathanas", then David Bowie's "Hello Spaceboy", followed by Morbid Angel's "Day of Suffering" and Mayhem's "Carnage" to top it off. Recording quality is very good, no crappy demo sound. Especially "Hello Spaceboy", a very unusual song for a death metal band to cover, is worth a listen. The other three are rock-solid covers that don't differ too much from their originals. If you can find this EP and are a nut for cover songs, _Antichristian Phenomenon_ is good value for your money. Bongzilla - _Gateway_ (Relapse, 2002) by: Xander Hoose (6.5 out of 10) Since _Gateway_ was never properly reviewed in our magazine, I couldn't resist the urge to at least write a few lines on this stoner rock bible for fucked up dopeheads. Okay, okay, forgive me all that cliché, but the fact is that Bongzilla is still making the same twisted stoner music they've been playing for years and years now. Topically challenged as they are, they still pray to the almighty green leaf (songtitles include "Greenthumb", "666lb Bongsession", "Keefmaster", "Hashdealer") and have even adapted fitting artwork, goa-style. For those who haven't checked this album out yet, do so if this review has made you curious. For those owning most of the other Bongzilla albums: shit bro, you'll like this one as well, just don't expect any form of renewal. Cavity - _Supercollider_ (Hydra Head (reissue), 2003) by: Xander Hoose (10 out of 10) Dating as far back as 1999, _Supercollider_ was the album that put Cavity on the musical map. Showing off virtuosity and style in such an excellent way that they outranked stylemates Bongzilla and even Eyehategod, they unfortunately never received the attention they deserved due to improper distribution by Man's Ruin. Now that _Supercollider_ is being reissued, almost five years later, one cannot deny that it is still a hell of an album that outweighs most of its competition. Sounding like Ministry at its peak meeting Black Sabbath at its darkest, the songs screech, churn and writhe their way into your brain, leaving a lasting impression that is not easily replaced. The album is an intriguing listen from beginning to end, something that cannot be said of Eyehategod and Bongzilla. Even more important is that even though the original release wasn't badly produced, the new rich and dense production that Hydra Head applied to this album is absolutely killer and makes the musical originality of Cavity even more noticeable. If you don't own the original release, _Supercollider_ is an absolute must. If you consider yourself a sludge fanatic, you'll particularly fancy this reissue due to the superior sound quality and the bonus track. Either way, _Supercollider_ is a winner. Countess / Megiddo - _Orgasmatron_ / _The Hammer_ by: James Montague (6 out of 10) (Decius Productions, 2003) Finally, after much blood, sweat and tears, Decius Productions managed to get these two stalwarts from the Barbarian Wrath stables to contribute a song each for this little collector's item. Any self- respecting metalhead will know that the song titles "Orgasmatron" and "The Hammer" can only mean one thing -- yes, this is a Mötorhead tribute. A bit of old-school fun, and recorded on 45rpm vinyl for good measure. Countess kicks off with the song covered by so many in the past, including big names like Sepultura and Satyricon. Matching the former's effort would be formidable, though the atrocity that was Satyricon's cover of "Orgasmatron" could be seen as relieving the pressure on Countess. But that's a rant for another day. This song is actually perfectly cut out for Countess, the quirky, ultra-simplistic blackish metal band from Holland. Playing the basic guitar leads and mid-paced rock tempos in a somewhat humorous, somewhat deranged manner, Orlok (the sole member of Countess) pays worthy homage to the British metal godfathers. Megiddo is a sterner, more serious band, and so "The Hammer" is played in a no-nonsense fashion. With faster drumming and noisier black metal guitar shredding, the song is over in a heartbeat. Wham bam and thankyou ma'am, quick and professional like Krusty the Clown recording sound clips for his latest talking doll. This Canadian band is much in the vein of very early Bathory, and as such is quite unremarkable. The cover falls very much in the good-but-not-great category, leaving Countess clear winners in this little head-to-head. Contact: http://www.deciusproductions.com Cryfemal - _Raising Deads, Buring Alives!_ (Oniric Records, 2003) by: Matthias Noll (1 out of 10) Despite a promising album title (always remember: bad grammar = true) _Raising Dead, Buring Alives!_ is without a doubt the worst black metal record I've heard this year. The album in its entirety consists of an obviously out of control, terribly annoying drum machine in permanent overdrive (mostly at twice the speed of a fast Anaal Nathrakh track or else executing random rhythm changes) and a completely synthetic sounding guitar that leaves the impression of being handled by a lobotomized guitar student receiving one electric shock after the other -- plus some extremely distorted vocals. Oh, I almost forgot: there's also some occasional keyboards with a totally laughable sound. Yeah, this is fast, this is weird, this doesn't make any sense at all, but this also happens to be total crap, and a corpse-painted, fire-spitting figure on the cover doesn't make this a black metal record. Guys, get rid of your computer, go back to black metal boot-camp, or else start recording your farts. Daemusinem - _Daemusinem Domine Empire_ by: Xander Hoose (7 out of 10) (Cold Blood Industries, 2002) Eight tracks, forty minutes of pure black metal -- that's what you get when you buy _Daemusinem Domine Empire_. In those forty minutes, you won't experience many surprises, but the music is very fast-paced with excellent guitar work and satisfying drumming. Whether or not you like the vocals will be a different question, as I can imagine them not being to everyone's liking -- they weren't to my liking, anyway. The militant lyrics are also quite immature, unless you get a hard-on for Roman themes. Nonetheless, if you want a no-nonsense shit-kicking black metal album that hasn't gone for the commercial approach, check this one out. Daylight Dies - _No Reply_ (Relapse, 2002) by: Xander Hoose (8 out of 10) Where the doom scene is still pretty much dominated by European bands (Opeth, My Dying Bride, Katatonia) there have been occasional exceptions worth mentioning from the American continent. Daylight Dies have received much credit for their 2001 album _Sign_, and they have returned with a follow-up that shows once more there's quality to be found in the States. _No Reply_ is a very clean -- almost crisp -- but sombre and atmospheric recording, taking on the approach of earlier My Dying Bride. Songs haven been written and performed without any feeling of 'haste' to them; riffs and melodies flow by gently even in the midtempo sections of the album. Strangely enough, the vocals don't really fit the bill. The raw, sharp vocals don't carry any emotion in them, creating an empty texture that shouldn't have been there. Deep, clean vocals would have fitted this album much better, especially when playing more than a few songs. Nonetheless, _No Reply_ is a very decent album that will satisfy fans of the previously mentioned bands and should definitely not go unheard. [Pedro Azevedo: "Much like Rapture before them, Daylight Dies harvest inspiration from mid-era Katatonia, with the likes of _Brave Murder Day_ and the _Sounds of Decay_ EP clearly having had considerable influence on the making of _No Reply_. Armed with strong production, some really good riffs and emotional melodies, and competent raspy vocals, Daylight Dies show enough songwriting skill to make this hour long record very enjoyable. Not the most original of releases, but definitely worth looking into if you feel the aforementioned influences seem promising."] Deathwitch - _Violence Blasphemy Sodomy_ by: Jackie Smit (6 out of 10) (Earache / Wicked World, 2003) Note to journalists: Deathwitch don't give a fuck what we think. This is, quote unquote, the slogan emblazoned across the front cover of _Violence Blasphemy Sodomy_; a collection of expletive-laden, pedomorphic anthems featuring such choice numbers as "Blood Sucking Fuck", "Coffin Fornicator" and my personal favorite, "Fuck Off & Die". While musically this record is definitely not the worst thing I have ever heard in my life (well-performed, albeit fairly unimaginative old-school death metal), it is the poorly delivered and infantile ramblings of frontman Terror that grate. "I don't give a fuck / Fuck you fucking leaches / I hate you / I hate everything", read the opening lines to "Total Morbid", one of the record's more lyrically thoughtful and intelligent moments. But as the subject matter gradually degenerates to even more base-level dross, musically the album manages to churn out a number of engaging moments, in particular the mid-tempo onslaught of "Violence Blasphemy". Still, this style of death metal has been done and done well countless times before -- a prime recent example being Destroyer 666's excellent _Terror Abraxas_ EP -- and ultimately there is nothing to recommend Deathwitch over such infinitely more deserving acts. Demonized - _Demonized_ (Osmose Productions, 2003) by: Matthias Noll (4.5 out of 10) Too many releases, too many bands doing exactly the same thing in a sub-standard fashion, too many labels releasing superfluous albums -- even if the guys in Demonized might be sincere and true metalheads, this is just another album that falls into this category. Why should anyone waste his money buying another second or third rate combination of Angelcorpse and Krisiun? I've heard this album five times and can't remember anything but the absence of triggers and myself being completely surprised that such extreme music can leave me totally unimpressed, lethargically sitting through it just for the sake of doing my duty before I can think about reviewing it. This is another extreme metal equivalent of music that usually gets played in elevators to provide some background noise until the ride is over in a couple of seconds. As dedicated to metal as the members of the band might be, it's painfully average stuff like this that truly kills the enjoyment of music and even makes me crave for a 100% crap release because at least there'd be something remarkable about it. I don't think that zero points is really the worst rating the CoC system allows; it's rather something between four and five. Devolved - _Technologies_ (Copro, 2002) by: Xander Hoose (6.5 out of 10) Australia's Devolved have a moderately unique take on death metal, melting it into somewhat new forms with their hardcore-ish Fear Factory vocal style and smooth technical drums / riffing. Uniqueness does not imply quality, however. Even though the concept of _Technologies_ -- creating a metal version of Rage Against the Machine -- is praiseworthy, it is important to be backed by capable musicians in order to achieve your goals. However, the triggered drumming sounds like it's straight from a drum computer and the guitar / bass combo is mediocre at best. The usage of electronic elements hasn't been pushed to its full effect, with only the occasional beat here and there. The vocals are above average and the song structures are interesting, but right now there are too many downsides to _Technologies_ to make the album worth remembering. Eternal Lies - _Spiritual Deception_ (Arctic, 2003) by: Xander Hoose (7.5 out of 10) We all know how Sweden is the one and only birthground of all the famous technical death metal bands with the buzzing guitar sound -- Dismember, Eucharist, In Flames, Soilwork... add to this list another one, Eternal Lies. The intrinsic problem this band is faced with is that the scene is still crowded with capable bands, making competition very hard. With _Spiritual Deception_, Eternal Lies have at least given it their best shot. The songs are pretty memorable, the music is tight as a teen girl, the vocals are kicking (though not very special) and even the artwork is above average. 42 minutes is a bit on the long side, though; after about 30 minutes I've already heard enough, but _Spiritual Deception_ is by no means a waste of your money. Funerus - _Festering Earth_ (Ibex Moon Records, 2003) by: Adrian Magers (8 out of 10) Funerus is kind of like a kick-ass old school death metal jam band. Bits of old Deicide and Obituary are presented alongside a groove- based guttural assault. Guitars are low and crunchy, vocals are bellowed, and everything's driven by pounding rhythms. The band is probably most known for featuring Incantation founder and guitarist Jim McEntee (also featured in the band is the aforementioned Cleveland-based act's skinsman Kyle Severn). However, it should be noted that Funerus is a very separate entity from any other group, and can prove their worth with or without any big names enlisted. Funerus started in the early '90s, but after lying dormant for many years they've returned in full force. _Festering Earth_ is the band's manifesto, and is sure to impress those whom enjoy the original Floridian circle of this particular form of music. It combines the early genre standards with a few elements very much akin to many of Sweden's Entombed-inspired metal bands. Probably the best thing about _Festering Earth_ is its ability to take each song through so many different tempos and feelings: from mid-pace sludge to thrashing blurs and back, Funerus completely command their music in a way that shows off their collective musical experience and wisdom. For a short time you can get the pre-release version of this album (limited to only 500 copies) from the band's website; I advise all interested parties to act immediately! Contact: http://www.funerus.com Ginger Leigh - _10 Stories, 10 Lies_ (RLM, 2002) by: Xander Hoose (7.5 out of 10) How does one define originality? The question rises from time to time, when coming upon certain albums. Ginger Leigh's _10 Stories, 10 Lies_ is one such album. Continuing the electronic / industrial onslaught of previous albums, _10 Stories, 10 Lies_ contains thirteen songs that are unique in many aspects but share great similarities with other artists on the other side: when one listens to the middle-eastern percussion and the scraping beats, break-genius Muslimgauze comes to mind. However, Muslimgauze has always limited his experiments, whereas Ginger Leigh takes a far wider spectrum of noises and sounds and integrates them into his music. Ranging from passive drones to hyperactive industrial walls of sound, there is enough for the listener to experience and enjoy. I am a little discontent with the production, though: a somewhat heavier mix wouldn't hurt the songs at all. Contact: http://www.gingerleigh.com Ginger Leigh - _A True Life Story_ (Masuno, 2003) by: Xander Hoose (8.5 out of 10) Continuing where he left with _10 Stories, 10 Lies_, _A True Life Story_ is a more nuanced journey into the realms of harsh electronics, subtle hums and devastating feedback by Ginger Leigh. The album has a more aesthetic feeling to it when compared to _10 Stories, 10 Lies_, the compositions are better, and there is a better balance between loud and soft. Having a somewhat cleaner mix causes the songs to seem more vivid; there isn't much that Ginger Leigh and Muslimgauze have in common, because of the entirely opposite direction Ginger Leigh is moving in. The tracks on _A True Life Story_ are more song-oriented, and are very melodic even in all their electronic harshness compared to Muslimgauze's anti-melodies. _A True Life Story_ is not for the faint of heart, but then again, it's not for the breakcore-addicts either: the album contains too few brutal beats and has too many passive moments. For those who appreciate the subtle shades of industrial, _A True Life Story_ is definitely worth checking out. Contact: http://www.gingerleigh.com Graveland - _The Fire of Awakening_ (No Colours Records, 2003) by: James Montague (9 out of 10) A return to form for Graveland? Maybe not for people like myself, who thoroughly enjoyed Darken's work even as he sucked the adrenalin from the beast, with the sedate _Memory and Destiny_ rating as one of my favourites. But for those who thought the band would never rediscover the epic rage of _Thousand Swords_ or _Following the Voice of Blood_, this latest LP will be a pleasant surprise. It's all in the titles, you see. _Memory and Destiny_... obviously the fella was in a state of deep nostalgia for that one. But now we've found the _Fire_, realised through more powerful, driving guitar lines. I must emphasise the word "driving" -- these guitar riffs are like a relentless push, a wave of horsemen urging you, the Pagan warrior, into the fray. Keyboards have definitely taken a back seat now -- they still pop up occasionally to express Darken's longing for the glory days, but his _Awakening_ is no longer just spiritual, it is also physical. Thus the guitars bear the brunt of his rediscovered anger, and the vocals have perked up too -- recently just a bitter old croaker, Darken is now growling and screaming, a vitriolic drool splattering his mighty warrior's beard. A further throwback to the days of _Thousand Swords_ is the lyrics -- no longer dreaming of the splendour of ancient times, Darken is now happy just to slay all those fuckin' Christians. The blood of Yahweh will once again slake the battlefield, and all is well in the land of Pagan fantasists! Still retaining his rare knack for a stirring folkish melody, Darken has given himself a timely reminder that Graveland is, first and foremost, a metal band. _The Fire of Awakening_ sits proudly near the top of an extensive and magnificent repertoire, and should be a sure thing for anyone who appreciates folk-influenced black metal. Contact: http://www.vinlandwinds.com/graveland/ Haste - _The Mercury Lift_ (Century Media, 2003) by: Jackie Smit (7 out of 10) Hardly a day seems to pass by where a new record isn't advertised using trendy marketing buzzwords like "diverse influences" or "inevitable musical evolution". These being particularly favoured descriptive slogans among the emo and increasingly fashionable post- hardcore crowd, Alabama's Haste are no exception for the most part. From time to time however, they do reveal the knack for penning a good tune or three, ultimately making _The Mercury Lift_ a distinctly more attractive offering than anything you'd hear by the likes of the highly overrated Funeral for a Friend or Hell Is for Heroes. Like the melodic bastard-child of Snapcase or the ugly cousin of Boysetsfire, _The Mercury Lift_ is an uneven listen; brilliant at times, hinting at the staleness of yesterday's underpants at others. Certainly the likes of "With All the Pride & Dignity of a Drowning Summer" are excellent examples of how effectively no-frills hardcore and melodic breaks can combine. Lamb of God's D. Randall Blythe even pays a welcome visit to the vocal box on the bone-jarring "God Reclaims His Throne". Yet Haste often miss the mark in terms of consistency and effective song construction. Likewise, the production job lacks bite, and although showing off the band's obvious talents with admirable clarity, fails to do their dynamic approach justice. For what it's worth however, one should take solace in the fact that tracks like "Force Is Always an Option" hint at Haste becoming a bona fide contender in contemporary heavy music within the next few years. Hatebreed - _The Rise of Brutality_ (Universal Music, 2003) by: Jackie Smit (8.5 out of 10) For many, Hatebreed's pummeling 2002 effort _Perseverance_ underlined with fierce determination the fact that the Connecticut-based quartet were without a doubt the meanest pack of rottweilers in the underground hardcore yard. Yet, as powerful as it was, there were moments when _Perseverance_ suffered badly from downright monotony as characterized by a glut of superfluous grooves and downright lazy songwriting. To be honest, I was more or less expecting a repeat of both past glories and mistakes on album three, and it is ironic then, that a band who peddle such unequivocal and forthright music could actually succeed in surprising me. From start to finish, _The Rise of Brutality_ displays a distinctly matured and improved act delivering their finest moment to date; but those expecting to hear any sort of departure or diversification should think again, because from the moment that "Tear It Down" thunders its way on to the speakers, it will be evident that the record is very much set to live up to its title. Indeed, _The Rise of Brutality_ is even heavier than its predecessors and, if it were at all possible, Jamie Jasta and Co sound more menacing than ever. The album showcases a far tighter and more focused Hatebreed than ever before, with songs like "A Lesson Lived Is a Lesson Learned" and "Voice of Contention", stripped bare of any excess filler and made all the more effective by incorporating hooks that could rip the face off an unsuspecting listener at twenty paces. Elsewhere "Beholder of Justice" carves a groove of such sludge-like density that it almost becomes overwhelming, while "Confide in No One" concludes the album at perhaps its most satisfying peak. _The Rise of Brutality_ is not for everyone, and if you're hungry for melody and dynamics you'd be well advised to search elsewhere; but for those yearning to hear an album of truly heavy music that would make the likes of Fred Durst soil his oversized trousers, it is most definitely an essential purchase. Homo Iratus - _Knowledge... Their Enemy_ (Arctic, 2002) by: Xander Hoose (8.5 out of 10) Much like Relapse, music label Arctic has also started releasing ten minute long EPs of their artists. While this trend still remains questionable, at least _Knowledge... Their Enemy_ is fitted with two video tracks along with the four audio tracks. Homo Iratus plays solid, uncompromising death metal with great similarities to Six Feet Under, except for the fact that these guys do have a capable vocalist. Four songs are not enough to base much of a judgement on, especially since I haven't heard their debut album, but as far as I'm concerned they're doing a fucking good job. The Sepultura cover ("Roots Bloody Roots") wouldn't have been necessary, as their own material sounds better. People who've bought the _Human Consensus_ album can skip this EP, as two songs are from that album. I wouldn't be surprised if either Metal Blade or Relapse would try to sign this band, and that in itself might give you good enough a clue as to whether or not you want to hear this EP. Immersed in Blood - _Killing Season_ (Arctic, 2003) by: Xander Hoose (8.5 out of 10) I really can't say why I like _Killing Season_ so much, but I do. This debut album by Immersed in Blood, a band risen from the ashes of Inverted, isn't something spectacular or original. In less than 30 minutes, we are treated to some fast (and I mean -fast-) death metal songs not unlike Malevolent Creation, Immolation or Dying Fetus. There is a great deal of virtuosity, even though it's not always pushed to the limits. Then again, the album has an excellent flow to it that makes you want to bang your head into the walls and scream your lungs out of your body. The blast beats are so tight it almost provokes an epileptic fit, with a lot of attention to the vicious sounding hi- hats. If you're interested in something violent, this will be your thing. Kralizec - _Origin_ (Maquiavel, 2003) by: Pedro Azevedo (7.5 out of 10) Some bands stick to tried and true formulas when it comes to creating music; others choose to take more chances. Canadians Kralizec belong to the latter category: their amalgam of hyperblast, symphonic bits, melodic passages, ultra-low grunts, blackened screaming and even Akercocke-like clean singing sees them mixing some seemingly unmixable elements. Propelled by a decently operated drum machine (though still just a drum machine, in the sense that the album would have benefited from a good human drummer), Kralizec do a better job of creating interesting music from all these elements than one might expect. The music is mostly fast blackened death metal, with occasional keyboards and intricate guitar work, as well as dual low/high-pitched vocals. The production sounds a bit thin, but it does allow all the instruments to shine through admirably, and there is certainly plenty going on most of the time to keep the listener occupied. Though even the clean singing is well incorporated into the music, the quality of the album is somewhat uneven -- some really good passages alternate with rather more generic ones and a couple of failed experiments. Still, the band is quite proficient technically and shows some good songwriting ideas; in addition to the unusual mixtures that make up _Origin_, there is plenty of quality material to be found (especially "Oceano Nox" and "Kralizec" early on), and the disc flows reasonably well. _Origin_ should be an interesting choice for anyone into this kind of metallic experimentation, and Kralizec a band to watch out for in the future. Contact: http://www.kralizec.ca Leviathan - _Leviathan_ (The Judas Cradle Productions, 2003) by: Aaron McKay (3 out of 10) Purposefully driven music with a well-defined direction in mind has always been a big selling point for me. Danzig's material, both with his band, Danzig, as well as the Misfits, have been a staple in my listening repertoire for some time now. Leviathan approaches music in this same vein with this self-titled debut, but somewhere there is a disconnect in the chosen approach on this release. Vocally, it is hauntingly similar to Glenn Danzig's style and the music is similarly rhythmic (like a heart-beat), but strangely absent life, to say nothing of vitality. That said, ironically enough, the third cut, "Love Eternal", from this seven-track, nearly twenty-eight minute debut EP, is their strongest song on the entire effort. The bass, compliments of Chris Gardiner, is very much as I like it: expansively demonstrative. While impressive, it is showcased without proper exposure. What I mean by that is, for example, Gardiner's talents are far too hidden within Leviathan's circles. In other words, let the bass shine through more. The seven songs on this offering by these New Yorkers are of a certain "boxing match in slow motion" quality, but, try as you might, there is little on this disc from Leviathan that would even begin to approach any kind of T.K.O. Named after a giant biblical sea monster, Leviathan's name might lead a person to believe rapture is upon us when, in all actuality, the band flounders more like a minnow in the savage ancient seas. Contact: http://www.judascradle.com Malmonde - _Malmonde_ (Osmose Productions, 2003) by: Adam Lineker (6.5 out of 10) It is important to maintain an optimistic perspective on the years ahead to preserve one's sanity, but if bands like Malmonde are to be believed then the future is a dark and freezing place full of machines that glint under eerie lights. Malmonde offer us some catchy, mechanistic guitar work that is offset by ethereal and cyber keyboard moods. They succeed in creating a cold, otherworldly tone, and this vibe remains constant throughout the opus. On top of this, a bilingual vocalist swings between sinister growls and mournful wailing in accordance with musical progression; there is nothing special here, but he is competent enough at both vocal styles. Aside from creating an effective sonic landscape to perform in, Malmonde's greatest strength is their ability to pen immediate heavy riffs, though placed as they are in this music, they often sound akin to focused nu-metal figures (thankfully without the DJ and rid of weak attempts to be down with the kids yo). The riff work provides the musical bone structure, while keyboards merge melody and atmosphere into a central stylistic feature. However, while some of these keyboard touches are quite inventive, the ethereal figures come across as somewhat functional. I feel that Malmonde's biggest failing is their lack of variation: the music conveys the desired imagery, but it is too repetitive, with the band often returning directly to previously used riff progressions. The consistency of tone makes it difficult to differentiate between songs; "World of Silence" vaguely stands out, but it gets the remix treatment and suddenly becomes cursed with mundanity. Malmonde offer us a record that effectively displays their inspirations, but shows a real need for progression. It is a well-executed attempt, but the result is rather unsatisfying. Contact: http://www.malmonde.com Manegarm - _Dodsfard_ (Displeased, 2003) by: Xander Hoose (6.5 out of 10) A long time ago I wrote a review of the first Manegarm album when it came out. I remember being impressed with the black metal assault displayed by these guys, even though I wasn't a big fan of black metal. _Dodsfard_ is Manegarm's third album already. Upon first inspection, the folk part has received much more attention, something I'm not completely happy with. While increasingly turning into a Vintersorg-style band, the heavy and aggressive side of the band is occasionally undermined by almost cheerful folk nonsense. I'd be the last one to say a band shouldn't try out new things, but stylistically, I think this juxtaposition doesn't do the album much good. The clean Viking-style vocals don't really cut it for me either. Thankfully, there are enough songs left that are just downright vicious motherfuckers to ensure _Dodsfard_ is by no means a waste of money. My Minds Mine - _Scenes of the Complete Annihilation of This Planet_ by: Xander Hoose (6 out of 10) (Amenta, 2002) My Minds Mine has been around since 1995 and they're still going strong -- sorry, -grinding- strong. Twenty-four tracks in a mere twenty minutes; we've heard it before. The problem this time around is that we've heard it done better before. Please guys, the sloppy production and lack of any memorable songs do not justify carving yet another notch on your bedpost. A prime example of the right approach can be found on the last Pig Destroyer album, for instance; variety and tightness are not overrated. If My Minds Mine would spend a little more time in the studio and try to raise their own standards a little, creating something really fresh and aggressive, I'd love to give them the benefit of the doubt. For now, a meagre 6 out of 10 is all they get. Necrophagia - _The Divine Art of Torture_ (Season of Mist, 2003) by: Matthias Noll (8 out of 10) Looking at bands like Gorelord or Wurdulak and the somewhat irritating fraternization of Necrophagia members with Norwegian black metal has- beens, it became quite easy to write off Killjoy and his gang. With Anselmo out of the band and the other members involved in projects that either never released anything (Eibon) or were located deep in mediocrity territory, I just didn't see it coming -- and the crushing impact of _The Divine Art of Torture_ almost did blow me away through the windows of my living room. Gone are the meandering song structures; trimmed away is the fat generated by too many breaks; and riffs that fail to totally crush simply have not been given a place on _TDAoT_. Whereas in the past Necrophagia have often tried to put a bit too much into individual songs, this time they rely on simplicity, and the result is devastating. My description so far might give you the picture that Necrophagia have just become simpler and groovier and lost the atmospheric part of their sound; but that is not the case, thanks to the totally effective, haunting keyboard parts that Sigh's Mirai has added to the grooving mayhem of Fug and Frediablo's twin guitar attack. Add Killjoy's insane vocals and a production that is as close to achieving the perfect balance between clarity and total heaviness as it gets, and you have a headbanger's wet dream of a record. Even if due to its simplicity the immediate appeal of _TDAoT_ might wear off after some time, Necrophagia's achievement of being able to throw all ballast overboard and just let it rip in the studio without losing their trademarks is simply admirable. Furthermore, in my opinion, the inclusion of keyboards makes them sound even cooler and more horror-film-like than ever. Nephenzy Chaos Order - _Pure Black Disease_ by: Aaron McKay (4.5 out of 10) (Baphomet / Red Stream, 2003) Despite the rating, these guys have a fair amount working in their favor. How's that? Details, you say? Well, for starters, these guys aren't about a lot of talk. "Put up or shut up" seems to be the Nephenzy Chaos Order philosophy, probably written in blood above their urinals at home. Without a doubt, this five-piece is as raw as a battlefield flesh wound. In no way are they new-comers to the scene; Nephenzy Chaos Order (or NCO for short) have skills stretching as far as the likes Pain and Nifelheim. One can analyze things to death (NCO's forte), but this style of black metal is to be absorbed, not picked apart and dissected. "Mental Aggression" is easily NCO's power- hand on _Pure Black Disease_: it combines the strength of Himinbjorg and a somewhat riffier Gorgoroth. If this type of musical direction found on "Mental Aggression", or even the harsh attack of "Insomnia", were to be stretched across the other eight tracks, NCO would have discovered the holy grail of the the black metal scene -- that being a certain discerning originality. As things turn out, they have not. Stained and bland for the most part on _Pure Black Disease_, NCO combine all the right ingredients for their more-evil-than-thou cauldron o' decay, but ultimately fail to deliver the enticing allure of imagination. Nothing from nothing and all things being equal, Nephenzy Chaos Order is vocally and moderately musically mystifying, yet hollow in their approach. When all is said and done, NCO is admittedly ripe with all the redeeming qualities few on the black metal scene seem to have -- now let's have a few more cuts specifically in the vein of "Mental Aggression", gentlemen. Contact: http://www.oblivioncreations.com/~nco/pages/main.html Neuraxis - _Truth Beyond..._ (Morbid Records, 2003) by: Pedro Azevedo (8.5 out of 10) It seems like this is Montreal extreme metal month for me, with Neuraxis coming along together with fellow countrymen Kralizec looking for a review. While Kralizec are on a Portuguese label, Neuraxis are on a German one -- but there is a certain kind of extremity they have in common, though Neuraxis are much closer to the Canadian masters of extreme metal, Cryptopsy. Benefiting from a full but clear production, the band's attack scores highly both in terms of impact and technicality. Though very likely doomed to be branded a Cryptopsy clone, Neuraxis are a talented band, and despite the similarities they do have a style of their own -- the melodies running through all the brutality on brilliant opener "...Of Divinity" and the variation on second track "Impulse" prove just that within the album's first few minutes. What's more impressive is that hardly a track goes by without a couple of memorable, distinctive passages; the album is a joy to listen to, and delivered with great impact. The band members all seem very skilled (including a drummer of the Flo Mounier school) and there's plenty of hooks and breakneck changes amidst the hyperblasting. To illustrate just how much I enjoy this album, the only Cryptopsy studio album I find even better than this is their legendary _None So Vile_. I don't know where these guys have been hiding, but you should do yourself a favour and pick up this outstanding piece of metallic extremity. Contact: http://www.neuraxis.org Noctiferia - _Per Aspera_ (Arctic, 2003) by: Xander Hoose (9 out of 10) Even though the title seems to suggest a black metal band, Noctiferia doesn't really fit into that category if you dismiss the vocal style. _Per Aspera_ is by definition a technical death metal album, and by this I am referring to Morbid Angel's style of death metal. Noctiferia have their homebase in Slovenia, but the production of _Per Aspera_ is far better than most albums from Eastern Europe. The sharp guitar sound makes the album a delight to listen to, because _Per Aspera_ features many riffs that would make more famous metal bands jealous. Even though the music itself might not be original, the displayed skills are frightening and they show considerable talent in writing atmospheric songs that stand out by themselves. Although I'm not much of a black metal lover, the snarling vocal style did not irritate me even for a second, as it seems to fit the music well. _Per Aspera_ is a small jewel; if you're lucky enough to find it, you will end up giving this one many a spin in the good old player. Planet Killswitch - _You Don't Matter_ (Independent, 2003) by: Adrian Magers (9 out of 10) An impressive blend of metal, electronics and general weirdness: Planet Killswitch perform music that I would describe as Ministry, Coal Chamber, Slayer, Hatebreed, Chimaira, Skinny Puppy and KMFDM all thrown in a blender. The band employs three distinct vocal styles from three different members of the band (death growls, goth-tinged grumbles and distorted wails) and a generally unique sonic presentation of the band's bitter lyrics. Topics range from governmental control to society's ills, and so forth. My one problem with the album is that some of the tracks, like "Bleak" and "Killing Machines", sounded better on their demo CD _The Scum of the Planet_ (recorded when the band was known as just Killswitch). Maybe it's just me, but it seems that something was lost in the re-recording. Aside from this, there are no other flaws I can pick out. Planet Killswitch is easily the midwest's most promising underground industrial metal band, and in my opinion one of the best unsigned acts in the country. I have a feeling PKS may be a love/hate affair with few opinions in between the extremes; but if you like crunchy metal laden with industrial scraps and bits, Planet Killswitch is sure to please. Contact: http://www.planetkillswitch.com Regurgitate - _Deviant_ (Relapse, 2003) by: Xander Hoose (9.5 out of 10) Woot! I love this album. I wasn't all too sure about the latest Nasum album; I felt like something was missing. I still find it hard to pinpoint what that "something" is, but I can tell you that Regurgitate has it. No less than 27 songs of bitching grindcore, fast and vile like a rabid dog on acid, with excellent vocals (high-pitched screams versus low growls), songs that flow into each other, an excellent mix where especially the bass and drums provide a killer combination... this whole album breathes "buy me!". If you like energetic music, if you like Cephalic Carnage and Nasum, if you haven't heard this album yet... what are you still doing here? BUY, BUY, BUY!!! Schizoid - _Covered in Metal_ (D-Trash, 2003) by: Xander Hoose (6.5 out of 10) Raised on metal, yet a full-time practicing digital hardcore freak, Canada-based Schizoid has circumvented the trap of being torn between two worlds by combining them both. _Covered in Metal_ is not unique, but still definitely special: covering old metal songs by transforming them into a digitalized fusillade is something you won't hear every day. On _CiM_, Schizoid presents us his view on Dead World ("Cold Hate"), S.O.D. ("Chromatic Death / No Turning Back"), Suicidal Tendencies, Biohazard ("Thorn"), Anal Cunt, Candiru, and many more. Even though I really like most of the industrial renderings of these songs, I also have to say that it could have been done better. The album sounds like a home-made product, with a weak mix and over- represented high tones, while the vocal parts aren't all that impressive either. Teaming up with another metal-loving noise artist would probably have resulted in a more professional sounding result -- but then again, maybe my standards have been set to high with the latest Venetian Snares releases. If you're into weird stuff, don't hesitate to buy this album. If overall music quality is a very important factor, however, make sure you give this album a listen before buying it. Six Feet Under - _Bringer of Blood_ (Metal Blade, 2003) by: Jackie Smit (4.5 out of 10) With the amount of media attention lavished -- arguably quite undeservedly -- upon Six Feet Under in recent months gone by, it was virtually a given that _Bringer of Blood_ was going to turn out to be either sheer class or unabashed hype. Indeed, after seeing Barnes and his not-so-merry crew tear it loose at the London Underworld earlier this year, I was personally anticipating something not so much remarkable, but most definitely... well, better than this. One could blame Metal Blade Records for allowing Chris Barnes to languish in the producer's seat, or you could point the finger at Barnes himself for turning in one of the most amateurish and weak vocal performances witnessed for some time. Regardless, _Bringer of Blood_ falls short of expectations on several counts. "Sick in the Head" opens the album on a decidedly tepid note, whilst "America the Brutal", with its droning anti-war chorus, sounds like Six Feet Under making a half-hearted stab at recording a punk tune, and inevitably falling flat on their faces. Elsewhere, tracks like "Ugly" and "Murdered in the Basement" go some way toward redeeming the album slightly, but at the same time heighten one's amazement at the fact that the same band could have recorded the album's shockingly poor title track. The truth of the matter is that 2003 has already played host to many more creative and outstanding death metal releases (Misery Index, Krisiun, Zyklon and Morbid Angel to name a few), and amidst such vastly superior talent, Six Feet Under are at best an afterthought. Skinless - _From Sacrifice to Survival_ (Relapse, 2003) by: Xander Hoose (7 out of 10) Skinless has always been one of the less interesting bands on the Relapse label, mostly because the band lacks identity. Just being out there between Cannibal Corpse, Malevolent Creation and Dying Fetus doesn't automatically mean people will buy your album -- you'll need something unique to stand out from the crowd. Where Skinless previously tried to "stand out" with painfully not funny lyrics, they have now dropped the humor. Instead, on some songs you will find some clean rock vocals somewhere in the background. Please don't ask me why, because it immediately degrades the songs, making you wonder "what the...". On the positive side, _FStS_ is quite a varied album, something that can't be said for some of the competition, making it easier to listen to the album as a whole. Some of the songs are very simple and straightforward, disregarding technicality in favour of groove ("Miscreant", for instance), so this album will probably do well with Lamb of God fans. _FStS_ isn't a bad album; it's actually quite okay if you're into brutal death, but I still prefer seeing these guys play live. That's where they really do stand out. Sulaco - _Sulaco_ (Relapse, 2003) by: Xander Hoose (8.5 out of 10) It's almost becoming a common thing for Relapse to introduce a new artist by releasing a 3- or 4-track sampler as a teaser for a full- length album. Sulaco has been signed pretty recently and this less- than-15-minute EP is a good indication that Relapse will be further exploring their hardcore/noisecore direction. Sulaco plays this style expertly, but unlike labelmates Dillinger Escape Plan and Converge or rivals Drowningman, their style is very straightforward. You'll find breaks and blast beats throughout the album, no worries, but there's just no surprising element to give the songs extra value. I guess with the proper promotion, Sulaco can become one of the bigger bands in the scene as long as Relapse is backing them. Summer Dying - _One Last Taste of Temptation_ (Independent, 2003) by: Adrian Magers (8 out of 10) Summer Dying are easily one of the best unsigned American bands right now, and I can say this without any doubt in my mind. This band will be signed, and probably could have already picked a label from the overwhelmingly positive response generated by the band's debut full length _Beyond the Darkness Within_. Their resume is impressive, having opened for Children of Bodom, Dimmu Borgir, In Flames, Moonspell, Cannibal Corpse, Killswitch Engage, Shadows Fall, Incantation, The Haunted, Nevermore, Hypocrisy, Lacuna Coil, Witchery, Dying Fetus, The Crown and more nationally and internationally respected bands. They were voted the number one unsigned band at the Online Metal Awards. So does this band live up to their reputation? Their growing fanbase would answer with a resounding 'yes'. The music is very well put together, managing to be catchy without sounding mainstreamed, and angry without sounding anything but genuine. Overall the band most akin to their brand of metalcore is Darkest Hour, but fans of Shadows Fall, Unearth and Poison the Well would do well to keep an eye and ear out for Summer Dying. In just two short years they've practically made it to the top tier of regional band success. The word of Summer Dying has spread fast through the metal underground, and for good reason. Hearing a young band like this that has such a fully-formed sound is quite refreshing. Impressive -- and it seems this is only the beginning. Contact: http://www.summerdying.com The Legion - _Unseen to Creation_ (Listenable Records, 2003) by: Matthias Noll (6 out of 10) If you're into recent Marduk but wish they'd be a lot more technical, and you enjoy the clinical, Emperor-derived black meets death metal of Zyklon or Myrkskog, then Sweden's The Legion should interest you. _Unseen to Creation_ is the ultimate album to bridge the gap between yawning along to either of the above mentioned bands. Putting it into a CD changer set to random play mode together with _World ov Worms_ or _World Funeral_ will surely do the trick of notably prolonging the time until either release gets boring. The quality might be lower during the Legion tracks, but they won't substantially disturb the flow. Let's move on to a German lesson now. In the former GDR, people referred to restaurant food which had the purpose of filling one's stomach rather than be especially tasty as "Saettigungsbeilage". An "at least you'll get yourself stuffed side-order" would be the somewhat crude translation. "Markslon" fans take note, your Saettigungsbeilage is ready for consumption now, served with a clean, professional Abyss production, totally average screeching vocals, excellent technicality but nearly nonexistent songwriting skills, wish-we-were-black-metal leanings and -- fucking necrotrueness, can there be a better selling point?! -- the current and certainly talented Marduk drummer among all the norsecore madness. Contact: http://www.legion.nu Uhrilehto - _Viha Ja Ikuinen Vitutus (Hate Eternal)_ by: Xander Hoose (4.5 out of 10) (Cold Blood Industries, 2001) The band logo not being very recognizable and the album title being followed by the words "Hate Eternal", one could easily mistake this for a new album by Erik Rutan. It is not, however, and not by a longshot. Compared to the skills displayed by Hate Eternal, Uhrilehto sounds like a demo band, and even without this comparison my judgement wouldn't be any less harsh. While they claim to play music in the vein of old Rotting Christ and Samael, they can only wish to possess that little spark of songwriting quality. Musically, _Viha Ja Ikuinen Vitutus_ isn't that bad, just very uninspired. The keyboards sound cheap, the drumming is bad, but the guitar work makes up for a lot. This is only for the real fanatics; the rest of you should stay clear of this album. Vacant Stare - _Vindication_ (Copro, 2002) by: Xander Hoose (4 out of 10) A lousy attempt at throwing uninspired nu-metal at unsuspecting buyers. Check out A Perfect Circle, Thorn.Eleven, Underground Union or Number One Son instead of giving this poop a listen. Various - _Japanese Assault_ (Relapse, 2003) by: Xander Hoose (7 out of 10) Continuing the _Assault_ series that Relapse has been bringing into the market for the last three years now, this time it's up to the Japanese bands to show us what they've got. Japan is well known for the most fucked up bands (C.S.S.O. as their best known export product), so I had really high hopes for this comp. My enthusiasm was a little tempered after the first few spins, because there's nothing really wicked or surprising. On the other hand, if you're into fast fucking grind (Agoraphobic Nosebleed / Nasum style), the album has an excellent kick-off for you: Senseless Apocalypse treats you to fourteen songs averaging one minute each, crazy, fast and insane. Muga's tracks are much slower and darker, reminding me of older Swedish crustcore bands. Realized make up for another big part of the album, with another fourteen songs; however, they sound less clean and technical than Senseless Apocalypse and the vocals are a huge disappointment. Closing act Swarrrm, however, get the award for standing out the most: this death/grind act takes Brutal Truth and Converge influences and twist them into their own take on the genre. The haunting twin vocals give the music an extra touch. Of this band, I hope to hear a full-length release as soon as possible; they are without a doubt the most promising band on the compilation. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, _, _ _, _, | \ |_ |\/| / \ (_ |_/ | | | \ / , ) ~ ~~~ ~ ~ ~ ~ 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 Cwn Annwn - _Cwn Annwn_ by: Aaron McKay (2 out of 5) With such an atypical and interesting band name, as well as hailing from the mid-west, Cwn Annwn (pronounced coo-nah-NOON) was a band I was interested in checking out. This quartet from Minnesota came into being around 1998 and now finds themselves in the desperately difficult position of climbing out of relative obscurity to more of a professional status. The most recent attempt in accomplishing this task was done by way of a three track demo at Echo Bay Studios in New Hope, Minnesota; I understand that Echo Bay has been responsible for producing acts like Living Colour and Elvis Costello. Be that as it may, Cwn Annwn's new demo needs an angle. Not without direction, this band has ability, but seems lacking in the "musical vision" department. This demo is well done, yet leaves the listener absent a hook for their form/style. Naming themselves after the Welsh "hounds of hell", on first impression Cwn Annwn paints a vivid word picture of a severe thrash metal outfit, but musically burns a bit too rich in the gas/oil mixture. These guys have a lot of drive throughout the disc complete with well-timed speed and nice breaks. The vocals are sung in a clean, understandable style, yet sounding a lot like they are still too close to their garage band roots. The mostly hyper riffs of "Feral Ferocious" start things off. "Grey Streak" follows next with a ghostly touch of the surreal, thumping bass and the most stirring mix of breaks on this effort -- my favorite of the three songs. Last is "I Used to Give a Damn", sounding very much like Nuclear Assault screwing around with Metallica's gear in the _Kill 'em All_ era. The CD came complete with a radio edit for "Feral Ferocious" and a radio edit and alt ending for "Grey Streak". I will be listening, hopefully soon, for a longer and more mature venture from these guys. There is something here that just needs to connect and we'll have another Flotsam and Jetsam on our hands, and that'd be a -good- thing from where I stand. Contact: http://www.cwnannwn.com Twytch - _Hatred_ by: Aaron McKay (4.5 out of 5) Whether it's school, work or just life in general, sometimes you just gotta outwardly vent some frustrations. When that time comes, as it does for us -all-, Twytch has got your back. This Massachusetts five- piece is about as professional as they come without the restrictions of a major label pulling "creative control" strings like you're some damn marionette. Angry, tough and hostile, with an unmistakable method to their intense sound, this outfit has a lot going for them. What's more, Twytch is brutal in their approach, but with the all the timing of a precision Italian race car. With a heavily influenced drive, all the members pull together on this effort with the untapped energy of a thousand Hatebreed fans. This six-track effort comes in at 22 plus minutes in length. After a few times through _Hatred_ you feel like you've been trapped in an industrial strength cement-mixer with a half a dozen iron mallets. The thick, enriched chops on this disc are simply amazing and truly infectious. The single obligation to a specific task in the band dynamic seems to allow these guys to develop and concentrate solely on their respective part within the band. Matt McChesney's clean and strained "tough guy core" vocals are utilized with incredible proficiency all throughout _Hatred_. Lyrically, the discontent on this effort manifests itself as a vitally engaging element to Twytch's energetic display of aggression. Isaias Martinez and Tony Zimmerman provide the twin riff-packed guitar assault, whereas Joe Martinez's bass thunders out the low end with all the stability of a tectonic plate shift. Some percussionists just keep time, but Brian Joyce's drum talents vibrate throughout _Hatred_ like a propeller on an aircraft carrier -- the effect is jaw-dropping. As was mentioned earlier, Twytch has it all going for them, especially if "Hatred" and track six, "Swallow the Stitches", is the direction they continue to explore. Call their sound whatever you want, Twytch has all the pieces put together for an explosive career. Contact: http://www.twytch.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Gino's Top 5 1. Drudkh - _Forgotten Legends_ 2. Disfear - _Misanthropic Generation_ 3. Mythos - _Pain Amplifier_ 4. Carcass - _Symphonies of Sickness_ 5. Judas Priest - _Rocka Rolla_ Pedro's Top 5 1. The Crown - _Possessed 13_ 2. Mourning Beloveth - _The Sullen Sulcus_ 3. Drudkh - _Forgotten Legends_ 4. Necrophagia - _The Divine Art of Torture_ 5. Neuraxis - _Truth Beyond..._ Paul's Top 5 1. John Coltrane - _The Ultimate Blues Train_ 2. Impiety - _Skullfucking Armageddon_ 3. Gospel of the Horns - _Eve of the Conqueror_ 4. Craft - _Terror Propaganda_ 5. Nehemah - _Light of a Dead Star_ Aaron's Top 5 1. A Canorous Quintet - _The Only Pure Hate_ 2. Pest - _Desecration_ 3. Grievance - _Grievance_ 4. Fortid - _Voluspa Part I / Thor's Anger_ 5. Hatebreed - _The Rise of Brutality_ Matthias' Top 5 1. Mourning Beloveth - _The Sullen Sulcus_ 2. The Crown - _Possessed 13_ 3. Necrophagia - _The Divine Art of Torture_ 4. Hate Forest - _Purity_ 5. Demoncy - _Joined in Darkness_ Quentin's Top 5 1. Impiety - _Kaos Kommand 696_ 2. Graveland - _Blood of Heroes_ 3. Zyklon -_Aeon_ 4. Moonspell - _The Antidote_ 5. Melechesh - _Sphynx_ Adam's Top 5 1. Blaze - _Silicon Messiah_ 2. Nightwish - _Century Child_ 3. Tool - _Aenima_ 4. Entombed - _Clandestine_ 5. Opeth - _My Arms, Your Hearse_ Adrian Magers' Top 5 1. 16volt - _Skin_ 2. My Ruin - _The Horror of Beauty_ 3. Iron Maiden - _Powerslave_ 4. Thorn Garden - _Various Demos_ 5. Dimmu Borgir - _Death Cult Armageddon_ Jackie's Top 5 1. Zyklon - _Aeon_ 2. Myrkskog - _Superior Massacre_ 3. Alchemist - _Austral Alien_ 4. Sick of it All - _Life on the Ropes_ 5. Paradise Lost - _Symbol of Life_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, ___ _, _ _, _, | \ |_ | /_\ | | (_ |_/ | | | | | | , , ) ~ ~~~ ~ ~ ~ ~ ~~~ ~ Web Site: http://www.ChroniclesOfChaos.com FTP Archive: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos --> Interested in being reviewed? Please ask for a local mailing address by e-mailing us at: =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Europe@ChroniclesOfChaos.com NorthAmerica@ChroniclesOfChaos.com RestOfTheWorld@ChroniclesOfChaos.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= DESCRIPTION ~~~~~~~~~~~ Chronicles of Chaos is a FREE monthly magazine electronically distributed worldwide via the Internet. Seemingly endless interviews, album reviews and concert reviews encompass the pages of Chronicles of Chaos. Chronicles of Chaos stringently emphasizes all varieties of chaotic music ranging from black and death metal to electronic/noise to dark, doom and ambient forms. Chronicles of Chaos is dedicated to the underground and as such we feature demo reviews from all indie bands who send us material, as well as interviews with a select number of independent acts. 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 #68 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.