A.C. - It Just Gets Worse
1999 Earache Records

You may have caught A.C.’s Seth Putnam interviewed by Barbara Walters late last year. If you didn’t, you missed the revealing of what is to be called “The A.C. Paradigm”. What it boils down to, according to Seth, is that each A.C. album, while managing to sound like dogshit, is really completely premeditated, with the major influences of the band being sonic terrorists such as the great Einsturzende Neubauten and Throbbing Gristle. In other words, it’s the destruction of a system through music, aural armageddon, if you will. Being the “expert” interviewer that she is, Ms. Walters didn’t shy away from A.C.’s lyrical content, citing directly from songs such as “Women: Nature’s Punching Bag” and “I F@cked your Wife” to prove her points. Believe me, it was worth it just to see that alone. In any regard, after realizing that this album is a brilliant attempt to stage a musical coup, I have to say that it is by far the greatest album I have ever heard, and that A.C. is gay. You know, now that I think about it, maybe it wasn’t A.C. on 20/20 but Ricky Martin, I can never keep those two separate. Incredibly sexist (but morbidly funny at times) and offensive lyrics set to the worst grindcore you’ve ever heard, but I get the idea that the band would think that this is a positive thing.

Abaddon Incarnate - The Last Supper
1999 Seasons of Mist

“These Irish are playing Death Metal the way it was meant to be raw, brutal and evil...” Why did I cop out and start this with a direct quote from the CD sleeve? Because in having to describe this, I can’t seem to collect any rational thoughts, this “album” being one of the most chaotic and disjointed, yet bone-jarring releases this issue. The names Morbid Angel and others that helped establish the Florida sound are thrown with reckless abandon when trying to sell this album, but to me, it sounds like Cryptopsy’s None So Vile with a ton of distortion. So much so that most of the rhythm tracks are undecipherable, melodies (used loosely) popping up on the lead guitar tracks. But even there, whew, is it ever crazy. The vocals even remind of the great Lord Worm, and while it’s a valiant effort, only Cryptopsy seem to be able to hold things together, The Last Supper falling just way the fuck apart almost consistently. Yeah, it’s super fast, but almost to the effect that I’m just wondering what the point really is? I can pick things out once in a while, but unless you’re in a drunken stupor, you usually want to know where you are, right? As Rob would put it, you gotta have the headbanging groove! So, OK, some cool moments, but unless you felt that None So Vile was way overproduced, I can’t see why the hell you would want to listen to this. These boys must drink a lot of coffee.

Agathodaimon - Higher Art of Rebellion
1999 Nuclear Blast Records

A-goth-odaimon would be a more appropriate moniker, the band even having an old church and graveyard on the cover. Musical constructs based on styles made famous by people in black trenchcoats, Higher Art of Rebellion is cooler than it ought to be, as I find myself trying not to look at the band shot and just enjoy some true metal hooks. I like that the guitar dominates the keyboards here, usually not the case in these albums. We’ve got the evil elf vocals making their destined appearance though, these usually fair woodland creatures all pissed off by the trolls I suppose. These are at least offset by clean and spoken word sections though, overlapping and joining forces to offset the ravaged throat. A lot of this sounds just like simple chord progressions (which is one reason the hook factor works so well) beefed up with superior production and Casio undertones. The drums are mixed way back though, not too apparent, but noticeable. Things slow down to ballad land midway through, becoming a little cheesy for my tastes, but things pick up again. An album that I’ll just throw on when I want some dark ambience in the background, but not something that I’d throw in my walkman at the gym, know what I mean?

Agent Steel - Omega Conspiracy
1999 Candlelight Records

These days, it seems that everyone is so eager to return to the “glory days” of metal, most notably, what is being labeled thrash metal. Well, not that I even want to dare to compare Agent Steel to anything retro-thrash, since they’ve been around since 1984, but while hearing this album, a whole slew of memories surrounding my late eighties SPEED metal days came flooding back. Remember knowing that fine line between speed and thrash? It was there, for bands like Kreator were certainly thrash, while Xentrix was not. This difference is best exemplified by Omega Conspiracy, an album so tightly written and executed that even Bruce Hall’s higher shrieks can’t deter me from loving this album to no end! Bernie Versailles (known more recently for his work in Fates Warning) and Garcia form the mandatory twin guitar attack, yet manage to stay away from intensive maidenisms, instead issuing forth a constant buzzsaw of heaviness so killer, I can’t even describe it. The rhythm section is exactly how it should be, powerful and supportive, yet not overpowering the main six string elements. Lyrically, X-files material here, the band speaking of behind the scenes things from which you can draw your own conclusions. To put it simply, there are few albums that I review which would have made me grateful to buy, and this is one of them, more amazing to think that this is an album made by a band who just went through a 10+ year hiatus.

Agoraphobic Nosebleed/Converge - The Poacher Diaries
1999 Relapse Records

This record, although quite, insane, is fucking brilliant. Starting off with nine new tracks from A.N., this split CD just shoots you into the stratosphere, sucking the life out of you and then dropping you back to your own reality with no remorse. Psycho-core, that’s what I’d call it, Agoraphobic’s maelstrom of sound just revolving around chaotic riffing, vocals from hell, and the most insane drum programming I think I’ve heard. Besides when things kick into 2000 beats per minute, this is so convincing a job that I really forgot that this was a machine rather than some 18 year old kid hopped up on methamphetamines. Nine tracks set for stun, and that’s just the first half! As nuts as A.N. are, Converge bring things down to a more humane level, yet that’s only by comparison, as these dudes are also not from planet Earth. Scraping hardcore with some really nicely timed fast double bass, Converge also add an almost alternative (think back ten years) element to the music, just adding a good sense of atmosphere, letting things breathe a bit before ducking their heads for a renewed attack. Awesome shit, guaranteed to pulverize your grey matter. Psychotic, scientific, insane...

Agressor - Medieval Rites
1999 Seasons of Mist Records

Much like Hawaii, people seem to have the same opinion that France doesn’t have a death metal scene. Well, maybe the land of bread and cheese did throw Trust our way, but they’ve more than redeemed themselves with Agressor. Yeah, they’ve been around for a long, long time, and experience does count for something, because Medieval Rites covers the entire map as far as songs go. We have black metal, raging choirs and horns (a bit too much at times), balls heavy guitar riffage, and some severely twisted grind sections (courtesy guest drummer Kai Hahto from Rotten Sound). The way that the songs differ from each other almost makes me wonder about the time frame taken to write this album, for it could almost be a greatest hits package of a band which has gone through many transmutations. Shit, we’ve even got folk interludes thrown in, but where the record succeeds for me (besides the awesome guitar sound) is that most of the time, the extra elements aren’t glaringly obvious, which means that they’re used sparingly and effectively. Because I don’t know about you, but when a song has a flow only to be disrupted by some falsetto from hell, or a keyboard hit thrown waaay too high in the mix, I cringe. Final analysis, an album which appeals to me on all levels, not easily classified into a neat pocket, and a disc that is replayed instead of shelved when the endgame is reached.

Amon Amarth - The Avenger
1999 Metal Blade Records

Back for the attack, these Swedish metallers have honed their Viking inspired mayhem further, shedding the more progressive elements which were present on their last release and concentrating more on the power and aggressive emotion for which this band has become known. Most of the change in this is due to the change in the drum seat, Fredde (ex-A Canorous Quintet) being more of a power drummer, where Martin Lopez (now in Opeth), had an almost jazzy feel at times. Nothing is compromised, thankfully, the band still writing the same breed of staccato riffs and melodious thunder. It’s not much of a departure from Once Sent in that regard, Amon Amarth choosing not to deviate from something that works, but that’s OK at this point. I will say this though, the final track, Legend of a Banished Man, is easily my favorite thing that AA has done so far, just being the best representation of what I think that the band is trying to accomplish through their music. A tremendous finale to a strong album, Amon Amarth have once again proved their worth in the metal scene, fortifying their position at the top of the food chain. Bravo.

Babylon Whores - King Fear
1999 Necropolis Records

The first thought on everyone's mind is definitely "What the hell is Necropolis doing signing the Babylon Whores?!" Well, I felt the same way, but after hearing King Fear a few times, it's a pretty gutsy, but brilliant, move. Simply put, this is a completely kick ass hard rock record. Babylon Whores, while almost a household name, are an enigmatic band for me, as this is the first offering of theirs that I've had the chance to hear. I can almost draw comparisons to Foetus, Rockabilly with distortion, thick Big Black and other bastardizations of 50s rock. Not the best description, I know, but for something that so dangerously straddles the line between what used to be considered "alternative" (Siouxie and the Banshees, the Sisters of Mercy), this album has got some serious balls to it. The guitartone is key here, being meaty and well to the forefront. In fact, the whole thing has got a real live feel to it, seeming almost like a live experience rather than a recorded one. More suited for those into Gothic hard rock than precision death metal, King Fear is an excellent introduction for me to this infamous band.

Bloodbath - Breeding Death
1999 Century Media

Let’s open this review up with a little personal association. I’m gonna say a name (well, not really), and you’re going to see if you can list how many independent projects this person has to their credit. OK, ready... set... Blackheim (Anders Nystrom), tick tick tick... Done? Try... Mikael Akerfeldt... Now here’s a harder one, but not impossible - Jonas Renske (hint, he usually sings or plays drums). And for extra credit (this should be a snap), Dan Swano! Proving a small point, it’s safe to say that at least a couple of those guys had you saying to yourself, “Again?!” Well, it’s pretty widely known that Sweden contains some fairly prolific musicians, and here are four of them to delve into the recesses of their collective psyches and deliver some hideously good death metal straight from the early 1990s. Given the mainstream treatment by our good friends at Century Media, Bloodbath reminds me first and foremost of Left Hand Path era Entombed, especially the closing of Furnace Funeral, which is eerily reminiscent of the title track of the big E’s first album (which is exhumed directly from Phantasm’s awesome minimalist score). 15 minutes in length, this is obviously not meant to be the definitive statement on retro death, instead, it just seems like 4 guys having a good time writing some old school Stockholm Death Metal. So, you’re probably wondering, “great, but does it do the job?” Hell yeah, it does, especially for me since I’ve been going through this weird Morbid Angel/Malevolent Creation phase, music from halfway around the globe which exhibited parallel growth for a brief period. My only complaints are the same as always, I wish that whoever is responsible for the “image” just wouldn’t try so hard, and just let the music speak for itself, which is does just fine. Dark, relatively simple riffs are crushingly heavy, drumming shying away from the constant double kick which infests itself in everything now, instead used only as a powerful undercurrent on the midpaced sections. There are some keyboards, used in place of a lead guitar during the last minute or so of the E.P., which is effective, but sort of goes against what the rest of the album is doing. Eh, I’m being picky though, Bloodbath being another spike on the belts of these Swedes, and seriously, have you heard anything from any of these guys that HASN’T been good?

Cannibal Corpse - Bloodthirst
1999 Metal Blade Records

To try and explain how much I like this album, let me just say that it was one of the first albums that I received to review for this issue, and it’s one of the last to get reviewed. Why? Well, honestly, I didn’t want to review it until I felt that I had absorbed everything that it had to offer, and finally I just came to the conclusion that I never will. There are many reasons why this could be considered “the” new era Cannibal album, if not their best to date. For one, Colin Richardson just gave this thing the production from hell, everything sounds crystal clear and heavy as can be. Pat O’Brien is now a permanent fixture in the band, and the songs are more intricate than anything I’ve heard before. I believe that the change in studios gave the band new life as well, as all performances are fast and furious. The songs, like the album, are short and to the point, yet the running times seem perfect. Get in, decimate, get out, that was the main objective here, and it works. Fisher’s multi-platform vocals are in fine form as well, everything just coalescing into in molten ball of metal. The first Cannibal album that demanded repeat listens for me, and if I had a list going, this would be on the top ten for 1999, easy. A safe bet for any death metal fan, forget the past and what you think Cannibal Corpse is all about, otherwise, you’ll be missing one of the best death metal releases to come around in a while.

Canvas - Canvas
2000 Metal Blade Records

Christ, another potentially awesome album just completely ruined by the singer. I’m really getting sick of this inverted intestinal tract excuse for vocals, I mean,, really sick of it... It’s such a shame here, since the riffs and rhythms are seriously in sync, laying down a wicked groove base for this atonal adenoid throat to just shit all over. Which is what I envision, some fucking “modern” artist taking a masterpiece, and then deciding that his smelly feces would be the perfect topping. Well, it’s not, this Canvas completely ruined. Hey, remember, the “vocalist” was the one who killed Iron Monkey (another great band gone to waste), don’t let this happen again. There’s something good here, shoot the vocalist and focus less on shock appeal. Just my not so humble opinion, and we know how wrong I can be according to mass majority, but man, this makes me want to throw my CD player out the window, and I can handle most anything. Another thing, why is it cool when nonmetal bands completely steal riffs (I find myself going “Hey, cool, Slayer!” or something similar) but when metal bands do it it’s blasphemy? I smell.... Godflesh! (Track 10)

Cea Serin
Independent Release 1999

I could use this review to stage my argument about there really aren’t any demos anymore in the CD age, each release by a band automatically being called an album, but I won’t. In reality, Cea Serin may be a project between only two mere mortals, but there are so many godlike qualities about this disc, to call this a “demo” of things to come would imply too many negative things to me. Yes, the requisite drum machine is in place, which does detract at times for a “human” skinsman like myself, but the programming is done really well, having almost the feeling of a live performance. I hear traces of (of all bands) Tool mixed in with the power metal stylings, but that’s only on the opening 2 minutes, Cea Serin managing to weave effortlessly in and out of sounds without sounding like a cut and paste album of influences. At one point, I thought that things reached Dream Theater Images and Words levels, and then I had the realization that Jay Lamm here realized the potential of Seventh Son of a Seventh Son (imagine if that album was as kick ass as Piece of Mind) and almost delivered what Iron Maiden attempted over a decade ago. Heavy use of guitar heroics and keyboards, something that could easily become cheesy but manages to remain true here. Maybe a bit mainstream for some tastes, but as for crossing musical boundaries between progressive rock and metal, Cea Serin are doing an excellent job.

Centurian - Choronzonic Chaos Gods
1999 Full Moon Productions

If you’re looking for a gentle album rife with dynamics and tempo changes, you’re reading the wrong review. Basically an attack on everything holy and all five senses, CCG is a mind-numbing trip through some pretty disturbing moments in time. Much like Marduk’s Panzer Division, Centurian basically stick with one tempo, fast as fuck, and pummel out 9 tracks of death metal hate with no fluff or strings attached. Is it any good? Tough to say, as I feel like a war-torn refugee after hearing just a few tracks at a time, which is proof complete to the band that the album is a success I’m sure. The consistency of the tempo 99% of the time does have an advantage in that when there are breaks (as in Misanthropic Luciferian Onslaught), it’s that much more effective. Kind of hard to review after hearing say, the latest Lake of Tears, but if you need an album to psych you up for kicking the shit out of that trailer park loser that’s been sneakin’ in the Airstream and banging your wife while you’re out working the night shift bussing tables at Bob’s Big Boy, look no further, your incentive is here.

Coalesce - 0:12 Revolution in Just Listening
1999 Relapse Records

Where does Relapse find these bands? Another hardcore/noise hybrid, Coalesce spew out the hate while tweaking the sounds of music into something akin to Dillinger Escape Plan, but more centered on planet Earth. Parts have that smoky New Orleans flavor, but the meaty vocals keep my interest, as opposed to the raspy cat meows often found on these discs. Lyrically, weird journal poetry going on here. You can’t pick it out when Sean Ingram is tellin’ ‘em, but reading them? This guy is coming from somewhere pretty bizarre. Cool though, tales of the adult playground set to some powerful, memorable metalcore songs. One downside, the album, like this review, is incredibly short at only 24 minutes. Worth it though, as I hear things on this disc that I haven’t yet have the pleasure of experiencing before, many sounds coalescing into a killer disc. Much of this is thanks to the riffmeisters here, and James Dewees chaotic yet focused drumming.

Con Anima - The Book of Riddles
1999 Scarlet Records

This can’t be for real, almost sounding at times like a compilation of Sesame Street songs sung by the Count. All the elements are here for a gothic metal album, but this is laughably bad, mastered strange, so that certain tracks are softer than others. I get so many of these discs that I’m starting to be able to tell what’s pseudo-epic and what is total cheese. There’s shades of King Diamond around, but not done very well. It would be so easy to just totally trash this, but I can find some things that almost redeem the album, this is quickly buried though under mountains of pretension. Having minute “interludes” between each track doesn’t help, and in the end, I’m just glad the album is over. My final verdict would be that this is yet another album killed by the vocals, that, and that I really hear a lot of riffs reused from past, better albums... I apologize if this is a cover album that I’m unaware of, or if this is a re-release of something from 5 years ago, but I’m going under the assumption that these should be all “originals”, and if that’s the case, I’m playing name that riff quite a bit while listening.

Control Denied - The Fragile Art of Existence
1999 Nuclear Blast Records

Finally, it arrives, Chuck Schuldiner’s crowning achievement of all that is metal. The buzz for this disc was huge, TFAOE supposedly being THE album to herald in the millennium and lead as the new face of metal. Wrap this around Chuck’s discovery of a brain tumor and how could this not be a complete victory for “Evil” chuck and the boys? Well, honestly, I HATE Time Aymar’s vocals, this whole album being one gigantic tease to me, existing as a “not” Death album that could have been. I know, average stupid metalhead’s knee jerk reaction to something new. Err, maybe, but “power” metal vocals have always bugged the crap out of me, ruining many a metal experience, and here seems to be no exception. I can’t argue though, the musicianship is absolutely superb, but something also seems flat, the guitars just kind of being there, not leaping out as they should. Richard Christy’s drums (yes, incredibly played, even overplayed) are way to the forefront, sometimes detracting from the overall picture (as they did at times on TSoP). Yes, he is an incredible drummer, and hopefully there is no feeling of having shoes to fill anymore. Maybe it’s in the mix, but the wrong things seem accented at the wrong times. Every time I play this, and yes, it is growing on me with time, I just ask myself, “Why don’t I like this as much as I should?” Maybe my senses are dulled by too much death metal, but in the end, I’ll take Death. No disrespect intended, the record’s just not catching on yet...

Crawl 420 - Severe
1999 Independent Release

I’ve heard quite a few good things about Crawl 420, and after hearing their Severe release, I can sort of see where that hype is coming from. Sporting a heavy, downtuned sound, Severe sticks to the mid-paced material, something which is almost the most effective speed in a live element. It’s a good record for an independent release, for if this had been a major label offering, I probably would have been less lenient. I say this incredibly shitheaded comment because the production is OK, nothing special, leaving things kinda flattened throughout the disc, no dynamics really present. The “New Jack Metal” element is also here pretty strong (no, I’m not gonna drop band names), something that immediately turns me off from a lot of albums. Not that bands can’t play this style, it just kinda takes the metal out of it for me, especially that rubber band bass sound that’s so prevalent nowadays. Dan Miller’s got the delivery down as far as vocals, staying gruff and aggressive throughout, as do the rest of the band, but somehow I feel that these guys are ten times better live. Again, I fault the production (we all forget that not every band can get Andy Sneap behind the board), but even that’s not bad, it just doesn’t make me want to kill like it should. I will say though, after hearing this, I want to see these guys live to see this metal groove in action, and that’s a good thing.

Darkane - Rusted Angel
1999 WAR Records

You’ve probably noticed by now, but I’m one of those rabid fans that calls the record store to make sure that the new releases are ready the Tuesday they’re put on the shelves. Needless to say, this puts quite a bit of pressure on the artists in question, because not only am I expecting something great, the anticipation involved makes me almost hypercritical. So, when Rusted Angel’s release date came and no disc was available, I was not happy. In a brilliant move, the band actually sent me a personal copy of their disc, something that not only am I honored by, but guaranteed extra special attention from yours truly. Well, the disc appeared, and I spun it, and spun it, and spun it. I taped it, I made a copy for the practice room. I have one in my car, and all my friends now own it. Simply put, the album is just fucking incredible. Comparisons can be drawn, and if put in a corner, I’d name Darkane the cantankerous bastard child of Arch Enemy and Meshuggah, yet born mature and wise way beyond their years. This is of course due to the experience of these musicians, coupled with my opinion that these guys have a true gift for writing outlandishly technical and memorable speed metal. The guitar work is melodious, a given since these boys are from the land of Lingonberries, but one can’t deny the almost mechanically precise quasi-offtime riffing/percussion which just flies around this entire affair. Darkane got a lot of attention (and rightly so) on the WarDance compilation, offering two tracks which appear again on Rusted Angel, yet in a completely different way. Amplified in scope, and benefitting from the addition of one Lawrence Mackrory on vocals, July 1999 and Convicted are par for the course here. Meaning of course that the whole album just picks up and moves, not bothering to rest until the end, all pieces of the puzzle falling into place seamlessly. Mackrory’s performance is also to be commended here, as he easily switches between roughly 6 voices on each track, something that could be annoying, yet here acts as another instrument of madness, the music taking the life from your body and the vocals dragging your husk of a corpse throughout the dirt. Short classical interludes alleviate some of the tension, but not for long, the album quickly reverting to it’s honed attack on the senses. The band also made a wise decision (in my oh-so-humble opinion) of going to Danne Bergstrand’s Dugout studios over Studio Fredman or The Abyss. Not that I have anything against those fine establishment, but Bergstrand is more adept at capturing the controlled chaos of releases such as this (witness Destroy Erase vs Chaosphere), pushing every nuanced note into the forefront. I listen to this and easily think to myself, “This is the album XXX should have made”, only leaving the names of about ten bands out of respect. Perfectly balancing the midpaced guitar melody of the Gothenburg Sound with the fury of the NWoSDM, Rusted Angel is easily one of the best albums of 1999, highlighted by strong musical performances from all five fronts. I could go into the small details, such as Wildoer’s inspired cymbal work, or both guitarist’s killer solos, but instead I’ll just leave you with the simple statement that Rusted Angel blows away anything I’ve heard in the last 6 months, hands down.

Defender - They Came Over the High Pass
1999 Necropolis Records

Kind of a weird release for Necropolis to put out, until you see that Defender is Philip from Cranium’s power metal band. The vein is supposed to be like Manowar, and Iron Maiden, and musically. It could be, but the vocals are nowhere near what they need to be to even draw comparisons. They’re also so dominant that the slightly off tune words are the main focus, drowning out the riffs, not what’s to happen. So, some of it is pretty cool, but most of it is not, really reminding me of that Hammerfall vibe (I hate Hammerfall). Good bass work on Dragon, and a cool main riff and a sweet solo section on City in the Clouds, but not much else to keep me interested here, another power metal release which can almost be saved by the guitar, yet buried by the vocals. PS - To hear where the Maiden influence is, check out Maze of the Mountain, almost a note for note rendition of Transylvania.

Demons and Wizards - S/T
1999 SPV Records

Weird for me to start to write this, seeing the review I wrote for Control Denied directly above. Obviously I must not hate all traditional power metal vocals, for Hansi Kursch’s voice is one of my favorite’s in the biz, so it must be something else... In any regard, exactly what I dislike about The Fragile Art of Existence becomes the highlight of my Demons and Wizards listening experience. Drawing the name from the Uriah Heep album from the early 70s, DW runs the gamut of emotion and sound, bursting out with opening scorcher Heaven’s Denied, slowing things down to ballad territory mid-album. Yeah, it sounds like a formula, but as with any good paradigm, go with what you know and not only will it come out perfect, your confidence and performance will just get better. In all honesty, all I really have to do is drop the fact that Jon Schaffer wrote music here that rivals and may surpass his Iced Earth masterpieces, and I think you get a clear picture as to the power this disc holds. Obviously, I like the record quite a bit, and if the idea of Blind Guardian crossed with IE sounds interesting to you, then do you yourself a favor and give a listen.

Dillinger Escape Plan, The - Calculating Infinity
1999 Relapse Records

Much like the title states, TDEP have tried to tackle the impossible, and I’d say they succeeded. I’ve just listened to this about 4 times in a row now, and it’s safe to say that my brain is much, remembering bits and pieces of this experience to write down. Where Dillinger have grown is in their incorporation of styles into the melee, some jazz, breakbeat and other such nonsense entering in at opportune times. In thinking about it, TDEP were the perfect band to open for Mr. Bungle, their schizoid brand of hardcore reaching into the depths of something dangerous, something genre-breaking. Listening to this is like experiencing a seizure amplified through hallucinogens and speed. Anything is fair game here, for as soon as you find solace in familiarity, the rug is pulled, and you’re sent reeling into whatever strange cartoon dimension the band deems fit for that moment in time. The final moment of brilliance occurs for me about a minute into “The Running Board”, where a Voivodian riff sneaks in somehow, but is so perfect, so right, I just have to smile. Whatever it is, these guys are the kings of a form of music that is gaining popularity, and at this moment, Relapse owns the market. Try this on for size, I dare you.

Dismember - Hate Campaign
1999 Nuclear Blast Records

If I can say one positive thing about Dismember, it’s that they consistently put out a solid product. Which, of course, sounds much better than the sentence that I was going to start this review out with (Death metal’s least innovative band has once again given us their version of Clandestine...). Since day one, I, among others, have tagged Dismember as a complete Entombed clone, and maybe they were, but since Entombed have taken the right hand path as of late, maybe I should give more credit to Dismember than I do. At an rate, Hate Campaign sounds to me just like 1997’s Death Metal, even having a cover which is reminiscent of that last opus. IN fact, I could probably swap these two records during playback and not even blink, as if the band has taken their last album and shuffled the riffs around. I don’t know, I’m trying to be patient here, and the sound is sufficiently heavy, but since I wasn’t too impressed with Death Metal, I’m not exactly doing cartwheels to Hate Campaign. There are those that know and love the Dismember sound though (hey Rob!), and for them, this should be a solid follow up for the band. Let’s leave it like this: much like Bolt Thrower, Dismember have found their niche, and while Entombed may have dug the hole (unlike BT), Dismember is the new landlord now and probably forever.

Eclipse - Dorscharms Venomous Colours
2000 Blackend Records

This has the ingredients for something big. The music is symphonic, melodious black metal from Poland, the inhuman drumming is adequately supplied by computerized limbs, stage names are present, the masters from the past have been studied, an unreadable logo... You’ll probably agree with me, but the difference between a cook and a chef aren’t that severe, they both follow the recipe, right? But the chef adds that certain zest, that flair which distinguishes their dish from the average layman in a home kitchen. This is the main reason why there is, say, Emperor, and a million Emperor clones, instead of the other way around. Which isn’t to say that you have to create some grand dish out of leftovers to form the new, but we should know that this is something familiar, yet so tasty... Metaphors aside, I’m just really trying to prove a point as to why most bands are good, yet not great, Eclipse being in the former category. The album is good, a definite 6 out of 10, with epic layering of keyboards, but there’s something missing, maybe it’s just all a little too processed to my ears, lacking a sense of soul (yeah, I know, it’s black metal, Beelzebub’s got ‘em all in his black bag, just like in the deal) which would make the emotional attempts more convincing. It’s there at times, and this is a debut, so maybe conquest is on the close horizon for these two once they manage to locate the right drummer a little more feel to things.

Electric Wizard - Supercoven
1999 The Music Cartel

In line with Rise Above, TMC is rapidly becoming known as a stoner rock connoisseur’s record label. Finally releasing Electric Wizard’s Supercoven here in the states, us ‘Mericans can finally hear what all the fuss was about (I’ve been waiting to hear this for over a year, it seems...). Was it worth it? Eh, maybe, for that devil-may-care attitude rampant in so many “stoner” bands is here (yeah, I know, stupid classification, but I really like saying “stoner” like 50 times in one review). Kinda reminds me of that freewheeling Monster Magnet release, 25...Tab (I’d love to see the faces of those mallrats who bought 25 and just went, “Hey, this isn’t anything like Space Lord!!!”) in it’s dream state and just refusal to go anywhere in less than 10 minutes. Long, long extended jams (4 tracks, 1 hour) which aren’t the greatest display of instrumental or vocal prowess, but evoke that 70s Sabbathy feel (don’t they all?) which the youth of today are just screaming for. I swear, when I start seeing ads for these compilations on late night TV, I’m packing it in. “Hey man, is that Stoner Rock? Well then pack...a...bowl!” Anywho, Supercoven is good, albeit more of the same atmospheric drone that is either just what you want to hear (you know, black light upon velvet poster) or incredibly irritating. I dig it, just because I can throw it on and space out, but it can get a bit annoying to hear “Supercoven!” screamed for two minutes straight. These guys are at the top though, and while not in the same league as Sleep (for me), they know their stuff.

Engine - Engine
1999 Metal Blade Records

I got both Jim Matheos’s and Ray Alder’s solo albums at roughly the same time, and to me it’s pretty interesting to see the completely different approaches the two men take. While Jim’s Away with Words is more of a jazz-tinged new age instrumental album of sorts, Alder has grabbed onto the “newer” style of bands like the Deftones to produce a “hip” hard rock album which has the ability to break big in the mainstream. Obviously, I’m stating that this album has sell out appeal, so why should anyone give it the time of day? Well, for one thing, when these guys decide to do something, it’s gonna be good no matter what it is. I always scratch my head when veteran musicians “play down” and school the younger kids, thinking that it’s mostly for the surefire bucks that this prefabricated stuff will rake in, but Engine seems a little different, the band exhibiting a little more soul into the songs than other bands I can think of. The entire thing is pretty accessible, focusing on those start/stop rhythms and heavy guitar that’s so popular on the TV these days, which makes it ear candy, but it’s also got some mean hooks in it. It’s good, don’t get me wrong, but the more I listen to it, and looking at the band’s choice of apparel (straight from your local mall skate/surf shop), I wonder what’s really going on here. I missed the chance to interview Ray to see where his head was at, and I’d really like to give the guy who created some pretty memorable albums with Fates Warning the benefit of the doubt, but I can smell big business all over this thing. An album definitely made for the mainstream generation.

Entwine - Entwine
1999 Spikefarm Records

The band’s choice to cover Depeche Mode’s Enjoy the Silence is pretty representative of what direction is taken here, Entwine playing moody, atmospheric gothic metal. For what it is, it’s OK, just a bit pretentious and “Simple Mindy” at times (witness the annoying keyboard bells on Veiled Woman, kinda like the cheesiest parts of LoA’s Ugly). Not that I don’t like any gothic metal, I’m just a bit more particular when it comes to this style, meaning that an album has to be pretty strong to seem worthwhile to me. the proper degree of emotion is displayed I guess, but there’s not enough guitar or strong drumming, and too much keyboard and whiny vocals (which are way too prominent). Definitely NOT the album I’ll be pulling off the shelves to get my depression fix.

Fister - Phrenum
1999 Plastic Head Distro

How many albums must come out which are just ruined by shitty vocals? I know that these angst-alterno albums warrant some sort of screams in the forefront, but anything but this, please! I can tune out most of the time, for there are some really cool moments here, but when the yelps kick into high gear, fuhgetaboutit. I dig the jazz fusion towards the end, and the drumming has some phenomenal moments, but overall, too close to screeching weasel vocals here (not the band). Potential is present, but for now, something that pains me to have to sit through for it’s duration. Urban minimalist pastel cover hurts more than it helps here also. For some tastes (most notably those that would like to see Korn, Tool and a bottle of nitric acid thrown in a blender), but not for my seasoned palate.

Gathering, The - Superheat (Live)
2000 Century Media Records

Not only am I amazed that The Gathering have released yet another album so soon after their double How to Measure a Planet, but also that this is the first CD I’m reviewing that is to be released in the year 2000. Man, does time just fly by, which is funny considering that listening to Superheat puts me in a very reflective mood, as this melancholy, expressive disc just hangs about and lingers for hours around you. What’s weird is that I feel that The Gathering hold more in common with bands like The Cranberries and The Sugarcubes now then anything I’ve been listening to lately, and not just because TG happen to have a female vocalist. There are a few bands out there (Neurosis around Souls at Zero is one of them) where listening to them is more a revelatory experience than just cruising to some tunes in your car. Superheat is one of these, emotionally demanding and enveloping, yet not sappy as it could very easily be. The band has been around for quite some time, and with the addition of Annette’s vocals early in the history, The Gathering was transformed into something that was not only accepted, but revered by many hardcore metalheads. I could also say that it’s one of the few things that your chick can dig as well, but that’s pretty self-explanatory isn’t it? So, ten songs equals 65 minutes of tube amplified, angelic vocalized euphoria for your listening enjoyment, forming yet another live album that only sounds live because the crowd is heard once or twice. Not sure that I really miss the hiss and pops inherent in older live recording, but this newfound sterility in the “live” recording process does leave an element to be desired. Still a monumental recording documenting a long majestic career.

Hangnail - Ten Days in Summer
1999 Rise Above/The Music Cartel

Another great album from a band with a horrible name. Hangnail pull together all of their influences to produce an organic, trippy stroll through the lazy 90s. You gotta believe that when a band puts down “Fibes Drums” instead of “percussionist” that they’re livin’ the 70s life, and that’s exactly what’s going on here. More Fu Manchu than Kyuss in the music department, the vocals do smack of John Garcia at times, but also make me think of Chris Cornell and even Pat Dubar (Uniform Choice/Mind Funk) at times! The whole thing is heavy and grooves well, making the repeat listens more than bearable, but a true joy. Pretty indicative of what TMC is releasing lately, but that’s definitely a good thing, as I’ve yet to hear something from this upstart label that has disappointed. The album’s named after the time spent recording the album, if your curiosity had the better of you.

Hecate Enthroned - Kings of Chaos
1999 Blackend Records

Another year, another Hecate record, or so it seems, the band appearing to be incredibly prolific in their black metal dealings. A closer look reveals that Kings of Chaos also serves as the unveiling of almost a new band, with original vocalist Jon out of the picture. Since the ex-Cradle bassist carried with him many of the Cradle comparisons, it would seem to me that I could leave these biases at the door, but I can’t. This is one of those weird situations where I had heard the album a few times before interviewing the band, but since I’ve been listening to this many time more since then, I’ve discovered things I hadn’t earlier, which will explain any discrepancies between the review and the questions asked in the interview. I know that the band feels differently, but this still sounds just like CoF to me. I’ve always liked what I’d heard from HE, and this is no exception, but for those that had the beef before, this won’t change your mind any. The keyboards are downplayed a tad here, letting the riffs breathe more, except for that little techno ditty that pops in towards the end. As I alluded to in the interview, the drumming is fast and furious, but most notably in the double bass work, for the snare blasting is all over the place, rushed, sloppy and offtime. So, I’m left in a quandry, I like the album, and I still hold fast that the band has managed to update their sound a bit, but the more I listen, the more I can see that no real lateral movement was made away from a set style. Believe me, I almost pulled the interview out of this issue since my views had changed so much since asking the questions, but I figured that people may want to learn more about this band, and I also wanted the band to have a platform to express their views...

Indecision - Release the Cure
1999 MIA Records

For some reason it’s really not strange to me that Agnostic Front’s Roger Miret produced this, as I feel that Cause for Alarm was really one of the first really metal hardcore albums. The lines of distinction have been sufficiently blurred in the last 10 years between these once separate styles of aggressive music, but listening to a “core” band such as Indecision, I can’t help but smile at all of the metal present here. Part of this is just in the riffing, for the total anarchistic delivery brings me back to the days of my NYHC youth, weaned on bands like Bold, Youth of Today, but also those that started to delve into a heavier sound, such as the Cro-Mags, the Crumbsuckers or Leeway. There’s a fury here though, a definite sense of youth-felt injustice towards the world, something that tends to be diluted with age in many bands, a self-inflicted lethargy creeping in, allowing the mundane and safe to be somehow acceptable. Well, Indecision aren’t prey to this, just rocketing through an onslaught of classic meets futuristic riffs. I say this because while this is unmistakably 90s core, the roots of yore are tapped with abandon, upheaving a goldmine of nostalgia into the modern material. Overall, along with bands such as Turmoil, Indecision are surprisingly high on my list of must have albums, the intensity boiling from within. Rather than break down the album into what the vocals are like versus the riffs versus the drums, let’s just imagine the band as a complete unit, creating a listening experience which tries to describe the lives of 5 individuals viewing a completely fucked-up world of deceit, and choosing not to relay this information though video or the written word, but rather through sound. One of the most dedicated bands to the scene, Indecision demand your full attention.

Interzone - Cydonia
1999 Utopian Vision Music

To some, the name of Rob Urbanati is synonymous with Sacrifice, a pretty seminal thrash band that developed into something pretty substantial before their early 90s demise on (surprise!) Metal Blade Records. Why the sarcasm? Well, I juts think that Metal Blade signed a lot of really killer bands in that time (Anacrusis, Dead Horse) that just went NOWHERE then, but are completely revered now! Well, chalk Sacrifice up there as well, for their classics Forward to Termination and Apocalypse Inside rank up there with the better “thinking man’s” thrash albums. Sacrifice may be gone, but talk of his impending Interzone project has been hot, and finally, here I have it. More rockin’ than Sacrifice, Interzone sticks to the midpace, but it just brutal in it’s intensity. Urbanati has created another monster here, with plenty of hooks and turns to keep the most demanding metalhead listening. Also present is that voice, that freaky deep enough yet thrashy voice that only maybe Urbanati and a few others could muster up. Nothing too extreme, but immediately recognizable to me. Almost best described as Heavy Rock, Interzone has that “retro” feel that so many bands are going for now, but look at the resume here and you know why this breaches those waters, for this guy’s been around since the beginning of it all. Contains a very weird cover of Bjork’s Army of Me, only fits because it’s fairly different from the original!

Iron Savior - Interlude
1999 Noise Records

I hate to slag something as well put together as this, but Iron Savior just sounds like every other freakin’ power metal album from Germany. The similarities between Interlude and Gamma Ray’s Recent PowerPlant are just way too there, and unsurprisingly, Kai Hansen is here on guitar. Another thing that kinda sticks in my craw is that this is a supposed “live” album, yet the whole thing was mixed and engineered elsewhere, and the drums were also rerecorded, what gives?! I’m no idiot, I know this is prime Teutonic thrash, but Interlude sadly offers absolutely nothing for me to prompt it spinning longer than absolutely necessary. Throw in Piet Sielck’s requisite piercing vocals and I’m outta here. I hate Hammerfall, so this may be some indication to you where I stand in this whole retro-thrash movement. Accompanying video track proves what I already know, that these guys can play, yet it’s pretty boring stuff live.

Karma to Burn - Wild, Wonderful Purgatory
1999 MIA Records

The story behind KtB is an interesting one, ranging from the band getting signed through a series to crank calls to the induction of their “vocalist” only upon the threat of being dropped. Well, whatever happened to work together to create their self-titled album was truly magic, for Karma to Burn is still up there with Kyuss’ Sky Valley as one of the greatest rock albums in my collection. As much maligned as the vocals were, they worked there, J. Jarosz’s weird sing-songy voice adding a special element to tracks that truthfully were strong enough on their own instrumentally. Well, KtB is back to their initial plan, with MIA releasing their instrumental opus stateside along with the 4 song E.P. that Roadrunner had canned in the past. Will and Richie return (guitar and bass, respectively) along with new skinsman Rob to finally show the world what they have to offer musically. What’s my take? Again, there are moment where everything just clicks, but for the most part, WWP is more of a crusty rock album made by humans, where the debut was an ethereal experience created by gods. To me, this is all dependent on what the guitar is doing, because when the riffing is basic or kinda bluesy (20, 28) things are a little plain, but when the tone kicks in 29, all you want to do is lie back, relax and just be enveloped by the music. Granted, I haven’t had the time to let WWP be absorbed to the same degree as it’s predecessor, and I also had expectations for this record (always bad), I still prefer the sound that was reached on the debut, something by which I’m reminded when the last four songs burst from my speakers. An solid release from an incredible band, yet not reaching the immortality status for me.

Le’Rue Delashay - Musick in Theory and Practice
1999 Root O’ Evil Records

The master composer is at it again. Much akin to the Tartaros projects, Le’Rue Delashay creates classically based (I believe) compositions which can really serve as the backdrop to the darker side of any renaissance festival. I think it’s kind of cool though, all this stuff still reminding me of the classic horror movies from the sixties and seventies they would show on Creature Double Feature. For the most part, think of the creepiest aspects of symphonic music, then throw in some industrial mayhem at times for good measure, and you’ve got a pretty fair idea of MiTaP. It’s a pretty short album, with several blank tracks before the “hidden” bonus, which is a scrapingly done rendition of something, I don’t know what. It sounds like an engine that threw a rod barreling down I-95 with Bartok blasting from the tape deck. Another fine display of this man’s ability to add overtones to any project. Says here he’s available for hire on your next album, just make sure you fly his makeup person in as well.

Leadfoot - Take a Look
1999 The Music Cartel

Yee-haw, the south will rise again. Well, I’m being a bit optimistic, because if Leadfoot is any indication, the next wave of southern fried rock is pretty damn boring. Of primary interest to me because of ex-C.O.C. members Karl Agell and Phil Swisher, Leadfoot just didn’t deliver the goods. Things get better after a couple of tracks, but for the most part this reminds me of like Blackfoot, or those other sideline bands that had some cult appeal, but really just didn’t add anything to the scene. I do get misty eyed at a few times when Agell hits those vocal notes that are so reminiscent of his outstanding work on Blind, but that’s about it. Sum it up and what have we got? Naked chicks, a shirtless Swisher, trucking references and a thinly masked analogy about fellatio, all of which just screams white trash. Not for me, but if you wish that Skynyrd were still around, this may suit you just fiiiiine.

Liquid Tension Experiment - 2
1999 Magna Carta Records

The first Liquid Tension Experiment caused quite a stir, showing that a couple of the boys in Dream Theater were capable of interacting with different types of musicians to create music outside the realm of the very structures DT albums. A year later, the second time around shows an even greater shedding of boundaries and a greater foray into the unknown. Opening track Acid Rain is a real burner, also the liveliest moments on the disc, fot LTE2 is really a jazz nouveau album, complete with requisite trips to Latin influences, world percussion and ballad land. It’s always cool to see people break out of their shells and “experiment” a bit, but sometimes things can seem a bit contrived. Overall, I dig LTE, throwing it on when I want to hear something different, but I also grew up in a household that readily embraced albums such as this, so my tolerance may be substantially higher than the average death metal maniac. I hate to use the old “If you like Dream Theater” benchmark, but it fits here, especially since ivory tickler Jordan Rudess has now got the DTs. So, if you’re like me, and find James LaBrie the weak link in the Dream Theater world, maybe Liquid Tension is just right for you. Having bass/Chapman Stick god Tony Levin (King Crimson among numerous others) never hurts either.

Lock Up - Pleasures Pave Sewers
1999 Nuclear Blast Records

Holy shit! I guess when the best decide to throw a one-off together, you can only expect top rate material, and that’s exactly what’s delivered here. If I had to peg a couple of reasons why this kicks so much ass, of course I’d say the riffs and Nick Barker’s incredibly tight poundings, but it’s Hypocrisy’s Peter Tagtgren who once agian that he is the most important man in metal today. Relegating himself to “only” performing vocals (as well as producing this magnum opus), his performance is just incredible! Exhibiting more range than I remember on past works, he just fucking dominates everything here. Napalmer’s Jesse Pindato and Shane Embury both send out the fury in terms of manic axe work and memorable riffs, but it’s still Peter’s vocals that send things over the top. Most surprising is that I was completely not looking forward to this, another “super group” outing. Man, what an idiot I can be, Lock Up being one of the most outwardly intense albums I’ve had the pleasure of listening to this month. An easy recommendation to those that crave something akin to Hypocrisy on speed.

Moonspell - The Butterfly Effect
1999 Century Media Records

Moonspell is another one of those bands that I have a lot about, yet have never really listened to. I have Irreligious, and have played it a few times, but nothing ever really stuck out for me. So The Butterfly Effect is in my player, and what do I think? Well, it’s been played about ten times, and I still don’t have any strong feelings about it one way or the other. I will say this though, TBE is yet another release to solidify my opinion that Century Media is marketing in on the metal raver, whoever that may be out there. Along with Samael’s Eternal, this is one of those mid-paced industrial tinged metal albums which seems more suited for late night, drug induced clubs than say, a ’67 Camaro on the twilight dusted highway. It does seem that Moonspell have incorporated more bite into their “attack”, but for now, I’m not as addicted as I should be. Who knows, this could be a slow burner though, for I have the feeling that when the dust settles, I may be spinning this one to wind down after a day of grind. Things do pick up a bit on a couple tracks, and the musical performances are above perfunctory, but certain elements just shoot the whole thing to the ground for me. About as gothic as it gets baby, so if that’s your scene, tune in, drop out and become one with your eyeliner and vampirific self. I’m, uh, [cough], riiight behind you [sarcasm].

The Obsessed - Incarnate
2000 MIA Records

I can’t believe how much I’m just loving this record! A collection of rare older tracks and what I believe are B-sides, Incarnate is just a record full of solid fucking groove and some truly awesome guitarwork. It’s just amazing to think about all of the bands who are trying to do what The Obsessed have so obviously already accomplished. I can hear the seeds of Kyuss, early drug induced Monster Magnet, everything that was once holy in “stoner” rock. The sound, the fury, the emotion, add this all together to the fact that Wino lived as he wrote, in a world of depravity and gritty riffs. I can’t explain in words what I feel, or how this album reaches in and grabs my soul, but believe me when I say that this is an album waaaay worth owning.

Odyssey - S/T
1999 Utopian Vision Music

I guess you don’t need to hear for the millionth time that I was really looking forward to hearing this album, but dammit, I was! Luck befalls me again and a package from Utopian Vision came with this little nugget inside of it. It’s good for Danny Boy that I’ve just been listening to the Magna Carta back catalogue that was just sent to me, for Odyssey is much more akin to that brand of prog rock than the last 25 Cannibal Angel cover bands I’ve heard. Relinquished to only vocal, keyboard and drum duties here, the guitar tends to stick more in the power realm, dishing out some gated chunk, yet the Kansas/Yes inspired keyboard passages which lie on top really work to air things out, killing any potential for monotony. Also of note are Swano’s vocals, which never once hit the death growl which has been his bread and butter (apart from Nightingale) for the last 10 years. This “album” is more of an extended E.P., since it only clocks in at about 20 minutes, but there’s enough here to satisfy even the most “prog”-matic consumer. You can always count on something interesting from Dan, and this collaboration with two creative outside forces is a solid addition to the vaults of Swano. Odyssey ends up being not as dynamic as Moontower or as insane as Nightwork, but something which may bring prog rockers more into the metal sphere of influence.

Penance - Proving Ground
1999 Independent Release

Penance is a band that should by all accounts be a household name for any self respecting doom fan, but if not, I’ll give you a few hints. Remember the band Dream Death? Well, in the late 80s, Dream Death released an album that my friends and I agreed was way ahead of it’s time. Unfortunately, it was released on New Renaissance, a label known historically as a major rip-off, and Dream Death dissolved. Penance was the next incarnation, and right before their first album, drummer Mike Smail was asked to add his considerable talent to the Cathedral roster. Yup, that’s him behind the kit on the sludgiest of them all, Forest of Equilibrium! Ring any bells yet? Well, after a debut released on Rise Above Records, Penance went on to offer us Parallel Corners through Century Media, and if you haven’t heard that album... Fast forward a few years and a few lineup changes to Proving Ground, and we see these unstoppable doom monsters have given us another Sabbath coated slab, this time entitled Proving Ground. It’s pretty obvious to see where the Penance sound comes from (I could say BS IV and be done with it), but there’s more going on here, and let me tell you, it’s not easy to put out a convincing crust album, otherwise the 30 other bands trying to do so this month would all succeed! So what makes Proving Ground so right? Most of it is thanks to Terry Weston’s perfected guitar sound, so thick you feel this just ooze out of the speakers. Mike Smail lays down the groove here, breaking out where appropriate, but content to really lay back in the pocket most of the time, essential in a paradigm such as this where excess is neither necessary nor desired. Solid bass frequencies here, albeit a tad buried in the mix, the complete opposite of the dominating factor, namely new recruit Butch Balich’s vocal delivery, an aspect of the album which definitely had needed time for me to acclimate to. Mixed way up there, his voice is not what I would think would fit this style, sounding at times almost like Brad Divens of the defunct Souls at Zero. After time though, it all makes sense, and once I get it, I can’t imagine anyone else in here. A crime that these guys aren’t hounded by labels, Penance are back to give us another helping of that dark niche of metal left vacant when the greats such as Kyuss broke up.

Rapture - Futile
1999 Spikefarm Records

I had to listen to this album before it finally clicked, but Futile is one of the first albums I’ve heard to pay homage to the mighty Opeth! I can say pay homage and not copy here, because usually I’m the first one to scream “plagiarism!”, but it took me several listens here to get the references. Petri Eskelinen’s vocals are very, very reminiscent of Mikael Akerfedlt’s, maybe even too much so, for that was the final piece that fell into place here, but that’s the greatest single comparison. Rapture really utilize layering well here, allowing passages to breathe due to accentuation of the single notes rather than the power chords that are present lower in the mix. This is essential to me for building the overall feel of each song. I could say that there were soaring leads here, but they aren’t used as a lead guitar would use them, instead, the constant leads are an integral part of each track. So while Rapture may not be striving to reinvent the wheel, they have definitely impressed me in the songwriting department, creating 46 minutes of sad, yet hopeful, music which should hopefully serve to equally depress and inspire the gothic crowd. Much more highly recommended than other albums in this category that I’ve heard this time around, Spikefarm is rapidly becoming a reputable sub-label for this specific brand of metal.

Red Giant - Ultra-magnetic Glowing Sound
1999 MIA Records

I must say, I’ve received a lot more “stoner rock” in the last 3 months than I ever could have hoped for, but without a doubt, Red Giant is my hands down favorite of them all. The perfect combination between Monster Magnet’s Spine of God, Tab and Hawkwind (which of course, was a main reason for MM’s inception), UMGS may take quite a bit from their influences, but I just can’t seem to get these tracks from my mind! Blame most of this on my love of the echoplex and all that it represents, but when I need my fix, Red Giant just calls out to me like a siren song. OK, a bit over the top, but with all of the bands out there getting recognition and ultimately disappointing me, I was really surprised at how much this album stuck. Vocals are a bit similar to Scott Hill at times, making me remember the mighty Fu Manchu, but Red Giant manage to put their stamp on the sound. A cool, trippy psychedelic rock record, something I would throw on in the middle of a late night highway excursion.

Seven Foot Spleen - Enter Therapy
1999 MIA Records

Seven Foot Spleen may have been schooled in the same classroom as Soilent Green and Eyehategod, but where those two bands were close to the front taking notes, SFS were the troublemakers slackin’ in the back. Not to say that there isn’t some interesting material here, it’s just a bit too plodding most of the time to be enjoyable. I do have the same complaint about Eyehategod, these guys relying too much on turgid atmosphere and sandgrit vocals rather than individuality in their songs. They up the ante at times, picking up the pace and throwing things around, but those awful “Hi I’m Froggy from Our Gang” vocals are always there, never changing. I dig the work ethic here though, this album recorded over three days and smacking of a DIY attitude, hey, even the pig with shotgun genitalia is cool in a freaky RE sort of way. I guess to put it positively, Enter Therapy is better than I thought it was going to be, sounding way too sludgy for me at first, but it’s still not something I can see myself ever wanting to play again.

Sodom - Code Red
1999 Pavement Records

Sodom are another band that I would equate with Kreator in terms of my metal timeline, both bands being high school favorites of mine circa 1986. Well, Kreator certainly has “progressed” in the nineties, becoming more of a pomp affair while Sodom have rekindled fires which for me had long since died down. In all honesty, I never really got into anything by this legendary thrash band past Persecution Mania, which means that I’ve yet to be captured by what are now considered to be classic albums Agent Orange and Tapping the Vein. Well, I can’t compare to what those contain, but Code Red is one fucking scorcher of an album. German thrash at it’s finest, Code Red also carries the distinction of having the first Sodom album (that I’m familiar with) with some crushing production. Yeah, I missed the technological advancements on the other nineties albums I’m sure, but shit, it doesn’t matter anyway, since I’m just blown away by this album, period. All performances are killer, but I have to stress that the guitar and drum work is just massive here, and perfectly content to just thrash away, masquerading the technicality within as “simple” and effective song structures. Bottom line is that this is one of the tightest, most enjoyable thrash albums I’ve heard in some time from start to finish, staying in the speed zone most of the time yet knowing when to slow down and just crush things from time to time. Nice to see the guys back in my heavy rotation list after 12 years.

Stuck Mojo - Hvy1 (Live)
1999 Century Media

With the demise of the mighty (at least in terms of sales) mojo, the guys at Century Media have offered the last hurrah from this southern US band. First off, it’s a live album, but as I’ve discovered recently, live no longer means “live”, as all this stuff is sent back through the studio, making the sound quality so crisp, yet also blocking the performances into a nice little box, creating a safe atmosphere. So, the sound quality is good, so how’s the music? Well, if you’re a SM fan, then this is probably what you want, only different in that the performances seem a little stripped down for the sake of the live atmosphere. This probably won’t win over any new fans, but I can only really listen to about half of Pigwalk at a time, so I guess it’s pretty consistent. This though, is the downfall of SM for me, as the whole “rapcore” style isn’t my thing, and after a few tracks, EVERY song starts to sound the same. I hear opening riffs and think “didn’t they already play this?” To spin things positively, this metal hybrid is definitely one of my least favorite, so the fact that I can get into some of Stuck Mojo’s material has to say something for the band. Addendum - OK, I guess that Stuck Mojo have not broken up...

Substance D - Addictions
1999 Noise Records

I was a little slow to warm to this one, instantly turned off by everything about Substance D. Being the open minded reviewer that I am, I forced myself to listen to this disc about 7 times in a row, and by george, after about spin 4 things got much easier to handle! Spin is actually an appropriate word to use here, for this band is prime material for that bastard glossy rag, being of the image and appeal necessary to even be considered as material there. I guess that’s what initially turned me off, but I have to say, the music (which is the most important factor) is pretty damn heavy. Kind of like a downtuned Pantera (tell me that riff on track 4 isn’t a dead copy of Cowboys from Hell), Substance D also has a fair degree of “angst” present, most noticeably stemming from Todd’s vocal performance. It all boils down to pretty good metalcore, maybe striving to be a little more mainstream in its appeal than it needs to be. Lots of effects and experimentation here (again, most noticeable in the vocals), which may or not float your boat. I’d say, if anything, it it’s the vocals that are this album’s weak link, the guitar and drums sticking in my memory banks, leading me to pull out the disc from time to time, immediately wanting to reshelf the album when the vocals come in. They could grow on me through time, (hey, I can take Watchtower, so this should be cake) but as of now, a severely limiting factor on enjoyability.

Swordmaster - Moribund Transgoria
1999 Osmose Records

There are certainly some major inconsistencies that I notice while I’m reviewing. For instance, I didn’t really get into the last Sacramentum, yet am just loving this new Swordmaster! I only bring this up because besides the fact that both bands share the same drummer (Nicke Terror), the core sound is very similar to me. I guess that Swordmaster wins in the execution department, Moribund Transgoria having that sense of purpose that Sacramentum just never seems to attain. Very melodic in nature, yet also thrashy enough to be considered part of the NWoSWDM. It never really enters that hyperblast state where say, Naglfar excels, but is much more mobile than In Flames to me. Just a happy fucking medium for me, filling that gap between the over the top blast that I crave, and heavier than the melodic emoswede works of art that last for life. A kick ass album from start to finish, full of memorable guitar lines and aggressive drumming, what more could one ask for?

Testament - The Gathering
1999 Spitfire Records

Nothing I heard about this record could have possibly prepared me for what came exploding from my speakers. If you thought you knew what Testament was about, be prepared for a reeducation. Twelve plus years into their career, Testament have yet to reach their apex, and this record only serves to reinforce their validity in the underground scene. Eleven songs. Five of the most gifted and respected musicians. Absolutely fierce music. On this record, their 13th overall (counting EPs and live recordings), Testament have gathered (pun intended) not only ex-everybody guitarist James Murphy to add his classically inspired leads (although, their not as prevalent as on “Low”), but also fretless bass god Steve DiGiorgio. But what got me all hot under the collar was the addition of ex-Slayer drummer Dave Lombardo to the fold. I hold fast the saying that a band is only as good as their drummer, and while original Drummer Louie Clemente was competent in his own right, what every Testament record needed was a good kick in the ass, drum wise. And boy, did they get it. From the opening chords of ‘D.N.R’ to the stomp to the near death metal “legions of the Dead”, to the double bass ferocity of album closer ‘Fall of Sipledome’, its Lombardo that drives this record, almost as if he were daring the other four members to keep up with him. I dare say, this is his best drumming since “Reign in Blood”. Peterson’s riffs have never sounded so vibrant, and Chuck has never sounded as fierce as he does here. Thrash, dead? I think not. If you think you’ve heard brutal, and if you wrote off this band along time ago, have a seat, your gonna get hurt. An essential release, and one of my top picks for 1999. Hell, one of my top picks for metal in general! Buy it. Steal it. Just get it. - Review by John H.

V/A - Rise 13
1999 Rise Above Records

You like stoner rock? Then this CD is either mandatory or completely redundant for your collection. Why the two extremes? Well, if you already own most of the material from the Rise Above catalog, then you won’t find anything new here, but, if you’re like me, and haven’t yet purchased those expensive imports, then this disc is the answer to your prayers. I know that The Music Cartel has re-released a lot of these albums stateside, but with a lot of these bands being “risky” to me (as I’m not a “to die for” stoner rock fan), this comp gave me some idea as to what I could expect from the roster. Immediate standouts are Unida, which is ex-Kyuss’ John Garcia’s new band, and the rocking Orange Goblin track Quincy the Pig Boy. Some other slow burners are Hangnail, Solarized and Electric Wizard, with sHeavy and Goatsnake disappointing slightly. This may just be due to the track selected, but after the immense buildup on Goatsnake, I just didn’t see what the big deal was. I would have liked maybe a little more info in the liner notes, but hey, it’s a bargain sampler, and judging from this (and from checking out the website), Rise Above is for the stoner aficionado, chock full of great bands to blow our heard earned cash on.

Vital Remains - Dawn of the Apocalypse
1999 Osmose Records

This album fuckin rules, and I’ll try to explain why. Yeah, it’s unholy black metal, played incredibly fast, with true demonic overtones. But it’s also American, which means that it takes the best elements of what the states had to offer in terms of brutal death grind. Falling prey to the old “is it black metal, is it death metal” syndrome, I get confused, then remember that I don’t have to be one of the legions of automatons who has to classify everything. Well, then it’s just kick ass extreme shit that’ll put hair on your chest and bust a goat wide open at 50 paces. After the obligatory “mood heightening” intro, things just kick into gear at 2000 BPM, produced to sound inhumanly fast (how do bands just keep getting faster?!), yet backpedaling at the perfect time to just decimate everything with mid-level (but what used to be thrashy) annihilation. Really nice layout really fleshes out the overall vibe of evil here. New vocalist Thorn also fits the tone perfectly, his deathly growls meshing with the background shrieks without being another “queen of the harpies” festival. Musically, there’s tons going on, most songs being past the 8 minute mark and not as repetitive as is usually the case with longer tracks. Still, the riff is the key, and here, while the guitar is low in the mix at times, the riffs are worthy, way worthy. Dawn of the Apocalypse is right, Vital Remains raising the bar for the year 2000 through an hour of ultimate darkness through sound.

Willow Wisp - Delusion of Grandeur
1999 Full Moon Productions

Very strange album here, Hollywood’s Willow Wisp at times emulating black metal crossed with Marilyn Manson, all marked by strange musical interludes and a keen sense of gothic vampirism. Sometimes it’s hard to keep up with the album’s frequent fluctuations in tempo between tracks, but the complete schock rock imagery of the whole thing is kinda catchy. What I can’t figure out is whether or not this is to be taken seriously, the band seeming to have a sense of humor about the whole thing, kinda like a Mr. Bungle take on black metal. Not an album to play on a sunny day, Willow Wisp impress me by not limiting themselves to one particular sound while pushing forth their definite ideals through sound. Club music for the devil.

Zao - Liberate te ex Inferis
1999 Solid State Records

Steve Joh from Noise Records turned me on to this, and for that, I can only say thanks! Zao (besides being one of the few cool bands that starts with a ‘Z’) also have the distinction of being one of the few Christian Metal bands (check out local boys Theocracy A.D.) on the circuit today. Rather than blatantly try and push ideas as most religious bands so (whether they be satanic, pagan, Christian, etc.), Zao have instead wrapped the story of Dante’s Inferno deep in metaphor, leaving it to the listener to decipher this intricate conceptual piece. Impressive lyrically, but that’s nothing compared to the craftsmanship apparent in the musical side of things. Dynamically superior, LteI ranges from acoustic interlude lows to unabashed heaviness in minutes, all without falling prey to the killer clone disease which many bands seem susceptible. The whole album plays like a caged animal throughout its duration, interesting throughout for me. I think that some of the appeal is the almost Voivodian use of guitar work, layer upon layer of strange chords and twisting notes wrapped together over a primordial display of percussive bashings. All this under some of the most twisted vocals I’ve heard in a metal core record recently, words obviously ripped from the bowels of hell, the warning apparently given from one who has experienced that from we which we should be saved. My interest piqued, Zao have pushed themselves to create something which makes this listener very, very happy.