review by: Ray Van Horn, Jr.

No, this isn’t the joyful ska of Madness. It’s melodic and aggressive power metal courtesy of Australia. Sixteen years in the making and lo, Dungeon sounds as Scandinavian and European as the genuine articles lately rising out of Helloween and Gamma Ray’s wake. Consider this then an official power metal resurgence in full. Dungeon plays as heady and poignantly as their overseas peers and their One Step Beyond is mostly one step in line, but that doesn’t mean it isn’t enjoyable as all get-out.

"The Power Within" opens nicely with its turbo thrust double hammers and uplifting message of "every man has a kingdom inside him," while the eight minute "Tarranno del Mar" reflects Iron Maiden in both its epic structure and it marching rhythms. "Lord" Tim’s growls even resemble Bruce Dickinson, at least until the song reaches its sweeping choruses.

"Against the Wind" is probably Dungeon’s candidate for a single as the choruses are almost impossible not to sing along to. "Surface Tension" likewise maintains a melodic engine that is powered by pistons popping in fifth gear.

A kaleidoscope of guitar solos from "Lord" Tim and Pete Peric that enrich One Step Beyond are a cut above many of their ilk. If you take a gander at this band’s history (which reads as dramatically as any VH-1 Behind the Music profile) through four official releases, Dungeon has had quite a go at maintaining guitar and drumming personnel, going so far as briefly incorporating a drum machine behind a one-time duo! By the sounds of Tim and Peric on this album, they might’ve finally overcome said adversity. Of course, it goes without saying that any good power unit today must have exemplary guitars as it did when the form faded out of fashion in the early nineties. Personally, I’m glad for its return and equally glad the solo-snubbing nu-metal generation has finally been put in their blaspheming places!

Considering the hell Dungeon has gone through over the years to realize its vision, you’ve got to admire their fortitude and wherewithal to endure. In that respect, Dungeon has indeed gone one step beyond… (8.5/10)

review by: Roberto Martinelli

The Greek band Dark Nova’s style evokes traditional metal and doom, leaving them largely in the same category as some Candlemass records (like Ancient Dreams) and Doomsword, although more up-tempo than either.

Dark Nova clearly knows its metal and its devices. There are some tasty passages, and the musicianship is good, but the production doesn’t give it the verve that could have made the end product better. The main aspect that holds the band back are the vocals and their role. Although he gives a spirited performance, the singer is not much better than average, and the vocal parts are bland. Sivilla may hold your attention for a minute or two, but after a couple songs it becomes apparent that Dark Nova’s music lacks a certain dynamic immediacy to keep one engaged. (5.2/10)

review by: Matt Smith

This one was a big surprise. Yattering's old material is extreme but clear-cut death, without much that would lead one to expect heavy experimentation from the band. But here it is: Yattering's electronic album. Each track starts with a bouncy, often playful drum-machine generated backbeat, to which distorted guitar samples and other effects are added. The lyrics are spoken with a growl, and the morbid subject matter seems comical as broken English is placed clumsily over the cheery electronic beats.

It is unclear what Yattering is trying to do with III, or who the target audience is. The group won't attract a lot of fans from the metal crowd with this one, and I don't think their attempt at melancholic dance music will get a lot of play in the clubs, either. Imagine a bunch of glowstick-waving party kids getting down to jerky, somewhat disjointed drum beats when a voice is suddenly heard to say, "I see lot of hands, that tear off me me!!! / I'm sick of human nature but it still not enough / I have to be a picture of eyes, that look at me / shit it my head as atomic mushroom." An unlikely scenario, to say the least.

That isn't to say that there are no redeeming qualities to Yattering's latest effort; the music really isn't that bad. But despite some creative sampling, imaginative beats and amusing lyrical content centered on drugs and death, it seems pretty clear that this one won't be a big seller. Throw another one into the limbo between metal and electronic music, where complexity and talent are sparse and you can't even dance to it. (4/10)

review by: Roberto Martinelli

On Fire does us all a service by sounding exactly like what it looks like on its album cover, namely a silly heavy metal band with a karaoke machine and a singer to match.

Widow doesn’t suck. Rather, their raw, edgy trad metal has similar appeal to the cult (and yes, way better) album by Chilean weirdos Bewitched called Somewhere Beyond the Mist, except the tinny vocals sound like they were performed by one of the band’s female supporters who just happened to be around that day. Not bad, not unoriginal, certainly some fun, but definitely not great. (4.5/10)

review by: Roberto Martinelli

Thunderstone was better when it was a Sonata Arctica clone. Since then, it’s changed its style somewhat from competent follower to purveyor of mush.

We had to check to make sure the last Thunderstone record was the same one that we remembered actually had some appeal and hooks despite ultimately being a clone record. It was. Thunderstone have embraced some manner of power metal meets hard rock drudgery that isn’t so much bad as it is utterly uninteresting. Unfortunately, no kicks of any kind to be found here. (3.9/10)

review by: Ray Van Horn, Jr.

"…dance like a marionette, swaying to the symphony…symphony of delusions!"

Okay, sorry, I had to get that out of the way because upon sight of this promo, I imagined Blind Stare jamming Megadeth for a few minutes to come up with the title of their decidedly good album, Symphony of Delusions. You have to admit it’s pretty suspect.

Symphonic metal? Kinda sorta. Call it eloquent thrash metal, or just call it metal if you don’t feel like analyzing it too deeply. At either rate, this Finnish death unit has its act together, and Symphony of Delusions is a treat to listen to despite the fact that there’s a growing population of bands doing what they’re doing right now.

When you stop and think about it, it’s pretty amazing what’s happening in Europe, Finland particularly, now that Amorphis has already expanded its boundaries and now seems content to scale back instead. Stratovarius too, for that matter. When I spoke with keyboardist Jens Johansson about their upcoming new album, he reflected on how there’s not much further Stratovarius can take their highly progressive music (Is any one else flashing a sarcastic grin? – ed). I digress, but I think you get my point… Blind Stare keeps the torch burning brightly for the Finnish scene.

"Central Theory" is an agreeable opener with changing tempos and tricky melodies that are given keyboard washes by Zacharias E. Aarnio, who coats Blind Stare’s songs with enough neoclassicism to avoid being cheesy, while his crew thrashes along melodically in tandem. It’s still surreal to hear twinkling keys dance amidst the more brutal beats, but damn if it doesn’t work! In fact, "An Insane’s Diary Part II" sounds more eloquent and epic as a result of Aarnio’s treatments behind the sturdy thrash. Perhaps only Anorexia Nervosa or Dimmu Borgir can make more atmospheric black metal, but that’s not a bad standard to live up to, because Blind Stare does an admirable job accordingly.

"My Black Letter" has some breakdown stomps more akin to American hardcore, but fortunately they’re infrequent as the song develops its own personality. Therein lies Blind Stare’s mark, the capacity to produce some interesting metal out of a pre-existing base. "All For the Unspoken" grinds and shimmies with lots of groove and the shrieks of Eino Tuominen sound like he’s having a lot fun with it, particularly when he switches to Goth clean. His band certainly gives him something to get excited about.

Frankly, it’s Aarnio who gets the biggest nod throughout Symphony of Delusions. The guitars by Anders Ostrom and Jaako Lehtinen have their own crisp personalities, most assuredly. With good, chugging rhythms lent extra drive by bassist Kalle Lahti and drummer Timo Palokankare, Blind Stare keeps a cadenced and disciplined attack that is sure to have headbangers on all shores bobbing along. You’ll know what I’m talking about, especially on the delightful solo section on the epochal "Shotgun Symphony." This song’s bliss, plain and simple.

I think back to the eighties and how much harder it was to bridge the European scene to the North American, and through technology and advanced theories in metal, we’ve had the floodgates opened to a wide world across the pond, and for me personally, it makes me want to frolic all through Europe, terror bombs be damned. If there’s ever a cause for our continents to be united, it’s not through war, it’s through music. (8.7/10)

review by: Matt Smith

This unorthodox album is my favorite of the past couple of months, if the amount of time I've spent listening to it is any indication. It's rough around the edges, but this style works well for Blindside – a hardcore band with more range than almost anyone out there. Pure energy coupled with creative melodies and drastic shifts in mood and style make for an incredibly dynamic, interesting listen. From orchestral strings sections to throat-scraping screams, Blindside uses it all and does it well.

Heavy rock influence keeps the instrumentation relatively simple and the tempos consistent, but neither of these points work against Blindside. There is so much variance in the guitar and drum riffs and so many smooth but drastic transitions that a general lack of polyrhythms or intricate fingerings goes unnoticed. Christian Lindskog's vocals are a real treat – his singing voice has a great coarseness to it even while bringing out emotional lines, and he switches from singing to screaming to rhythmic speaking in an instant. And he does all of this with a confidence and intensity that make every line jump out.

These Swedes are sure to get more attention in this hemisphere in the coming years, and hopefully their willingness to experiment and attention to detail will catch on. (8.5/10)

review by: Matt Smith

Bleed the Sky is a rich-sounding six-piece that mixes a death-metal sensibility in the guitars that anchor it with a metalcore rawness around the edges that manifests itself in the screaming, harmonized singing and generally over-the-top, erratic arrangement of the tracks. Deep, slow grooves are accompanied by strange sung melodies and then overtaken by throaty layers of screams, experimental guitar lines and spoken word, just to give you a sense of the irregular nature of Paradigm in Entropy.

The album is significant in its creativity and technicality, though some of the devices Bleed the Sky uses (especially the nasal, tuneless singing) get pretty irritating. A little too much nu metal sensibility is apparent, but overall Paradigm in Entropy is a strong effort. Bleed the Sky just needs a few more years to mature – hopefully they'll go in the right direction. (6.5/10)

review by: Roberto Martinelli

Phenomenal bands generally come out of scenes rich with them. It’s the symbiosis of encouragement, one-upping, and mutual learning that turns out band after band from an arbitrary place. (One example: Montreal and tech death.) Considering this, it’s remarkable that Angra has made all the terrific power metal records that it has. There aren’t any melodic / prog / power metal bands from anywhere in the gargantuan country of Brazil that even come close to the talent, execution, writing and vision (and, backing) that Angra has.

Not everyone can be the best, but you’d think the playing field would be more level. This sadly brings us to Ata D’Arc’s debut album, Call of Peace. Now, this is not a terrible record. In fact, there are quite a few good points to be found, like some interesting riffs, good playing and a budding sense of individuality. The music is certainly not a bore.

However, it is all practically for naught because the singer is lousy. Bless him, it’s not for lack of trying, but it’s precisely where he tries the most that he falls the hardest. Exhibit A is the opening track, "The Call of Peace," which, aside from having an overly redundant message, features the worst singing on the album, with a bunch of parts where the singer is out of key or his voice cracks. Multiple vocal tracks only draw more attention to the singer’s limitations. It seems highly probable that this vocal style was inspired by Kai Hansen’s work on the first Helloween recordings, where the singing also sounded as untrained as it was unabashed. However, Hansen had the natural talent to come out on top, whereas Ata D’Arc’s frontman needs to practice and study.

Any other critiques, such as an album whose song list is rather peculiar in its dynamics, are secondary. All is not lost vocally. Anyone can improve with hard work or by changing one’s approach to fit one’s natural voice. With that, better vocal melodies and syntax can be written, or at least the ones that exist can be better appreciated by the audience. (3.5/10)

review by: Ryan Loostrom

Thrash, death / thrash, black / thrash, any kind of thrash is a tough genre to integrate your band into. It is in the end all about the riff, which means you have got to have hooks after hooks, and riffs after riffs available to continue before the collective inspirational well runs dry. Vicious Art seem to have the ability to write riffs and hooks down, but they have a few kinks to work out in their system, so to speak. Afterall, Fire Falls and the Waiting Waters is only their debut. However, considering the experience these members have (every member of the band is from another black or death metal band), it is a little disheartening to feel the structural problems the CD has.

Don't misunderstand, Vicious Art have riffs in spades, and if there was such a thing as death or thrash theory, Vicious Art would be the foremost study group. The CD is caustic and odious, and builds momentum quickly even if they are slightly derivative. As is with most blackened thrash, the vocals have a death overtone to them, throaty and very thick. The entire gamete of riffs on this CD tends to sound a bit recyclable, as it with all thrash. They run the spectrum from the open-end sounds to down-tuned riffing that doesn't even move off the low E.

Unfortunately, Vicious Art fail horribly as far as structuring goes. They tend to drag sections out longer than they should, or make their style too inconsistent, which trashes the momentum they build. Songs like "A Whistler and His Gun" have rapid transitions as far as riffing goes, as the drums tend to fall along the same sound over... and over... And over. However, the gaps have no emotive connection and passages aren't linked by anything. If anything, it sounds just like an assortment of riffs.

The aesthetic value of this CD is huge, however. If you love anything thrash, or just want some violent music, there's going to but much of a headache from headbanging to be had from this CD. Technically, it may not sound pleasing to anyone critical, but if you're a fundametaller as far as thrash goes, then definitely go for it. Vicious Art have brought sufficient quality, but not enough to make this a CD you'll turn back to on down the road. (6/10)

review by: Ignacio Coluccio

The album starts, and you don't know what will come after the first noises. Anything could happen in 50 minutes; the world could be created or it could be destroyed; someone could die or someone could be born. Most people, as do most artists, make them seem shorter or routine, but what happens when you expand that time to a significant part of history? That concept is the one Monolithe was created to explore: every chapter in the band's catalog will be a part of human history. Judging by the story that Monolithe is creating or revisiting, it's indeed a highly pretentious album, but it's that pretentiousness what gives Monolithe a lot of freedom and makes them an outstanding act.

Sylvain Bégot, the band's mastermind, knows how to create quality, crushing stuff that at the same time is based on melodies and keyboards, and it's no surprise that this album follows the same line of the previous work. As the name suggests, it's monolithic, its sound is like an impenetrable wall that after repeated listens you'll start to tear down centimeter by centimeter to understand it. It's refreshing to see a funeral doom band that hasn't been influenced substantially by the genre’s old bands, opting for creating themselves a new kind of music.

Monolithe II sees the band evolving into a more structured funeral doom act, as opposed to the melodic, guitar-driven debut. Emotional riffs, melodies, procession-like segments, instrumental breaks, everything about this album is pure bliss: how all those parts stick together flawlessly is simply brilliant. The production is perfect and the work by the session members is, too. But what is specially remarkable is the combination of guitars and keyboards as one. The arrangements are tastefully done as everything else.

Not many times you encounter a band that exemplifies everything good about a genre, and this one not only does that, but it's one of the most perfect funeral doom releases in all its history. Take the first Monolithe album (which was already an impressive album), and add even more heaviness and epic qualities in the compositions and you have this masterpiece.

And so, the album ends and you don't remember much about it; someone died, someone was born, and you've lived through thousands of years in 50 minutes. A quintessential album, mandatory for everyone with the required attention span, and absolutely out of the plane of "normal" music. Excuse me while I go listen to it once more. (9.9/10)

review by: Bastiaan de Vries

When Isis started making a name for themselves a lot of people complained they were too similar to Neurosis. I couldn’t see the resemblance much, but who knows, maybe it was there. Then, When Cult of Luna started to get a bigger profile, people started saying they were too similar to Isis. Now, I’m not going to say that Mouth of the Architect is too similar to any of those bands; I am however going to recommend this record to anyone that likes them. I’ve heard mention of "Isis-light" and "a watered down Neurosis" but those don’t hold any ground and it soon becomes evident when you put the record on: these guys are a good outfit in their own right and deserve a spot next to and not below the aforementioned bands.

Pet-peeves aside, there are a couple of things that makes Time & Withering a clear winner of your cash. For one: it’s only 40-minutes long; there’s nothing more horrible than a band of this style (heavy, sludgy) to keep going on and on and on past the 70-minute mark. They already sport songs over 10-minutes, why prolong the agony by putting seven of them on one CD? Mouth of the Architect keeps it easy by only having four songs, one of which is only five minutes, making the album feel like a breeze instead of a chore to get through.

The second track, "Soil to Stone," is a brilliant one. It paints a melancholic atmosphere using a beautiful guitar riff, collapses all over itself in the middle until sweet release is brought via uplifting melodies. "The Worm" is by far the best track; a beautiful intro followed by an even more beautiful sounding guitar rhythm; it’s absolutely breathtaking at loud volumes and builds up slowly before it fades away. It re-appears in a different rhythm and it’s not until six minutes in when the heavy distortion expands that the track slowly loses its momentum.

The only real complaints with this record are the fact that it’s a very mood dependant one... and some of the vocals. The hoarse shouting is enjoyable: it sounds manly and fit for the music; the shrieking is something that feels out of place and it actually gives the atmosphere an awkward edge. Shrieking people make me cringe. Thankfully, there are not an awful lot of vocals on the record so there’s no big problem.

With Time & Withering, Mouth of the Architect show they are one to keep an eye out for; catch them on record, catch them live, it’s bound to be an amazing experience. (8.5/10)

review by: Bastiaan de Vries

There’s a truckload of fancy names on this record: G. Stuart Dahlquist (Sunn, Burning Witch) on bass guitars, he founded Asva together with B.R.A.D. (also of Burning Witch fame); Jessica Kenney of the wonderful non-profit art organisation Gamelan Pacifica on vocals; Trey Spruance (Secret Chiefs 3, Mr Bungle, Mimicry Records) on guitars, tubular bells (oh, yeah) and piano; John Schuller (Master Musicians of Bukkake) on guitars; and closing the line-up, Troy Swanson (chief apprentice for renowned sound-installationist Trimpin, taken straight from the press sheet in case anyone wonders) on Hammond organ.

Phew, that’s all of them. Oh wait, I forgot Billy Anderson (Sleep, Melvins, etc); Randall Dunn (also Master Musicians of Bukkake, although it’s not too hard NOT to be in that band); and Mell Dettmer on recording, production, mixing and mastering.

In the time that took me to jot all of that down, only one song had finished.

The only thing that’s not so wonderful is the guitar feedback. The guitar work is great, just go through the second song and slowly hear the guitar screeches and pulls gaining momentum. However, the constant droning feedback sounds like an ugly guitar. It’s organic as all hell, and anything else just wouldn’t work, but the texture is just all wrong. Luckily, that’s only a small part of what this record is about.

The instrumentation on this record is just phenomenal. When they aren’t swamping away in guitar feedback, there’s actually so much individual pleasure to be found in the instruments. Just listen to one of the four songs and focus on one instrument; the first time around I obviously picked the drums (being a drummer myself) and the sound is just overwhelming, on its own but also within the space of the music. The organs working together with the soaring vocals of Kenny in the third song is a sure way to slowly slip into a trance and not come out until the record comes to a halt.

However, the ultimate in Asva is by far the last track: it builds on everything you heard on the previous three tracks and sticks it all together to create their definitive listening experience. Every musician and every instrument comes together and turns into the embodiment of powerful music. It just so happens it’s the shortest track on the record but that doesn’t change the fact that it’s a momentous ending to an intense 50-minutes.

Last but certainly not least, the artwork is exceptional; it has the distinctive touch of Mr O’Malley (who among other things also designed the new Acid Mothers Temple album artwork, as well as the Boris reviewed also in this issue) and works wonders on the fold-out cardboard package. (9/10)

review by: Ray Van Horn, Jr.

I’m calling this Symphonic Metal Week in my twisted little microcosm. Save for Japanese Misfits tributaries Balzac, every release I’ve touched for review this week is Euro metal with symphonic elements to it. Dungeon and Epica being two of the best, the Australian-based Voyager is unfortunately on the lower end of the scale, which says something about this subgenre and the enormous stakes it raises upon itself. It’s not that this talented band doesn’t try to generate texture to their ambitious craft. That comes along in due time. In the early goings, they frequently sound lackadaisical in their approach and occasionally cheesy. However, despite their initial putzing, Voyager gets in gear soon enough and the results are often breathtaking.

If you’ve seen the Star Trek series "Voyager," you won’t be able to avoid thinking of Captain Janeway and crew, as if this Voyager has set out to create a cosmic metal soundtrack for them. However, as Element V progresses, you will hear a more decidedly Renaissance orientation to their songs and they grow stronger in accordance.

The snarls of Daniel Estrin on "The Eleventh Meridian" sound downright silly until he straightens out his vocals and still the song doesn’t manage more than a fair steadiness about it, despite a pleasant overall melody. His lead on the 37-second cantata "Miseria," on the other hand, is gorgeous in its deep fugue, and his vocals remain confident throughout the rest of the album. Ditto for his keys, which sound a bit too innocuous to be effective in the early songs, but they grow durable through the remaining songs.

Despite my initial grumblings, Voyager is impressive, particularly on the well-written "This Bitter Land," while "The Ancient Labyrinth" reaches epic proportions by hoisting its Yngwie Malmsteen base structure and remarkably sets a neoclassical pace that is superseded on the even more poignant "Monument," a speedy and articulate song that makes you forget the initial shakiness of Element V. It is unarguably this band’s masterpiece and is possibly a masterpiece for metal in general, the same way as much of Helloween’s catalog is.

The tag-team guitarists of Emanuel Rudnicki and Mark de Vattimo are beautifully smooth and they work well together as a unit. Their sound is basic, elemental and they soothe, even on the majority of their solos, although the arena rock blast on "This Bitter Land" will set your mind in a different place altogether. The same goes on "Cosmic Armageddon, Part II." Unfortunately, Rudnicki and de Vattimo are so good as a dual entity the bass of Melissa Fiocco often seems lost astray of them.

What we have here on Element V is the foundations for a potential neoclassical metal powerhouse. While many of their European and Scandinavian counterparts are better at this game, Voyager has the ingredients to match them. If they can fearlessly execute as they do on "Monument," look the hell out… (7/10)

review by: Avi Shaked

Eclectic Discs continues to reissue classic Nektar albums (as well as embarking a Nektar official bootlegs series, featured in a following issue). This time it is the band’s freakish (in more than one sense of the word) 1974 release, Down to Earth, which receives the faithful treatment.

After releasing albums of a spacey character, such as Remember The Future (1973), Nektar decided to come down to earth and focus on stompier material based around a circus theme.

While the album might have shaken Nektar’s fan base a bit, it is a truly refreshing take on the band’s earthly connection. The acid brass section, incorporated into the Nektar sound for the first time, sounds as if Blood, Sweat & Tears have just met Hawkwind, and the entire release relies heavily on a funky, rock & roll-ish approach. Just check out the contemplative "This Life" as it rumbles with its feedback loaded guitars and incredible bass drive, and you’ll see what I mean.

A suitable casting of Hawkwind’s Robert Calvert as the amusing ringmaster (some fun Calvert outtakes are added here as a bonus, and so are the original mixes of most of the album tracks) and the soul vocals of P.P. Arnold add further color to the extravaganza.

Down to Earth is a captivating yet elaborate work that proves beyond doubt that the band, which excelled as a bridge between hard rock and progressive rock only to be a bit neglected by both camps, was in fact a major force and contained a great talent. (8.7/10)

review by: Bastiaan de Vries

Akuma No Uta has Boris’ best traits: the insane rock of Heavy Rocks, the epic grandeur of Flood, the suffocating feedback of Feedbacker; it's all there but condensed into 40 minutes of perfection. Thank you, Southern Lord, for releasing this out of print beauty. The only reason Akuma No Uta is not getting this the full ten points is because there's bound to be one facet of the band you don't enjoy as much as the others. For me, it's the guitar feedback drones and it just so happens the record starts off with almost ten minutes of it. And while it's a good intro and it holds some ethereal guitar work, I skip it. Someone else is bound to put it on repeat though. That's the way this band works: if they don't grab you with one style, they suck you in with another. Everything is on this disc and there's always something that makes you freak out... in the good way.

"Naki Kyoku," as everyone who has heard the record before agrees, is reason alone to buy this. Twelve minutes of pure Boris pleasure. It's hard to imagine the band pumping out something even better after that, but that's what we all said after Flood, as well. After the two under four-minute rockers "Ibitsu" and "Furi," "Naki Kyoku" puts the album in a whole different perspective; its soft build up is a pure treat because every Boris fan knows deep down what will come next. Pure and heavy waves of guitar and drums crashing down from the speakers. I have yet to find a band that does this and does it as well as Boris. Takeshi delivers his best vocal performance yet, Wata makes her guitar sound like a squealing goddess and Atsuo is thunder incarnate.

From time to time, I annoy Roberto with my dreams of visiting Japan and he always tells me to be careful as those dreams are quite possibly completely skewed. I can't imagine a country that exports kokkaii by the bucket to be anything but heaven on earth, but he tells me otherwise. However, as biased as I am towards the Land of the Rising Sun, not even Roberto can deter my dream of walking around Tokyo with Akuma No Uta playing as my personal soundtrack. The definitive record of these Japanese rockers. (9.5/10)

review by: Bastiaan de Vries

I’ve played this record to others who claimed it to be "post-rock," or "rock with weird time signatures." One even yelped out, "my god, how’s anyone ever going to dance to this!" We then gave it a shot, but failed miserably whenever the band stumbled into a trippy time signature. It’s all fun and games until someone breaks something. Another mentioned that "one of their songs is named after that pirate fella," and quickly dismissed them as being pretentious before even hearing that it’s actually one of the best tracks (if monotonous in a good way) on the record.

Sleeping People is all that, seriously, at only 35 minutes. This is exactly one of the reasons why this debut album is so strong. They don’t launch into 25-minute epic but redundant pieces filled with musical turmoil and technical wizardry. Album opener "Blue Fly Green Fly" shows exactly what it’s about: making complicated music fun and appealing to stupid people. And they succeed in under four minutes. "Fripp for Girls" at over seven minutes is getting close to the edge (wink, wink) and could’ve done with a little musical shaving here and there. All of the songs work but some parts are just a bit too out there and you feel as if they decided to chuck in another weird time signature for shits and giggles. Luckily, the band changes gears every 10-seconds. No harm done.

Recorded by Jay & Ian Pellici (Deerhoof, Rumah Sakit, Dilute), this self titled has a wonderful clear and warm sound. The perfect atmosphere for the songs to play around in. And while the press sheet says that every song makes you feel like being chased by the cops, I’d replace cops with angry music teachers. An amazing debut. (8.5/10)

review by: Ignacio Coluccio

Bands that start out as cover bands will always be marked in the public as such, that's almost inevitable. Shattered is an italian band that started as a Pantera cover-band and well, it certainly comes out in the sound. Even the name of the band is derived from a song by them, it is to be expected they'll be a clone.

So what we have here is a decent at best, five-song thrashy groove demo. Besides the obvious influences, the Metallica Master of Puppets sound is present in most of it (especially "Heavy Damages"'). The riffs are simple and just fitting, some headbang-inducing, some melodic but pretty much straight-forward powerchords. The vocals are between Phil Anselmo-styled vocals and death ones sometimes, mediocre and even discordant. The songs tend to drag a lot and that certainly makes the demo a lot more boring. It's full of groove parts similar to Vulgar Display of Power, without adding much beyond that.

As a whole, it isn't good, but it isn't too bad either; no remarkable details, but nothing too annoying. Normally structured with melodic breakdowns, choruses and pretty much a standard approach. It's another of those albums that will go unnoticed and time later you'll forget. The concept itself is pointless, as there isn't a real style displayed, just one more tribute band. Pantera fans who are still mourning Dimebag's death will appreciate it, the rest... there are many things much better than this. (4.5/10)

review by: Ray Van Horn, Jr.

The beautiful cover artwork by Jason Juta efficiently makes the point of Domain’s concept album Last Days of Utopia, in which an idyllic golden city stands amidst a murky and forlorn world that appears hell-bent on assuming its purity into its murky, um…sorry for the pun…domain… As for this long-standing German power unit themselves, Domain relies on heavy keys and synths, as well as searing guitar solos to amp its power rock infrastructure, kind of like Queen meets Rainbow meets Helloween. Last Days of Utopia is elegantly written and decidedly written for the arena. Domain sometimes outthinks itself in the early goings on its quest towards overt progression; however, Last Days of Utopia quickly gains strength and in the end becomes a strapping opus of metal escapism.

"A New Beginning" is a strange anomaly with its sunburst verses, rapid-fire but scratchy guitar solos by Axel Ritt and a sneaky homage to Tchaikovsky in the middle. Carsten Schulz is a power rock singer akin to Joe Lynn Turner and to a lesser extent, Glenn Hughes. He’s obviously trained his vocals towards epic heights as he frequently climbs atop his band.

"On Stormy Seas" is a nine-minute odyssey set at mid-tempo which gets tricky during the lengthy guitar solo section; its sea whisper pause is brief, yet one cannot help but think of Iron Maiden’s "Rime of the Ancient Mariner" at this point. Granted, Domain doesn’t attempt to replicate "Rime" in full, but moreover seeks to put its stamp on Maiden’s blueprint. Particularly effective about "On Stormy Seas" is the tranquil dénouement, which sets up the succinct but poignant instrumental "The Shores of Utopia."

Domain is most effective with its gorgeous symphonic elements, particularly on the dreamy sequences of "Ocean Paradise," or on the graceful ballad "The Beauty of Love," one with zero cheese factors, proving that when carefully tailored, the ballad can be a perpetual vehicle that serves a purpose instead of plying for a single-minded transience. Also listen for Domain’s symphonic melody that makes their quick tempoed "The Great Rebellion" as extravagant as anything you’ll hear out of, say, Angra or Gamma Ray.

Axel Ritt does some quirky but memorable things with his guitar. It seems he has two personas, one that honors the temporal affluence of Brian May of Queen, and one that skids, careens and jackknifes with dizzying aplomb that is sure to impress many. His neoclassical exquisiteness shines on "Endless Rain," which is difficult not to give Ritt applause for. And forget it on the title track…only Yngwie Malmsteen could surpass Ritt’s proficiency.

God, imagine if the days of arena metal were still upon us… Domain would blow the rafters out… (8.8/10)

review by: Matt Smith

Simplistic, angry and one-dimensional, Donnybrook's brand of hardcore probably didn't need to be recorded. The band must have live shows exclusively in mind when it puts down these non-technical, unchanging mosh tunes. And it is completely plausible that Lions in this Game could be received with excitement in a smoky, sweaty club or dark basement, but it doesn't hold water by itself. The vocals consist of one-note yelling about all the usual topics: "I think for myself and you don't, you worthless conformist," "you betrayed me," "I'm really angry," "hardcore will never die," and, of course, "hockey is great." Well, that last one may be a first.

The energy is good, though the tempos could use more variety; the production is clear, though it may have been more interesting if the band was obscured by excessive distortion; the musicianship is hardly noteworthy; and the songwriting is based solely on predictable 4/4 formulas. At least the album is short. (3/10)

review by: Roberto Martinelli

Like country mates Exiled on Earth (in this issue), Italian metal band Powerful comes across with a definite verve and energy, but ultimately falls prey to such things as unoriginality and cliché.

Super Metal is basically thrash; someone could make a case that there is some power metal elements to it, too. The singer hits the high notes like the German legends of the 80s (read: gratuitously). He holds his own, but he’s a bit held back in the mix, which doesn’t matter all too much as the vocal parts don’t offer any hooks to speak of. Indeed, the quality of the compositions are about on the level as the vocal innovativeness, there’s nothing spirited about the band’s expression, even though their execution is fine. This is best exemplified by the final track, "We Play Super Metal," an cliched homage to heavy metal in style and lyrics that is all about maintaining a stylistic status quo of reverence, rather than truly showing veneration to the style that Powerful embraces by coming up with a fresh, original elegy. (5.2/10)

review by: Ignacio Coluccio

Sour Times is some kind of rehashed EP containing two songs from the previous EP, a remastered demo song and a radio edit of the song "Sour Times." The CD also includes a live video of "The Last Judgement," which is the definite high point and an interesting thing to have. In spite of both this and how great the music is, it’s hard to shake that Sour Times (the album) is quite pointless seeing as both "Sour Times" and "Hibernation" were on the last Confessor EP.

But let’s consider the music regardless. Confessor itself is hard to pigeon hole. They have a doom base with technical, thrash and heavy parts. In the older material they had a vocal style that was amusing for sure, and lots of polyrhythms. But in this case, technical doesn't mean "mindless guitar shredding," as everything is well though out. Originality, thankfully, is easy to find in Confessor; they are unique.

All bands evolve over long periods of time and this one's no exception. Confessor had some drastic changes in their sound: switched their vocal style for a less pompous one (and more fitting, it must be said), and toned down the riff-technicality – now opting for a less exaggerated use of complex rhythmic patterns. The drummer is as wicked as before... maybe even more so, with some quite unorthodox cymbal usage. Most of the 20 minutes are mid-paced with really catchy and memorable guitar work.

Even with the fair wealth of changes, they remain one of the leading bands in the actual metal scene, now leaning more towards their doom side. But despite this, Sour Times’added features still can't redeem this EP from being just a remake. However, it's a good opportunity to get the two first songs in case you missed the last EP, and the demo track has some nostalgic value. (8/10 for the music, 3/10 for the release)

review by: Roberto Martinelli

A general rule to keep in mind when listening to progressive metal is that it often takes time for an album to appeal to its fullest. Circus Maximus’ debut, The 1^st Chapter, will immediately strike you as having fantastic musicianship with an excellent singer, but it lacks some teeth...

Give it about five listens. Then vocal melodies and song structures become more endearing, and you’ll have a sense of accomplishment. But still, the dentition might be on the light side. This is especially the case on The 1^st Chapter’s parts that are, well, rather soft rock. It’s not abhorrent by any means, but still, it seems a little iffy for a record purporting to be metal.

The remainder of the band’s style sometimes brings to mind 90s era Rush in the vocal syntax, with some sections of driving, prog instrumentation. Perhaps the best of this is on display on "Biosfear"... too bad there are no vocals. The thing to keep firmly in mind is that even during the more speedy, intense parts, Circus Maximus is not a heavy band. It’s probably not their intention to be, as the production is more about clarity than weight or power. No complaints there, but those seeking a killer record to rock out to might feel disappointed.

Talent and execution remain the shining stars of this exciting new Norwegian addition to the world progressive metal scene. The long, complexly arranged songs yield returns to those who are patient, while there is just barely enough initial flash and hooks to instill hope for more discovery. However, a perfect prog metal album should engage immediately and unveil its geeky complexities more and more with each listen. While a quality album, The 1^st Chapter is probably more geared towards progressive metal heads than the metal buying public at large. (7.5/10)

PS: Certainly the band understands that the "circus" in "Circus Maximus" and the contemporary spectacle involving clowns and elephants are mutually exclusive, but the forced marriage of the two elements (gladiatorial songs about the "Glory of the Empire" and "Imperial Destruction," with circus music and album art of a clown on a unicycle in a desert with a big top tent) seems like a bad pun.

review by: Roberto Martinelli

J’accuse.

I allege that the metal media at large has been swayed; confusing their real affection for Candlemass with the perception that the band’s comeback album is an all-time classic, resulting in several big print mags proclaiming Candlemass to be their album of the month.

Piffle.

The angle has been that the new record is "the essence of Candlemass"... and if by "essence," you mean "the bare minimum," then yes, it is the essence.

When you are one of the most important bands in doom history, touting your comeback album as being highly Black Sabbath inspired seems like laziness, especially considering the strong individuality that Candlemass exuded on their first four albums.

Candlemass’ songs are simple. Too simple. Ok, they do grow on you as you listen to the album a few times ("Black Dwarf" in particular), but the wealth of riffs, solos and vocal melodies that were present on the last album to feature the "classic" lineup, Tales of Creation, are absent.

And some tracks are just downright half-baked. "The Man Who Fell from The Sky," for example, is three and a half minutes of a repeated riff, with but little variation and embellishment within.

But the bare minimum for one of the grandfathers of heavy metal doom is still not bad. For one, they have Messiah Marcolin’s signature voice. He’s less ominous and ham-fisted than before, having toned down the operatic dramatics from his delivery. And, ok, while the songs don’t have the weight and sense of importance like the band’s 80s output, the riffs don’t exactly suck.

You could make a list of suppositions as to what could have made Candlemass seem less bare-bones, like some dual guitar harmonies, or some vocal harmonies, which would have fleshed out the album so much. But it’s probably the relativity of what the standard for the various forms of doom have grown to demand since Candlemass originally made its mark: more monolithic, epic heaviness, atmosphere and density. Candlemass is lacking in these departments. It might be a gift to call Candlemass a *good* album, but I guess one can’t help but get all excited this band is back together again. (6/10)

PS: As all things Candlemass stand as of this release, you’d be much better off checking out the highly Candlemass-influenced Memory Garden’s Mirage (2000), which is a far better testament to the Swedish pioneer’s legacy than even the pioneer’s own.

PPS: By the way, it still seems odd that the Candlemass bassist made two Candlemass albums before this with a totally different lineup, at least one of which (From the 13^th Sun), utterly destroys this record, but criminally, it never really hit. Check that out.

review by: Ignacio Coluccio

It's good to see that Candlelight are getting lots of talented artists in their hordes and it's even better to know that Dam is no exception. Purity: The Darwinian Paradox is a fine release. Its core is death metal, the kind Carcass made back then in Necroticism, but thankfully it has lots of twists to such an overused genre.

First of all, the vocals. They are not as rough as most nowadays death vocals, and they surely are original and enjoyable. The melody found in most riffs is reminiscent of that used in Heartwork but also mixed with dark, pseudo-black metal riffs. It's not technical but really well thought and planned. Aesthetically it's much different from the "rape and mutilate" kind or the "I hate God" type, instead opting for more intellectual imagery. The rhythmic base is really strong in most songs, being a good one to headbang to instead of just doing blast-beats for an hour. The production makes it seem really artificial or somewhat scientific, and that adds a lot to its atmosphere.

As opposed to many, many death metal bands, there's diversity and variation in here. Epic parts a la Emperor, thrashy parts, brutal ones; there's much for the listener to appreciate and it covers all bases. Included is a cover of Carcass, a really good and personal version of it, probably the best way to end an all-around good album.

The influences of all old-school bands are there, but it's still Dam's own brand of death, and they pull it off well. More bands should try to broaden their borders like this. Purity: The Darwinian Paradox will  make a nice addition to a metal fan's collection. (8.1/10)

review by: Matt Smith

This energetic thrash album may not catch your ear right away, but the details are strong enough to make it a good listen. Dew-Scented's vocals are monotonous but percussive, and they are present throughout too much of the album when the band's instrumental sections are its main strength. The vocalist has a raspy quality found rarely outside of lung-cancer patients (imagine Lamb of God’s New American Gospel done with a lot less range). They make for an interesting listen, but someone with more depth to his voice would be an improvement.

The best things Dew Scented has going for it are musicians with an incredible sense of timing and the ability to be extremely accurate. Despite using relatively common melodies and generally predictable changes, Dew-Scented puts every beat where it is supposed to be. The fast-picked guitars are continuously right-on, pounding out every line with purpose. And the drumming is the strongest part of the album, fleshing out with notable fills and quick double-bass what would otherwise be an all-too-familiar release.

The production is crisp and the instrumentation well-executed, but the core of Issue VI, the real substance, lacks originality and character. The album isn't bad, but it also isn't anything that will send the hordes clamoring to their local record shop (or get anyone outside of the band all that excited, for that matter). Dew-Scented has a some more fermenting to do before it becomes a must-have. (6/10)

review by: Avi Shaked

Stackridge originally emerged in 1969, drawing from the psychedelic pop of the day while staying true to its own fashion, as band member James Warren describes: "We were flying in the faces of the Frees, Zeppelins and Sabbaths… we just stuck to ploughing our own idiosyncratic furrow."

After releasing some albums in the 70s under supervising hands of Martin Birch and George Martin, amongst others, the band called it a day in ’76, and Warren and fellow Stackridge founder Andy Davis would eventually form The Korgis in their quest for commercial success.

In the 90s, Stackridge reformed and recorded Something for the Weekend (1999), without Davis, who would eventually rejoin the band to record the 2003 mail-order release Lemon.

Sex and Flags combines the entire Lemon album with half of Something for the Weekend and two new songs, resulting in a treat that is definitely not for baptized Stackridge fans only.

The polished, cultured songs come off as a modern take on psychedelic pop, with their finessed elaboration never reaching bombastic dimensions. With all the wittiness, keyboards, guitars, flutes and violins that Stackridge is known for intact, this is a true celebration.

Stackridge derives from the melodic sense and tight songwriting of The Beach Boys and The Beatles (these two bands also receive hinted gratitude on the album), and adds its unique perspective that is half-melancholic and half-hopeful, as well as musical twists that range from the Canterbury meets the opera song "Wildebeeste," on which the vocals range from the tenderness of Caravan’s Richard Sinclair to the slightly over-the-top harmonies a-la Queen’s "Bohemian Rhapsody," through the Simon & Garfunkel-ish "First Name of Love" and onto the entertaining collage that bellows from the hazy "It must be time for bed."

With Sex and Flags being such a marvelous album, I can only wish Something for the Weekend was here in its entirety, as well as a proper indication of the tracks’ origins and a coinciding running order. But all of these take nothing from its vitality. (8.25/10)

review by: Ryan Loostrom

MANOWAR.
BORN.
TO LIVE.
FOREVERMORE.

They're catchy. You can't deny it. The "metal warriors" have issued a DVD about themselves (as if writing every song about yourself wasn't pretentious enough) that gives you the history of cheese, starting with

Manowar in 1994, following the jettison of David Shankle. Leather pants, motorcycles, and random fondling of women motorcycles. All that embodies the shallow person's idea of metal is here in spades.

Including footage from various concerts in Spain, South America, Germany and the like, the DVD is in documentary-style, constantly offering backstage footage and various interview clips with the members. Some if it is actually funny, but I highly doubt that any person will be laughing at the intended humour rather than the patheticness of their entire "more metal than thou" personas.

They do know how to grab attention, though. Some of the footage they included involves their... well.. women, who are paid to masturbate behind stage. Yeah, it will get your attention, just like it would anyone else’s. There are topless women everywhere on this DVD, even though most of them are 70's Porn star nostalgia chicks. No one said you had to look at their faces though, right?

Yeah, but this is a rockumentary, not a porno.

Honestly though, while this DVD is saturated with cheese to the point where it actually smells like fermented milk, a decent portion of it is interesting, especially for any metal history buff. Other than the informative value though, there's next to no actual entertainment to be had from any of this, so it is best just to not bother with it in the end. Hell, you can get pictures of topless women from Google. (3/10)

review by: Ryan Loostrom

Hardcore and metalcore become stale and boring way too easily nowadays. Just look on Myspace.com, all your friends are involved in a hardcore band some way or another. Hell, if you live in Orange County, your sister's probably in one. That's why you have to respect bands like Monarch, though. Occasionally, bands come up with a plight or sound that makes you want to follow them until their inevitable sign to Victory Records, so you can boast you were with them from the start. Not really, but you get the picture.

While Monarch sound like a band definitely wet behind the ears (just listen to the underproduced sound of the CD), they manage to carry the album across on excellent songwriting. Whereas most Hardcore bands tend to think that the better the stage show and heavier the breakdowns, the better the sound, Monarch have actually put effort into their music. You can hear slight influences peering through the entire CD.

"Bars and Graveyards" has a southern-styled sludgey groove to it that sounds very much like Premonitions of War. Then, just on the following track, "Simulacra," they adopt a more modern approach with the dreaded tremolo picking style that most bands seem to like saturating themselves with nowadays. Luckily, Monarch practice some restraint and not much later, give the song a more organic, power chord-induced emotive vibe to them.

That's definitely going to turn some people away, though. Monarch have a post-hardcore sound at times, where their music is not as heavy and ominous as it is emotive. While they know how to restrain themselves appropriately and structure their music cleverly, there's definitely a heavy modern hardcore feel to the CD. "Harlot" is one of the two-facers. While it opens and closes on a heavy note, the centered content sounds very power chord driven, and you know what that means with hardcore: verses and passages with feeling... y'know, other than hate and all that.

One thing to commend Monarch for is their abstinence from typical hardcore. Monarch aren't a new Botch or Poison the Well, there's more to them than completely nonsensical lyrics and typical song structures that any clever observer could master. Their guitarist can execute a number of different styles of riffs, and do so without ever becoming stale or boring. Nothing written on the entire CD is recyclable in the least.

Hopefully, Monarch will be getting one big distributing deal soon. This CD could catch like wildfire if given the ample exposure. (7/10)

review by: Ignacio Coluccio

You've probably heard thousands of Kyuss clones. You've also probably heard even more Black Sabbath-based stoner bands. This is none of that. While most stoner rock will try to be dopey or fun (and I'm not saying that this boxed set isn't), it certainly won't try to be emotional. That's where Natas makes the difference: they put a lot of emotion in their polyphonic bass/guitar driven music.

The set itself is almost a nostalgic one, with most important Argentinina band of the genre’s first two full length albums, Delmar and Ciudad de Brahman. Delmar is a really innovative jam session-sounding album with some strange titles (at least for this kind of band) like "Samurai" and "I Love You."

The band's debut is indeed a quality album, but Ciudad de Brahman is where Natas shine. In a much more consistent work, structured but at the same time spacey, Natas explores their sound through 14 tracks (excluding the bonus track). All the tracks seem to be connected somehow, making up for a more than musical journey. A remarkable point is that every track is highly memorable: all of them have a special quality that distinguishes from the rest, like "Alohawaii"'s fluctuating guitar parts. The boxed set also includes the contents of a 10," broken up between the two CDs, named "El Gobernador," which falls more on Natas’ metal side.

The technical work leaves no doubt they are not afraid to experiment. The work behind the drumkit is as solid as Sleep's rhythm base, the guitars are deeply thought-inducing with quite a lot of effects to achieve a space-rock atmosphere. The bass works with the guitar in an attract-repel fashion. The Black Sabbath and Kyuss influences are there, yes, but the band has a really personal way of applying them. It is that approach, and that complexity what makes Natas an undefinable band: while stylistically they belong to the stoner rock scene, they have bits of metal, bits of plain rock and jazz-rock jam segments.

Quiet, hypnotic, at parts chaotic, leading one into a world of smoke, smoke and more smoke; listening to Bee Jesus is an experience beyond the music. Considering that both Delmar and Ciudad de Brahman by themselves are not easy to get, this set is a fine opportunity. Fans of anything stoner, jam music, space-rock, doom, heavy metal, or anyone wanting something new: get this. (9.5/10)

review by: Ray Van Horn, Jr.

Imagine if The Melvins were fronted by a girl, or better yet, by Harriet Wheeler of The Sundays with a serious bug up her cute little bum… Sound good? Or maybe you’re asking, "who the fuck are The Sundays?" Yeah, I figured as much, so be it. I’m 35, waddya expect? It took a couple of listens to siphon through the sludge-trash mayhem coating New York’s Made Out of Babies, particularly after listening to the frantic womanly lunacy of Angel prior, but if you can picture a wildfire encapsulation of Bjork, Harriet Wheeler and Otep set to a heavy drone, ye bang, you have Made Out of Babies, and that’s kinda cool.

Trophy, upon first listen, seems a bit hackneyed, over-the-top and especially tedious. After reading the first paragraph, you might be thinking Made Out of Babies is a second-gen Breeders that falls short of their elders, yet as with many bands taking cue from yesteryear, they all amp it up higher to make it more contemporary. The manic shrieks, coos and wails of Julie Christmas (and a devilishly merry one, too) are the spotlight of Made Out of Babies, while guitarist Brendan Tobin, bassist Cooper and drummer Matthew Egan slink along heavily at Christmas’ back with a miasma of sonic crush that makes her ravings more palatable.

The first spin-through creates a mostly stand-offish effect beginning with the uncertain "Herculoid," but Trophy grows strength as it progresses. By the time "Swarm" and "Wounded Rhino" start to wind the album down, you’re probably going to want a second dose to rethink yourself, as I had to do.

The next evaluation uncovered some slinky notes that accented the demented yowls of Christmas, and while there’s still a heavy Melvins and Mudhoney influence about Trophy, the caustic abrasion of the album begins to grow on you, even if you find yourself longing for The Melvins’ Stoner Witch soon thereafter.

Regardless, I strongly recommend giving Trophy a fair couple of shakes. More than likely you’ll be grabbed instantly. The rest of you will have to be open-minded enough to hang with it a few times before passing final judgment. Who are The Sundays, you ask? Shit… Pass me a Guinness… (7.2/10)

review by: Pal Meentzen

Nattefrost is the solo-project of one of founding members of the highly respected Norwegian band Carpathian Forest. The aim of this self-titled project is to "recondition the currently commercially friendly black metal scene"' by offering you "filthheads," as Nattefrost says, "whatever the fuck I wanted... total necro and narrow minded black metal."

The first impressions from listening to openers "Nekronaut" and "Black Metal Suicide," are that this is more a "whatever the fuck I want" CD – fast black metal in tribute to the Beast – than a "total necro" (or for that matter, "narrow minded black metal") CD. Some songs offer some decent high geared punk rock, and others have some riffs that sound more familiar to the genre of black metal. Nothing wrong with that so far.

The "narrow minded" bit, on the other hand, is a mix of adolescent bullshit and utter pointlessness. Terrible indeed are "Eine Kleine Arschmusick" ("A Minor Arsemusic,"), which is probably more a hint to Venom than to Mozart, and the idiotically named "Catapultiam Urinam Philosophiam." On the former, one can hear someone taking a rather unimpressive dump and on the latter, someone tries to vomit but the sick won't come out really. If only these tracks would have been executed in a shorter, but completely grotesque manner... but no, these faint cuts should be funny enough, I suppose.

The last pointless bit, "The Death of Nattefrost," is a 16-minute track with bits of random noises, Norwegian chit-chat, a bloody trumpet playing and long bits of silence. It's more the death of comprehension than of anything else. The best thing about it is that it’s track #13 and that it's the last one. If the listener doesn't surrender during track 12, the unintelligable (and silly) "Dinsadansdjeveldyrkaar!!!" and hit the stop or eject button by then, they could consider it an (unhidden) hidden bonus track.

You might wonder: is Terrorist - Nekronaut Pt. 1 really all that bad? Not entirely. The "punk rock" songs like "Nekronaut" are straightforward and nice at high volume. But the CD really kicks off at track three, when the "fun" bit is over and the "evil" can begin, with a menicing riff and a machinegun snaredrum frenzy. But the title track goes back to punk rock (all right, then), but things get nasty again with "Merket for Helvete." After "Arschmusick" comes to annoy you, the album continues with "Satan is Endless/Timeless." The problem with this track is that it is too short (1:37) and that this one should've been the one to be 16:09 minutes long because of its intensity, instead of the anticlimatic "Death Of Nattefrost." "Primitive Death" is also a nice metally song, as is track nine, "Goat Worship," in fact the end of the musick part of the CD.

"Preteen Deathfuck" is another adolescent and pointless excercise and is not likely to become a favourite in the club circuit of sickos and perverts. The horns just won't come out at the sound of some girl whining. Not at all disturbing. So, basically, the CD consists of half nice musick and half disposable bollocks, thereby making the project half as menacing as it could have been. A terrorist is evil. So this should be an evil CD. No masterpiece but worth a short spin (5/10)

review by: Rick Luna

After a seven year hiatus, thrash metal underdogs Nuclear Assault are back with all new slamming material. Third World Genocide is a step in the right direction with the current revivalist trend that the coveted genre so desperately needs, but something’s lacking.

The title track is a fairly decent opener that leaves the listener guessing, and not necessarily in a positive manner. In fact, the album is more of a bumpy rollercoaster ride with an equal amount of thrashers and out of the mill filler music specifically patterned to please and deceive. The latter part of the album is where the magic really shines with the better songs such as "Exoskeletal," Fractured Minds," and "Eroded Liberty."

To put it all into perspective, it’s pretty much classic Nuclear Assault playing what they’re known for doing but don’t expect anything phenomenal or too pleasing. The production may seem to be a bit on a shoestring budget but it’s not much of a big problem. The tongue and cheek tracks including "Whine and Cheese" and "Long Haired Asshole" should be ignored at all costs.

Third World Genocide does not feature anything new or ground breaking; it’s more of a nod to the old school if anything. Its proof that Nuclear Assault can still rock but it’s questionable how much more attractive this album is beyond that. Fans will be fans and enjoy the hell out of this but for those wanting to venture into the newer wave of thrash or even the comeback attempts from Exodus and Death Angel, keep your focus there. (5.8/10)

review by: Matt Smith

Years in Waste is a clearly produced and well-played death album with a thrashy spring to it, but without a whole lot to get excited about. Despite some good grooves and impressive playing, Omnium Gatherum didn't do much exploration or experimentation to make the album stand out.

The basic formula is this: a chunky, palm-muted guitar line begins the song, repetitious drums fall in behind and an upbeat verse begins with monotonous, raspy vocals. The songs are individuals, but no deep differences set them apart – just tempo and melody. The drums and guitars are impressively accurate and satisfyingly technical, but they're just not very exciting. Regular changes in theme and tempo do keep the tracks moving, but Years in Waste lacks any of the really amazing riffs or heavy grooves or over-the-top speed that characterize the albums that make it out of the collection and into the player more than once every year or two. (6/10)

review by: Bastiaan de Vries

The Burden of Sin actually starts off with a very pleasant gypsy-esque (do they have gypsies in Ohio?) violin piece, makes you wonder what will come next. Nope, not some bad melodic doom. Pain Link IS very melodic, especially when it comes to the guitar work, but they are certainly not doomy. They opt more for the melodic type of heavy / thrash metal, which is fine by me. If it works for them, it works for them but I’m not so sure it holds up on record. Especially not on this record because the production is not up to par. The songs work, the writing is almost decent, but the sound is just working against them.

As a side note, and perhaps this is something completely personal or something only drummers care to notice, but what the hell did they do with the bass drum? It's going "clickety click" as if the drummer sat behind a plastic Fisher Price kit. Maybe he just enjoys such a sound but someone needs to tell him the band he plays in will sound much better if his bass drums sound heavy and pounding instead of two pieces of wood slapped together.

With that out of the way, here are some good points of the record: it only lasts a bit over 30-minutes, it has only two songs over 4-minutes, some songs sound downright heavy metal (so crack open a beer and headbang!) and the guitar work is really entertaining. In fact, it's so entertaining that it keeps their record from being a tedious and redundant affair. (6.5/10)

review by: Ignacio Coluccio

Seems like Pro-Pain have been listening to Meshuggah a lot since the release of Fistful of Hate. How's the result of this breed? Not good at all. In fact, it's probably one of the worst CDs released in years. This album borders on hardcore and metal but isn't either of them. It has start-stop riffage but no polyrhythms, and it's not at all deep or innovative.

Seriously, it doesn't have anything good except one thing: the first 15 seconds of each song. All of them start with an interesting rhythm that for the first time is enjoyable... too bad it's repeated to the point of annoyance and every single riff seems to be derived from the same one. The vocals are simple, the guitar work is simple, the drumming is simple, the composition equals that one of someone who started composing the day before recording the album. And we have to take into consideration that this is the band's tenth album, one would expect a mediocre album at least. But no, it's terribly formulaic, using a formula that just doesn't work, and it's not the first time that Pro-Pain has done that.

The lyrics and imagery are terribly cheesy... we all understand that to sell in the mainstream you’ve got to be in some way or another rebellious, but with titles like "UnAmerican" or "Operation Blood for Oil" this proves to be just immature. It doesn't matter they consider themselves metal/hardcore pioneers, messiahs of music or protectors of all things holy, stay away.

My tip? When you're at the record store, grab another random album, except if you're into musical sadomasochism. (0.9/10)

review by: Matt Smith

Weakening the Structure is a frank, honest piece of death metal artistry, from Recourse's generally straightforward but masterful musical style to the no-frills liners, which feature powerful photos and artwork that scream "Revolt!" accompanied by Troy Norwood's sparse but potent lyrics that evoke images of hopelessness, war and suicide. Norwood's main vocal tool is a high- to medium-pitched percussive growl that fits well into the fast-moving and ever-evolving guitar riffs and varied drum patterns.

The overall feel of the album (tempo, mood, instrumentation) is consistent throughout. The moderate tempo at which Recourse seems to be the most comfortable allows for a lot of add-ons and flourishes from the drums and guitars, and the intensity of the verses is only occasionally broken by a sick, slow groove.

And how could anyone neglect to mention John Gallagher's role as producer and guest vocalist for the album? Recourse is no Dying Fetus imitator, but the shallow thud of the drums and the flat distortion that is applied to the guitars are reminiscent of the group (not to mention the violent imagery interspersed with the American flag and a pointing Uncle Sam, as well as the revolutionary lyrics in the notes). I imagine Recourse's target audience has a great appreciation for the Fetus, at any rate.

Weakening the Structure is a solid death release that relies on a simple formula and a lot of technique and musical skill for its substance. A sure hit for the death metal audience. (8.5/10)

review by: Matt Smith

Redemption Denied starts full-bore, leaving you with a feeling like you just did a cannonball into a frozen lake, just to get it over with. Spirit Disease's sound is exceptionally full, as well, with deep, distorted guitars that wash over you and make the overall sound easy on the ears even at high volumes. The band's style isn't just blast beats and fast-picking, though – there are frequent changes in melody and tempo, as well as several impressive guitar solos and drum fills on each track. The mini-debut moves from triumphant to sludgy to violent and back again, displaying Sprit Disease's remarkable range and ability. Even the vocals have a satisfying variety, switching between scream styles and even venturing into growls in the title track.

Each song is well-written and precisely performed, leaving one with little doubt as to the skill of this new Finnish death/thrash group. Keep an eye open for a full-length album from these guys in the future; it will be a shame if we don't hear more from them. (8.5/10)

review by: Avi Shaked

Black Sabbath’s debut release remains a unique recording in rock’s history. The sluggish, menacing, amped guitar sawing the somber atmosphere with evolving chords and explosive leads through muddy rhythms that borrow from jazz and blues – no one to my knowledge has attempted at recreating these. Up until now.

I don’t know what the hell Witchcraft had to do to sound as crisp as they do, whether it was a matter of getting the right equipment, recording in the most abandoned basement, or perhaps even cutting their fingertips; but the result is nothing short of admirable, as this has got to be the best retro-rock release I have heard so far.

But as if capturing the sound, attitude and atmosphere of 1970’s Sabbath (even if a bit more lightheadedly) was not enough for the band, Witchcraft, on its second release, manages to deliver a set of highly convincing songs, which will find you singing to the gloomy, firmly executed lyrics ("Give me a wooden cross…"), stomping your feet to the incredible, memorable grooves and drum bashes, stoned to the lazy guitars and being swept away by the blazing leads.

And as you’ll dig deeper into this work, you will find more and more influences blended in: the short "Merlin’s Daughter," with its fast chords carrying a lyrical, relatively clean lead guitar has "Colosseum" written all over it; "You Suffer" develops from a folk theme, while "Attention!" is a combined tribute to hard rock legends with a rumbling guitar that ranges from a Led Zeppelin-ish tone to a Deep Purple "In Rock"-ish one.

A nice cover of "When the Screams Come," originally by another declared major influence, Pentagram, is added as a bonus after a rather lengthy break, which is the only bad thing on the album (I don’t think such breaks would have been accepted on 70s albums). (8.75/10)

(editor's note: check out Candlemass' From the 13th Sun for something like Black Sabbath, and, I guess, Firewood.)

review by: Avi Shaked

Tyranny of Souls, while not as solid as Chemical Wedding or Accident of Birth, is yet another high class album consistent with the Bruce Dickinson quality label.

Iron Maiden’s frontman usually manages to bring a unique flavor to each of his solo recordings, allowing himself to stretch beyond the Iron Maiden-associated territory without drifting far enough to disassociate himself from his devoted fans. This time it is a treatment in the vein of German thrash metal that embraces the traditional raiding siren-melodies, as demonstrated well on the rhythm bash of "Soul Intruders" and throughout the album.

The longtime collaborator Roy Z, besides his usual high end production, contributes masterful guitar playing, covering everything from the Maidenish leads ("Abduction") through the jagged, creaky Helloween-ish ones ("Kill Devil Hill" with its anthemic chorus) and the piston-like whims on the semi-industrial "Believil," and on to the acoustic guitar of "Navigate the Seas of the Sun" and its brief Latin solo.

Dickinson, who has further developed his melodic sensibilities during the last decade or so (and his previous solo outputs were definitely essential to him in this sense), is in his usual top form, singing the hell out of his descriptive and imaginative lyrics, persuasive as always. (8/10)

review by: Avi Shaked

The new concept album by Man on Fire is in fact a song-based album, with each song portraying a different, actual character on a pseudo-futuristic world.

There are some memorable songs here under the guidance of the collective vision of lyricist Steve Carroll, but none of them are exceptional in their composition, and the basis of some is pop in its simplest (up to the point where they remind me of Savage Garden, yuck!). Instead, it is their deliverance as an electronic, sci-fi package that gives Habitat its exclusive voice.

The executing trio unfolds its keyboard-led soundscapes with a beating pulse of drums and bass, but it is the stunt guitars of Adrian Belew (King Crimson) that blend so well with the material throughout the album, bringing extra color to the work. David Ragsdale (once of Kansas) also contributes some interlaced electric violin work on some of the songs.

Habitat is an exemplary demonstration of how fine production and sophisticated wrapping can transform basic songs into a listening adventure. (7/10)

review by: Rick Luna

Everybody wants to be just like everyone else out there. The American metal scene needs a kick in the rear in the wake of the current metalcore trend infesting the airwaves like a pandemic. Virginian melodic metallers Accursed Dawn are trying to separate themselves from the pack with their Pop Faction Records full length debut, Manifest Damnation (The Creation Affect).

Akin to bands like At the Gates, Carcass, and Darkest Hour – Manifest Damnation begins a bit lifeless and stale with "Conquest of a Dying Culture," but unexpectedly picks the pace up as the album progresses. It’s more of a generic melodic death metal band caught in a metalcore infested slump. Sure, it may be laden with some catchy melodies and harmonies layered with vocals that make you cringe. Hell, even "Euphony to the Night Treader" will surely grab anyone’s attention, but that’s it really. The other tracks sound pretty much the same. The production could also be a little bit better but this is an indie release so the budget is pretty much standard. It’s an average release from an average sounding band. Go for something a bit more original. (5/10)

review by: Matt Smith

Along with the re-release of the excellent A Thought Crushed My Mind (reviewed above), Blindside is also making its less sophisticated, self-titled debut album available to the American audience. This one I wouldn't be in such a hurry to pick up unless you're a huge fan of the band, in which case it offers an interesting view into its past and possibly its future. It's more straightforward than A Thought Crushed My Mind, and entirely less impressive, although the group's skill and potential are clearly audible in the thoughtful songwriting and unique style. How much of this is hindsight speaking it is impossible to tell, but songs like "Superman" and "Born" blow away most bands' debuts. (6.5/10)

review by: Ryan Loostrom

When it comes to death metal, there is no inbetween. Brutality alone cannot carry a band across. There has to be a certain coherency to the music in order to make it accessible enough for the typical death metal fanatic, or else a band can just wash out into a sea of the rest of the bands just like it. You know, the ones that liked Morbid Angel and thought, "Hey, I can do that." At first, it seemed Bloodchurn were already drowned in the sea. However, Ravenous Consumption can easily grow on you.

Certainly, there is nothing new being done on this CD. It sounds like complete Dying Fetus worship, but lets be honest with each other. If you're going to derive your sound from something, why derive it from anything less than the death metal elite? Bloodchurn's sound is almost grind-infused death with several moments of a pseudo-sludgey passage reminiscent of a breakdown in the vein of Dying Fetus. There is no variation at all in vocals, as it is always an incomprehensible and scathing growl, so lets just get that out of the way.

As far as the music goes, Bloodchurn's guitarists and drummer are always on the move. The guitar manically switches between high-end rapid squeals and incredibly slow and brooding down-tuned chugs with the occasional pinch harmonic to make the song sound almost painful.

They know how to give a song personality, though. Just listen to "Strings of Salvation." Yes, both guitarists are actually being used in nonharmonic fashion. Apparently, they've rediscovered a concept bands decided to lay to rest because In Flames 2.0 sold.

The drumming on this CD is gold, as well. More often than not, drumming is what makes or breaks a band, and luckily, Bloodchurn's drummer apparently has as much of violent mood swings as the guitarists do. His method is as unpredictable as it is completely tight, managing to easily transition from slowed grooves to a constant machine gun double-bass. Unfortunately, the production barely gave the drums the power they needed. Honestly, if they sound as driving as the guitars on here did, this would be a death metal CD to take peoples' hearts immediately.

If Dying Fetus were your cup of death metal tea, then you're going to dig Bloodchurn immediately. While they're no Origin as far as fret-noodling and speed goes, they definitely know how to write a CD that manages to retain momentum and power in a very memorable and competent manner. It's almost like they've been writing death metal for years, even though it's their debut. (8/10)

review by: Ray Van Horn, Jr.

There’s something grand in the making with Italy’s Dynamic Lights. A partnership between two other bands, the talent roosted in this quintet is legitimate and individually impressive. Master musicians all around, the progressive orientation each member possesses is the reason to listen to Dynamic Lights’ first proper full-length album, Shape. On the one hand, Dynamic Lights is full of incredible craftsmanship, and despite some overall solid production, there seems to a lacking gel that holds Dynamic Lights back.

Jazz meets prog metal meets neoclassicism all over Shape, and Dynamic Lights does it in full-length scale; they know not the meaning of abbreviation. Even the 2:16 "Density" is chocked full of mesmerizing dancing piano keys by Giovanni Bedetti; it sounds as epic as the remaining tracks, which range from six to eleven minutes on average. Bedetti is but one of the highly talented musicians who makes up Dynamic Lights, and honestly, you will be trained on him throughout much of Shape, his prowess is that fierce. If you want to talk about the percussive abilities of Simone del Pivo, he’s an entity unto himself and he’s easy to focus on singularly, as is bassist Raffaele Mariotti or Marco Poderi on guitar. Vocalist Matteo Infante has a stratospheric voice that wavers on occasion, but is perfectly suited to fronting music of such magnitude.

Lengthy dreamscapes such as "In the Hands of Siren," "Remembrances" or "One Thousand Nothing" journey between the aforementioned styles, hinting at such acts as Rush, Pain of Salvation, Yes and Dream Theater. The spacey 2:08 interlude "Connecting" sneaks a psychedelic prelude to "The Big Show," which taps Shape off with much finesse, even if there is still something subversive needed to make this song, like its predecessors, as titanic as it deserves to be.

The only thing that prevents Dynamic Lights from reaching the enormity of the aforementioned comparables, and it’s hard to explain here, is the fact that Dynamic Lights, for all of its technical confidence, has yet to master confidence as a full unit. Even as a threesome, Rush could make themselves sound like a five or six-piece, because of their constant texturing. Dynamic Lights is an amazing troupe of musicians who have constructed some very expressive things on Shape, but it lacks the texturing necessary to accelerate what it puts on the table. That doesn’t mean Dynamic Lights doesn’t have the potential to be one of the figureheads of the prog metal scene. In fact, my hypothesis is that their next body of work ought to be astonishing. (7.5/10)

review by: Roberto Martinelli

Epica’s version of power metal is propelled by classical scale melodies presented in a hifalutin, dramatic goth fashion. Fronted by a strong, operatic female singer, this seems like cut and dried appeal for enthusiasts of music that bridges metal and classical bombast.

Except the whole thing is just about ruined with the inclusion of male deathgrunts. This is putting it nicely. It’s more like exaggerated, strained attempts to go as low as possible, and next to the soaring female vocals it sounds like comedy: like the grunts are a parody of the singing, which in turn are a parody of the grunts.

It’s rather hard to believe that musicians with trained ears for melody and harmony would have thought this fumbling marriage would work this late in the game. Here’s an idea: how about having female singing with male singing? Until then: drag. (3.5/10)

PS: I have no earthly idea what a 2 meter sessie is.

PPS: Our staffer Bastiaan de Vries says, "2 meter sessies is a dutch radio show (and I believe it's been on tv as well) that has bands doing their stuff in a live (and often stripped) manner. It's a nice program." Still sounds ridiculous.

review by: Roberto Martinelli

It may not be the most original thing in the metal world, but Duality Conflicts is irrepressibly energizing. Exiled on Earth maintain a killer, triplet-based groove throughout their four-song power metal MCD with tight playing, and musicianship that’s as crisp and punchy as the production, which might not be the fullest, most explosive mix the height of pro studios can offer, but it kicks ass nonetheless.

The gray area here are the vocals, which in fairness are nothing to bemoan. However, they are buried (and perhaps justifiably so) and don’t seem to really offer a great deal to help propel the songs very much past the level of infectuous metal party band. If this album had gone on longer than four tracks, it might have gotten old fast, but luckily, Duality Conflicts is the perfect length. It’s unabashed style and execution brought a smile to my face. We say, look into it. (7.1/10)

review by: Ryan Loostrom

Most people know who Flotsam and Jetsam are by Newtsed induction alone. Come on, it is how half the people who know who Voivod are found out about them. Anyway, if you do not, you either live under a rock or hate thrash. Flotsam and Jetsam has been one of the more big-named long-running thrash bands around in the past two decades and have released quite a few critically-acclaimed CDs, which have made them a non-mainstream favourite amongst metalheads. However, their new CD seems to show one severe lack of spirit or chemistry.

Flotsam and Jetsam are here in name, and in signature... but where's the inspiration? Where's the flair that made them so brilliant originally? Musically, the CD is as tight as it gets. You can tell that on the opening montage of riffs in "Straight to Hell." The melodic riffs soar in from all directions, and you feel like you should love it. However, as great as it sounds, it's just unimpressive.

Then, you have songs like "Parapsychotic," which aren't amazing, astounding or even good. Honestly, it just sounds fucking dumb. The thrash riff is hackneyed, the vocals are questionable, and the riff is as unmoving as they come. Thank (insert higher power here) that it doesn't even extend into three minutes, though. "Look in His Eyes" is very similar, but nowhere near as abysmally horrible. Vocals are way too overpowered, and while they're fairly catchy, they do not fit the mood of the song at all. It is almost like the singer is fighting against the music.

However, there are songs on this CD that are worth repeated listens. "Bleed" sounds like something Metallica circa ..And Justice For All. "Childhood Hero" is a more epic song than "Bleed," however. If anything, it sounds like Flotsam and Jetsam's attempt at a song structurally identical to "Cemetary Gates" from Pantera.

You can't ignore that gnawing feeling the CD gives you, though.  There seriously has to be some major internal issues going on in the band, because it sounds like the band's just going through the motions. The production isn't particularly enthralling, either. The vocals are overpowered, guitars are underpowered and the drums are identical to Pantera... from 19-fucking-90. Of course, all the mechanics and signatures of Flotsam and Jetsam are here, the CD feels rushed and uninspired. If you're looking to get into Flotsam and Jetsam, look before this. (5.5/10)

review by: Avi Shaked

The new release by neo-proggers Frogg Café takes the melodic catchiness of Kansas, with its Gentle Giant influences enhanced, and mix it with jazz arrangements that borrow from Frank Zappa and from ambient jazz. Fittingly enough, Frogg Café uses violins, cellos, marimbas, trumpets and vocal harmonies to match itself with its sources of inspirations.

Sounds promising? Indeed, yet the result is quite disappointing. Frogg Café’s lyrics are far from living up to the Kansas heritage, as are its melodies, and its song structures often sound like a by-the-book attempt at creating progressive rock, with all its adventurism lost. As for ambient jazz incorporated into engaging songs, I’d rather listen to any classic David Sylvian album featuring Jon Hassell or Kenny Wheeler, such as Brilliant Trees, through which the ambience is truly moving.

The flat production does not help, either, as it presents the music as one-dimensional and boring, even in its more luscious moments. Even if there was enthusiasm present while the recording took place, the album captures almost none of it. It is therefore no wonder that the listener is better off retreating in favor of other releases (I have little doubt that neo-prog fans will find The Flower Kings much more efficient).

It’s not all bad, though. There are some groovy, festive passages, most notably on "Abyss of Dissension" and the use of marimba (including guest performance by Ed Mann on the aforementioned song) is not something you bump into frequently these days. But these are certainly not enough to raise this album, which lacks a refreshing angle and non trivial structures, to above average status. (5/10)

review by: Rick Luna

Wouldn’t it be great if there was an actual time machine that warped back into the 80’s? Not really, but Goddess of Desire did put some use of their occult talent into recreating what sounds like an attempt to bring back the glory days, but ends up falling right back into the future.

Awaken Pagan Gods is too cheesy to be taken seriously. It sets itself with a lame intro but suddenly makes up the subtle mess with a very upbeat opener with riffs that could easily be mistaken for a third rate Iron Maiden cover band. The thing wrong with this release is that the vocals keep it from sounding like a blast from the past. Even though the album lacks in the originality department, there are a few decent tracks placed in the right places in a bold attempt not to bore you to tears.

Not only does Awaken Pagan Gods hark back to the traditional metal bands that rocked the 80’s but also to the conventional Bay Area sound and even some slight hints of NWOBHM with "Nothing’s Free," which is reminiscent of any favorite Motorhead tune, just half assed. The album as a whole packs a large punch of melody with few surprises here and there and that’s pretty much all it has to offer. Think of it as a barely decent party metal album worth raising a few beers in the air, but the flame burns out pretty quickly. Scream for metal true, say it ain’t so?

Awaken Pagan Gods is for the beer drinking, womanizing, and sword raising geeks out there. It’s understandable that Goddess of Desire want to keep the metal flame alive, but if you want a little more juice then you’re better off with the much better 3 Inches of Blood. Some bogus adventure this was. (4/10)

note by: Roberto Martinelli

Our new writer is far too kind. Awaken Pagan Gods is an utter dorkfest. Avoid, especially if you like metal. (2/10)

review by: Ignacio Coluccio

Grand Magus are one of the most respected doom bands. Their blues- and classic rock-influenced doom made them receive quite a lot of praise and good feedback from both fans and foreigners to the genre. This time they've come back with a new album and, as everything they've made, you know it's gonna be good. Based on the quality of the cover-art, even someone without knowledge of this essential band would expect some quality music.

Wolf's Return shows that bands can change without "selling-out" or sacrificing their quality. The blues influences are lot less evident than before, now being substantially more in-your-face metal. It's a lot less song-based, as there isn't much variation from track to track. The sound is much more polished than before. There's an overall feeling of professionalism both in instrumentation and approach that not many acts have. Even so, they sound fresh without recycled riffs or songs.

Most of the elements from the previous albums are still there: the catchy and melodic vocals, the outstanding Black Sabbath-like riffage, and the overall fun atmosphere. It's accessible and easy to listen to, sometimes even bordering on rock. The production is flawless as is the playing; while not being overly complex the musicianship is tight, the vocals powerful and the atmosphere as well-achieved as in Monument and their self-titled album. Wolf’s Return is solid, with no visible flaws and doesn't lack any crucial aspects.

After many changes, Grand Magus are one of the finest examples of today's metal. Even as hard as it seems, they've kept up with the expectancies and even surpassed them. Easily one of the best 2005 releases, if you like doom go and buy it, you know you need it. (8.9/10)

review by: Ignacio Coluccio

As cheesy and propagandistic NSBM can be, By Oak, Ash and Thorns delivers some good old school styled black/thrash metal. Not only do they gather sounds from the obvious acts (like Mayhem's Deathcrush, Immortal's first few albums and of course Sarcofago's INRI) but also from pagan folk music, early thrash and punk bands. This mix of influences makes them have folkish "aryan pride" songs, typical black metal anti-Christian songs, and all you'd expect of this kind of band.

Starting with an intro that shows the band's folk roots, then it moves to "Temples Shall Burn," which is a straight-forward black metal song. From there, the album fluctuates continually, always keeping up an average level. The guitar leads are good by black metal standards, and as opposed to many "true" black metal albums it shows real riffs, structure and musicianship. There aren't many blast-beats used so instead we get actual grooves and rhythms, even if the drumming is simple. The production is good and clear, so it doesn't have the "we recorded it in the singer's basement" feeling so common in today's black metal, which is definitely a plus for Grom. The sporadic use of samples is plain annoying and doesn't add anything (as if with the choice of titles it wasn't enough to know their political stance) and gets in the way more than once.

The technical aspect is good, it's fun to listen to, but it's severely lacking in a really important part: originality. Mixing with folk music? Nothing Nokturnal Mortum hasn't done in the past. Mixing with punk? Aryan Terrorism has done that. That leaves you with a band that just pays homage to the bigger and boundary breaking acts.

But, by all means, this is an enjoyable album, just limited by its own concept. It's not groundbreaking, it's not original but it doesn't bore and it satisfies the common listener's daily black metal needs. (5.95/10)

review by: Pal Meentzen

Polish pagan metal. Harsh guitars, fast drums and grating vocals combined with classical orchestrations and acoustic guitars.

Hellveto’s mastermind, L.O.N., is responsible not only for all instruments and compositions played, but for the artwork as well. Inevitably, comparisons will be drawn with early Burzum, but although in some respect they might live in the same area, they don't reside in the same street.

Hellveto puts out a coherent product that here may be considered as a mini album with extras: six are new tracks, two are bonus tracks and there’s a video clip). Whereas Hellveto’s music is presented as grim, true pagan black metal, it is not suicidal, nihilistic or dissonant. Instead of a world of despair, here is one of mystery and mysticism by a one man orchestra that can be both raw and melodic. Right from the first notes from opener and key tune "Odrwrocona opacznosc," one can hear a dedication to a professional and clear production. The theme revolves around a simple yet contagious riff with all kinds of orchestral sounding instruments around it. A small detail that was remarkable was that overall the snare drum helps create a certain depth. L.O.N.'s vocals are not extreme, but are of the more introverted and growling kind, a bit like how an exorcising shaman might sound.

In fact, Hellveto's music is rich in imagery and is more something to listen to instead of banging your head to. Take for instance the bonus clip "Kwintesencja Opacznosci" – the audiovisual version of track 6, which is a short (1:43) reprise of "Odrwrocona opacznosc" (8:42). It's a nice little extra with the already tasteful artwork and serves to elaborate on the album imagery. Just like the booklet the clip is executed in black and white. It features L.O.N. wielding an axe or a guitar before impressions of trees, open fires, candles, skeletons, and roman-like armies.

Hellveto wants to be clear about it: If you belong to the "traitors of blood," pseudo brutal posers, the metalo-anarchy scene, folksdeutsch (by which probably is meant NSBM) and "all new generation of metal," look elsewhere. But if you're into bands like for instance Falkenbach, Nocternity and older Summoning, this will be a pleasant piece of work.

Conclusion: there are quite a few positive points about this imaginative release. Only minus perhaps is that all non-Polish listeners have to guess what it's all about. At least I can tell you that Klatwa means "Curse," and I expect that further in-depth info about lyrical contents warrants an interview. Perhaps we can then learn more about how to "strengthen his psychical disease." The entirely solo effort is admirable, but it is the quality of, and dedication to this work that makes Klatwa a piece of pagan metal that stands with pride. Highly recommended! (8/10)

review by: Avi Shaked

On their debut release, Highbinder combine an aggressive punk attitude with big, arena-rock sound and even black-metal shrieks and whirlpools to deliver one proud and cohesive blend.

"Terracotta Monster" introduces an Iron Maiden-ish riff, and explodes with a fierce rhythm section while revealing a Corrosion of Conformity approach. Traces of some of the more aggressive nu metal bands (Korn, System of a Down) can be found on songs such as "Japanese Businessman" or "Venom," while "One Timers" is actually a post grunge thing, which gets filled with a chaotic arrangement.

In addition to their brute force, the songs are also tricky, occasionally releasing some of their tension only to hit the listener with another assault of purified, loaded adrenaline. There is also a certain amount of development deployed on most of the tracks, maintaining the album’s explosive edge throughout.

Nothing is left but to conclude, …All the Way to Hell is a vigorous celebration of noise and power. (8.25/10)

review by: Rick Luna

Feeling a need for something brutal yet sly enough to venture into your psyche and tickle all your musical senses? Then consider a voyage through various levels of pulsating dementia brought to you by Ingurgitating Oblivion. The band takes some noticeable cues from Morbid Angel, Hate Eternal and Immolation, and unleashes all hell with their Unmatched Brutality debut, Voyage into Oblivion.

This is what I like to call living music. The theory with this being that it’s smart when it has to be with the intelligent usage of lyrics, almost in a poetical nature, yet mystical and brutal. Then there are the interesting riffs that are subjective and intricate enough but not to the point where it’s overly complex. This is brutal, progressive death metal done right...

...Yet there seems to be something missing from this experience. The album sounds absolutely great with some fair amount of originality, as well as nice artwork and packaging. However, this isn’t the best death metal record of the year… not by a long shot.

Voyage into Abhorrence sets the example that most bands of this caliber make; it’s the lack of capturing the attention from those craving a little bit more. The album is definitely worth a couple of spins for dissecting if you’re into that, but it gets old. (6/10)

review by: Matt Smith

Just from looking at the album cover – a pentagram-tattooed, goat-headed man holding an impaled globe – you may get an idea of what is contained within. Songs such as "As Temples Burn," "An Eternity with Satan" and "Trampling the Cross" are thrust forth on a wave of double-bass and extended melodic guitar lines while Xaphan rips up his throat with mildly poetic espousals to violence and Satan.

The production is quite crisp and well-balanced, and the guitars' constant ring does not obscure the rest of the mix. Although there are few surprises to be found in The World, the Flesh and the Devil, it is a well-executed effort with a good, dark atmosphere that will leave you feeling rebellious, energetic and evil after a couple of listens. It's refreshing to hear a back-to-the-basics release that hits all the important parts without adding a bunch of superficial crap to flesh out the mediocre musicians. These guys are good, and they balance each other out perfectly. Hammer's drumming is a real treat, as well. (7.5/10)

review by: Pal Meentzen

Lament Configuration’s black metal style is raw and intense, featuring a mix of heavy, metallic riffs and intense black metal ones. The band’s name is most likely based on the demonic puzzle box from the "Hellraiser" movies. To some, Lament Configuration might be reminiscent of the obscure black metal of Moonblood from Germany on one hand, but on the other also the nice and manic death metal from pre-Entombed band Nihilist. The Moonblood similarities are for instance in the fact that it's a duo and that the production is very... erm... unpretentious.

The guitar style is also similar: dramatic but yet melodic. A difference however is in the vocals. The vocals of Amon consist throughout the six songs (preceded by one nice and eerie intro) of an uncanny growling that is completely obscured in a sinister echo dungeon. For those who are into it, it has a very high "Aaaargh!" percentage. The atmospheric feel is counterbalanced by a "dust dry" drumsound. In the mix the snaredrum is pretty upfront. That's the technical bit. The music itself is not half bad, certainly considering Demonic Incantations is a demo.

The members show that they can actually play, putting in some variation by frequently using different tempos and breaks. Track five, entitled "Withered," has the most wonderful and measured four tom-tom roll introduction that I have heard in a while. Some songs have slow, menacing intros that serve the purpose of what is to come next: action packed and fast paced dungeon tales of Storm Winds of Ancient Evil! The Murder of the Deity! and, Demons Within! It is somewhat strange that there are well crafted intros to the songs, which eventually often end very abruptly. One may assume this has been done to emphasise their love of extreme measures.

If the sounds from this Demonic Incantations box will develop steadily in albums to come, Lament Configuration quite possibly will attract more attention, which they deserve. As this disc only lasts for 28 minutes, more works will hopefully see the darkness of night on short term. Only 1000 copies have been pressed, so if you're curious now, don't wait too long to get a copy. (7/10)

review by: Roberto Martinelli

The Fullness of Time is nearly infuriating. On one hand, here’s an album filled with incredible music performed with fitting skill. On the other hand, the album is rife with the all-too-common pratfalls that detract from many a prog metal record. Happily, the end result is one of reconciliation and forgiveness, for the good content is too strong to pass up. So stick around past the bad parts for the reward.

First, the bad. There should be no talking on melodic metal albums.  ESPECIALLY when it’s a sound clip. Especially DURING the songs. And especially on a record whose genre is about musical progression. Just one example is the song "Parker’s Eyes" (which you’ll see is the anti-hero of this review), which has a long, drawn out clip during the instrumental breakdown. So, instead of a guitar solo, we get a talking solo? "Sapphire" begins with a voice mail message, that is again reintroduced later. Does it make any sense to anyone but those who wrote the song? No. Does it add any musical appeal to the album? No.

"Parker’s Eyes" again: The song is about 9/11 and the loss of innocence. Fine. But do you have to hit us over the head with it? (The clip in particular is a radio (?) voice describing the Twin Towers being attacked) The irony here is for a genre that is about musical precision, nuance and subtlety, the overbearingly heavy-handed lyrical content is anything but. And it’s not limited to "Parker’s Eyes." Tragically, it’s also not limited to this album in the genre of prog metal. Making a song so obvious it’s suffocating makes the listener grow tired of it very fast. Why not give the audience a chance to discover the meaning on their own, leaving those who just want to enjoy the music burden free of the invasiveness of being forced to formulate an opinion every time they play track two? This is a point that needs to be corrected in prog metal.

Last one: many times, it seems that Redemption’s lyrical word count is greater than the actual musical space where it has to fit. What this means: the singer can’t perform a really engaging melody because he has to cram in all the words; or worse, a good melody that was established on one verse is sabotaged on the next one because the following line happens to have about twice as many syllables as the first, making singing degenerate into melodic talking (see point 1). This is sloppy. It seems alien that anyone would buy a musical album – especially one that touted musical skill and execution – for reading material. It’s not a book or a pamphlet; cut down on the lyrics and prsent something that’s musically sound all the way through.

With that said, The Fullness of Time is still an excellent record. Maybe this is what Redemption is about. The deft musicianship that every member of the band displays is masterful. Something must be said as well for how well the songs are arranged. "Sapphire" is the album’s best example: even though it lasts about 16 minutes, you won’t really notice, as the music keeps you engaged and refreshed.

Another wonderful highlight is the emotive musical epiphany that is reached at the climax of the four songs that properly make up the Fullness of Time quadrilogy. (Even though it all starts off with an unbearable clip of a man saying how he believes in evil and disease and hate and...)

Overall, a very attractive point about The Fullness of Time is that it will appeal to fans of prog, but won’t turn off those who feel much of the genre is sissified. The songs are heavy and metal and driving and churning, with meaningful breakdowns and solos that aren’t cut from the same tired cloth, while at the same time being tasty morsels of musical wizardry and taste... at least most of the time... (7.9/10)

review by: Ray Van Horn, Jr.

Originally released in 2002, Ghost in Paradise is a strange listen, as vocalist Sami Huotari is no longer a part of Myon; interestingly enough, current frontman Jukka Nummi won his permanent residence at a release party for this album, so therein lies your soap story behind a (at the point of this album) pedestrian power metal band, one that does nothing overtly special, but one that doesn’t deserve absolute dismissal, either.

What is particularly striking about Huotari is how disruptive his wallowing tends to be for this band. He’s not terrible, just a bit overpowering; when Myon catches a groove, his yowls tend to run interference. When he’s on, the band isn’t quite alongside him. Perhaps this lack of synergy is the reason Huotari and Myon parted ways. It’s a shame, because the basics were there. On Ghost in Paradise, they do work at times, but in all, this album could’ve benefitted from better unity.

Mika Pohjola does some interesting things with his keyboards that wink melodically when appropriate. For instance, they float alongside the sliding guitars at the end of stanzas on the fast and rhythmic "Tournament." In other spots, his keys echo loudly and sometimes oddly; they sound more akin to fusion jazz than metal, or like on the solo on "The Quest," they sound more prog, as they do on the sometimes corny "Follow the Sign," which might be considered a thrash version of Yes.

Try not to scream "The eye of the tiger!" when "Heart of Hollywood" comes along; the strumming on the verses and the choruses ring ominously like Survivor. Yes, Survivor. Have fun, friends. Also have fun with the laggard and laughable choruses on "Nostradamus," which sounds like Myon’s attempt to duplicate Iron Maiden’s epic treatment of historical figureheads like the latter band’s more palatable "Alexander the Great." Nice try, chums, but no dice.

Some groovy guitar solos by Risto Silenius help Myon’s cause, but in all, Ghost in Paradise is a noncommittal listen that isn’t totally crummy, but it isn’t Stratovarius, ether. I can’t vouch how Myon’s current album, Virtual Slideshow, sounds, but if you’re casually checking into this band, Ghost in Paradise may not be priority for you. (5.5/10)

review by:Avi Shaked

Peter Himmelman has been around since the late ‘70s or so, critically acclaimed as a singer / songwriter, yet never in the mainstream light.

His new release features tightly executed, raw material, which he wrote around the 9th of Av, a Jewish day of mourning, and following a personal loss. However, this is not a somber release, yet instead it confronts the listener with well-calculated, at times even amusing, reflections on life, and in some way, on the power of belief as well ("Sometimes if you’re lucky god will give you another day").

Opening with the bluesy, uptempo "Loaves of Bread," which includes a slightly funky organ section, the album unfolds songs that draw from the hunger and self-examination that are typical of the aforementioned Jewish season. The craving to food peaks implicitly on "This Afternoon in the Rain," while the introspection is referenced through the basic, swampy blues of "Consumed" and during the slide guitar manifest of "Wet Matches." Obviously (yet still bravely), the album cannot fully illustrate a fasting man’s mind without dealing with the forbidden (during fast) sexual relations, which Himmelman touches on the kinky (and perhaps misleading) "Kneel Down."

Surely, Himmelman does not reinvent anything here, but the material’s joint occasion solidifies the stir of emotions into a firm entity, and Himmelman’s unpretentious and honest performance makes the entire album worthwhile. (7.9/10)

review by: Ray Van Horn, Jr.

Jacob’s Dream’s spiritual messages may be initially lost upon first listen. Whether or not you’re in favor of the litany of faith Jacob’s Dream professes in their songs, you might be reminded of Stryper since the latter are staging a comeback this year. Unlike Stryper, however, Jacob’s Dream executes without the latter’s sap and cheese. Unfortunately, Jacob’s Dream executes far too little of their own musical magic to make their hopeful lyrics as powerful as they could’ve been.

Drama of the Ages just doesn’t seem to pack enough of a punch as an opening song to get fired up. The following song, "Keeper of the Crown," revs Drama for the Ages up a little, even with an unnerving opening shriek by vocalist Chaz Bond. Throughout the rest of the album, he’s good in some spots, a little too gravelly for this kind of laid-back power metal, and downright hokey in other places – like he’s being overly dramatic. The guitars of Jon Noble and John Berry are adequate and there’s a little nod to Fates Warning. Jacob’s Dream is nowhere in the same class as Fates Warning, but there’s something decidedly eighties power metal about them. By the time "Spinning Leaf" arrives, the association shifts to Savatage, as in the uncertain Handful of Rain era, only Jacob’s Dream can’t quite live up to even that roster of intermittent players, either.

The thing with Drama for the Ages is that it meanders and lumbers along without generating much of a spark. When it finds its gears, the moments are brief. Some good guitar solos keep you listening along (very nice job on "Forever Winter," one the album’s high points), but even as "Tempest" discusses the mystery of faith and trying to rediscover it, it merely pokes along instead of driving, which does the lyrics a disservice. Jacob’s Dream gets its thrusters going again on "Third Way," but with an album that clocks in at an hour ten, the thrusters are few and far between the remainder of the ride. Some hearty and melodic moments, particularly on the middle section of the otherwise so-so "Cutting Words" and the fairly gritty "Victory," still don’t fully compensate the time invested to finish listening to Drama for the Ages. Of note are the favorable protest aura of "At the Gates" and its sword-clanging introduction that would sound like a Manowar epic if you didn’t know what Jacob’s Dream stands for.

A hearty peace sign in the air to Jacob’s Dream. For your fearless embracement of your spirituality, you deserve to be embraced. A hefty thumbs up for your rendition of Pachelbel’s "Canon" as one of the hidden tracks. Jacob’s Dream’s commandeering of old school power metal values is laudable, but it just doesn’t catch on. Regardless, their intent is heartfelt and for that they should be saluted. (5.7/10)

review by: Pal Meentzen

Svetogrdje is the fourth album by the six piece Serbian band May Result. It consists of eight lengthy tracks of strong atmospheric black metal in mid to blastbeat tempo, sung in their native language. Their style is similar to old Gehenna and Aeternus. The members of May Result also play in the Serbian metal band The Stone, and the guitarist, Kozeljnik played a few gigs in Debauchery, which was a side project of Judas Iscariot. This album is also released in a limited 2CD format with bonus PC media (limited to 666 copies).

The songs on Svetogrdje are pretty long, varying in length from 5+ to 11+ minutes. The first and longest one, "Kad Crt Sedne Na Presto" ("When Chort Is Enthroned," 11:37) has a solemn, five-minute keyboard intro that conjurs up images of a desolate, old city square on a rainy Balkan night. Right from this point it is clear that the keyboards set the tone on this album, which is heavy and epic. After the intro part, the band kicks in with lots of guitar and double bass drum action, which later also switches to some furious blast beats. For some reason this part of "Kad Crt Sedne Na Presto" sounds like Rush's intro to 2112's "Temple of Syrinx." The vocals of Glad, however, are a masculine enough growl, well implemented in the mix.

A lot is happening in the songs of May Result. There are several breaks and changes in tempo. "Meced Je Sad Sa Nama" ("The Moon Is Now With Us") is less keyboard dominated and at times approaches the melodic intensity of Arch Enemy.

There's no doubt about May Result's craftsmanship, but there is something missing in the production. The bass is almost non-present and there is too much emphasis on the keyboards. The guitars are exiled to the background, and this way they risk to obtain a blur instead of a balance. The result is that songs become more similar sounding than intended. Svetogrdje might have been more convincing with less sympho and more metal. There are certainly parts that are enjoyable, but at times when things are being taken to a higher gear the added "orchestration" sometimes really distracts, which hinders the momentum.

Perhaps on this album, May Result have been so keen on the process that they ended up being too controlled to compel. Thus, Svetogrdje may be good, but does not yet convince of their true potential. Carry on, lads! (6/10)

review by: Joshua

The only thing metalcore about Darkest Hour at this juncture is past association and vocalist John Henry’s blistered shout. Yep, it’s gotta be said, like most of the more mature kids in the yard, Darkest Hour have gone the full-on metal route. With Undoing Ruin, they owe their sound more to a collective At The Gates /In Flames /Soilwork hymnal than anything that could be construed as emo or hardcore. No need for concern, though. Darkest Hour has always been one of the shining stars of the metalcore scene and their swan dive in the metal waters is no less invigorating.

Roping in Devin Townsend for production duties – a wise move by any standard – certainly works to the band’s strengths. The sound is loud and clear with all the instruments standing out as they deserve while meshing into a cohesive and caustic whole. Tempos are generally in the blur category anchored by chest battering double bass, razor wire riffery, chugging back and forth sways, barely tamed snarling rhythms, destructive breakdowns and plenty of stop/start confusion that never gets old.

All well and good but where Darkest Hour excel is in the details; dynamics that put any band to the left-hand side of the rest of the crowd. Nestled amongst the speed bursts you’ll find snatches of twin guitar harmony, depth plunge soloing and time changes that occur mid-riff with such ease you’ll hardly notice before it reverts back to its previous incarnation. Nods to old school thrash ala Slayer and Possessed figure into the band’s more modern approach and are a welcome element as is a short instrumental that lifts from the tough yet melodic stance of Iron Maiden or earlier Metallica.

But it’s the head scratchers, the "wha?" moments that raise Darkest Hour above the realm of a merely effective killing tool. Townsend undoubtedly had some input and influence; his skewed musical vision lurks in the background with the paradoxical subtlety of an elephant in the middle of a drawing room. Whether it’s the dreamy mid-section propped in the middle of the album’s opening track, the precise yet spastic single note picking that forms the speedy riff found on "These Fevered Times," or the discordant break filled with rumbling and feedback in "This Will Outlive Us," the band refuses to adhere to a strict linear course at all times. These forays outside the lines are the accent that enables the meaty, hulking songs populating Undoing Ruin to flourish. (7/10)

review by: Joshua

Ambush alert! You know the routine. A preconceived notion of a band gets in your head, be it based on imagery, song titles, lyrical content, what have you, and then the rug is unceremoniously ripped out from under you with great force rendering all your projections squirming and dying under the cold light of reality. Some times good, often, well, not.

Case, point and checkmate: Funeral Diner. A dodgy name to be sure, conjuring images of a woefully misguided goth ensemble or a doom outfit with a possible sense of humour. The CD’s artwork lends credence to either camp with reproductions of plates from what appears to be an older edition of Dante’s Inferno. The austere layout and font type only add to the stark chill and miserableness sure to be ensconced within the album’s eight tracks. Got it all figured out, right?

About a minute into the opening song it’s apparent that any and all of the above is very, very wrong. A lazy, loping instrumental evoking nothing so much as Jane’s Addiction’s "Summertime Rolls," "Decline" will have you mentally strolling though a glade, hand in hand with your girl, a slight breeze taking the edge off the summer heat as you wander with no particular inclination other than to revel in the glorious moment(s) of an afternoon devoid of responsibility or obligation. Unhurried, drifting, you settle in for the ride, so foolishly confident that you know the direction in which The Underdark is journeying.

Wrong again. Second track "Collapsing" is ushered in under a battery of drums, concussive guitar chords and the throat shredded wail of a singer who sounds as if he’s pleading for the sweet relief of death after a horrendous accident. Another about face, we’re in heavy with a capital "H" territory here – duck and cover. You can see where this is going, can’t you? About half a minute in, Funeral Diner pulls back again, tempering this new found fury with atmospheric guitar harmonics and achingly pure melodic washes. This back and forth pendulum swing is the land that they inhabit.

To put it in perspective, imagine a forcible mashing together of Jane’s Addiction, Radiohead, 90’s post rock and Neurosis minus the coming apocalypse, seamlessly played by a metalcore band. Raw, up tempo aggression tamed by fragile interludes. Frenetic urgency dissipated by swirling sections touched with grace and vulnerability. The slightly epic and soaring, delicately buffeted by glimpses of the crushingly heavy. That’s their modus operandi and they do it about as well as anyone out there. The Underdark is the album that Cave In tried, and just missed, achieving with Jupiter a few years back; it’s stunning and inviting yet retains that intrinsically nasty edge that makes the best metalcore such a cathartic rush.

Further explication is redundant. Lay your head down, close your eyes and yield to whatever direction the prevailing winds of The Underdark deign to take you. (8.5/10)

review by: Roberto Martinelli

The Wern. It’s a creepy, hippie looking Frankenstein’s Monster of a trailer home that looks like it’s embraced a sedentary lifestyle in some forgotten corner of Wales. Not a place you’d want to hang out in, unless of course, you’re ambient project Hwyl Nofio. If that’s you, it’s where the magic happens.

We’ve been big supporters of this Welsh ambient project and its two previous records. "Intelligent ambient," we call it. Hwly Nofio has made its mark by making ambient with a pronounced musical sense to it, incorporating instruments like piano with crackling firewood or chimes.

The new album, Anatomy of Distort, is a bit more mad scientist. Works well with the image of being cooped up in the Wern. This time around, the focus is more on the drone, with a good bit of that sound that sounds like an orchestra tuning up. Slow buildups are commonplace for the genre, but Hwyl Nofio manages to set itself apart because the music gets notable is specific places. Highly recommended for ambient fans. (8/10)

PS: you can see a photo of The Wern in our interview with Hwyl Nofio.

review by: Joshua

Hot diggity, the Magyar crew is back with their follow up to 2004’s Destroy. Those familiar with that opus will recall that it filled the imaginary span between Chaos A.D. and Roots-era Sepultura with a skillful mix of thrash metal pummel coupled with world music elements. And quite a tasty stew it was. Immediately accessible yet hard to pin down, Destroy had vim and vigor to spare while it challenged your expectations of what might be considered proper in a "metal" context. And above all, most importantly, the band was and is fronted by... wait for it... Zoltan! Take a breath, pause, say it again: Zoltan! Feels good, doesn’t it?

Expectations were pretty high for the follow up and by virtue of comparison alone, Instinct is a minor step backwards at worst, a creaky lateral move at best. All the aggression is intact, thrashy, at times punky ire wrapped in whip cracking tempos and pernicious riffing that’ll leave damaged vertebrae and bloody noses if not handled with care. Once again, the song constructions are tight with zero space between the bricks, everything in its place, precise and set to kill

Where Instinct stumbles is in the submersion of the very elements that made Destroy such an intriguing listen. It's almost as if the band got together and said, "yea, ok, we got a little adventurous on the last album, better rein it in this time around." On the one hand, it’s not a laborious listen; the songs do in fact have the ability to injure. On the other hand, that same penchant for damage stood out far greater against the esoteric backdrop of Middle Eastern and Baltic instrumentation, tribal percussion and keening Gypsy and Arabic vocal passages.

There are moments here when the band delves into that idiosyncratic realm. "Burn" cedes to a sitar break at a couple of intervals while the stormy blur that is "The Holy Noise" segues into a bridge that plays as the reception for a Greek wedding where all the guests are jacked up on amphetamines and roiling in an impromptu mosh pit in the middle of the dance floor. Good moments, but too infrequent over the course of the album’s forty odd minutes.

The only true moment of a "throw caution to the wind" mentality is "Land of Pain," which finds a gentle layer of piano notes mixing with Romanian flute as they float gingerly over the rumble of thunder while the ghostly voice of a Gypsy woman leaves a vapor trail that lends even more fragility to the atmosphere. At two minutes it’s a short respite from the album’s non-stop relentlessness and makes you wish that Ektomorf had just gone a step further and interwove it into the body of almost any of the other tracks. Or, if truly daring, expanded it to a glorious twenty minute bit of ambient drone. Ah, to dream.

At the end of the day, Instinct is still fine bit of metallic punishment. Knowing that the band is capable of so much more keeps one an arm’s length from a full embrace. (6.5/10)

review by: Roberto Martinelli

Slik Helvetika is a hard rock group from Philadelphia, Pennsylvania. What it has to do with Switzerland or the popular word processing font is unclear.

Slik Helvetika is one of those bands who beefs up its album with much touting of its works with various other bands rooted in the distant past (read: the 80s). Except you’ve never heard of any of those bands.

Talk is cheap. Strip it away and you’re left with an album that is sickeningly pandering to commercial success despite its rebellious facade. Slik Helvetika is stuck in the 80s. Stylistically, that’s a choice, and some people will like the derivative, super simple music and grooves with Axl Rose-like deliveries and beefy guitar tones. But more alarmingly, the band is stuck in the 80s in the sense that it thinks there is still a huge commercial market for a typically 80s hard rock album.

Slik Helvetika is an album that screams that it doesn’t give a fuck, yet the back insert very carefully points out which tracks have naughty words on them. "High on You" is purported to be "explicit last 2 seconds," which ends up being the singer saying "that’s pretty fucking high" after all the music is over.

What is the target audience? Kids or prudes that run home to tell mom someone said the s-word, seems to be it. But maybe it’ll appeal to those who buy into the band leader Mikhal Myers’ cliche-ridden CD booklet, in which he says the album "reminded me who I really was and what life’s about," with lyrics that are systematically attributes to Mikhal Myers and S.E. Pub.

Like:

"I used to touch her with hands of passion. Now they’re clenched into fists of rage. But now my reasons have turned to demons and Jeckhall (sic) has turned to Hyde. I’m gonna’ (sic) save her life. I’m gonna save my name. I’m gonna’ pack all my guns and money and catch a west bound train."

Catch any train you can away from this album. (2/10)

PS: "She stopped the clock on the wall. I dropped my drink on the floor. My knees got weak. I was a dog in heat. With a wink of her eye I almost thought that I had died and gone to heaven. Sex was the weapon. S.E.X. me. Ride me ‘til it wrecks me. She kills. Bump and grind me. Fuck me 69 me. She kills. We wore the wax off the floor... I hope she fucks me to death. I’ll be a sexy corpse."

review by: Joshua

Disbelief’s outsider approach to death metal remains intact with the dubiously titled 66Sick. While owing much to the traditions of the genre they’ll never be mistaken for, say, Cannibal Corpse or Nile. Yet, at its core, Disbelief is a death metal machine that finds itself waylaid by urges no sensible purveyor of the craft would even dare come near; on certain tracks you’d swear that there’s a melodic rock band with pop sensibilities aching to get out from under all the tonnage. Luckily for the band, and consequently, the listener, they’ve got the ability to pull off these excursions outside the lines with more than a modicum of success.

On their latest disc, Disbelief attempt, and accomplish, the unthinkable: rendering nu metal bounce palatable in an extreme context; both "Sick and "Floating on High" may well be the advent of death nu metal. Rather than disintegrating into a limp pile of crap with no more strength than a severed spinal column, the injection of springy rhythms adds more weight to the already massive riffery providing the bedrock of these tracks. The rhythmic ebb and flow, and its meticulously metered arc add an infectiousness otherwise missing from such nonsense.

Elsewhere they seem to be honing in on a terrain usually reserved for Red Harvest. "For God?" has a stumbling expansiveness that’s upturned by sweet bits of melodic breath while "Continue From This Point" finds a similar dynamic, adhering to a deliberately hypnotic pace and abetted by silky transitions that span the space between each gap.

For more improbability try, um, "Try," an ass shaking piece of stoner groove that excises the stoner element and replaces it with copious amounts of vodka mainlined straight into the femoral artery. Their penchant for the melodically epic shines in both "Edges" and "To Atone For All," dreamy glimpses of chilly landscapes that bear little life yet remain alluring, promise lingering just beneath the surface if one knows where to look.

If there’s one complaint to be had, and it’s an intermittent one, it’s the vocals. The raspy throated growl is appropriate and even necessary most of the time but given the shadings of the some of the other tracks (the aforementioned "To Atone For All" for example) they sometimes detract from the song’s mood – the contrast becomes grating rather than complementary. Not to say emotive bits of crooning are necessary, just something a little less harsh, more in tune with the sheets of ominous gentility they’re meant to underscore. That aside, 66Sick is another fine piece of work from Disbelief. As good example as any of the typically brutal nestled in with the decidedly atypical. (7.5/10)

review by: Joshua

Well, look what dragged itself back out of the sewer. Tired of mucking about in filth, betting on cockroach races and playing hide and seek with rats of unusually large size, the five headed abomination from Birmingham that is Mistress has scrabbled to the surface once again. Bleary eyed, squinting against the unfamiliar sun, they’ve retrieved their beat-to-shit instruments from whatever dank storage locker they’ve festered in for the last year and a half and, with In Disgust We Trust, are going to make sure we all have hell to pay and then some for thinking that the nightmare was actually over.

Well thank god. Because you’re not going to find a more bracing bout of frothing, rabid, don’t come near unless you want to get severely fucked up, hyper aggro mayhem this year. You’ve been put on notice, proceed at your peril.

All of the elements that made Mistress’ previous two outings such a noxious joy are present and encountered for. If anything, they’ve upped the rage to even greater levels and the ten tracks belched forth here aren’t so much a beat down as an act of total pulverization. Really, by album’s end an industrial sized sponge, bucket and a generous splash of ammonia will be all that’s necessary to wipe out any traces of your existence.

Perhaps most astonishing is that Mistress manages to cherry pick from what might be considered a fairly narrow range of influences, force it all together under protest, and come out the other side with songs that are neither tired or redundant but invigorating and unpredictable, with considerable breadth and damn near jaw dropping in the seeming casualness with which they are tossed off. Crusty punk yields in the face of huge metal posturing. Deliberate mid tempo grinds suddenly explode with hardcore speed. Grindcore aesthetics rest comfortably against slow grinding stomps before obliterating under a hailstorm of blast beats. It’s a testament to the band’s intrinsic understanding of these sub genres that they not only stand out in relief to one another but manage to co-exist and compliment rather then blur into an indecipherable heap.

And if you think you’ve got them pegged on sheer nastiness alone, well poor you. Whether it’s a syphilitically catchy track that gives way to an awesome, almost melodic chorus lifted from the NWOBHM era or a Viking sing-along that rounds out an unstoppable death charge, there’s a sly, taking the piss attitude at work here that brings periodic reprieve from the onslaught. You don’t dare laugh though on the off chance that they just might be serious.

Once again, they end an album with a track at odds with those that came before it. The tolling of a funeral bell kicks off the ten minute trudge that is "Shovel," a hulking mid tempo number that has all the subtlety of a buffalo herd running roughshod over an open plain, incapable of noticing anything in its path. When the song abruptly ends after an elongated hail of double kick drum destruction and tempestuous guitar it’s a statement: Mistress has left the building, get on with your life. Just keep a wary eye on those sewer grates. (9/10)

review by: Ray Van Horn, Jr.

For the most part, The Mystical Doktryn of Spiritual Accomplishment is a decent Goth record, whether you dig Von Sirius’ black diatribes or not.

The main riffs and some pretty neat keys of the opening track, "Le Feu Sacre," elevate this track, which drives out of its electronic synth opening. Unfortunately, the Dr. Claw vocals mar the clean ones, creating a comical effect that makes this track hard to take seriously, even as it generally succeeds in finding its groove.

The digital dance blueprint that outlays "Espoir a vorte" is much more interesting with its affinities towards Tackhead and Skinny Puppy, with an impressive guitar and key outburst a minute into the track. "The Call of Von Sirius" sounds rooted in Sisters of Mercy with its heavy synths that coat the rhythmic strumming (think loosely of the structure of the Sisters’ "Lucretia My Reflection") and for the most part it’s an agreeable jam.

"Sad X" is probably the weirdest song on this album, a five-minute psychedelic-laced bout of neurosis that is flat in its foundation but dreamy with its melancholic melodies. Honestly, what else would you expect from an occult-based project like this? It’s evil is as blatantly heterodox as being fingered by the devil. After an off-kilter opening chant, "Babalon" snarls forth with rude riffs and more puke growls that offset the nearly-monotone clean vocals. The free-formed keys also do this song a bit of an injustice at times.

This is what to expect from The Mystical Doktryn of Spiritual Accomplishment. If secular serenades are your thing, step up and get dirty. The main bitch about this album is that it’s too one-dimensional to roll with more than once. The melodies are often redundant, the gloomy hypnosis is not for all tastes, and while it’s a good album to entertain your cryptic side with, its staying power is probably limited. If you like your Goth forebodingly savory, go back in time to the aforementioned Sisters of Mercy. Nobody has yet to match their morose intensity. (5.1/10)

review by: Avi Shaked

So many words have been written documenting and praising the original Ganelin Trio, which is widely regarded as one of the best free jazz outfits the world has ever witnessed. While this release is by a different trio led by Slava Ganelin, I cannot imagine myself turning any offered superlative down.

Eight Reflections of the Past Century is a live 1999 recording that took place in Tel Aviv, with no audience traces whatsoever and with the most detailed and strict sound any studio release can adorn itself with.

Considered as a relatively nostalgic release by Ganelin, this is nothing less than a tour de force. Ganelin looks back and derives from the bent, Thelonious Monk flavored piano melodies as vehicles for lush, bursting pieces, exhibiting a unique brand of fusion between the quirky, electronic sounds and the acoustic entity of piano, drums and double bass at their backbone.

The music stretches between laid back, ambient sections, lyrical travels and typical 20th century races, often in the same breath; but no matter how busy it gets, the recording remains ethereal. The trio simply does not give creativity a rest, washing the listener further and further on its raging sea of uncertainty and unpredictability. (9.5/10)

review by: Avi Shaked

Phil Cordell (Springwater) and his guitars, keyboards, drums and, most importantly, his wah-wah pedal are the man and the instruments behind Dan the Banjo Man. Now, don’t be disappointed because the substance doesn’t fit the label, you’ll have other reasons to be!

Following the success of the title-track, which included banjo-sounding guitar, as a single in 1974, the record label urged Cordell to release an album. Cordell pretty much used the same shtick on different original instrumentals, resulting in a rather thin, even if enjoyable, release.

Not only that, he also had less than enough original tracks, so he filled the album with cover versions (such as "Will You Love Me Tomorrow" and "The Locomotion") that received the same sliding, peculiarly amped treatment.

Unfortunately, the new remastered release is actually taken from a vinyl source, for the lack of other options, and although an impressive effort was made to give it a boost, it still shows.

Eight bonus tracks round the set, exposing the recent years’ work of Cordell with a much clearer sound, but as most of them are computer-digested output of a practice in guitar and synthesizer playing to a drum beat, it makes you appreciate the roughness of the original album.

If one looks hard enough, there are sparks to be found amongst these (such as the bouzouki-sounding guitar on "Over the Sea" or the wacky remake of the title track); but it rarely lifts above standard, which leaves Dan the Banjo Man mostly to the interest of completists or for those seeking a brief entertainment. (3.5/10)

note by Roberto Martinelli

This one seems like a shoo-in for universal hatred and resentment.

review by: Avi Shaked

It’s easy to mistake the Israeli trio The Flying Baby with Pearl Jam. The Vedder vocal pronunciation and the tight diversity with which the music roars as well as contemplates are prominent attributes of the aforementioned Seattle group, which ranks as one of grunge’s most accomplished bands.

The Flying Baby, on its second release, is armed with vitality and a taste for mixing the grunge with its forefathers. While a mold of Neil Young meeting Pearl Jam was already established on Mirror Ball (the 1995 Neil Young album), The Flying Baby presents an even broader free form adaptation of the idea, throwing in all sorts of deviations.

Spacious melodies, southern rock slides and poignant keyboards live side by side with the tormented vocals and evasive, bent guitar playing, which ranges from the rumbling to the vibrating and is occasionally aided by different effects-disguises. All of these serve as a strong, communicative foundation to personal songs that leave an immediate impression while saving another facet for repeated listens.

In fact, The Flying Baby’s creative freedom is admirable, and nothing reflects it better than the lengthy "Bound to Go Crazy," which, I would like to believe, intentionally develops in a confusing manner, spreading a self-searching song that ends with a progressive rock tainted hit of the keys.

The production is a bit amateurish, and it results in the violation of several conventions, for good and bad: There are certain flops documented, and the distortion loaded guitars fail to hit the spotlight, sometimes smearing in the background instead of roaring upfront, while the melodic guitars receive a more dominant role.

Pain to Give might not be the most polished rock release, but it is its decisiveness and insistence that should win you over. I hope the band, which has already toured America (alone and in support of Peter Himmelman), will have more to give soon. (7.2/10)

review by: Avi Shaked

The debut release by Macedonia’s One Of Us is not as spotless as The Gathering’s Souvenirs, but it does supply a similar, galvanizing version of trip rock, with a punchier execution that crosses its eyes with Tiamat.

The industrial beat traps evolve and the guitar notes wail as the female vocalist sings holistically and spiritually of womanhood, tragedies, wishes and completeness, backed by a morbid atmosphere of keyboards and effects.

The intensity peaks with the meteoric "Hourglass," perhaps the most emotional outlet I have recently endured. Starting with a soft reflection, it soon develops into a dizzying, desperate maelstrom. The extended "Heaven Arrives," which closes the album does exactly the opposite, intimidating with its initial walls of wild noise, these are then put to a murmur as if declaring heaven truly arrives, and you are left to hover to Brian Eno-inspired soundscapes that wrap celestial, resonating vocals. A mesmerizing and thoughtful release! (8.25/10)

review by: Ryan Loostrom

It's about time people raised their hands in honor of Darkane whenever their name was mentioned. They've been hanging around the Swedish metal scene for quite awhile now, and released three CDs of high-grade, nigh unclassifiable death metal starting with their debut gem, Rusted Angel. They showed a very competent mixture of not only death metal, but technical death, thrash, and even non-linear melody.

Two CDs later, the band offers their fourth opus, a journey into a completely chameleon-esque brand of original metal with Layers of Lies. Darkane have well learned to step out of their safety zone and experiment with differing sounds and styles, and it's easily noticeable on this CD. Whereas Rusted Angel gave them their default sound with more of a sonic approach to metal, Insanity gave them access to the massive vein of death thrash, and they tapped it well. Their riffs changed from such fret-noodling to more texture-focused music, and offered a much more heavy style than Rusted Angel.

However, they also showed how to draw much more influence melodically with Expanding Senses. Again, without stepping into the realm of watered-down Gothenburg melody, Darkane seamlessly tackled the melodic death metal approach, borrowing certain methods from where you wouldn't expect – places like Fear Factory.

With Layers of Lies, Darkane present a streamlined amalgam of what they've learned so far, with an emphasis on the more subtle aspects of their music – and even borrowed from a few new, interesting places as well, most noticeably Scarve, Meshuggah, and Strapping Young Lad.

Of course, the Darkane trademarks are still here, especially with the intro "Amnesia of the Wildoerian Apocalypse"(Catch the corny pun?) The instrumental sets the stage, so-to-speak, for the rest of the CD. The mood it establishes has a specifically ominous feel, especially with the almost mechanized riff structure towards the end. However, Darkane demolish the mood and serve up the first exercise in freneticism on the CD, "Secondary Effects." Sounding right at home on Rusted Angel, the songs immediately takes flight with Darkane's signature guitar v. drum sound. Peter Wildoer maniacally plods through his own drum course while Malmstrom's twisty-turny, Maiden-turned-pessimistic riffs teem about in a sonic myriad. As soon as the pre-chorus hits, the momentum takes a standstill as the chorus presents a melodically charged wall of sound. Sydow's half-growl, half-bark also manages a Devin Townsend notion of layering over the melody, as well.

"Organic Canvas" follows closely in the method, and features almost the same drum rhythm while Malmstrom's caustic riffing again launches into effect, offering high-end dissonant melodies along the way. The chorus here has a distinctly depressive feel to it as well, as the chorus rises in key to feel almost engulfing.

It's another one of the places where you appreciate the collective influence Darkane are working with. Much like Devin Townsend's Strapping Young Lad, the chorus tends to paint a soundscape on the backdrop with some synthesized effects, while the lead guitar textures it accordingly on top of the chorus rhythm.

This is where some of the new attributes of Darkane shine through, though. There's a passage here of completely odd time-signature rhythm that Ideberg, Malmstrom, and Wildoer offer that sounds distinctly Meshuggah with a razor, then gives way to another of the many tasteful leads over the time-modulated rhythms, that almost feels like a welcome addition to Darkane's already massive structural talent. "Vision of Degradation" is where the Meshuggah influence really dictates its presence, though. The opening verse shows Malmstrom pulling off a Haake imitation with the multiple rhythms active at once giving way to more of Malmstrom and Ideberg's off-beat and non-linear riffing.

It seems like Darkane pulled out all the stops for the title-track, "Layers of Lies." This is how it should be done, not to mention. If you're going to name a track after the CD, then definitely give it the feel of the CD's best representative. At any rate, the song features the most noticeable progression of any Darkane song, offering almost two complete separate rhythm sections as well as progressively growing in intensity. The song opens with some acoustic guitar work that sounds distinctly Stratovarius in nature, and gives way to some ethereal opening leadwork. It also seems like Wildoer felt he should emphasize the trodding and epic feel of the riffs here, because instead of his typical bass / snare pattern that lets Malmstrom and Ideberg cleverly paint the rhythm instead, he offers a gallop with some intense cymbal-work. The chorus is also particularly entrenching, mainly because of the depressive feel it has.

Shortly thereafter, though, Darkane curtail it with another one of their riffs that sound almost biting in nature, and give way to yet another excellent harmonized lead. By the final time the chorus is repeated you can hear the amplified effect that the lead guitar takes texturing the chorus, and Wildoer continues to demolish his drumkit in the backdrop of the song.

Darkane successfully delivered a contender for CD of the year with Layers of Lies, and it's definitely no surprise if you've been following their career. Their chameleon nature puts them in with the likes of bands such as Meshuggah and Scarve who're about as unclassifiable as they are magnificent. Darkane's nonlinear approach to metal has finally fine-tuned itself down into an even more well-oiled machine, and now they're set to pummel every preconceived notion of what melody or heaviness was before, even the marriage of the two. It's Darkane's turn to slay, and that they do with Layers of Lies. (10/10)

review by: Rick Luna

I am definitely in the mood for a new Defleshed album. The last one, Royal Straight Flesh, seemed to be a bit of a let down because Fast Forward was technically an absolutely perfect album. Well, almost! All it needed was a better production but it seems that these Swedish death thrashers seemed to do things right and perhaps close to perfection!

Fast Forward featured some of the catchiest and fastest tunes they have ever come up with. Fans of speedy thrash metal be it current or classic will either love it or hate it. Vocals are absolutely killer and the accents are audibly there. Plus none of the songs were close to four minutes long.

Back to the present: Defleshed's goal this time around is to capture the magic that made Fast Forward so great, fantastic, and extremely catchy! Reclaim the Beat definitely crowns in with its up-tempo beats and thrashtastic fashion. This is perhaps the best production quality to ever grace a Defleshed album. Everything is clear from the cymbals to the snare and even the background group voices as well as the samples used. It also includes a cover of Motley Crue's "Red Hot," done superbly. Sure the songs all might sound the same; in fact, that's pretty much the standard. It’s not a bother at all.

Although this is hard to classify as a masterpiece, let’s just go as far as calling this Defleshed's very own masterpiece. How can one really put this album down? It's energizing and unregretful; sure it's pretty basic but its sense of speed that was unleashed on Fast Forward is once again present and more dangerous and groovy than ever. Reclaim the Beat is a must for anyone into speed and adrenaline. (8/10)

note by Roberto Martinelli

If you liked all Defleshed, you’ll dig Reclaim the Beat. The songs DO all sound the same, though. For that matter, it all sounds the same since Royal Straight Flesh. And the band’s best record? What about Under the Blade? It’s Fast Forward minus the terrible production, making it the only Defleshed record you need if you only need one.

review by: Avi Shaked

There’s no way I’m gonna get this right without having a master’s degree in "inquisition devices and techniques," at the very least. But I’ll try.

Founded in 1980 by Univers Zero’s retired Roger Trigaux, the Belgian avant-prog ensemble Present’s music has always maintained its ancestor’s gloomy yet sharp edge, albeit on a rockier (and some might add: more degenerate) side.

A Great Inhuman Adventure is an excellent sounding recording of the dazzling live performance that closed the band’s 1998 American tour. The band’s rejuvenated 90’s lineup is presented at its best, covering essential Present material, starting with their then-recent "Delusions" (from 1998’s Certitudes) and finishing with the lengthy centrepiece "Promenade au Fond d'un Canal" off their 1981 debut album, Triskaidekaphobie.

Present spills its morbid doctrine with all its trickery and intensity on the relatively loose live setting, resulting in a livelier and perhaps more accessible sound than is to be found on their studio works. Make no mistake though (and the album’s title serves as a fair warning), as even if you do find the compositions’ jugglery and keen spirit attractive at first, it is bound to strike you as a crazed interplay between numbing and vigilance, as Present leads you through terrifying dungeons and interrogates you in all sorts of variations, pushing you to the edge of your stamina and letting go only to repeat it with a different instrument.

The band is certainly at the top of its wicked game, with every member contributing a showcase of his own while completing the very dense, macabre sound. A thrilling recording aimed at anyone who is ready to make acquaintance with the Present force. (9.3/10)

review by=Avi Shaked

I have awaited the re-release of the only album by the preliminary King Crimson formation for a long time. The knowledge of a Japanese re-mastered release was especially helpful in restraining me from picking up the old version, but it was the 2001 re-release of The Brondesbury Tapes (1968), a comprehensive collection of semi-professional home recordings that took place between The Cheerful Insanity of Giles, Giles & Fripp and In The Court of the Crimson King, in which I took comfort.

And now finally, the re-mastered release appears. Those of who are already fond of the original album will find some bonus tracks here and an excellent sound. Those who are not familiar with the material, however, should be careful in approaching it, as it might not live up to some people’s expectations from progressive rock ala King Crimson.

That’s not to say it is not good! On the contrary, this 1968 album features plenty of original sparks suggesting of the musicians’ impressive talents and future direction, with Robert Fripp’s dazzling performance (check out the dizzying "Suite No. 1"), serving as a prototype for his later works, and Michael Giles’ syncopated drumming being most notable.

Furthermore, The Cheerful Insanity of Giles, Giles & Fripp offers a marvelous song writing that manages to remain highly accessible despite its adventurous treatment, which includes a choir, trombone players and string arrangements as well as keyboards by one of the busiest session players of the time, Nicky Hopkins (who contributed to some The Who and The Rolling Stones albums amongst others). "Erudite Eyes," with its English folk influences and a raging vibe taking over towards the end, is a fine example of that, and so are "One in a Million," which resembles The Kinks in its character, and the bittersweet "Little Children."

One additional added value to this blend of pop, pyschedlia and even slightly hymnal music is the wry British humor with which it is served. I believe it could have easily been a source of inspiration for Monty Python (especially the impersonations on the narrated sections), and fans of this type of humor are further encouraged to try this delicately delicious release, as they would probably enjoy it even more. (8/10)

review by: Ignacio Coluccio

Devil Doll is uniqueness personified. Mixing classical, metal / rock instrumentation, ambient, opera and sometimes even circus music, they have created some stunning music. Such an unorthodox band, of course, has an unorthodox history itself: without even a defined country of origin, Devil Doll recorded their debut, Mark of the Beast, of which only one copy was pressed and kept by Mr. Doctor, mastermind of the band, singer and sometimes piano-player. In the early stages, Devil Doll was in fact not by one, but two bands in different places: one in Slovenia, one in Italy... they later on joined.

Dies Irae is the most recent offering by the band and widely considered their best. While the older albums were in some ways simple or linear, this one contains some persistent themes throughout and more active guitar work that makes it a more complex experience. It is, however, the band's most traditional work and their least symphonic opus, even though the existing orchestra adds humongous amounts of strength to the composition.

There's a change in the atmosphere that listeners familiar with the previous albums will surely notice: "Sacrilege of Fatal Arms" was a highly psychological, war-driven piece; this one is an apocalyptic one infused with old horror movie overtones, containing some hints towards Bernard Herrmann's work. The music is reminiscent of Shostakovich's symphonies, deep violins sometimes as knives, sometimes calmer and in the background. Indeed, speaking about Devil Doll through its influences can get confusing as they are all-around in the music spectrum.

Dies Irae’s structure has circular tendencies, some parts are the base of most of the music while the rest is derived from them. The most important structural change is the division in tracks, as opposed to the kilometric songs of the previous ones. It also introduces a track named "Incubus (Part 12)," which is easily the most memorable part: sharp strings, some "out of the nuthouse" vocal work, music segments that interrupt other music segments, angelical whispers, demoniacal shrieks and schizophrenic arrangements... the perfect music for a horror movie. In this "opus inside an opus" (seeing as it's completely unrelated to the rest) "The man of the thousand voices" shines through with some fantastic vocal work.

Criminally underrated, this concept album will make you crave for more... which makes it quite sad that the band only released some full lengths while having lots of unreleased material, including lots of minutes from the Dies Irae sessions. It's a possibility that in the future we might get another album by this singular mind going by the name of Mr. Doctor, but until then, enjoy this masterpiece.

review by: Avi Shaked

About fifty people arrived at the Cultura Club on a hot July evening to hear two bands paying tribute to rock’s greats, an amount far from living up to the evening’s potential, but at least the bands did.

The first of which was the Israeli located Burn, performing a set that consisted mainly of Deep Purple classics such as "Mistreated," "Woman From Tokyo" and "Child in Time," but also included lesser known tracks such as Rainbow’s "Spotlight Kid", Livin’ Blues’s "Shylina" and a brave selection in the form of Purple’s "Freedom" (a fine song that was released for the first time on the Fireball album reissue).

Their frontman, a Sebastian Bach clayed performer and singer, provided a metallic shade on the originals, sounding closer to David Coverdale than to Ian Gillan. His performance was not flawless, and on certain parts he failed to sit in with the rest of the band, but that did not detract much from an otherwise skilled performance. The band as a whole was especially loose in their performance, and instead of trying to copy the originals they went for the forefathers’ live spirit, and managed to execute it gracefully.

Next up was the main dish – a tribute to Black Sabbath by Holland’s Silverpill (www.silverpill.nl). With a vocalist that sounds pretty much like Ozzy Osbourne (especially when he spoke between songs) and a well trained outfit (after all, they do perform regularly in Holland), it was hard not to be rocked.

The Silverpill variation on the Sabbath material was thrash oriented, which is understood considering their background as a Metallica tribute band. The original Sabbath transitions were not always fluent, and the lyrical side of the songs was often neglected in favor of a swift performance. This was especially strident when the vocalist missed the feel of "Iron Man," singing the last stanza in the same manner as the earlier ones.

Silverpill’s set did feature some less popular tracks, such as "Wicked World" and "Behind the Wall of Sleep," but in order to top others they need an even more adventurous selection ("Megalomania" or "The Writ" come to mind as examples). They also did a fine original song, "Embrace," which featured a nice guitar solo, and I hope to hear more of their original material on a future visit, side by side with a refreshed take on the Black Sabbath repertoire.