Allan - Demo 2.0
2000 Fartvirus Productions

Fucking killer, man... It definitely took me a few spins to get into this, but let me tell you, there is some serious angst flying around these here songs. With a penchant for bizarre polyrhythms, Allan (what a name!) come across to me as some weird hybrid of all that is hardcore mixed with the best of Voivod, Die Kreuzen and some old school industrial mayhem. I do hear some Deftones stylings at times, but those Cali boys have nothing on what these Pittsburgh locals are issuing forth. The best thing for me here is the band's knack for commanding through odd-timings while grasping what the concept of dynamics is all about. Better than half the records of this particular flavor of metal than I receive, I expect and demand great things from this band in the not too distant future... For their full length, send $10 to: Bobby Spell, 1465 Kelton Ave. Pittsburgh, PA 15216.

Altar - In the Name of the Father
2000 Pavement Records

For some reason I had a really bad preconception of what Altar was going to sound like. Always seeing their previous albums around, yet never hearing anything by them, In the Name of the Father was a serious kick in the ass, and like nothing that I could have imagined. At the disadvantage that I can't compare this to their previous works, I can at least say that this is some serisouly heavy death metal. The guitars are just crushing, and the onslaught tempos range from above mid to all out war for the entire 50 minute play time. Not sure why, but this at times reminds me of Gorefest (might be the vocals) time 2, the whoel thing having that awesome vibe, but just cranked in speed without the loss of heaviness. I can see where this sort of beast was born from early Stockholm-era sounds, but there's that unmistakable Florida imprint in there as well. All I can say is that with albums like this literally falling into my lap, I am one happy metalhead, Altar being the much needed fuel to churn this engine forth, and a hearty horns up from me on this one. Bonus track The Trooper is the icing on the cake for this album which manages to fill what was an unrecognizable void for me as of late, listening-wise.

Atrox - Contentum
2000 Season of Mist Records

Not quite the musical abomination that I thought this would be, Atrox nonetheless have managed to create another bastard child of opera and metal. The question would be, why? Why in the world would one want to meld these two styles? I guess because a classically trained singer does enhance a musical situation for some ( I'm thinking Nightwish and The Gathering here), but hearing these vibrato cat yelps after every verse just ruins any chance of musical appreciation for me. The first song sucks, and I say this without compassion or remorse, even though I think that the music could have stood a chance on it's own. I swear, the need that some throatmasters feel to add something to every single line annoys the hell out of me, it begin the vocal equivalent of guitar noodling, just getting in the way most of the time. Yes, you can sing, yeah, you can shatter glass, but do we constantly need to hear it? I burst out laughing on many occasions, this being way too funny. What's even funnier is that I don't mind when Arcturus venture down these paths, but here things tend to sound too much like traditional Chinese songs, which may give you a hint as to the sounds eminating from my speakers now. Added bonus, the disc is over an hour long, so if this is your thing, or you can tune out these annoying, uh, vocals, and pick up the rather adventurous (but good!) musical landscapes underneath, please, be my guest. In fact, you can have my copy.

Avulsed - Stabwound Orgasm
1999 Repulse Records

There are a couple of sure fire signs that Avulsed are a gore band just by the above titles, right? For one, Dave Rotten named his label Repulse Records, there's one hint. Another one this time around? Stabwound Orgasm... You can't really go too far out of the gore zone with a title like Stabwound Orgasm, "Hey, is that Stabwound Orgasm? Well then turn... it...up!" But leave it to Avulsed to go balls out with a title such as this (unfortunately, Gorgasm came out with a similar title around the same time), but then really spice up a stagnated paradigm with some just totally killer "melodic but deathly" guitar work. I'm serious, there were times when I had to pull out the disc to make sure I was listening to Avulsed, for these guys still have that whole Cannibal/Immolation thing going, but there are moments of almost Tales from the Thousand Lakes era Amorphis thrown about (Compulsive Hater comes to mind). Rotten's vocals are still in the Floridian Death vein, what some would dub "cookie monster vocals", but because there is more experimentation in the music, this dichotomy is interesting. For me, this all becomes the best of both worlds, for I get the heaviness of my beloved death metal, but also those melodious leads that stay in the memory banks. Be sure to stick around for the "hidden" 13th track which lands smack in some otherworldly goth zone where keyboards rule the world. Twisted stuff, but I wouldn't have it any other way, and an admirable body of work for these guys after their daring Cybergore project.

Borknagar - Quintessence
2000 Century Media Records

When a band names their latest album "Quintessence", you can be sure that they're pretty confident in their abilities, and after 1998's stunning Archaic Course, Borknagar no longer have anything to prove. To us, anyway, as the band has gone through yet another roster change, with a new keysmith and drummer in the ranks, with the latter maybe having some big shoes to fill after the stopgap entry of Nick Barker on tour. And this is where I digress on the percussive aspects of the record, noticing some intricacies upon the first few spins, but only really hearing them after discovering the out of control Spiral Architect CD. This guy is an amazing drummer, not in terms of fills per second, but in the simple fact that he plays exactly what is needed here. After hearing his previous work, I know what this guy is capable of, and the restraint used here saves the day for me, because this is just the foundation for that soon to be classic Borknagar sound. Brun has said that he sees these compositions in terms of colors, and while I may obstain from the magic mushrooms, I can see the idea behind this. Equating the colors with layers of sound, you can either mix everything in small doses to create something from the impressionist era, or pollute everything into a nice muddy brown design. Again, restraint appears to be a factor, for there is tons going on here, but all so appropriate, it's obvious that the goal was known and agreed upon before the first riffs were penned. Truth be told, I was a bit disappointed upon the first few listens, for there's so much to grasp, and some of the more grandious elements from The Archaic Course are absent. As time progressed though, this is rapidly becoming THE Borknagar release for me, the exchange of Woodhouse's pristine yet somewhat light production for that mammoth Abyssal sound increasinging the heaviness factor in the relevent places. Excellent performances from some of the more known names in the Scandanavian scene, this may indeed be the quintessential document for all parties concerned, and a very logical step onwards from the band's outstanding previous collected works.

Breach - Venom
2000 Relapse Records

A Swedish band that chooses the aural landscapes of bands such as Neurosis and Sonic Youth over the bands of Gothenburg? Hard to believe, but then again, northern Sweden has always seemed to produce bands which were a little different, Meshuggah being a prime example there. It must be pretty cold and dreary up where these boys live, for Venom is exactly that, a poisonous, percussive journey of nothing but pain and despair. The minimalist artwork on the cover really manages to represent what the band is trying to accomplish (to me, at least), forcing all instruments to become one malignant entity, rather than attempting to showcase a particular performance. Not as deadly as their Bay Area idols, Breach nonetheless have watched and noticed, delivering an album which may not rival something as awesome as say, Through Silver in Blood, but somes damn close, adding more aggression to the cacophony. To clarify the Sonic Youth reference, Lee and the guys (and girl), are the perennial masters of the discordant anti-riff, and hearing the interplay of strings here brings back definite feelings which remind me of albums such as Evol, the epitome of an uncomfortable yet unforgettable soundscape. For all that I could compare it to, Venom remains for now a welcome listen, not only for the fact that they are not choosing to replay the obvious, but because Breach have created a vision of terror using layers of guitar instead of blastbeats and gurgles. Music to create and destroy by.

Carnival in Coal - French Cancan
2000 Season of Mist Records

What a truly strange record. Evidently this release follows another highly experimental opus, one that I've yet to hear, but if French Cancan is any indicaition of this band's predeliction for the weird, it has to be as strange as they claim it is. Consisting of 9 tracks, 6 of them apparently covers, FC spans the gamut from the incessantly heavy to the truly bizarre, "covering" songs by dissection and rebuilding them from the ground up, usually in some Frankensteinian fashion, making them almost indistinguishable from the original versions. Check out the metallized version of Baker Street (a childhood favorite of mine, this updated version much better than that note for note rendition recently played on FM), or the Faith No More/Mr Bungly Casio reggae version of Fucking Hostile (truly hilarious!). Like I said, I've never even heard of the band before, but if Out of Misery is par for the course, then Carnival in Coal can also get down and dirty when the need calls for it, hence why they can pull off a halfway decent version of Morbid Angel's Fall from Grace. To me, this is a true novelty record, not something that I would ever seek out (I really don't need to own every version of Michael Sembello's Maniac), but fun to listen to. I can see myself sitting someone down and saying "You've GOT to hear this band cover Mama!". The cover art's pretty disturbing as well, all signs pointing to an interesting group of (or) individual(s), making some truly fucked up noise.

Cephalic Carnage - Exploiting Dysfunction
2000 Relapse Records

Freeeaky... Yup, that's the best way to describe Cephalic Carnage, or I guess I could throw out "Mr. Bungle on crack!". Not quite sure how they managed to pull this cacophony together, but I'm sure that Keith Falgout's production was a large "glue factor" here. Seriously though, with as much as is going on here things are at every moment threatening to careen off in every direction at warp nine (hence the Mr. Bungle on crack reference). Anyone who prefers a solid headbanging groove is gonna run for the exit when the "Rocky Mountain Hydro Grind" comes to town, ladies and gentlemen. The bio boasts that this particular album contains the fastest blast beats ever recorded. Uh, I don't think so, but they damn well may just be the most chaotic blasts I've heard so far. Riffs start, then abrunptly end. A rhythm grows, then splits off on some wild tangent, only to return to the original paradigm at quadruple speed, all the while vocalist Lenzig can be heard barfing up a long for over an hour straight. Don't get me wrong though, I think the whole thing is great, experimentation at it's best, and I can take doses of this jazz infused mayhem at a time, but to ingest this whole puppy at once takes some nerves of steel, or some serious recreational aids. Overall, not something I'll throw on first thing in the morning, or maybe I will as I fight my way through the hordes of children on their way to school. Lookout suckers!

Chasm, The - Procession to the Infraworld
2000 Dwell Records

The Chasm... A band that I had heard plenty about, but had yet to discover... Having read plenty about this band, and knowing Daniel Corchado from his stellar work on Incantation's Diabolical Conquest, I really expected Procession to be nothing but balls out North American style death metal, and boy was I in for a shock. While I can get into the brutal NY/Fla sound plenty, it's the lack of melody (or memorable factors) that limit the amount of listens through time. Containing more depth in their opening intro than most copycat death metal bands can amass during their entire albums, The Chasm has, for me, created a truly remarkable album. The process of reviewing as of late has become pretty easy, with most bands choosing a particular style (or band) to model themselves after, sometimes delivering the goods, but mostly just rehashing the previous works of other groups, not really adding anything of value besides a 40 minute diversion. So, while you may hear snatches of influence here and there (Slayer, Kreator, Pink Floyd!), it's the logical culmination of all the music from the past 20 years that has formed Procession, this being a wall of sound with each brick discernible, yet necessary to the whole. Brutal and melodic, these are the words being thrown around to describe this, and I don't care to dispute, but there's something more, something indescribable that you can only sense or feel when listening to something such as this. Eucharist had it, Dissection had it, just an overall idea that the pain and rage expressed here is real, not something on loan for the recording. It's an element that can't be produced or manufactured, an element which sets one album apart from another, and here The Chasm have it. A true surprise and an excellent record.

Coffin Texts - Gods of Death, Creation and Afterlife
2000 Dwell Records

[Booming Charlton Heston voice] And on the 1st day, he begat Morbid Angel, and from that seed that was planted, Nile was born, and from those branches, Coffin Texts exist. Apart from my opening monologue, Coffin Texts have some definite promise, the album is heavy as hell, and the songs pack a wallop, but (and I hate to say this) the band lies a little too close to their influences. The only other problem is that their cover of Slayer's Crypts of Eternity is TOO fucking good. It's so killer, it pushes the other material down a bit, partially because this track is mastered louder than the previous tracks. It's actually the first track I want to hear when throwing this in, admirable, but probably not what the band has in mind for the long run. Keep your eyes on these guys, for I think they'll go somewhere, and I'm not saying that this first album was just a stepping stone, for it's not, but I just feel that their best material is yet to come.

Corporation 187 - Subliminal Fear
2000 Wicked World Records

While the world waits for the next opus from The Haunted, the boys in Corporation 187 have been so kind as to produce a more than worthy feel good thrash album to hold us over. I make the reference not only due to both bands having that AtG Slaughter-era feel, but due to the common Slayer influence. Much like another WW release, last year's BloTorch, things can get a bit repititious, but overall, one of the better thrash albums to cross this desk for issue 5, a joy to listen to and quite painless to write about. I might not carry any deep emotional feelings away from this, but much like a really good action or horror movie, the ride is intense and visceral during the experience, which is where the fun is. A real safe bet, for nothing new dashing around, and not quite as godly as say, Carnal Forge's Who's Gonna Burn, but close, really close.

Crown, The - Deathrace King
2000 Metal Blade Records

Not long after making mucho waves with their Hell is Here opus, The Crown are back with another supercharged masterpiece of metal. Laud, raucous, out of control and basically addicting as a motherf&*cker, Deathrace King exemplifies the core sound that The Crown has created, a mixture of metal, old punk and feel good classic rock. Not much more has been added since last time, although maybe things are a little more kickass and less experimental than before. A sweet ass Studio Fredman recording job doesn't hurt anything here, allowing the 240 bpm 32nd notes eminating from the limbs of Janne (human drum machine) Saarenpaa to really shine through here. In all my description though, I have to mention the fact that this album just feels so instantly familiar, ready to be blasted as you scream around in your car for the duration of the summer. I could go through and pick apart each song, but what's the point? The album kills, try something new and pick up The Crown, one million fans can't be wrong!

Dark Tranquillity - Haven
2000 Century Media Records

I've had some time now to come to terms with my disappointment with last year's less than heavy Projector, preparing me somewhat for Haven. What this really means is that, to me, anything heavier than Projector will suffice, for I know know that the days of Skydancer or The Gallery are loooong gone. Here's also where I will draw a timeline comparison to In Flames, for both bands have progressed at roughly the same pace, with both bands also pushing out releases for this year which are more comfortable in their changes, and a notch heavier than their 1999 albums. Which does not mean that I am now a converted fan of post Mind's I DT, I'm not, but Haven is definitely more of a return to form for these guys, one that is appreciated by me. Wanna know the weirdest thing though? I prefer Mikael Stanne's earlier, more abrasive vocal work (in IF and DT) than what we've been hearing on the last two albums, and these Depeche Mode aural stylings (again, see In Flames) leave me cold. In fact, there's a whole "electronica" thing going on here, and call me one of the older fans now alienated by a band's change in direction, because I don't get into it here, almost annoyed at times by the cybernetic rhythms. The most frustrating thing here is that there are some really serious moments of Dark Tranquillity here, but these flashes are easily overshadowed by the newfound love of all that is digital. For all the negative I find though, the band can still create (maybe even more so now) an incredible sense of atmosphere, and while I prefer the earlier material for all of its intracacies, one could argue that Dark Tranquillity now makes better songs. At the end of the day (or review), I'm relaly riding the fence on this one, finding more to love than last time, but still frustrated by the electronic intervention.

Deceased - Supernatural Addiction
2000 Relapse Records

They've done it again. After stunning the world with 1997's Fearless Undead Machines, these metal die-hards are set to conquer once more. Being the brilliant opus that FUM was, it had to be difficult to even start and create something which would be set to follow in it's footsteps. Wisely, the band has chosen to move slightly away from the epic arena that Fearless dwelt in, yet maintaining the same degree of superiority which catapulted their last album into the halls of metal history. One surprise last time around was just the progression that the band underwent in the guitar/songwriting department. Granted, the chance isn't as dramatic here, but there is noticable growth in all departments, with King still having one of my favorite metal voices, rough, but completely dechipherable. His drumming has even gotten tighter, still holding on to the mania that is always present, yet a little more focused and direct. I give credit to the rhythm section here out of respect, for while the job is admirable, it's the guitars that rule the world here. Twin axework, killer solos and varying dynamics make for some of the best and most memorable songs (again!) for me. Honestly, it's hard to review anything else at this point, because this is all I want to hear. Voivod are still thanked profusely, and there are some nods in the spacier sections, but these guys are masters of their own thrash domain, alone in the universe, it almost seems. The bottom line is that this album is almost immediately accessible, with the subtle nuances becoming apparent after repeated listens and while now on the same level for me as Fearless Undead..., Supernatural Addictions may even boast more hooks and "YES!" moments than it's predecessor. Lyrically, not the tome of yesterday, but instead based on classic horror/ghost stories from various referenced stories. The whole thing is completely kick ass, and a total joy to review. The first band to ever sign to Relapse Records, and certainly one of the best that fine label has to offer.

Destruction - All Hell Breaks Loose
2000 Nuclear Blast Records

The reunion that everyone was waiting for, and I'm happy to say that Destruction have wisely not followed the path that other Teutonic thrash legends have taken of late, and have proceded to make one killer thrash album. Not that Sodom's Code Red wasn't a throwback to the good old days in its own right, but All Hell Breaks Loose is so tight, so heavy that it blows most everything away. What's so cool about this is not only the super job that mega-fan Peter Tagtgren gave this thing, but also the obvious veteran ability that this band has in terms of writing ability. There are some moments that show that this album may have been put together a tad quickly, mainly in the lyric department, or in a track or two being a re-do or not as strongly put together, but overall, this thing just redlines along from start to finish, one headbanging 3/4 of an hour of fist banging mania. Schmier's vocals, which were oddly the main reason that I never held Destruction with the same reverance as Sodom or Kreator back in '86, are in excellent form here, and much to my surprise, one of the true highlights of the album. What does that tell me? Not much besides the fact that I need to dig out my ancient copy of Eternal Devestaton and try to figure out what the hell I was thinking back then. In any regard, in case you were wondering if the hype was justified on this one, I'm here to tell you that it is, Destruction making THE thrash album for the summer, just in time for a festival appearances, now ain't that a coinky dink! Extra "secret" version of Whiplash from Kill 'Em All sneaks in on track 13, which is an odd choice for a cover song in my opinion (but like you fucking care at this point!).

Domine - Dragonlord
2000 Metal Blade

Records Metal Blade has this nasty habit of going global and distributing some of the cheesiest metal in existence from around the world. Granted, this open arms policy has produced some great releases, but I could really, really do without hearing another band like Domine. OK, here's the scoop, these guys are from Italy, and they play "True Metal", rough translation? Upbeat metal riffs with lots of double bass and some operatic-variety vocals. Honestly, I can't even tell you if this is a quality release, my only reaction being "Noooooooo!" The cover's got this painting of a guy riding a dragon with his sword held high. Need I say more? The band is also highly influenced by Michael Moorcock, but if that's the case, then why can't they sound more like Hawkwind instead of Manowar?! An hour of power, metal that is, complete with an epic 13 minute suite of metal split into seven parts. A noble effort with some anthemic riffs, but do I really have to say again how this brand of vocals leaves me cold? So take with a grain of salt, and enjoy the Maideny riffs, but I'm going to listen to something else.

Fleshcrawl - As Blood Rains...
2000 Metal Blade Records

With a sound that could strip varnish from 50 paces, Fleshcrawl have made one hell of a death metal record. Only by checking the liner notes was I informed that this was recorded at Studio Fredman, As Blood Rains... being the epitome of the Sunlight Sound of the early 1990s. And much as those early Stockholm albums did rock, this kicks major ass. Akin to Dismember's Like an Ever Flowing Stream and their return to form Death Metal, Fleshcrawl present a no frills, no holds barred tour de force of metal. Mixing my metal metaphors? You betcha, my mind all confused and reeling from the full frontal attack. Boy it's nice to hear an album like this after 6 power metal discs, my adrenaline pumping my fists in to the air. If you miss old Entombed, buy this.

Fury of Five - This Time It's Personal
2000 Victory Records

Evidently the Swan Song for this legendary N.J. band, FoF deliver the goods in the shape of a viscous metalcore attack. Known for their violence both off and on the stage, you can pretty much feel the pain here, something missing in many of their "contemporaries" past releases. Whirlwind drumming stays true to the school of hardcore yet throws in some good double bass work when necessary. Really good use of guitar harmonics also varies the crunching brutality, but where Fury of Five make their mark is in the use of vocal melodies. Call it the sensitive side of the street, for make no mistake, James may show his softer side, if only to lure you closer to the aluminum bat he's got behind his back. Solid sense of groove here, thanks to the group dynamics that always propel forward as one dangerous wall of sound. And for all that is expressed here on CD, you just know that this levels city blocks live. In the end though, much as it tore the Cro-Mags apart, Fury of Five's own energy seems to have dissolved the band, a loss for all us that had experienced the intensity here.

Himinbjorg - In the Raven's Shadow
2000 Red Stream Records

Well, here a sure fire case of what you see is what you get, or, Yes Dorothy, you can judge a book by it's cover. In the Raven's Shadow (at least the promo copy) comes equipped in demon black, with an unreadable logo and a nice pagan emblem smack in the middle. This all screams to me "old-school black metal (man, I love saying that), and that's sure what I would call it, even if it is from France. France, you say? Yeah, which is enough to up the diss factor for many "true blooded" black metallers, but ItRS succedds exactly where it needs to, upping the ante on Stormblast-era Dimmu Borgir, maybe forsaking a bit of the overall atmosphere for speed, but still providing a convincing display of darkness. Vocally we've got the clean/dirty combo that's become the standard paradigm, which you know, always alternates between an evil muppet and some bard all tweaked out on mead singing at the top of his lungs in the forest. You get the picture. The guitar tone is where ItRS really excels for me, just having this constant layer of buzz (black metal fuzz?) underneath everything. Kind of like a droning swarm of bees, I guess. Requisite double bass/blasting madness carries the whole thing along, and I must say that no matter where they're from, Himinbjorg have created a Norweigen album that would make mother proud. Perfect for those rainy Sunday wionter twilight hours, when all seems lost, and life is full of despair.

Impaled - The Dead Shall Remain Dead
2000 Necropolis Records

First off, Impaled not only worship at the many altars of Carcass, they come dangerously close to existing as a Carcass tribute band. You know what? I don't care, because as much as I love to rip this to shreds, I can't, because the album fucking rules. Impaled have studied the texts, performed the autopsy and digested the results, for The Dead Shall Remain Dead out performs anything that Carcass has done. Now, granted, this is only possible due to the past existence of said entity, and standing on the shoulders of giants is no mean feat in and of itself, but to stand and deliver a living monstrosity such as this? I think this year's Steer Award will definitely be a landslide victory. Faster than greased lightning, Impaled have a youthful energy combined with a twisted imaginations which can only result in total sickness expressed through speedy mathematical riffs and bone-crushing drumming. The Steer/Walker dual vocal assault is in place here, but what I appreciate is the total Sunlight Sound gutted guitar tone that the band went for, grafting a two-headed Richardson/Skogsberg beast capable of Massive Killing Capacity. Okay, enough mixed metaphors, the bottom line is, if you miss the glory days of depravity, Impaled deliver the goods, a tad short on ingenity, but presented in such perfection that it's easy to overlook the small trespasses although the intro almost puts this way in the plagarists zone.

In Extremo - Verehrt und Angespien
2000 Metal Blade

Sure, everybody has their own opinion, but I think that many people will agree with me that having a band like In Extremo release as many albums as say, the mighty Anacrusis, something is not right with the world. Yeah, both bands were pioneers of a modern sound, but I'd much rather hear Kenn Nardi's cathartic songs of pure human emotion than 3 Dudelsacks playing in unison. There are a few sections scattered within that hint to me as to why these guys are even allowed to exist, but really, the whole concept just pisses me off. FOLK metal? OK, before I belie my true opinions, I'll stop. Evidently these guys are just great live, but supposedly, so is Stomp, and I refuse to see that percussive folly also. Not as repellent as the last offering, but still way too much Ren Fair stuff going on. Out there, but In Extremo? I don't think so. Also, is it me, or do all of these guys seem to have this weird half smile? Must be the wind blowing up those German kilts. As I track these nutty Berliners more and more, it seems as though the world is finally ready to embrace a band of this persuasion. Hey, the world loved Menudo also, and don't forget Musical Youth!

In Flames - Clayman
2000 Nuclear Blast Records

Time does pass by quickly, for while it may seem as though Colony just appeared at my doorstep, it's been over a year, time enough for these ever prolific Swedes to have prepared and released another stunning album. It really is hard to just sit down and review an In Flames album, for the band exists on another plane apart from their contemporaries in my view. With The Jester Race still one of my favorite records of all time, each successive IF album is (unfairly) subjected to that snapshot of the band's career, with Whoracle and Colony not able to capture the emotion and spirit that TJR held. Linked in many ways to fellow countrymen Dark Tranquillity, In Flames have gone through some core personnel changes and core sound changes in the past few years. Whoracle slowed things down and split ideas into separate songs (where The Jester Race flowed as one complete boy of work to me), and Colony found the band experimenting more with a somewhat "alternative" flavor. Not my favorite direction, and a choice of covering Depeche Mode some albums back gave a slight hint as to the current influences. But as I've always felt, the best bands refuse to stagnate, and to hear TJR book 4 at this point would have not only been unwelcome, but would have effectively diluted the power of that album as well. And all this banter leads to one truth, that being that I'm finally ready to accept Clayman. Had this album come out at another time, believe me, you would feel my disappointment, but now, in the summer of 2000, I can accept the Depeche Mode-isms, the higher register vocals, the almost more accessible sounds of a once genre defining band. The move of Bjorn Gelotte from drums to lead guitar really didn't have as profound of an effect on Colony as it does here, Daniel Svensson able to really stretch out his performances, shining through on several spots on the album. The infamous twin axe attack is still here, and as the album begins, my first thoughts are of the overall heaviness in tone here. No, the angst and darkness of the first two albums has long since vanished, but I've come to terms with the new In Flames, and while I may not embrace the new sound with open arms (the track Only for the Weak is aptly named), there's a certain feeling of something akin to levity that I find uplifting, all coming together to make Clayman an overall more enjoyable release for me than last year's Colony.

Incantation - The Infernal Storm
2000 Relapse Records

Try calling this one "The Perfect Storm" instead, for Incantation have once again thrown down the gauntlet for others to challenge. Evil riffs, gutteral vocals from the bowels of hell, and another explosive performance by the percussive chameleon Dave Culross. But what really elevates this work to classic level is the just brutally heavy way that this album is produced, guitar tone having this drone-like buzz of unstoppable metal, yet still allowing those Incantation signature dissident notes to stand out. The whole idea of this is pretty amazing really, for everyone felt that Diabolical Conquest was THE album for Incantation, and I'm diggin this one ten times more. Similar in scope to works of Immolation, both bands having a firm grasp on the devilish side of American Death Metal. I'm also impressed with the bass work here, as several times little runs captured my attention, something which is not (apart from Steve DiGeorgio) readily apparent in this god-forsaken genre. Totally fucking extreme and totally fucking kick ass, The Infernal Storm continues the ongoing legacy that Incantation are building as one of the finest death metal bands of our time.

Iron Fire - Thunderstorm
2000 Noise Records

Supposedly, this was the band that won on the Noise "sign the next band!" website competition. If this is the case, then I can only sigh in discontent as I receive another young impressionable band's take on a sound that they were barely alive to experience the first time around. The cover is basically a replica of Hammerfall's Glory to the Brave, and I think that just about says it all. I feel bad just totally slamming this power metal fest (dripping with guitar melodies, double bass drums and metal sirens aplenty), but I get the feeling that these guys are emulating the emulators, not the originators, if you know what I mean, which is even more ridiculous. There is an interesting breakdown in "Rise of the Rainbow", but it's short-lived, and then we're back to basics, and man, I am really starting to hate power metal. This must have been what it was like to be a zine editor during the Cannibal Corpse Clone days. Enough already, stop the madness! If you have to have every Helloween spinoff, then buy this, otherwise, just get one of the other 6,000 albums out there and you'll be just fine, trust me. Better than Sacred Steel, but not by much.

Jag Panzer - Thane to the Throne
2000 Century Media Records

I can really see why these guys were and still are considered metal legends. A concept album based on the story of Macbeth, TttT showcases some killer axework and the siren vocals of Harry "The Tyrant" Conklin overtop what is truly a "power metal" base. By now you know the score with Jag Panzer, they always deliver top notch stuff, and here is no exception, with over an hour of melodic riffs and plenty of galloping crunch to please fans of the genre. As I sit here attempting to dissect and describe, one thing that really captures my attention is the amount of complexity in every track, and how all of this technicality weaves together to create real songs, not layers of wank. Pat Jim Morris on the back for delivering another stellar power metal production, but the real credit must go to the band, for it's obvious that this record was incredibly thought out and practiced to perfection, for there's no room for error. A very epic album, and one that redeems the hundreds of other cheeseball power metal albums that have been released since the Hammerfall rennaisance of 1997.

Kamelot - The Fourth Legacy
2000 Noise Records

The funny thing about power metal, I know it was supposed to be really big way back when, and how this resurgence harkens to the "true roots of metal", but I don't remember it that way. Maybe it was all over by '86, but the true roots for me include more of a thrash/death element, like Celtic Frost, Voivod, Death, Sepultura and Bathory, you know what I mean? Even those classifications are wrong but I know for a FACT that I wouldn't listen to anything with high pitched "power vocals" for a long time. So I don't remember this plethora of power metal like everyone else, I suppose, outside of say, Helloween and Running Wild. So this is why I'm completely perplexed by this sudden wave of "real metal". Well, if there were there this many bands such as this floating around back then (and I'm sure there were), then I'm glad I was in the dark back then as opposed to today when every release passes through my ear canals. A bit unfair to Kamelot that I begin their review with this diatribe, but the amount of material being released is just ridiculous to me. Above and beyond my prejudices, The Fourth Legacy is actually a good album, standing out of the pack as Crimson Glory's Transendence did back in that bygone era. Still very cheesy and epically contrived, TFL does manage to pack a punch in its delivery, weaving the tales of mystery and imagination with the choral voicings of Khan (Bloodsucker!), a sane voice of reason in this realm of vocal egos and over the top performances. His work does remind me of Geoff Tate on occasion, but for the most part, he holds his own, accenting the music without taking over the entire show. Excellent musicianship also highlights this opus, with the drumming really standing out for me with subtle nuances that hint to a huge degree of underplaying. Nice to hear, for it's this mastery and confidence which pushes The Fourth Legacy above and beyond. I STILL won't play it much, still prefering the darker, more brutal sounds, but I can at least appreciate this more in my twilight years, and for what it wants to achieve, this album is a success. One note, a red flag was raised upon seeing the "studio" drumming employed, but evidently they were used because their drummer got especially sick during the recording phase.

Kataklysm - The Prophecy
2000 Nuclear Blast Records

I think that I'm the only one left who hasn't fell under the spell of Kataklysm's take on "the Northern Hyperblast". Fellow Canadian's Cryptopsy have mastered the art of the speedbeat, but to me albums such as The Temple of Knowledge fall flat to my ears. Kataklysm's last offering did nothing to win me over, yet The Prophecy looks to be the beginning of a wonderful relationship between me and the hyper-rhythms of this monstrous band. Opening impressions were grim, as the promo packaging paints a really lackluster picture, the cover artwork being just hideous to my eyes. Lead off track 1999:6661:2000 is also my least favorite on the album, this all leading up to a totally dreadful listen. But have patience on this one, because bfore you know it, the albums takes off, sloughing the mediocrity and morphing into a total powerhouse of fused chaos, vaguely resembling the work of human beings. I guarantee that you'll be reading (or have read) a slew of albums that claim that the "hyperblast is back", and I agree, but also will be quick to point out that this is by far the most elevated and enjoyable Kataklysm I've encountered yet, prompting me to return back to to the archives and figure out if either I had cotton in my ears or this badn has excelled beyond their past works this time around. Full of frenzy, The Prophecy hints at the future of metal, and judging from this, we're in for full on mayhem in the coming millennium.

King Diamond - House of God
2000 Metal Blade Records

There's no denying that King Diamond releases some evil music, whether it's with his solo group or the more powerful Mercyful Fate, you can always be sure that the King will provide more than an ample share of darkness through song. In looking back over the last few releases from both camps, I find that I prefer Voodoo over Dead Again, but 9 far surpasses what I've ingested off of House of God. Granted, these are complex albums which take more than a few cursory listens to properly "hear" the album, but after living with House of God (and the almost unsurpassable 9 before it), I'm just not as impressed as I thought I should be. Things seemed to have slowed down a few notched, no burners such as The LOA House to open HOG up, the album content to stay in the mid-pace zone, highlighting Diamond's vocal variations over the always stellar LaRocquian riffs. And, as always, the storyline is quite awesome, building a tale around the idea that Christ was saved and given sanctuary from all those that would do him harm, but of course, nothing is as it seems on the surface, and this is but a snippet of the tale Diamond tells. Very dark, very sinister, but very... ordinary. Fans of the King won't be disappointed, but will this draw others to the dark side? Eh, I'm not sure, myself feeling a tad let down by almost ALL of the new releases I've been hearing lately, HOG just one of them.

Lefay - SOS
2000 Noise Records

Where as most bands seem fit to release one album every two to three years, Lefay have been on the warpath lately, giving us three albums in little over a year, it seems. Of course, this could mean one of two things, that these are artists incredibly prolific in nature, or that what we're given is a half baked album released as quickly as possible. Well, in hearing this a few times, I'd be more apt to say that the latter is the cause, SOS being one, a concept album, and two, very well put together. I'm reminded of both Queensryche's Operation Mindcrime (oh what an intuitive leap!) and the first Nevermore album. Nevermore because many of the songs are based on midpaced double bass patterns with some interesting stops thrown in. The first few tracks at first listen were the strongest to me, opener Save our Souls really being the one to surprise me, as I was expecting something a little different from these guys based on past perception and packaging (tools of evil, I know...). In any regard, the bio description calls Lefay a bit of Pantera, Metallica and Machine Head all rolled into one. OK, I'll give 'em that, but what the bio can't dictate though is the intense repeatability factor here, S.O.S. finding it's way back into the player just too many times to ignore the obvious hooks strewn all over this thing. I've heard some people profess to prefer the earlier works, but of the mind that here Lefay have finally realized their lofty goals and delivered an entire album of quality me-tal.

Machetazo - Carne de Cemetario
2000 Razorback Records

Miss the days of yore? When two man bands such as this ruled the earth instead of corporate metal where you have to have a $30,000 production job to score a full page ad? More and more lately I do, for while everything about this seems primitive on the outside, closer inspection reveals a calvacade of killer riffs that know no boundaries. No, Andy Sneap isn't behind the board, nor is Colin Richardson, and Dopi Dr. Beltran handles 3/4 of the operations here (must be a bitch live), but the agenda is also gone, the overall feeling being to just make music, not worrying about the record deal, or what color shirt to wear on day 4 of the tour. So, nothingly screamingly fantastic here, but that's the point, Machetazo just putting together an enjoyable old school album, and their choice of covers (S.O.B. and Abscess) is testament to their intentions. Intros are standard horror clips, or are they?! When "Torso" opens up with "From the man who brought you Dr. Zhivago [pause], Torso!", it's pretty damn funny. I'm hoping here that this isn't taken too seriously, otherwise I think we're all in trouble.

Malevolent Creation - Manifestation
2000 Pavement Records

Billed as a "Best of..." from Malevolent, I can only curse the label politics which kept all but one track from the first two albums off of this release. In reality, how can you have a MC greatest hits album and not have anything off Thou Shalt Kill on there?! I understand that this is a Pavement thing, and I get the idea that the band may have just wanted to fulfill some contractual obligation with this L.P., but to me, it's a good album, but not a best of. I guess part of this is due to the "fast as hell/Jason B." era of malevolent, where things are incredibly speedy, but the monotone death metal vocals just bug the crap out of me. So, while it's not bad, the definite highlights are The Fine Art of Murder tracks and the killer demo version of Impaled Existence. A solid release from a band that has recently returned to form, but of particular interest to those that have wanted to sample both Eternal and In Cold Blood without purchasing those albums, as most of the 20 tracks (16 that I received in my promo) are culled from those two albums. Of course, in seeing the 4 tracks I DON'T get, those are the older material that I complained about not getting. Oh well, such is my luck, I still feel that the album focuses on the later material.

Mental Home - Upon the Shores of Inner Seas
2000 The End Records

At this point, I don't think that anything that I write could do this album justice. In a nutshell, Mental Home here have atoned for every pompous entry into the annals of classically based metal. Which is where the true irony enters into play here, for by every account, I should find Upon the Shores... an overblown affair laden with cheap keyboard sounds and triggered drums, yet instead I have found an album with which I can easily connect to. Having all of the ingredients does not necessitate fine cuisine, something necessary needed to add the extra spark required to make the average superior. Call it what you will, but in this regard Mental Home excel, and as I've tried to say simply in the last 5 sentences, the album is amazing. I curse my ineptitude and blocky writing, for what this album truly deserves is something poetically written to explain the incredible use of melody, but with me as your guide through this, you'll have to accept my words. "Reviewing" this is difficult, partially because I'm constantly hearing something new, but also because this is a body of work better left undissected and experienced as a whole. I mentioned classically based, and this may be an ignorant statement, but the arrangements here remind me of works that I have heard (albeit in limited quantity), seamlessly put together, allowing complex structures to ebb and flow, part of what makes this album so necessary. There are human flaws, a forced drum fill here, some iffy production there, but this all becomes a part of the album, and when one of the many guitar solos comes through your speakers, demanding your attention, any small marks are instantly forgotten. To me, comparable to Dissection in that the album transcends anything else in terms of the degree of emotional content. Highly, highly recommended to any and all that find "beauty in darkness".

Mortification - 10 years Live not Dead
2000 Metal Blade Records

"Who wants to hear some Jesus Christ metal?" Uh, not me, thanks. Once more (it seems like I review a Mortification release in EVERY issue), Steve Rowe and his cult of bible believers deliver forth a sermon of metal for all of us sheep. Now, this isn't bad, per se, but again, everything about this screams mediocrity, from the muddy mix to the incredibly freaky artwork. I don't know what psychotic persona paints these portraits of Steve, but I would never show them to my kids. I know this guy almost died and was "saved", but do we still need to see pencil drawings of the guy walking around with a bible in one hand and an IV cart in the other? Musically, one new track and plenty of old ones, which means either you're on board or your not. Just remember, executive producer is none other than Jesus Christ, which I believe makes Steve a Jesus Christ Superstar!

Neck - Should My Fist Eye
2000 Cho'sin Records

Strange name, strange title, eclectic music here as Neck slap together the better elements of hard, death and alterno-metal into a heavy, yet melodic, independent album of high value. There's a fair bit of this new Meshuggah-inspired hardcore feel here (think calm moments of Dillinger Escape Plan among others), which relies on the bass drum beats matching staccato guitar, offsetting nicely the deep grooves which Neck can throw down, a dichotomy also noticed in the vocal department, with the dual edged attack of scream/singing balanced nicely here. There some strong musicianship and songwriting here, with enough variation to keep my interest throughout the playing time of the album. Part of this may be the procuction, which accents the higher registers (some extra bass tones could have added to the heaviness here), but I will say that the songs do indeed vary, with different moods expressed, something that may have been hindered by dark production. Definitely slanted in the world of alterno-metal, yet not yearning for "acceptibility at any cost" in the least. Overall, I'm really impressed with Should My Fist Eye, but still having trouble telling everyone I'm listening to the new Neck album...

Old Man's Child - Revelation 666
2000 Century Media Records

There have always been similarities between OMC and Dimmu Borgir, one of which being that sometimes skinsman Tjodalv manned the drum throne for Dimmu, but also due to the thrashy black riff/keyboard attack present on both band's early albums. Take that as you will, for Revelation 666 closes the gap between these two larger than life groups even more. After the last opus, which was basically a two man project between Galder and Gene Hoglan, a full band is enlisted again, with actually not one, but two capable drummers in tow, with Tjodalv handling the blastier material (which is blindingly fast) and the new recruit laying down a really solid foundation on the more mid-paced material. I still hold The Pagan Prosperity as my favorite for this band so far, Revelation almost being a little too reminiscent of Spiritual Black Dimensions, but that's not to say this is a wholly unenjoyable listen! There's so much here to appease the stalwart fans, and while this may be a tad too pristine for the true black metallers, the minions draped in dark fabrics and holding gothic tendencies will eat this up, I guarantee you. For myself, yeah, I like the album, really appreciating the craft that went into this, but honestly, at this point it's a pretty forgettable listen, nothing really catching on or hooking in as TPP did. In the end, I'm left with another more than competent release from a strong group, but left a little cold by the icy perfectionist feel.

Opprobrium - Discerning Forces
2000 Nuclear Blast Records

Total blast from the past here, as the band that gave us the classic Serpent Temptation is now back in their full thrash glory. It's kind of a doubled-edged sword here, as on one hand you could totally be cynical about this whole thing and claim that these guys are just back because thrash is back, or you can just forget your biases and listen to this thing, becuase it kicks serious ass. Opening cut Digitrap is probably my fav here, just because of the incredible degree of techinicality in the guitarwork. There are tons of riff changes, but everything flows, and many of the changes are due to note placement, which instantly changes the entire feel of the song. Whoa! But then I can't headbang properly, where do I find that groove? Don't worry, it's there, but don't expect to find any riffs run into the ground here, for the Howard brothers are here to party on your grave, uh, so to speak. Considering this is the first I've heard from these guys in over ten years, things don't seem all that different. I remember Incubus being a solid metal band back then, and that's how I see them now. The intensity isn't captured throughout the entire album, but there's enough there to say that the album as a whole works, and in this age of everyone rediscovering the best parts of the thrash movement (but realizing that poor production was a liability), Discerning Forces stands strong in the pack.

Pandemia - Spreading the Message
2000 Lost Disciple Records

Lump Pandemia in with Defleshed and all of the other "fast as hell" adrenaline pumping bands that have discovered the need for speed and have acted upon these desires. From that, you know right now where Spreading the Message will sit with you, for if too fast is never enough, Pandemia have the cure, but if you'd rather crack a beer and contemplate your spreading midsection while some mid-paced metal kicks around in the shadows, this is not for you. Nor is this for those with any type of heart condition whatsoever. Sure, the drums sound a bit processed at times, but at 240 bpm, everything just becomes a little flurry of limbs anyway, necessitating the use of digitals to amplify and differentiate the noises. 13 tracks, 29 minutes, get the picture? An all out assault on the senses, this album never lets up, the work of four crazy Czech's ready to tear you apart. So, avoiding any cliches, look to Pandemia to be decimating the ear drums of some of the biggest heads in the biz, it's that extreme. Will I remember it in two weeks? No idea, but for now, I'll just be content to get sucked in and enjoy the ride, wherever it may take me.

Pegazus - Breaking the Chains
1999 Nuclear Blast Records

Not that I like to judge an album by it's cover, but Pegazus here really leave me no choice! OK, what have we got, two scantily clad women and a winged horse painted in that classic power metal style. The album's called Breaking the Chains (heard that one before) and sports tracks like Metal Forever, Bastards of War and Chariots of the Gods. C'mon, with all of these hints, I already KNOW what this is going to sound like. Normally I would just stay the hell away from this, but to be fair, I spin it the requisite times to formulate an "unbasied" opinion (impossible). Well, yeah, it's power metal, done pretty much exactly the way everyone else does it, absolutely nothing new to my ears. Not that we need every band to break new ground, but to have your own sound? Yes, that's imperative to me. So, Pegazus don't score high on the originality scale, and make up a little in execution of material (as bland as it is to me). All I can really say at the end is that Breaking the Chains is heavy metal, probably connected more to the "true roots" than a lot of other things one could argue, but as we've progressed so far in the last ten years, why bury yourself in the past? And those vocals... Again we are reminded that there will only ever be one Bruce Dickinson. Caaaaaveaaaat Emptoooooor!

Project Hate, The - Cybersonic Superchrist
2000 Pavement Records

Not sure if this is really on Pavement, but as they were so kind as to send it to me, here goes... Cybersonic hits the mark here a lot closer than Project Hate, as this isn't the angriest music in the world to me, but as for cybernetic overtones, just the keyboards alone attest to the need for machinery here. Lots of programming/sequencing underneath some farily standard yet somewhat catchy riffage, topped off with the Sandstrom (he of Grave days, sounds just like Dan Swano)/Stahl (the female antithesis) vocal dichotomy which is meant to work against each other. I understand the idea behind this, but don't really think that the lighter, artier female vocals really help all too much here, and I think I would have just preferred the total death growls throughout. Not quite as off the freakin' wall as Limbonic Art, but there are moments that do hit the roof, as there are moments that have me cringe, such as the requisite drum 'n' bass sections. Overall, fairly enjoyable in its experimentalism, and surprising to me how much more I like this from the first couple spins.

Quiet Room, The - Reconceive
2000 Metal Blade Records

Reconceive is right, for there have been some pretty big changes in the Quiet Room camp. Armed with a new rhythm section and vocalist, The Quiet Room push to update their sound and give argument to their intriguing moniker. Similar to their last album Introspect in terms of songwriting (very technical, very progressive), Reconceive finds TQR to my ears heavier, and more based in a 90s era sound. Introspect had a foundation in the Fates Warning/Queensryche school, which of course led to instant categorization with bands such as Dream Theater. True, there were moments there (and are here) where the band more than ably gives DT a run for their money, but don't read this too deeply, for The Quiet Room are by no stretch a clone band. Far too many influences pervade here in my opinion, Reconceive having the same lasting effect that Introspect had, mainly the fact that songs remain with me for days, prompting repeat listens. Performance-wise, this is prog-metal, so c'mon, you know these guys can play, except where many albums find musicians running rampant, things are not simple, yet understated here, the techincal being incorporated into the song structures, smoothing everything out. So where's the 90s influence? Well, some of the better grunge riffs, ala Soundgarden or darker Alice in Chains appear, and Pete Jewell's voice is reminiscent of Layne Staley ever so often. A good combination, making Reconceive yet another strong release from a very talented group of musicians.

Rain Fell Within - Believe
2000 Dark Symphonies Records

To some, maybe many, the idea of fusing operatic vocals to mournful music is a perfect match, the lush sopranic tones balancig the low undertones. Simply stated, I'm not one of those people. Granted, Rain Fell Within (what a po-ET-ic name!) have managed to create a soundscape of misery, but the vocals are too dominant for me, seriously detracting from what could have been a very depressing listen. To remove myself emotionally from the album (which is against the whole idea, right?), I can see that the band has spent some time getting the songs together, yet they're really putting all their chickens in one coop with "Dawn". Epic, Grandious, Pompous, all these come to mind, and while I can say "OK, it's not THAT bad" most of the time, I never really think it's all that good either. Another album with potential just stretched too far over the boundaries of reasonability.

Raise Hell - Not Dead Yet
2000 Nuclear Blast Records

Setting themselves up for all kinds of ridiculous slander opportunities with the combination of that inane title and even more juvenile album cover, Raise Hell appear to be aiming for the cock rock spotlight here. Unfortunately, they're still too fast to be accepted in that arena, Not Dead Yet stil being more of a thrash experience than anything else. There are some promising moments here, the band remembering their old Kreator records and dishing out an updated version, but things start to get a tad annoying after a few tracks. I guess there's not much else to say except that I don't recommend this, but I am curious as to know where the band wanted to be heading with this release.

Raven - Raw Tracks
1999 Metal Blade Records

Well, here they are ladies and gentlemen, the band that would never die, Raven! Seriously though, I remember Raven's "first" comeback back in 1988, when Nothing Exceeds like Excess came out and they were the headliners for the Ultimate Revenge album, which had bands like Faith or Fear, Forbidden, Death and Dark Angel. Well, only Death really stuck around, I guess, but seeing those guys come on after all of those kick ass bands, well, I guess I never really forgave them from my youth. So here we are 12 years later, and after an initial feeling of despair, I guess in brief the album's not as bad as I thought it would be. OK, maybe it is, but there's this "first album" Rush feel to a lot of it, and that's kinda cool, right? Well, if that doesn't work, how about Rob "Wacko" Hunter's use of Roto-Toms? No? How about... Oh, never mind. Much like the Talas material that comes out on Metal Blade, if you're a fan from before, then you should get a kick out of it. As for someone like me, that never appreciated the band, ferget it! Not enough here to keep me interested, and I sure don't hear the "music that influenced everyone and their brother". Too much other stuff out there that demands my attention.

Rotten Sound - Drain
1999 Repulse Records

This one's a little older, but I actually just got it from Repulse so... If you're not familiar with the Rotten Sound, I can just say this: Sunlight grind... Imagine that thick yet gutted old Entombed guitar tone frantically keeping pace to a highly talented, energetic young drummer who has mastered the blastbeat and then some. Reminiscent of old Heresy and Concrete Sox in some aspects, but this is light years tighter (not the proper units, but you get the idea). With the average track's duration being around two minutes, and an album length of a scant half hour, this is indeed in the grind paradigm, but as is the case when you start with fresh beans, this grind is mighty fine. No acidic aftertaste here, the adrenaline rush being completely undiluted and unoxidised. Inane coffee references aside, Drain just runs rampant through your livingroom, the hyperactive child that refusees to sit still, yet is so entertaining, you refrain from using the back of your hand on 'em. Newly signed to Necropolis Records, expect big things from these Finnish upstarts in the near future. For now, spend the remainder of these summer days with Drain pumping through your car speakers, fueling the road rage along those baking asphalt highways.

Sanctus - Aeon Sky
2000 Metal Blade Records

Not sure how to really describe this, except to say that it sounds a lot like Hecate Enthroned during their Cradle of Filth days, except I kinda like that band back then. The production's better here, but the whole thing amounts pretty much to a Cradlish band, so... If you like the way that sounds, this should be a real treat, but, if you don't, then this album is waaay toooo loooong, songs averaging around 7 minutes each. Not totally reprehensible (like Sacred Steel is...), but I kinda wish sometimes Metal Blade would take more chances like they did in the 80s to early 90s...

Sculptured - Apollo Ends
1999 The End Records

Experimentalism at its best, Apollo Ends is a shining example of how imagination and no sense of boundaries can result in an album of immense value. When I think of how to describe the overall feel of this opus, a definite sense of opposing forces, or a push-pull effect comes to mind. What I mean is that the use of noise versus silence works well here, never reaching the infinte extremes (total noise or total absence of sound), but the dynamic that is created by the limits in either direction is incredibly effective. Sculptured's use of unorthodox "metal" sounds, such as television bytes or trumpets may distract from some people's experience, but for me, it only serves to fill the silences yet buffer the other noise. To further try and describe this alt-metal masterpiece, I can also pull the old "sounds like..." references into play here, an old and weathered trick perhaps, but read on, for you may be surprised as to who I am reminded by. Try mellow John Zorn, or instrumental Zappa, mixed with the creative genius of Throbbing Gristle with some Opeth style clean vocals. Quite a mix, I know, but that's where Sculptured shine, for they can't be genre-trapped. Jazz leanings and the refusal to play anything "standard" or follow conventional rock songwriting norms tends to send many I know howling for the exits, but I wouldn't have it any other way. Honestly, listening to Apollo Ends make me think of rainy Sundays in Antioch's Birch Hall, a run down dormitory perfect for wasting hours listening to music which elicits feelings of complete meloncholy. Not gothic style "I'm soooo sad, I wear black" meloncholy, but that overall oppressing feeling of slight dread that only comes when you realize that this may just be the best that it's going to get. Not a pretty thought, and not a pretty album, but one that is beautiful in the eyes of the beholder, not the majority view. As with almost everything that The End has to offer, Sculptured needs some time to fully absorb, but for those who have the patience, the reward is priceless.

Soilwork - The Chainheart Machine
2000 Century Media Records

Finished almost a year ago, The Chainheart Machine is here to once again prove the worth of these 6 young Swedes. Averaging an age of 18 when they released Steel Bath Suicide, initial comparisons were drawn to other Scandinavian groups such as At the Gates (vocally) and Arch Enemy (musically). Well, the similar sounds may have been there, but let me tell you, I played SBS into the ground, and The Chainheart Machine is rapidly following course. Both CDs are instantly recognizable and likable, no doubt due to the similarities between albums released before. To my ears though, Soilwork manage to add their own signature, injecting a shot of speed and fury into one of my favorite brands of metal. A couple changes in the Soilwork camp since the last album have also helped the band define more of a trademark, with things noticable improved in the drum department. Reading the last statement, you'd think I had some problem with Jimmy Persson's playing on Steel Bath. I'll clarify things a bit... The percussive work on SBS was top notch, creative yet solid, impressing me quite a bit, yet there's no comparison to Henry Ranta's explosive job here. From all angles, things are pushed up a notch due to the energy he's throwing around here, actively trying to run circles around some of the best dual guitar licks this side of the Amott brothers. And while I'm in this vicinity, I'll acknowledge the Arch Enemy references, but I hear more of the common bond references between these two bands, such as Accept or other late 70s, early 80s guitar hero metal. It's not over the top, just technical enough to pique interest without becoming a detriment. There also appears to be somewhat of a blues influence here, especially in some of the leads. To end this, I'll just say that Soilwork are definitely one of my top new bands as of late, and with The Chainheart Machine, easily avoided the "sophomore slump" that plagues many groups. Add in to the equation that these guys are barely of drinking age in the states, and I can almost guarantee that we'll be hearing quite tons more from them in the future. I, for one, will be waiting...

Soul Reaper - Written in Blood
2000 Nuclear Blast Records

This will probably piss the guys in the band off, but here's yet another that'll start off along the lines of "After the break-up of the legendary Dissection..." Here we have Johan Norman from Storm-era , and Tobias Kjellgren from post-Storm Dissection, which gives a little more reason to why this entity is titled Soul Reaper. Norman was creditied for co-writing many of the better tracks off of SotLB, and the idea that another band could appear to try and carry on the Dissection legacy is more than welcome in my home. Well, forget that, for Soul Reaper are content to rehash the brutality of Morbid Angel all... day... long... We do get a snippet of the past here and there, but for the most part, you've got Sweden in my Floridian metal, no, you've got Florida in my Swedish metal! It's OK, but nothing all that special or especially memorbale, besides the fact that Tobias can play the drums really, really fast. This would be like a six if I was rating it, for while it's nice and brutal, i've heard it all before, and this unfortunately isn't the type of album that stands heads and shoulders above the rest, just begging to be noticed. I just can't ever imagine myself going "Dude, throw that Soul Reaper in!"

Steel Prophet - Messiah
2000 Nuclear Blast Records

Well, here I was all set to totally blow this thing apart, citing past reviews as fuel to my raging hate against the uprising of power metal when the force of something divine stepped in and set me straight. Whatever angelic hand guided my finger towards the play button again and again? My mechanical messiah, ah-aahhhhhh! No, but seriously, I could easily rip this apart, from the Bruce Dickinson/Geoff Tate combo vocals, to the by the numbers songcrafting, but simply put, the album's not bad! Yeah, it's power with a capital Powwwerahhhh!, but as compared to some of the other cheeseball things out there, it's not so ba-aahhhh-d! Getting annoyed by my cheese metal screams through almost every word? Then you have a fucking inkling as to how much I hate them in my music. But sidestepping my apparent dislike for the operatic (when done so unconvincingly, I may add), Steel Prophet show their age in terms of experience, Messiah being a solid release primed for what could be deemed radio airplay. C'mon, I can see it, there's almost a Jet City Wooooooh-man! in here. The Ides of Maaaarch! The only thing saving this form the rubbish bin are the numerous hooks which actually had me singing along in my headphones (much to the dismay of my co-workers). Love those blastbeats!

Stratovarius - Infinite
2000 Nuclear Blast Records

It doesn't matter if this band's from Sweden, or America, or in this case, Finland, it just all sounds so damn German to me. Heavy, heavy keyboard influence here, more so than I remember before, the synthy sounds just overpowering the guitar and almost the stadium-ready vocals when they kick in. Musically, it's just too tight, the band obvious masters of their realms, the album produced to a sickly sweet perfection, minus of course, the keyboard victories. But, much like (hopefully), you don't sit around eating Oreos and milk all day, after a track or two, I'm done. Not to fault the album, as there are a few really killer tracks (musically) placed in the track list, but as a whole, it's too much for one sitting. A prime example is on track four, at time 4:24-4:30 (no, I'm kidding!!!!). Just take my word for it, if uplifting power metal is your particular vice, Stratovarius have a handle on their craft without spreading on too much cheese, although these pseudo ballads did make me ust out cryin' on the keyboard more than once. It sounds just like the cover looks, glossy and hi tech, just a tad bit sterile, and I guess comparisons could be drawn to DT's famous Images and Words on that matter. Who knows, maybe this will grow on me like that album, but when I've got Deceased's latest masterpiece vying for air time, I doubt it.

Stuck Mojo - Revolution of a Headhunter
2000 Century Media Records

Opus 5 for the mojo family has actually turned into the first SM album that not only can I listen to all the way through, but has succeeded in setting in some deep hooks. Revolution may lose some of the more die hard "rap-core" fans (watch me weep for those unlucky individuals who have to select another mall offering), as new co-vocalist Dan Dryden unleashes a pop induced voice which at times reminds me of King's X! Pretty interesting, but that's not the only change, Rich Ward beginning to expand his guitar assault to include melodies and solos (most notably on The Ward is my Shephard). Some pretty "radical" slanderings towards liberal and democratic views here, which may incite some more PC individuals, but just seem a bit silly to me. So, more pop hooks, less of Bonz's manic psychotic madness, and some catchy songs lead to what could possibly be the most popular Mojo yet, if we can all forget about that big old assault rifle on the cover that is, heh heh. A good listen for the moment, but I really, really doubt that this will stand the test of time, say, two weeks.

Therion - Deggial
2000 Nuclear Blast Records

One positive thing to having someone explore uncharted waters before you is that you won't hit the same pitfalls that they did. For example, had Celtic Frost NOT released Into the Pandemonium, when (and if) Therion had released Theli, they might have been dealt the same harsh criticism that the mighty Frost were at the time. But, it's all hypothetical, as CF DID create ITP in 1987, allowing Therion to exist from the beginning, even when they sounded like standard death metal. Theli was quite an achievement, something that indeed seemed novel at the time, Vovin, the follow-up, was for me a lackluster affair, highlighted bu one track, The Wild Hunt, but otherwise, disappointing. Well, Deggial doesn't do much for me either, but it has more hook to it than Vovin. The Therion system seems a bit auto-piloted now, and not that Christopher needs to reinvent the band every album, but I don't exactly look forward to another choirly enhanced album, you know? There are some flashes of brilliance here though, euphoric moments where you just go "Yes, that works!", the album opener and the ending of the title track being prime examples. Not enough here though to satisy me, Deggial being a truly beautiful album, no, really, but Theli was brilliant to me because it was so different. The one big chance is that Johnsson has given up the last of his death metal voicings, allowing the choir full breadth. Well, at least they didn't have to make a Cold Lake!

Thornspawn - Blood of the Holy, Taint thy Steel
2000 Baphomet Records

Not to judge a book by it's cover, but from the very beginning this just screams bad news. Artwork is from the first-album Bolt Thrower school of drawing, something I haven't seen since the homemade cheap tape demo days. Yeah, that's just the cover, and the music could save everything, but there's absolutely no hope of that here. Unless your a blackmetal fan that must have every crappy recording, stay away. A basic synopsis? Standard black metal riffs mixed way down under standard blastbeats, complete with requisite black vomit screams. Sounds like everyone else that has heard a little too much Darkthrone. The bottom line is that this just doesn't do anything for me, and I'm damn glad to be able to shut this off. Reminds me of how I feel every time I review an Enthroned album.

Throne of Chaos - Menace and Prayer
2000 Spikefarm Records

Here's another one for the golden clone awards. We've got a young Finnish band that sounds exactly like another Finnish band, Children of Bodom. I know by now that I have to realize that there will always be innovators and followers. I don't know which camp I actually exist in, but I sure know what I would like to be, and that's not a follower. I never really understand why some bands are content to just "borrow" not only riffs, but a complete image from another band. The cover art is really different here, but looking at the band photo, to the coloring of the album (red), to the lyrical content, it reminds me all too well of COB's Something Wild. Yeah, Hatebreeder was anything but spectacular, so maybe the throne is considered vacant, but while Throne of Ecstacy have the act down, they'll need something (I won't say wild here) to elevate them higher. Who know's the real reason (label pressure, heavy debts) for this doppleganger, but for whatever it's worth, they have the sound down cold, which, may just be a good thing for you if you can't get enough. Rapid double bass drumming, frantic single note riffing, creature double feature keyboarding (I just "borrowed" that from another review) may give you an idea of what to expect. And don't get me wrong, I really like that sound, but I just find myself stuck on the fact that I've heard this all before, really recently in fact, and done better by the originals. I guess that's the key, if you take a motif, at least improve on it. Keep the name in mind though, because I do get the feeling that next album (if they still exist), these Finns may be able to incorporate more of their own personalities into the songwriting.

Tourniquet - Microspcopic View of a Telescopic Realm
2000 Metal Blade Records

Now here's a real surprise for me, this album having grown on me substanitally in the last few listens. My first reactions to this veteran Christian metal band were pretty dismal, but days later I found myself singing lines from the first track, a sure sign that the album was stuck in my head. I still have some problems with this less than perfect release, most notable Luke Easter's combination Offspring/Skate punk vocals, but overall, MVoaTR tends to succeed, although this is one incredibly tough release to absorb in one sitting. Overtechnical progressive metal would be the best call, the music having a very chaotic classical feel (Bach is a professed influence), but the musicianship is superb, blending a lot of the riffs together nicely. Most tracks are penned by drummer Ted Kirkpatrick, which is immediately apparent due to the strong rhythmic interplay between the drums and guitar. Overall, not a great release, for ambition is a little higher than what the finished product offers, but it is a strong release, featuring many impressive moments, most especially on the guitar runs and in listening to the percussive batterings. I must say though, yet another hideous Metal Blade album cover, what is up with that?!

U.P. - Absorbed
1999 Verdict Entertainment

Comprised of three tracks from the Mindfailure sessions and two songs written from the early days of the band but recently recorded, Absorbed is a strong display in one man's vision of progressive metal. Basically conceived by guitarist Ken Jacobsen, Unleashed Power (or U.P., as they are known now) blends various tempos and styles into a powerball of metal which reminds one of bands such as Iced Earth, Fates Warning and other stalwarts of the genre without leaning too heavily on their sound. All five tracks are strong, but I definitely prefer the middle material in terms of their technicality and in performance. Good tracking as well, with ultimate scorcher Perpetrator of Dreams lying in the dead center of the E.P., the apex of the album in my humble opinion. This is basically a taster for old fans and for those of us (such as myself) who had never heard U.P. before. Very impressive material from an obviously talented group of musicians. Trivia note, this is the same Jörg Michael who has graced both Stratovarius and Mekong Delta albums, something which can hint as to what lies within this encoded disc.

Usurper - Visions from the Gods
2000 Necropolis Records

Taking some time to complete their next opus, Usurper have decided to fill the gap by releasing a "rare and unreleased" album which contains tracks from their 1994 demo along with other songs which have not seen much exposure. The question most asked when a band does this is "Do we care?" Here, I'd say yeah, hell yeah actually, as Visions allows us to see back into the band's history, exposing the inner core of what made this retro band so Celtic Frostily retro. The overall sound isn't much different from today, save perhaps for the tracks off Skeletal Season having a more pounding flavor to them. We get a couple of versions of Soulstalker here, a cool idea which allows us to see the growth (or non-growth) of the song. Content to stay in the early 80s in terms of their immediate influences, Usurper do a good job with what they attempt, mainly because I think that they never really left that era, still enthralled with the "new" black metal sound ala Venom and the first Bathory albums. You want to hear some quality retro? Then look no further than Usurper's new collectible. And while you're at the store, pick up Skeletal Season if you don't already have it and see how a band can progress and regree at the same time. Cool stuff.

Vermin - Millennium Ride
1998 No Fashion Records

The release may be a couple years old, but Metal Blade has so kindly decided to release this in the states, and I for one am glad that they did. Drawing very, very heavily from Wolverine Blues-era Entombed, Millennium Ride has that thick as pudding Skogsberg Sound that so many metalheads were drooling over for years. It's also a good thing that some time has passed since WB, for (to me), Vermin don't come across as a carbon copy, but a band enamored by a sound and striving to make one heavy as hell metal album, and also one that has carved it's way into my player and refuses to come out. I guess we can use the old "ranges from mid-paced to a tad above" tag, but honestly, if you get into the whole Death-n-Roll sound, this is a worthy entry into the books. Hell, having an old school COC shirt on helps win me over any day of the week as well!