Abominator - Damnations Prophecy
1999 Necropolis Records

I've been putting this review off for quite a bit, most of the reason being that I never really wanted to throw it in the player, always finding something else first that I wanted to review. Well, it's the 11th hour, and I'd better find something to say about this pretty damn quick, so, here goes... Much like an essay question, Abominator state what they intend to do (destroy everything considered "holy" by a certain group called Christians), sonically accomplish this, (the album is raw, brutal, and honest to its black metal roots), and finally, recap everything that just happened (with a nice organ outro). Final grade? definitely an A for effort, but I'd have to have Abominator take the time to recopy some of their material for that gold star. Yeah, it's fast, it's unholy, it's ugly, but I don't really like it. There do seem to be two schools of thought on this, one being that you have to record things in a cave to keep it "real", but I think that as we reach new levels in technology, it's cool to move forward as well. One could compare this to only using tube amplifiers to make a stoner rock record, and I guess that's valid, yet when these records are put out this way, a lot of them tend to sound the same. The mighty desecrators don't pretend to be anything else though, gotta hand them that. So while I'd rather throw in something else, maybe you're from that school of which I spoke.

Amorphis - Tuonela
1999 Relapse Records

The first question on everyone's mind will be, of course, is this as good as Elegy, and while in time it may prove to be, for now, my answer is simply, no. That said, you can either leave now, or finish the review to see what fantastic journey Amorphis has decided to take us on this time. No longer are they the folk-death band who spun the world with Tales from the Thousand Lakes, or the pop metal sensation who blew open doors with Elegy. Instead, the band has now morphed into a quasi-alternometal unit, almost completely leaving the death at the door, choosing to chance both old and new fans by incorporating such "kiss of death" tactics as layering saxophone and sitar over thick distortion (Dream Theater, King's X, anyone?). Yes, some of this doesn't work, but most of it does, and when it does, it all kicks into place. Keyboards are kept to a minimum except for the aforementioned monstrous overdubs (ironically, the only "metal" instruments played on the album), providing reinforcement in contrast to the guitar/synth symbiosis present on Elegy. Pasi's clean vocals are stronger here, and amazingly, those growls of doom which work so well on Greed are his, Tomi opting to focus solely on guitar duties this time through. So while it doesn't have the same initial impact as earlier works, and the band appears to shop at Wet Seal now, I'll still follow these guys, for while it may not always be spot on, you can be guaranteed that the ride will be an interesting one.

Apophis - Heliopolis
1998 Morbid Records

To be honest, I really wasn't sure what to expect with this one. With an incredibly cheesy cover, and starting the album off with an Egyptian influenced intro, things were looking grim. A very pleasant surprise then when the main riff from The Serpent God kicked in, for it seemed that Apophis had something special in store for us listeners. Heliopolis manages to mix quite a few different elements together, ending up with something that soundsdare I say it, original. The recording's kinda weird, not bad, but sounds a little muddy, a little too dark. Doesn't detract too much though, as the "experimentalism" more than makes up for it. Real use of melody here, but not something from the book of In Flames or Arch Enemy. Vocals are defintely on the gruff side, but offset the guitarwork well, and keep the album away from being mistaken for a Swedish export. Technically adept, these guys can also craft an effective song, so that whether a zillion notes are flying around, or a riff is accentuated, a groove is kept, capturing instead of alienating. So bypass the cover and imagery and listen to the multi- faceted Heliopolis, for each time it spins, you'll be sure to hear something new.

Archetype - Hands of Time
1999 Intromental Music

These are the discs that keep me going most of the time. After hearing 30 discs worth of unholy black metal, popping in something Archetype is truly refreshing. Residing in the Fates Warning/Dream Theater branch of the metal tree, Hands of Time is an excellent example of what progressive hard rock can offer us. The recording techniques employed here give the album more of an oper air, jazzy feel, which may be due to choice, or what the studio had to offer. Whatever the case, the sound isn't compressed and flat, allowing the guitar lines to breath and accentuating the dynamics with which the songs are created. The mastermind behind this whole project is guitarist/songwriter/lyricist Chris Matyus, who write some truly scientific stuff, but exploring many spheres of influence and sound other than metal. Don't get me wrong, there are some scorching moments, driven by the drummer Keith Zeigler's keen polyrhythmic sixth sense, where they give the elders something to sweat over. But, my ultimate thoughts would lead me to classify this as progressive metal, more similar to DT than Fates. Chyle's voice may hold osme of this, for while his voice is strong, it tends to be the straw which tips the scales (to mix a couple metaphors). At any rate, with outstanding musical performances on all fronts, at all times, this is a good band to check out to hear what's going on in other areas of the underground.

Black Funeral - Moon of Characith
1999 Full Moon Productions

A series of sonic experiments conducted during the midnight hours, Moon of Characith can best be described as an ambient beckoning to the dark side. The basis for many of these tracks are dreamy looped samples, most noticable ones being of an organic synth quality. "Vocal" work ranges from whispering voices to a subdued siren song of sorts, all substanitially creepy. This could almost fit into late night NPR programming, if the overall feel wasn't as dark as it is. The band, comprised of two individuals, obviously school themselves in this genre, reminding me of some earlier works by Brian Eno and Dome. Not something I'd throw in at any given point in the day, Moon of Characith is never-the-less perfect for what it is intended, solitary lightless listening, or "as an opening gateway toward the reverse side..."

Blind Guardian - Nightfall in Middle Earth
1999 Century Media Records

Man, epic is just the most appropriate word I can think of here, Blind Guardian composing one hellacious monster of a metal concept album. Based on Tolkein's The Simarillion, Nightfall is over an hour in length, 22 tracks, 11 of which are intros, and just so damn German in execution, it may rival or even surpass the "classics" such as Helloween's finest hours. Seems like power metal is the drug of choice these days, and if anyone deserves to reap some of the rewards from it's newfound commercialism, it's these guys. The sound ranges from folk to speed, but there are some serious constants throughout, most notably being the godly vocal work by Hansi Kursch. One of those who rarely notices this aspect of an album, I'm doubly impressed by the fact that on this opus, Kursch is the absolute focus for me, his performance dripping with emotion. Nightfall also has the distinction of being one of the first German Power Metal album in the last 10 years to make my heavy rotation list, seldom leaving my disc changer. Musically, a sonic interpretation of a renassaince fair, an an album that demands you raise a mug of ale and sing along. Obviously a labor of love, the band spent almost two years preparing this with producer Fleming Rasmussen. Well worth it to my ears, for the production really captures the bands obvious ability to compose and perform this particular brand of metal. Highly recommended

Bongzilla - Stash
1999 Relapse Records

Still unable to say the name without breaking into a fit of laughter (not unlike me on certain green paths), imagine my surprise to find myself actually craving the mighty Bongzilla! Unable to abate my hunger for this slab of Sabbathian riffage, one could say my habits have taken on a gluttonous bend. How to describe the Bongzilla experience? Well, it will be different for everyone. Some may feel joy, some may feel a touch paranoid, but all will succumb to the wrath of Bongzilla! As for me, anything which touches on what Sleep has accomplished in the last 7 years deserves my attention, and while the vocals may harsh the throat more than your average dose, the conviction with which this is performed leaves me no choice but to relish it's existence. Master knob turner Billy Anderson must also be thanked, for he has kept the purity which is the Bongzilla sound there, increasing the potency while filtering the unwanted. Excellent sludge rock, baked to perfection, but, I also have this sneaky suspicion that these guys might smoke pot. If that's the case, then I will burn this disc, because drugs are bad! Bad, I say! And also, well... because... Shit, I lost my train of thought.

Borknagar - The Archaic Course
1999 Century Media Records

Majestic, that would be the only way to describe Borknagar's third release. Built upon the experience of their first two albums, The Archaic Course is a whirlwind tour through the minds of some very talented individuals. Plagued by interminable line-up changes, founder Oystein Brun has assembled yet another stellar cast of Scandinavia's finest to perform their particular brand of symphonic metal. "New" vocalist Simen comes over from Arcturus, which was also home to previous Borknagar throat Garm, who's now back in his main unit, Ulver. Yeah, it's a bit of a soap opera (I guess these guys are from the nomadic tribes...) but even if it's only for this release, the B'nagar crew reign supreme. Just rife with classical and orchestral overtones, The Archiac Course is a joy to hear. A relatively short album (really about 32 minutes of song), it's over pretty quick, but not before you're just floored by what's encoded on the disc. Built around a "standard" black metal riff base and steady double-bass, TAC is fleshed out by swirling keyboard layers (I hear a lot of old Yes in there) and Simen's incredible clean vocals. Able to express a wide range of feeling though his voicings, he really adds an emotional facet to the music, and to me is now an integral part of the band's sound. The requisite growls are still here, but are used only when appropriate. For an album such as this, that's definitely not every track. More accessible than a lot that's out there, bolstered by another excellent Woodhouse production job. The psychadelic influences are best heard on Winter Millennium, where the keyboards are so familiar, yet the overall sound is something original to me. Closes with an ambient "rain in the woods" track. The perfect background for a lazy Sunday? You be the judge. A success on all fronts, this has become a highly recognized album, and for good reason.

Carnal Forge - Who's Gonna Burn
1999 WAR Music

Kicking off the new year with 10 killer tracks, Carnal Forge blaze a trail of hate which forces everyone to move aside or be charred to a crisp. Fueled by a strong feeling of hate, Who's Gonna Burn follows Defleshed's path of intensity, then completely obliterates it by forcing the strained vocals of Jonas Kjellgren into your home. Seriously, three seconds, then you're in the middle of a sonic shitstorm. Things may let up a "tad" on closer Confuzzed, but the aural hell found there more than accounts for any decrease in speed. It's easy to appraoch burnout, both as a performer and a listener in this genre, but Carnal Forge know when to say when, coming in for the kill and leaving you gutted on the floor before you can call for help. I guess this'll be lumped into the whole NWOSDM sub-genre, but man, this really deserves it's own place on the shelf, for Who's Gonna Burn is sure to be influencing bands for years to come. One to get, that's for damn sure.

Crematory - Act Seven
1999 Nuclear Blast Records

Before I go ahead and just rip this thing to shreds, I have to state a couple of things. One, I really, really, don't like this particular brand of pretention, finding it a tad morose, and a trifle boring. Two, Crematory have been doing this sort of thing for a long time now (album seven, of course), and are probably masters of this by now. Lost on me though, as I try to get into, and the opening track does kick things into gear a bit, but it all sounds kinda rehashed from things once done better. The guitar sound being decent, but lost underneath the numerous goth keyboard layers, and those dichotomous death/I'm so sad I could die vocals. I guess if you're a big Moonspell, Evereve or any one of those other "to die for" bands, then this'll be worth your while. Me? I'm ready to yank it throw on some Carnal Forge to clear the atmosphere. Thy cheesy cover doth not help either, I am afraid to say.

Criminal - Dead Soul
1997 BMG Records

Originally released in 1997, Dead Soul is finally coming to the North American shores thanks to distribution by Metal Blade. Discovering that the band hailed from Santiago, Chile, I immediately made the connection with a band which existed in that area about 10 years ago, Pentagram. Well, call me your psychic friend, because guitarist/vocalist Anton Reisenegger is none other than the driving force behind that seminal death metal band. Part of what made Pentagram so killer was their guitar sound, and some of that is indeed carried over into Criminal. Actually the band's second release, Dead Soul is still very much a metal album, although they hold more in common with the Bay Area sound (Machine Head, Skinlab) than any past affiliations. With production courtesy of Vincent Wojno, you can be assured that this is a full frontal attack on the senses, with no note left untouched. The sound kinda makes me think of a beefy Helmet at times, but there's absolutely no mistaking the riffs penned by Senor Reisenegger, which are the high points of the album for me. I guess you've got a pretty clear idea of the guitar sound now, so overlay some truly raspy vocalizations which are powerful yet enunciated, set over a solid if not a tad unoriginal rhythm base and the basic mold is set. The songwriting really is dichotomous, which works well at times, but becomes a little too derivative of the aforementioned influences (or are they an influencee?). Add this to the fact that Wojno felt that each track should be mixed differently (hence a completely different sound on each song) and you've got an interesting album at hand. Worth it just to hear some of those awesome riffs taken to the nineties. Look for a new album from these guys soon.

The Crown - Hell is Here
1998 Metal Blade Records

Opening off with what's basically the opening riff from Sodomy and Lust, I almost didn't even give The Crown a chance, which would have been somewhat of a loss for me. Surviving past the first 3 minutes of blastbeats, Hell is Here really begins to open up into an eclectic hybrid of pre-discovered songs. Existing as a frankenstein of sorts, fusing metal, classical, and country (!) into what amounts to a real punk album, this album sounds almost as if it was recorded 10 years ago, deemed to crazy to release, and then shelved until this year. Akin to a Amtrak driver all coked up, songs fly off on tangential bursts of speed, suddenly slicing the tempo and introducing a new melody. Really weird, but more often than not, it works, although when it doesn't work... I definitely prefer the writing style of guitarist Marko Tervonen, who I'm assuming is the catalyst behind this bastardization of styles, over bassist Magnus, who appears to carry the punk approach. Also spot him sportin' a nice ol' Rickenbacker (Lemme 5, anyone?), so I have a pretty good guess as to his major influence. Also appreciate the band more when they dish out the madness at less than 6000 RPMs, but as Janne Saarenpaa is credited with playing "real drums" on the album, I guess they're pretty committed to the whole hyper-punk speed thing. Some real positives include that no two tracks sound similar, so if one song doesn't catch your fancy (or one RIFF, for that matter), chances are it'll be gone before you can say Unquestionable Presence. Production-wise, again, a real punky feel, not as heavy as it could be, and the drum sound is a bit thin, making the ultra fast snare rolls sound like a paper drum being attacked. Overall, a pretty interesting album which doesn't allow itself to be pigeon-holed, appearing quite familiar yet managing to attain a certain degree of originality, and for this, I recommend it.

Diabolical Masquerade - Nightwork
1998 Avantgarde Music

Blackheim does it again. Not content to rule the metal universe with one band (Katatonia), here he enlists the virtuositc skills of producer cum drummer Dan Swano, to make one awesome album. Truly gothic in it's packaging (both musically and physically), Nightwork effectively blends the bleakness of the past DM releases with Swano's sense of harmony and craftsmanship. While this is Blackheim's baby, and Swano is only credited for production and percussion, it's obvious to see where he has influenced this recording, I mean opener Rider on the Bonez has so many Swanoisms it's not funny. By no means is this a complaint, for while both songwriters on their own are capable of masterpieces, it's the interplay between these two that makes this such a killer disc. Using guitar and keyboard layering to build atmosphere, Nightwork could be seen as a descent into hell, or lunacy, depending on your personal inclinations. Things really come to a head on The Eerie Obzidian Circuz, which sounds kinda like Mr. Bungle all hopped up on crack. The first Diabolical Masquerade album which really demands attention, not intended to demean the other releases, but just because of the quality job here. Not much more I can say except that if you miss old Edge of Sanity, or are in any way a Swano or Blackheim fan, get this, I guarantee you won't be disappointed.

Dying Fetus - Killing on Adrenaline
1998 Morbid Records

This release is a little older than most of the others reviewed here, but it's just so killer I had to stick it in here! Hyped as one of the main New Wave of American Death Metal bands, Dying Fetus play a souped up brand a death similar in style to a lot of those Florida bands that were and are so prevalent. Dying Fetus may write some pretty technical stuff, complete with flashy guitar licks, good use of bass, and lightning speed percussion (yeah, I know, sounds familiar!) but there's something that pushes them to the forefront of the listening stack. It may be the production, which chooses to emphasize the highs, including a nice 'pop' snare attack, the fluidity of the guitar lines, which is damn impressive, proof to me that these guys spend a lot of time in the practice room. There's an air of the band not taking themselves too seriously, most evidenced by the lyrics, most of which encompass some pretty juvenile yet really angry reading material. Not really a problem though, as the vocal styles only range from the sickly grunts to a few interspersed intelligible lines. Sticking to the music, Dying Fetus deliver their magic poison at Mach 3, decimating anything and everything in it's path, fueled by the limbs of Kevin Talley, who is simply put, freakin' amazing. Letting the double bass fly with ease is old hat these days, so Talley treats us to some excellent use of ride/hi hat patterns, rapidly switching from the bass drum to close out an accent on the hats, I guess he's the Dennis Chambers of Death Metal! An incredible album that deserves some serious attention, hopefully these guys won't move to Montana and start a cult before the next album can come out.

Emperor - Equilibrium IX
1999 Century Media Records

This record has got to be released to some of this biggest hype ever, and to judge from the reviews so far, Emperor have succeeded once more in dominating the world of black metal. Well, after much deliberation, I have to agree, for while nothing new has been thrown forth, the mighty Emperor just can't seem to produce anything less than epic. This is also a difficult review in that there's just not much one can say about Emperor, besides the fact that they are master songsmiths, dedicated to the craft of the blackest order. What's improved here? Well, the production DOES seem to have been adjusted, allowing more sepration between the instruments, most notably the drums and keyboards. There's still some blurring of lines during the speedier sections, but it seems almost impossible to avoid that in this genre. There's also quite the buzz about the lack of emphasis on keyboards here, supposedly the band going for a more "organic" death metal approach, placing the guitar forward. I have to disagree, for while the riffs reign supreme on many tracks, the album would be flat without the orchestrated layers placed above. Ihsahn's vocals remain similar to previous ventures, with maybe a tad more experimentation on The Source of Icon E, which is a definite nod to King Diamond. What did I expect? Well, I wanted to see Emperor push it to the next level, as they had on Anthems... That didn't happen, but they did manage to make another killer record of the same caliber. That may not say a lot for Emperor, but is the apex of existence for every other band out there. Definitely recommended for purchase.

Enthroned - The Apocalypse Manifesto
1999 Blackend Records

Major improvement here, and a good thing for me, as I seriously did not get into their last offering. Don't know if it was due to a session drummer stepping in on Skullthrone, but that album seemed as though it was set on autopilot and let loose to fly wildly in the night. Greater control, better song structure, and some dynamics lead me to like this album more, but the whole thing is stil a bit too raw for me. Keeping things real by recording the album in the treble hemisphere, Enthroned play some unholy black metal, quality stuff for the fanatic, but a bit too frentic for me after 30 minutes. I prefer things a bit less tinny, something with some meat in it, making this my worst nightmare in terms of production, as the mix emphasizes the higher register. Less apparent during the slower sections, but since a great deal of the album is blastbeat central, a heaping dose of cymbals and snare dominates the forefront. So, while it's leaps and bounds above their previous work, still not to my tastes.

Gamma Ray - Power Plant
1999 Noise Records

Kind of a sad letter accompanied this release, basically amounting to an urgent plea to try and convince everyone that Gamma Ray is not part of the whole "retro-thrash" movement. Well, to most of us, there's no need, for both Gamma Ray and Noise records are pretty much synonymous with German speed metal, whether it be from 1987 or 1999. Of course, this may or may not be a good thing, for I must admit, I never really got into the whole Maiden-extension thing (Helloween, as a prime example, and yes, Gamma Ray), opting for things with a heavier feel throughout. I definitely missed something though, for while I STILL don't dig a lot of the newer stuff coming out, getting a lot of this stuff in the mail made me break out the old tapes and vinyl to give it another chance. The verdict? I missed out on some kick ass stuff at the time, but as evidenced, most of it ages pretty well, so whether you're spinning The Keeper of the Seven Keys or Power Plant, majestic, melodic metal is the name of the game, something at which Kai Hansen excelled at writing for both bands. Almost coming full circle, Hansen is back on vocals (see the pre-Keeper Helloween releases), filling the shoes of the departed Ralf Scheepers. Some really good stuff within, but man do I hear riffs from the memory banks flying all around. Most blend well with the rest of the song structure, but more than a few make me wonder "from what particular some did that originate", a pet peeve of mine. More than a few passing references to both Priest and Maiden, but as they are pretty much the originators of this branch of tree, it's to be expected. As with the Blind Guardian, it took a few spins to get this into my system, but once in there, I was definitely hooked. Only problem I have here is that I can only handle about half of this in one sitting, the most memorable tracks being one through four... But hey, that's still a half an hour's worth of material, about what most death metal bands are putting out now! Brought into the nineties by the crystal production, Power Plant still suffers from those horrible (in my opinion) eighties cover art blues that plagued so many albums throughout history. This Powerslave knockoff by IM alumnus Derek Riggs is just bad, which would have just reinforced my bias against this sort of product had I been choosing what to get in the shop. Hopefully this won't stop the rest of the world, as Gamma Ray have been around for quite some time (at least main man Kai), perfecting their brand of metal for the masses. Pretty much a self-produced effort, it's cool to read the liner notes, which have a personal feel throughout. Good stuff from one of the metal elders...

Grip Inc. - Nemesis
1999 Metal Blade Records

Continuing the growth exhibited on Nemesis, Grip Inc produce another excellent album, this time demanding that they be seen as their own band. I'll agree here, as I'd almost say that Slayer sounds more like Grip Inc now than G.I. ever sounded like Slayer. Now before I get shot for dissin' the mighty Slayer, just relax, Reign in Blood changed my life at 16 when it came out, just like evvveryone else, it's just time to let Lombardo lose the chains of that era, and for us to view Grip Inc as a separate entity, which in fact it always was. The layout of the album in terms of track to track dynamics is pretty similar to the previous album, mixing up tempos and varying the mood enough to keep attention past spin two. Again, it's the production that makes this album just so dang heavy, one of the thickest guitar sounds since the famed "Sunlight" days of yore. New bass addition Stuart Carruthers really fills out the sound, and according to the band, really allowed the music to grow. Sorychta is a guitar god, best witnessed on his just hallowing riffage during the mid-section of Lockdown, a prime example of beauty though darkness. The expanse of tonality and rhythm also allows Lombardo greater freedom for experimentation, which gives rise to some really freaky, yet powerful drumming. As I stated before, he definitely has his own style, whether it be the way he approaches his beats, or the timing of his fills, it's always Lombardoized. Another improvement is in the vocal department. On this release, Chambers (who was schooled more in the punk realm) using a more varied approach to his vocal patterns, performing good clean vocals on more than one occasion (Human comes to mind...). Yet again, Grip Inc prove their worth as a quality metal hybrid, fusing power and precision with dynamic and melody. One of the first quality records to emerge in 1999. In case you were curious, the title refers to the band combining their environmental and musical backgrounds to "Solidify" the G.Inc sound.

GWAR - We Kill Everything
1999 Metal Blade Records

Well, here they are again. GWAR, scumdogs of the universe, or something like that. More a theatrical troupe than a full-fledged band, GWAR rely heavily on costuming, posturing and attitude rather than true skill to deliver a bunch of half rate punk and metal rip-offs. Sure, it's funny in a juvenile sort of way, but I guess I get tired of the whole thing pretty fast. Music's OK, artwork better, the whole package? I'll pass, thank you very much. Musicalis Simplisticus, perfect for every junior high kid that wants to piss off their parents.

Hypocrisy - Destroys Wacken Live
1999 Nuclear Blast Records

Well, we all know the story now, how Hypocrisy was all set to call it quits, but how one show at the Milwaukee Metalfest last year saved us all. Even though the guy's got one of the hottest studios in the biz now, Tagtgren and crew deliver us not one, but two new Hypocrisy platters this year, the first being this live opus. Spanning all five studio albums, Destroys Wacken delivers excellent sound and more than adequate performaces of what could easily be termed Hypocrisy's Greatest Hits. As to be expected, the sound is awesome, filled out by second "live" guitarist Mattias Kamijo, who allows Tagtgren's solos to ring true without losing that rhythm guitar foundation which is crucial here. Why deem the performances only "more than adequate?" Well, it's all there, almost exactly as on disc, yet it may seem just a tad uninspired to me. I also keep hearing the accusations of "if they didn't practice enough", which springs to mind as I try to rate the drumwork. Szoke can play, but definitely comes across stronger in the studio, evidenced by his propensity to speed things up a tad while dropping off half of the killer fills from the record. So, while it's truly cool to hear the new material live, it's the older stuff that benefits the most from this '99 update. Left to Rot and Pleasure of Molestation coming to mind most, and prove to me again that I like Peter's multi-dimensional vocals much more. Of course, finishing up with a double shot of Killing Art (my fave from Abducted) and The Final Chapter doesn't hurt this much either! As an added bonus, we're given 4 "extra" tracks, which, based on the way Hypocrisy albums vary, could have all been on The Final Chapter. Apparent on each one is the signature guitar sound of the last album, yet 3 of the 4 tracks highlight Peter's clean vocal stylings. Time Warp is pretty speedy and technical, vocal delivery being in a more shout style, while Til the End does indeed pick up right where The Final Chapter left off. Requisite "punky" tune Fuck U is OK, lyrics a bit less than I'm come to expect, I guess. No matter though, as album closer Beginning of the End is a scorcher, wrapping things up with class. I do hear a few ideas repeated on these 4, which does happen sometimes with Hypocrisy material, but I mean, the guy practically writes all the stuff himself. New album "Cloned" should fix all that, as bandmates Szoke and Hedlund have evidently picked up a larger portion of the writing responsibility. We can now only wait.

Impaler - It Won't Die
1999 Root-O-Evil Records

Having existed in one form or another for close to 15 years, Bill Lindsey's Impaler is shock rock at it's finest. Wrapped in an image that harkens back to the days of UHF (horror movie central), It Won't Die rocks along through it's ten tracks, giving us little stories of Witches, Zombies and other little beasties. High points would definitely be the title track, Grave Robbers from Outer Space, and Santo vs. the World, which revels in it's Dead Kennedy's like simplicity. One trade off that usually occurs when emphasis is placed on the image is that the music performances tend to suffer, and here is no exception. Guitar withstanding, there's nothing special going on here, most tracks chugging along with a certain garage recording feel to them. While New guitarist Brad may not be a master of modes, I dig his overall tone and feel. In a timeless planet, this would be the epitome of shlocky punk-metal, but today, it seems a tad dated. Still heaps o' fun though, and you gotta hand it to Lindsey for keeping his fight against the norms going for as long as he has. It also sounds like these guys are having a good time, which has to count for something.

In Aeternum - Forever Blasphemy
1999 Necropolis Records

Assembled to destroy anything that resides within the light, David Larsson and his horde pack quite a wallop here indeed. Comparisons to the whole lineage of Sweden are inevitable, as I hear traces of Naglfar, themselves indebted to Dissection, yet musicallty, there's so much here I hesitate to catagorize. In scrutinizing the performances, what really stands out are the guitar lines, threatened at times by Larsson's vocal delivery, which threatens to overpower at times. I guess it's here that the Naglfar comparisons come in, for the vocals remind me of Jens Ryden's performance on Diabolical, capturing the same emotional force that was also presented there. Well produced, but a little lacking in the mix. The drums tend to be a tad in the background, dimishing the unrelenting attack a tad, but this by no means compromises the overall picture. It's interesting to see the two paths taken from the whole Gothenburg, or what's now the NWOSDM sound, where bands like In Flames have kept the melody, yet compromised the assault, and In Aeternum and others accentuating the speed and power while keeping the core sound.

Krabathor - Orthodox
1998 Morbid Records

Pretty well known in the European Death Metal scene, Krabathor dish out a strain of metal, that, as reports go, becomes more powerful with every release. This is being my introductory record from this Czech band, I won't be able to comment on the growth since the last disc, but I can safely say that what we have right here is a serious slice of death, all wrapped up and ready to maim. Smashing out of the gates with the title track, Orthodox cruises along pretty steadily, changing the tempo at appropriate time as to not demolish the listener. Songwriting is courtesy of the axemen, with Chistopher's tracks being a tad more technical and atmospheric, Bruno's relying more on a vicious power attack. Vocal duties are split between the two, but I'll be damned if I can find a difference between them, both guys spewing forth the same brand of grinding hate. Lyrics deal with political issues, or topics deemed "dangerous" by the band, but in reading them, there may be some things lost in the translation, only evidenced by having the sheet in front of me, since I would never be able to tell based on what I hear. The band is also down to a three piece here, and opted to record with only one guitar, so that solos are played over bass only, giving more of a realistic live feel. Production is good, with enough effects on the bass so that the sound isn't "empty" during these times. Another aspect I like is that the songs don't all blend into one big mess, Krabathor branching out more towards the end of the disc, using keyboards appropriately at given times. Not sure what else to say except this is quality straight ahead death metal, done by guys who've been around for almost 15 years.

Le'Rue Delashay - The Court Composer
1999 Root-O-Evil Records

Here's one for all you horror movie freaks out there. Dig the soundtrack from Dawn of the Dead, The Gates of Hell, any Argento movie? Well, take that band (Goblin, among others) and strip off the percussion, then you're pretty close to what lies here. They compare this to the orchestrated pieces of black metal albums, and I guess I hear that, but it's more like meloncholy, eerie piano and synth music to me. Cool to have something like this to throw on when you don't feel like gettin' the old adrenaline going. Reminds me of the old Hammer movies that used to come on Saturday afternoons. Love the guy's expression on the cover as well, kinda like a psychotic Terry Bozzio.

Lungbrush - Old School New School
1999 Pavement Records

I don't know why, maybe it's because I had just gone through about 60 albums that all had the same sound, but Lungbrush just totally hit me with a left hook straight outta New Jack City. Pretty much typical urban assault dosage paradigm, but man that just crunchin' guitar tone laid over Salinas's new school drum sound just grinds it through. And It just keeps on gettin' better and better. I can imagine that these guys put out a vicious vibe live, cuz I'm practically outta my chair shadow boxing when this thiong starts to groove, and that's often. The title must refer to the old school ideas melding with the new school delivery and sound, for that's the best description I can give ya. Vocals remind one of good ol' N.Y.C., complete with quasi-positive lyrics for a negative world. Some interesting breakdowns in a few tracks lend to what is original on this album. This is a sound I relate to that broad spectrum from Biohazard to Leeway, or are those just all the N.Y.C. metal core bands? In any regard, one of the better releases I've heard lately in this untapped (for me) genre. If feel like stepping out of your killing shoes for a while and putting some mosh back in your life (before it was a taboo word of course!) then let Lungbrush scrape you clean. The moniker does evoke nice imagery I must say...

Manowar - Hell on Stage Live
1999 Metal Blade Records

The self-proclaimed "kings of metal" do it again, releasing another live album to please their hungry horde of fans. One of the hardest working bands in the biz, Manowar are constantly touring the world, performing over 2 hours shows almost nightly at probably the loudest volumes in the world (they do hold a Guiness World Record for this). Evidently, Manowar shows are true extravaganzas, rife with the unexpected, and several things which have become staples of every show. Never seen Manowar live? Either have I, but if this disc is an inkling of what occurs, then we've both missed an epic power metal presentation. Mixed way up front, and damn loud, Manowar rip through almost all of their classic tracks over 2 CDs, leaving no one standing. I have to hand it to these guys, as they evidently live the life they so proclaim, playing with more gusto than most bands half their age. Live shows always sport lots of solos, and here's no exception, DeMaio performing not one, but two of his infamous bass solos here for your low frequency enjoyment. After a depature some time ago, Scott Columbus is back in the drum department, pummeling out some true power. Of course, the ultimate test of a live album is making you feel like you're there, screaming with the crowd at the end of every track, and Hell on Stage does this pretty well. Crank it, and convince your neighbors that you've got the Manowar boys over for dinner.

Mercyful Fate - 9
1999 Metal Blade Records

What's amazing is not so much the fact that these guys reformed after a 9 year absence, nor the fact that they have put out 7 of their 9 releases since 1993, but that the band continues to surpass their previous efforts with this release. While last year's Dead Again was competant, I much prefer the material that exists on 9. Mike Wead has really engrained himself as part of the M.F. sound, and works to update Shermann's classic eighties riffs into something that could be deemed retro, but is so slick and sounds so good, it's obvious from which decade it was born. I can't believe how fast this stuff makes it out either, 9 being recorded about two months before it was released, a true testament to the prolific nature of this band, and probably also related to wanting to get this on the market before the summer festivals. For whatever the reason, expect nothing less than the best from these guys, this line-up being the strongest since the beginning. I can still pick out which tracks were penned by the King, and tend to prefer the more intricate Shermann material, but it's all good, and after snagging the opening slot for Metallica this summer, the Fate just may become a household name again in the coming millennium.

Morgion - Solinari 1999
Relapse Records

Sadness, despair, brilliant packaging, all fused together to form a competently done, albeit somewhat dreary, release. Upon first listen, Solinari didn't do all that much for me, but I recognized that these guys belong to the Paradise Lost and My Dying Bride camp, groups which I pull out only in certain moods. Well, it made it's way back into the player a couple more times, and I actually began to appreciate the forced pace (the word plodding comes to mind) of the album. For me, this album was perfect one rainy Sunday night, a time usually reserved for gearing down and preparing for the mental anguish which accompanies each Monday morning. As is the curse with Gothic Metal, themes do tend to seem a bit pompous and skirt the line of pretensiousness, but Morgion appearto have studied the great albums of the past, and as I said, created an above average composition. As I also stated, the complete package is quite amazing, from the epic production to the striking artwork. A bit cryptic in the lyrical department, but from what I can discern, somewhat "dark sidish" in nature, you know, left hand path and all. I guess the only thing that may bother me is the similarity to another Orange County group, Mindrot. A lot of the album sounds a tad too similar to the slower sections of Dawning, but hey, since Evan Kilbourne left for Save Ferris and Mindrot dissolved, someone has to fill that substantial musical gap! This album depresses the hell out of me, but since I believe that's the intention, it's a success. So, while a bit heavy-handed at times, and not the most original release, it has its strong points, and as a band, Morgion certainly know their craft.

Mystic Circle - Drachenblut
1998 Morbid Records

Man, this album pisses me off. It's not enough that these guys have to SOUND exactly like Dimmu Borgir, or any othere of those ilk, but they decide that they should LOOK exactly like them as well. Although it would be kind of a cool movie, the Single White Female of the black metal world. Picture it: Dimmu Borgir are broke, their latest album only sold 25,000 copies, and they have to pay for all the fake blood they ingested. After putting out an ad to share their practice space, the guys from Mystic Circle show up. Everything's cool for a while, till riffs starts to mysteriously sound the same, sequenced effects are erased, all the corpse paint begins to end up in the M.C. locker, and one guy shaves his head (you can start to picture it, can't you?). The name Hecate Enthroned is put on the table and it finally comes to blows. Who will win? Do you care? All I know is that these guys are throughly content to slog through someone else's riff graveyard, which doesn't do all that much for me, especially if I'm given such strong visual cues as to their master plan. They should have called themselves Doppleganger. Only saving grace is that the drummer's name is Aaargon, which means he's reeeally noble, or eats caramel candy while he types.

Napalm Death - Words from the Exit Wound
1999 Earache Records

Now, I must admit, I haven't been much of a Napalm fan since Scum, stopping in only to catch a few tracks each on the last few albums. They have their following, and I grant them that they have excellent skills and chops, but, like Fear Factory, it's just not something I can ususally sit through til completion. So, this is the part in the review where I go "it was like a shotgun blast to the head at point blank range, I couldn't put it down, it was better than Cats, I'll never be the same again!" Er, not quite. Now, granted, this is the first N.D. platter that actually gets better as the album progresses, with the first couple being my least favorite (but still pretty killer). Exactly the opposite of the usual pattern! Of course, the Napalmisms are all here, with the Deathsters having one of the more noticable guitar tones in the biz. The crunch is killer, fueled by a see-though Colin Richardson production job, which if anything, is maybe a tad too sterile. Barney's in good form again, after the in-and-out shuffle that happened a while back. In fact, the whole band sounds a little reinvigorated, offsetting any huge changes in song structure the boys could have done. Of course, there are a few things that Napalm do that I'm not too crazy about, for one being the powerful, yet blocky, drumming of Danny Herrera. Similar to Andy Whale (ex-Bolt Thrower), he's good at what he does, but it all sounds a tad forced, no smoothitude. They also have this tendency to break into a blast section when it's completely appropriate. Sounds good, but it's expected, and a tad drole at times. In a nutshell, if you're a Napalm fan, this one's at or above par with the past few achievments. Never heard o' these guys? Well, then this is the perfect place to get thrown into the fray.

Nevermore - Dreaming Neon Black
1999 Century Media Records

Not much of a departure here for Nevermore, even with Tim Calvert (ex-Forbidden) replacing the "Cannibal"ized Pat O'Brien on guitar duties. Somewhat of an average of the last two full-lengths, Dreaming Neon Black captures the mood of the S/T with the technicality of "Politics", yet falling a little flat in between the two. I'm not sure if Nevermore is shooting for a broader fan base, but with this, their most accessible release to date, they may have hit the mark. That's saying a lot actually, because the guitarwork here is as technical as it gets, matched by the off-the-wall percussive permutations of Van Williams. Lyrically, more poetic infusions from Dane, this time breaking one storyline into individual songsC delivered in the usual syle, yet harkening back more to the Sanctuary days then recent years. So with all the positives, I find it strange that while I really get into the album while listening, I take almost nothing away, which makes me wonder just how long it'll stay in rotation. I also may be a little harsher than I should, since I expect so much from this great band, and this album is definitely up to par, but I was hoping for them to jump it up a notch. Once again produced by Neil Kernan, which may be a con within a plus, as his overall production, while outstanding as compared to other groups, tends to make each Nevermore Release sound similar to others. Actually, the overall sound reminds me of the In Memory E.P., with less of an emotional attack.

Postmortem - Repulsion
1998 Morbid Records

This is a strange album, one that, for me, is pretty hard to classify. Kind of a mix of standard death, alternametal, and some a that streetcore stuff that's been springin' up. Hence the problem with having to try and describe some of these albums, for while it's not ORIGINAL (for nothing really is...), it's sounds a heck of a lot different than most of the stuff being pumped out. The album starts off a little rough, with more of the emphasis on crunchy mid-groove before starting to move off into new directions, which is exactly where I wished the band had concentrated more. There's sort of a slick image feel to the whole thing, yet the album touches on so many different sounds, it's hard to fault it too much. Vocals are kinda grindy, a little typical, but fit pretty well with the overall feel. I'm almost tempted to say that they sound close to a dirtier Pantera, but then nobody would listen to the album, which would be a shame, considering that there's some interesting stuff going on here. The rhythm section isn't very flashy, but fitting for a band who decide to cover Sin City I guess. Overall, not much to remember it by, but it fills that market of aggressive mid-paced stuff that seems to be a huge void nowadays...

Rotting Christ - Sleep of the Angels
1999 Century Media

Man, I HATED this first couple of times that I spun it, for it just sounded so pompous, so contrived. I may have been having a bad week or something, because over the last couple of weeks I've all but completely reversed my opinion. So different from their first works (regarded as essential by a legion and fodder by some), SotA relies heavily on keyboards and atmosheric layers to provide the backbone. Sakis's trademark vocals are in place, and the production that was found on A Dead Poem is retained, but no more should Rotting Christ be considered a black metal band, nor do I think that they would want to be. All grown up now, the band comes across as a not quite first rate goth-metal act, only stifled by the complete absence of dynamics in any of these tracks. Highlights would be the guitar sound, and the overall mood of the album, but it's a cold, rational listen, not enticing or inciting in the least. Not quite a new direction from these Athenians, but it appears that a little more time (and possibly a name change) is required to achieve the goals that I assume the band has set for themselves. A fair to better effort, but not a masterpiece by any means, if anything, a little dull.

Roadsaw - Nationwide
1999 MIA Records

Don't want to cubbyhole MIA, but this is the second just kick ass hunk of rock they've thrown my way so far. Belonging to that Kyuss (the masters) , Fu Manchu and old Monster Magnet school of sound, Roadsaw owe a hell of a lot to bands like Hawkwind and Skynyrd for inventing seventies guitar rock. The whole thing has got this redneck vibe to it, which I think is a tad ironic, seeing as the band is evidently from Boston. Doesn't really matter where they hang their hat, as they've got the southern-fried Sabbath thing together, which melds well with the whole atmosphere. Organ sections highlight some of the slower material, kinda dragging you through their vibe. Definitely not for those who only oscillate between Deicide and Cannibal, but if you want an album which'll keep you guessing from track to track, look no further than Roadsaw. I guess some of it tends to drone, irritating if you're not in the mood, but those moments are short-lived in comparison to the album as a whole. It does make you want to jump in the cab and drive cross country, that's for sure. This is one that would have benefitted by existing on vinyl.

Sacramentum - Thy Black Destiny
1999 Century Media Records

I really like the idea of Sacramentum, technical guitars, precise drum work, brutal vocals, etc... My only problem with the band is they still sound too much like Dissection to ignore. Why I'm more lenient with some bands (i.e. Soilwork) I don't know, maybe it's because Thy Black Destiny also sounds a hell of a lot like their previous release, The Coming of Chaos. Granted, the sound is a little tighter, and the material's faster, but the whole thing exudes this whole "been there, done that" vibe that seriously detracts. Some lead work does surpass the one dimensional Dissection clone status, but overall, not something I'll be grabbing first in the stack. Too bad, as there's some cool stuff here, but I just can't justify getting this over something else, unless you really want everything that comes from Sweden. Cool artwork nonwithstanding, go for Defleshed as the NWoSDM pick.

Skinlab - Disembody: The New Flesh
1999 Century Media Records

No surprise that Rob Flynn vouches for this band, as Skinlab belong to the same area, both aural and corporeal (the bay area) as Machine Head. Other references can be thrown around, but for the most part, Skinlab holds a sound pretty much their own. A lot of credit can be given to skin-basher Hopkins, who interjects some groove and fury to move the band out of the 4/4 zone. Opening with So Far from the Truth (previewed on last year's Eyesore E.P.), a track which kicks the album off in high gear, yet drops the ball on the chance for a nice one-two punch with Know Your Enemies, a bouncy little ditty which sounds almost like it could be on the West Side Story soundtrack (albeit a tad heavy, I guess). The album quickly recovers, and I'm just left to wonder if I'm missing something as to that track's weakness. After hearing a multitude of bands provide this brand of musical assualt (Neurosis, Tool, etc.), my acid test is that you must be able to provide a feeling of complete sonic envelopment, exactly where these boys just shine. The sound comes across as an industrial/metal hybrid, perfect for late night listening, and even more effective with headphones, thanks to production courtesy of Andy (Stuck Mojo, Machine Head) Sneap. Lots of intra and intersong dynamics as well, alleviating the need to swap discs mid-way through playback. Heavy as hell, and just rife with enough anger and darkness to scare away the sun, Disembody is another good release from a band who seem pretty confident in their sound, as even replacing both guitarists didn't seem to alter the overall product too much. Not exactly a huge leap forward, but an extension which will make previous fans very happy.

Sleep - Jerusalem
1999 London Records

Man, you will either love this or absolutely hate it, that's for damn sure, also making this review more a description of what lies here. Here's the idea: 3 ultra stoners, who became slightly infamous for their brilliant (in my opinion) Holy Mountain LP, decide to make a 52 minute song which could serve as the perfect soundtrack to your next black light affair. Really similar to Sabbath in sound, Sleep is first and foremost a guitar band, and in that arena they certainly excel. Again produced by Billy Anderson, prepare for a sonic drenching, for the tone is so heavy, so thick, it eats like a meal. Granted, this album only hits the player at certain times, but for those times, it's perfect. Besides, how many albums are there out there like this? Now available almost everywhere, get it and prepare to just veg out with your favorite substance for your journey to Jerusalem. Highly Recommended

Soil - Throttle Junkies
1999 MIA Records

Not wasting any time at all, Soil follow their El Chupacabra E.P. with a full-length platter of foot-stompin', head-bangin' hard rock. As, with the E.P., influences cited would be those of a southern nature, ranging from Skynard to Keenan-era Corrosion of Conformity. In dissecting things a bit, riffs definitely provide the inital hook, and the song structures keep interest over numerous spins, but it's defintely Ryan McCombs soulful vocal delivery which elevates this band into the stratosphere. Just straining with emotion, McCombs brings in a soulful bluesy influence, again resembling Layne Staley on some of the more emotional tracks (say what you will about AIC, the guy can sing!). Albini's less is more powerhouse production doesn't hurt either, but the band was just as strong on their E.P., proof enough to me that these guys can rock on their own merits. And rock they do, sounding a bit stiff at times, but not a real surprise as 4/5 of the band's background is death metal. This is a small critique though, as the power learned in the past just wrecks any negative points one may chalk up. Growth of the band is evident as well, as newer tracks such as Damning Eden are a little fuller than anything previously written, showcasing dynamics a bit more. In thinking about it, a lot of this material could easily be slipped into the mainstream (our loss, their gain), but time will only tell as to what fad will surface next (my bet's on polka-rock). Highly recommended by myself and most I know that have heard this.

Soilwork - Steel Bath Suicide
1998 Listenable Records

Critically acclaimed, I had been hearing about this release for quite some time before I finally got it for myself. Let me only say this, I've heard about 40 different albums in the last couple weeks, and this album is by far the best things I've heard in months! Steel Bath Suicide lived up to all my expectations, including the ones I built upon hearing the inevitable comparisons to personal favorites At the Gates, Arch Enemy, In Flames, etc... In fact, Soilwork do sound so much like those aforementioned bands it's obvious where the influences are, but with ATG gone forever, Arch Enemy exploring new directions, and In Flames plagued with personnel changes, Steel Bath Suicide is a godsend for those of us who never expected another melodic masterpiece from the land of frost. To describe the sounds (and compare), vocally, a perfect replica of Tompa's performance on Slaughter of the Soul. Musically, an amalgam of AE's Black Earth, The Jester Race, some old Priest, old Maiden, basically what defines the old "Gothenburg Sound". Not that you'll hear any complaints from me, for I just think this album kills! Along with Gardenian, Listenable Records has another excellent group on their roster, and with this being their first release, I see great things for Soilwork, for they are already masters at songwriting, creating melodic tracks of monster riffage interwoven with just the right amount of keyboards. Apparent, but not overpowering, the different layers intertwine to form the perfect combination of melody and punch. As I stated, one of the better albums to come out in quite some time. Trust me on this one, if the influential bands are in your collection, you can't pass this one up!

Spock's Beard - Day for Night
1999 Metal Blade Records

Never underestimate the power of promotion. Similar to how Phil Anselmo can get deals for bands, Dream Theater's Mike Portnoy made it his mission to mention this band in EVERY interview done with him. Lo and behold, here they are, signed sealed and delivered to the door. Guns for hire, the outside job list is impressive. Keyboardist Ryu Okamoto played with Clapton, drummer Nick D'Virgilio played on the last Genesis album, etc... So, they're awesome musicians, but do they write interesing songs that may pass for metal? Hell no. Singer Neal Morse's vocals are way in the pop zone, and honestly, I don't think these guys would consider themselves metal in any shape or form. I do hear a lot of old progressive rock in there, from Gabriel-era Genesis to Yes (sounds JUST like Chris Squire on bass at times), Kansas, etc., making it interesting, but still kinda flat. So, while I'm not too excited, for what they do, they at least do it well. And hey, maybe a peppy progressive rock album was just what you were looking for! I envision happy college students grooving to this in their dorm rooms sipping Sprite and planning a sit-in. No thanks, been there, but of course I had Clandestine on.

Tellurium - LV426
1999 Root-O-Evil Records

First things I noticed about this disc were the cover art, and the fact that this mini-CD was named for the planet in Alien(s). Pretty cool stuff within, as Tellurium deliver a mechanized metal dance machine of sorts, sounding at times like a beefy KMFDM. I guess you could pull in references to Skrew, Monster Voodoo Machine and Malhavoc as well, for LV426 nods towards all those groups, utilizing a truly pummeling rhythm track (electronic, of course), as the foundation for some meaty riffs. Samples galore, and grindy vocals round out the overall vibe, which is armoured dance hall warfare, perfect for a dark, dismal Saturday night. FYI - Tellurium is a transition element usually found with gold and silver. Just thought you'd like to know.

Turmoil - The Process Of
1999 Century Media

Powerful, capable, and extremely pissed off, Turmoil continue down the path of enlightenment with another quality release. Advancing the sound and ideas put forth on their From Bleeding Hands opus, this group of Pennsylvanians come through with 12 tracks of socially aware music. Probably termed crossover, or metal-core, I'd throw Turmoil on the hardcore side of the fence based on ethics, song structure AND delivery. Yeah, the guitars are chunky, providing a "metal" feel, but c'mon, this is hardcore, well-produced, thicker than 10 years ago, but still hardcore. Quite a few names thrown around with these guys (Snapcase, Hatebreed), and I'd say that's fairly appropriate, as this stuff all gets my blood boiling at around the same temperature. So while one can debate as to which realm the musical attributes may lie, vocally, there's just no argument, Jon Gula regurgitating a lifetime of anguish in every line of prose in true NYHC fashion. You can just feel this guy's pain, displayed over a solid battery of noise which manages to demolish without overpowering or losing a sense of groove. Most tracks stay near the midpace, yet the album doesn't mind slowing things down on Impending Doom Theory, which skirts the sphere of consciousness inhabited by bands like Neurosis. And speaking of which, I do catch a few samples here and there, but nothing like the aforementioned A/V beast, and absolutely no tribal drumming, which sends me towards the stop button in a true Pavlovian response. I also really like the guitar dynamics which are reminiscent of early Sonic Youth during a few numbers. Experimentalism such as that knocks a record's grade up a notch ot two for me... Nice and angry, perfect for those mornings where you hate the world and yourself to boot.

Usurper - Skeletal Season
1999 Necropolis Records

More than a few spins into this disc, and I'm still not sure what to make of it. Kicking off with a two minute foray into blastbeat heaven, I quickly surmised that I was in for 8 tracks of pain, but lo and behold, Usurper pull a fast one and settle into a severe chug-a-thon. Basically sounding as if it was recorded in a cave circa 1984, Skeletal Season definitely pays homage to the founding fathers of black metal, most notably Celtic Frost. What's cool is that it's not a carbon copy, yet rather an extension of what that band accomplished back then. Eschewing the fancy-pants production techniques that most black metal bands are shooting for now, these guys form a sound roughly equivalent to an uneven ball of wax warbling out of control through the fourth dimension (time, that is...). Yeah, this is definitely an album that would have benefited by existing on vinyl. Not that anything is lost on the CD format, but I miss that crackly sound that would accompany something this dark, this muddy yet clean. More points in their favor would be the freaky Hawkwind guitar lines, and the fact that the drums are all around the beat, something you don't hear too much nowadays. Not sure if this was the sound that Usurper were going for, but man, did they get it, complete with that whacked out snare sound, definitely cool. As I said, I hear a bunch of old Frost, especially on the spoken word type vocal parts, but I don't remember those guys tuning so low. Good atmosphere to the whole thing, even if it does get a bit plodding at times. Dig that woodblock!

Vader - Live in Japan
1999 Pavement Records

"I'm just not a big fan of live albums...". How many times have you heard people (even yourself) express that very sentiment? More often than not, most likely, and who could blame us? For especially in the realm of extreme metal, there wasn't much to convince us that a soundboard could accurately capture the sound quality, the energy, the overall feeling that one was indeed in the audience that very night the tape was rolling. There were a few, but recently, a whole slew of live albums have come out, some decent, some a bit lacking, but then there's Vader. I think this album finally answers the question of why this Polish band of maniacs is, and will always be, at the forefront of the scene, for whatever the band does, they do it 150%, putting in superhuman effort to make for a memorable performance. A key aspect of Vader's live show is their use of intros, which succeed, even on CD, in temporarily building the dam which holds the mounting anticpiation. The floodgates blown wide by the opening of Sothis, you really have no choice but to be a captive listener. Focusing on the last two full lengths, it's obvious that this band can more than ably reproduce their studio sounds live, in fact, it's yet another arena in which they dominate. The sound here is excellent, everything caught in high detail, and the mix? Well, the drums are pushed up a tad high, but that would be a petty argument for any release, and given that this drummer is Doc, there's even less room too complain. Comparable to the live Rush documents, not much (if anything, really) changes for the live set, but the energy here, and just hearing the tracks reproduced perfectly with just the right amount of the "live" edge, makes this well worth it. No arugument about the set list choices either, as Vader mix the ultra fast Black to the Blind material with the fretboard manics of tracks Blood of Kingu and Crucified Ones. One more note, I also have to hand it to the Japanese audience present that night for providing the perfect forum for Vader to perform their set. Overall, a stellar release. The perfect place to hear some of the best tracks from Vader's back catalogue, and live, no less! This is the one that will bring these guys to the masses.

Various Artists - ID5
1999 Century Media Records

One cool thing about compilations is that many labels are pretty much giving 'em away nowadays, meaning that you can get almost 75 minutes of "quality" music for like $5. That's 10 cents a minute (no, just kidding). Anyway, Century Media is the leader in this marketing push, and lo and behold, here's the 5th installment in their now famous Identity series. If you've ever picked up one of these before, then you know what to expect. Basically, these are recorded songs off of most of CM's roster, nothing really out of the ordinary (hence the low price). But, if you wanted to check out a couple of tracks by a band you didn't want to drop $15 on, then pick this up. I'm not going to go through each band, but I'd say that standouts would include Skinlab, Cryptopsy, Katatonia, Old Man's Child, Blind Guardian, Opeth and Angra's modern Maiden sound (this is a new signing for CM, and these guys fucking rock!). You really don't have much to lose if you're at all interested in a couple of these bands. Check the CM website for more info...

Various Artists - Relapse Slayer Compilation
1999 Relapse Records

To many, Relapse Records are known for their heaby hitters (Amorphis, Neurosis), to others, their grind (Nasum, Agoraphobic Nosebleed). Well, to me, they're known as the label that doesn't seem to discriminate, signing bands from all fields, the only common ground being that they all excel in their particular medium. All bands of the spectrum are represented on this sampler, ranging from new tracks by the heavies to other more obscure acts in the Relapse catalog. Judging from the tracks selected, this year is going to be killer for these guys. The new Neurosis track is so damn thick is runs out of my headphones, Today is the Day continue to annihilate, and even Bongzilla look to dish a pile a whoop-ass to unwary listeners. Of course, we also get some tracks from bands that are proven killers, Soilent Green, Nile and The Dillinger Escape Plan all turning in a few from their latest releases. Definitely something for everyone here, and charging like only $2 for this, it's worth it just to hear the love 'em or hate 'em Mortician take on Celtic Frost.

Various Artists - Roots III (A Trilogy)
1999 Root-O-Evil Records

The only consistency on Earl Root excellent underground compilations are that whatever's on there, it's guaranteed to be something unordinary. Most compilations put out are an easy way to hear a majority of the label's signed or distributed bands. Not that there's anything wrong with that, it's just that a lot of labels tend to sign acts that are very limited in scope, making it more of an example of a sub-genre. The Root-O-Evil comps are a tad different, and remind me of the underground of old, complete with professional "joke" songs, badly recorded basement demos, and a "major" act or two thrown in for good measure. Really experimental in that Earl throws in noise tracks after death metal after spoken word singles, forcing anticipation to grow towards the completion of one song, as you can only guess as to what will hit you next. Standouts for me include: Impaler's live version of Graverobbers from Outer Space, Usurper's noisefesty Soulstalker '96, the majesticly pompous Lorde of All Desires, Swordkiller (complete with their poseur hell intro), Brian Bart's nod to Praxis, and The Coup de Grace's awesome 80s power metal Grave World track. Overall, another killer comp from a guy who has been deeply mired in the underground for longer than most people have been listening to metal. Worth the mere pittance he charges for these things.

Various Artists - WARDance Compilation
1998 WAR Records

Man, I used to just hate compilations. Granted, it is a cool way to hear a bunch of new bands inexpensively, but the drawbacks are so great sometimes that they're usually not worth even that investment. Realizing this, many labels have tried a few differnt approaches: lowering the cost (Century Media); offering a TON of songs (Nuclear Blast); or giving us rare and out of print material. War Dance definitely falls into the third category. Since most of WAR's (formerly Wrong Again) back catalogue is out of stock, this is really the only way to hear excellent older tracks from In Flames, Eucharist, Naglfar and Cryptopsy. The quality of artists and the songs they chose is also above par, solidifiying that this comp is a must have. Opening with the out of control Blades, we also get Enslave the Astral Fortress from the hard-to-find Vittra release. Newcomers Carnal Forge (Who's Gonna Burn should be available now) really tear it up with their particular brand of speed death, very impressive and one of the shining moments on the album. Darkane is another band to look for. Featuring percussive artiste Peter Wildoer (Arch Enemy, Armageddon), July 1999 and Convicted are excellent tracks, building lots of anticipation on this end for their Rusted Angel debut (out in February 1999). If you haven't yet heard Eucharist, here's the best way to listen to the monumental leap they have made between their last two releases. One of the best records to come out in the last two years, Mirrorworlds is a masterpiece, here represented by the album's opening track. Wounded and Alone, a rare track from the W.A.R. comp is also good, yet suffers from poor sound quality. This problem also affects other tracks, giving the album a peak/valley sound experience which can get a trifle annoying. It's worth it for the aforementioned In Flames though, as until it's re-released, you can't find the Subterranean E.P. anywhere! Arch Enemy's Losing Faith is one of the bonus tracks from the Japanese version of Black Earth, and is pretty colse to the sound of that album, albeit not quite as strong. The Dimension Zero track is unreleased, but I can't fathom why it wasn't put on their Penetrations from the Lost World E.P., which only clocks in at 12 minutes! In Thy Dreams' Forgiven Sins is another one that impresses me heavily. Coming from the NWOSDM school, they're a band to look for. War Dance closes off with an alternate version of The Juggernaut Divine (from Crossing the Rubicon). More great drumming, although it doesn't sound all that different from the album version. All in all, a downright excellent compilation featuring some of the more creative and talented bands out there today. You can't go wrong (again) here!