Agalloch - Of Stone, Wind and Pillor
2001 The End Records

Very surprised to see a new Agalloch release in my mailbox, things made more sense when it became clear that this was an E.P. for us fans that are having trouble waiting for the next masterful Agalloch opus. A hefty E.P. weighing in at almost 30 minutes, there’s something old, something new, something borrowed, and something blue... Well, everything’s kinda blue here, since Agalloch revere what others revile, writing severely depressing songs that hit the deadened center in many of us. Titular lead off track Of Stone... really seems like something that was forgotten from Pale Folklore, the new two songs being an ethereal keyboard and acoustic number, respectively. Kneel to the cross is a Sol Invictus cover, and at a loss from not having heard the original, I can’t compare. All I can say is that it sounds like Agalloch, but different than what I’m used to hearing. Only the “newest” track, which also closes the E.P., is of the slightest disappointment to me, but that’s only because the 9 minute running time includes a long silence. Forgive them that, for anything these guys have done is godly, and this only stokes the fires for me until the next full length. Who knows, maybe I’ll get transferred to Portland where I can fill the fabled drum seat for this creative force. But for now, I’m content to listen, again and again.

Amorphis - Am Universum
2001 Relapse Records

There was a time, long ago, when I would be excited at the idea of a new Amorphis album. Around the release of Tuonela though, I was only a tad curious, and lately, I unfortunately just couldn’t care less. So now that Am Universum is in my grubby hands and able to be spun, what do I think? Eh. It’s certainly something mellow to throw on at work, except I really find it, of all things, a really annoying album. Blame most or all of it on Pasi Koskinen’s atonal whines, which is strange, especially since I found a bright spot on Elegy. At any rate, there are musically some killer tracks, Drifting Memories almost being worth the price of admission, but then a track like Goddess of the Sad Man easily counterbalances this. It is impressive to see the evolution of this once death metal group into the Pink Floyd/U2 phenomenon that it is, but again, maybe a combination of personnel shifts and some adenoidal problems conspiring to keep Ad Universum earthbound.

Anata - Dreams of Death and Dismay
2001 Season of Mist Records

For a death metal to really reach me these days, there has to be something there. Good riffs, vocal variations, or maybe just production that kicks my ass. Well, Anata certainly lost me on number two, but more than making up for it with some really catchy riffs put to tape in a fashion that, well, kicks my ass. For once in what seems like aeons the bass drums sound almost real, which makes a bigger difference than you can imagine (hear Krisiun’s V.R. and see what I mean). Yeah, you can still tell that the drums are over-triggered on the blast sections, but when those quick double bass patterns kick in with minimal snare hits, I’m in heaven. But as it should be, it’s the riffs and guitar sound which makes this album a notch above for me. Truly strange in creation, most of these songs are standard fare in structure, but Anata’s choice in chords and melody does set them to the side. Overall, I wouldn’t go as far as to say that this is original, but I find myself grabbing this for a DM fix more than other more popular releases this go round, and I think that’s worth something. Available domestically through Relapse, so even your local Tower should have it, heh heh... One thing of interest, the cover really looks like someone “sampled” the cover from Assassin’s Interstellar Experience.

Andromeda - Extension of the Wish
2001 WAR Music

Much fuss is being made in a lot of camps about WAR signing Andromeda. While all of it is positive, the general consensus is that it was kind of an odd signing for WAR. Well, I don’t think so, as the label has an extensive track record of signing bands that fall outside the created “norm” of the times (read: fads). So what is Andromeda? I’m assuming that you haven’t skipped the interview, so there’s things you already know. For one, Andromeda is by self-definition a progressive metal band, and a killer one at that. OK, I bet you’ve already created a mental image of silk shirts and inflated egos. Well, start shifting the picture because these guys are set to blow away any remaining traces of pompousness. For one, the sound is heavy, much heavier than you would think. Thank/Blame Danne Bergstrand, but he managed to capture a technical fury on tape. Simply put, the production rules. Tunewise, it’s a prerequisite in prog that everyone be completely comfortable in their instrumental realm, and of course here is no exception. Original? Eh, not especially, but the songs really rock, and they also go exactly where I want them to. Meaning that if a certain change is expected, the band goes there, making the tracks instantly familiar and likeable, as opposed to feeling as though you’ve heard the progression thousands of times before. A subtle, yet important, distinction. This may or may not be do to the fact that pretty much everything was written by wunderkind guitarist Johan Reinholdz. Not a negative, but it will be interesting to see what happens when the entire band writes as a unit. Lots of keys, lots of drums, and excellent clean vocals by Lawrence Mackrory make this the album that Awake should have been. So do yourself a favor and pick this up, be fueled by the power and bask in the quiet interludes. Very nicely done.

Aphotic - S/T
2000 Demo

Hailing from a region best known for quality football (Da Packers), Aphotic have brought to my attention a quarter of an hour of real quality music. Comprised of three individuals and one vision, Aphotic is aptly named, for these are indeed sounds of the dark for feelings that are dispersed with the sun. One could describe this as “gothic”, or “doom” I suppose, but there’s more going on here than stoner chords or some keyboards thrown on metal riffs. It does remind me of previous works, and I guess to reference Morgion or Crematory would give someone an immediate idea, but Aphotic haven’t discovered the cloning process here, which is good for them, as that’s a personal pet peeve of mine. What you get inside some truly beautiful packaging are mid-paced metal lullabies straight from the moors, based but not dependent on a double bass foundation. Incidentally, I also have to mention that this is some of the best drum programming I’ve heard, not really noticing the fact that this is a machine rather than a human delivering the backbeat. A testament to the band knowing how to write the parts as much as only computer skills. The death metal gravel voice is there, and I almost hear some Cannibal Corpse in the note bends, but standard death metal this is not. This is a band that is destined to be signed soon, so for now, take the initiative and get the disc, it should not disappoint. $4 US/$5 World to: Aphotic, P.O. Box 8236, Green Bay, WI 54308-8236.

Atomic Bitchwax, The - II
2000 Tee Pee Records

Rock on, Dude!!! While TAB S/T was an enjoyable affair all on it’s own, for some reason, I’m finding the second installment of this heavy groove much more enthralling. On all fronts, TAB harkens back to the glory days of Monster Magnet circa their “live” album which is also, in interestingly enough, monikered TAB (well, plus 25). Those trippy guitar loops and ambience are present, two things which Mundell creatively worked into his other project in the past as well, now used to full effect in an arena where no one is concerned with how many platters are sold. I dig the space rock free-floating feel which lets the music twist and swirl, yet maintaining a strong percussive base which keeps everything here on planet earth. A very easy album to both hear and review, TAB II has an instant familiarity, with Chris Kosnik even entering Pepper Keenan territory at times. In fact, I’m sitting here hoping that the new COC has some of this vibe, know what I’m sayin’? At any rate, another success for these east coast rockers, and I’m glad, the whole project being full of instant gratification that I’m predicting will outlast “novelty” status. Killer.

Bad Wizard, The - Free and Easy
2001 Tee Pee Records

The CD was free, and the review’s gonna be easy, so I’m set to go. Like pretty much everything on TP, The Bad Wizard relish the tones and vibe of days gone by, the CD (irony here) having the look and sound of something from more than 20 years back. So more than 10 Years After, how does the Firefall? It’s cool. Derivative as hell, but still a rockin’ good time. Free is easy clocks in at less than a half an hour, and just like a sneaker male, is in and out of there before anyone knows what’s happening. This is definitely for those that dig the revival of biker rock, but then smatterings of AC/DC come in here (a band that guitarists love and drummers hate) towards the end. I prefer when TBW just go balls out on the speedier numbers rather than the country rack of the DC stuff, but hey, that’s my preference. Recorded with just enough loosity (that’s a word!) to catch the feeling, Free and Easy is worth picking up at a price that’s indicative of the times and the playing time. In other words, worth getting, but I wouldn’t pay over $9.99.

Black Rose (w/ King Diamond) - 20 Years Ago a Night of Rehearsal
2001 Metal Blade Records

This could have been a cool idea, rerelease some choice material from the King’s old band, but the cynic in me knows that this is adjust another attempt to cash in on a tape “found” in the archives. Black Rose really don’t sound anything Mercyful Fate, they sound almost exactly like a Deep Purple clone. So unless that’s your gig, or you are really curious, you’re gonna be disappointed. I thought it was kinda cool, but I also got it for free. Had I paid $16 for it, I would be livid. Still not as bad as the Virus 7 debacle though.

Braindance - Redemption
2001 Progressive Darkwave Records

Progressive Darkwave is what the band describes themselves as, and that’s fine with me, one part of the job already taken care of. What do I think? Yeah, I hear that, there being a whole prog rock thing evident here, songs being almost enough to call Magna Carta or the like. Self-produced by the band, it all sounds really good, albeit really digital. There’s a slew of creativity here, but the White Zombie samples do not bode well with me, really, really detracting from the listening experience. But beyond that, the album works, the band (essentially a two piece with session members) giving me almost a full hour of music to have and hold in the dark of night. If it was only my decision, skip the samples and stick to the atmosphere, which are not one and the same, and I’d be 100% happy.

Carnal Forge - Firedemon
2000 Century Media Records

As soon as it begins, it’s over, Carnal Forge once again delivering an immense platter of pain for this joyous winter season. Not much has changed here besides the bass player, which was of course, NOT the most noticeable factor on Who’s Gonna Burn (Fire, fire!!!!). No man, it’s the riffs, the riffs!!! Which is exactly where Carnal Forge just rule, Firedemon maintaining the intensity over two albums of pure blast furnace beats and earth scorching riffs. No, that’s not my journalistic hyperbole running wild here; this stuff can melt paint at fifty yards. Complaints? Well, I agree with John that the drumming is pretty straightforward, and that the album doesn’t have one definitive mix “sound”, and Kjellgren’s vocals really scrape my eardrums when this is heard through headphones, but my overall reaction? Firedemon delivers the goods, bringing the house down to ground zero once again. Flame on!

Catastrophic - The Cleansing
2001 Metal Blade Records

This is a real shame. What could have been a brilliant meeting of the minds unfortunately results in a truly mundane album. That’s my angle as listener and reviewer though, and I could see the average listener who doesn’t get 50 records a month to listen to enjoying this a lot more. I guess I’m also just doubly disappointed because I was looking forward to this record, and went through a nice Obituary retrospective of my own awaiting this. So what came out of all this is that Cause of Death still rules, The End Complete is boring, World Demise and Back from the Dead are interesting, and Catastrophic blows it. The cleansing really is a mixture of Obituary and Pyrexia, just not their peaks, more like the flatlines. Pyrexia fans could dig the drop in tempo and almost “groovy” Peres riffs, and the Obituary fans could be “blown away” by the hyper tempo shifts that do occur, but to me it just sounds like both sides trying to hard, especially with the slow/fast/slow/fast track listing. Maybe this is just a precursor to what’s to come, and things will get more interesting in later releases. I seriously doubt it though.

Children of Bodom - Follow the Reaper
2000 Nuclear Blast Records

In a clandestine interview with Alex Laiho I asked him half jokingly if the next Children of Bodom album was going to be blue, thus completing the standard RGB spectrum. “That’s a good idea!” he said. Well, lo and behold, here’s Follow the Reaper and yup, the cover’s blue. So, are the songs as predictable as the cover (same spooky dude, different tint). Yes, and no... Be sure that I can easily write with journalistic flair “If you loved Children of Bodom before, Follow the Reaper will surpass all but the loftiest expectations!!!” But I can also write that things have calmed down here, with the keyboards taking on a more 80s alternative twist than the previous releases. There are some good hooks here, certain tracks being fairly memorable, but Follow the Reaper is very similar to 1998’s Hatebreeder in that both albums are disappointing when compared to the breakthrough Something Wild. Maybe the formula is old, maybe the album just needs to grow on me, but as of now, FTR is a moderate listen, which, for the intensity this should have, isn’t quite enough, and when the urge to hear Children of Bodom strikes, this will not be the album I reach for.

Crucible - Souls Worn Thin
2001 Unshattered Records

After a solid debut album and a successful European tour, Crucible take the road less traveled on their second opus, slowing things down instead of going to computer assisted light speeds as so many other bands seem to be doing lately. It’s impossible for me to actually “review” this record, as I was in the band for almost two years and played the drums on this album, but I don’t want to leave it out for that reason either. To try and describe the sound, a blending of old school skatecore and Crowbar wouldn’t be too far off the mark, Derek’s riffs being heavier than thou, but also incorporating the experience of one who witnessed the great ‘core days of California in the 80s. The biggest changes from Unshattered are the changes in speed, the growth in vocalist Mike Ching’s delivery, and the godly analog production here. No surprise that Keith Falgout was involved here, he being involved in many a classic NOLA album in the past. Again, I lived with these songs for so long that it’s impossible, and ridiculous, to pick them apart, but I will say that personal faves would be opener Empire of Scorn, the sludgefest of the title track, and the new plateaus reached on Get to Even. Overall, this is probably the album to take them to the next level, so if haven’t yet joined the Crucible Worldforce, maybe now’s the time... Until the impending distro deal goes through, you can contact the band at the website www.crucibleworldforce.com.

Darkane - Insanity
2001 Century Media Records

Maybe it has been two years since Rusted Angel’s release, but I’m still spinning it now, and besides the new Soilwork, it Insanity’s fiercest competition as of late. So before I go into any explanations or descriptions, just know this. If you only buy 5 albums based on my recommendations make this one of them, it’s mandatory. That being said, I’ll try to get into text what’s going on here. If I had to guess, I would say that the band knew that there was to be an air of mania in the studio, for the title aptly reflects the overall feeling of the album. This is Insanity put to disc, in all its shapes and forms. Why else would the dichotomy of a beautiful intro which suddenly degrades in to “heavy metal madness” kick things off? The band also cleverly uses, what I would consider to be, standard riffing in certain sections (Hostile Phantasm), only to explode into “Darkane Territory” in seconds. And we all know what that is, ultra-frenetic riffing/single note picking coupled with Peter Wildoer’s cephalopodic percussions. If ever a drummer deserved over 50 microphones for his performance, he’s the one. In some respects, the band really raised the bar high with Rusted Angel, especially vocally, and there is some talk that Insanity only quite reaches there. I can see their point, for Darkane’s opening opus is a masterpiece, but Insanity finds its mark, finalizing the paradigm laid down on the previous album, and taking things to new extremes. Ultimately, it rules, same as before, and I see the band only getting better. I can’t wait to be able to compare the first 4 Darkane albums to see what place the band was in when they made this one.

Deceased - Behind the Mourner’s Veil
2001 Relapse Records

Very cool E.P. from these perennial RoR favorites that also has the distinction of sporting some of the worst production I’ve heard in some time. Which is way cool to me, allowing the covers here to sound comparable to what they sounded like initially. The new tracks are way cool, and it sounds like the band just went in and hammered this thing out quickly for the fans. So call it a thrashback album, or whatever, just pick it up and give it a spin, whether it’s to hear their take on the oldies, the newest creations (including a 10 minute composition), or just to see the video for Elly’s Dementia in lieu of VH1. Damn straight, this thing rocks.

Defiled - Ugliness Revealed
2001 Necropolis Records

Pretty cool stuff from the far east, but ultimately an exhausting listen, Defiled throwing no less than 600 riffs into every song, most coming from waaaay left field. I guess then one would be tempted to compare UR to something like Testimony of the Ancients or even Unquestionable Presence in terms of the chaos factor involved, except those albums had a certain degree of listenability to them, and this one... Well, it’s a novelty listen for me at best. With a lot of these albums, I can certainly appreciate what went into making it, and maybe for a guitarist into really off-kilter death metal playing, this would be cool, but for the average listener, white noise. One or two super cool riffs surrounded by a thousand indecipherable ones, kinda like John Zorn death metal. I can see the appeal, but sound wise, I wonder, why is Defiled signed and not a band like Myself Am Hell? MAH are better musicians, they write better songs, and the vocals are identical... I know, rhetorical question, and I’m taking up Defiled’s space to ask it, but after hearing this 34 minute opus that seems to take forever to end, I’m just curious. Kudos for trying something different, but I need something with a tad more musicality; I do dig that bass guitar work though!

Destiny’s End - Transition
2001 Metal Blade Records

Breathe Deep the Dark was in retrospect a definite blast of fresh air in the beginning stages of a mass power metal surge a few years back. That album for me immediately stood out and surprisingly enough, Transition does as well. I’m sitting here looking at about 10 “true metal” wonders to review, dreading all of them, yet consistently playing this biotech wonder into the ground. So what makes Transition stand out from the masses this time? For me, it’s just good songwriting matched with a really good thick yet clear recording. The vocals may be a tad too dominant in the mix here, but I can see why, Rivera adding as opposed to detracting from the overall sound, which is, in my opinion, crucial in making this work. Why else would I despise most of the releases from otherwise capable musicians? Vocals, vocals, vocals. There’s still that old school double bass base for a “twin guitar attack” (to continue my stream of cliche journalism), but each track doesn’t rehash the last rehash of a clone, songs having a certain degree of personality, and the whole album just seems dark to me, which is essential. I felt that Destiny’s End was on the right track before, and now I’m certain of it, and I’m watching them lap the competition.

Destroyer 666 - Phoenix Rising
2001 Renegade Records

I just got this in the mail before the print deadline, so while it hasn’t had a substantial amount of time to be absorbed, I like it enough to want to include it. Known as being a high quality ultrafast black metal band, Destroyer 666 show again how music can be full without keys everywhere, just focusing on the brutality that can be taken from six steel strings. It’s pretty amazing actually how much emotion and depth can be created with just a few instruments, these songs really orchestrations of sorts. Fuck, this album is something else. Get it before it gets you.

Doomstone - Satanavoid
2000 Tirade Productions

One could argue that a lot of bands are out there now paying homage not just to the music from, but actually to an entire block of the 80s. No, not A Flock of Seagulls or Duran Duran, more like the old RC/Roadrunner bands from the middle of a decade split in two by the advent of electronic pop and those discovering that heavy metal was indeed something sacred. It seems that there is a revival of those times present, with numerous bands appearing, many most notably containing a band roster with an average age of 19. So it’s cool to me to hear something come out of a group of individuals that I’m sure not only lived through this mandatory period of metal, but also actually listened to and lived by what was coming out at the time. Maybe that’s why this doesn’t sound like crap. Instead, Doomstone (while being more than it’s share of cheesy at times) don’t hold back on the overall evil vibe that was so prevalent back then. Metal has always also had a close tie to horror for me, and Doomstone realize this, adding in appropriate keyboards to enhance the morbid moods. There is a lot of Mercyful Fate in here, but that’s more than all right by me, Doomstone ultimately delivering the goods. Feel the fire, feel the pain! Lyrically incredibly over the top, which, matched with the production present (good but not overly technical) wraps it all together. There is at least one famous name attached to this project, but I’ll leave the mystery here for now as I think Satanvoid is worthy on it’s own merits as an album. Interested? Check out Tirade Productions at: 1636 Diamond Springs Road, STE 102, Virginia Beach, VA, 23455

Dragonlord - Rapture
2001 Spitfire Records

Everyone I know was looking forward to this, and my initial disappointment aside, it’s a winner. Why say that? Well, I honestly expected something more original than Dimmu Borgir with Testament riffs thrown in, but the songs are memorable, and the playing is strong, so I can forgive them that. In fact, the playing is so strong, it makes me a tad suspicious. But then again, with 2/3 of superstars Sadus in there along side Eric Peterson and Steve Smyth (Vicious Rumors, Testament), would you expect anything less? John and I talked to all those guys about this when Testament came out last year, and in honesty, I’m pretty shocked as to how well Eric and Co. ended up doing here. I’m not sure what’s different here than the last two Dimmu albums (which I could and have been living without), but whatever it is, it’s there, and I’m loving it. Maybe it is the Test. flashes in there, or the use of keys in the right places. Or maybe it’s that inhuman drumming that would be unbelievable had I never seen Jon Allen in action. Whatever... You want a high quality black thrash attack and have the Aura Noir collection? There’s no decision to be made, get Dragonlord. Man, is that really Eric on vocals?

Dreams of Damnation - Let the Violence Begin
2000 Necropolis Records

There’s no way I can avoid reviewing this without making some comparison to Dark Angel, as much as I would like to avoid doing so. Everyone’s comparing this to the mighty DA, and for good reason, since Jimmy Durkin penned some of the more memorable riffs that legendary band recorded. So, does LTVB hold a candle to an epic like Darkness Descends? No, but that’s an incredibly unfair strike against them. Is LTVB any good? Yes, but the shitty mix all but drowns the riffs through most of this E.P., ironic considering the source. Honestly, had this not had the prior connection to Dark Angel, I wouldn’t have given it the amount of spins that I have so far, nothing being all that strong or memorable here. But, I can see the seeds that are planted, and with a better, more clarified mix next time around, Dreams of Damnation may erupt into the thrash monster that they could be. Until then, color me tad unimpressed and disappointed. Much as I felt when Leave Scars finally came out.

Elegy - Forbidden Fruit
2001 Noise Records

It’s funny, I’ve been going through somewhat of a time warp lately, remembering, in essence, the days when Noise was the only label of any importance it seemed. Voivod, Watchtower, Sabbat, Kreator, Vendetta, Rage... They had their finger on the pulse of the metal world through the second half of the eighties. And today? Well, as confident as you could be that killer thrash would blast from your speakers with any purchase, prog/true metal is the sound du jour now. So where do Elegy lie in the metal kingdom? Well, prog/true metal stylings, of course! But, as with fellow gallopers Kamelot, Elegy are heads and horns above the rest, offering a really sickly sweet, incredibly well produced platter of prog that “will not disappoint”. Why the parenthesized sarcasm? Well, as good as it is, there’s nothing for me to say that would be any different than another 10 albums just like it. What, the Helloween double bass is killer? It is on every album. The guitar leads rule? Yeah, nothing new. The vocals rival anything on an Yngvie album? Again, something expected and unoriginal. So, it’s consistent, and for someone wanting to hear another album of this ilk, “you won’t be disappointed”. It’s good, and it makes me want to drink beer, and maybe that’s enough for a casual listen, but I want more, dammit!

Enter My Silence - Remotecontrolled Scythe
2001 Mighty Music

Not only have Enter My Silence listened to Whoracle a lot, they’ve managed to absorb the best parts of that breakthrough album, refine what was needed and just basically come out with a killer melodic death metal album. There, that’s all you need to know, go get the disc. Need more? What else can I say, there’s absolutely nothing new here, but the “oh so familiar” tunes are so heavy here, it makes me smile. I guess what I can say is that, for me, Whoracle had so much potential, yet in the end didn’t really deliver. Remotecontrolled Scythe, on the other hand, really capitalizes on what In Flames built, yet tweaking and fine tuning things, adding in moments of clarity and airy, quiet parts to full effect. In the end, by no stretch do I claim that EMS have surpassed the mighty In Flames, but I am enjoying this more than Whoracle, how’s that? Nothing absolutely superb, but a strong album that is worth a listen.

Entombed - Uprising
2000 Threeman Recordings

So by now we all know that Entombed will never make another Clandestine, and for a while, that bothered me. Everyone I know just loves Wolverine Blues, but to me it signified the end of an era for Entombed, one that followed culminated in the poorly received Same Difference. I only “say” poorly received because I didn’t care enough to buy it, and honestly, had Uprising not been sent to me, I never would have bought it. Which would have most definitely been my loss, for the association with Man’s Ruin records has appeared to sharpen Entombed into a band which is at times reminiscent of (if anything) 80’s skate punk. Very strange, but very catchy, giving nothing but good memories and for once, rockin’ tunes that don’t seem to pander to an audience quite so much. The tracks kinda bounce along for the most part, but something feels different. The boys grew up, opening the vaults on their influences to come up with an album that sounds like it should have been recorded in Southern California 15 years ago. Should they have kept the Entombed name? Who knows, who cares. All is forgiven with this one, an album which is 100% middle finger in the air fuck you to everything commercial in the world today. A collection of anthems for all of us who refuse to grow up.

Epoch of Unlight - Caught in the Unlight
2001 The End Records

And here’s where I make some quotable scripture like “The magnitude of EOU’s Achievement cannot be measured by modern scales, nor should it, Caught in the Unlight being an album brought from the future to guide us along...” Yes, sufficiently cheesy, but now I’ve hurdled the most difficult part, which is just trying to start writing about one of my favorite albums. How can I be so sure CitU will stay a favorite? Trust me, this is timeless material here, for Epoch of Unlight are one of those rare entities that have managed to create a truly unique signature sound, not changing significantly since their last magnum opus, but instead growing and refining the talent at hand. Gone are the black metal shrieks of yore, an interesting touch in the past, but a wise move as the band has chosen to beef up their sound on this release. I maintain that EOU have that Rush “Caress of Steel-era” vibe, which is just completely fine by me. And as that album is indelibly associated with The Fountainhead (I read it for the first time while listening to COS, yes, incredibly cheesy, yes, I was a huge Rush fan), Caught in the Unlight will be associated with the zine I hurried to finish before my first child was born. Yup, for even if I’m not actively listening to it, I’m hearing it in my head, proving beyond any reasonable doubt that this album rules. Again, this’ll sound weird, but trust me, Caught in the Unlight has transcended what most contemporaries are trying to achieve, and created something to last forever. It’s kind of like an album from days past, you know, one that actually meant something because you had to save your allowance (Zeppelin 4 comes to mind for me). This is that album. And since I must try to describe what’s captured here, I’ll try happy mania... OK, that’s not even close, but what can I say, Raging black metal? That’s a disservice to the band and the reader. Yeah, it’s fast and furious, with some of the speediest drumming out there (no triggers either boys and goils!) and killer melodic axework, but I bet you’re already mentally picturing some cracker band like Dimmu or Emperor. Ferget it! This is way past that. And that’s why I say happy mania, because there’s no faux evil goin on here. Evidently Tino is really into fantasy, and that fits, the album being a perfect soundtrack for comp games like Diablo 2 or Nox (as I’ve spent many hours playing to both this and What Will Be...). OK, enough from me, because at this point, something that I’ve said must have piqued your interest enough to buy this soon to be not so hidden gem. And if not, you really are missing out on some of the best extreme music out there. Listen for the aural cameo!

Forlorn - Ad Caelestis Aes
2000 Napalm Records

Feeling particularly mellow one Friday morning, I thought that Forlorn would be the perfect way to start a melancholy day. I mean, c’mon, the band’s named FORLORN after all! Closer inspection revealed a dude with a pike thrusting himself out of a silent planet. Great, I thought, power metal dreck to deal with. Yeah right. Forlorn managed to throw me through a double loop with their deceptive packaging, for if this sounds like anything, it’s AHS-era Arcturus, which is just fine with me! Not as mind-blowingly original as it could be, since this has now already been done numerous times, but considering what I was expecting (mainly, something shitty), I am pleasantly surprised at A. how good this is, and B. how much I like this. Maybe it’s just a function of all the crap albums I’ve had to slog through recently, but this sounds refreshing at this juncture. Another album I’m reminded by is Stormblast by those black castle dudes, but I’m not sure why, since I don’t think this sounds anything like that except in maybe the atmosphere department, especially when those clean “Garm” vocals come in which screams “Bork-turus!”. This is self-described as “Viking Metal”, and maybe it is, but for once, avoid the noid and just give this a spin. Of essential listening to those who dig old Borknagar, but then super-nagar fans might know that this is completely derivative, but as I said before, it beats all the “true metal” I’ve been dealing with hands down!

From Thy Ashes - Harbinger
2000 From Thy Ashes

Realistically, this three song offering should be in the demo section of the zine (especially since it’s so small), but for various reasons I deemed it worthy to be reviewed in the sacred “album section.” For one, nothing about this disc is indicative of this being a demo. The band has an established history, the songs are well written, and the production is great. So think of this as a three song sampler of what’s to come and let’s move on. In some respects, this is almost a perfect way to introduce the band to me, for at only 16+ minutes, I’m left wanting to hear more. Unfortunately, I’m also a little stuck in thinking of things to say. What do I notice first? Really nice, smooth axework with good cymbal accentuation, which is funny, because the disc doesn’t slant towards the technical, instead being more of a “feel” album. Harbinger also spans multiple sounds in terms of style, fusing chunky bottom end riffs with some really Maiden-inspired melodies, but it’s Daniel Wamsler’s vocal delivery that really pushes this into the land of almost radio accessibility. So is that a good thing? Obviously it depends who you ask, and while I was taken a bit aback on the first few lines, I began to warm to the style, and I think it fits. Overall it’s a good combo, the almost “traditional” metal touches blending with the more mainstream vocals. Nothing new, but the stiffness factor can make or break any band trying this, and From Thy Ashes have the experience and ability to make this flow. Contact the band through Sebastian Schult at www.fromthyashes.de. Note - For those of you that made it to the November to Dismember festival last, uh, November, you might have seen FTA guitarist Sebastian playing bass for Teabag (featuring ex-members of Psychotic Waltz).

Gandalf - Rock Hell
2001 Wicked World Records

I really, really thought that Rock Hell was going to be another “Orange-Wizard” type adventure, partially because of the name, and partially due to the downright cheesy (and bad resolution) artwork. Very nice to be so, so wrong for a change. Existing in some netherworld between Sentenced, Kreator and Eucharist, Gandalf blend together some intense metal while still remembering that a good rock song should flow, not jerk around like a boated fish. I really don’t want to pick this thing apart anymore than I have to, but just let it be known that this album fucking rocks, Rock Hell also retaining an overall feel which lets you live with the music as opposed to just hearing it. Start to finish, I love it much as I do Amok-era Sentenced, and that’s really saying something there. A sure thing in a sea of possible purchases.

God Dethroned - The Ravenous
2001 Metal Blade

Hey hey kids! Everyone’s favorite Dutch blasphemers are back, faster than ever to separate your spine in just under 40 minutes time! Improving things even further from the last two opuses, GD have really been able to turn up this time due in no small part from Tony “Now in Nile” Laureano’s just joint dusting performance here. The band must have known this would be a major component, just pushing the percussion levels to the max in the mix, rhythmeister Beef content to lay in the background this go around, forsaking his trademark Tony Choy chops I’ve heard on those bootleg rehearsal tapes I have for a more pure, dare I say, more metaaaal approach. It all works this time, really giving me a kick in the ass when I needed it most (after hearing Amorphis for 4 straight hours), and not suffering so much from the track inconsistencies that were there on BB and TGG. One thing to note is that I don’t really here any outstanding tracks like TGG’s title track though, the whole thing being solid, but not exactly godlike material. Who knows, this may be a slow grow, but for now, I’m content to just sit back, not relax, and let my neural pathways clog with this oh so destructive sounds. Mandatory cover of Death’s Evil Dead closes this out. Nice.

Gunbarrel - Power-Dive
2001 LMP Records

Nooooooooo! Just looking at the cover, and I had an inkling, only an inkling mind you, of how horrific this fucking stinker of an album could be... “This would be different if he could sing” John mused, and I agree, but it would have been really killer if he could sing, and they could write songs that could capture interest for more than nanoseconds. Power dive is right, this thing in a tailspin from the moment go. The worst thing? This is like country metal, kinda reminding me of the Rednex doing Cotton Eyed Joe for the fiftieth time. “Hey, my dad’s in a band called Gun Barrel, he can play Top Jimmy’s birthday party...”

Hammerfall - Renegade
2000 Nuclear Blast Records

Renegade? Give me a fucking break, this being as contrived as anything I’ve ever heard, making absolutely no effort to offer anything new, basically just rehashing the exact same crap that smeared both previous platters. To come into this all guns blazing is just too easy, but I actually attempted to listen with an open ear this time, especially after John was like “I heard Renegade was better than their last two...” Sorry man, this sucks just as many eggs. Opening track Templars of Steel isn’t just bad; it offends with its infinitely repetitious choruses and lackadaisical feel. Oh, but then we’re just REDEEMED with a “scorcher” named aptly enough, Keep the Flame Burning. What is this, Quest for Fire? If so, then at least let Rae Dawn Chong make an appearance. But for all this, the most annoying aspect of this whole “once a joke” project is that it has the potential to be so killer, yet is apparently just kneecapped at every opportunity, namely every time vocals soar out like an eagle with a broken back. My only point of interest here? The addition of drum monster Anders Johansson, but not that you’d notice, Anders here obviously only playing with one arm as to not intrude on the “metal” aspects such as those vocals, those guitars. Now, if they had let him loose as Priest did with Simon Phillips on Sin after Sin or Stained Class, now that would have been something almost, gasp, daring. Held at gunpoint to write something positive, the album is very well produced, and as always, there are some really memorable moments (I still hate myself for being sucked into such lines as “The Dragon Lies Bleeding” off the first album), but ultimately it’s a slapdash collage of monumentous moments blown apart by a repellent force much greater than the overall magnetism of this band. At any rate, I’m no worse off now (besides a greater influx of power metal bands) after knowing this exists, but nor am I better off, if anything just more wary of what lies ahead... Yeah, these guys can play guitar and write some riffs, but is that enough? You make the call.

Hate plow - The Only Law is Survival
2000 Pavement Records

There are needs in all facets of society for innovators (those that create something truly innovative) and “replicators” (those that take those innovations and make them better somehow. Replication is fine as long as you don’t just reinvent the wheel, but add something to it, like a more streamlined design or construction from better materials. So why the intro? Because for me, Neither Hateplow nor the “other” band Malevolent Creation create anything new, but for me they do take existing forms and polish them to a killer shine. What MC does for Death Metal Hateplow do for that crusty Napalm Death grindcore style that’s oh so popular with the kids (and old metallers like me) nowadays. As it should be, The Only Law... just starts, blasting through it’s hardcore-based material for a half-hour non-stop like a, uh, Hateplow. And like most grindcore albums in my opinion, there are some serious moments of genius all but buried in the speed, which means of course that when things slow down and a killer riff rears it’s ugly head (check out Without Weapons), it’s like “Yesssss!” It’s a veritable who’s who of DM veterans here (Fasciano, Barrett, Culross) teamed with Kyle’s sick twisted growls (matched by those call and answer high grind screams) and a very noticeable bass performance by newbie Humlock. Hoo-ah, I love it, Hateplow being very predictable, but only in that what I crave to hear next, they deliver. Well done, and very killer to see live.

The Haunted - The Haunted Made Me Do It
2000 Earache Records

The Bjorler boys and Jensen have done it again, this time enlisting two seasoned pros from respectively killer thrash bands to fill in a couple of vacated spots. Dolving left the band due to frustration it would seem, but he is more than ably replaced by Face Down’s Marco Aro, who brings back some of the ATG scratchiness that was noticeably absent on the S/T debut. What stays the same here is the quality songwriting and thrash appeal, these stated to sell you on the album, heh heh. Seriously though, The Haunted are top notch, and while I still wouldn’t call either album the “Reign in Blood” of the 90s/00s, they’re both excellent albums. If I had to call a preference to one or the other, I would probably pick this one, due to the increased aggression present (especially the excellent drumming by Per Moller Jensen), but also due to the addition of a sound akin to Manic Frustration-era Trouble which appears here. Not just a guess, for Jensen agreed to the influence, apparently brought in by Jonas, who took a heavier hand in the songwriting this time around. Just killer stuff here, on par with or surpassing the debut and just leaps and bounds bigger/stronger/better than everything else. A no brainer when it comes time to drop some cash on new tunes.

Iced Earth - Horror Show
2001 Century Media Records

I’ve read a few reviews about the new Iced Earth (always a mistake before writing), and while I see mostly positives, one of the interesting trends is that a lot of people have stated that “The first three songs are among the band’s best ever!” So that means that either, like me, everyone is just reading everyone else’s work, or only the first three songs on HS are worth listening to. Well, I’ll add my two cents. Only the first track here is worth listening to, really... OK, that’s harsh, but really, the album doesn’t go anywhere, and while I can dig Iced Earth in sections, a full album (except for the phenomenal Alive in Athens) gets monotonous, fast. I attribute this to Jon Schaefer’s style. Yeah, not the most outlandish observation, since it’s really just him and Barlow that make the band, but his machine gun, staccato picking style is immediately recognizable, but also crippling at times. What I mean is, after three songs filled with rapid triplets, it all sounds the same. Granted, the man has a good sense of melody also (from Maiden), but Iced Earth tends to take 3 minutes worth of song and turn it into a 10 minute “epic”. So, the much ballyhooed “conceptual” album is here, with studio dudes Steve DiGiorgio and Richard Christy forming the rhythm section. Why? This could have been any two people thrown into Pro Tools to my ears... Save for some signature fretless work that my highly trained ears can pick out (ah haha!), there’s nothing special going on. Which I’m sure was the point, as Iced Earth was going in the direction of Death, but that leads to my question. Why get DiGiorgio and then bury him in the mix? Even on bassfest Transylvania, his parts are muted. Maybe I got a bum copy, or a premix on the promo, but I’m disappointed. And what’s with Richard Christy’s sectional drumming? It sounds like they had him play Def Leppard style, recording only his arm work and then programming in the double bass later. Seriously, listen to Wolf and tell me that’s not looped. If it’s not, I’m amazed at how they got the poster child for ADD drummers to play the same boring fill ad nauseum. Aaaanyway, I’m bashing this to no end, and it’s not all that bad, it just could have been so much more. In fact, it should have been so much more, that’s all I’m saying. So read the other reviews, and give it a listen (and prove me wrong if you can), but all I can do is shrug and hope for the best next time. And by the way, why is it cool when Iced Earth write this second grade book report lyrics, but people give King Fowley shit for Fearless Undead Machines?

Iron Savior - Dark Assault
2001 Noise Records

It’s gonna be tough explaining why I like this album and dislike, say, Primal Fear. Simply, the songs on Dark Assault, while be instantly familiar, tend to stay with me, sticking in my head like gluey metal anthems. Yeah, everything “metal” is here in all its dumb glory, lyrical snips like “Never Say Die”, Firing Your Guns” and “Seek and Destroy” are repeated Ad Infinitum for your drinking pleasure. It’s all very German “true” metal, but it’s done well by these metal veterans, and I’m enjoying the whole Iron Savior a lot more this go around. I really blame the total inundation by the labels here, but unfortunately, it is succeeding in my appreciation for this once hated form of metal. Or maybe I’m getting better at immediately writing off what sucks and what’s bearable. So, if updated “true” metal with excellent, excellent production and chunky guitars is what you seek, catch the dragons rising with solar wings to your nearest outlet and pick up the Dark Assault. Ah-aaaaaaah!

Kamelot - The Expedition
2000 Noise Records

Made especially for the Kamelot fan, and you know you’re out there, The Expedition serves as a stopgap album in between last year’s effort and the next studio presentation. A bunch of this seems immediately familiar, mostly due to the fact that we saw it recently on The Fourth Legacy. So, the question is raised, should I buy this? Well, I would say yeah, if you really want to own everything by Kamelot. The live songs don’t sound too far removed from their studio versions, with maybe the drum sound being a little punchier due to some serious bass drum triggering. A few rare tracks appear, one ballad, one anthem and one mid-paced rocker, all decent tunes, but not worth (to me) a full price tag. For what it’s worth, Kamelot still beat out many of their contemporaries in the true/power metal game, and this album has it’s moments (Knights of Arabia still stands out to me), but outside of the super fan, I don’t see to many people wanting this just for the superior packaging. Me? I’d wait for the next studio release myself.

Karma to Burn - Almost Heathen
2001 Spitfire Records

Karma to Burn, a great band now being touted as the originators of instrumental metal. I’ll give you a little bit of history here and stick to the facts. Fact one, Karma to Burn’s debut album was released with a vocalist, much to the band’s chagrin. Fact two, album two was not, and new drummer Rob was brought in for the ride. And then there’s fact three, Almost Heathen finds the same line up from the last album here, still no vocalist. OK, not the most pleasurable of reviews to read so far, but now I’ll get to the opinions. I am one of the few that really prefer the first album, in much part due to the “vocals”. The dynamics on that album are incredible, and their use of space is paralleled by maybe Kyuss. KtB hit the old sophomore slump on WWP for me, but that is long since forgotten since receiving Almost Heathen. I do still miss the vocals from the first album (surprising, since I really like instrumental music), but the songs here are either stronger, or better produced, allowing me to not notice anything lacking. I still consider these guys to be mad geniuses of rock, and when the intro to 36 kicks in, I’m hooked every time. Glad to see you boys back in town... Final verdict, matched with Clearlight to be my top pick for rock album this issue.

Lamb of God - New American Gospel
2001 Metal Blade Records

Every review I’ve seen for this so far think it rules, but I’m in disagreement as of now. Points for the band include the fact that it is full of aggression, and the album does sound like a grower, but I also hear a lot of things that remind of what I’ve heard of Slipknot, mainly the rubber band bass drums (of which 90% of the music revolves around). It’s all pretty good, and when I throw it on each time I’m impressed, but after 5 minutes my ears are just decimated by the vocal “stylings” of D. Randall Blythe, which include 5 variations of the “deathgrind” scream. No thank you. Also, since much of the music is based on the drums, they’re also waaaay up in the mix, a little too much so. Nit picking? Maybe, but for an album like this, you need those guitars in your face a little more. You KNOW that this is 1,000 times more devastating live, the kind of album you buy after seeing the band a feel a tad let down, since the energy from the show isn’t all there. So, my final verdict? Still having trouble getting through the whole thing, but give a tentative recommendation based on the just utter ferocity of the whole thing. Who knows, maybe I’ll be able to deal with the vocals at some point, I mean, I listen to Control and Resistance all the time...

Magnum Carnage - Nightmare Factory
2000 Independent

Hawaii’s answer to black metal, Magnum Carnage here are represented as they were in the past couple of years, as a one man band. Since this release, Kai has added the remaining individuals needed, and has proceeded to start raising cain here in the islands. There’s definitely a strong King/Diamond Mercyful Fate influence here again, but the band has been creating newer songs with more of an emphasis on speed and brutality, thanks to the addition of a human drummer in John Vorhees. I’ve gotten word that the band has recently demoed some of their newer material and that I’m anxious to hear. For a taste of the past and the present, check out the band at www.mp3.com, just do a search for Magnum Carnage.

Maharahj - Repetition
2001 Now or Never Records

This is really, really, really complex. Maharahj belong to the school of mathcore, with riffs a plenty that stream and swirl around, almost making no sense, but in essence being genius. Those screaming vocals are here, but aren’t mixed as high as usual, allowing them to stay dangerous without being incessantly irritating. Softer piano interludes work really well to build some tension, and also on the flip side, as release to the aggression built up here. Equal parts Cannibal Corpse as Dillinger Escape plan, there’s so much more than your average album going on here. It’s way too much to comprehend in one or 10 sittings, so be sure to listen attentively and often for maximum comprehension. You want a challenge? Here it is.

Malevolent Creation - Envenomed
2001 Pavement Records

From this start to finish, this is a total blaster, MC content to crank it up, walk in and destroy the place at 11 at all times. Don’t be fooled by the “nice” little intro, this is a beast in waiting, and there’s definitely no keyboard interlude halfway through this puppy. Still basically the same outfit that’s been cranking it out for years (perennial member changes notwithstanding), things that are different this time include much meatier production, and an almost black metal feel at times (Kill Zone). Maybe it’s because it’s the second album in a row with this lineup, maybe it’s just age, but here Malevolent are sharper than ever, this time with probably their best songs since Retribution. They may never reinvent themselves, but at least the band is not only consistent, but improves with each album. And really, that’s enough for me, knowing exactly what to expect when I throw in an MC disc, but really being blown away by the power issued forth here. Very solid death metal, and with that, you can’t go wrong.

Maze of Torment - Death Strikes
2000 Necropolis Records

In a nutshell, this reminds me of a typical death metal band playing Slayer inspired songs in the Sunlight Studios... Of course, there’s a lot more to MoT than just that, but that’ll suffice for the initial synopsis. For those of you still interested, you’re probably waiting to hear me explain why this band is the next step after Defleshed or something along those lines. Well, I guess all I can really offer is that I do like the album in bits and pieces, but it’s all too similar to ingest in one sitting. The title track rules, as do various spots during the album, some halftime breaks of particular highlight, but the album is just one big redline from start to finish, and that only works about 50% of the time for me. Maybe the guitars are a little too gutted, relying more on the monotone death growls and strictly fast beat drumming. An album like this needs strong riffs, and they are present, just all but buried under the guitar tone. It starts to sound like riffs in a blender, and I tune out. The energy is here though, so maybe I’m just a picky motherfucker, but I wanted to hear a little bit more from Maze of Torment, and it’s just not all here for me. Kinda reminds me of how I felt about Soul Reaper’s Written in Blood...

Memory Garden - Mirage
2001 Metal Blade Records

I remember Memory Garden’s last offering to be good, but not this damn good. Produced by Mike Wead, this slab o’ Swedish heaviness is the perfect mix of doom and technicality. My words won’t do it justice, but think big, soaring chords with killer melodies, ultra-tight rhythms and that guy from Confessor on vocals. I hear some Trouble and Candlemass in there, but there’s also a sense of urgency in some sections which I don’t really remember from most doom platters. So do yourself a favor and skip the mandatory intro and prepare to rock out with yet another quality offering from the land of twilight.

Moonspell - Darkness and Hope
2001 Century Media Records

I’ve never been as taken by Moonspell as everyone else seemed to be. Granted, I always thought that they had a great vibe to them, and the dark, gloomy tones had their time in my CD player, but it was only an occasional listen. So quite a conundrum here as I find Darkness and Hope more immediately irritating, yet also the Moonspell album that I’ve clocked more listening hours with so far than all the others combined. Part of this repeated listening scheme is the just awesome production job, and the rest is probably due to Ricardo attention grabbing guitar performance. Hard to say why I think the axework is so killer here, but there are more than a few times that I really notice his work. What’s irritating? Well, the band really put a lot of emphasis on Fernando’s voice this time around, and while he excels at certain voicings, some of it is just too much. He sounds like he’s wasted at times, mumbling out words of lost love. Kinda funny, kinda not. But overall, as I’ve said, I keep listening to it, so there must be some serious hooks, and I’d say that 75% of the material is strong. But then, for every three good tracks, one like the incredibly repetitious Than the Serpent in My Hands kicks in. Better than fair this time around.

Morbid Angel - Gateways to Annihilation
2000 Earache Records

Pretty much the last band left on Earache from the glory days, Morbid Angel are always a safe bet to get your $12-$16 worth. MA are one of those bands that you don’t compare and contrast to other bands, you rate them as opposed to their prior accomplishments. Most people don’t like Domination or are left a little flat by Formulas, but, like Slayer used to be, MA still put out a good album, even if it’s a little disappointing by the band’s own standards. Simply put, I like the new Morbid Angel album, and I’ll tell you why... The past is still present in terms of the guitar/drum driven sound, but there seems to be a lot more space and room for the riffs to breathe at numerous times in the album. There’s no real “groove” here, but there is more feel than the band’s prior exercises in strict brutality. No, the band haven’t reinvented themselves, but I find more maturity here along with the everquick tendons in the band. I also find don’t miss David Vincent at all, Steve Tucker filling the role almost to a T, which is good or not depending on how much you wanted a change in scenery vocally. So, nothing “to die for” in terms of a new find, or some avante garde playing, it’s just simply another good album by a great band. I recommend it, and I also recommend just forgetting who the band were, and all of the controversy/comparisons that seem to follow these guys. Nit-pick complaint? The triggered drums just sound totally like a drum machine on the super fast numbers.

Mortician - Domain of Death
2001 Relapse Records

Gorehound Relapse mainstays Mortician are back for another dose, and no, nothing’s really changed. Which means, you will still either love, or hate, the new Mortician album. There are some moments that belong to Roger Beaujard here, said in response to the more “experimental” sections that pop up every once in a while. But let’s face it, when you tune down almost an octave, it’s kinda hard to get any real definition in tone, so you have to rely on the shear brutality of the songs to please the average Mortician fan (I’m drawing a mental picture right now...). Oh yeah, and lots of samples from horror movies. So why do I still like Mortician? Because, like Napolean Wilson, they have their moments, and taken it severed tongue in cheek, I dig the whole vibe. The DIY attitude here also helps, with Roger pretty much doing the whole thing in his home studio (if not all of it). These guys are diehards dedicated to what they do, and are pretty much a true cult band in my opinion. Again, love em or hate em, they’re back, and Domain of Death is as heavy as they get, and yes Virginia, the Mortician sound has been left intact.

Mystick Krewe of Clearlight, The - S/T
2001 Tee-Pee Records

This is, by far, the coolest disc I’ve received this issue. It’s not the heaviest (by far), nor my absolute favorite, but man does it sizzle. You’re going to hear the term “swamp boogie” associated with this disc here and elsewhere, but it’s accurate, Clearlight really going for groove here above anything else. The whole album flows, almost even more so because it’s completely instrumental, no vocals to add or detract from the musicality. How much NOLA influence is present here? Quite a bit, I would say. Except this isn’t limited to that as many other things start to become, and in reality, this just reminds me of good old fashioned progressive rock with an emphasis on keys. And keyboards are exactly what end up being the true icing here, really elevating the music to new levels. And you know what, the whole thing just has a lot of space to it, allowing the airy parts to breathe but still retaining enough bite to scald you a little when the band starts to cook. As you can tell, this isn’t “me-tal” by any stretch, but for those of you out there who can appreciate some true southern fried good times, this is the disc for you. Frankly, I think it rules, and every every time it hits my player there are at least 15 guaranteed listens before I move on. Definitely check this out.

Napalm Death - Enemy of the Music Business
2001 Spitfire Records

I heard a lot of fuss about this album way before I got it, and while I can see that some of it is justified, man the listenability of this thing is close to zilch at close proximities. I guess on the way home, battling rush hour traffic in the rain, this would be ample fuel for the fire, or maybe just sitting in a club getting smashed out of your mind, but as for sitting here and listening to it? A little too much blast eminating from my speakers. Which is testament to the power of this thing, I guess, for Enemy of the Music Business is full steam ahead for the entire duration, if that’s what you’re after. I guess I wanted more dynamics, and more visitation to the dissonance that resides within this beast, but not this time. Obvious that this was fueled by anger, for that’s about the only emotion displayed here. Then again, I never really got into Napalm Death as an album band, my tapes consisting of the “greatest hits” of the band. Fans certainly won’t be disappointed. In fact, they’ll be ecstatic, and I’m sure new ones will be coming. It is good, it’s just a bit too much for one sitting, especially under the circumstances of my listening. But that’s just my opinion, and if you’ve been reading this going “what an old fart! You’re full of shit, maaaaaaan...” then by all means, pick this one up for quality mayhem.

Nightwish - Wishmaster
2000 Century Media

Records If the idea of a marriage between prog/power metal and opera makes you nervous, don’t bother reading any more of this review. No, really, I mean it, go check out the Dying Fetus review, or better yet, Run straight to the Nile write up, this album is that pompous. “But is it any good?” you ask. Yeah, it’s cool, and after Into the Pandemonium and any of the later Therion albums, this was ripe to come along, and granted, they are well received. The whole thing is kinda novel to me, with there being some nice, chunky riffs and rhythms here, but also, a lot (a lot) of keyboards and of course, the operatic vocals... As a flavor enhancer on certain CDs, the opera thing is cool, but when it’s so pervasive... I guess it’s obviously the selling point of this band, and that’s not enough to interest me on Wishmaster (as it wasn’t on Oceanborn) for the long haul. Not unpleasant to hear (as regular opera would be), but not something I’ll ever want to hear again either, I imagine. Although, the next time someone asks me to recommend some “heavy opera” I can pull out Wishmaster.

Ninth Level
Demo 2000

Ultra technical metal complete with programmed impossible drums and quite good keyboard flourishes. There’s the short version, the longer version of the review heaping praise on some promising musicians who have created a very complicated demo’s worth of material in the vein of bands like Theory in Practice. Ninth level aren’t quite as polished as they will be now, but I love this kind of stuff, just off the wall changes that really challenge the listener to keep pace... Very interesting lyrics here as well, except I don’t know how well people are going to accept the Aztec imagery, although they were really into human sacrifice... Ultimately, it’s the hyper-kinetic musicianship coupled with an almost southern rock underbelly that sells me. It’s a demo you just have to hear for yourself to figure out. And discover them now before the masses do, the band recently signing to The End Records and set to record their first album in the next 6 months. For the latest go to www.ninthlevel.net.

Oathean - The Eyes of Tremendous Sorrow
1998 Indie Records

Yeah, this is old, but as it’s better than most of the records I’ve been hearing lately coupled with the fact that it’s extreme metal from Korea, I deemed it worthy to review now. Well, that and that Andreas from The End made me hear it so many times in the car that the riffs became one with my psyche... The first things I notice are what I assume to be traditional Korean melodies into the music? I’m not sure because my ignorance precedes me here, but the use of what I think are reeded instruments into the instrumental sections I’ve certainly never heard before, and doesn’t feel to be done for the sake of being difference. There’s some definite Dissection in here, but what album now doesn’t appear to have that, and Oathean have managed to create strong songs which don’t bastardize or plagiarize, just exist on their own dimension. Some of the lead guitar work is a bit strong, in that you can feel the pain, almost too much so, but from what I’ve heard of traditional Chinese music and instruments I can liken to the sound of 1,000 cats dying. So, these scraping leads may be more of that “traditional” element marching in. At any rate, The Eyes of Tremendous Sorrow is an excellent album from a young group that aren’t afraid to try something new. Not quite death, not quite black, Oathean are a band that any extreme metalhead with a taste for melody owes themselves to check out. highly recommended. http://www.shinburo.com/~oathean.

Odes of Ecstacy - Deceitful Melody
2000 The End Records

Like about half of what I get from this truly innovative label, my feelings surrounding the new Odes of Ecstacy were more nurtured by repulsion and fear than anything else. Frankly, I really didn’t want to listen to this album, yet... ...it grew on me. When I say here that it grew on me, I don’t mean that I heard the title track on “The Edge” radio 6 billion times until I walked around akin to a radio controlled automaton drinking Bud Light and whooping for no reason. Instead, the album started to grow on me by the last track. So, now there’s a dilemma. The first few tracks really turned me off, but the last track was killer, something like what Dream Theater would have sounded like if they had made money off of Awake. So there must be something I’m missing, for unless the band decided to cover some obscure Greek prog metal band come track 8, I’m missing the forest for the trees. And sure enough, I was. I still don’t like the first track, and the vocals leave something to be desired, but the band knows how to write a song, and once I became acclimated to the band’s sound, I could begin to appreciate the obvious time and love that was put into this opus. The funny thing is, it’s like watching a “foreign” movie after seeing 6,000 Hollywood hack jobs. The movie may seem slow, or have no obvious story, but you know what, you remember the film. These albums are the same way. After 60 power metal abortions, this album doesn’t sound right. It’s missing... something. Yeah, the blueprints for a modern metal album. And you know what? I remember the songs, something that keeps me coming back and discovering something new time and again.

Onward - Evermoving
2000 Century Media Records

So the question remains, how can I state my preference for this over say, Primal Fear? Honestly, I have no idea, Onward not being much different from their Teutonic companion bands, but it could lie in the vocal delivery of “L.A. based Michael Grant” (I love writing stuff like that), but honestly, I’d say it’s the way that I already knew most of these songs from the band’s debut performance at the “L.A. based Metalfest” last November. Oh yeah, and there’s some stink about the guitarist being, what was it, oh yeah, a virtuoso who released a solo album on Shrapnel. So, to the axe layman, is that impressive? Yeah, the guitar work seems pretty killer, but not mind-blowingly so. It is though, THE focus of the album, and I guess that’s what Century Media and everyone else saw first. For me though, it’s the songs, man, the songs! That and bassist Randy LaFrance, who is just such THE MAN!!! I’m telling you, come next year, everyone’s gonna be wearing oxford shirts under their metal T’s. Anyway, evermoving Onward, check out these guys for your next dose of American based power metal/guitar godliness. But just remember Randy LaFrance, who I guarantee is THE heart and soul of the band. Randy, Ran-DY!!!

Pig Destroyer - Prowler in the Yard
2001 Relapse Records

Yeeeeeeeeeeoooooooooowwwwwwww! Ready to write this off as another “Riffblastscream” release from Relapse, I only had to wade through two minutes of sampled intro before having my brain just completely pulverized. Yeah, a collection of 30 second songs annoys me also, but a bunch of these flow together to make one longer track, so think as the index marks as places to get to the fave parts, if you can decipher what the hell’s going on. Worth it to those who know exactly who you are, and are looking for another soundtrack to inner city warfare. Would be around 20 minutes in length if not for the droners and mandatory disturbing spoken word outro. OK, it is another “Riffblastscream” album, but it’s a good one. Get it, live it, love it, hate it, listen.

Pissing Razors - Fields of Disbelief
2000 Noise Records

The third time is most definitely the charm for the PR machine (not counting their indie release way back when...). I’m not sure whether to credit ex-roadie new axeman Cesar Soto for a lot of the change, but as his name is linked to almost half the songwriting now (in the past handled mainly by drum god Eddy Garcia), I’d say hell yeah. The band is tight, almost inhumanly so, complete with a total cyberthrash production which really builds the levels of aggression here. Pissing Razors were always good, but here I’d say they’re better, songs retaining the crunch but adding layers of syncopation and melody that make things more 3 dimensional to my ears. Things are also faster (You’ll Never Know), forcing everyone to finally realize the drum potential here. Check out Eddy’s use of three under two or cymbal/snare paradiddle patterns to see what I mean. Sadly, this album is now to be known as the swan song for vocalist Joe Rodriguez, who left to spend time with his family, but what a note to leave on. Ultimately, It’s killer to see the band retain their aggro-roots and also be able to expand on the sound that their relentless touring is making famous.

Primal Fear - Nuclear Fire
2000 Nuclear Blast Records

C’mon, sing with me!!!! Uaaaaaaaaaaaah! The album cover’s the saaaaaame, the songs still remaaaaaaaaains, if you dig Helloween you will looooooooove thiiiiiis!!! Testosterone flows, my thought patterns slow, living for metal it shooooooows! NBA is no more, they’ve shut down the store, Germany, drop bands like this I do imploooooore!!!! Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaah!!!!!!!! I possess vocal chords from the gooooooods, my arms like piston roooooooods, I’ll give metal to all you poor soaaahhhhhhds. But the song structures stiiiiiiiiiink, listener pushed to the brink, hopes of oringinal albums being to siiiiink. We’ve come to the end, my frieeeend. My prose I suppose with thoughtlessness grooooows, it’s time to eat a 12 gauge. Sing for me!!!!

Ram-Zet - Pure Therapy
2000 Spikefarm Records

Much as with the recent Jorgen Sandstrom-Cyber Christ project, Ram-Zet fuses heavy industrial leanings with some wickedly dark and heavy riffs. The bottom line is that this is almost as enjoyable as that past release for me. I say almost here because at this stage, I’m listening to separate parts, not songs as an entire entity, which, coupled with the incredibly techno drum sounds, tend to be a bit acidic. But that’s not always bad, and picking apart the performances, I must say that the drumming rules, truly entering human drum machine territory here, driving forth this beast of war at all times. This probably sounds like a bunch of other bands, but either I can’t remember or don’t know them, for this sounds like some bastard child of Meshuggah and Godflesh, while managing to really end up sounding like neither in the end. And in the end, we’re left with just the facts, here being that Pure Therapy is one hell of a aggressive ride, even with the violins and female Queen-esque vocals, and I like it.

Reign of Terror, The- Sacred Ground
2001 LMP Records

The world needs a hero, a guitar hero that is, and Joe Stump looks like the man for job. For Stumpy Joe just rules this album, riffing and slicing all the way to the bone on every track. Want more? Tough shit, you won’t get it, for this is a guitar hero album buddy, all you drum and bass wimps hit the road. Pick any random track and the sweet sounds of Yngwie will reach your ears. Take it and run my friend, take it and run.

Rising Faith - Imagination
2000 Independent Release

From the stacks of power metal releases I’ve received during this latest onslaught, two discs contain tracks that I finding memorable, Onward’s debut album, and this Swedish indie. Why is this album any better than the slew of other, similar platters? I’m not sure, Kristian Wallin’s vocals straying into taboo Sacred Steel territory on occasion, but even then, the melodies (or anti-melodies) stick in my head and run rampant. Riff-wise, the band is more than up to the battle, and while things seem a bit familiar, I’m also hearing more Maiden in these here hills, a very positive thing to my ears. It’s the standard double bass/twin guitar attack, but it’s done extremely well (an Andy LaRocque prod. job doesn’t hurt), and there is something here that helps the separation from other groups. You know, that certain something special... The bottom line? I like it, I like it a lot, the 20 minute playing time really helping to keep the attack swift and merciless. Only point I would bring up is the question of whether I’m nuts or are a lot of those vocals off key? Doesn’t matter in the end though, since I’m singing along, stray notes and all. A “metal” metal band worth checking out, but since you can’t find this album in stores, be sure to fly on your winged horse to the Rising Faith website at http://www.risingfaith.com

Run Devil Run - Sinking Deeper
2000 Victory Records

Even had I not known that Run Devil Run covered the Cro-Mags here, their indelible impression on this Ohio based band would have been more than evident. The vocals, the guitar tone, everything but the feel is completely reminiscent of The Age of Quarrel-era ‘Mags, and hey, who can blame RDR for wanting to go back there? The irony? Even with today’s production to boost this platter, it can’t top an album that came out over 15 years ago. What have we learned? Granted, everything here sounds fairly decent, and the songs can stand on their own at times, but for the most part, everything but the Gorilla Biscuits cover (which sounds like, uh, Gorilla Biscuits), just smacks of Cro-Magnon plagiarism. So I guess now we get into the ethical question of origination vs imitation. We all know that bands will originate, and then they will be copied, but for me, the latter band must add something, not just be content to be a [Black Sabbath, Exhorder, Maiden, Cro-Mags] clone, which is where Run Devil Run appear to exist for now. The band sounds tight, but the shining moment is again when they cover It’s the Limit, providing release for those that had been just waiting, no, craving, the inevitable cover of the legendary C-Ms... Granted, songs like Hate Breed Hate show promise, but until the band decides to strike out as a separate entity, I’d rather just throw on the immensely more noble Age of Quarrel. Oh, and did I mention the none too subtle Hare Krishna overtones?

Shadow - S/T
2001 Century Media Records

For me, there are two schools of thought on production of materials... There are the innovators, and the refiners. In other words, one group of people sits around and creates music that no one has really heard before, or takes new ideas to infuse a stagnant genre. The other group watches these progressions and figures out how to make it better. These two groups both succeed in their own ways for me because I either want to hear something new or done better. Shadow (probably the most appropriate moniker this issue) really does neither. They’ve got a lot of “hype factor” for being from Japan and having a female vocalist that sounds like a man (huh?) but it’s really nothing that you haven’t heard before. With bands like Exhumed or Impaled, yeah, it’s Carcass, but there’s the changes inherent from being second generation. Here this sounds (to my ears) a lot like the albums that Arch Enemy is still putting out. And that’s not to say that the band doesn’t have chops or some catchy riffs. I like what I hear, but nothing stays with me, and I heard the album 10 times in a row one day. The vocals are rough and tumble, but so are Arch Enemy’s now, and guess what, their singer’s female as well. Why I am I so cynical? Maybe because I’ve just gotten album’s from Sigh and Epoch of Unlight, one a band that goes in new directions, then other one that has refined a genre dangerously close to extinction for me. So when I throw in Shadow, I don’t get that same tinge of excitement as 1996 when the iron giants of Gothenburg were releasing their masterpieces. Excellent production, and safe for fans of this sound. But I’m looking for something more. Completely biased, and I’m sorry to the band, who obviously put a lot of hard work into this album, but if I were your producer, I’d have you take more chances.

Sigh - Imaginary Sonicscapes
2001 Century Media Records

Chances like Sigh take here. But of course, that’s nothing new for these heavy metal pioneers, always throwing something new into the musical stew. In fact, the only people I can hear Sigh ripping of blatantly are themselves, IS not that far removed from their last offering, Dread Dreams. Really, it almost seems as though they (in my imagination) less than happy with the sounds on the previous outing, and given a second chance here, have taken a lot of the same ideas and made them really, just sound better. You can’t describe what these guys do; you just have to trust me that it’s genius work, and if you have some room for the uncommon in you, check this out. I remember reading reviews of Sigh years ago and finally picking up one of their E.P.s... Black metal it was not, which at first was a definite minus, since that is what everyone seemed fit to call it. You could imagine the soundtrack from a 70s porn flick mixed in with some killer distortion and a hellbound vocalist, but like I said before, just listen to it, OK? Listening to this again (for like the millionth time this month), I’m still finding something new and unexpected here, Sigh not exactly forcing in changes or weird keyboard effects, but they’re just sorta there. Fitting, to say the least, it guarantees that you’ll never get bored listening to this. As I leave this “review”, just know that these guys are gods, and while maybe not your standard metal band that knows how to swing a hammer and a mug of mead, they have musical talent and creativity, something dreadfully lacking in 90% of the releases this year.

Skinless - Foreshadowing our Demise
2001 Relapse Records

And speaking of which... Well, that’s not really fair, Skinless happening to come in directly after the mega-original Sigh, but even comparisons aside, Skinless definitely don’t get any innovation awards from me. In honesty, Skinless are a band that have to be seen live to be appreciated. To taste and feel the energy that steams from these guys. Because when I hear FoD, I like the sounds, but man is it boring. It’s heavy, and has that whole “head down Cannibal Corpse” thing going, but I guess that what kept bands like CC and Dying Fetus, Immolation (you know, deaaaath metal) interesting for me was some intricacies in the axework, something just not really here. It all kinda falls on the grunts and double bass (of which there is plenty), but it’s not enough for a guaranteed repeat listen. I will give it this though. Right after I got it, I hated it. Four months later, I find it much more appealing. So, I may regret this review in another 4 months, finding the godliness within, but for now, I recommend to those dudes that eternally walk with the devil sign up, and the head banging the floor.

Skyclad - Folkemon
2000 Nuclear Blast Records

By now I’m sure everyone’s at least heard of Skyclad, the entity that grew from Sabbat into a folk-infused group with a heavy sense of irony as well as melody. “In Extremo!” you’re already screaming. Well, that’s Metal Blade’s answer, but Skyclad are a bit deeper to me, and while at this juncture I can still only absorb bits and pieces of the mighty ‘clad before hitting overload, I’m pretty surprised to find myself enjoying Folkemon, probably a lot more than I should. I’ve never gotten into the older material too much, and I still have Silent Whales, but the whole “Ren Fair Rock” thing was never my cup o’ mead. And that’s where I’m digging Folkemon, the riffs being really strong, building the proper foundation for the ren fair frilly overtones to fill things out, not be the main point of attention. And, as always, Walkyier’s lyrics and vocals could possibly be of enough interest for most people to pick this album up, his writing style being light years beyond his “contemporaries”. Still a little too much for me, but I can see that this is a good album, and honestly, I was pretty damn shocked the first listen, Folkemon being one catchy album. Well, we all know now that Walkyier is out of Skyclad, replaced by longtime producer Kevin Ridley, we’ll just have to see what happens from here...

Soilwork - A Predator’s Portrait
2001 Nuclear Blast Records

Enter a band’s finest hour, for not only have Soilwork delivered here an album worthy of their last two achievements, they’ve far surpassed everyone’s expectations and raised the bar for metal. I can’t put my finger on the impetus for the major leap forward here, for things have stayed roughly the same since last time, and maybe that’s it right there. This second recorded incarnation of the band is brutally solid, creative, and obviously works magic together. The songs are just that, actual songs which weave and flow as opposed to a pile of riffs from demented minds. It’s been stated here and elsewhere that these guys are excellent musicians, so I won’t bore you with the specifics, but I will add that I’m incredibly impressed with the forward progression that Bjorn “Speed” Strid has made since last time. Not content to shred his larynx for eternity, Strid now incorporates good clean vocals in appropriate places. Mikael from Opeth makes a guest appearance, thus saving me from making the obligatory connection to another creative Swedish force. And in the end, as great as the songs, the leads, the vocals and the drumming are, it’s the overall production of this thing that blows me away every time. I’d be hard pressed to come up with another metal album that Studio Fredman, no scratch that, ANY studio has put out that just sounds so good, so alive. I mean, this thing has a force of it’s own, an inertial motion that is, for lack of a better term, unstoppable. Listen to APP and tell me you’ve heard a more vibrant guitar sound, or better sounding drums (which, BTW, are as live sounding as they get), all played by masters of their craft. But in the end, A Predator’s Portrait is an album of songs by an excellent band, and if you think about what that is really supposed to mean, you’ll agree that’s the highest praise I can give this. At $12 ($10 at www.theendrecords.com!!) it’s the best investment in metal you’ll make.

Somber - S/T Demo
2000 Independent

I just knocked over a whole stack of CDs to get this out, so it better be good. And unfortunately, it’s not. They’ve got this whole Shadow’s Fall thing going on, but SF had better production on their last album, and here the bass drums are so lost, all the low end just sounds like one big rumble. The guitars are loud, probably too loud, but it was also engineered by one of the guitarists, so go figure. It was also recorded live, which does capture some feel to it, but the whole thing is real chaotic at times, sounds just flying out from all directions, and that gets annoying. The Gothenburg influences are cool at times, but the whole thing just sounds like mush most of the time, and then off key background vocals kick in. So I’m left here feeling guilty for panning this, but also wishing the band luck in refining the sound more and getting better clarity in the production. Hey, as I write this, here’s another guitar solo mixed 10% louder than the rest of the mix...

Spectral Forge
Demo 2000

These guys claim to be formed from various “sub-genres” of metal to form something unique. Well, if that was the goal, I’d say that it’s pretty much achieved, now work on tightening things up a bit and get into a good studio for a proper recording. I only say this because I hear some pretty cool ideas, but man, most of this is just all over the place. The best way for me to describe this is that Spectral Forge are one of those bands that you’d see at like 3:00 PM on a Friday at the Metalfest. Seeds of something bigger, but definite room for improvement. But, the demo is also FREE, something to consider here. So, if you want to hear some whacked out metal, write to: Alex Kobylkevich, 943 Sage Road, West Chester, PA 19382. At least send him something for media and postage though...

Steel Prophet - Book of the Dead
2001 Nuclear Blast Records

Within a short span, Steel Prophet has managed to release now three strong albums in a row. Maybe work a little too hard, since BotD also introduces yet another drummer to the Iron Oracle fold. What’s that sound, tell me what’s a happenin? OK, strap in and I’ll describe as we go... Kicking off with a nice midpaced burner (When 6 was 9) these Copper Soothsayers keep the Maidenisms flowing throughout, save for “power ballad” Burning into Blackness. Honestly, the album just looks and sounds great, nothing but class here. So what’s new? Nothing, this tribe of Lead Diviners content to just make another strong, well, Steel Prophet album. But I guess the strongest recommendation I can give is that this is another “True Prog” album that I can stand behind, even allowing the hyper melodic vocals to sink in. The flip side to Vomitory’s Revelation Nausea. Re-reading, not the best review in that there’s not a lot of meat here, but that just may be the problem, for like Vanilla ice cream, it tastes great, but how to describe the taste? It’s just... Vanilla.

Supershine - S/T
2000 Metal Blade Records

The marriage of King’s X and Trouble sounds just like that to me, Trouble riffs with King’s X vocal melodies. Not that that’s a bad thing, I like both bands, but like Reese’s delicious peanut butter cups, is the sound sensational? Errr, yeah, but I say that half-heartedly, Supershine really sounding at times like a lot of recycled Trouble riffs with Doug Pinnick almost doing scat vocals over them. Meaning that there aren’t really lyrics that I recognize, a lot of oohing and ahhing. Pinnick’s got a real soulful voice though, so he’s able to get away with this most of the time, and the melodies (both guitar and vocal) are strong and if you like either respective band, you’re apt to get hooked in. If I were rating (which I’m not), this would get about a 7 at this point for being a relatively strong album, but nothing otherworldy just yet. Pretty cool stuff though, and as we’re not going to get any Trouble for a while it seems, this should more than suffice.

Symphony X - V
2000 Metal Blade Records

Symphony is right, this being some prime time progressive metal right here. The main immediate drawing factor for me here (besides being calculus metal that makes me thinnk) is the guitar tone. Usually (although the diehard may disagree) it seems that a lot of prog metal contains more lead based tone throughout, while S-X’s Michael Romeo (what a NAME!!!) produced himself a killer meaty tone which makes this disc almost sound like a heavy Yes/Utopia descendent, rather than a power metal offshoot. Of course vocally we stick to the higher register, but it’s more Queensryche/Fates Warning than say, Sacred Steel. Requisite killer musical performances as expected, but the drums are a special highlight, tasteful, yet really given room to stretch out in areas. Overall, a killer disc which could have been way too artsy-fartsy but instead beckons to the inner prog demons within. An epic display of virtuosity that you just know is revered in European circles complete with killer song craftsmanship and production. What more could you ask for? Nothing, so feel assured in this being your next prog metal listen.

Syrinx - Crystal Cliffs
2000 Season of Mist Records

Autopsy report: Dream Theater inspired progressive tunage with a severe advanced Alderisms. Cause of Death appears to be auto-strangulation by tightened vocal chords. The layman’s version? Serious metallings from these enigmatic dudes, with an advanced degree from the DT/Fates Warning school of progression. No, those aren’t the only two prog metal bands I can think of to draw the necessary comparisons, but why compare to comparisons, eh? But before you pigeon hole Syrinx, these guys don’t stop with the prog (although vocally things stick to No Exit/ Perfect Symmetry-era Ray Alder all the way), for I hear the riff from At Dawn they Sleep pop in there, as well as other more death inspired moments which lean this away from the strictness of power metal (of which I need not hear more). As is usually the case with these releases, musicianship is superb, which leaves the listener to either have to be a musical geek (of which I can be accused) or for the songs to be strong on their own merit, with minimal noodling. Well, I guess Crystal Cliffs is a mixture of both, for this is a little too “technical” for the average Obituary fan, but there are sufficient moments where songs retain life, not becoming instantly forgettable. I do sense some apparent riff-piracy here, most notably on Frozen Tears (At Dawn they Freeze) and Nightmare of War (in The Arena), but that’s OK, since I am definitely a little more anal than most when it comes to this. Case in point, everyone loves Onslaught, but I think that they just rewrite past albums and add new lyrics (i.e. In Search of Sanity = Master of Puppets). Whatever, I’ll shut up now, but leave with the knowledge that Syrinx have made not a great prog metal release here, but one that is better than most, something that I wouldn’t be hesitant to revisit, reminding me at times of the first Mekong Delta CD which I just found again recently.

Tad Morose - Undead
2001 Century Media Records

Honestly, when I first heard this “Tad Morose? Tad Queensryche is more like it!”, but as I give Undead the mandatory repeat listens, there’s more going on than simple cloning. It’s not that things are necessarily much different per se, but Tad Morose do what they do pretty damn well, and that’s almost enough to make this a sure pick album. But, I say almost, because as well as these guys can play, or as catchy as the songs can be at times, there’s just something missing here. Maybe it’s feel, or honestly, but some of this just falls a tad flat, and the lack of imagination during the choruses gets old real fast. You know what I mean, Verse, Chorus (repeat 12X), Verse, Chorus (repeat 12X). Yet another Power Metal album with an Egyptian themed cover from Century Media this time around (Onward), which just doesn’t make sense. Style wise, definitely in that FatesNeverQueensTheatre genre, which is cool, but as I said, those chugging riffs don’t have the something, maybe it’s balls, of an album like Lefay’s last release. Solid stuff that you would expect from a rhythm section is here, and vocally Urban Breed is the best and worst of all the past icons of the larynx mashed together. A true wailer, it reaches the love it or hate it stage. I can deal with it most of the time until the repeating choruses. At the end of the day, I feel bad not giving this a totally glowing review, as it’s a good solid album, but something’s just not here for me, that unknown factor that pushes an album into the mandatory zone.

Transatlantic - Bridge Across Forever
2001 Metal Blade Records

I was pretty excited to get this at first, really enjoying the recent Dream Theater DVD and wanting to hear what overplayer extraordinaire Mike Portnoy would do with some legends in the field. The result is somewhat unexpected, more than half of BAF being strong kick ass east meets west, old meets new technical music. Yeah, this could be at home on Sensory or Magna Carta, but I guess having Neal Morse from Spock’s Beard gave this the Metal Blade in. All in all it’s pretty cool, but for me, half the tracks (but not half the album) are really dated, Todd Rundgren throw away material. And another thing, I’m really not into the vocals, anytime someone throws in “with Beatles-like harmonies” I’m instantly pissed off. But I’ll forgive ‘em, this being a supergroup, and most likely a group of large egos where everyone wants a piece of the vocal action, and with vocal harmonizers available, hey, I’d wanna sing as well! So it’s cool, barring some times that remind me of having to go see Godspell on stage in elementary school. Not as technical as Dream Theater or as adept as Liquid Tension, one more selling point for some would be the recent inclusion of Marillion’s Pete Trewevas on bass, but as I was never impressed there before, it does nothing for me now. A strong B-.

V/A - Overlord 2 (A Tribute to Metallica)
2001 Dwell Records

OK, now I’m pissed... Don’t even want to review this one, but I’ll do it just to warn those unsuspecting buyers out there who would otherwise be willing to feed the money hungry “tribute” label known as Dwell Records. I remember talking to a guy once who wanted to start a band a few years back when Garage Inc. came out. He’s like “Hey, did you hear that cover of Turn the Page by Metallica?” “Yeah...” “Yeah, I want to cover that song in my band!” What?! Cover a cover that was just released? Maybe I just don’t get it, but you shouldn’t cover covers, and to pay “tribute” to band that still regularly perform these songs live just doesn’t make sense... I’ve heard the argument that this helps unknown bands from like, Kentucky, gain exposure that all the bands in L.A. inherit by definition (uh huh), but since when has helping young bands been the prime motive for any record label in the last 10 years? Yeah, you gotta make money to survive, I know, but show a little integrity at some point and I’ll give you credit. Plus, I see the same damn bands on every “tribute”. If these bands have so many damn influences then why do they all sound the same? OK, I’ll still go through this “for the bands...”. Mystifier - Phantom Lord Interesting choice, done fairly well. Verrry typical growls and double bass through almost the whole thing though. Some Metallica flavor in there so I can almost believe that these guys heard Kill ‘Em All before trying to cover the song. Krabathor - The Four Horseman These guys are too good for this comp, and this is probably the best track on here. Nice and meaty with that killer backbeat though the whole track. Is that Paul I hear on vocals? Solarisis - Nothing Else Matters by far the most original take and the second (and probably last) reason to buy this. Given a major kick in the ass tempo wise, but not blastbeat central, instead giving an old Gothenburg (Lunar Strain/Skydancer) mood to things. Nice. New Eden - Ride the Lightning Great guitar work. Uh, Great guitar work... Not a bad cover, but definitely a guitar band. Pretty close to old Metallica, but too much posturing. Last Chapter - Escape Interesting choice, even though this is one of my least favorite ‘tallica tracks. vocals on the verses drag this down a tad. Soulless - Motorbreath They botched the drum intro but otherwise this is a standard to above rendition of one of my faves. Musically only of course, for the vomit vocals just SUCK thank you very much goodnight. Noctuary - Leper Messiah Pet peeve here because I never could stand this track (plodding is the right word), but I’ve heard good things about Noctuary, so... What the hell happened? More vomit vocals just ruin this and do everything but convert me to this. Just what I wanted to hear, off key yelpings like “Bowwwww to Leper Messiaaaaah!”. From the Depths - For whom the Bell Tolls - Just like Leper Messiah in my record books. My copy of RTL skips on this track and you know what, I never even notice. More good guitar work but so plodding... Even the one dude in the band was so bored that he fell asleep for the photo shoot! Diabolic - The God that Failed - This track must be a joke, because not only is it the worst track on the album, it sounds like a bunch of kids getting together for the first time and playing Metallica. Horrible vocals, horrible vocals, another reason not to do drugs. Aliens must have come and possessed Diabolic during this session. Abominant - Battery - Here’s what happens when you take out all the bumps and turns from Master of Puppets and play it straight. It’s... boring. One of the great things about Metallica was that they could play with a heavy groove, and even though Ulrich is all over the place, he had a distinguishable style. This track just sounds weird. Either adapt the song to your own style, or do it right. The blastbeats come in cuz it sounds like the drummer doesn’t know what else to do. Two big thumbs down. Blasphemy Divine - Sanitarium OK guitar work, more evil elf mewlings ruin it. Coffin Texts - The Call of Ktulu and here I thought redemption would be found. Nope. The usually strong Coffin Texts start things off strong but unfortunately the production just stinks. It sounds like the drums were recorded on another planet and spliced together. Big disappointment as I hold the band in high regard. So there you have it, a big steaming pile. I think this sucks, but this’ll sell, thus fueling Dwell’s desire to make ten more tribute albums.

V/A - Scream Forth Blasphemy (A Tribute to Morbid Angel)
2000 Dwell Records

Yup, another one. It really does seem quite strange to review this “tribute” album right after receiving the newest album from the band to whom this “tribute” is to be made. So, I could spend the next few lines discussing the pros and cons of tribute albums to bands that continue to record and progress, but what’s the point, for either you think it’s totally cool to hear up and coming bands try their best to emulate their idols, or you think that it’s pointless to try and redo perfection. Want to hear drummers just fall apart trying to play like Pete Sandoval? It’s here. Want to hear note for note replications of guitar solos? Look no further. Granted, there are a few choice covers, but enough to buy this? Not unless hearing The Chasm’s take on Abominations is worth $15 (one of the highlights, by the way). I feel the same way as I do about some of the Slayer tributes, I’d rather just hear the originals... As for tributes in general, a cool idea at times, but there are just way too fucking many floating around right now... I’d rather hear a compilation of originals from unknown bands to get me interested.

Vomitory - Revelation Nausea
2001 Metal Blade Records

Now here’s an album that offers absolutely nothing new or creative to the death metal scene, but still rules nonetheless. It’s a near perfect display of excellence through execution, reminding me at times of a souped up Seance, maybe in part to that heavy as balls Berno Studio production. Blast beat dominated croaking vocal death metal. Sound good? Then buy this, you sure as shit won’t be disappointed. And on that note, I’m outta here to listen some more.

Warhorse - As Heavens Turn to Ash
2001 Southern Lord Records

As with pretty much everything else I’ve heard from this outstanding label, Warhorse has produced an album’s worth of high quality, sludgy as hell molten metal. Listening to As Heavens..., I can picture a great steed laden with steel slogging along, slow but steady, and just one heavy ass carcass being dragged around. Parts remind me of an ever more downtuned version of Sleep, others of ultimate soot metallers Winter, but overall, it’s (as always), really heavy rock that in some way is genetically linked to Master of Reality. The band’s biggest plus is that they knnow how to extend the tunes without turning them into interminable drones. The epic verses the eternal dirge, I suppose. Tracks clock in at about or over ten minutes here, but these aren’t 3 minute power punk/pop ditties to play at the soda fountain after school, this is dusk come early one grey eternal February. Classy hues of Copper and Steel hint at the metal inside, but this is one you’ll have to throw on, tune out and absorb for yourself, just don’t be crushed by the sheer weight of this sludgefest.

Warrior - The Code of Life
2001 Nuclear Blast Records

Immediately throwing this in you notice that this album just sounds... so... good. Joe Floyd has learned a lot behind the board, and obviously more from the bands he’s been in contact with, because this veteran has created a sound that is pretty new without sounding incredibly cheesy. Sure, “Rob Rock”’s vocals are over the top, but that’s what this needs, and also what’s expected. He’s better than most, and the cringe factor is low here, meaning come review time I’m not hitting the skip button. The band just seems hungry here, and that’s just fine with me, The Code of Life being a (slight) notch above. Now, I’ll most honestly never, ever, play it again, but if I did, I bet you I’d feel like I do now; this thing rocks, simple as that. “A Riff Monster!” The headlines scream...

Zero Hour - The Towers of Avarice
2001 Sensory Records

Prog metal is some of the easiest stuff for me to review, because I can approach like I do abstract art, meaning I can view from a distance without getting too emotionally involved. I ask only certain questions for an album like this, “How’s the production? Is the vocalist out of control?” Well, the first one’s cake, this disc sounds so sweet and meaty; it’s like sugared beef. Sound good? Well we’ve also got a competent vocalist who keeps the vibrato out most of the time (although that is fun to imitate in the confines of your own home), allowing TToA to escape the cheese zone. Which of course is where Dream Theater has built entire villages to which I frequently visit, I must admit. But I digress, for we’re here to hear about Zero Hour right? And to have me try and describe those numerous passages where groove is completely sacrificed for spot on double bass/bass guitar staccato matching ala Meshuggah/Nevermore... You got a problem with that? Only if you like to feel instead of watch the music. But this is prog, remember, you have to put on your thinking cap for this, lest you get whiplash whilst not paying attention to that 27/4 passage that sneaks in there on the second bridge after the 3rd verse. It’s all clean, well played, and fine by me, Zero Hour being an album to combat the nastiest of bad production black metal that I m ust hear daily.