Amon Amarth - Once Sent from the Golden Hall

I've been listening to this album for quite a while now, and over time it continues to grow on me more and more. I liked Sorrow Throughout the Nine Worlds, but it seemed to suffer from the comparisons that are always drawn between the multitude of bands from this area. I mentioned that the last couple songs on that E.P. showed some real promise, and here it is realized! This album just rages! It's so intense that one of the band members got lost between the front and back cover! Seriously though, Once Sent... has everything required to be great, pummeling beats, muscular death vocals, ripping guitar melodies, it's in there... Drumming is spot on, much more double bass intensive and creative to boot. The guitarwork is just phenomenal, going from power riffing to melody to really nice lead spots. Vocals are more in the "Gothenburg" sound, pretty similar to Jester Race era In Flames (to my ears). Amon Amarth have also bypassed the repitition factor nicely, keeping things pretty fresh by mixing tempos and feel thoughout. Lyrics are pretty standard viking metal, from what I can hear, but this fits the atmosphere well, and with the incorporation of sampled swordplay, you can feel the agony of the battlefield. It is a rare album that evokes real emotion, and this happens to be one of them. There is a real element of despair that permeates this release. All in all, a release that is worthy to stand on it's own merits, hopefully leaving the inevitable comparisons to lesser bands that have jumped on the wagon. Might be a contender for a top ten in '98!

Arch Enemy - Stigmata

This is going to be a really tough review to write, and to explain why, one would have to be familiar with Arch Enemy's groundbreaking opus Black Earth. That album is a masterpiece, which of course, leads to unrealistic expectations for the next album, setting up anticipation for another work of unparalleled genius. Of course, we all know that this may or may not happen (cases: Wolverine Blues, Swansong and Whoracle, to name a few), and it appears that disappointment is here again, as the inevitable transition to a major label has fancied up the bare bones, rushed in the studio, kick ass sound that permeated the first release. Much of the change may be attributed that the facts that the band expanded to a five piece, they had tons more time to write these songs, and that the rhythm section is really Armageddon. How much the drumming may change the overall sound of this band is best evidenced on the opening track, which is the closest in sound to their older material (Daniel Erlandsson is the original drummer, and he plays on Beast of Man). The rest of the album is still pretty damn heavy, but there are more "Gothenburg sound" elements, and quite a few times a hear a lot of In Flames in here. Some other changes? The vocals, which just fit so damn perfectly on the last album, are sometimes way mismatched with the melody lines, most noticably in the choruses (Let the Killing Begin springs to mind). So, why was it still album of the week? Because, while I am disappointed to see the riff juggernaut that was Arch Enemy become more progressive, I realize that bands must grow, and for fairness, I'll try to leave the comparison's from the first release out and give my review. The Brothers Amott are, in my opinion, one of, if not the, best guitarists/ songwriting pairs in metal today. There are so many moments of pure brilliance here that I can't even begin to describe. Songs are longer than on Black Earth (the album), mixing different ideas together to produce another killer slab of Swedish Metal. Of course, this doesn't always work, and there are a few spots that make me cringe (again, the Iron Maideny/In Flamesy chorus of Let the Killing Begin), but these spots are few and far between, and Black Earth (the song) is just so fucking incredible it's worth the price of the album alone. Drumming is similar to that of Armageddon (surprise, surprise), very flashy, lots of double bass/splash cymbal hits. I am a big fan of this (normally) but I miss the controlled chaos of Daniel Erlandsson, who seems to add a level of emotion (see Eucharist) where Peter Wildoer offers a more mathematical/fusion oriented approach. Bottom line? There's just no comparison to the first album, this being a much slicker offering, but this is still a riff monster that blows away everything else out being released these days, and that makes this mandatory.

Benumb - Soul of the Martyr

Listen up kids, if ultra-fast hardcore thrash is your bag, then run, don't walk, to your local cd shoppe and throw down the bucks for this baby. If, perchance, that isn't your idea of a rocking Friday night, you'd better leave this hunk of burnin' binary alone. Not counting a 10 minute live set tacked on the end, Benumb manage to cram 34 songs into just over that many minutes to perform aural surgery without any anaesthetic. Track 8 is a 9 minute sludgefest, but everything else is just one-two-three-four blastbeat city, which is little more than I can handle on your average day. No lyrics but honorable mentions go out to about a thousand bands on the thank you list, brings me back a few years I must say. All in all, if you miss old Heresy, Larm or Scum era Napalm Death, this and Nasum are for you. As for me, I'm afraid I'll have to check this war machine at the door.

Beseech - ...from a Bleeding Heart

Obviously schooled in the gothic realm, Beseech gather some of the better attributes of this metal subgenre, producing a bittersweet album which is definitely for those who dress in black. I hear traces of Paradise Lost, Sentenced (vocally), My Dying Bride, In Flames and others at varying times. Obligatory female vocals are here (The Gathering), but it's the variance between tracks which really spices up this emotionally charged potpourri. Strong musical performances, with vocals that run the gamut (clean to death) presenting tales of woe, which makes for a nice package. Probably something that I'd throw on only to accompany a thunderstorm some Sunday, but one of the better efforts I've heard lately, not quite so pretentious, I guess. Worth checking out if you're trapped in an existentialist nightmare and are having trouble finding the soundtrack.

Cannibal Corpse - Gallery of Suicide

The Cannibal Corpse legacy contiues, with these Florida deathsters releasing yet another 14 tracks of metal intensity. Seriously, these guys are an institution, producing opus after blood soaked opus of unrelenting grind. To my tainted ears, however, Gallery of Suicide sounds fresher and feistier than the last few, no small part due to the insane delivery of Der Corpsemeister himself, George Fisher. Also up a notch or two is the flyin' finger guitar attack, aided and abetted by new addition Pat O'Brien (proving himself no slouch while in Nevermore), who just rips through this material as if born for the task. Cannibal here also manage to create memorable riffs, one aspect of "grindcore" which keeps me at bay. Sterling Morrisound production highlights the cold, mechanical delivery, only emotion expressed being hate. This is best evidenced in tracks such as: I Will Kill You, and Gallery of Suicide, which incorporates a truly kick ass waltzy guitar intro; somthing that makes me throw this back in the player over say, Deicide. If you know their past works (as most due, Cannibal being one of the most notorious acts around) then you'll get the same old Cannibal, albeit a little tighter and snazzier to my ears, and for you neophytes, a nice intro to one of the tightest, sickest bands on the planet. A guitarist's showcase, extremely technical and mechanical, held together by Mazurkiewicz's fast but seemingly stable percussion and Webster's Kornish bass. Not bad, not bad at all, especially to someone who never got into their previous works.

Covenant - Nexus Polaris

What's this? Another supergroup! This one features members of Cradle of Filth, Mayhem and Dimmu Borgir, to name a few. Do these guys never sleep? Usually, with this prolific nature, some real duds are going to fly, but fate is tempted once more and another excellent record is released! I, for one, am glad to see that the focus has shifted from satan to more of a stellar nature. These lyrics, along with the symphonic nature of the compositions, provides a really majestic sound, amplified by some just killer musicianship! Not just riffs, the songs are actually benefitted by the addition of keyboards. If anyone has heard Hellhammer before, you can attest to his dominance of the drum kit, but here, he also gets to stretch out and draw from different influences, throwing some really interesting fills and patterns into the fray. The production is superb, just bringing this all together but also allowing for everything to stand on it's own. Vocals are the standard "Pissed off elf in the forest" ranting, but, with the lyrical nature, fit better than on other recordings. The "Starsong" vocals are more of an added effect, which here, like the keyboards, adds, rather than detracts from the astral nature. I think it's safe to say that I like this release much more than anything that the other groups have put out before. After all my criticism of supergroups, maybe they're not such a bad thing after all, for this album just kills from start to finish; it hasn't left my CD player since I bought it! A sound investment for April 1998!

Cradle of Filth - Cruelty and the Beast

Supreme evil in the form of the ultimate tribute to the blood goddess herself, Elizabeth Bathory. As EB was known for her outrageous theatrics, so are Cradle of Filth, who milk humanity's fascination of the dark side for all it's value. With highly confrontational past releases, and a name that makes most cringe, COF are the forefront of the dirt metal scene, selling just tons of material to a hungry horde of evil-lovin kids all over the world. Being the cynic that I am, I figured that this was all show, but, as with Dimmu Borgir, I was astonished to find the degrees of musicality and musicianship present on their latest release! Sure, the bone scraping vocals, which are the crux of the show here, can rub the paint off at 50 paces, but for some reason here they aren't as overpowering. I've heard that main influences are Maiden, Mercyful Fate and more of the "classic" bands, and I would tend to agree. Guitar work just kills, with scorching riffs (do I smell brimstone?) mixed with the swirling keyboard passages which are nowhere near being cheesy. A more than capable rhythm section maintains the necessary juggernaut pace through roughly 45 minutes of "song" (interludes nonwithstanding), with some truly pummeling double bass which is the standard we've come to expect. Only thing that bothers me (besides having to hear about evil left and right) is the paper thin sound of the snare, which is a personal pet peeve. Otherwise, a formidable release from the top contenders in the battle royal for satan. Now, I have also heard cries of "sell-out" here, which I can't argue. This is first album I even considered buying from these guys, and it was only after hearing the quality of the song structure that I finally broke down and got it. So, maybe the "evil" isn't as intense, or the songs aren't as fast, but the sure do stick in the brain over the tons of other stuff I hear daily, and for me, that's a definite reason to recommend this.

Cryptopsy - Whisper Supremacy

Ah, the gentle sounds of the infamous Cryptopsy. After two critically lauded releases on smaller labels, this wild bunch have made the highly anticipated step to one of the "majors". This, coupled with the departure of ghoulish vocalist Lord Worm prompted worry on the masses. Well, rest assured that Cryptopsy have no ideas of calming down, and yes, new "vocalist" DiSalvo fills the vile shoes more than capably. At only 32 minutes in length, W.S. is a short "blast" of an album, but similar to driving at mach 2, how much can a person take before your body decides to shut down? To those indoctrinated with the sounds, this magnificent group of adrenaline junkies puts forth more of the same here, albeit a little more polished thanks to Pierre (Obliveon) Remillard's crystalline production. Amazing actually, since there's this weird push-pull of ideas constantly in motion, where it seems as though each instrument is vying for the same aural space, yet working in unison at the same time. This has got to sound like a nervous breakdown on tape to the rest of the world though, yet there's this underlying current of control in the guitars holding this avalanche together. Good thing, as Flo Mounier is definitely schooled in the Steve Flynn (Atheist) school of rhythm, arms and legs hitting anything and everything at once. You can totally picture him all jittery, wearing a bike helmet in the grocery store. Yet, as I stated before, for all the speed and intensity, the individuality of songs shines through. Riffs are thrown in a blender, but the solos are memorable, as is the basswork. One drawback? I can't bloody well think when hearing this, as witnessed by this review, written under the headphone influence of this most massive achievement of noise. Not for the faint of heart.

Dan Swano - Moontower

The musical mastermind does it again. It no secret that progressive rock is a major influence to Mr. Swano, and Moontower is the perfect homage to that forgotten era of rock. Hard to describe, but imagine a solid base of metal with layers of keyboard and synthesizer on top of everything. I do hear some old Edge of Sanity in here, but mostly it's Marillion, Rush, Yes, Pink Floyd, and even The Who pops up in here! Beware to those who crave the pure, and cringe at excess, for this harkens back to the days of ego, when musicians had chops and weren't afraid to use them. Personally, I love progressive art rock, so for me, this is the perfect combination, but I can imagine someone taking this from a completely different perspective. Complaints I could see arising? Well, one is that the whole album contains synth work which some will consider too cheesy, and some of the work may be a little too derivative from the afore mentioned influences. It's also not Edge of Sanity, and while it will compared from those expecting another Swano based EOS album, that's unfortunate, for while the voice is recognizable, there is a degree of experimentation which was never attained in that near-perfect band. What just blows me away though is that I can't fault the musicianship at all! While the drumming may lack some dynamics, I am just in awe at Swano's control over every facet in this recording. I did wish for more "clean" parts in the vocals, but it's the rasp which, along with some killer distortion, keeps this "metal" enough for the hordes, and is a small price to pay. Another excellent album from a very talented individual, and an aural mecca for those who are ready to hear some true "progressive" metal.

Dark Funeral - Vobiscum Satanas

It's albums like this which frighten me, for after listening to this album for the 30th time in as many days, I begin to think that I am becoming a black metal convert. All that it takes to dispel this belief is to throw on, say, most of the other crap that is spawned daily from the norse netherworld. I may be a black metal snob, but it takes something pretty special to catch my interest in this genre, and Vobiscum Satanas just dragged me in from the first cut. A brilliant blend of Emperor's power and Dissection's finesse, Dark Funeral have created (along with studio mastermind Peter Tägtgren) an epic opus sure to rank among the best albums released this year. Sure, the sound is pure evil, standard, black metal, but something, maybe the strong sense of melody, or the crystal clear production, forces me to listen to this over and over. While rather short (clocking in at roughly 34 minutes) the album blends well as a whole, spreading the satanic vibe over 8 tracks of grandiose musical landscapes. Many may find this too similar to Emperor or Dissection, but I might actually prefer this album to the former for everyday listening (Dissection just kills too much to be surpassed), but that is my personal taste for today. So, definitely pick this beast up and figure out for yourself if Dark Funeral have managed to enter the sacred halls of evil hall of fame. As for me, I give it a solid 8 for effort, performance and overall production. One interesting rumor is that supposedly bassist/vocalist Emperor Magus-Caligula is none other than Masse Broberg from the first two Hypocrisy albums!

Death - The Sound of Perserverence

I'm not sure as to why, but from day one, it seems as though the majority voice has given Mr. Schuldiner a bum deal. Every interview I read has Chuck defending himself and his music. Enter 1998, and here we have Chuck again stating that this record is a personal vendetta against those who would do him in. Opting for more of a spiritual approach (Human was "revenge") on this release, "Evil" Chuck again proves that he is without a doubt one of the finest explorers of the realm of metal. Hiring three "unknowns", Death may now be a complete band, and if so, we may be luckier than ever. Richard Christy certainly had some big shoes to fill, following two super shredders (Hoglan and Reinert), but nails the critical vote within the first ten seconds of track one. The whole band shreds, and what's nice is that the songs aren't written for this task, instead, they flow, and each band member senses enough to pull back when it's time. No more cross-shredding nightmare tracks (see Gorguts) where you have no idea what's going on. Tracks run a bit longer here as well, allowing the song to unfold, cleansing any riffitis which may have occured. But the biggest change has to be the vocals! Gone are the trademark rasps which were pretty much invented on Scream Bloody Gore. Instead, it's a smoother, more athletic growl which fits so much better with the technical approach. Nuclear Blast was wise to pick this seminal band up, for it seems as though we finally get to hear what Chuck wanted us to for all these years. Unfortunately, the album closes with (to my ears) a truly miserable version of Painkiller that I can hardly listen to. Evidently it was included due to popular demand, so be safe in knowing that I'm in the minority on that opinion! Regardless, we owe thanks to "Evil" Chuck for about 15 years of quality music, all of which is incorporated here.

Destiny's End - Breathe Deep the Dark

James Rivera, vocalist extraordinaire of the legendary Helstar, here joins 3/5 of the defunct New Eden to form what Rivera describes as the return to the heyday of metal. On this point, I can agree, as this album just reeks of the 80's from it's Maideny riffs to the D + D cover art. Metal Blade is attempting a coup here what with all the speed metal releases coming out of there lately, and with Destiny's End they might be on the right track. Musicianship is downright excellent, with those trademark Rivera vocals just commandeering this into oblivion. One thing I have noticed, on all these releases and the Dwell Iron Maiden Tribute is the constant use of double bass. Not sure if I agree with it, but it does seem to fit here, giving the album a pretty constant pace, but also adds to the "cons" list, as songs start to bleed together for me during the middle tracks. Some nice bass guitar work catches my ear, impressive since there didn't appear to be much room around the riffage. As good as your going to hear in this day and age, Breathe Deep the Dark may be a metal calling card for the 21st century.

Defleshed - Under the Blade

Holy smokes! Like a kick in the face, Under the Blade just jumps out of the speakers, ready to pummel the crap out of the next unruly raver. One of the most unforgiving releases yet this year, Defleshed somehow managed to put together 36 minutes of precision death metal which is technically proficient and interesting beyond song two! Overall pace of the album is a pretty darn fast one, but these guys are skilled enough to pull it off. Crystal production helps quite a bit, as this could have just been mush to the ears. As I found with Naglfar's Diabolical, it seems as though the musicians are getting comfortable enough playing at light speed to be able to throw extra stuff into the mix without derailing the song. With an average track length around the 3 minute mark, Defleshed have made an album worth it's weight for anyone into the extreme side of things. For me, I definitely won't be listening to this while having my morning coffee lest my head implodes, which is why I'll give this the rating grade that I do. But there are those of you out there that will just literally kill for this, and I say go for it, as a mixture of power, mathematics and dedication doesn't come around to stay all that often. Re-released by Metal Blade Records in 1998. Also look for the first album which was supposedly released but I'll be damned if I can find any information on.

The Dillinger Escape Plan - Under the Running Board

Making Mr. Bungle seem like a group of laid back stoners, Under the Running Board just explodes within the first 5 seconds of playback. Fusing grindcore, experimental jazz and the essence of hardcore into a perfect sphere of pure manic ferocity, these guys have managed to blow away most conventions in only seven short minutes of airtime. Hopefully this is a preview into their sick little world, for everything here works, the grindcore vocals, the muted guitar intricacies, hypergroove drumming... Meshuggah and John Zorn adopt a NYC generic straight edge band and raise it as their bastard child. A cut above the noise coming out today, this EP (at $5) is definitely worth putting on the ol' Christmas list. Relapse also carries the self-titled first album, if you want to hear the beginnings of the psychosis.

Fates Warning - Still Life

After attempting several times to break into the mainstream, the future of Fates Warning seemed uncertain. Retaining only Ray Alder, and Mark Zonder from the old band, guitarist Jim Matheos decided to go for it, penning the 45 minute opus A Pleasant Shade of Gray. Obviuosly meant only for those that could appreciate it, APSoG unveiled a new FW (with ex-Armoured Saint bassist Joey Vera and ex-Dream Theater keyboardist Kevin Moore). Enter 1998, and Fates Warning give the unsuspecting public another chance to get with it, releasing a live double disc highlighting their brilliant 15 year career. Disc 1 is A Pleasant Shade of Gray performed in it's entirety, quite a marvel to behold, really. Not quite so commercial as either Parallels or Inside Out, there's a sense of maturity here as well-seasoned veterans find out when to hold back on their massive chops a little. Reminiscent of a jazz/fusion release at times, there's a controlled looseness here, and honestly, were the crowd not present, one would be hard pressed to say that this was indeed a live album. While APSoG is broken into 12 pieces, it is indeed one complete song, as themes are revisited. Don't have the studio album, so I can't offer concrete reasons why this live document would be essential, other than to speculate that much like having the live Rush albums (where live is pretty much duplicated as in the studio) it's just hearing the majestic overtones of this incredible group performing the unperformable in a live setting. And then off to disc 2 we go! After stunning us with a 45 minute track, we get their second largest offering, the immortal Ivory Gate of Dreams. Now, this might make reason alone to get this, just to hear Zonder's interpretation of how this should be played, even if he attempts to recreate what Steve Zimmerman put to tape before. Alder evidently still has his range, as he just decimates everyone with his apocalyptic air-raid siren of a voice. Very Impressive. Things slow down a tad on the "newer" numbers, but everything just seems a little heavier and less sterile here, which is way appreciated by me. I guess what gets me the most is that seeing the songs that were chosen, and what was left out, I am just at awe at the back catalogue of this band. Could have done without the "campfire" audience participation though. Maybe for once, Fates Warning will get the recognition they deserve with this, a superb live document of the quintissential progressive metal band.

God Dethroned - The Grand Grimoire

More incredible technical metal from Europe. God Dethroned manages to mix the aggresiveness of At the Gates with the technical wizardry of Dissection, forming a crunching pin-point accuracy attack on the senses. The opening track just blows me away every time I put this on. There's definitely something here which elevates The Grand Grimioire above the hordes, probably a combination of the fluidic guitar lines over uncommonly subdued keyboard passages to give a truly epic feel. Each track rages, no problems there, but added are the finesse touches which succeed in holding my interest past the first half of the album (which is lacking in most releases, where each track bleeds into the next). It also grows on me more after each play, which is a very promising sign indeed. Some longer tracks showcase the use of mood and emotion, adding the intended "grandness" to the picture. Actually, this album has it all, blast beats, anthemic riffs, heart tugging interludes, etc... The only drawback for me may be the lyrics, but then again, they are quite secondary to the music here. Truly strange "band photos" and bio, which are intended to give a "dark ages" feel, but just succeed in kinda freakin me out. One kickass album, and evidently one of the most played albums on college radio stations, so I'm not alone in recommending this release. Just don't play it at Sunday School!

Gorguts - Obscura

The only thing that really doesn't make any sense to me is why they kept the name Gorguts. Completely reforming the band with three new additions, Lemay proceeds to create yet another sub-genre with this totally off the wall avant-garde death metal album. Maybe the band name holds something from the past, but the sounds which eminate from my speakers are light years away from anything that was ever considered metal on this planet. Obscura is a really trippy musical journey through the ethereal plane of existence, where the listener is jarred back to reality at times by the intricate dis-musicality that resides here. Glad to see that this was done, for this is definitely not for the average listening public, which is why I'm even more surprised at how well this is being received. Good for Gorguts is all I have to say, but man this is one tough polymer to handle all at once. Some of the strangest sounds possible are made, at times like a cat-strangling party that went way too late, complete with somebody's precocious kid drumming away in the attic. These are the tough parts, for pieces of this aural tapestry are quite soaring, really. Put the whole thing together and you get something that, if you can hack it in it's extremity, is worth it's weight in gold. If you cringe at the name "Mr. Bungle" or anything like that, get something else, get out of the kitchen, it's too hot. So where do I stand? Well, I don't know, but I will say this, I'm totally impressed that this was made, and I can stand back and marvel at the performace, but I feel totally alienated for not liking this as much as I'm supposed to. Maybe that's the point though.

The Haunted - The Haunted

When a band appears containing 3 alumni from At the Gates, initial comparisons are inevitable. But, while the basic core sound remains, it is obvious that The Haunted are out to make their own mark, and a force to be reckoned with. Just to throw in a little history, At the Gates disbanded after the legendary Slaughter of the Soul LP, much to the dismay of all who had heard it. It seemed a logical thing to do, as it was near impossible that the dynamics of that record could be surpassed. So we come to 1998, and is The Haunted a step forward? The answer is both yes and no, fortunately for all involved. The irony is that the songs which appear to have the greatest similarity to SOTS are written by "new" guitarist Jensen, while the more progressive material (again, drawing comparison to At the Gates) is penned by Anders. Lyrics are intelligent and angry, dealing with the desensitization of humanity and the perverseness of society as a whole. This is also the area where the biggest change has happened. Gone are the tortured screams of Tomas Lindberg, replaced by the rantings of one Peter Dolving, who if to be pigeonholed, reminds me of Jens Kidman of Contradictions Collapse era Meshuggah. This new direction leads the band into a more accessible area, while still keeping the underground spirit. For me, it's the perfect continuation of Slaughter of the Soul, melding the intricate riffery and precision drumming, while changing enough to hold plenty of interest. For those new to this sound, the intensity of this shit will just blow you away! The Haunted have managed to harness enough power to destroy everything in their path. For those expecting SOTS part two, it'll never happen, but this is the closest you will come, and if you give this record a chance on it's own, you'll see the brilliance that resides here. Easily be one of the best releases of the year.

Incantation - Diabolical Conquest

There's just no question that Incantation is either evil or brutal, but unless that's all you're looking for, Diabolical Conquest may leave you a little dry. I've listened to this album about 25 times, but whenever I go to write my thoughts on this satanic epic, I can hardly remember anything about the album besides a few riffs. However, those few riffs do certainly sear into your skull, especially the opening on track one (Shadows of the Ancient Empire comes to mind as well). The whole album pretty much lumbers along at a steady pace, pausing to change moods momentarily on Unheavenly Skies before pounding us back into the fray. Much like Suffocation and Cannibal Corpse, this stuff is hard for me to digest all at once I suppose, for after a few tracks, everything has sorta melded together for me. Now, while I personally don't really get into this, it is a solid death slab worthy of induction into the kindgom of all that is less-than-holy, and those that wouldn't have it any other way most likely have this monster already. Probably best as an apocalyptic mood piece, for closer Unto Infinite Twilight... is just devastating while clocking in at over 16 minutes! Overall, a solid 8 for those in the brutal death fold (out skinning goats as I write, it's gotta be goat-skinning time somewhere!) but a 7 for me, for while it'll throw me across the room, it's just not my first choice for musical intoxication (although if I ever go back to grad school it'll probably never leave the CD player).

King Diamond - Voodoo

It seems like just yesterday that I was spinning Abigail on my buddy's turntable, but here I am over a decade later throwing in the newest King Diamond disc with a certain degree of trepidation. I've never been the biggest King Diamond fan, for, as most know, it's the voice that just drives me nuts. This aspect of the band (and even more so with companion group Mercyful Fate) is incredibly predominant, leaving most of us to choose a black or white decision of love it or hate it. So, imagine my suprise when I found King's operatic falsetto way more accesible on what proves to be his finest release in years! With a killer mix here, it's La Rocque's guitar which just fucking dominates this disc. This guy rules, and after his tenure here, along with an appearance in Death (Individual Thought Patterns) and his just incredible solo (one solo that will stay in my brain forever!) on "Cold" (At the Gates - Slaughter of the Soul) it is evident that he will be inducted into the guitar hall of fame. The vast pool of influences heard here are equally impressive, as I catch pieces of Sabbath, Fates Warning, Marillion and Pink Floyd, to name just a few! Once again, a concept album, feared by many, but old hat to the kingster, who can weave a tale of treachery better than anyone. Drumming is tasty and powerful, allowing the riffs to ride effortlessly over unwavering rhythms. And the voice just fits so well here. What can I say? A definite must, even for those, who like me, had trouble dealing with "the voice", for Voodoo kicks ass, giving the weak "power metal" resurgence something to aspire to.

Labyrinth - Return to Heaven Denied

More keyboard oriented than their peers, Italy's Labyrinth offer up a sound which is so clean, so majestic, it's almost too sterile in nature. Obviously concerned with the final product, Return to Heaven Denied ties the history of metal together in an intricate yet easily discernible package. Running at approximately an hour in length, if you miss the days of Crimson Glory, look no further, for everything which was important back then (excellent guitarwork, operatic vocals, "the look") rises forth to kick you around. Only problem is, I prefer what would be considered the 90's sound, so I'm left a little dry. Another point, maybe it's just to my ears, but a lot of these band sound alike, and I find myself remembering riffs, but forgetting which band it is I'm thinking about. Could be a marketing surge, but the people that lose out are the bands, which is sad, really. Many of the songs are structured around constant double bass, limiting what the rhythm section to do, which forces the keys to play a greater role here. But, while this may not be the first thing I reach for in my overwhelming stack of discs, every time I throw it on I'm impressed by the emotion, the musicianship, the whole damn thing. So I'm sure in saying that if the "new" 80's speed is your bag, then grab a six pack of these and pass 'em around, for it doesn't get any better than this.

Meshuggah - Chaosphere

Man, I was so excited to get this album. My brother (the suave dude that he is) managed to get someone to sell him a copy of this pre-release so I could get it for my birthday. Having heard virtually nothing from Meshuggah since DEI (you should know my feeling on inter-release E.P.s by now) I don't know what I was expecting, but it sure as hell wasn't was spewed from my walkman in the Philadelphia International Airport. It's unfair I know, but I feel a certain degree of disappointment when I think about this album. All the pieces are here, the insane drumming, the 3/2 percussive lyrics, the killer leads, I just don't know what my problem is. As with many of other favorite bands (In Flames, Entombed, Atheist), I expect so much from them that when they only deliver 100%, I feel let down. Anyway, to be rational, this is about as close to perfect an album as you can get, if this is your particular cup of poison. A couple people have asked me to recommend bands which sound like Meshuggah, and honestly, I was stumped. Lyrically, a concept album which describes an individual who proceeds to swap his human parts for machinery, the music alone could have described this scenario. Cold, precise, yet always threatening to break free of binds which hold this beast together. Interstingly, I guess what is new doesn't appear to be since I have heard the Special Defects, some of which carries over onto Chaosphere. Check out the lead work on Corridor of Chameleons or the vocals on The Exquisite... and you'll see what I mean. If you've heard Destroy Erase Improve, then you probably have this, and if you haven't, well... Imagine a world where a jazz fusion guitarist employs a drummer who has mastered 4-way independence linked with a vocal pugilist who mix it up with precision staccato riffage and you still can't come anywhere near this. Excellent production (again) highlights 5 extremely talented musicians who, while not creating anything new by their standards, have perhaps perfected what will become the "Meshuggah" sound. So, I need to just get over it and listen to the album for what it really is, a sound continuation of a brilliant idea.

Mortician - Zombie Apocalypse

The ultimate homage to horror movies, or 27 minutes of your life drained away? I've seen both reactions to Mortician's latest offering, and I guess I have to say that I fall somewhere in the middle. I have seen this album just blasted, and honestly, upon repeated listens, it's not all that bad! The samples, which actually bothered me quite a bit at first (usually, samples are cool the first couple times, then they start to get old, fast) add to the element which I'm sure Mortician were going for when they recorded this. Zombie Apocalyse is the perfect album for holing up in your room with the lights off, planning mass destruction. There are some serious negatives to be found, however. At a playing time of roughly 27 minutes, this is a definite E.P., with half of this amount being samples or cover songs. That's too bad, because it's on the original, mid-paced riffs where Mortician show promise, for there are some seriously killer riffs here, especially on the song Incinerated. The drum programming is also a big drawback for me. On the mid-tempo stuff, it almost sounds pretty realistic, but on the blast beats, it's like a jackhammer. Vocals are unintelligable grunts, but of the deathly type that fans of this genre just devour. This is some pretty brutal stuff here, thick sludgy guitars captured with really nice production. If it wasn't for that damn snare! The covers are so-so, but then again, I'm jaded, because F.O.D. was almost my least favorite song on Strappado. The Repulsion cover is a little better, but still not as good as their original material. In the end, we have a halfway decent E.P. that, for the money, will fit perfectly in any horror film buffs soundtrack case. If Mortician could get a live drummer, and maybe expound on some of those kick-ass riffs, the next album could be a truly brutal contender.

Naglfar - Diabolical

I consciously waited a few weeks after getting to this to pop out a review, and for good reason, as this is rapidly becoming one of my most played discs. Upon first listen, Diabolical is almost a constant blur of blinding techinicality, which is cold, mechanical and precise. It was only repeated plays (of which there were many) that the nuances and musical brilliance residing inside escaped. The pace is pretty consistent, and there are some real burners here, speedwise (Blades is just insane, but songs are built on melody, giving an emotional feel which is only apparent on certain, rare releases. With everything that I hear, there has to be something pretty special for me to pull it from the stacks, and Diabolical is one of those releases. So make a sound comparison, let's say a hyper Dissection, albeit much tighter in the rhythm department. Nice use of bass guitar in the mix, and I'm sure the vocalist is possessed, but it's the guitar lines that are truly memorable, layered with just a hint of keyboards to provide a sound which drives but is not muddy. Hats off to the production staff for this job! Requisite piano track is a nice (boy I'm tempted to say anacrusis here) lead-in to the final track, closing an album which may just be one of the top ten of the year. Outstanding job, I'm thoroughly impressed.

Nasum - Inhale/Exhale

Whew! 38 tracks in 45 minutes! Heavily influenced by Scum era Napalm Death, Nasum spew forth politically aware, technically crushing grindcore with the best of them, crushing everything in it's path. The major difference for me between this and say, Benumb is the propensity for Nasum to write some really catchy riffs, not just explode into cacophony. Production is also a key element, with Dan Swanö's old Unisound recording equipment being put to good use here. The blast/groove ratio on I/E is not too high, meaning that there are numerous chances for Nasum to open up a good idea, not quash it after 10 seconds (the curse of most grindcore), and for me, that's where my interest peaks on this release. Out of the current g-core crop, Nasum is my pick due to the musicality, talent and sheer amount of bone-crunching riffs per song here (Is it me or does that guitar have a nice "Sunlight" Sound to it?). A nice balance or ferocity and riffage which means it'll probably get played more than most of the grindcore I own.

Nile - Amongst the Catacombs of Nephren-Ka

Whoa! This album totally came out of nowhere!!! Alternating between standard death metal and a nightmare swirl of eastern musical passages, Nile here have succeeded in creating a unique sound which will ease the job of trying to differentiate them from the pack of Cannibal Corpse/Suffocation clones out there. It seems as though most bands take a certain paradigm for constructing albums now, either Cradle of Filth, or In Flames, or the aforementioned Cannibal style. This is most likely a function of the limited number of producers used, and the inevitable, indelible mark of their studio "sound" which is imprinted on the band. It is beginning to seem as if each label has a "house" producer, which , to my ears, is extremely limiting. Leave it to Relapse then to find yet another unknown band which is pushing the envelope, trying to forge something new. Importance here lies in the riffs, which, while familiar in scope, have a certain twist (the eastern influence) that is added to a lead guitar tone to create songs that stick with you. Let's face it, brutal 32nd note attacks may make you run that extra mile, or bench another 30 pounds, but they're not the songs you're humming whilst in the milk aisle, unless there's some melody involved! This is where Nile succeeds for me, matching the unbridled aggression with melodic lines that stick in my head. What could have also been an oh-so-clever marketing ploy of adding a new flavor to an old sound (there is a prevalent Egyptian God of War theme here, complete with tribal passages straight from The Ten Commandments) seems genuine, and the instrumental sections are pretty creepy, not cheesy as they could have been. Drumming is super-human, of course, ultra-fast double bass, perfect for this type of death metal. Bass is there, albeit rumbling in the mix along with the gargled vocals. It's the guitar that carries this release along, weaving the intricacies in and around devastating power chords. A to the point album at 32 minutes, Amongst the Catacombs of Nephren-Ka is a welcome change from the clone bands that seem to be churned out lately, and is a worthy addition to those into the extreme side of things. Ravi Shankar meets Malevolent Creation.

Opeth - My Arms, Your Hearse

I figured it's high time that I reviewed this, as it's been my tape of choice (along with The Haunted on side B) for biking for some time now. As can probably be told from the previous reviews, Opeth are one of my favorite bands, fusing progressive passages with real heaviness, muscular drumming and Mike Åkerfeldt's killer vox. Here we come to a turning point. I seem to smell a pattern with creative bands. They release a sensational album which revitalizes the scene, then they either break up, or follow their opus magnus with a semi-mundane offering. I won't name names, but I have been so disappointed in the last year that I was wondering if all the bright lights in metal were fading. Several big changes in the Opeth camp had me a little worried as well. Half of what made Opeth was gone. Dan Swanö would no longer be producing. Yikes. A slight sigh of relief when I found out Fredrik Nordstrom (In Flames, At the Gates) would have a hand in this, but then Opeth were also moving from Candlelight to Century Media. Yup, things could be grim. With anticipation I chucked this into my player and crossed my fingers... A sigh of relief could be heard outer-island as I just listened, and listened, and listened again to the brilliance which is Opeth. Martin Lopez (ex Amon Amarth is an excellent replacement, and Åkerfeldt's bass work is comprable to the past, but all this would be for naught if the dynamics were grown, and thankfully the songwriting abilities have done nothing but gone stronger over time. Biggest changes are the production, which is much meatier than the first two, Lopez' funkified approach to metal drumming, and Åkerfeldt's heightened confidence on his clean vocal parts. Songs are also shorter, although this change is not as apparent as others. If anything, the whole band is more refined, able to direct their ideas into a tighly cohesive attack. It's this coupled with the emotive power thrown into the mix which just beckons for repeated listens. Lyrically, this is a concept album based on a fictional ghost story penned by Åkerfedlt (at least as I understand it!). In short, Opeth are masters, and My Arms, your Hearse may just be their best work yet, which is saying a lot. A must have.

The Quiet Room - Introspect

In a Herculean marketing push, Metal Blade is striving to renew faith in the once great American metal scene. These albums all share similar qualities: 80's style album covers, a fair amount of cheese, and some serious chops. Most releases are good, but the sound is pretty familiar. Needless to say, I was pretty prejudiced when I threw in Introspect, which is even more of a testament to the success of this album. Professionalism abounds here, displaying the amount of time and thought that went into this release. Songs are dynamic, complicated without excess, and run the metal spectrum. Being a six piece band allows natural layering of melody, which is highlighted by excellent production. Drumming is intricate, yet not too busy, which appeals to those tired of bassdrumitis yet apprehensive of the thought of a Portnoy clone. The sound definitely draws from Fates Warning and Dream Theater (the vocalist sounds quite a bit like Ray Alder), yet The Quiet Room manange to inject their own persona into each track. My only complaint would be the end of the disc, which is a sharp "cut", cleaving the last song, what a tease! Hats off to a talented bunch of creatives who value quality over quantity.

Sacred Steel - Stronger than Steel

Metal, metal, metal. Vocalist is dubbed "Sirens of Metal", they're from Germany. Guitar's are too low in the mix. So far, the oracle reads pain and suffering at the hands of average German retro-metal. This is rather unfortunate, for the newest craze is retro- thrash (Nocturnal Rites, Bewitched and Primal Fear, to name a few), and this sub-genre could easily afford more strong contenders. Well, the road to crap music is paved with good intentions, and Sacred Steel can't really provide anything save a few memorable riffs (see the chorus of the title track). The guitars are just buried though, which leaves just waaay too much room for "Sirens of Metal" Gerrit P. Mutz to stretch his fingernail-on-blackboard vocals over each track. This may be the biggest detractor for me, as there are some pretty sweet riffs here, and the drumming is more than adequate. But, man, these vocals drive me nuts! Especially sufferable on the "ballad" Sword of the King. Enough already, for I'm sure you get the point. Not a strong recommendation from me, but if you can get past the vocals, you may just find something of interest to share at your next holiday dinner.

Samael - Exodus

Another E.P., I'm starting to notice a trend here. I guess a positive to see here would be that these guys love the studio, and here give us a "filler" until the next long player, but at CD prices these days, it's a let down. Taking the same approach as Fear Factory (and now Vader???) by rexmixing old tracks and giving them "A funky beat I can dance to", this would serve best those who don't like metal, but did like the Passage release, as the new tracks are in the smae vein. As for me, going back and hearing the originals, I don't see an "improvement" here, so to speak, and recommend this only for the completist. Me, I'm eagarly awaiting the next progression which historically appears to follow these stop-gap E.P.s.

Sentenced - Frozen

In 1996 Sentenced released Down, heralded worldwide as their finest work to date. Down was the end result of creative forces culled from opposite ends of the universe which managed to merge into one of the finest metal releases of the year. All eyes (and ears) were then directed towards the impending follow-up. Knowing some of the history of Sentenced, it is safe to expect another massive evolutionary leap in sound and direction (witness North from here to Amok, Amok to Down). The only evil portent was the lack of the "transitional" E.P . that would give some inkling as to their future direction. Lo and behold, Frozen was unleashed to the waiting masses. An apt title, we find Sentenced again breaking their trends, only the irony here is that they have done this by transforming change to consistency. On this opus, Sentenced seem more focused, grounded. The roots that were set on Down are deeper here, the themes revisited. Suicide, the dark side of love, despair, all similar paradigms for lyrical form which encompass and overwhelm the listener. Not nearly as majestic as Down, nor as gritty as Amok, Frozen glides you effortlessly through hints of light jazz, heavy riffs, and Ville Laihiala's gentle Hetfield croon which is the siren song for a ride across the river Styx. Appropriate use of female vocals again, which adds rather than suffocates the song. Interestingly enough, it's on the instrumental tracks where the overall feel of the album is raised. The opening song is probably the most dynamic on the album, which unfortunately means that the segway to track 2 seems forced. The end result is another masterwork which may only be given a notch down from the 10 it probably deserves due to the reason that I feel as though I've heard most of this before, and it it just one hell of a depressive, of which I find enough in everyday life. I'll give it this, though, once it's on, it's played all the way through to the end.

Soil - El Chupacabra

Drawing comparisons to C.O.C., Sabbath, and the whole realm of sludgy guitars, Chicago's Soil have the dirty rock sound down pat. Somebody musta dragged a crateload of tunes up Ol' Miss on a riverboat as there's a definite "Eyes of the South" feel going on here. Hooks aplenty here cuz not only can they produce the sound, but Soil can also write sings that stick in your head (sometimes a curse, but here a joy). Don't know if it's the holiday mood either, but this is exactly the stuff I've been craving lately, fist-pumpin' metal with no pretensions, just here to kick your ass. Says they were touring with Skinlab, and I can see that, for while Skinlab holds more ties to industrial, both bands have a "wall of sound" feel to them that wraps you in it's smoldering arms. RoR's Warning: Only an E.P. with a running time of 19 minutes, but with the repeatibility potential this disc has, I'll be playing it a hell of a lot longer than some of the latest techno-thrash I've gotten. Essential driving tunes for the new year.

Soilent Green - Sewn Mouth Secrets

Created in Hardcore, molded in metal and steeped in grind, New Orleans' Soilent Green can be likened to nothing you've ever heard before. Similar to Mr. Bungle in their hybridization of styles and creativity, Soilent Green effortlessly flip between bouncy jazz passages to absolute blast in a heartbeat, snatching you along for the ride. The musicianship here is incredible, controlled chaos would be an accurate description of what's going on here, as you can smell that things are always residing right next to the straining point. Much of the pacing can be attributed to one Tommy Buckley, obviously not of this planet, this boy can whip out whatever beat is called for with ferocity and authority. As much as this blasts, every guitar lick is discernible, something to be said for the excellent production. Lyrics on the other hand... More of a stream of consciousness essay on the darker side of humanity (especially our sexuality and predatory instincts), the prose within is a terrifying rise though the apparently normal mind of vocalist Ben Falgoust. The songs are self-described by the band as a hybrid of older styles into something new, I would tend to agree, for that's what gives this record it's enigmatic qualities. One minute you'll hear an old Slayer riff, then an instant break into something akin to Heresy, then abruptly you're listening to vaudeville. Truly strange, yet just begs for repeated listens to catch everything. Sewn Mouth Secrets is only growing on me after time, and is recommended for those that are into the bizarre and extreme side of things. It's obvious that these guys put a lot of time into practice, and it's appreciated.

Suffocation - Despise the Sun

Suffocation is, quite simply, the essence of brutality. Their first offerings were raw, unadultered slabs of molten metal that would just tear your head off. As the years went by Suffocation continued to refine their craft, and now present us with a taste (hopefully) of what their next full length offering will be. The biggest improvments are in both the guitar and drum sections, which are tighter both alone and together than on any prior release. Granted, Suffocation has always had someone who could handle the double kicks, but this guy is insane! You can really hear his precision on the blast beats, which, either due to production or playing style, sound to be lead by the bass drum, as opposed to the snare. This puts a unique spin on things, and for me, throws the repeat listenability factor up quite a bit. If this is the shape of things to come, than Suffocation are definitely set to impress in the coming year.

Witchery - Restless and Dead

I finally got this in the mail after many delays and false alarms. While I was waiting, I got to read the six billion reviews of this album, building up more anticipation and sublimially forming an prejudiced opinion in my mind. This album will kick ass, it HAS to kick ass, because everyone tells me so. So, I throw this in, and within the first 30 seconds I can hear what all the fuss is about. Some may be surprised to realize that this is a full 5 piece band, since most promo shots only feature two members. But Witchery is also not a side project, as both Jensen (The Haunted) and Sharlee D'Angelo (Mercyful Fate) are evidently as dedicated to this as their mainstays. Better for us, as Restless and Dead offers us 10 tracks of instantly classic metal. No joke, to my ears this may be the best combination of the last two decades of metal. And an independent release? C'mon, you just gotta support these guys. To get into descriptions of sound, it all seems familiar, but it's done so well, it comes out as Witchery. Maybe a little bit of M. Fate and The Haunted, I also hear some Bewitched in the later tracks. As I stated though, it's just Witchery now, and can be left as such. The album glides through from start to finish, with some really fluid axework. Suitably impressed by the drumming, as the music dictates an even unegotistical hand in here, which is exactly what we get. Vomit Vox are reminiscent of the NWOSDM, also part of what keeps this in the 90's sound. Yeah, the imagery is pretty "dark", and I could see high school kids running around the local graveyard with this in a portable deck, but Witchery are more than that, as if they've just been waiting to provide us a glimpse of what's possible when you just want to make good music.