review by: Pal the Postman

Attura Totus Sanctus (Latin for "destroy everything holy") is Dark Funeral’s fourth album in a 12-year career. Vocalist Emperor Magnus Caligula puts down his mark with his narrative hysteria like a hoarse, corpse-painted mother-in-law who's lost her marbles. In fact, stylewise his vocals share a certain resemblance with Nefarious from Macabre, who also excel in dark tales brought with relentless hyperactivity. The opening track of Attera Totus Sanctus immediately reminded me of the fast section of "Fritz Haarmann, the Butcher" from Macabre’s Murder Metal.

Dark Funeral are hurling forth some compelling compositions with skill; the hailstorm that guitarists Lord Ahriman and new member Chaq Mol are damn fine, the athletic thumpings of Matte Modin are thundering, and occasionally spiced up with some tribal variations. Attera has become a real drummer's album.

The bass duties on this album were done by Gustaf Hielm, who used to play in Meshuggah, a band that makes him a worthy guest without a doubt, even though one has to listen a bit harder to pick out his contributions.

Having seen Dark Funeral last spring at the dutch No Mercy Festival with greats like Nile and Dying Fetus, I wasn't very convinced by their performance, but this album changes things, and definitely for the better. Attera is interestingly balanced in its production, thanks to Daniel Bergstrand (In Flames, Meshuggah, Strapping Young Lad and Behemoth), despite the vocals being sometimes a little too predominant.

It may also be noted that at 43 minutes, it seems Dark Funeral get it that sometimes less is more, and that overkill in intensity can be much better than overkill in quantity, something which for instance encumbered the latest disc of Pestilential Shadows (see previous issue).

Whether this album should be considered a progression or not is probably not very relevant. For what it is, it is certainly entertaining and nothing unlike Dark Funeral. The guys just love to execute their knowledge of Latin "ad fundum," so a lack of passion could not be a founded accusation.

Attera Totus Sanctus is well worth a listen, if not several wintery ones. Ave, Caligula et alii! (7.5/10)

review by: Ignacio Coluccio

Entwine is a long-time Finnish band, with four albums out already. As most, if not all, of the Finnish non-doom bands, it's completely melodic and to a point, marketable. Accessible, sometimes catchy, and definitely not extreme in any shape or form. Dieversity represents a big change in sound for Entwine, with the inclusion of nu-metal or even HIM-like atmospheres. (Huh? That’s nothing *new* for Entwine – ed)

Excluding that, Dieversity is yet another Sentenced-derived band with clean vocals and power-chord based rhythms. Most of the songs are typically structured three-minute numbers where the central aspect is obviously the singer. Nothing special.

The strong point on this album, above anything else, is the catchiness of every single song. There's not a one non-catchy riff, or a single non-catchy vocal line. You'll find yourself singing at least one Entwine song after listening to Dieversity just once.

Even if not as attention-demanding as the vocals, the keyboard work by Riitta Heikkonen is one of the most important parts; every time she starts to play, things usually get much, much better. In fact, if it weren't for the simple but outstanding keyboard-playing, the rating would be much lower.

If you, like me, happen to love simply catchy stuff, believe me you'll want to buy this. Now, if you don't, then there's nothing else to find here. (6.2/10)

review by: Ignacio Coluccio

There's no doubt that the Forsaken guys are veterans at what they do: with three full-lengths out and 15 years together already, but that doesn't make Dominaeon any better.

Forsaken's sound is not different from mid-period Candlemass: epic doom, but not power metal influenced. Like it or not, there's something in Dominaeon that's more 1995 than 2005. The songs are usually long demonstrations of tight but not excessively complex musicianship.

It's safe to say, however, that this album is all about the technical aspect. And just the technical aspect. The song development is really good, the compositions are of a really good level, but it's just not as entertaining as it should be. No, that's not enough. It's fucking boring.

Forsaken suffers from the same thing Candlemass did after Ancient Dreams: a lack of freshness (gah! No love for Tales of Creation?! – ed). While everything is perfectly and carefully done, it's TOO carefully done and it's not fun. Now, remember Candlemass was a doom metal pioneer, and the first band to do that. Forsaken is not. If you’ve heard Ancient Dreams, you’ve heard Dominaeon.

When an album has no real highlights and no atmosphere or mood changes, there's no difference between listening to 10 minutes of it or the whole thing. Such is the case here. (3/10)

editor’s note: I listened only to a song or so off of Dominaeon before sending it along to our doom master Ignacio, but I can say that Forsaken has improved a lot since the last album they sent us. I have a hunch I’d give it more than a 3/10 for sure.

review by: Larissa Glasser

Subzero black death from Sweden that blisters the ears on contact. Excessum's hoarse vokills, minor-melodic Darkthrone hails, and extreme negativity make for a promising debut. Cuts like "Lies of the Deceiver" and "The Mournful Held Within" take a hyperblasting BM motif, deform it, and ultimately evoke a harshness that should please fans of early Dissection.

Excessum sometimes manages to invade "Master of Puppets" territory on this release, in that they meld technical incantations with a degree of applying what they've learned from their early 90's, Scandanavian forefathers. Indeed, Excessum have ably tapped into a bulging, black vein with this approach. Worth seeking out. (7/10)

review by: Ignacio Coluccio

It's getting harder for bands to be original without turning to incoherent or pointlessly complex structures. In gothic metal in particular, bands usually go the easy way and do "beauty and the beast" vocals with powerchord based backgrounds; and while that can be enjoyable sometimes (see Theatre of Tragedy's first two albums) it often gets tiresome.

Fall of the Leafe, thankfully, is unique. Unique without resorting to cacophony or complexity, so it gets extra points.

Vantage is composed of 12 songs, each one with a different personality. The most remarkable part is the vocal work, with a singer that's like a mix between Eddie Vedder and James Hetfield. The fact that the vocalist is really different from the background makes the music far more interesting but not incoherent.

Another strong point is the unique way in which the guitar rhythms are arranged, more similar to the way a pianist would arrange his left hand than to a normal metal rhythm; they not only add distortion to Vantage, but harmonization and melodies too.

Also, the songs don't stay in the same place for all of their length, instead progressing or having multiple choruses, variations and interludes. While the compositions are emotional, they don't get angsty or melodramatic and, most of all, they don't lose quality for it.

It's weird how Fall of the Leafe has kept up the level, if not gotten better, as opposed to millions of bands who release one good album and then a neverending stream of crap. Easily the best gothic metal release of the year. (8.9/10)

review by: Roberto Martinelli

For a this’n’that album, The Gathering’s Accessories is a very fine two disk set, indeed. Sure, you’ll have your share of tracks that will make you realize why they were relegated to the rainy-day pile of material whose purpose would be, for example, to help a band fulfill an unwanted contract with a label by digging deep through the musical equivalent of pocket lint to eke out that final album. We’re talking about tracks like live cuts with the Gathering playing with an orchestra. It sounds good on paper, and fans will want to hear it, but it clashes more than it works.

But for the most part, you get a bunch of really great songs (and only one song, "Leaves," appears twice). These are largely in the form of alternate/demo/live versions of favorite tunes from the singles albums from the Gathering’s first four records with Anneke Van Giersbergen, but fans will heartily enjoy Accessories.

Now, for fans that already own all the singles from those records, Accessories’ draw is somewhat lessened, as the only potential "new" stuff is on disk two, which features some rawer, rougher, demo versions of songs from How to Measure a Planet and Nighttime Birds (plus a couple unreleased instrumentals that are just so-so). However, the less polished aspect of the songs makes them somehow warmer, heavier, and more driving, like with the demo versions of "Probably Built in the Fifties" and "Illuminating."

Remember, though, as with any other b-side album, this is for established Gathering fans only, and not the place to start investigating the band. With that said, this is one of the finer extra-bits-and-pieces records you’ll find. (7.5/10)

review by: Megan Leo

This three song disc was one of the worst aural experiences I have ever had. The guitar tone is nondescript and lacking in basic EQ decency, the drumming is sub par, and the vocals are that terrible Nu metal combination of "growls" with moody (translate: whiny) clean vocals. There is little melody (besides the aforementioned caterwauling) present here, and the song structuring is anything but cohesive.

Avoid this, folks; avoid this like the plague. Maybe this short three-song offering is not truly representative of the band’s other work out there. But that is probably not the reality, in which case there is nothing here for metal fans. Perhaps baggy-pantsed Korn fans can get into the grating, overly simplistic guitar riffs and whiny vocals, but everyone else should stay clear. (0.4/10)

review by: Ignacio Coluccio

If there's one problem in power metal right now, it's the overpopulation of generic bands (and that’s an issue only limited to power metal? – ed). A genre that could otherwise be really good (albeit plagued by cliches), often turns itself into the metal "scene"'s joke. Why? Because of generic bands with ridiculously high pitched vocals. Imaginery is all that minus the ridiculously high-pitched vocals part. (Ed’s note: it seems Ignacio does not get power metal.)

Imaginery is an already established band, and Long Lost Pride is its second full length album. With Bob Katsionis in the line up (ex-Septic Flesh member and current Nightfall member) everyone would have expected something much better. But no, like lots of current power metal bands, Imaginery is using whatever's been done already.

I won't say that Imaginery isn't catchy or that it won't make you headbang, because that wouldn't be true. But I will say that it's as generic as it can be. You'll hear nothing new, and you probably won't remember the band's name after a while. Bad? Not necessarily, just pointless and superfluous.

Catchy, sometimes galloping riffs? Check. Outstanding keyboard work? Check. By the book structures? Check. Nothing different from what you can expect from a prog-influenced power metal band.

On the good side, you won't suffer directly at all from listening to Long Lost Pride. It's not boring, some riffs are in fact quite good but they vanish fast. But hell, you can't base the quality of an album on it being just tolerable, can you? (4/10)

review by: Megan Leo

Oh what hath the infamous Gothenburg wrought? Slaughter of the Soul came along to spawn many lackluster, copycat albums from artists much less capable than At the Gates. In Flames also influenced a whole slew of bands that would have done better to at least try to rip off the material In Flames released in their prime. But alas, a band like Infliction comes along to remind us of the pus-oozing, ugly zit that is Clayman and everything that came after it in In Flames' dreadlocked catologue. *shiver*

With an open mind, one can hear from the opening of The Silencer a typical melodic death metal intro. Next comes the "sensitive" clean vocals, to be interspersed with more "menacing" sounding growls. All in the context of played-out melodic death metal. The riffs are decorated with the artifical harmonic here and there, triggered double bass and the very cleaned-up sounding production.

As the album wears on, it becomes clear these guys are not even trying to be melodic death metal. They want to be pop death. (Did I just coin a new term????) Track three is called "PoisonRadio," even though I highly doubt this band wants anything more than to be played by the radio, just like Staind.

The next track opens with a "moody"piano voice keyboard bit with acoustic guitars, complete with sensitive singing. It gets predictably more "heavy" when the electric guitars come in.

The Silencer offers little originality and even less to those who like their metal without the frilly, pointless keyboards, without the septum rings and dreadlocks, and that know Lemmy is god and that life existed before Gothenburg and Nu metal. The riffs are rehashed, the drums boring and the vocals painful. Avoid this album at all costs unless you think In Flames really started to get good after Colony. (2/10)

review by: Larissa Glasser

This is a tight, thick, precise hybrid of black war metal. Obtest hail from Lithuania, and this release highlights the immense value of the Baltic metal scene. These songs are executed with such skill and conviction, one may suggest they have even updated Quorthon's template: no keyboard, acoustic, nor sampled interludes, just rich, blasting, and indeed refreshing metal attack that threatens to eclipse Manowar's most ferocious metal territory.

One of Obtest's most admirable characteristics is that they write and sing the lyrics in their native Lithuanian, while providing English translation throughout, in order to spread their heathen message to Western ears.

Unlike some releases that seem to place the most quality songs upfront and then dwindle as the tracks progress, Obtest keep the same velocity throughout.

One caveat: listeners unfamiliar with this band's sound may need to pin themselves down during the first few tracks. This listener didn't know quite what to make of it – the upfront vocal mix felt a bit jarring at first. However, by the rousing hyperblast of "Pergale (Victory)," patience paid off a thousand-fold, and managed to shine a brighter light onto the previous songs.

By the time "Griausmavaldys (Thunderlord)" rolls along, Obtest's reach is long, and iron-clad. Is Kartos I Karta (From Generation to Generation) is an awe-inspiring evocation of Nature's destructive powers, despite humankind's effort to tame her. Clouds part with the revelation that this is not a mere studio project: slated tours of Europe and The United Kingdom in 2006 sound like a promising opportunity to observe the band in action.

The best is yet to come: the chorus and bridge of "Audronasa (Stormbringer)" sticks in the listener's head like a blood-feud, tinged with rage but clear as Noon in June. It is an excellent track, and perhaps the best illustration of how Obtest forge melodic counterpoint, hyperblast, and sweeping G-force.

"Burtai (Spells)" uses an increased level of Maiden-esque twin guitar. Bloody fine musicians. "Pirmyn! (Forward!)" is more mid-paced but compromises nothing and further evinces this band's metal pact.

The final track, "Suminti Juodi Takai (Treaded Black Paths)" is one of the darkest, lamenting the war dead regardless of victory or defeat. One can envision the sun setting to this song, as the bodies are piled up, the torches are lit, and the bonfire commences.

Obtest unravel a new scroll of battle metal that clearly powers the heartbeat of mythology and legend for the generations to come. (9/10)

review by: Pal the Postman

Although Svartsyn’s second album, Bloodline, was recorded back in 1997-98, it never got a proper CD release, so here it is now with two very raw bonus tracks. Svartsyn has a history that goes back to 1991, when a band called Chalice was formed and renamed in 1993. Drummer Draugen (ex-Dark Funeral) teamed up with original founding member Ornias, and to this day they're still working together.

The bonus tracks are from what is known as the re-recorded Tormentor 7", which was also a limited release back in '98. The music is raging and conveys an evil, old school atmosphere. Although this release offers some quality blackness, the cover design may put some people off, because despite being well executed technically, the image of a nobleman and a savage united in horrible hairdos isn’t particularly menacing or terrifying. So although the nobleman's throat seems to be slit, he appears to be thinking, "dammit, my turkey! I've forgotten to turn down the gas on the stove!" The picture is at odds with the great band logo and its clever symmetrical elements. Now the latter is obscured to the background so one might think the band's called Bloodline instead.

Anyway, the music will certainly appeal to those who prefer vocals as vicious as others like to have their steak rare and bloody. In a way, it is good to have the Tormentor tracks because the actual Bloodline album gets a bit samey after the first half, admittedly. But the bonus cuts "Goat Throne" and "Throne of the Anti-Christ" are quite different. On the edge of no-fi metal, but still recognisable as chaotic black metal and hence somewhat enjoyable just before the notion of developing a headache sets in.

Those two songs almost manage to revive the evilness of basement dwellers like the now sadly disbanded Moonblood. Quite surprising.

Recommended as an alternative or addition for folks who might or might not be happy with the latest Dark Funeral album. The production of Bloodline is less sophisticated (even though it has been mastered just recently) but if you'd happen to find the vocals of Dark Funeral 's Caligula lacking in shrillness or that Dark Funeral's guitars are too low in the mix, you'll be served well here, even if it's already 7-8 years old. Definitely worth checking out. (7/10)

review by: Megan Leo

Vile is a band that wears their influences on their collective sleeve. While The New Age of Chaos isn't an unenjoyable offering, Vile’s combination of proficient musicianship with a love of Floridian death metal is certainly not treading any new ground or offering anything original.

The album opens with riffing and death metal style blasts that immediatly point to that of oft-imitated Morbid Angel. The vocalist, Juan Urteaga, imitates David Vincent and at times conjures a Glen Benton-esque Deicide style high/low growl/screech that falls short of intensity and much impact. He is not an inept vocalist, but not a very convincing one. The drums are a little heavy on the trigger noise,and emphasis is on the slow to mid paced, never ultra fast blasts.

The highlight for me of this album was the solo work, and the ryhthms section underneath them. While still reminiscent of Morbid Angel, there is some truly well chosen notes in the solos that fit well over the structure of the guitars, bass and drums underneath them. On the second and title track, at 2:29, a Trey Azagthoth worship solo occurs, absolutely irresistible with the way it feeds off the ryhthm section. The outro to this tune is a more melodic, decidedly un-Floridian solo, very emotive and also containing tasty guitar licks.

Upon repeated listens, the album is still quite derivative, but if this element is not bothersome to the listener, there is some choice guitar playing here. Alot of the verse/chorus/verse sections are quite predictable, but this can almost be overlooked by the stellar note choice on many of the leads. However, this isn't nearly enough to elevate it to greatness. (4.5/10)

review by: Rick Luna

Not too sure what all the fuss is about Hammerfall, but this first taste just doesn’t cut it. Chapter V has some incredible talent on its weight, especially within the guitar department, because that’s where all the magic happens. Although illuminating, it’s not nearly as fantastic an experience to see the rest of the light. As far as other points of interests are concerned, there really isn’t anything great to offer to new listeners here. Unless you’re a fanatic then dwell upon this for a bit, but not for too long or else you’ll suffer a headache as a main side effect.

Unbent, Unbowed, Unbroken (possibly referring to the "if it ain’t broke don’t fix" rule?) lacks the power and strength to keep the listener under command. In other words, it’s tiring and dumbed down and maybe a bit too tedious.

Hammerfall is a great entry level band for the beginner who’s curious enough to venture into new ground, like the realm of the power metal genre. The experienced will find this utterly offensive. If you have the ability to stomach this, then you have my respect.

Maybe, I’m just a sucker for aggressive music, but this is more like a boring metal album that has no point or value in listening to over again. Truth be told, it was agonizing to listen through this and how they succeed with such a fan base and a Swedish Grammy nomination (as far as I’m aware) is a mystery to us all. (2/10)

review by: Rick Luna

Prepare for one of the best contenders for album of the year. Exodus has once again placed the torch higher and farther from reach of any other band wanting to take their thrash reign. Now a part of the legendary magic includes the new additions of vocalist Rob Dukes, ex-Slayer/Forbidden drummer Paul Bostaph, and current Heathen guitarist Lee Altus, for the extra help in the solo department.

Shovel Headed Kill Machine is totally in your face, purposely rough around the edges, and aggressive as fuck. In fact, this album is too perfect. How can one go wrong with listening to a 10 track, hard hitting, attitude ridden lesson in violence? It bleeds, wails, and demands for your attention.

Gary Holt proves to his loyal fans that the H Team (guitarists Gary Holt and Rick Hunolt, now departed – ed) doesn’t need to be together to create a great record. His sound is as sharp as a knife and dirty but played precisely, the way it’s meant to be. "Shudder to Think" is simple, to the point, yet effective in maintaining the groove and supplies its hatred in the most lethal dosage. "Going, Going, Gone" is a favorite of mine that has one of their best breaks in any Exodus album. "44 Magnum Opus" is a seven-minute fury done right with one of the most memorable chorus lines in recent Exodus history.

Rob Dukes’ aggravated vocals kill! They are the matches that ignite the rest of the music created from Holt’s creative mind. He’s a fine replacement for Steve "Zetro" Souza whose metallic Bon Scott impression seemed to already wear thin. Without Dukes, this album would’ve seemed lifeless. Paul Bostaph is in his prime on this record and by far his best performance I’ve ever heard. Jack Gibson provides solid and audible bass lines into the mix of things as well. There are some parts where Gibson gets to introduce himself, like in the beginning of the great "Deathamphetamine."

The title track is the fastest song the band has ever done and while it is a bit short, they are dead on in their description.

Tempo of the Damned may be a bit faster than this, but what the hell I’ll take substance over speed any time of the year. Perfect! (10/10)

review by: Rick Luna

Guilty pleasures of sweet gothic passion just got served on a platter of a cold and stiff chuck steak. Naio Ssaion as a collaborative is just like Evanescence… more so than Lacuna Coil and those female fronted bands with radio-friendly, pussified music.

Just as commercial with its catchy bubble gum darkness, it is the exact music that makes you want to jump up and down like a teenage girl. The only thing that lets you draw that line of separation would be the additional trickles of classical influence from the crazy, corpse looking violinist and complimentary keyboards and synths. It does tend to differ from their more commercial influence a tad, and offers some originality to the forefront.

The sexy vocal work is indeed easy to understand or memorize and the musical arrangement, as lackluster as it is, seems to fit within the typical architecture with any radio friendly tune.

However the only break from this pseudo Goth fiasco would be "Bow Link In E Minor," which strays from the heavy music and changes the mood with a little classical ditty with the violin. If you’re able to withstand the typical linings of teenage topics, debates and songs such as "Teen" and "Blah-blah," then get ready to unleash the crimson wave.

Naio Ssaion might not get the exposure as Evanescence, but it’s an honest to Goth effort. At other times I’m thinking that the violinist sounds like something from a Charlie Daniels band, maybe he has a little "Devil Went Down to Georgia" spirit in him. (5/10)

review by: Matt Smith

These Floridians are champions of frank, brutal American death metal in a time of electronic-infused, Swedish riffing. Featuring two former members of Malevolent Creation, Divine Empire clearly knows what sound it is trying to achieve and does so without fooling around. Dark, sludgy grooves lead into strong melodies and aggressive verses while Jason Blachowicz spits contemptuous growls into the mic.

The lyrics aren't any surprise coming from an old-school death group, as they visit cruel scenes and are generally violent and sadistic, but sometimes it's best not to mess with tradition. Jeremy Staska's production also does well in highlighting the deep, well-blended nature of Divine Empire's sound, where each element fits appropriately into the whole and nothing is drowned out or overpowering.

Method of Execution isn't trying to defy convention or revolutionize death metal itself, but it isn't a backward-looking album, either. Divine Empire is moving forward with solid riffing, songwriting and performance, though this release may make all you death fans miss all the no-frills material that seems so rare these days. (8/10)

review by: Matt Smith

This symphonic black/goth metal group has always been productive. With six releases since 1997, the band has really made a name for itself with its superior songwriting and emotional performance style. Dark to the core, The September EP features a variety that is sometimes difficult to come by – Anorexia Nervosa experiments with different styles and tempos, from slow rock with smooth singing to faster, more extreme fare.

With covers of Forbidden Site, Darkthrone and X-Japan along with four live tracks, The September EP is mainly moderate in its tempos and remains fairly listenable for even non-metal fans throughout. The live tracks get deeper into the extreme end of the spectrum, but melodic synthesizers keep things from getting out-of-hand, and the production is quite clear and full.

Anorexia Nervosa has managed to build a relatively wide fan base by reaching for the edge but remaining within certain boundaries: The songs flow smoothly from verse to chorus and the instrumentation is tight and manageable. The vocal talents of Hreidmarr have also helped the band carve out its niche, though Hreidmarr announced this month that he will be leaving the band. Anorexia Nervosa's future is unclear, but it has all the basics down, and I'm sure another vocalist who can sing as well as scream will come along sooner rather than later. Fans of the group's earlier material will surely enjoy The September EP, so keep your ears open for this one. (7/10)

review by: Avi Shaked

Roger Chapman, once the vocalist of the legendary art-rock outfit Family and of Streetwalkers, has reinvented himself on his "Shortlist" incarnation. Enjoying a big, star-packed rock band siding him, he has shaken his past associations and set for new territories and original material.

This double CD reissue of the live 1982 release captures the band on the height of its European success, following a pivotal television broadcast of an earlier Rockpalast gig (which is, in fact, available in DVD form).

It takes no more than the comparison of his slippery version of "I Just Wanna Make Love to You" from that Rockpalast concert, included here as a bonus, to Alex Harvey’s in order to faithfully cite the influence.

Chapman also builds on Ian Dury’s quirkiness, and with the help of the Shortlist, which uses vibes, piano and horns in addition to the standard rock instruments, he expands the Dury’s funk/punk palette with his own brand; his goat like singing is more restrained when compared to its excess on early Family albums, yet it is also dirtier.

The original material is magnificent in its drive and delivery, and there is a creative spontaneity that is reminiscent of Frank Zappa’s bands and shows a sincere affection for jazz. Matter of fact, there is a fine version of Hendrix’s "Stone Free" blended with the funky, electronic jazz of Miles Davis’s "Bitches Brew." Highly recommended! (8/10)

review by: Matt Smith

Wow, two French black metal bands in one month. Anorexia Nervosa and Evohe do share some basic traits, but the bands differ in more categories than they share. Evohe is truer to the black metal genre, playing more straightforwardly dark and extreme music with worse production, though its tempos hardly push the limit. The vocals mainly consist of a throaty, gurgling scream, though a lower growl chimes in occasionally. Evohe also lacks variety in its instrumentation and atmosphere, though the group has hit evilness right on the head and does not stray far from it.

The drums get predictable and could use more blast beats, and the guitar lines' droning melodies could stand some more diversity. But overall, Tellus Mater is a strong, dark black metal release. It sounds surprisingly mature for a debut, and it is clear that Evohe's members know their music. If you're tired of your current collection and just need some decent black metal to add to the pile, Tellus Mater may be just what you're looking for, though I look forward to hearing more from Evohe when it's had a few more years to develop its sound. (6/10)

review by: Matt Smith

This Finnish band's second full-length release is clean and mature, with catchy riffs and impressive diversity from one song to the next. The tracks flow smoothly and feature a variety of themes and techniques. Mainly, Mors Principium Est's thrashy base melts into energetic, well-produced electronic sections or soft female vocals that help to build the mood and keep each track interesting.

The drums are near-constant and drive the sound forward, but they do not display much more than the basic thrash beats and elemental rhythms. The vocals consist of a raspy, forceful growl that punctuates the otherwise smooth atmosphere with a little grit. But, of course, the real meat of the album lies with the guitars. From fast-picked, palm-muted grooves to percussive verses to blazing solos, they hit with remarkable accuracy and authority. They do the hard and angry as well as the gentler riffs without blemish and with a striking degree of creativity.

The Unborn is a cleanly produced and an easy to listen to release, which will appeal to fans of groups like Soilwork that rely on songwriting, catchiness and prolific guitar players to make their point. (7.5/10)

review by: Avi Shaked

If, by 1980, most progressive rock bands were intimidated and shut down by the punk movement, Atomic Rooster was, in fact, encouraged by it.

Atomic Rooster (not to be confused with the band’s 1970 debut, Atomic Roooster) saw the band not only debuting in a trio form (with John Du Cann back in both the vocalist and guitarist spots) on a new label (EMI) after its mid seventies breakup, but also bringing together the cockney attitude into its music, which, throughout the band’s existence, has already maintained a hard edge in addition to its progressive elements.

But do not be misled to think the band has sacrificed its trademarks, as its punch is served with and on top of the same Halloweenish spirit that flows naturally from Crane’s malevolent Hammond organ and lyrics that evoke paranoia. Therefore, while newcomers may want to explore the band’s undisputed classics first (Atomic Roooster, Death Walks Behind You), the band’s devotees and the more edgy audience will find a fresh start in this release (even though the band ceased again shortly after).

The Angel Air reissue offers the album for the first time on CD, and includes two bonus tracks. (7/10)

review by: Avi Shaked

The new Symphorce album offers a certain evolution of the convincing heavy metal the band exhibited on its previous release. Still somewhat rooted in the classics, this time the modern leanings are more dominant, making the band’s thrash sound darker and more industrial flavored than before.

While 2004’s Twice Second was keen due to its catchy guitar hooks, this time around the music is more rhythmically based, and the drums are bashed constantly all over the place (and perhaps a bit over the top). There is still some fine guitar work and jagged riffs to be found here, although these are generally less melodic and more electronically processed.

The vocals are also reshaped according to the music, owing more to modern metal bands than to Iron Maiden. Yet, some of the vocal work explores the same territory Judas Priest has explored on its recent releases.

With a songwriting less preposterous than on Twice Second, the new Symphorce holds a promise for fans of heavy metal, although they should pick up the latest Judas Priest release (Angel of Retribution) first, as it is composed of, more or less, the same ingredients but it is altogether more rewarding. (7.5/10)

review by: Avi Shaked

Salem Hill’s seventh studio album was recorded in England, but the American band implements the progressive rock of its homeland by the book. It might raise a certain opposition but Salem Hill, unlike many others, performs its original, lengthy, soul searching suites with so much care and truth that the Kansas comparison becomes marginal (although still inevitable).

The nuanced playing is shown from the beginning, and the talented band expands its scope with the help of guest players (such as David Ragsdale on violin and Neal Morse on vocals) to portray grandeur and offer rich, dramatic compositions that contemplate as much as they fire, with beautiful vocal harmonies, interlaced keyboards and guitars, and thoughtful melodies.

It is true that the twenty-one minutes "Stolen by Ghosts" should have been shortened and boosted, but the closing track (almost of the same length) that follows makes up for it: arguably the most realized composition among the four on the album, "The Future Me" features a blazing instrumental intro leading to passionate reflections and a triumphant execution that manages to evoke a slight catharsis. (8.5/10)

review by: Roberto Martinelli

Animus Herilis has the good distinction of having one of the best necro black metal songs of the year in "L’autre Monde." It features catchy melodies that are rendered more so by the way they are arranged, and riffs that, although definitely within the strict, narrow scop of the genre, are still refreshing.

From there, however, Recipere Ferum doesn’t so much lose steam as let off similar outputs of lesser versions of that first song. There’s still a good amount of originality within the music, but it increasingly seems like the sum of the parts are little more than adjusted and re-arranged.

Still, this is largely the context within which Animus Herilis’ style functions: as fuzzed-out, drony, blissed-out, damaged music, it works well. But considering the singular nature of the album overall, it might be a bit long at 43 minutes. No doubt contributing to this factor is the very un-organic sounding drums, which, although purported to be played by a human being, sound for all the world like a drum machine – no doubt the drums were recorded with an inexpensive set of electronic pads. It’s a bit less grim sounding for a genre who’s tools to achieve the utterly freezing and morbid are few. Still, Recipere Ferum is an accomplished, good straight-up black metal album that does bring a bit of originality to the scene. (6.7/10)

review by: Roberto Martinelli

The name of the death metal game for the last 10 years or so has been one-upping, or at least so for the most part. 2005 has seen such new pinnacles in musicianship and production as the new Origin and Cryptopsy – and now you can add Pillory’s No Lifeguard at the Gene Pool to that list.

Unique Leader has released a slew of death metal bands in the last months that feature seemingly impossible tightness and precision. (And how much this is something these bands can pull off live and how much is studio shortcuts and digital manipulation is something we can’t tell – but in the end, it’s the finished product that we are enjoying on a recorded medium, leaving the band’s ability to pull it off on stage as another feat.) But what makes Pillory stand head and shoulders above the rest of Unique Leader’s current cast of releases is how innovative and diverse the music is, and indeed how each song on the album stands as a unique entity.

As is the case with technical death, No Lifeguard at the Gene Pool takes a few attentive listens to begin to unravel the signature intricacies of each track. Some are obvious standouts, like the jazzy interlude that features clean guitars and fuzzed out, damaged drumming on "Irritated as a Hangnail in a Fingerfuck," or the pigs in a wood chipper vocals at the end of "Welflare Gun."

For instance: one of my favorite songs on the album is the closer, "Dust," because of it’s intense blast beat intro. But the fact that it’s the only song on the album with such an intro allows it to stand out. Of course, one could make a case that each and every delectably technical and engaging song on No Lifeguard at the Gene Pool is the best of the album, and he or she would be right. This record features godlike performances in every department, especially in the one that perhaps counts the most in this genre: the production. Death metal fans or enthusiasts of bar-raising technical music absolutely must get this album. (9.1/10)

review by: Roberto Martinelli

A few moments into Eyestrings’s second release are enough to recognize the potential: The pained, illusive vocal lines and the draggy atmosphere stretch the gestures of The Bends - OK Computer era Radiohead into epic proportions, blurring the limits between alternative rock and progressive rock, and serving it with hard rocking distortions.

It works for a while too, as the songs offer a constant, even if mild, evolution with enough occurrences to shade the band’s guitar and keyboard driven rock as well as both instrumental and lyrical hooks to swallow you inside. The material is far from average, with tender percussion, jazzy flavors and a tamed approach, which helps the band to rise above some of its arrogant contemporaries and hide the technical imperfections.

However the album loses some of its grip on certain parts, such as the King Crimson ripped section of "Code of Tripe" (simply because King Crimson builds on the momentum of its fired up infernos much better) and the occasionally exhausting twenty-minute, Genesis inspired "Lifelines," on which the album’s slightly flat production traps the dynamics. (6.5/10)

review by: Roberto Martinelli

Ladies and gentlemen, here it is, the shittiest album of the year. Ready to Fight is a collection of demos and live recordings from 1981-1983 from one of hardcore’s purportedly most influential bands, Negative Approach.

This absolute train wreck of an album has everything stacked up against it. For one, the production is horrible, but what would you expect? The tracks were either recorded in a garage with the most amateurish equipment available in the early 80s, or at shitty, underground punk shows. This makes the already awful musicianship seem even worse, and sometimes it seems like the unlisted, fifth member of Negative Approach is indeed the ever oppressive, overdriven white noise, no doubt so omnipotently present in order to boost the music to proper audible levels.

Desperate to Fight is one of the most ill-conceived album ideas of the year. The worst tracks are at the beginning (makes sense as they are in chronological order), making the album’s already ludicrous 50 track, 62 minute running time seem even more like cruel and unusual punishment. Really, in the year 2005, with ever improving standards of musicianship and production in hard and heavy music, why anyone would want to listen to this universally insulting record for more than five seconds is nearly impossible to imagine. (0/10)

review by: Roberto Martinelli

Most melodic, progressive metal comes from a power metal background. Urizen is different. You can tell the three guys in this American band listened to a good amount of Dimmu Borgir and a TON of Solefald in crafting their highly original sound. So think blazing melody lines and blastbeats, but no harsh vocals, and the whole lot given a melodic, progressive sheen.

Different. Remember that word. So, yeah, you can hear where the grueling extreme metal instrumental workouts have made their mark on this band’s style, but you’ll get just as many progressive, funky rock moments that are utterly devoid of metal.

Original. Urizen, although an unsigned, DIY band, has already found its own voice, and puts forth a powerhouse album with excellent production and professional level musical performances. If there’s any thing that is slightly suspect, it’s the vocals, which at times – mostly during the fast and furious songs – could be better both in performance and production. Now, this is more a contrast of the singing not being as good as the high level of the rest of the band’s aspects, as the vocal lines in general are very engaging and for the most part contribute greatly to the music as a whole.

Ironic. We’d rather listen to Autocratopolis than either of Dimmu Borgir’s or Solefald’s latest records. Hell, we think Urizen is already making better, more totally appealing music than their supposed heroes, Cornelius and Lazare. The thing that’s keeping Urizen from totally busting out onto the scene is some slightly better vocals and that extra little bit in the production department, but there’s no reason to believe this won’t happen if the band gets signed. If they don’t, it’s a travesty. (8.3/10)

review by: Pal the Postman

Thrash metal time. Since Slayer have resorted to an incomprehensibly long sabbatical since God Hates Us All was unleashed on 9/11/01, other bands will have to keep the flame alive and the sweat boiling.

Hurtlocker, from Chicago, are not making any effort to mask their sources of inspiration with their debut, Fear in a Handful of Dust. Other influences cited are Pantera, Hatebreed, Hatesphere and Soilwork, but somehow Slayer seems to be the keyword here.

Singer Grant Belcher spews forth some characteristic top-of-lungs anger. On a song like "Absolution," he comes very close to Tom Araya's style and I'll be damned if this won't become Hurtlocker's signature tune.

On one hand one may wonder what is the urgency behind another derivative, but on the other there's enough reason to be pleasantly surprised for Fear in a Handful of Dust is a very tight, energetic and well-produced album (done by Zeus, who also produced Hatebreed, for instance).

One may be simply happy that here are some hard working newcomers (new since 2000) pushing the genre into the remainder of this troubled decade, even though it may be debatable whether they are truly "forerunners of the next metal movement." In 30 minutes’ time, the album features 10 songs, but it seems more like 40 because of the familiar start-stop-start element.

Fear in a Handful of Dust may be a cake baked of familiar ingredients (with a razor blade here and there) but it doesn't hurt to have a taste of it. Hurtlocker have made a great debut, though one may argue if it's really that innovative for thrash metal. Without any reservation I'd advise Slayer fans to check this one out as soon as it hits the streets. You may like them now, and in time you may like them even more. (6/10)

review by: Pal the Postman

Still in a bit of a Christmas mood? Feeling a bit chaotic 'cause you still haven't figured out your best wishes, let alone if you'd want any at all? Gospels for the Sick will lighten up your dark days with some multi-flavoured Scum. The "bags of Scum" will ring many bells for both punkrock and blackmetal fans.

The supergroup, consisting of members of Amen, Emperor, Mindgrinder and Turbonegro, gathered in Oslo for a few weeks, enlisting guest appearances by Mortiis, Nocturno Culto of Darkthrone and Turbonegro guitarist Knut Schreider. Also special is that Samoth and Faust from Emperor have come together to record for the first time in 10 years. Re-pairings don't necessarily result in miracles, but they can certainly boast surprises.

Punkrock and blackmetal: death punk, black `n roll: no need to worry this time, it's nothing like the last cheesy Nattefrost project. The idea of this supergroup already formed back in 2002, but it was not until the fall of 2004 that they put words and early efforts into something real. A reference of "Sex Pistols meet Slayer" is proposed, but you could also pick the likes of Entombed and skate punk influences in general.

The vocal delivery of Happy Tom may put off some folks who are too young to have already delved a bit into the history of punk and what the Sex Pistols were all about. Then one could understand why Happy Tom sounds so "un-metal" and that he is sneering in a way that used to be so typical for Johnny Rotten. Jello Biafra from the Dead Kennedys was also good at this, but he often sounded like a preacher on helium, floating above the musicians in dis-unison. Happy Tom fits in well in this chaotic melting pot of frontmen.

And as for the Pistols link: the first song, "Protest Life," definitely bears elements of "I'm Not Your Stepping Stone." And believe it or not, a song like "Hate the Sane" starts with some heavy grooves reminiscent of (the better moments of) Rage Against the Machine. That's a comparison that doesn't seem far fetched even when looking at the handling of the lyrics. True to old punk style, the wide range of lyrics are vitriolic attacks on American life with its capitalism and politics ("We must bleed together as one / to live the American way") – don't expect songs about tales of ancient forests.

Most of the time, Gospels for the Sick simply means a lively mix of heavy and fast parts and an amalgamation of the various background styles of all participants. They are not evil, but all the more hateful, which makes Gospels for the Sick a perfect start for the day. Perhaps not everyone's, but Scum are definitely an interesting project and their concept allows it to be more than just a one-trick pony. (7/10)

review by: Roberto Martinelli

It’s been a while since Solefald carved its unmistakable niche in extreme metal. For years now, the Norwegian duo has been cranking out its avant-garde, highbrow take on the planet’s most aggressive and technical music, for better or for worse.

Red for Fire may be the group’s most overall pleasing album to the ear. This is probably greatly due to the almost total exclusion of the abrasive, croaking harsh vocals that this reviewer feels plagued most of Solefald’s back catalog (but I can’t deny their uniqueness). The clash of dissonance and harmony is still here though, with the former largely manifesting itself in the band’s thrashiest numbers, and the latter with rich, organic string numbers fronted by melodic female vocals.

As ever, the musicianship is top notch, with Solefald choosing not to go the road of pushing the performance envelope this time, rather weaving a heavy, misty web overall with their dynamic, progressive metal. However, there is something about Red for Fire that makes it seem a bit less than a totally cohesive work. The record switches gears rather abruptly sometimes that it borders on clumsiness, and the rougher parts still err a bit too much on the unpleasant and dorky side.

This is indeed Solefald’s plight. For the length of its career, we’ve eagerly listened to each new album, knowing the talent and creativity behind it, anticipating an utterly genius record, always getting some of that in brilliant bits and utter originality overall, but still being left wanting. Red for Fire is sadly no exception. While in some ways it may be the band’s best overall (we still are standing by The Linear Scaffold), the feeling of, well, for lack of a better word – constipation – still permeates the album rather markedly. Images of hifalutin intestinal distress unfortunately pop up now and again, expectedly with some of the harsh vocals, and notably during the spoken word part – whose content is quite powerful, by the way – but whose forced, somber delivery sounds rather campy. And the closing of the album with a track of what we believe is an old Icelandic man telling some manner of tale while waves lap in the background is a nice touch, its five and a half minute length and aspect of being comprehensible by an infinitely minute section of the population makes it smack somewhat of smarminess. Hate to say it, but that might sort of be Solefald in a nutshell.

Back to the good. Solefald’s clean male vocals continue to be one of the band’s treasures. Lazare’s singing is blessed with immediate identification and an angelic, pure ring, but yet cursed with a very narrow range, making the sporadic use of the vocals sadly all that would probably work within the music’s framework (and what makes the all clean singing band he’s in, Age of Silence, immediately pleasant but inevitably tiresome.) But his vocals are used excellently on this album, and more satisfyingly than ever.

In conclusion, Solefald is an undisputably important band. They are in a sense genre-defining, and one gets a sense that they will always put out material that will garner well-deserved praise, or at least spark debate. Red for Fire is no exception to this, although we’re still waiting for that utterly triumphant record... (7.8/10)

review by: Roberto Martinelli

There may be plenty of progressive metal albums that are superior in technicality and production, but none perhaps are more definitive than Dream Theater’s Images and Words.

Since its release in 1992, this album has continued to define an entire genre of music, with endless copycats (ironically purporting to be "progressive") that never quite measure up, no matter how much improvement they may make on the formula.

Does Images and Words have its flaws? Sure. Some may say it’s got a whole lot of wussy material. Certainly that’s in the ear of the beholder. I find it to be utterly essential during its every moment. Others, like me, will point to the rather bad triggered snare sound or some vocal sections that skate dangelrously close to modern R&B style melodic moaning. Again, its something that can be overlooked because of the sum of the parts.

Totally genius melodic progressions in instrumentation and vocals. Brilliant syntax and delivery, one of the genre’s defining bass guitar solos, and majestic, lengthy instrumental sections are the highlights of this essential album.

Ironically, Dream Theater in its own way falls into the same category as all the bands that have sought to copy them: although the band has released albums since Images and Words (their second release) that are both better in production and execution, this album will always remain their most defining moment.