review by: Matt Smith

This Polish death group's most recent release is a step forward for it rhythmically, as Hate mixes its more-traditional, brutal base with a touch of the industrial and gives the drums more attention. The result is a well-structured, almost-too-orderly offering of aggressive blast beats, rapid-moving guitar riffs and throaty growls. This does have the effect of lessening Hate's impact; balls-out viciousness must be sacrificed, or at least reduced a few degrees in order to make room for a stroke of Swedish influence.

Not that a touch of technicality is a bad thing, but it must be used wisely. Hate does a great balancing act in this respect, as it doesn't allow itself to become overly predictable, nor does the band allow itself to get lost in the "cheesy groove." Well, maybe in a couple of places, but it's really not that bad, comparatively. And the sheer ability shown by Adam's scorching guitar lines and Hellrizer's prolific drumming is more than enough to carry the album through to the end.

The most disappointing thing is to buy a band's new album and have it sound just like the last one. There is no danger of that with Anaclasis, and Hate seems to have a clear direction for itself as well as the skill to get there. This release is a strong offering from an experienced group, and it is worth the attention of death heads everywhere. (7.5/10)

review by: Avi Shaked

This new release by Oliver Wakeman, the son of one Rick Wakeman, kind of surprised me, as it corresponds more with hard rock and arena rock (oh, how I hate that term! but when it fits, it fits) than with progressive rock. There is no doubt, however, that Wakeman did follow in his father’s footsteps in terms of dominance, and that’s a shame, because he, unlike his father, has yet to establish for himself the reputation needed in order to get away with a one man show.

Mother’s Ruin is a standard collection of hard rock songs that relies mostly on Wakeman’s keyboards for their melodies and decorations. The contribution of the other players who support him is negligible, and they come off as easily replaceable given the generic guitar riffing, banal rhythms and the occasionally off-tuned vocals.

"Don’t Come Running" charges with a pompous hard rock sound reminiscent of Deep Purple, "Walk Away" brings memories of Journey into mind, and "If You’re Leaving," with its clichéd lyrics, is bound to strike itself rather than the listener.

However, with all that said, Mother’s Ruin does work on a basic level, with its primitive sing-along charm and some creative keyboard lines and twists, managing to rank slightly above average. (5.2/10)

review by: Rick Luna

In the early 90s, Deicide set the standard in terms of terrorizing, blasphemous music. What we have here in Aeon’s Bleeding the False is material that even surpasses that, throws it at your face with disgust and will even make the nonbeliever gasp.

If "Heaven’s for Faggots" (I’ve sinned way before I wrote that) then consider me damned by the incredible amount of derogatory lyric based remarks toward the Christian realm. This album fucking hates your existence!

What keeps Bleeding the False red hot are the ultimately aggressive double bass drums that keep on pounding like jackhammers fixed on an impenetrable piece of steel. Triggered or not, this stuff is grade A in my books! "Biblewhore" is a track that you would have least expected to even have an ascending and descending scale of riffs thrown in for balance. "Forever Nailed" is also another noteworthy track that grabs you by the ears, and even seems to have the perfect mix of brutality and complexity. "God Gives Head in Heaven" is what truly defines Aeon in all its satanic glory; a sledgehammer to the head would best describe the force of this foul song.

The bonus track is definitely worth the extra points and laughter. No need for spoilers, but you must check out the album in its entirety for the treat to be a success. "Bleeding the False" is an incredible release for Unique Leader. (9/10)

review by: Ignacio Coluccio

The Japanese grind scene is one of the best ones out there with bands such as 324, Nikudorei and Bathtub Shitter, to name just a few. If there's something that makes it much different from the other scenes, it's that every single band is unique.

This time it's a 3" CD containing "fecal" versions of Christmas-themed songs. How lovely. If there are two things you wouldn't ever merge, they are... well, Christmas and crap. Call me crazy, but honestly, it didn't seem that weird to me. I think I'm kind of used to the hilarious concepts of the Japanese.

The good part is that the three songs here are both hilarious AND good. Well, not just good but AWESOME.

The first track is an a capella "song," named Brown Santa, mostly random growls and weird vocals, but it's too original not to like it. The second one is an actual song, named "Holy Shit," with guitars and drums, catchy as hell goregrind like in Lifetime Shitlist. And then, the weirdest and last track in the 3", a drone version of "Little Drummer Boy." Yes, that’s right.

Xmas is really different from the band’s earlier stuff, but at the same time, it still has the Bathtub Shitter sound we know already: crazy vocals, groove, weird drum sounds. It shows a much more avant-garde-oriented sound while still keeping the same level of quality they've had since they started.

Too awesome to give it a number rating. (Holy shit/10)

review by: Matt Smith

One should expect no less from Unique Leader than punishing, no-frills death metal, and Beheaded delivers exactly this with Ominous Bloodline. True to the roots of death and bringing a deep, guttural sound, Beheaded chugs through the album at a moderately fast pace, accompanying the double-bass-heavy drum lines with quick (though often sloppy) guitar riffs and a lot of deep growls.

Beheaded has some trouble keeping Ominous Bloodline interesting all the way through, though frequent, slight shifts in the drums and guitars are relatively effective against the onset of repetitiveness. No real experimentation takes place during the course of the album, and Beheaded will appeal mainly to death purists who just can't get enough heavy, distorted grooves and belch-like vocals. Ominous Bloodline is a take on what we've all heard before, although Beheaded does do a fine job of it. Certainly not revolutionary, but a good listen, nonetheless. (6/10)

review by: Avi Shaked

For their 200th audio release (Congratulations!), the folks at Angel Air have decided to shed light on the solo debut by highly acclaimed Scottish vocalist Maggie Bell, which was originally released in 1974.

Bell’s capabilities are frequently mentioned amongst British rock specialists’ circles, and the album demonstrates it well: from the Janis Joplin meets Tina Turner funky soul rock of "Cado Queen," through the southern rock tinged "A Woman Left Lonely," the brass charged "Souvenirs," the Latin flavored version of J.J. Cale’s "After Midnight," and all the way through the jazzy ballad "Trade Winds" (which seals the original album) the performance is a delicacy.

Featuring stellar session players by her side, including Steve Gadd and Cornell Dupree, the recording is nothing short of precision. But here also lies the problem: the players are tight, but they do not make a gelled band; that looseness that is usually associated with vitality is largely missing, although the two bonus live tracks on this reissue manage to supply this aspect.

It should be interesting to examine the rawness on Bell’s second release (its reissue is due out on February); still, Queen of the Night is a careful, dedicated workout and a highly colorful release. (7.25/10)

review by: Joshua

OK, kiddies, gather around for a little hardcore action. Blacklisted is an earnest group, careening along as if Agnostic Front never existed and reveling in the cathartic release that has always been one the hallmarks of the genre.

Is it competent? No doubt. Original? Not by a long shot. And hardcore’s limited strictures make it more challenging to stand out by merely being good. For example, you can get away with ripping off the Gothenburg sound because it allows you some wiggle room to push at the edges. There’s really only so far you can stretch when tearing pages out of the 1980’s New York Hardcore playbook; it’s practically planned obsolescence.

…The Beat Goes On (how apropos) is difficult to ignore though: blazing speed, angry-guy vocals, mosh parts galore, and that satisfying snare-kick drum tattoo. But hey, it’s a new millennium, and the Blacklisted kids have a few items at their disposal that their predecessors lacked. A strong, clear production for starters – sharp and biting. Lyrics that betray a serious emo sensibility. And the ability to forage outside of the very musical parameters that would have gotten you exiled from the scene in its nascent days.

So when not pounding at ramming speed, they periodically indulge in breakdowns, short sections that positively bounce with the stray bit of groove, some death and doom undertones, honest to goodness melodic hints and mid-tempo paces that serve as breathers before the next sprint to the finish.

Certainly more than adequate and a decent enough gateway band. If it can keep the mall kids out of arms reach from the ilk of Hatebreed and start them on the path towards the waiting arms of Cursed, Mi Amore or Cobra Noir, then Blacklisted serves a worthy purpose indeed. (5/10)

review by: Avi Shaked

Imagine a 21st century world that has collapsed; the ruins of a high-tech world reinstating the primitive; only glimpses of life and desperately gushing machinery remain. This is the post-industrial ambience that the new creation by Vadim Gusis, a.k.a Chaos as Shelter, carries from Jerusalem to the entire world.

Gusis carefully builds his wistful, metallic, chiming soundscapes as a basis for your contemplation and resort. The fidelity is impressive, and it can be easily sampled through "Whirling," in which an object spins around and wraps the listener like no other thing I have ever heard in stereo, resulting in a highly realistic and thrilling experience.

Still, the chattering music is kept minimal and intimate. On "Borders," the crumbled modern world reestablishes contact with tradition via a pristine prayer, as if in it lies the hope to start up anew.

Dawn Syndrome is a sensitive, demanding but rewarding art, and it should be absorbed appropriately. (9/10)

review by: Rick Luna

Swedish power metal newcomers Dark Illusion give us a taste of what it’s like to rock the right way with their debut album Beyond the Shadows. Sonically, it’s nothing new, but that doesn’t mean it’s not exciting to listen to. It has that modern, hard-edged style of power metal: full of heart pounding double bass, stand out guitar leads and very likable vocals. Finally something sung right, and in a decent pitch. In other words, yes, the presentation is damn good.

Beyond the Shadows is all about the pure razzle dazzle. One listen and you’ll eventually end up wanting to listen to it some more. That is what really defines this as a real metal album, for the sake of entertaining. As far as the music goes, the song "Secret Journey" grabs you by the balls and guarantees to rock your world from the inside out. "Break the Chains" right off the bat starts off with a Maiden-esque riff showing off what enduring godliness is all about. The album’s first track, "Night Knight," hits you and stays with you with a catchy chorus and a great style that the band wants to beat you in with.

There are softer moments, like in "Warrior" and "Tragedy" where Dark Illusion try to prove that they, too, can play nice. But if you’re into the nostalgia of ballads, then they’ll fit in quite comfortably with your tastes. That’s my only gripe. (7/10)

review by: Roberto Martinelli

You might think it’s kind of curious that Dimmu Borgir would want to completely re-record their second album, 1996's Stormblast. You’d probably be right. After all, that album, although far from perfect, was still a benchmark in the genre, and certainly a harbinger of things to come in Dimmu Borgir’s now trademark sound (with the release of Enthrone Darkness Triumphant).

As you would expect, Stormblast 2.0 has got the updated, slick Dimmu production. But is the album better? Yes and no.

For example, the opener, "Alt Lys Er Svunnet Hen," is much improved as it’s got the fullness that the original greatly lacked. However, the most deeply melodic and memorable song, "Broderskapets Ring," with its simple yet haunting melody, greatly propelled by the clean keyboard tone, has largely been ruined on the new recording, as the keyboard hook has been replaced with a guitar that largely disappears under the fuzz of the other distorted instruments. The original recording of the song, and indeed of any of the slow parts on the original album, are way heavier.

This indeed is the crux of the "no" side to whether the re-recorded version is better: the parts of the original record that worked so well due to their old school production and atmosphere, are forsaken for the super computerized and digital production. This is especially the case with the drum sound, which is entirely triggered, from bass drums to cymbals. Hellhammer’s triggered sound has greatly helped him forge his signature career on records like Mayhem’s Grand Declaration of War, and triggers can be used to thrilling effect (check out this month’s review of the new Vader for but one example), but the samples on the new Stormblast are clear but lack edge; you can’t help but imagine them recording the drums direct on a basic Yamaha electronic pad set in someone’s bedroom, with little to no post-production. The album strangely sounds often times like an excellent live record, but with no crowd noise whatsoever.

The overall presentation, for that matter, is rather a bit too cleaned up. Atmosphere is greatly sacrificed here, although the album is for sure polished and complete. More grit and angst would have helped (although the vocals are not lacking in this department). In the end, the new Stormblast fittingly sounds like the halfway-new Dimmu Borgir studio record, nearly equally parts hobby project as it is a new chapter in their successful discography.

Recommended? Yes. But for some unusual reasons. If you like the nouveau Dimmu sound, you’ll want to get this. If you already own the original album, you might have some fun picking apart the pluses and minuses of the two versions. But it’s not going to be much more than a short-term project. If you really like black metal because of its atmosphere and attitude, you’d be better off with the original. (7/10)

review by: Roberto Martinelli

Two major, positive things: one, Epica has got a pretty good claim of having an original sound. Their blend of opera, melodic metal and a bit of goth will probably make those who care about this genre immediately recognize them.

The other positive thing is that Consign to Oblivion is WAY better than the last record we heard of this band, We Will Take You With Us. Like, even the parts about the older record that we hated (most notably, the absurd interplay of clean female singing with growling, low male vocals) is far improved here.

Unfortunately, despite these two good points, Epica is still not making music that makes you go, "wow." The growls (and now, near-bm screams) still pretty much don’t fit, but thankfully they don’t rear their silly heads until past the album’s halfway mark.

Most notably, though, is the overall feeling that Epica’s material is very sterile. It’s not thick or heavy – which of course isn’t *the* prime requisite – but it feels very static and light on components. It’s this lack of dynamism that’s the real element holding back this Dutch band from making a wholly engaging album. Many songs employ a great deal of staccato vocal and instrumental parts, but they’re not in any real counterbalance to other parts, so you’re left with a bunch of deliberate sections and little else.

Ironically, the best parts on Consign to Oblivion are the non-metal sections, the ones that have the most vocal layers and the least amount of drums. Those more classical parts bring out the band’s sense of melody and harmony the best. Certainly there are some good vocal melodies to be found in the rest of the album (and for sure others that will stick in your head, for better or worse), but here again, the singular delivery of singer Simone Simons, although talented, again lacks a certain dynamism, power and approach that could breathe some needed variety into the album.

The irony of ironies is that the same case could be made for a band like Edenbridge, but their brand of wussy metal happens to rule, so go figure. (6/10)

review by: Joshua

It’s no secret here at the Maelstrom castle that our head honcho Roberto is a fan of The Gathering. Make that a HUGE fan. So it really comes as no surprise that he was in attendance for this DVD filming in Amsterdam last May. A long trip to see a band by any measure (he claimed so called other "business" in Europe was the primary reason for the trip) but what the hell, we all do crazy things now and then. So we’ll spot him the 6000 plus mile journey to attend a concert without too much undue grief. However…

Thank Yahweh for DVD technology. On disc one, the concert portion of the double disc set, take a close look at the crowd shot immediately following the climax of "Souvenirs." Yep, there’s our Roberto, clad in his very metal, pink Izod shirt. But that’s the least disturbing part. What’s quite alarming is the fervency of his post-song response: bouncing up and down in his chair with unrestrained enthusiasm, arms outstretched in supplication towards the stage. Oh, thank Allah for the zoom feature. Magnify in by 4x and watch his mouth at half speed as he very distinctly mouths the words: "Anneke, I Looooooove Yoooouuu….." again and again. All the while as his girlfriend, sitting next to him, watches with a look on her face caught somewhere between bemusement and annoyance. Really, it’ll just break you heart.

What was most likely a stellar live performance is greatly diminished on this recording though, for reasons both structural and technical; there’s a definite "you had to be there feeling" to the show.

First and foremost is the set list, good songs all, but for the most part similar in tone and tempo. This is The Gathering in languorous and evocative mode – ocasionally building to a heavier crescendo as on "In Motion II" – the songs full of color and passion but always maintaining that same deliberateness; a few faster and markedly heavy numbers would have been a welcome addition. In person it was probably enveloping. On DVD it get a bit monotonous as the lighting is unimaginative and the band remains pretty stationary, Anneke virtually rooted to her mic stand for most of the show.

There are some standout moments. "Like Fountains" is sparse and haunting; in a more diverse set it would have stood out even more. When the major chords eventually come crashing down in "Broken Glass" its power to move you is undeniable.

You can’t ever capture that same in-person immediacy of a show on camera, that’s a given. But you can try and that’s where A Sound Relief is a letdown. The show was shot on video so it lacks the warmth of film stock, the camera work is workmanlike at best and the production values are only adequate. Most aggravating is how the videos that ran on the backdrop at the show are often edited to take up your entire TV screen or fade in and out of the band as they play – distracting and unnecessary. (Plus those videos suck: CG that was lame 10 years ago. It was bad at the show and I can only imagine how bad it is here. – Roberto Izod)

Disc two has all the requisite goodies. A half hour cut and paste video compilation of footage from their 2004 tour, often showcasing a very pregnant Anneke (sorry, Roberto), Dutch and Italian TV specials and the full length animation clips from the live show. Nothing essential but pleasant enough.

If you were there you need to own a copy of A Sound Relief (or two! sez Roberto). A cautious recommendation even for rabid fans though. The rest of us can wait until they come to our respective neck of the woods. Or fly to Amsterdam… (5/10)

Roberto’s note: it’s out of equal fondness for Josh, our appreciation of a good joke, and our respect for poetic license that we allowed this tripe to be posted. Hahahaha!

review by: Pal the Postman

Gorefest built a substantial underground following over the course of the '90s with a powerful, groove-based sound that often paralleled similar innovations by bands like Entombed and Sepultura. Founded by vocalist/bassist Jan-Chris De Koeyer and guitarist Frank Harthoorn in 1989, Gorefest issued their debut album, Mindloss, in 1991. But with 1992's False, Gorefest made their first proper statement which still serves as a classic among their back catalogue. However, they decided to carry on developing and exploring the other crevices and alcoves within metal, but despite interesting results on following albums, the adoption of alternate styles let the band stray from the essence.

Chapter 13 was issued in Europe in 1998, but just before the end of the year, the band announced its breakup in a quarrelsome atmosphere. Chapter 13 was finally released in the U.S. in 2000. In the summer of 2004 negotiations to re-release the entire Gorefest back catalogue resulted in the band reforming. Things got properly on track again with a shift to the Nuclear Blast label and recently the 3cd-box Goreography was released with the first five albums plus lots of extras. And so after a six-year hiatus, Gorefest is back in its mark II line-up.

Can there be any mention of metal fatigue? No way. Heavy-paced, in mid-tempo, with blastbeats, catchy riffs, lots of groove: It's all there. The low growls of Jan-Chris are as mighty and impressive as ever, powerful enough to make Fred Flintstone tremble out of his Brontosaurus-crane. I wouldn't call it grunting, because you can actually hear what he's singing.

Frank Harthoorn has a very strong comeback on lead guitar and demonstrates a lot more soloing on La Muerte than the previous albums (check out his work in the sinister song "You Could Make Me Kill").

The first half of La Muerte has some strong titles, like opener "For The Masses" and the catchy "When The Dead Walk The Earth." However, the second half doesn't have that many stand-out tracks (save for the massive, nine-minute instrumental title track), so perhaps it's best to simply appreciate the overall sound of the new ‘Fest.

La Muerte was self-produced at Excess Studios in Rotterdam and taken care of by "mixer extraordinaire" Tue Madsen (The Haunted, Mnemic, Ektomorf) at AntFarm Studios.

It's an excellent and grim comeback album whose topics are very "now," with vitriolic references to political hypocrisy leading to war, disaster, destruction and similar stuff you like to decorate your breakfast with. No humour intended: "This is what you voted for: your wish has been granted!" Exorcism: "I agree, it's not a bright future I see, but then again: can you make me?". Little doubt that it's about the state of the world and not the band's future, which is firmly back on track again, supported by the dexterous drumming from Ed Warby (check out "Exorcism"), who also played in Orphanage, Ayreon and Elegy and who has been repeatedly voted as one of the best hardrock/metal drummers in the Benelux countries.

La Muerte is a bold collection of what is old and new about Gorefest – the first obvious example being the old-style artwork by MID (Napalm Death, Stampin' Ground) emblazoned with the band's newest logo.

Some may wonder if Gorefest really play death metal by today's standards, but they don't really care what anyone calls it, because – as they say themselves, "it's all metal in the end anyway." A worthy (8/10)

review by: Matt Smith

This year-old group is still looking for a label, but it shouldn't be long before we see a full-length release with the obvious skill and talent displayed on Splinters of Change. Extreme technicality and a great aggressiveness drive Gnostic's progressive sound, with brilliant, agile displays of musicianship on all fronts. Vocals come in the form of Kevin Freeman's punctuated yell, which seems very appropriate to the mix.

The drums and guitars are all over the place with rich, dexterous riffs, and Stephen Morley's bass lines are some of the best you'll hear. Keep your ears open for more from Gnostic in the near future; this is one talented group that is sure to gain a lot of attention in the coming years. (9/10)

editor’s note: This is not the same Gnostic that released Evoking the Demon.

review by: Roberto Martinelli

As much as metalcore has gotten old a for most of us at Maelstrom, it never seems to fail that an album or two comes along every year that makes us realize that the genre’s fate with us didn’t have to turn out the way it did; that there’s life in the genre like in any other – that originality is still indispensable in making the quintessentially great record.

That album is Hacride’s Deviant Current Signal. And to sum up this French band’s success story, the music transcends all the scene’s cliched musical obsessions. Rather, heaviness, brutality, atmosphere and technical skill all come together to make a unique, mature album.

Read some blurbs about the band and you’ll probably find mentions of Meshuggah. Fair enough. Quick listens to the first couple tracks will unveil the reason why: the songs feature some runs of quick, chunky bursts of stop start riffs that the Swedish band helped to popularize so well. But for my time and money, this album would come before anything Meshuggah has done or will ever do any day. The reason: variety.

Hacride’s sound may always feature the same manner of hardcore vocal delivery done right – tight, focused, trained and razor sharp – but the mood shifts tremendously throughout the album, while always maintaining an unwavering sense of cohesion. So you’ll get parts like a spin on some Middle Eastern scales, a smoky breakdown while a saxophone plays in the background, heaps of delicious melodic leads, or a semi-industrial intro to go along with the more standard acoustic segues and whirlwind-fisting, hard-nosed crush.

Here’s the point: none of the elements' presence have any trace of gratuitousness – like they were put there in some hackneyed, misguided attempt at being cool and different in an ocean of sameness, yet having it all backfire in every conceivable way. It’s entirely the opposite.

While we’re on the points, the album is a pleasure to listen to merely on its production level. Every instrument sounds earthy, organic, and warm, yet totally clear and seperated. So when the group rattles off its flawless, tasty fills and breaks, there’s no trace of second guessing in the mind that what you hear is what you’d get live.

French metalcore is looking like a winner. Get us this group along with Comity and we’d be there in a second. (9.2/10)

review by: Ignacio Coluccio

A project started by Neurosis' mastermind, Harvestman is as unorthodox as it gets. It's mostly drone mixed with traditional songs, making it probably the most atmospheric Neurosis-related band.

Steve Von Till's compositions are the dronier or wall of sound-based ones, and they are definitely the album's best songs. Even if completely different from Neurosis, it has the same atmosphere that’s oppressive as hell, of the "atmospheric sludge" creators. On the other side, the traditional songs range from really good to bland, but they are mostly the first.

Especially remarkable is the vocal work by Erica Little and the bagpipe work by John Goff. It was certainly weird to hear these two elements in a drone context, but it works.

When I say drone, however, I don't mean Sunn O))) drone, but melodic, delay-abusing, drony atmospherical music. A little bit like Stars of the Lid but with distorted guitars and other instruments/samples.

The only real error is the exaggerated use of delay/sustain in the bagpipes in both of the tracks where they appear, especially the last one, "Green Hills of Tyrol / The Battle's O'er," which could have been outstanding if it weren't for that.

Besides some minimal errors, Lashing the Rye is an awesome CD of what I'd go as far as to call "avant-garde drone." (8.1/10)

review by: Ryan Loostrom

Gojira are one extremely interesting band. Imagine the combination of Meshuggah's dense technical and bludgeoning assault, coupled with Strapping Young Lad's sense of slightly deranged melody, and finally with the... life-affirming appeal of Devin Townsend's solo project? That's about right. The French band have decided to re-release The Link, following their latest CD out on Listenable Records, From Mars to Sirius.

The strange concoction of music here is only going to appeal to a certain group of people, so right off the bat, if Meshuggah (or any number of their followers; Textures, A Life Once Lost, Coprofago, etc.) and Strapping Young Lad don't float your boat, then don't bother with Gojira, or else you'll completely miss the musical point.

Gojira is one of the most completely dense bands that you'll ever come across. Their entire structuring methods are reminiscent only of a thick and black ball of tar, absorbing everything in front of it. Melodies are present, sure, but they're the same brand of occasional melody Meshuggah throw in every now and again, or the twisted and maniacal brand Devin Townsend loves to give SYL. The progressive tendency is here, but the pulse in the progression is almost absent. There'll be times when you'll pull your hair out or gnash your teeth together just to hear a slight change in music (which again goes back to influence; if you dig Meshuggah's slow, layering progression, then Gojira is going to click).

In other words, this music is extremely polar. You'll either dig their rather masterful recreation of their influences blending together in a golden amalgam, or you'll consider it nothing more than impossibly dense and annoying. However, Gojira are on the virge of building themselves a rather extensive cult following. Meshuggah haters, be prepared for the second band on your shitlist. Meshuggah lovers, Gojira are your new best friend until Meshuggah comes out with something new. (9/10)

review by: Megan Leo

Bolt Thrower hold a distinct and distinguished place in metal history. They were among the first to be signed to Earache, and have released several classics, such as Warmaster, Realm of Chaos and The IVth Crusade. Over the years, their style of death metal has evolved slightly and seen the typical band member shuffle (notably the departure of drummer Andy Whale and the departure and return of Karl Willets).

Before even playing the disc, you’ll notice the cover art, song titles, and album title retain that Bolt Thrower "battle, war, triumph, death" theme that colors all their works. Many of their discs, in addition to maintaing the signature lyrical theme, are also quite similar in production, rythmic quality, and note choice. Well, for the most part, Bolt Thrower are still Bolt Thrower, but during a phase in my life where War Master and the IVth Crusade are constantly in the personal playlist, its not quite as excellent.

Those Once Loyal’s first proper song begins with a melodic guitar strain, (okay, kind of Warmaster-esque) that bears a slow, restrained death metal rhythmic quality, which then proceeds to speed up. As the album progresses through its nine tracks, it seems to lack an energy ever present in their earlier releases.

Those Once Loyal is in many ways similar to classic Bolt Thrower, but has the pitfalls of a newer, less hungry release. It is ground re-trodden for them, but not quite as fresh sounding. The melodies and drumming (although not Andy Whale's) are Bolt Thrower, yes, and I would guess that without knowing who's album I was hearing, but dammit, it makes me want to take this disc out and put on Warmaster NOW.

The strongest point of the album is the guitar melodies. They add to the death-pulse to effective results. They give the opening strains an aura of excitement and anticipation, and spice up the song writing.

The songs themselves are very strong and well produced, but the rhythm section has a much different feel from how I like my Bolt Thrower. Track three, entitled "The Killchain," is even rather chuggy in riffing and feel that I can't quite swallow it.

My feelings toward this album are mixed. There is substance here that could grow on me, but there are elements that rub me completely the wrong way, and cause me to retreat into the depths of the older albums of my record collection. This may be an album that grows on the listener after repeated listens, but for now I will take my IVth Crusade, thank you very much. (6/10)

review by: Pal the Postman

Arafel: A Hebrew word, meaning "cloud darkness." Generally used in reference to the Apocalypse.

Then, the subject of The Second Strike, which is Arafel's second album:

During the 13th century a Christian orthodox prince, Alexander Nevsky, lived in Russia. Times were troubling for the land as hordes of the Mogol invasion and armies of Roman Catholic Swedes, Teutonic knights, Lithuanians and later the Tartars were attacking. During his short life he eventually succeeded in kicking their ass and keeping Russia from going under.

His surname is derived from the river Neva, where he had his first victory over the Swedes in 1240. After his death, he was declared a saint and to this day he is considered a national hero in Russia, with his relics lying in St. Petersburg.

So far, history lesson, kids. (snore – the class)

Arafel have dedicated a suspiciously un-Christian sounding tribute to St. Alex. The guys are Israelis of Russian origin and also happen to be friends with Melechesh, another remarkable band. Remarkable are Arafel, because they do more than just play black metal in the limited vein of the ever so often emulated Darkthrone / Burzum / Mayhem style.

This is pretty logical, 'cause despite wearing army trousers and playing metal, they obviously have a disliking for NSBM bands and their philosophies. The only common factor could be the rejoicing of glorious days (of old).

They combine their supertight play with elements of Russian folklore on flutes, violin and even kozak choirs. "Oh, no!" I hear someone mutter, "Kill that slavic Leprechaun! Kill him now!" But Arafel’s black (pagan folk) metal is by no means as silly as it sounds.

Not only is it very surprising to hear familiar neckbreak speed drums, ferocious solos, and vicious, ravenblack grating with a melodramatic violin all at once. Then there is a switch in the vocals where you can hear the intriguing ring of a Russian spoken part like in the colossal, 11-minute long centerpiece "The Saga of the Vengeance." There is so much happening musically here that you'd almost imagine that your speakers are at war with each other!

The background story behind Arafel's subject is not very elaborate in the booklet (moreover, the printed words are mostly mere excerpts from the ones being sung), but nevertheless very tasteful in its imaginative design.

The lads from Arafel show some incredible musical talent and though the vocals are, say, distinctively black metal and hence not that unique, it's their unusual blend that comes close to being it. The only point of real criticism: there are seven tracks, including an intro, a central piece and an interlude. The order seems to be well thought-out, but I just can't dig the fact that the album closer ends without a noticable climax or conclusion. It all just suddenly ends, and that is that. It's like something's missing.

Still, this is a damn fine album. Arafel could almost be in a league of their own and this should be a reason alone for any open-minded black metal heads to check out new, innovative streams within the genre. Highly recommended. (8/10)

review by: Joshua

There’s something endearingly pure about a band whose only ambition is to rock. Make that RAWK with a capital, um, "r." And rock they do, do The Witnesses, through a dumpster-diving fusion of 70’s trash, bluesy undercurrents, Phil Spector-ish wall of sound affectations, makeup smears of glam and a big honkin’ slice of Grebo (yes!). All filtered through the band with an enthusiasm that’s hard to deny.

Honestly, listening to the tracks on Black Eyes and White Lies, you’d think their ultimate goal in life was to get their audience dancing and drinking as precursor to some end of the night/break of dawn, semi-anonymous, sweaty sex. There could be worse fates.

The band is tight and spot-on in every respect. Rhythms that drag you into their orbit and refuse to let go, melody lines that carry you through their paces without question and hooks galore that sink their soft little talons into your flesh and demand that you love them. Oakley Munson has a voice perfectly tailored to this sort of business, a Mick Jagger like vocal strut that propels Crazyhead flavored tracks like "Hard Up" and "Some Kinda Something" with sneering glee or erupts into bug-eyed deliriousness on the roadhouse flavored "Stole My Room." And if it’s anthemic you want, then bow before "We’re Taking Over," and try to stop your fist from flying repeatedly towards the ceiling.

Just to round things off though, The Witnesses have a not so secret weapon in Bonnie Bloomgarden. Her keyboard accents beef up and covertly direct many of the songs, but it’s her voice which is the big deal. She sounds like a refugee from a 60’s girl group who knows way more about life then she’s letting on, all kittenish and innocent on the outside, roaring tigress on the inside. She’s got that whole sexy librarian thing going on and it adds dual layers to her performance when she’s trading phrases with Munson and especially when she steps to the forefront.

She’s the good-girl-turned-bad on the undeniably catchy Motown by way of KISS groove of "Stockholm Syndrome," the debutante who sneaks out for makeout sessions with her biker boyfriend on the moody and smoky "Don’t Kiss and Tell," and, on "Summer of Blood," she matches the ferociousness of the buzzing, untethered rhythms like someone who’s discovered that sinning is a whole lot more fun than piety. And ultimately, that’s the point isn’t it? (6.5/10)

review by: Ryan Loostrom

Just by looking at the band name, you should've figured out that it's best to approach this band with all ears open, much like you would with the Mars Volta or Coheed and Cambria (Especially the Coheed and Cambria part... 3 even single them out as a major influence in the Wake Pig liner notes). 3 are just weird, but it's the kind of weird that sticks with you long after you've heard it.

For instance, the vocals are almost exactly like the Mars Volta or Coheed and Cambria. It's a voice that's not Halford falsetto, but you'd be surprised it came from a guy. The music takes a strange route, drawing from both bands a certain aspect of their music. For instance, they use the wall of effects that the Mars Volta have so well acquainted themselves with to paint a soundscape that's not necessarily evil, just strange and unsettling. It's metallic, but not enough to make it metal. You can't really call it anything else, though. It's very earthy, and tinged with indie moments.

But there's a problem with 3. They seem at best to be a Coheed and Cambria lite. 3's music is great, but Coheed and Cambria can break past mid-paced grooves that seem to blend together. There's no doubt that 3 are an enjoyable group, and Wake Pig is an excellent album, but it's going to take a little more effort as far as songwriting goes to put yourself in league with your peers. (7.5/10)

review by: Ryan Loostrom

Age of Silence has an intriguing concept going on for this EP that just about everyone can relate to, considering what time of year it is. Complications – Trilogy of Intricacy is avant-garde progressive metal, the concept being about a shopping mall in hell. However, beyond the satirical but frighteningly real scenario, Age of Silence have crafted an alluring mix of black, gothic and nordic metal that relies as much on atmosphere as it does melody.

Right off the bat, the Katatonia influences rain in. Devotees of earlier Katatonia material like Jhva Elohim Meth will definitely understand, as Age of Silence's singer sounds incredibly close to Jonas Renske. Aside from the vocals, even some of the melodies have an ominously brooding structure and progression that lends from the more atmospheric side of Opeth and Katatonia without burying themselves into too much worship of either band.

The paramount thing about Age of Silence, though, is the fact that you'd be hard-pressed to find a person who thought this album was noise. They manage to keep their teeth while maintaining a sense of underground roots and possible commercial explosions by how accessible and catchy the music is.

However, there's one detrimental aspect to their music. Age of Silence at times get wraped up in lagging out a verse for too long, or completely refusing to vary at all to keep a mood going, which in and of itself becomes extremely melodramatic and... well... annoying. Luckily, Age of Silence practice brevity, because as excellent songwriters as they are, you couldn't take eight more tracks of that minor annoyance.

All in all, Age of Silence have crafted a memorable and slightly scarring, weird EP that anyone who loves slow, weird music or the archaic atmospherics of old Katatonia would fall in love with. (8/10)

review by: Larissa Glasser

Any band from Poland with the testicular fortitude to choose Pogrom as their band name gets my preliminary praise. The "1147" suffix apparently refers to the year thousands of Christians were massacred . . . somewhere. Black Metal Complete comes beautifully packaged in a 5x7 inch gatefold, black card stock, printed with silver ink. But the metal inside needs... completion.

This is raw, primal, lo-fi black metal with little fanfare. Perhaps I made the mistake of building the item up too much before actually listening to it; the popcorn and PBR were within reach for this one!

Alas, Pogrom 1147’s debut suffers from some weak material. The first two cuts, "Corporation Satan" and "Instant Blasphemy," sound underdeveloped. Although the songs have some decent technicality and awareness, there are some parts where the band’s performance conveys the sense that they were recording under duress.

However, things pick up by the third song, "Souldemolition," and the band starts to make a bit more sense. But the momentum drops again until the very last song, "Satanik Turbulency of War." This strong closer to the CD is slow, but evokes Slayer and early Celtic Frost better than the faster cuts.

Pogrom 1147 may just be getting their black wings, and subsequent releases may chart unswerving growth. However, the band sounds like they are still in basic training on this release. Still, consider the bullshit passing itself off as metal today – support as much true black death as you possibly can, and survey some of Old Temple’s other material on offer. (5/10)

review by: Joshua

If the band’s name and album title are any indication, this group is going to live and die by its eccentricities. Pop the CD in the player and that belief is not only confirmed but hammered home for fifty minutes of wicked peculiarity. Is it a good album? In the universe in which it operates, yea, very good. Maybe even great. Guessing how many of a random smattering of listeners will connect with Waiter: "You Vultures!" is another matter altogether. It’s an album that’s easy to admire. Liking it is a separate proposition.

Portugal. The Man boasts a couple members from the ashes of emo ensemble Anatomy of a Ghost and that tenet is evident from note one. The strangeness starts around note three. Their closest relatives in that regard are probably Coheed and Cambria. But where that group operates in a neo-prog realm with a chewy and poppy emo center, Portugal. The Man has an anything goes perpendicular-upside-down-and-sideways approach that finds them standing on an emo-core starting block, diving into waters usually reserved for Radiohead or Bjork and then getting squirrelly with frequent bouts of trip-hop, bizarre slow jams, spaghetti western balladry, jazzy interludes and funky structures. There are even a few bouts of near-metal; albeit metal crossed with Smokey Robinson-esque crooning.

Your tolerance for this sonic schizophrenia really depends on your affection for the sum of its parts. They weave it together with a casual ease that belies just how off the rails the album actually is. One’s intestinal fortitude might be tested by singer John Gourley though. He may just possess the quintessential emo voice: nasal, high pitched, verging on perpetual whine. Gourley’s vox are feminine to be sure, dangerously so at points. Not necessarily a negative – he’s got a fine enough voice – but it posits the question: "Why not just have a woman fronting your band?" It’s the flipside of the death metal band that gets a girl as their singer and she proceeds to growl and belch brimstone just like one of the boys. Yes, it can be done, but what’s the point?

This is one of those albums that will either hit the mark with a huge cross-section of people or thrive among one specific throng. Either way, Portugal. The Man is sure to find an audience that will adore their brand of emotive hi-jinks.

(Dual Rating: 7/10 if you’re a member of the highwater jeans and sweater wearing lonely boy club who sings like a girl in the shower, 5.5/10 if not.)

review by: Ignacio Coluccio

It'd be safe to say that this album is at least 20 years late. In a good way. Tunnel Vision Brilliance is completely different from everything you've heard before in which Scott Reeder was involved. In fact, it's different from everything you've heard that was made in the last decade.

It'd be safe to say, too, that Tunnel Vision Brilliance is an undercover retro album. It's like an Anathema song transported 20 years to the past. And not a happy one either. But the album's as sad as it's brilliant. And it's just as explorative too.

Overall, what we have is an album with some folky pieces (we're talking about American folk), some cute pieces (especially "For Renee") and lots of sad compositions. Also, there are some stoner-like parts (like in "Diamond"). Especially noteworthy is the fact that Scott Reeder played all instruments, mixed and produced the album, so it's as personal as it gets.

As opposed to the bands he was in some time ago (Kyuss and The Obsessed), this time the guitars are mostly clean and sometimes even acoustic, with little to no distortion. That gives the album a mostly calm and introspective edge. The songs are short and each one's different, all of them memorable in some way or another.

Musically, it's the best thing Reeder’s ever done, and it'll surely set a high standard for future releases. Of course, it won't be as influential as either Kyuss or The Obsessed, but it's still great and it's almost surely going to be in my top 10 for 2006 (yes, I know it's too early to say that, but it's THAT good) (9.6/10)

review by: Joshua

The word audacious comes to mind. Any band that releases a double album is sticking their neck out, basically telling the world: "Hey, we have so many great ideas that one album at a time can’t possibly contain them all and you need to hear what we have to say right now." Fair enough, rewards often come at the expense of great risk and sheer, unadulterated chutzpah. So when a band goes where few would dare tread and releases a double album as their debut, it’s a definitive statement, where the middle ground between failure and success is all but non-existent.

And what is Rosetta saying to us with The Galilean Satellites?

"We’ve arrived, you can’t stop us, move over or become one with the earth."

Yes, it’s that good.

The two discs aren’t just a vehicle for delivering an overabundance of material. Each serves a specific purpose, sharing commonalities in sound and methodology, while at the same time are markedly dissimilar. Disc one is rooted firmly in the post-rock meets metal camp: epic structures, non-linear progressions, crushing heaviness tempered by wisps of delicacy and a complete disregard for the restrictions that saddle so many bands with mediocrity. There’s a wide-eyed openness to Rosetta’s vision, calling to mind the wandering gaze of such luminaries as Isis, Cult of Luna and Neurosis and upstarts like Minsk, Rwake and Red Sparowes.

Those familiar with the milieu know the drill: slow builds that grow until the weight is unsupportable and the chords collapse under the cumulative mass, crushed, yet refusing to die and crawling forward in a haze of minor key melodies and membranous notes until the process repeats itself in all manner of permutations. As well as anyone, Rosetta strikes the right balance between the corrosive and the soothing, but they have the uncanny ability to combine the two. When wistful passages are trod upon by the inexorably heavy, they retain some of the characteristics of the section that was just obliterated; it remains heavy, but gloriously so.

It’s a constant tug of war, the hypnotic and dreamy butting up against the stark and concrete. Disc one is the sound of a world teetering on the brink of something – a sea of change that everyone can see coming but having no notion of what form it will take. When it terminates in a squall of feedback that ends abruptly, like a door slamming shut, you can only imagine what the new day will bring.

Disc two ushers in that new day by dwelling in perpetual night. Here, Rosetta has built an hour long fever dream that plays like the sonic backdrop to a sci-fi noir movie. They come on like a nightmare version of Godspeed You Black Emperor! crossed with Troum – where all the outer shimmer reflected by sparse, enveloping notes, gentle melodies and undulating washes of deconstructed chords is undercut by low end hum, intrusive snatches of percussion and the screams of dying machines.

Soaring guitar lines break down into mechanical loops, mimicking a foundry. Monstrous bass lines move through tectonic shifts that dip to foundation leveling frequencies. The scree of distortion mixes with the clatter of dropped pipes and crashing cymbals before finding calm through vinyl crackle and reverbed, double tracked piano notes. Opposing melody lines seesaw between epic struggle and melancholy resignation.

It’s a droney, dark ambient journey through a city that’s succumbed to technology and let the earth’s resources run dry; where rain is constant and bilious clouds filled with toxins block the sun’s rays from breaking light. The ambiance of hopelessness is palpable, yet shreds of optimism spring intermittently from darkened recesses, unwilling to succumb just yet to the neon glow that shrouds every street and alleyway.

Rosetta has crafted a near perfect one-two punch. Holding their own with those whose ambitions they share while standing alone in the flawless construction of a soundtrack to a seemingly inevitable future. (9/10)

review by: Ignacio Coluccio

Blackened death or deathened black, Sathanas is yet another band mixing two genres that rarely ever go well together. Entering the Diabolic Trinity is no exception. Imagine taking an above average death metal album, then randomly cutting some parts out and inserting mediocre black metal parts with lots of tremolo picking. That's exactly what you'll find here. And that's without even considering the cheese factor.

The old-school death parts are quite good and groovy, but the black parts just ruin whatever cohesion the album could have had. They are too forced for the sake of evilness and it comes out as immature in an album that otherwise had quite a bit of potential. In the same way, the raspy black metal vocals just don't work. Also, the album leaves a feeling that the guitarist could have played more technical things, as shown on the Behemoth-like solo in "Under a Black Spell," and it would have worked.

It's a shame for a band that's able to play some of the catchiest death metal riffs to mix its music with an clashing genre, resulting in complete chaos. If it weren't for such a bad choice, I'd be talking about a good album, and not a horrible case of "Oh, God, not another black metal part!" Meh. (2.9/10)

review by: Ignacio Coluccio

For all new and upcoming "metal" bands: we have enough HIM / Sentenced clones, already. Seriously, in some months I saw more of those bands than Darkthrone clones, and that's a little bit too much. Now that I've said that, onto the review.

As said above, Sinamore is nothing more and nothing less than a HIM clone. Powerchords, vocals on top of everything, simplistic and traditional arrangements. Where other HIM / Sentenced clones are successful this one fails miserably: it's not catchy. What's the point of A New Day if it's not catchy?

Keyboards, the same old keyboards you've heard many more times than you can remember, and none of them you actually enjoy.

The compositions? Verse / chorus / verse / chorus... just exactly what you'd expect. And all this leaves us with... nothing.

Actually, the only enjoyable part of the whole album is the last two minutes in the last song, "The Art of Regret," a repetitive rhythm that is more Opeth than anything. And it's kinda filler-ish, seeing as it's what makes the last track longer. Believe me, it's not the lack of chances, I listened to it many more times than I usually listen to albums. Wasted time, I say.

There's no use in commenting further on an album you've heard and you already know word by word before actually hearing it. Avoid unless you considered HIM to be the best thing since sliced bread. (1.3/10)

review by: Joshua

Points for a great band name.

Demerits for branding their music "sex metal."

That little dichotomy illustrates the crux of both the band and their debut full length: plenty of good ideas hindered by not so great realization.

So on to the good first. Alpha Males and Popular Girls is a haphazard, chaotic and trashy affair, all over the place with angular riffing, ramshackle song structures and a greasy underbelly that’ll have you itching for a shower a few tracks in. The band liberally dips into early Black Flag, The Jesus Lizard, a dash of Swans, Sonic Youth minus the fuzz and just about anything from the Amphetamine Reptile roster circa 1994. Mix in some edgy, twisted pop, a rockabilly foray, bouncy punk and an odd Blondie fixation, and it’s a recipe for a delirious ride through fractured terrains where the heartiest choose to survive by letting go of all common sense and good taste.

Or not. So I Had to Shoot Him has two large hurdles they need to scale, and one of them may be insurmountable. First off is their mode of operation. Contrary as it sounds, all those disparate ingredients need to mix in some form or another. Bands that tear the rulebook to shreds – the likes of the Boredoms, Mr. Bungle and Sigh come immediately to mind – operate with an internal logic that brings order to the commotion; it may not sound like it should work but everything is exactly where it’s supposed to be. With So I Had to Shoot Him, you’re never really able to lock into the songs with any degree of relish; it feels as if they’re throwing all these elements at you simply because they have the ability, rather than giving them a consistent flow. For an album so aggressively messy, it comes off as terribly static.

Those instrumental issues are minor though stacked up against the presence of vocalist Contessa Von Bismarck – "Libby" to her mom and siblings. It’s obvious what she’s going for: a vampy, purring and wailing siren who’ll take you around the world and back just easily as she’ll rip you to shreds with her bare hands if she even imagines that she isn’t the center of your universe every second of the day. A fine conceit certainly, but she doesn’t have the vocal chops to carry this persona. Straining over the pandemonium in a monotone yowl, self-conscious and stumbling through the catchier passages, trying desperately to convey sexiness; ultimately it’s all playacting, and unconvincing at that. You need someone who at least seems genuinely unhinged to pull off this sort of thing; Katie Jane Garside of Queen Adreena being the perfect example of come-hither beguilement offset by piss-yourself-scary psychodrama.

A tough situation. Some great ideas in need of cohesion, helmed by a frontwoman way over her head. The remedy is obvious, but is it a place the rest of the band is willing to go? (4/10)

review by: Roberto Martinelli

Take Napalm Death, but make the music more death metal, and you’ve got Mastic Scum’s Mind. Yeah, Napalm Death keeps making album after album of great grind, especially this late in their careers, but for our money, we’d take Mastic Scum over them.

Sure, the style won’t be credited as theirs, but this long-running German group’s material is heavier, more brutal, and in the end... more metal. Like a run of a gold medal skier, all the member’s performances are executed with such confidence and conviction that comes through in the aggressive, edgy music that still features super infectious grooves, resulting in a deeply satisfying experience. Mastic Scum must be as thankful as its fans for Mind’s production, which is unbelievably heavy and full as well as clear at the same time. It’s crisp, yet utterly befitting an old school death/grind band like this.

Mind is a killer, satisfying release. The only thing that we’d change about it is the sound clips... especially since we’ve heard at least one or two of them on other albums. Hey, if you’re going to use clips, at least make your own. (8.5/10)

review by: Avi Shaked

Progressive rock that leans on folk is a rarity these days. Therefore, I was quite pleased to discover this characteristic in the new Manning album, and the fact that it sounds like a designated classic makes it all the more rare.

It is inevitable to quote Jethro Tull as an influence, as not only Guy Manning has a cunning voice ala Ian Anderson, but also since the album relies firmly on enchanting melodies and acoustic, folk foundations, led by the chordal maneuvers of the multi-talented Manning on acoustic and classical guitars.

The music is detailed, yet not overcrowded, featuring brass instruments that blend remarkably well with the scenery. Mellotron emulating keyboards also add to the drama of the thoughtfully orchestrated songs.

The 30-minute title track (divided into eight distinguishable segments) is a thought-provoking epic that carries a futuristic vision and highlights Manning’s excellent songwriting. Just a glimpse at what this suite offers can be experienced on its seventh segment ("Black and Blue"), which beautifully fuses numerous classic folk and progressive influences, ranging from Strawbs to Pink Floyd, with a modern production and terrific arrangements.

Adorned with a spectacular booklet and music that breathes new life into neo prog, One Small Step… is in fact a triumph of man(ning). (9.25/10)

review by: Ryan Loostrom

Want a trip straight back to the glory days of folk metal titans like Mithotyn and Suidakra? If so, then Manegarm are going to have you sharpening your Viking horns in a ravenous, epically cheesy lust.

All the aesthetics are here and more. The music retains tight, black metal-esque rhythms while managing to still retain a lot of folky melody. Black metal vocals are a trademark over the Nordic roar here and there.

However, Manegarm retain this charm about their music that manages to catch a listener, much like Mithotyn did. Instead of keeping the folk sound at a structural level only, they skillfully manage to employ verses, passages and interludes where a Nordic soundscape just comes out of nowhere.

There is a certain downfall to Manegarm's music, though. The music is very pleasing aesthetically, but for anyone that's heard the glossy and accessible, yet highly appealing sound of Suidakra, Manegarm are going to seem like a footnote.

However, the contrast doesn't take away from the enjoyability of the album. Vredens Tid is an extremely enjoyable exodus from beginning to end, guaranteed to get your blood pumping, even if the production does at a few times falter. (8/10)

review by: Joshua

At this point, it’s practically a misnomer to label The Meads of Asphodel a black metal band. Hell, calling them metal is stretching it as it is. They’re so much more than that, given the sheer breadth of their abilities, the inherent weirdness that permeates every song and the skewed vision that makes them such an unpredictable and, to a certain extent, unfathomable band. But (black) metal remains their base and all of their excursions into territories most bands wouldn’t touch with minimum safe distance and a HazMat suit only serve to accentuate just how heavy and punishing they are when they deign to dip a toe in metallic waters.

As the title implies, Damascus Steel is weighted with Middle Eastern influence, even more so than on their previous album, Exhuming the Grave of Yeshua. What’s so gloriously contradictory is that these guys dress like medieval crusaders, yet Middle Eastern instrumentation has become a central component of their sound – a conversion of sorts – and, if anything, there’s some subtly direct trashing of Western incursions in that region. Look no farther than opening track "Psalm 666," which plays like a field recording of a walk through a bombed-out bazaar: random snatches of strings and percussion, radio static, anguished voices, artillery batteries, crying babies and the self-righteous strains of George W. Bush floating through the wreckage, extolling the virtues of the West’s latest holy war.

The joy of discovery is one of the things that makes Damascus Steel such a compelling listen. Those with rigid notions of a what a metal band "should" sound like are advised to give the album a wide berth as it’s chock full of so many scratch-your-head-in-confusion, what-the-fuck-moments that are incongruent with what’s generally accepted as heavy or extreme. The band’s brilliance lies in they that can pull off this carnival act while simultaneously reducing your skull to ash. Guaranteed, not a single track will go in the direction you anticipate, veering off on paths you wouldn’t think could ever shoot off from the main road.

For example, "Hollow Womb of Suicide" is The Prodigy having a really bad day and busting into a Tel Aviv disco only to be waylaid by steamhammer riffs and percussion, then brought back to consciousness by the gorgeous, keening wail of an Arabic girl throwing perfectly realized notes towards the heavens. Not convinced? Take a gander at "The Gods Who Mock Us," which enters the world as a doomy, funeral march, is subsequently interrupted by an overwhelming barrage of percussion, which is then soothed to compliance by a shimmery electronic wash. They mix together and warily co-exist before time traveling into a bout of 60’s psyche-pop possessed of an infectiously druggy keyboard groove that eventually overdoses and ascends back to the present on those same ethereally electronic strains. Less esoteric but equally intriguing is album closer "Beyond Death And Darknesss," which morphs from Viking stalwartness to majestic symphonic black metal, exiting via strings and moaning female vox that beg for the resurrection of souls long dead.

And those are just a few specifics. Sprinkled throughout is old school thrash, 70’s prog, evil new age strains, a horn section, folk, power metal, booming bass tones, Middle-Eastern strings, dance beats, bongos, a piss take incorporation of "Do They Know It’s Christmas," and a necro version of the Louis Armstrong chestnut "What A Wonderful World." And every single one of these elements works within the labyrinthine framework of each song.

Ultimately, though, this laundry list of oddities is what enables the The Meads of Asphodel to triumph. The unassailable fact that they make the ridiculous sublime while keeping a straight face, leaving you in wonder at the pragmatism of their absurd vision. (8.5/10)

review by: Avi Shaked

This Israeli originated collective, which goes by the name of Midnight Peacocks, is self proclaimed as "circus core," and revolves around Eitan Radoshinski on bass, guitars and vocals, and Haggai Fershtman on drums. Appropriately, it is a rhythm based machine that generally doesn’t dwell upon paying attention to melody.

Recorded mainly in Berlin, "It’s a Brutal Machine" is a wild amalgamation of cultures and styles, incorporating grotesque and hardcore into an original "west meets east" mold. For the most part, Midnight Peacocks would simply blow you away with their robust grooves and the spooky, Mike Patton influenced vocal gymnastics, which are often served trapped in alien noises.

Now, perhaps because it is so relentless, the relatively delicate moments on the album, such as the instrumental track "Port Saeed" manage to stand out. The aforementioned track features blazingly orchestrated violins that combine with the other instruments to punch the hell out of Middle Eastern scales. This is brute force with style! (8.25/10)

review by: Matt Smith

More classic death from Unique Leader. Deep and harmonic but graced with fair amounts of screams and guttural growls, Mortal Decay shows that there are at least some bands on the East Coast that have resisted the hardcore trend of late. Transitioning between near-thrash guitar riffs and chaotic sludge, Cadaver Art features skillful guitars and creative, interesting drum lines. The growling vocals hit around the edges or once the guitars settle into a groove, leaving the spotlight on the ever-shifting instrumental lines. Long intros and outros also do well to showcase Mortal Decay's great musicianship.

Production that is at once clean and cavernous allows the most intricate solos to be heard clearly, but when the deeper sludge kicks in, it sounds like a solid wall of distortion. The vocals are what one would expect from a pure-death album called Cadaver Art: "Dismemberment indescribable, grotesque cadavers / Butchered remains expelling blood / Mutilated Methodically." Let's just say "grotesque" is only the beginning. But sometimes it's best not to mess with tradition – anything but violent, gory imagery just wouldn't fit the mood. A solid release sure to please any fan of death. (8.5/10)

review by: Pal Meentzen

Necrosadistic Goat Torture are an old school thrash metal band hailing from London, UK. They play an aggressive mixture of death, thrash and black metal, which combines raw riffing with accomplished lead guitar work. Influences to mention are bands like Suffocation, Vader, Testament, Destruction, Death and some of the old Cannibal Corpse, be it with more emphasis on viciousness instead of sheer, relentless brutality.

The band formed in 2003, uniting under a common musical vision. Their name reflects the natural cruelty of so called "humanity" and comes from a medieval inquisitorial torture method where a dehydrated goat was brought to the unfortunate prisoner and allowed to lick their feet which were bathed in salt water. The rough tongue against the sensitive soles would initially produce an unbearable tickling sensation, but would eventually expose the bone and so soon brought a confession. Today, of course, we know that putting on a CD of the singing goat Celine Dion would have the same effect in much less time. (Rim shot – ed)

One Nation Under Goat was released back in 2004 and sold out of its initial pressing within the space of a few months, without the backing of any label or distribution company. Included are tracks, plus an uncredited one ("the best song Cannibal Corpse never recorded") namely, "Hamster Fucker."

One Nation Under Goat has a charming yet clear low budget production. Perhaps one can notice the loud snare drum that reminds me of the exaggerated drumstyle of Ibex Throne, who, by the way, are appropriately on a label called Goatowa Rex. But in contrast to the (fittingly) mean uglies of Ibex Throne, vicious metal seldom looks as good like the Necrosadistic Goat Torture with Talkea and guitarist "Goatess Christine Hell."

Last autumn, the band recorded some new material, of which a new song, "Nekrolog," can be listened to on their site. You can hear a pre-mastered version of their latest recording, and conclude that while they have retained their initial style, they have made some progress in their recording techniques. Though by far not as proficient as other metal bands with great female growlers like Arch Enemy or Holy Moses, they will surely please those who like those acts.

Until then, listeners will have to do with the legacy of their previous line-up, which features two re-recorded titles from their first demo ("Morbid Intentions" and "Primal"). Let's hope Necrosadistic Goat Torture have found stability by now. Their next album The Maniac's Banquet will be available soon. (6/10)

review by: Roberto Martinelli

When a band's got Darkane superstar Peter Wildoer and he *isn’t* the drummer, then you know the album’s got to be something special, somehow. And although Non-Human level is really the side project of Darkane’s guitarist Christofer Malmstrom, I’d take it over the main band any day.

Why? Better melodies and smoother music. Ok, maybe Darkane has more originality and technicality. That alone doesn’t make for a superior album. Non-Human Level is more palatable, with engaging material that only becomes more endearing with familiarity.

Naturally, it’s got the Swedish melodic death element to it. But add excellent, articulate chord changes in the instrumental sections, superb emotional swells and dynamism, and a passionate rhythm section, and you’ve got a vision of what Arch Enemy might be like if they hadn’t become so stripped down in their success. The only thing that isn’t a standout element is the vocals Wildoer gives it a good go – not a bad performance at all, but pretty standard Swedish harsh delivery that isn’t as exemplary as the rest of the elements in this album. Regardless, this is a great record. (8.7/10)

review by: Roberto Martinelli

We listened to this CD four or five times, and didn’t realize that it was only 23 minutes long until we happened to notice the digital time readout on our stereo. There’s two reasons for that. One is that Odious Mortem’s death metal is really dense with guitar and drum notes, constantly bludgeoning the listener with its technical, old school approach to the genre. The other is that practically, all the songs on Devouring the Prophecy are the same.

But it’s a fun ride considering. Really good production lets everything be heard, but it doesn’t get in the way of the heavy brutality. This could have been a really great album if only there were a bit more originality from song to song. (7.7/10)

review by: Rick Luna

The first initial reaction to Opposition Party was unexpected, however, this is an interesting release for a number of reasons; Zombified is death metal punk heavy on the latter. If anything, this would be a rawer, less focused form of Impaled Nazarene, just without any black elements.

Opposition Party also has a great level of confidence with their music, it’s alive and kicking but the vocals are the only thing that stops it dead in its tracks, so to speak. The dry, accented style doesn’t exactly fit the criteria for kick assery, but it’s somewhat tolerable in this situation.

The music, on the other hand is where it all comes together. "Brain Fucked" is the stand out track of the album for its catchy expose of punk and plus the funky bass lead is incredibly appealing. "Land of Hope and Glory" also builds up its edge and unleashes.

However, Zombified isn’t exactly solid gold; there’s some gripes to address. The album doesn’t sound 100 percent inspired, nor does it have the ability to maintain its reason for existing. Most of the songs do tend to share the same backbone, eliminating all the more reason to listen to them again. Each song is short, the drumming is pretty much predictable, and the guitars just seem to compliment them on occasion.

Zombified is a little rough on the sides, thus proving that the rawness doesn’t sound artificial, just the sign of not enough practicing. A little more fixing up could do the trick, but this is mindless fun done the safe way. Next album should really be more refined and tighter sounding. There’s still potential, it’s just not totally here yet. (5/10)

review by: Larissa Glasser

This infernal duo from West Warwick, Rhode Island offers some surprisingly fresh and fierce black thrash in the vein of Angelcorpse, early Impiety, even Hellhammer. Indeed, so varied, thick, blasting, and demonic is this 18-minute slab of metal one must wonder how much of this kind of shit flies beneath our radar each and every day. The metal scene in New England may have a future, after all.

Songs like "Nuclear Fucking Deathcult" and "With Hate" highlight Amputator’s Celtic Frost leanings (lessons well learned), in addition to their primal strength to be gained through that unquenchable ferocity. This band’s aim is clear.

Hoarse and even phlegmatic vokills, thick distortion, and excellent songwriting add up to an excellent new weapon for the War Against the Light. Highly recommended! (8.5/10)

review by: Larissa Glasser

Warwick, Rhode Island’s Anoxia have unleashed one of the most memorable and brutal collections of songs this side of the Mississippi River. This listener had the privilege of previewing this CD at the 2003 Maryland Death Fest, and the extremity of the band exceeded my expectations. During the intervening years, my taste has steered more towards black and thrash and away from grind and death, but the now-official release of Intense Killings still manages to entertain.

Highly technical riffs, classical and complex structure, excellent production, and hilarious samples shove this release along without let up. Anoxia have been active in the New England metal scene for about a decade, but this CD captures them at their full maturity.

Closest in style to Origin, Nile, and Suffocation, songs like "Vampiric Whore," "Mausoleum Desecrator," and "Rebirth of Humanity" showcase an offering of engaging technical death that tromps the stones of years with a gargantuan stride. Seek it out. (8/10)

review by: Avi Shaked

If in the first half of 2005 it was Witchcraft that genuinely recreated the sound of the early 70’s, then in the year’s second half it is Icarus Witch that faithfully restores the classic metal of the 80’s.

A strong melodic work by eager, dueling guitars dominates this release, paying respects to the classical 80’s penned heavy metal, as it was governed by acts like Iron Maiden and Megadeth, without any evidence of the time that has passed since those glory days, both production and instrumentation wise.

The lyrics have some fantasy themes that evoke King Diamond, and the outfit is certainly inflamed and true. A keen workout of the Ozzy Osbourne classic "S.A.T.O" (off his arguably best solo album Diary of a Madman) closes the set, which should be consumed by those of you who can appreciate the rekindled nostalgia. (8/10)

review by: Larissa Glasser

"Ilvestgrol plays wasteland metal!!!"

I agree. One of California’s newest contributions to the NWOWCBM benefits from an early Sodom-like approach: larval, but promising. The production is passable, the vokills an almost skeksis-like wail drenched with echo, although the bass track is virtually absent. The band amalgamates influences like Exodus, Immortal, and early Venom into a viable launching-off point. Like many a fledgling metal band, procurement of a live drummer would benefit these guys immensely.

There are sections of "Sleaze Exhibition" and "Fuck You Sodomy" when you’re not sure if both of your speakers are working. Such is the beauty of DIY. "Glorious Hate of Asmodeus" and "Intrinsic Alchemy Profane" are more indicative of promising blasphemies to come.

Contact the band. We need more of them. (6.66/10)

review by: Larissa Glasser

Traditional, abrasive, and well-executed black metal from Poland. Along with Celtic Frost and Urgehal, Kriegsmachine evoke occasional similarities to Scratch Acid! In this sense, A Thousand Voices is unique and otherworldly, almost as if the band has managed to concoct a dark soundscape of an impenetrable mountain range, ringed with poisonous clouds and rapidly closing in to suffocate the listener. Noisy!

These four cuts sound like they were recorded in one continuous take, a commendable feat in and of itself. Each instrument is easily discernible, but the band allowed themselves enough of an open canvas for feedback drone, tendon-ripping blastmort, and most importantly, a ritualistic, hazed-out, and fucked up atmosphere of demonic threat.

The first cut, "Unto Wormfeast Flesh," sets the subterranean mood right away. This is one of the best and most varied songs of the lot. It shifts gears often and yet bludgeons relentlessly.

The next, title track also alternates between midpaced deathmarch and frigid, engine-like hyperblast. Vocalist Leatherface attacks this song like a mocking imp, flapping black wings of iniquity that shove and spit at the listener. This characteristic, along with the syncopated riffing, the varied arrangements, and reverb drench contributes a new bitter footnote to the already bursting Polish Black Metal scene.

"Apostle of Plague" treads more into Darkthrone’s Panzerfaust territory. Mid-paced throughout, the song benefits from excellent and confident drumming from Kriegsmachine’s Daren. Black metal can (and should) be catapulted from the bedroom to the stage more often, but for the shortage of drummers who prefer oysters to snails.

The final cut, "B.T.S." (unknown acronym, you’ll have to ask them), a derisive and somehow more-rock-and-roll-than-anything swagger-fest of necromancy, almost old-school D.C. hardcore lesson-shred, and most importantly – SCORN.

Sometimes in black metal, the songs you write don’t matter so much as how you execute them. Kriegsmachine have conquered this obstacle, and better yet, they make the RITUALIZED assertion of rebellion, blasthate, and metallic belief sound virtually effortless. For this reason, A Thousand Voices appears unto you, highly recommended and worth seeking out. (8/10)

review by: Avi Shaked

No, the Hellacopters cannot be credited with originality. But it’s really hard to care about that once you hit "play" and find so much vital energy thrown at yours ears.

Rock & Roll Is Dead, the latest album by the Swedish band (which took some time to find its release on the western side of the Atlantic), is an unpretentious execution of engaging rock and roll, featuring punchy song writing that ranges from semi cynical reflections on the world ("Everything’s On T.V.") to the unfortunate experiences of a rock musician ("I’m In the Band").

This is an uplifting, swaggering guitar feast, with its momentum kept quite stable throughout its forty minutes (who needs another ballad anyway?!); and is highly recommended for those who can appreciate a fine mix of Monster Magnet, Foo Fighters and Supergrass (or in other words, memorable songs that carry a soft spot for rock’s roots), providing further proof that rock & roll is anything but dead. (8/10)

review by: Roberto Martinelli

The music of the band Curt Shaw is of the neo-classical metal variety. Essentially, much of the music on this self-titled record sounds like the kind of instrumental bits and segues you’d hope to find on your top-notch power/prog metal albums. These pieces feature superbly articulated and played music, with many highlights and remarkable expression.

However, there is a definite note of tragedy associated with this album. Namely, for all the talent and execution on Curt Shaw, it would be so much better if it were an actual, full band with vocals. The tragic part is that although one would think this style would be at the top of the metal world, as it would appeal to the largest audience, power and prog metal is perhaps the most underground of genres in the US. Finding a singer to complement the band’s level of musicianship must be a daunting task, to say the least. And while you might suspect Shaw the man of a penchant for megalomania, we cannot truly comment on his ability or inability to work well with others.

There are a few other shortcomings to the album. First, although the production is excellent for what it is, it’s still only the best possible result non-pro gear can offer. The drums, although allegedly played by a real person, sound for all the world like a machine (albeit a good sounding machine). And most importantly, the material near the end of the record kind of meanders, culminating in a couple lost country bluegrass numbers that seem rather like filler.

In spite of these points, Curt Shaw remains a recording that should be sought out those who hunger for more quality metal musicianship that embraces classical scales and harmonies. Recommended for fans of bands from Yngwie to Windham Hell. (7.3/10)

review by: Matt Smith

This San Diego five-piece has compiled 25 minutes of some heavy, grating metalcore for the enjoyment of masochists everywhere. Some Girls' methods are sparse but effective, combining fuzzy guitars with aggressive drums and throaty screams to end up with an all-out bedlam of grating sound.

The songs that make up Heaven’s Pregnant Teens are short and the formulas simple, but Some Girls succeeds in its mission to cause hardcore pain with an unrelenting energy and what I suspect is a disproportionate amount of anger.

That said, a lot of the themes Some Girls uses are overly simplistic and get to be repetitive even in the shortest songs, and some of the "atmospheric" intros are just agonizing noises (which is the point, I guess, as abruptness seems to be the main subject matter of the album). As another peculiar aside, the beginnings of most of the songs fade in quickly, giving a listener the impression that he's already missed some of the track.

The noises and aggression shown by Some Girls are satisfying, because at least it means the band is trying to experiment, and you certainly won't mistake this band for anyone else. But the lack of technicality and musicianship can also turn a lot of people off. If you're not an "I like it because it's ugly" type of person (i.e., not a fan of much metalcore to begin with), you may care to steer clear of Heaven's Pregnant Teens. (5.5/10)

review by: Ignacio Coluccio

As much as music is nowadays mostly centered on vocals, it's good to see so many instrumental bands. Not having a singer always drives bands to be creative. We've already verified that with acts such as Pelican, Tristeza, Dysrhythmia, Electrocution 250, etc...

Tone is pretty much unclassifiable, being an instrumental band with five guitarists, a bassist and a drummer. While that might translate to bloody chaos in some people's minds, that's completely wrong. The five guitars are arranged in the best way they could have been and make good use of polyphony. What's remarkable about Solidarity is that it's really accessible while being extreme in some ways.

Musically it has Tristeza-like moments, "cute" melodic guitar playing, and some more Pelican-like parts. Still, the approach is so different: Tone's completely another thing. It's not really metal, but it's not mathrock either, and it's not normal rock for sure.

The songs usually contain a wall of sound, but, oddly, a pleasing one (a little bit like Godspeed! You Black Emperor). A big part of Solidarity's compositional aspect is the build-up, almost all the songs have it and it's a definite plus, so it wouldn't be so crazy to call Tone a post-rock act. But no.

A good way to summarize Solidarity would be "ambient music." It's not really attention demanding, and you'll love it even doing other things while listening to it.

All in all, an interesting concept perfectly done. I honestly can't imagine all the effort that must have been put into Solidarity, but I do know that the result's near perfection. (9.9/10)

review by: Megan Leo

Ulver hasn’t been known as a straight forward black metal band for a long time, although they are consistently classified as a band of the genre. Blood Inside is indeed as dark and ominous a musical landscape as their previous releases, but without knowledge of their background and their associations with black metal and its players, this album bears little of the trademark elements of said genre.

Blood Inside combines synth sound with elements of jazz, strange vocal melodies and dark, foreboding atmosphere. It is eerie and has the feel of a horror movie soundtrack spliced with the weirder offerings of Pink Floyd. The album is peppered with sound effects, noise and synth strings. There are no riffs that can be considered "blackened" until track five, Iit Is Not Sound," which is far from being typical, and the riff is played in passing, and is hardly the focal point of the track. Rather, the odd circus organ sound goes from sounding demented to classical sounding, to demented and back again accompanied by a coarse drum beat. Everywhere are such odd landscapes. There can even be heard on track three, "Christmas," what sounds to be a brief gospel line, as an ironic touch to a sacrilegious song.

The lyrics read like stream-of-consciousness poetry, such as the line found in "Operator": "call the police / radio paranoia / all is over under the skies." Hardly typical black metal fodder. Beherit could get weird and use beats to bleak blackened ends, but Ulver gets downright demented on Blood Inside.

This release is not to be judged in one sitting. On repeated listens it reveals itself to be a multi-layered animal that is still chaotic but full of interesting twists and turns and manipulations. Don't listen to it if you require blast beats with every meal – you won't get them. But if you are hungry for a take on the darker realms that is not your standard fare, then you might get into this. The synths and melodic vocals are not soothing, but unnerving. Musical bits are random and grating, taking the listener through demented passages. It is at times refreshingly experimental, and others very random. Whatever the case, this album is far from boring and an interesting offering by an interesting band. (7.5/10)

review by: Joshua

Let’s begin with an excerpt from the CD’s liner notes, shall we?

"This album is not for everyone, just the avant-garde souls out there that need to hear it."

Wow.

Fair warning, then: Dude, you opened the door. I feel obligated to kick it in and reduce your house to splinters.

If being a member of the avant-garde means having to subject myself to the drizzly shit that is Untitled, then, please, renew my membership as a slack jawed, uneducated and disinterested, card-carrying prole.

My dear Chad, uh, excuse me, Vonmodik. Or is it Herr Vonmodik? Jawhol! Monotonous, Velveeta-laced new age pop that would make Vangelis blush is a pale substitute for envelope pushing. Warmed over and reheated Euro-techno that wouldn’t get a coked out Ibiza club girl to give you sloppy head in a bathroom stall at 4:00 AM is hardly an excuse for avantgardeness. (Whoa, look at me! I made up a word. Am I avant-garde yet?) Using the same beat on all of your up-tempo numbers is, well, lazy and so – how can I put this? – unavantgarde of you. (Damn, another new word! I am so fucking avant-garde!)

Populating a few tracks with grave and laughably mysterious groupings of non-sequiturial phrases is just dickish (editor’s note: these must also be avant-garde words). Tracks that sound like the background for a mini-van or tampon commercial ooze with a saccharine aftertaste and besides, Moby’s already cornered that market. Shall I continue? No, I shan’t.

So, Vonchadik, a little friendly advice, an electronica starter kit if you will. Go out and get yourself some M83 or anything else on the Gooom label. Investigate Kompakt Records. Obtain Plastikman’s Consumed and Closer CDs and, just to mess with your world view, jack into some Venetian Snares and feel the trickle of brain matter running from your ears. You’ll thank me in the morning.

And one last thing. When you named your album Untitled, you titled it. No amount of smirking irony can change that fact. (0.5/10)

review by: Ignacio Coluccio

Imagine it's the 90s and you're listening to a new Alice in Chains album. The main difference is that while that band was original and unique, Wet Animal is, sadly, just another band right now.

There's not much variety between songs but all of them are good in a mostly nostalgic way – and heavier than Alice in Chains. Not to say it's bad, actually it has a lot of catchy hooks and choruses that you'll probably love, but well... it's certainly not what I'd expect from Trouble members. Not at all. Coming from a band who has released many classics, Wet Animal seems kind of badly placed. Sadly, the typical Trouble sound doesn't come out as much as needed, instead relying on more traditional grungy rock sounds.

But anyway, the album's enjoyable and groovy, fans of modern hard rock will like it, fans of Alice in Chains will adore it and metalheads might like it, too. Just don't expect to hear a new Dirt, or anything original for that matter. And most of all, try to forget that this came from people who are in the band Trouble. (5.6/10)

review by: Roberto Martinelli

Live in Canada is good fun, whether you can get into Rhapsody’s extremely cheesy, happy power metal or not. This Italian genre-definer puts a lot into their stage show, and that translates well even on the audio-only medium, as frontman Fabio Leone did his homework and prepared a bunch of things to say in French to the Montreal crowd. You gotta love the effort.

The playing is tight and the mix is explosive, ironically giving the band more power and heaviness that is sorely lacking on quite a few of their studio recordings. The tracks flow well from song to song, and you can feel the energy of being there.

On the downside, there could be some more songs. At 10 cuts, plus intro and outro, the album feels a little short at roughly an hour, especially considering the importance of this band. The other downside is the false sense of excitement you might get from the DVD that is packaged with this album. Beware, this is no double CD/DVD live album. Rather, it’s a CD with a lame tease. The DVD shows only *clips* of a forthcoming live DVD, packaged separately, and has all the audio tracks from the CD you already own. Very silly. Having the complete visual performance of the Live in Canada 2005 CD would have made this a fine package, indeed. As it is, it’s merely a very good live album. (7/10)

review by: Roberto Martinelli

Vader had been in a funk for the last few years. Their records were steadily getting more redundant and limp. Things looked bad, like the once rabid Polish death metal machine would be consigned to making rehashed shadows of their glorious selves for the rest of their careers.

For a lifelong Vader fan, The Art of War is a cathartic sigh of relief, as this material is the best thing that the group has put out since 2000's Litany. Yeah, five years of yearly releases.

A heavily triggered, digital drum sound is about as hit-or-miss a thing as you can get in metal. In Vader’s discography, no work has drums that sound so un-organic as those on The Art of War. But it’s the single most recognizable facet to the recordings’ success. The furious, unrelenting drums are given that much harder a push over the razor-sharp edge with a sound featuring unheard-of bite and attack. It sounds "triggered," yeah (hell, even drums in metal that don’t sound triggered are triggered, dontcha know), but it makes the album all that much better.

This visceral, unrelenting experience carries over from the drums and onto the rest of the band’s performance. Vader, from the outset of its brooding, misty intro track, is out with a vengeance. No shitty, mid-paced numbers that go nowhere and seem to last forever here. No third rate versions of the Vader steamroller formula. It’s all first rate and it all raises the bar for this band.

Can we resist drawing parallels to Metallica’s first output after the horrific death of one of their defining members, Cliff Burton? No, we can’t. Was it original drummer Doc’s untimely death that lead to this output of passion and aggression, the likes the band might never have reached until now? Maybe.

Maybe it’s also being on a new label after five years of steady decline on the Metal Blade label. Who knows? What is for certain is this album absolutely kills. Get it now. (8.8/10)

review by: Roberto Martinelli

Musicianship in metal still goes woefully disregarded by the general populace... even the ones in the music or musicians’ press. So the release of Flo Mounier’s drumming DVD set is certainly cause for excitement.

So in a pioneering sense, Extreme Metal Drumming 101 is a triumph, a statement that metal – as true connoisseurs of the genre know it – is starting to get its just rewards. However, if taken purely as the drum video product that it is, Extreme Metal Drumming 101 falls far short of the plethora of other instructional videos on the market.

The set is divided into two disks, "Instructional" and "Performances." We will deal with the two separately.

The main problem that the instructional video suffers from is not knowing who its audience is. The DVD’s title would lead you to believe that this is a beginner’s training video, but for a beginner, it’s way too hard. For example, Mounier gives the student some patterns to play to a metronome – patterns that any drummer with any seasoning will have learned ages before – but starts the click far too fast, and then increases it in huge steps. I know that when I was starting out, there was no way I could play even at the starting level exhibited by Mounier, and even his moderately elevated levels leave me in the dust. This could be at least quite frustrating for learners, and at most could cause bad habits or even injuries to form because people may think that they should be immediately playing at the level in the video.

Essentially, the video becomes more about how great Mounier is rather than the man helping others with their playing. This isn’t an egocentric thing, but again not having a clear idea of who the student is and what he or she could most benefit from. Seemingly endless time is spent showing the same basic exercises (basic yet essential, but any seasoned player will already know them) over and over again at different speeds (and with random embellishments that the video never takes the time to go into), rather than showing each one once and then explaining that the tempo is to be upped at a comfortable pace... video time that could have been dedicated to more knowledge.

In contrast, precious little insight is to be gleaned on patterns or phrasings that Mounier uses. The man’s foot technique is explained, but his hand techniques again are more of a show than a lesson. A section of the video is entitled "grind library," and features some very interesting insights on how to achieve what often seems impossible. But again, it’s more of a show than an aid. Mounier also shares warmup and stretching routines that may or may not be useful to the student. Here another one of the video’s weaknesses is brought out: rather poor DVD authoring and organization in general. The shots in Mounier’s practice space with the light at his back make it hard to see him, and the video is plagued with choppy, awkward menus and bursts of video that have you needlessly pressing buttons. On the plus side, the shots of Mounier playing the patterns are very good, however, with proper, visible attention to hands and feet, and with screen-in-screen shots so you can see both at once. The sound is also without problems, and Mounier’s explanations are articulate and lucid.

But any information, even if repeated, can be of use. Essentially, Mounier’s message is this: practice with a metronome, warm up properly, and don’t neglect developing double strokes with the hands (thanks for reminding me, Flo... I’ve already improved on this area that I had been procrastinating on).

Also of particular interest is Mounier’s excellent explanation on the muscles that he uses for his bass drum technique, and how to isolate and train them. However, this, and indeed any technique lesson, should be taken with a grain of salt. Derek Roddy pointed out in our interview with Hate Eternal that just because something works for one drummer, doesn’t mean it’ll work for another. It’s a valuable lesson worth reading and repeating. You haven’t got Mounier’s body, and while his techniques are certainly worthwhile objectively, it doesn’t necessarily mean they’ll work for you 100 percent. But learning about them might at least help you understand yourself better, and at most be perfectly tailored for your physique.

Relatively, the "Performances" video succeeds much better in its mission, but still suffers in a couple places. The more pro recordings (mostly of Mounier soloing at clinics or art shows) are breathtaking and entertaining... but become repetitive. He does the dog paddle move, the polyrhythm with the left foot on a cowbell, and other themes in each solo performance. It’s kind of like Neil Peart essentially having the same drum solo for the past 25 years, but in a super condensed medium.

In contrast, the seven performances shot from behind the kit during live performances of various Cryptopsy tours are more wholly satisfying. Unfortunately, the video and sound quality, and the professionalism of the recording, is naturally far inferior (although considering the source, the drum sound is excellent, and it’s easy to follow along with the guitar in the background). You can’t really see Mounier’s feet, but it’s regardless a very insightful display, in addition to being a rare, thrilling experience. Ironically, it seems you might be able to learn more about the man’s technique – like the rhythmic way he throws his shoulder out during the blast parts – than on disk one.

There are a couple more odds and ends on disk two, like a fairly interesting Canadian TV six-minute feature on Mounier. Again, it’s as much because of exposure at long last that makes the documentary worthwhile, and for its short length, it does a decent job. However, despite its core intent to promote Mounier, it still carries an unfortunate, deriding tone, as if Cryptopsy is as much of a side show as it is a serious band.

In all, Extreme Drumming 101 is definitely a thrill, and you’ll probably be coming back to the performances DVD more than once to get inspired/blown away. However, less might be said for the instructional DVD, although I’m going to try to watch his "gravity blast" technique on super slow frame-by-frame to see if I can learn more. Considering these factors, a $40 asking price might be a little steep, but if you love the man’s playing, you’re going to want it anyway. (7/10 – 6/10 for disk 1, 7.5/10 for disk 2)

PS: do yourself a favor and buy yourself another double DVD case. The one that you get does a terrible job of holding the disks in place, and they rattle around and get scratched.

review by: Larissa Glasser

Much like the soundtrack to the David Lynch film "Eraserhead" (featured in this issue’s From the Vault), Gustaf Hildebrand’s second full-length is a fully evocative journey through haunted darkness, hellish landscape, empty spaces, cancerous pitfalls, and wails of the mouthless forsaken.

This is dark ambient at its best, with not a single string plucked or molested, nor drum even breathed on – just unforgiving soundtrack to your deepest nightmares.

Does anyone remember "Tears in a Prophet’s Dream" off of Celtic Frost’s To Mega Therion? This is 45-plus minutes of that, only better. As Cyclic Law asserts, the only limit is your imagination. HAILS! (10/10)

review by: Megan Leo

Frost are a Hungarian black metal unit who play a melodic, keyboard laden, "produced" sounding take on the genre. Although many stereotypical elements often attributed to black metal are present, their sound is based on a sense of melody more often seen in sub genres such as power metal, and less focused on the utter feral pulse that is the common trait of black metal.

This band refers to themselves as black metal, but the music is far too produced, controlled, contained and not chaotic, relying not on the blast to drive it, but on the dreamy atmospheric keyboard lines and constant melodies. The vocals are what are typically accepted as the run-of-the-mill black metal shriek and screech (while not as abrasive as Burzum or Bethelehem, for example). Solos and beautiful melodies appear everywhere, and blast beats are infrequent.

This band brings forth a sense of lamentation rather than the unapologetic barrage found in acts often considered the standard for black metal, such as Mayhem or Darkthrone. Frost takes the atmospheric, melodic elements of bands such as Emperor and push that to such extremes that the music really starts to resemble power or heavy metal, particularly at about 2:30 on track two, "Unholy Land."

While their roots in black metal are not all that typical musically, Frost’s approach to lyrics, song titles and corpse paint is so rehashed it is almost a parody. For example, the oft cry of "Satan" and the title of track 14, "Elizabeth Bathory," is a brutal beating of the dead horse. Their face paint has been seen so many times Gene Simmons would have yet more fodder for a law suit.

The melodies and production can be appreciated in and of themselves as musical accomplishment, but overall, it comes off as irritating fluff that I do not want polluting my black metal. This is not the nasty, blasphemous war against humanity and Christianity, but a powder puff homage to Dani Filth, crossed with what it would sound like if Dimmu Borgir’s keyboardist were inspired during an ego trip to start a band dedicated to melody and overuse of the keys. If you like your metal feral and nasty, listen to Conqueror, Blasphemy or any Darkthrone, but run as fast as you can from Frost. (4/10)

review by: Pal the Postman

Past the seventh gate of hell, there he stood: a demon whose station was like Saint Peter's, but down below. For what reason was I sent to this place, I asked. The gatelord replied to me: "Throughout your pitiful life you have spilled your semen and you have been severely guilty of using the name of the Lord in vain for too many times. He doesn't like you anymore."

"He won’t speak to you... or any man, for that matter. From now on, only earth's animals shall be admitted to the heavens above. Paradise shall never flourish in the mirror of man. It is now that Mankind has finally sealed its destiny... now, fool, leave my sight and enter your new home. Tonight will be a special one for you," he smirked uncannily.

I wondered what that was supposed to mean.

Times were tough down there: bones for breakfast, pus for lunch and shit for dinner... that after another torture session made me bleed and bleed. I begged for an alternative, saying during my mortal life, I did had some hand in the advancement of evil, having once been a reviewer for Maelstrom Magazine. Fortunately, there was music in the planes of Hades (and it turned out that Hieronymus Bosch's depiction of the musical version hell was most accurate). But there was something else here: Among all the scenes of chaos and dissonance was a small stage where a stage banner read:

DEATHSPELL OMEGA.

They were this night's special as they were the chosen ones to dedicate their sadistic three-part entr’acte, Kenose, to the feeble-minded souls of both earthly sinners and saints. Sadistic because it was a celebration of the current Armageddon on earth, when all civilization was to be wiped out in one final eruption of hatred and adversity among all cultures. Satan smiled as he observed man in the role of butcher, chopping down billions of his own kind like a cancer that destroys the body.

Deathspell Omega started the show with a slow and doomy ceremonial introduction that, after a few minutes, transcended into a climax of a chanting choir of rotten-faced souls. Then the sound of a golden horn, silence... Frantic, almost hysterical riffs welcomed the newcomers, soon to be drenched in blood and eternal fire. Thirty-seven minutes of hellish and grim brutality with a powerful and imaginative derivation of progressive, yet still "orthodox" darkness and blackened atmospheres.

It seemed the three long pieces were a musical symbol for the infernal threefold unity. On my left and right I saw miserable souls falling into even more despair, some of them skewing their faces into sharp poles. They couldn't stand all this hopelessness and killed themselves, only to be killed again. I felt pity for one whose ears were starting to bleed; and I secretly gave some lumps of coagulated pus to stuff his ears with.

But others’ suffering turned out to be my salvation. I would try and become their roadie! Roasted roaches and infernal hymns would certainly make life more bearable here. Their kenosis would be my secret redemption, of that I felt quite sure... (8/10)

review by: Larissa Glasser

This project consists of multi-instrumentalist Morder, who walks a very frayed tightrope between Burzum worship (indeed, he has outdone Russia’s Blackdeath in this regard) and downright plagiarism. Granted, when has metal not "borrowed" from the skins of its fathers? For this reason, Beyond the Ninth Wave’s paint-by-numbers material is almost forgivable.

Morder’s Varg-possessions are less annoying on the songs "Suicidal Winter" and "Arctic Holocaust" (excellent drumming on the latter track). Indeed, the quality improves as the CD moves along, and "Screams from the Dungeon" is one of the best mood-setters of the bunch. Point being, there should always be MORE metal to pick from, considering the current wave of Ozzfest hell.

However, it all depends on how deep into the underground one is willing to dig. Just past the mantle, there is far better material to be heard than this.

Now that Impiety abandoned their BM mojo on Paramount Evil, someone needs to replace that missing head of the hydra. But if Morder has shot his entire creative wad with this release, alas, it will not be he.

Frustrating. (3/10)

review by: Ryan Loostrom

The second in the series of three Relaspe reissues of Atheist recordings, Unquestionable Presence is Atheist's statement of nonconformity, finally accepted and cleaned up. Everyone knows about Cynic's unfortunate fate at the hands of a crowd of misunderstanding metalheads. Unquestionable Presence might as well have been Atheist's final subversion of being pigeonholed as "too experimental" before the legendary, fine-tuned and multi-faceted Elements came out.

Instead of taking a less volatile and more melodic route like Cynic did, Atheist kept a vicious rage about them, clearly evident on this album. Though nowhere near as outright cleverly textured as Elements, Unquestionable Presence showed a large development of a want to extend music into plateaus farther than just metal. The technical mastery is all there, much like it was with Cynic, but the passages where everything goes soft and quiet, like it does in the opening track alone, just aren't as flagrant as they are in Elements.

However, therein lies the strong point of this particular album. Piece of Time was Atheist before they realized the vision of Elements, and more death metal than it was anything. "Elements" at times saw Atheist venturing far away from metal, however intriguing it may've been. Unquestionable Presence is Atheist bridging the rather wide gap between the two and leveling out onto a more balanced output.

The sound remaster is brilliant. One of the major problems with the original has been dealt with. Whenever a palm-mute was sounded in the original recording, the heavy bass overtone in the amplifiers gave off a horrendous, accidental thump leading straight to a headache. The drums are louder, and the guitar is more defined, as it sounds like the mids have been upped a bit.

Overall, this reissue marks not only the celebration of one of the most underrated bands in the history of metal, but also the regrouping of them.

Look out for the reunited Atheist on tour, very soon. (9/10)

review by: Larissa Glasser

This very well-executed folk metal unit from France combines acoustic and distorted guitars, punishing hyperblast with classical interlude, and tin whistle alongside Viking growl. What do all of these ingredients add up to? I'm still not sure, except that this band is one of the freshest, most unique projects ever to cross the waters.

Aes Dana (which means "people of the gift") are similar in style to Amon Amarth, Turisas, and Opeth. However, they outshine their peers. Although they don't use melodic vocals, the songs are extremely catchy and memorable. Flute and guitars dominate most of the melodic lines. And so this band takes the potential that Turisas tragically squandered and manage to go the distance with variation, dynamics, and judgment.

Most importantly, Aes Dana are exceptional musicians and songwriters. Songs like "Les Traces de la Branche Rouge" and "Gwenardel" navigate a myriad of classical and traditional metal motifs, drawing the listener into another world entirely. Indeed, I've not heard anything this evocative since Nightwish.

The production on Formors is razor-sharp. The balance between the acoustic and electric elements is maintained steadily, and the wind instruments are mixed in perfect symmetry with the gruff vocals. My only suggestion would be to incorporate more female singers into the mix, but the band has obviously found their recipe.

This release stands tall, and if this is but a sampling of the pagan / folk metal scene, please give us more. (8.5/10)

review by: Roberto Martinelli

The admirable thing about the new Herod is that, since the debut album, the band has progressed and developed their sound much more in the way of originality. Unfortunately, the result is for the most part rather clunky.

Some traditional, Iron Maiden-type riffs mish-mash with instances of sort-of metalcore style, with occasional wacky, balls-out delivery like The Lord Weird Slough Feg. The vocals are often hardcore yell during the verses, and the choruses are often sung with belt-it-out gusto that in this case doesn’t totally cover up the deficiencies in talent. Other elements include trad metal harmonies, blues-based songs, some double kick drumming, some great solos... but some sloppy ones. The production rather embraces an old school style as well: more dull and organic, like something you’d hear on a Manilla Road record, rather than the sharper, more contemporary tone that today’s metal groups favor.

Basically, Herod is all over the map. There are far too many approaches on Rich Man’s War... Poor Man’s Fight for Herod’s own good. It’s energetic but ill-advised; unbridled yet dull; adventurous, yet unfocused. Points for effort, but a tightly organized or memorable album this is not. (5.3/10)

review by: Roberto Martinelli

The latest live recording by what is perhaps THE definitive heavy metal band (for those who are fans of the genre) again relies heavily on the group’s most recent studio album, in this case Dance of Death. Whether or not that was a good album is not necessarily the biggest issue on the quality of a live record; some people thought Dance of Death was an amazing record – some of us around Maelstrom felt that although it was far better than Maiden’s worst years (the ‘90s), it was still nowhere near their best works (mid- to late-‘80s). And although we at Maelstrom look at a live record primarily from the standpoint of sound and energy – rather than the quality of the material – I know as a fan that this Death on the Road would have greatly benefitted from some more charging material, like from quintessential Maiden records such as Somewhere in Time or Powerslave (which both go disregarded) to break up the now far more mid-paced and plodding Maiden material.

Like Dance of Death or not, Death on the Road is still a run-of-the-mill live record, although it’s hard not to say that it is of some quality. Sure, the sound is fitting of a live recording of one of metal’s highest tier acts. Anything less would be a disgrace. With that said, the sound is rather bland. Perhaps greatly adding to this is the very cut-and-dried way the songs flow from one to the next. A successful live album goes beyond tight playing and good sound – it’s got to give you that charge of being there somehow... or else, why not just listen to the studio versions of the songs?

Death on the Road falls markedly short in this respect. Get the album if you’re nuts about Iron Maiden, past and present, but it’s far from a necessary listen. (5.5/10)

review by: Ignacio Coluccio

The Project Hate is pretty much the only supergroup band that really lives up to expectations. With members from Evergrey, Dark Funeral, Grave and Entombed to name a few, one would expect a crappy "we are famous and we want money" superstar band. Wrong.

What we have here is death metal mixed with industrial, all done in a theatrical way. Armageddon March Eternal shows a more refined sound, while still conserving the style of the previous albums. The songs are still typically eight-minute ones with lots of abrupt mood changes. The heavy sections have the male grunt vocalist, while the calm and trip-hop-like parts are handled with clean ones. While it sounds really aggressive for the most part, the balance between clean and heavy makes it not only have mindless aggression, but variety too.

The three same flaws of the band’s previous efforts still linger. The songs are way too much like each other, the mood changes are too obvious and expected, and the songs are rather pointlessly long. If they did shorter songs, with more logical and progressive compositions, this album would surely be rated higher. Maybe they should even go for a more avant-garde approach.

If you've heard their other releases, then this won't really change your opinion on The Project Hate. However, for an old fan of theirs, it's an excellent CD. (7.9/10)

review by: Rick Luna

Grand Illusion is like an art exhibition that offers all sorts of colors, shapes, and sizes. This describes the interaction of melodic metal, power rock, and a little side of progression that makes Nocturnal Rites stand out from the rest of the bunch, especially in their native country of Sweden.

Basically, if you want it all, this album has it all; a wall of sound that’s well produced and crystal clear. Grand Illusion has its moments where bits and pieces grab your attention. The first song, "Fools Never Die," is incredibly well done even though it might sound a bit like In Flames’ "Only for the Weak" at times. Is this a coincidence?

Other times the album can drop a heavy load, like with "Never Ending." The blistering guitar work on this latest outing keeps things fresh and entertaining with each and every listen. With "End of Our Rope" you’ll get your melodic fix. A factor for a great sounding band also heavily relies on the execution of the vocals, a must for the genre; this excels well here.

There’s also an A+ list of guest appearances throughout this album including notable names such as Stefan Elmgren (guitarist, Hammerfall), Jens Johansson (keyboards, Stratovarius), Henrick Danhage (guitarist, Evergrey), Kristoffer W. Olivius (vocals, Naglfar), and Swedish three-time gold cup cross country skier Per Elofsson providing a guitar solo. Who knew a gold cup guy could even provide a whammy bar solo for a band like Nocturnal Rites.

If anything, Grand Illusion is the right way to start off the New Year, with a bang! Truly an experience quite like no other, Grand Illusion should be on the top of your play list. (8/10)

review by: Ignacio Coluccio

The Never Enders gets my award for the most formulaic, commercial, and pop-sounding "hardcore" (really, really liberal use of that word here) band ever.

Air Raid Romance is the perfect Best Buy "goth" (another really liberal use of a word here) album. It's the album a band of five guys in dire need of one night stands would release. It's the album popular trendy high-school people would record just so they could invite all their friends to their show and feel cool. It's the album you surely, as a music fan with at least a little bit of sanity and / or taste wouldn't listen to, not even drunk. Not even really, really drunk.

The worst part is that it's not so bad enough that it's funny. Terrible albums can be great. In this case, however, it's all too serious to even get a laugh out of of.

Air Raid Romance is MTV-rock full of breakdowns, generic alternation of clean / screamed vocals, and above all, full of bland musicianship. All the songs are the same, with at least two sing-along parts for each. The guitar and rhythmic parts are terribly bland; everything that happens is totally cliché and every single change is expected. I'll make the band a favor and I won't even mention the lyrics. To summarize: don't touch it. Just don't. (0/10)

review by: Roberto Martinelli

We’ve got a soft spot for what we call lunatic-alone-in-his-apartment metal. There’s something about a craft that’s done entirely by one person – from beginning to end – that, although often objectively inferior to something whose tasks were handled by multiple people, has a certain irresistible charm.

So when such a LAIHAM (that’s our new coined term) project also happens to make some of the most impressive AND great sounding music, it’s really cause for celebration.

Mirrorthrone is one such project in which one guy does everything. And by everything, we mean writes all the music, plays all the instruments, and then mixes AND masters the recordings. Ok, fine, so the drums are programmed, but they, too are done in such a maniacally intricate and complex way that it fits the scenario to a T. What’s more, put the drums in Carriers of Dust up against the drums on Dimmu Borgir’s Stormblast re-recording (where it’s a person playing), and see which one sounds better.

We loved the first Mirrorthrone, Of Wind and Weeping. Ok, we probably rated it a little too high in our exuberance, but it’s still an essential record. Romantic and intense symphonic black metal with soaring melodies and parts that traded off from blistering rumble to stained glass window-shattering segues that will be forever memorable.

Carriers of Dust is an improvement on the debut in a few areas, most notably in the production. The debut sounded great, but since the recordings were done at different times, there was a definite sonic (and stylistic) seam to the record... the first three or four tracks were markedly more developed musically, and sounded better, too. The new album, although much shorter at 46 minutes (composed of four lengthy tracks), stands much better as a cohesive body of work. But as great as it continues to be, it doesn’t stand up to the best material on Of Wind and Weeping. And the production is incredibly professional. We need to find out what he’s using.

Carriers of Dust in particular is roughly in the genre that Dimmu Borgir and Cradle of Filth mainly made popular. However, Mirrorthrone’s energy and delivery make it feel much more sincere and powerful. It’s like the romantic, gothic feeling is more pure and stirring, being more Saint Vitus’ church than lovely, vampiric girls whose feet barely touch the ground, floating down dark stairways. For our money, we’ll take this relatively humble project over anything that the two behemoths have recorded any day. And the irony is that it sounds just as great if not better. Sure, you can tell the string sections are synthesized, but it’s some of the highest quality synthesis that technology can offer. And what do you expect a lone lunatic to have? An entire philharmonic worth of instruments and knowhow?

Regardless, it makes you wonder what this particular maniac’s apartment is like. Does he have tens of thousands of dollars worth of equipment where he lives, or does he live in the janitorial closet at a local pro recording studio owned by a benevolent man with a soft spot for black metal? Whatever, Mirrorthrone is just about the best LAIHAM metal project EVER. The musicianship is unbelievable: tight, razor sharp technical precision at whizzing speeds, and layered in highly engaging, musical ways. The vocals are also exemplary... particularly the clean ones, which benefit immensely from wise effect and harmony usage, making the simple melodies sung from a decent talent seem like God in comparison.

As if this weren’t enough, the same nutcase behind Mirrorthrone has at least one other project, Weeping Birth, which is also utterly fantastic, being more harsh and brutal death/black metal, played at perhaps an even higher level of intricacy and technical detail. Get all this guy’s stuff, it’s well worth it. (8.6/10)

review by: Ignacio Coluccio

Avant-garde gothic metal... it's been a while since anyone released anything like that... and the last one that was good enough to mention was Long Winters' Stare. Normally, all attempts to go avant-garde from a rather conservative genre like gothic go really, really wrong (Forgotten Sunrise, anyone?).

Thankfully, Anima Naive is not an attempt gone wrong. Just the opposite, it's one of the best bands in the style. With influences ranging from trip-hop and opera to Theatre of Tragedy's newer period, you really can't get bored.

Of course, it's completely an acquired taste due to the highly-bombastic operatic vocals that are really awkward until you get used to them. When you do, however, you realize that no other vocal style would have fit.

Similar to Long Winters' Stare, Anima Naive creates a really psychological / schizophrenic atmosphere, with the "beauty and the beast" vocals seemingly playing the roles of good and evil in quite a strange and alluring way.

Both the production and the maturity displayed here make it obvious that Anima Naive should go for a full-length instead of "lesser" formats. But either way, it's still really good stuff. (7.5/10)

review by: Ignacio Coluccio

Engendro is one of the single most fun albums ever made. Its totally non-serious approach to death / grind is quite a relax from the forced "rape and mutilate" kind where everything's blastbeats and pig vocals. Not saying that's necessarily bad, but we all need a break, don't we?

Even if the influences are old-school (Autopsy, Napalm Death and such), it's quite clear that Engendro is not an old school record at all. Really digital sounding guitars and drums are in this case really positive, giving Antropomorfia a unique sound.

Surprisingly, every single instrument can be heard, even the bass. Yes, you heard it, a death metal album with audible (and well played) bass.

While grotesque and fun, Antropomorfia doesn't fail to deliver good compositions and tight but simple musicianship. Death metal isn't about deep philosophical thinking or complex, jazz-influenced riffs, anyway. (8.1/10)

PS: The principal riff on "Hedor Pestilence" sounds a lot like Rammstein’s "Feuer Frei." Weird, huh?

review by: Ignacio Coluccio

The United States has certainly spawned quite a lot of power metal from all possible sub-genres. There must be something they see in galloping riffs and high-pitched vocals that I'm not aware of.

Anyway, Avian in particular is quite a solid band. Instead of the way more common Dungeons & Dragons kind of power metal, they deliver a different kind of nerd power metal: the sci-fi one. Long titles, science references and plain bookish stuff abounds here.

Stylistically, From the Depths of Time is a heavily trad-influenced US power metal album. Think of it as a less vocal-centered and more traditional Hammerfall, minus 90% of the cheese. Some prog tendencies can be seen in the longer tracks, but not enough as to deem Avian a full blown prog-power band.

Even if all-around From the Depths of Time is quite a strong album, it's weird to see its choruses are not really catchy. The vocal lines are kind of weak, which is sad, because Lance King's vocals are definitely some of the best in power metal.

Nothing groundbreaking, a good record for power metal fans, a run of the mill one for others. (6.8/10)

review by: Ignacio Coluccio

Ok, someone tell me that the Internet is lying. Someone tell me the Canvas Solaris guys have played in 10 jazz bands each. Someone tell me their teacher was Allan Holdsworth and they've been playing since they were three. Oddly enough, the Internet isn't lying.

Imagine a mix of (early) Dream Theater, Cynic's instrumental parts and The Fucking Champs. Add some Spastic Ink-esque parts. Add a dose of actually melody-based composition. While that might seem like setting the bar a little bit too high, it isn't.

Penumbra Diffuse is progressive metal, yes, but it's not just technical wankery. Actually, it's pretty far from it, going more for the psychedelic and emotional approach.

I’m always complaining about bands taking the bad parts and the cliches of every genre. This time, I have to say the exact opposite. Canvas Solaris takes the best of progressive metal, and corrects the bad parts. The only thing is, you'll need a long attention span. Penumbra Diffuse just doesn't work as background music. It's something to pay 100 percent of your attention to, and to listen to fully at least 10 times to really understand it. But yes, it's really, really worth it.

So far, one of the best releases of the year. For everyone. (9.5/10)

review by: Ignacio Coluccio

Any funeral doom fan would expect a masterpiece out of a band with John Del Russi. For anyone not familiar with him, with Hierophant he produced some of the best and rawest funeral doom releases ever made, such as The Weight of Winter and Autumn Dusk.

Catacombs is in essence a more polished Hierophant without all its raw aspect, and in some ways much more extreme. The twisted, zombie-like vocals are still there, the simple guitars too, but this time with some more similarities to Esoteric and Worship. So, while it is quite a big stylistic change, at the same time it feels like a logical step forward for Hierophant.

In the Depths of R'lyeh is not an accesible album for a non-funeral doom fan. Especially because of the 10+ minute songs with really subtle riff changes. Also, as opposed to some of the more early funeral doom bands such as Disembowelment, there are no fast segments to be found, so anyone with a short attention span, or not used to funeral pace, might get bored easily.

As it's logical, a band with an album title influenced by Lovecraft must have a really oppressive atmosphere, and that’s just what you'll be able to find here. The atmosphere, same as pretty much everything, is really well done and at the same level of Del Russi's previous efforts.

Overall, brilliant, well-produced and composed funeral doom metal without a dependency on keyboards, unlike many modern bands. (9.1/10)

review by: Megan Leo

These metal warriors have released a delightfully predicable and fun DVD, with hours worth of material, plus one new audio track off of their forthcoming album, King of Kings. The DVD opens with a fan, thronged by multitudes of other fans, blowing up a condom that is situated on top of his head, his ability to fill the latex item with oxygen is astounding; and the film effects that quickly cut to an explosion of fire, then showing the Manowar logo is fits perfectly. Then the DVD cuts to the band playing their signature, "Kings of Metal."

This DVD will make you laugh, laugh some more, and maybe even sob for the glory that is Manowar. Present here is the triumphant "warriors of the world," plenty of guitar and bass solos, but for shame, a lack of loin cloths. Nonetheless, there are plenty of bottles being broken over long haired heads, vulgarities, mentions of unholy appendages, partying, and METAL.

In short, if you like Manowar, this DVD will not disappoint. If you hate them and you watch this, you will probably loathe them all the more. Their sense of humor is apparent, as is their ability to draw enormous crowds in their non-native Europe. Leather, beers, and heavy metal! (9/10)

review by: Larissa Glasser

Sapthuran has at least one full-length CD rout, but this release heralds his big campaign beyond the San Andreas Fault line. Any new addition to the USBM scene should be considered on its own merits: balance between originality and homage, songwriting, and contribution to the underground. Leave it to the Californians to plunge our hungry ears into the black bath of purity and power. For these ears, USBM picks up where Bay Area thrash left off: primal energy, sick guitars, unrelenting energy seasoned with implacable hatred and superiority.

Sapthuran begins the split with the epic-sized "As a Tale Told by the Leaves and Whispered by the Wind." The Judas Iscariot influence is apparent. Although the song is a bit linear, the Burzum-ic facet of hypnosis by repetition triumphs in the end. The acoustic guitar overdub is an especially nice, forest-y touch.

The second song, "And Autumn Sheds its Final Tear" is almost all acoustic, like black metal folk! It is brief respite from bludgeon before the third song, "The Wanderer: Blood in the Forest" is even closer to his compatriot Leviathan. Minor melodic lines intertwine with straight-on snare drum rape. One haunting effect, in particular: at the end of each progression of the main riff, Sapthuran hits some sort of bell. At first it sounded like a Tom G. Warrior death grunt he'd overdubbed later, but a closer listen discounted that assumption. It is definitely a percussive object, but the decay sounds too long to be a cowbell, and too short to be a church bell. If anyone (artist included) can decode the mystery for me, that would be nice. It's creeping me out.

Now, if it were possible for Leviathan to evolve even further, it is evinced on this release. Wrest apparently recorded with a regular acoustic drum kit this time, and the inside photo has allowed me to surmise that he uses an Ibanez Iceman guitar – the same choice as Tom G. Warrior during Celtic Frost’s headier days.

Musically, these polestars of spasmodic riffing and unrelenting blastmort evoke Frank Zappa's work, somehow. Although Zappa shares only cursory musical similarities with Wrest, at least on a prog-rock level, they were (and are) prolific as fuck. Leviathan is a continuously surprising entity that tears black metal a new asshole every time he commits music to tape.

"Odious Convulsions (They Are Not Worthy of His Name)" starts off with yet another wholly alien and hostile netherworld populated by cabalistic crickets and dread damnation. The instruments pounce together, jumping from zero to the Apocalypse in a single instant. Harmony dies, rots, and stinks the fuck out of your speakers.

Wrest's vokills sound a bit more mid-range on this initial track, a creepy gurgling sound like the harvested human heads from the 1980 horror film "Motel Hell." The second half of the song descends into warm bass and odd overdubs before fading into the night. There is no typical song structure when it comes to Leviathan.

"The Fourth Blind Wound" is another excellent ritual. More straightforward blasting prevails, in addition to Wrest’s more signature orcish vokills. The infectious riff of "Another Sip of Fear" is further testament to Leviathan’s dexterity and acumen. "Crushing the Prolapsed Oviducts of Virtue" pulls the curtain on an almost Germs-y side of things, and then finally "Mesmerism" spirals into a Dead Can Dance sort of purgatorial bliss, ringing out its brief downpour with majestic confidence.

Again, then as now, essential listening. (Sapthuran: 7/10, Leviathan: 10/10)

review by: Chaim Drishner

Oh, the heartache! Remarkable music coupled with the most inadequate, laughable vocals ever to be heard.

Read on.

Reino Ermitano hails from Peru and as such, it owns a native South American vibe of sorts. I'm not referring to actual South American / Mayan / whatever folk elements (as one can hear, for instance, in Kranium's work, or, the incorporation of such in the music of Mythological Cold Towers, although from a different sub-genre altogether); nevertheless, there's something "native" or "tribal" in Reino Ermitano, some nuances of such hovering above or between the lines of the music.

Brujas del Mar is a mature work of extremely heavy traditional (doom) metal with groove aplenty and musicianship that – even though it's virtuosity-free – is indeed a lesson in traditional / stoner-oriented doom for anyone who wishes to know what heavy-as-fuck, atmospheric and effective doom metal is all about.

However, the band has chosen a female singer whose vocal skills are questionable at best. Sometimes she almost makes it in the pitch and intensity to match the heavy and slow music, but most of the time she fails. Miserably. She owns an infantile voice, as if a little girl with yet an undeveloped voice is singing, or at least is trying to, and all that comes out of her throat is a shrill, a screech, a howl, and instead of it being anything remotely enjoyable – it is plainly ridiculous.

Traditional doom usually hangs on a balance between being a masterpiece and an orgasm of riffs, and being just a musical circus, or a fecal matter. It all (more often than not) relies upon the vocalist, who – as dictated by the style – owns a clear vocal approach, and needs to match with his natural musical instrument, the extreme heaviness of the guitars and the bass in order to construct a decent sonic experience that only a trinity of guitar / bass / vocals can generate. Take one of those "building blocks" and the whole structure falls like a tower made of cards...

This album, however, is so skillfully played, executed and composed, it is so heavy and enjoyable, that even the awful singer does not ruin the experience altogether. Imagine that...

Recommended to traditional, groove laden, stoner doom fanatics only. (7/10)

review by: Megan Leo

Svartsinn's Traces of Nothingness is not "music" in the conventional sense. It is purely sweeping atmosphere that draws the listener into deeper corners of the listening experience, not with drums or guitars, but with synthetic sweeps of sound. Like a painting using color to describe mood without depicting any immediately recognizable shape, Svartsinn uses swathes of the synth sound to acheive a similar feat.

The album starts with a rather menacing sound byte and then proceeds to the atmosphere. What emanates from the speakers is dark, unmelodic and unconventional, like a horror movie soundtrack with little need for form or structure. The chaos is the beauty of it.

The state of mind induced by listenings of this release are comparable to other works of dark ambient, although Svartsinn seems hardly concerned with the constraints of structure. Sound bounds, leaps, diminishes and swells with little form.

If one requires convention in their listening experience, they may find Svartsinn exasperatingly lacking. But if one enjoys the trance-inducing beauty of ambience and atmosphere, then they will be compelled to parade Traces of Nothingness onto their senses. (8/10)

review by: Rick Luna

It’s great to be educated; however, having a song remind you that you should fill your mind with education justifies the case that posi-core music truly has no viable point in existing. It’s not in any shape or form directed to their anal scene though; let them have it their way but it’s their music that should really use some discipline instead of sounding like a sing along Kidz Bop album.

If somehow Struckdown take themselves seriously then we, society in general, have a problem on our hands. Make no mistake, this has some good hooks that can probably get you flinging your arms like a chicken and doing the two-step or nad twister like there’s no tomorrow. To complete this, Revolution does nothing to revolutionize the straight edge music scene. It might touch a few people’s lives and hopefully make them choose the right morals, values and their burgeoning taste in music, of course.

What a joke, "Purity" sounds like a hardcore Blues Traveler song with the touches of harmonica, but the "stay drug-free" lyrics are great for shits and giggles. The only metal like song on this album is "Humanity" but the effects don’t last very much. The verdict is in: shit sandwich. (1/10)

review by: Avi Shaked

Being familiar with saxophonist Marc Fendel’s conservative jazz material from the 90’s (Bebop & Destruction, The Marc Fendel Trio), I was surprised and pleased to discover that this debut by his recent engagement, Swampdweller, is truly adventurous and fresh.

Just listen to the opening track "Circular Data": the funk of the rhythm section and the turntable player walk hand in hand with the suspended, dramatic melodic lines of the wind instruments, while the slightly quirky vocals and the fantastic Hammond organ navigate between them.

The coexistence of hip-hop, soul and even some gentle rock with jazz on this album is brave; keeping away from cheap, mainstream squints and delivering captivating music that is full of truthful and imaginative intentions. This coexistence of the genres is not a compromise, which always seems to carry its price in the form of an unavoidable threat; but a product of unconditional acceptance and willingness to fully integrate and assimilate.

Swampdweller has produced an album that would have certainly made Miles Davis proud, as it not only derives from his legacy of fusion but also expands it using a 21st century vocabulary. A must for fans of blend-jazz and any open minded listeners! (9.25/10)

review by: Rick Luna

SpiRitual is the creation of PC game composer and metal singer / songwriter Stefan Hertrich. This is purportedly the birth of a new genre called ethno-metal in which he tries to fuse the likes of new age and world music into one giant sized metal serving. Hertritch, however, isn’t alone in making this a reality, as there is a hefty list of talented musicians from bands such as Haggard, Theodor Bastard, Darkseed, Megaherz, Equilibrium, and Koyannisqatsy.

The music in Pulse is ambient and worldly for only some parts, most of the music either rocks out or kicks metal ass. Pulse also features a heavy Middle Eastern spiritual influence and its aesthetic offers a rich listening experience; however, the effects do not last long. It is hard to keep an open mind when you mix other interests that are completely alien to most of the metal audience. This project sounds more like a newer generation of melodic metal with some folk elements. The vocals are scratchy and nothing to boast about... even the clean vocals tend to become boring. The Mediterranean vocals, on the other hand, bring things back to life but even this at times drags down the music a notch or two.

The 35-minute, 6-song EP takes itself too seriously and would actually make for a perfect PC game. (6/10)

review by: Rick Luna

What happened here, Jack Frost? Warped seems so different from previous albums, so much that it’s not even the same thing anymore. The deal with Warped, when compared to previous efforts, seems to be stripped down to the bare minimum.

The overall tempo of Warped seems to be mid-paced, with no flair or excitement. The solos, however not many here, seem to have dissipated and shy away from this album. If anything, this seems more palpable to the casual ear, but then again what about the base fans? Their response? Disastrous! Who the hell wants a song about "West Nile," or for you car fanatics, "GP Fix"? Is there still some creativity still left or has writer’s block really taken its toll for good?

Seven Witches without the Judas Priest-ish influences just doesn’t make the grade. The departure of the respectable James Rivera makes this album seem dried and lifeless. The vocals from Alan Tecchio (Non-Fiction) are so terribly sung that they hurt to listen. The only good track, disappointingly, on this album is "Red," which offers a little flash, but does fall flat on its face. It’s just not worth a damn anymore. (2/10)

review by: Rick Luna

Right off the bat, Scars, even though they’re from Brazil, have a heavy Bay Area thrash influence / sound to them akin to Exodus. It sounds like if Tempo of the Damned had a close cousin and had left over songs to give away. This isn’t a bad thing at all, but something to look and compare to for those curious enough. The riffs have that rhythmic guitar backbone that you’re bound to hear in any recent Exodus album, where it eventually carries you into the groove, and then unleashes a solo at the right time. Even the vocalist, who at times, sounds a bit like Steve "Zetro" Souza, has some charm and attitude to bellow and scream and praise... a bit.

That’s not all just yet; The Nether Hell has a whole lot of cool shit to offer. Its aggressiveness is perhaps the best part of this band: it oozes with evil. Scars do an effective job at creating a good carbon copy to some degree, but they try being a little creative with their song structures and hooks. However, this isn’t intricate, it’s well formed. Praise Satan, he’s our lord? Alright man, that’s cool if you’re into that stuff. "Legion (Forgotten by the Gods)" is one of my favorites, and that song just makes you want to punch something sturdy. (7/10)

review by: Rick Luna

Get your death metal thrills with Spain’s Imbrue and their debut release, Cado Datur Verbs. This album offers a variety of sounds and isn’t only limited to death grinding and all the good stuff associated with that. In fact, some distinctive effort has been added: like, for example, the technical aspects to this band’s repertoire. It’s a bit flavored like Cephalic Carnage – imagine their craziness and factor it in slightly to this nascent, brute force. The ideas are fresh and brilliant.

Each song has its own personality, which makes for a new experience each listen, as so many ideas, breaks, solos, are thrown at you like crazy glue, and it sticks well. "Behind the Flight of the Locust" and "Inherent" are just a few examples of the band with some of the best ideas ever heard on a death grind album, period.

As great as this is, however, disappointingly, most of it isn’t as tight as it should be, but the ideas are still audible. This, good or bad, creates a raw energetic feel to the album and if it was their desired direction then kudos for that live sound. If you’re into T.O.O.H. or even Cryptopsy for that nature, then you might want to invest your time with Cado Datur Verbs.

There is one complaint about this promo, but it has to be addressed because it stuck out like a sore thumb. What is with the buzz throughout the entire first track? I only hope it has been fixed with the retail version, or maybe it’s a just bad copy. Other than that, this is not bad at all, but could become a lot better if things had only a stronger foundation. (7.5/10)

review by: Rick Luna

Continuing off where Reduced to Ashes and previous efforts left off, Crown of Souls offers, more or less, the same architecture that Deeds of Flesh have constructed and played well over the years. If it ain’t broke, why fix it, right?

Those who know Deeds of Flesh’s game should already have an idea of what’s to come. However, those who have not treaded these waters should expect Crown of Souls to have quite the powerful impact. Still present are the multiple bursts of drum blasting along with some intense fills here and there. If you’re into brutal death, this technique will definitely pique your interests. In addition, the guitar and bass both integrate with the drumming for some outstanding collaborations. The vocals are still growled in the same old brutal fashion, and in monotone. "Forced Attrition" is extremely tight and on par with everything, it’s the staple of Deeds of Flesh for being so... dare I say, deedly!

Crown of Souls doesn’t sound as clear as Reduced to Ashes, the drums do sound a bit damned by the muffling. As with previous releases, it offers the same old story with absolutely nothing new. It’s still a rhythm based, brutal death metal sound, but Deeds should try to introduce something new to keep the flavor sizzling. It’s still a good record, but nothing that surpasses the last few albums. (7/10)

review by: Ignacio Coluccio

It would be sacrilege to like death metal and not know Demigod. Coming from the same league as artists such as Demilich and Amorphis, Demigod was the more conventional, yet brutal of them.

Even without considering the fact that Slumber of Sullen Eyes is one of the most influential death metal albums ever, and that it was made fourteen years ago, it's still an outstanding album. It's a brilliant piece of thrashy and doomy death.

The approach is quite like the one everyone knows, not overdoing it on the blastbeats, and with groove and catchy, melodic riffs, vocals a lot like the ones on Amorphis' The Karelian Isthmus and actual song-oriented composition.

After just one listen, it's obvious why Demigod became a legend and why this album in particular became hard to find. Thankfully, with this reissue more people will be able to have a classic album that’s been somehow underrated by the "main crowd."

Also included in is the Unholy Domain demo, two years older than Slumber of Sullen Eyes, but in the same vein. It's not necessary to comment on it if you know their other stuff. It's still awesome stuff. (Classic/10)

review by: Roberto Martinelli

(reviewer's note (3/23/06): Our new staffer Brandon Strader and sharp Maelstrom reader Mark Sle have pointed out that the vocals on Sideshow Symphonies are not by Kris Rygg, but by Simon Hestnaes (aka ICS Vortex of Dimmu Borgir). I regret the error. However, this changes nothing about the core of the review. All points remain the same. In fact, put Hestnaes down as yet another Norwegian vocalist whose clean vocals have got a great deal of signature and appeal, but aren't of the calibre to be put in the forefront and to carry an entire record. Now on to the review.)

Arcturus’ signature style hit a home run with us on their previous album, The Sham Mirrors, making it one of this reviewer’s top albums of that year (and La Masquerade Infernale is pretty cool, too). It’s kind of like a melodic, song-oriented take on black metal with a bit of a nod to jazzy rhythms and ‘70s rock vocal delivery. Sideshow Symphonies largely retains the mood and style of the Sham Mirrors triumph, but unfortunately the result is far inferior.

The main issue here is the overall sense of stasis. The Sham Mirrors is an energized, catchy affair. The songs vary in tempo, but they retain a driving, satisfying energy, be it through ripping Emperor-esque black metal parts, to simply gorgeous piano solos. Sideshow Symphonies in comparison feels rather long-winded, but with not a lot to say.

In turn, the main culprit for this are Kris Rygg’s vocals. Rygg, not unlike countryman Lazare (Solefald), is not what you’d call the greatest pure singing talent. Rather, his strength lies in his originality of timbre and delivery, and used in the proper amount and context, can yield excellent results. However, Sideshow Symphonies errs in making Rygg’s voice the center of the mix, and he just can’t carry the album for what he’s got. The vocal parts themselves are much less punchy and dynamic. The same can be said about the instrumentation: everything from the riffs to Hellhammer’s drumming is less creative, alive, energized, and... here comes that word again... dynamic.

The album is melancholic and relatively apathetic... definitely less creative. We see Rygg is now referred to as "ex-Arcturus"... (wasn’t he the main guy?) Maybe he knew he was on his way out. Maybe this album got him kicked out. Maybe he was bored. Whatever, although Sideshow Symphonies still retains the Arcturus flavor, it falls far short of expectations. So we’re still calling it a good record, but we’ve had our fill of it after three complete spins. (6.2/10)

review by: Matt Smith

Callenish Circle is a well-rounded group, with a decent amount of technicality and a few spots of impressive playing. Pitch. Black. Effects hinges on solid, well-planned-out songwriting. The synths are placed in good spots, and each riff switches smoothly and methodically into the next. The vocals consist of a clean, throaty yell, occasionally layered, and the drums are similarly standard for newer thrash bands: The beats are relatively laid-back but with some creative rhythm that complements the percussive guitar lines.

That said, the whole thing smacks of nu metal without the harmonically sung portions. Pitch. Black. Effects is entirely unchallenging to the listener, even though much of it would clearly be difficult to play, and Callenish Circle leans too heavily on catchiness throughout. The production is also opaque; it is so thick (especially bass-heavy) that I've had trouble hearing parts of the album on multiple players. The leading chords and keyboards wash out a lot of the details and embellishments that make an album like this at all rewarding.

During the course of the CD, Callenish Circle makes it clear that the band has talent, but the execution is off in many respects. In the end, it is dry and inexpressive, and those who like a bit of character in their music should probably look elsewhere. (5.5/10)

review by: Ignacio Coluccio

Deathevokation is just the kind of band that would make an old school death metal fan's heart explode with joy. We've all seen countless "back to the roots" albums, but not many of them really emulate what was the late 80s, early 90s death metal scene. And if they do, they are just Dismember clones for the most part. In this case, however, Deathevokation shows an original style, but done just like it would have been done 15 years ago... one that's raw, dirty, in-your-face, and without blastbeats.

The influence from the Swedish death metal masters like Dismember, Autopsy and Nihilist is obvious, and what makes Blood as awesome as it is. The twist in this album comes with the longer songs that change all the time, including nostalgic riff after nostalgic riff. And while it might sound like your typical case of "Look! We can make long songs!" it isn't, and it certainly doesn't lose cohesion for it.

It'd be nice to push Deathevokation's long songwriting even further, while still having that distinctive and old-school sound. And of course, we're expecting a full-length already.

For all death metal fans, or anyone that likes extreme metal's early stage. (8.4/10)

review by: Matt Smith

This Mexican death group doesn't offer any surprises in The Warfare Continues, but the group's rage-filled style and war-obsessed lyrics should please those listeners who are just out to hear some new death metal. The drums are always at full-speed, and the guitar riffs only occasionally slow into brief grooves before picking up tempo again. The vocals sit in the middle, unobtrusive, but they consist of a gruff, throaty yell and rhythmic growls. The combined effect is a thick, thoroughly melded surge of sound that is successful even though individual parts are often cloudy.

The lyrics are nothing new. Despite a slight lack of English proficiency, the gory battlefield imagery makes itself clear. There are no deep, though-provoking questions raised or new territory explored – just grotesque scenes of mass carnage. But what the hell, this ain't opera. The Warfare Continues isn't exactly disappointing, but it is far from inspiring. One more that nestles right in among the pile o' death. (5/10)

review by: Roberto Martinelli

Eikenskaden, as it stands as a project, is an essential entity in black metal. Truly original, the work of one Stefan Kozak in both this band and its more romantic, pretty sister, Mystic Forest, is proof positive that the genre still has plenty of room for stylistic development, while still adhering to its stringent codes. Eikenskaden in particular has wowed us over the course of its now four albums with unique sonic approaches to the harsh and edgy, transcending a raw production to one that actually explodes on every hit and note, while sinister yet deftly played, classically-oriented music played in the background.

Remarkable as well is the sheer output that the two sister projects have managed to keep up. Combining the two, we’re talking about something like 8+ records in the span of six years, tops. However, this is where we begin touching on the problem.

For although There Is No Light at the End of the Tunnel, Eikenskaden’s latest, is still to the ascribed norm, it’s just that: exactly the same. But it’s even worse. Essentially, this album seems like a full-length’s worth of b-sides, like a bunch of more memorable or impactful Kozak songs rewritten and watered down. It sounds like a champion runner petering out during the home stretch of a long race. Even the production is "inferior," losing a great deal of the extreme, raw, violent and unbridled edge that this project is supposed to represent in the Kozak universe.

But don’t get the wrong idea. If you like Eikenskaden/Mystic Forest, you won’t be able to NOT get this record, although you’ll probably be reaching for The Black Laments Symphony or Waltz in the Midst of Trees before this one. There is No Light at the End of the Tunnel is no major disappointment, and certainly no betrayal. The essence is still there, but, well, we’ve heard the man do it before, and much better. Kozak himself intimates that he’ll be taking a rest for a while – much deserved, indeed! Hopefully, some time off will be a good opportunity to reflect, regroup and progress this man’s superb musical contribution. (6.5/10)

review by: Ignacio Coluccio

Coming from California, and out of the ashes of Mindrot, here we have the third release from Eyes of Fire. Mindrot was amazing. Eyes of Fire, sadly, and against all odds, isn't.

To put it simply, Eyes of Fire is a sludgecore band that shouldn't be playing sludgecore. They are good at doom, they are good at experimental stuff, and they are good at more mellow rock. Thing is, they don't sound so good at what they are actually attempting to play.

On the good side, they use some really simple but outstanding leads, and the clean guitar parts are quite well done. The other parts, however, and due to the production and the typical vocals, sound way too much like mid-period Neurosis to be enjoyable in context. The technical aspect as a whole is good enough, but the lack of real variation makes it boring to listen to. The main difference with Neurosis, however, is the total lack of experimentation in Eyes of Fire, when compared to the (like it or not) boundary-breaking act.

Prisons is an album just for sludgecore completionists, or for people who have never heard another band in the genre before. I want Mindrot back, already. (4.3/10)

review by: Larissa Glasser

Fear of Eternity’s follow-up to the Moribund debut Towards the Castle treads many of the same darkened paths, but as any survey of an artist’s repertoire SHOULD reveal, the material has evolved considerably. This album uses even more layers of keyboard haunt, arpeggiated skill, and a more organic drum sound.

For those unfamiliar, Fear of Eternity comprises of Andrea Tilenni alone. His work suggests a natural evolution of the one-man black metal artist. Fear of Eternity relies on mood and melancholic dirge, rather than brute force (this material does not blast, not once). Indeed, as Moribund states, "Fear of Eternity is utterly antithetical to the post-Darkthrone age of concertedly physical black metal."

Consider this material on its own subterranean level. Although at first listen, it may seem like an ice-cold splash of water on your boner for black metal, Fear of Eternity triumphs with a keen understanding of minor-key dynamics, funeral despair, and haunted voicings. As a result, this is about as black as metal can get.

The opener, "Staring at the Dark," plunges into a sad-eyed death march with an infectious melodic line, similar to Clint Mansell’s overture to the Darren Aronofsky film "Requiem for a Dream" (2000). Tilenni has an astute understanding of our less than joyous world. This is an ideal soundtrack to isolation and estrangement.

"Torrent in my Veins" is even more classically inclined, running the gamut between strings and synthesizer.

"Atrocious Pain" hearkens back to some of the Sci-Fi elements of the previous release, Towards the Castle.

"Silence’s Fortification" sounds poppier than the other cuts (relatively speaking), with a melodic line that unavoidably sounds like a certain 1980’s new wave song about having died in your arms tonight (this is not a likely homage).

The title track, "Spirit of Sorrow," is more of a pronounced dirge, warm Burzum-ic buzz that gropes along pitch-black tunnels towards the depths of psyche.

The straight-on slog of "Sad Dreams" has a King Diamond interlude quality to its melodic line. "That Rainy Day" is one of the more intriguing cuts, due in part to the operatic interplay between the vokills and the synth. The final track, "Tormented Heart," adds gutturals and growlies to the Swans-like vapor.

Fear of Eternity is a freezing cold black metal experience, a one-way departure into forlorn narratives and suffocating dirge. Mandatory listening. Please keep this material coming. (9/10)

review by: Avi Shaked

Green Carnation releases an acoustic album. I guess some of you might be terrified at the thought, while others will be intrigued at the possibilities of executing metal music in an unplugged yet still electrifying manner.

The latter might be disappointed, as Green Carnation does not supply any new attitude towards acoustic music; instead, these guys are fed by the tradition that ascribes acoustic performance with slow, minor key songs, and consequently abandon their metallic edge.

The classic chord reliance, which has been around for centuries, is at the backbone of this melancholic release, along with some Pink Floyd influenced textures, generally resulting in one-dimensional music. Sure, there are some windy whistles, mostly the theremin’s; as well as some well integrated stringed instruments (violin, viola and cello) playing. These, however, could have been utilized to a much greater effect and overall atmosphere.

With all that said, some of the pieces do benefit from epic dimensions, and much of their buildup and tension is credited to a fit keyboard performance that interconnects their segments.

Eventually, The Acoustic Verses is successful as an acoustic rock album. Being naked as it is, the song writing receives more focus from the listener when compared to the band’s previous releases, simply because there are no effects to disguise it; and the fact that the songs flow with reasonable interest and coherence, without disturbing it at all, is a testament to the band’s sense of melody and its maturing songwriting skills, which are, in the light of the band’s previous material, the real news here. (6.5/10)

review by: Rick Luna

The creative side of Green Carnation finally goes full bloom with the highest level of experimentation. Different would best describe The Acoustic Verses as opposed to their previous releases, but change isn’t always bad. This fine Norwegian group is well known for their progressive handling in addition to their impressive mesh of different styles stemming from folklore to neo-classical lengths. It was all in due time before they would actually reach their peak… this is their shining moment.

The Acoustic Verses, as the name states, is almost entirely with acoustic instruments, although there is a bare minimum of electric guitars. There’s plenty of orchestral power with stringed arrangements and piano parts that add to the already moody passages. Each song is carefully crafted like a fragile object. It’s great kickback music to sit down and recollect the darkest, most painful of memories: regret, loss, and despair.

Simply put, the album is flawless. "The Burden is Mine… Alone" is about self hate and could very well make the strongest of men break down. The album’s epic track, "9-29-045," has to be the defining moment as this colossal, 15-minute journey braces you for an emotional ride.

Enough said, The Acoustic Verses IS Green Carnation at their prime and perhaps their most important milestone of their career. (10/10)

review by: Ignacio Coluccio

Venganza really couldn't have been more generic. Sure, Mexican death metal bands aren't precisely the pinnacle of the avant-garde, but at least not all of them are Krisiun, Angelcorpse and early US death metal clones... or should I say, rip-offs?

Venganza starts with a tedious and supposedly "creepy" (more like laughable) intro that's probably the single most annoying one I've ever had the misfortune to hear. Of course, you'd think that after those two minutes of random, headache-inducing noises you wouldn't have to hear it again. Wrong. ALL the songs end with at least 10 seconds of similar fare.

Alright, so the intro / outro problem is just something external to the songs. But well, the songs themselves aren't much less headache-inducing either. If you've heard Krisiun, you've heard Hacavitz. Except that this time, we're talking about absolutely stagnant, "straight-forward" black / death songs. In this case, by straight-forward I mean "50 minutes of the same thing." Yes, it has some slower parts, and no, they aren't good enough.

On the good side, the technical parts aren't bad at all. The drummer knows how to make blastbeats and such interesting. The guitarist can play some decent black metal-riffs. And that's about as much as it can be said about Venganza. Search for good stuff somewhere else if you don't want to end up with a headache like me. (1.9/10)

review by: Avi Shaked

Illuminati’s debut EP, originally released in 2003, has a vintage feel all over it. A strident garage sound wraps a heavy load of influences, embodying the melodic licks and poignant presentation of Thin Lizzy with the speed of Motorhead and the southern rock of Lynyrd Skynyrd or even Dixie Dregs (check out "On My Way Back Home… Again").

This is one robust blend that rocks vigorously! Furthermore, the six pointy songs here twist and turn while retaining their direct edge, serving as a testimony to the band’s "no bullshit progressive" attitude as well as its self confidence. It seems the Liquor and Poker release of the band’s full length album is just around the corner, and I personally can’t wait to listen to it. Meanwhile, be sure to check this one out. Oh, and did I mention it only costs $3? (8.5/10)

review by: Ignacio Coluccio

Soothing Torture is the second album by the Norwegian band Insense. While there certainly are not many Norwegian metalcore acts, this one in particular is nothing too spectacular.

As opposed to most American metalcore, Insense at least shows some variation, sometimes, from typical metalcore. The usage of doomy, totally melodic parts is a definite plus, and pretty much what saves this album from being a borefest.

The base of all of their rhythms is Meshuggah-like polyrhythms. Sadly, the drumming is not as complex as it should be and it lacks the punch Chaosphere or Destroy, Erase, Improve had. Also, the metalcore approach and the constant breakdowns just make it way more generic where they could have instead been used as a distinctive feature.

It's kind of weird that the songs are different in their clean parts, but the heavy ones and breakdowns sound all the same. While different instruments are used for the calm segments, it seems like the same drum-breaks and riffs were used in all the standard ones.

The result? A mediocre album, but fun for fans of the genre or occasional listeners. (4.9/10)

review by: Avi Shaked

Relying on prewritten compositions, Judy Lewis’s tight jazz, unlike Avishai Cohen’s, is less concerned with rhythmic intricacies. Subsequently, its grooves are secondary to its melodic front, manned by a piano and a sax. No doubt, this is jazz music that requires the players’ familiarity with the material and benefits from their thorough examination and relations with the pieces.

And indeed, the collectively played compositions found here are valuable: "Voices" with its Nordic ECM vibe, "Yesterdays" with its rock passion, the Gentle Giant scented "Memoir of a Reluctant Warrior," and a few others whose charm you’ll have to discover yourself. These are often introduced by promising expositions that develop unto climaxes; and while the musicians stick to the guidelines and provide subtle interpretations and twists of them, they are also irregularly drenched in amok.

It is therefore a mystery why pointless solos spots were given to the players between the compositions, as these ultimately damage the album’s coherence. With a firmer attitude, this could have easily been a more complete album – a point to consider for the next release! (7/10)

PS: No Expectations, Judy Lewis’s fourth album, was originally released to limited regions in 2004. In 2006 it is expected to be exposed to new grounds under Lewis’s own Indie Jazz label, Visionary Insomniac Records.

review by: Roberto Martinelli

Mono is a Japanese instrumental group whose stylistic roots are found as much in ambient drone as they are in classical music. You Are There is hardly an acoustic record, but it’s as close to one as you can get with instruments that are played through distorted amplifiers.

You Are There mixes melancholic, delicate pieces with tremendous, churning washes of minor-key melodic drone that reminds us a whole lot of what the black metal band Weakling does on Dead as Dreams. These sections are excruciatingly sublime, like a false cure for sadness that in fact feeds the melancholic fire all the more. But Mono is hardly black metal, so regardless if you love Weakling or not, you’ll love Mono.

Mono transcends the norm in several significant ways. One, their use of drone is highly musical, and not the static monotony that can only be useful for something like a Vipassana meditation. This quality greatly lies in Mono’s music being all made by the actual playing of instruments, which are in gorgeous harmony with each other and boast tremendously sweet yet melancholic tones. The album opens up with its strongest track, beginning with outstanding acoustic warbling from a guitar, and gradually builds into the rhythmic, trance-like dirge drone with drum accompaniment.

At their best, Mono’s compositions are immensely powerful, belying their quiet or reserved nature, resulting in music whose times of utter silence seem almost as roaring and intense as when the band is going at full bore. Taking a look at who produced the album reveals the name Steve Albini, which probably is as good an explanation at the production’s success as any.

Another significant way that Mono transcends the norm is how they eschew the trappings of the indie Japanese band, that so commonly has some sort of whacko gimmick, like some eccentric adolescent from another planet – that, although honest, is often less about the band’s actual musical worth and more about how zany those Japanese can be. You Are There is a work of music that stands on its own merits, transcending whatever popular culture hobbyist fixation.

With that said, You Are There, as strong as it is, doesn’t entirely manage to maintain the peak that its strongest moments achieve. Some of the more delicate pieces become a little redundant... but relative to their being very strong pieces of pleasant music, that is. Regardless, look for this album to make this writer’s top of 2006 list. (8.8/10)

review by: Matt Smith

This classic re-issue brings to light an early American death metal band, which, due to the collapse of its label, was never able to venture far beyond cult status. But fifteen years after the release of the EP Adipocere, Morpheus Descends is touring once more. Bringing some of Morpheus Descends's earliest material back into the fold, Spain's Xtreem Music has included Adipocere in a re-release of Morpheus's only full-length album, Ritual of Infinity. A compilation of the band’s remaining EPs will be released in the future.

Ritual of Infinity is a great-sounding example of early-‘90s New York death: guttural vocals at the forefront, simple but effective riffing behind, with production that is nothing to brag about but stays out of the way. The sound is simple but unrelenting and ultimately satisfying for those who wish that some of those synths and Swedish-style riffing would defer to balls-out aggression. Fans of early death metal should thoroughly enjoy this re-release, and it will be interesting to see any new material that comes from Morpheus's resurrection. (7.5/10)

review by: Roberto Martinelli

We’ve been fans of the Finnish power metal band Requiem since their debut album, The Arrival. That record had a unique quality of the group’s unbridled, gung-ho energy and delivery teetering ever so close to the edge of disaster, like the moorings holding the ship of Requiem in a tumultuous stormy harbor were going to snap at any moment. But they didn’t. The production was weirdly explosive, and the singer went for broke in ways that some might have found foolhardy, but it didn’t fall over into fiasco territory.

The band’s second album, Mask of Damnation, was a definite progression for the band: more mature, with better and more original compositions, and a toned down production and sense of recklessness. It WAS a better record, but somehow less fun.

Requiem Forever is album #3. Stylistically, the band is more on a rock side, but still firmly rooted in power metal. This approach works best on "Hold On," which has a tremendous hook during a bass solo, right before the chorus kicks back in. That song is now forever committed to my memory.

However, that intrinsic, charmingly foolhardy nature is still very present. This time around, it’s mostly manifested in the performance of the singer. Unfortunately, this is largely the source of the negative points on this record. Requiem’s singer isn’t exactly an A talent, but he tries to make up for it for really going for it, which is exemplary. And we do have to hand it to him, he has his own signature sound. However, he might want to rein in what he’s doing sometimes. He goes for a lot of different deliveries and voices, about half of which sound at worst slightly cringeworthy, and at best like he’s just slightly over his head in terms of what he’s trying to do.

Not that there’s anything different about this from previous Requiem records, but it’s more significant here as the mix highlights the singer more. If anything, the vocals were even more absurd of the debut, but the other instruments raged on so much more in the spotlight that the singer sounded more like a lunatic lost in a storm than a kind of floundering frontman.

It’s kind of a quandary. You wouldn’t want to see Requiem kick out such a character, but you wish that he would sing a little more appropriately to his voice. Also, we definitely liked Requiem better when they were more outlandish, psycho power metal. So Requiem Forever is a good record, but definitely not the band’s best. (6.2/10)

review by: Nikita

It’s a perfect night to suck down a shot of bourbon before spinning The Strongest Proof. This four piece band is thick, raw classic rock in alternative grunge metal land. In a world of over-mixed and meticulously tight loops and beats, this band retains all the bad ass intimacy of being live in a small room. They play intuitively together, thrusting through creative changes with heavy but agile dexterity. The more I listen to this dynamic guitar driven rock, the more I like it.

Tony Bryant on drums is a massive talent. He has a demanding, but totally comfortable, organic groove – not too fast, not too slow. The band may sound a little loose and fuzzy around the edges but it’s really just enough to make it good and keep it ever so sexy. The tunes are consistent, each still individually arranged with dynamic flair and experience. The lyrics are just enough to ponder but not too poetic to lose anybody after those bourbon shots. The elegant, well placed guitar harmonies create simple, uplifting melodies. Matt Tomlinson’s vocals are dead on and strong like the Strongest Proof – unwavering and charismatic. (8/10)

review by: Roberto Martinelli

Maintaining a style is one thing, but this is ridiculous. Track one off of Swedish Viking metal frontrunner Falkenbach’s new record, Heralding (The Fireblade), sounds for all the world like about two of his other songs from previous albums. But dammit, it’s got the trademark, golden / wuss boy clean vocals that we’ve come to love, so be it.

Speaking of wussery, the previous Falkenbach album (the one with "ok" in the title) was maybe a little TOO over the pansy line as far as what we expect from this genre. You get a sense that the Falkenbach guy felt so, too, and therefore Heralding is more METAL overall, with simple, bell-heavy double bass runs and generous usage of harsh vocals.

Kind of true to form, Falkenbach employs the predictable song alternation of "Viking choirboy going to war" with "Fallen Viking choirboy now raping angels" for the first four tracks on the record, with the demon taking the lion’s share for the remainder of the record. We kind of like it better when the structure is more predictable, because as much as we poke fun at the man’s clean vocals, they’re pretty great.

Heralding is Falkenbach’s best overall album to date. The production is the best it’s ever been, and there are a good amount of really accomplished, stirring moments throughout the record. However, many of the songs feel like they could stand a little more development arrangement-wise, and the album has that feeling of just coming to an arbitrary end after its 40 or so minutes. The overall package is calculated and delivered accordingly, but the end product, although enjoyable, has a definite lite calorie feel, which seems a little out of place with music associated with Vikings, don’t you think?

However, after all is said and done, this is going to please fans of Falkenbach, but a better record is definitely possible. (7.2/10)

review by: Roberto Martinelli

addendum 2/2007:

Zarah: A Teartown Story is a bit uncommon in its skirting a couple areas that we find to be really dangerous territory, yet coming out unscathed. For one, this is a concept album, and while the song constructions and progressions are rather long-winded and sort of theatrical, the album is a quality piece of work.

The reasons for this are many. One, despite being squarely in the progressive, hifalutin spectrum, Ricochet retains a firm hold on driving metal music that’s at once square-shouldered and pleasant to listen to.

Hmmm... square. Yeah, that’s a good adjective to use for this German band, who, if you had no idea about their origins, you would guess are from Germany before anywhere else. It’s no knock, but the band’s resultingly exact, stringent and rigorously methodical approach that emanates from their music plays up to the cultural stereotype, while at the same time producing a highly worthwhile, original work.

At the head of these qualities are the vocals, which are superb. Not flashy or histrionic, the singer possesses a fantastic delivery and an excellent knack for crafting wonderful melodies and syntax that play up to his range perfectly. The production is also outstanding, with delightful solos that are enter the sonic spectrum in just the right way, and a tom-tom sound to die for.

But most importantly, Zarah’s flow is exemplary. Being a successful concept record, the album is one of those that’s more of an accomplished body of work than a collection of excellent individual songs, so when you put it on, you’ll start at the beginning and won’t stop until the album is over 70 minutes later. If you’re looking for an album that aptly bridges the prog rock and prog metal genres, but doesn’t overdo it in either the self-aggrandizing or convoluted way that turn some people off to those genres, then do check out this album. It’s a highly enjoyable piece of work to come back to. (8/10)

review by: Pal the Postman

One of the biggest surprises at the twilight of 2005 was the second product of Ansur from Norway. Last summer I discussed their Carved in Flesh demo (on Nerbilous Productions), which despite the promising musicianship, was marred by a thin, sharp, and tinny production I described as "black math transistor metal." What we get now is, to say at least, spectacular in the form of the concept album Axiom.

One interpretation of an axiom is that it's a self-evident truth upon which other knowledge must rest, from which other knowledge is built up.

With a quantum leap, Ansur have developed the better elements of Carved in Flesh into a little masterpiece. Axiom offers an excellent production and replaced the drum machine with real drums this time. The concept of the songs turns on a chronological story in a post-apocalyptic setting. Style-wise, I could suggest a cross between Wrest's Leviathan, Mastodon, and perhaps also a bit the imaginative early works of progrock-titans Rush.

They cite Mayhem and Gehenna as influences, but since those bands have developed a lot over the years it remains a guess which elements serve as a just comparison. Ansur are far too melodic to represent brutal death metal and too composed and precise to be chaotic in the basement sort of way.

Axiom is an addictive mixture of mathy patterns with the brilliantly subtle implementation of acoustic guitars that strongly add to clarity in sound and the sense of threat and disaster. Perfect soundtracks to a cold and wintery twilight are the long pieces "Desert Messiah" (8:12), "Interloper" (9:02), and the massive, 11-minute "The Axiom Depicted." They combine fast parts with slower but complex and eerie ones that are especially stirring when things get twitchy. A wonderful song like "Interloper" is like a battlefield where those musical stabs-of-pain are divided among harmony and dissonance.

Meanwhile, the vocals of Espen A.R. Aulie are toneless, suffocating and disembodied like a zombified newscaster, gurgling through the speakers of the aforementioned crap transistor. And there it works: the double negative makes a plus.

Axiom is an intense and intriguing record. If Ansur try and maintain this newfound course without falling into the pitfall of bombast, their future certainly won't look as grim as the world of Axiom. Having noticed this, it's almost unbelievable that the members from Ansur are all still aged below 20 when hearing what they're capable of. Rough mixes in MP3 format of Axiom are available on their website. As of the moment of writing they are negotiating with labels and plans are in the making for the next title. Check in and stay tuned. (8.5/10)

review by: Larissa Glasser

"Thrash to kill / Blood will spill . . . "

If there is any prime indicator of the quality set forth by thrash metal in the 1980's, the debut full-length by New Jersey's Whiplash stands front row, head bobbing, hair in face, beer in hand. An often overlooked and underrated classic, Power and Pain is one of the most powerful releases from this era. The production, songwriting, and surgical musicianship exist in their own right, and yet certain factoids about Whiplash remain irresistible more than twenty years later:

- Each member of the band bore the Christian name Tony.

- During recording, guitarist / vocalist Tony Portaro's arm was still in recovery from a terrible car accident.

- Guest musicians from Agnostic Front and Carnivore provided backing vocals.

- Slayer's decision to draft drummer Tony "T.J." Scaglione to replace Dave Lombardo hinged on this album.

Now, for anyone hearing this album for the first time, the first thing you notice may depend on which instrument you play (or are interested in). My ears always make a beeline for Tony Portaro's guitar solos, which set a lofty standard for ferocity and melody. You can actually sing these solos, some of them are just incredible. The vocals complement his guitar work well – a vast range of shrieks and growls; the energy they radiate into the music is downright infectious. Bassist Tony Bono (who tragically passed away, a victim of cancer, in 2002) also puts in a noteworthy performance: his steady and determined lines counterpoint hyperactive walking scales that link the components of each song quite well. There's a hint of John Entwistle in Bono's playing (Entwistle also died in 2002). Finally, consider the punishing war battery of T.J. Scaglione – well, it bears repeating – Slayer drafted him after hearing this record!

The first cut, "Stage Dive," begins with a deceptively moderate passage with ringing chords and feedback, then kicks all that aside with a hyperactive thrash mode that acts as a harbinger for what to expect from the rest of the album. Fast-as-fuck trills, intricate runs, and incendiary energy make this a characteristic Whiplash song, and anyone not won over on the strength of this first track alone is, alas, a lost cause.

"Red Bomb" starts off with a deceptively jazzed-out exploration before ascending into a phrase of utter delinquency. If Beavis and Butthead had been exposed to Whiplash, they may have ended up winning MacArthur Genius grants. This song follows up "Stage Dive" with a more New York City hardcore approach, yet it is energetic and bludgeoning in the most metal way.

"Last Man Alive" is the poppiest song on the album, but it presents a post-apocalyptic narrative of utter threat. The lyrics remind me of Richard Matheson’s canonical horror novel, "I Am Legend." Although filmed decently in the form of "The Omega Man," Matheson’s vision of the world resigned to a plague of vampiric zombies has seldom been adapted successfully. However, this song captures the essence of that book to the letter.

"Message in Blood" is one of the more straightforward cuts, but no less ferocious than its predecessors. The only drawback (and mind you, ONLY in the shadow of the other material) is that it churns the same mouse wheel without much variation.

"War Monger" bears distinctive Slayer influence, even some seasonings of D.R.I. This cut makes you pine for the days when breakdowns were antithetical to extreme metal.

"Power Thrashing Death" is one of the more self-referential songs, as if the strength of 80’s thrash metal was subject to cross-examination. Like Bathory’s "Of Doom," this cut is testament to the band’s worship of their fans.

"Stirring the Cauldron" brings witching metal to the fray, and like "Messages in Blood," it isn’t the most engaging song of the bunch. Although formidable, its mid-paced structure may have been better served with some editing.

Not to worry, "Spit on Your Grave" recovers the momentum with a total balls-out thrash mode evocative of Venom’s earliest teachings. An intensely hate-filled anthem, the song tilts the needles again into the red, and the best is yet come.

Even non-metal fans tend to be impressed, even bemused by the album’s OTT closer "Nailed to the Cross." A catchy, blasphemous ditty seasoned with pinch harmonics, crisp double-bass drumming, and tongue-in-cheek sound effects, this track presents the loftiest examples of how to end a song (it takes over a minute for them to take the piss out of this atypical, big-arena crescendo). By the time it’s over, you wonder what the hell just happened.

In a word: THRASH!

Displeased Records re-issued Power and Pain in 1999, and included Whiplash’s follow-up, Ticket to Mayhem. It is interesting to hear how the band progressed from one album to the other. ALSO highly recommended from Displeased: the 2005 re-issue of Messages in Blood, a compilation of Whiplash’s early demos and a generous helping of live clips.

review by: Larissa Glasser

Every artist, particularly in the black metal scene, has the almost scientifically certain likelihood of creative doors of perception being blasted open by listening to the soundtrack to the David Lynch film "Eraserhead." Regardless of whether you’ve managed to sit through the actual movie (which is, like so many of his other films, an endurance test for the mind), this mostly ambient soundtrack captures desolation, urban decay, and rusty obsolescence better than most other media.

This soundtrack is a standalone work. Even repeated viewings of the film are wiped from memory, except during the snippets of dialogue, which are mercifully short. Factory whistles bleat in the background, hissing radiators struggle in vain to stave off the cold air, carnival music squeezes as from down a vast, copper corridor, and finally, the wailing of the torso it-baby with a voice thinner than a mosquito’s wing yet sharp enough to pierce the most seasoned eardrum.

By the second half of the soundtrack, Eraserhead has managed to suspend disbelief long enough to offer a more subdued, moaning stream of drone with much less dialogue, despair with the G-force of hurricane winds, and finally, in a VERY futile attempt to satiate his human yearnings while caring for his premature it-baby, attempted affair with the woman living across the hall (she is understandably repelled by his deformed offspring). One of the best points comes around the nine minute mark of this second half, when the it-baby unleashes an incessant wail drenched with reverb and frostwinds. Pregnancies, abide this ordeal.

Lord knows what cohesion David Lynch was attempting with "Eraserhead." Full of startling imagery, the film took over five years to make, but it put Lynch on the map. The soundtrack, taken as its own dose, is equally perplexing. Just as the listener grows zombified by incessant cityscape drone, the album cuts short like instant death. Eraserhead a is wholly unsettling listening experience.