2006 Update 1
(with lots of
stuff from 2005 that I didn’t finish until now)
This Update: Absu, Biolich, Brazen Abbot, Bronx Casket Co., Casus Belli, Cryonic Temple,
Destruction, Detonation, Down Factor, Epica, Eternal
Reign, Excalion, From the Inside, Gaia Epicus, Ghost Machinery, Godiva,
Green Carnation, Headrush, He Who Corrupts, Khold, Meshugga Beach Party,
Pagan’s Mind, Skullshifter, SCUM, Jeff Scott Soto, Sunn 0))), Supermercado, Texas is
on Fire, TNT, Vile, and Wizard.
This
update is late. My
apologies to everyone who has been waiting for so long on these reviews. I reached the end of a very challenging
semester in grad school—and survived!
But this means, of course, that studies came before reviews. Also, it is very hard to concentrate on
writing good quality reviews when studying at the intensity of an M.A.
program at a prestigious university. The
good news is that for my class on apocalyptic literature I wrote paper
(thirty-six pages) entitled, “Light versus Dark: The Apocalyptic Framework of Heavy Metal.” My professor (Ph.D,
Harvard) said it should be published in some form (meaning that
corrections, improvements, and probably some cutting needs to take
place). It is being looked over by a
couple other scholars in the field of apocalyptic literature. So my first actual published work may be a
combination of metal and religious studies.
I think this makes the delay on these reviews worthwhile. (additional comments
at the bottom of the page).
My
oldest son, Criticalnate, has a metal oriented
“my space” site. Check it out at: www.myspace.com/nathanamous. Among other things, it has Opeth fan art he made.
I think you’ll be impressed.
ABSU
“Mythological Occult
Metal” 2 discs. Osmose/The End
Rating: 9. Country of origin:
This two disc collection serves several
useful functions. One, it serves to
remind us just how prolific this band has been thus far. Second, it allows one to witness the changing
of this band from a primitive black metal outfit to a complex black/death metal
force. Third—and this is best for the
fans—it pulls together a lot of unreleased and non-album material of the band
onto one release. Very cool. Fourth, it gives a broad spectrum of the
band’s work for those who have never heard them. It is amazing to get to go back and hear what
this band was doing.
Disc one (49.6 mins)
contains 11 tracks of rarities, alternate versions and three 7” e.p.’s: “The Temples
of Offal,” “And Shineth Unto the Cold Cometh,” and “Hallstattian Swords.”
These alone make the collection worthwhile. But disc two (49.3 mins)
makes this collection a real treasure.
It contains 10 tracks of covers, live tracks, and two unreleased tracks
(“Book of Splendor,” and “Tasseomancy”). Let me tell you, when they did their cover of
Destruction’s “Bestial Invasion”—any band that can play that song, no
matter how primitive the recording apparatus (as here), deserves respect. They also did “Swing of the Axe” by Possessed
and two Mayhem songs “Deathcrush” with “Silvester Anfang,” and Iron
Maiden’s “
BIOLICH “The Space Between
Home and Today” (6 tracks. 25.5 mins). PARAGON RECORDS
Rating: Country of origin:
Words are hard to come by for describing
this CD (it took me a while). Usually
when I hear a band for the first time I listen for comparisons. But by the time I got through the 25.5
minutes of this CD I had quite a strange list of impressions: Cannibal Corpse, Mortician, Tormentor—that
is, the wackier stuff on Recipe Ferrum like
“Cara Mia”—and others who escape me at the moment. In other words, what I have described so far
sounds like grindcore and tongue-in-cheek goth/metal—well, the tongue-in-cheek part is right, I don’t
think Biolich have any goth
really. But then there is the ambient
minimalist tune “Ikon Sumo” which is totally
unexpected (where did that come from?) And more, most of their songs, while brutal
and grinding, also have a very progressive side—progressive like bands on
Sensory Records (Circus Maximus, Zero Hour,
etc.) I never thought I would hear such
a thing as progressive grind core,but
I think this qualifies. It is totally
strange, totally unexpected, and totally unique.
BRAZEN ABBOT “A Decade of Brazen Abbot DVD” (12 tracks
plus commentary, interviews).
FRONTIERS/LOCOMOTIVE.
Rating: 9. Country of origin: Bulgaria/Finland.
Release date: available now.
To begin with, this is probably the best
DVD I have seen in terms of arrangement.
More than an hour’s worth of concert material has been augmented with an
extensive interview with founder/guitarist Nikolo Kotzev. He details
the history of Brazen Abbot in a very clear and concise manner—his English is
impeccable. He is very complimentary
about his band mates and collaborators, but very modest about himself (though
we do learn that he has a master’s degree in violin performance). No worries, the other band members and
collaborators heap many compliments on him as a person and a musician. All this love, however, does not water down
the dramatic flair of BA’s music.
The concert footage mostly features music
from the third album, Guilty as Sin, but do not to neglect to include
their classic, “Road to Hell.” The shows
were all recorded in
BRAZEN ABBOT “My Resurrection” (12 tracks.
62.5 mons).
FRONTIERS/LOCOMOTIVE.
Rating: 9. Country of origin: Bulgaria/Finland.
Release date: available now.
Some time after returning from the first
ever Brazen Abbot tour in
BRONX CASKET
CO. “Hellectric” (12 tracks.
1 hr.) CANDLELIGHT RECORDS
Rating: 8. Country of origin:
If you are in the habit of enjoying Tim
Burton movies and reruns of the Addams Family, chances are you already enjoy
listening to this band too. If not, now
is your chance to get a listen. Founded
by Overkill’s DD Verni and Tim Mallare, vocalized by Jack Frost (Savatage’s
Poets and Madmen), and complimented with Myke Hideous
of The Misfits, BCC are a dark rock/metal/gothic band that remind me of
a kind of mix between Type O Negative, Danzig,
The Cult and Jack Frost (Germany, no relation to the vocalist as far
as I know). I’m sure there are better
comparisons, but I am not sure what they are.
For the most part the music has a serious
sound, but the band obviously has a funny side.
The first indication of this for me was the song “Motorcrypt.” I kept thinking how much that song reminded
me of the theme to the Addams Family.
Certainly the chord progression is similar. Then at the very end the organ played the
melody to the Addams Family theme. Then
there is their 9 minute gothic rendering of “Free Bird.” The southern classic has never sounded so
gloomy, especially where the harmony has been rendered in a dissonant
fashion. Some of the song titles like
are also comical, e.g., “Mortician’s Lullaby.”
It is an acoustic piece with a pair of female vocalists. Other than this, though, the songs are songs,
and not so much humorous as atmospheric.
In fact, atmosphere is an important element in this band’s music. Song titles like “Little Dead Girl,” “Dream
of Angels,” which contains the cool line, “I sleep with demons but I dream of
angels,” and “Can’t Stop the Rain” are great songs which convey that gloomy
atmosphere. Their combination of heavy
guitars, Jack’s vocals, and creepy harpsichord keyboards make BCC’s music a
dark and lovely addition to my collection of vampiric
music.
CASUS BELLI “In the Name of Rose” (11 tracks) LIMB MUSIC PRODUCTS
Rating: 8. Country of origin:
Here is another good find by Limb Music
Products. A German (I think) power metal
band that adds some polish to that typically German speed. They play their music like they are driving
the Autobahn at top speed. The opening
track, “I’m Your Master” has a lot of the classic Accept structure
(“Fast As A Shark”), i.e., speed, melody, and power. It continues with “Vengeance is My Law,”
another white-knuckler. But once you think that this band doesn’t
have a “cruising speed,” track 3, “Holy Gates (In the Name of Rose),” reveals a
moderate paced side of the band with musical finesse. “Diamond Crown” heats things up again only to
yield to the much slower, but still powerful “Edge of a Knife.” And so it goes. The album is a very satisfying blend of
tempos and riffs until the end, the lovely mello
instrumental, “Whispering.” Beyond this,
the band has some very interesting lyrics (which I could make out despite the
absence of a lyric sheet). And they seem
to have a rather positive religious tone, though I may only be imagining it. Either way, while this album does not
necessarily get the highest rating, it is both very exciting to listen to and
memorable.
CRYONIC
Rating: 7.5. Country of
origin: German? Release date: May 30,
2005.
Once again, speed is a factor. This is, I believe,
DARK FUNERAL “Attera Totus Sanctus” (8
tracks. 42.8). CANDLELIGHT
Rating: 8. Country of origin:
After seeing the release of their
exceptionally well produced live album earlier in 2005, Dark Funeral ends the
year with their much anticipated studio release, Attera
Totus Sanctus.
As may be expected, this album is a blistering black metal tome. The album begins with four non-stop
blizzards: “King Anti-Christ,” “666
Voices Inside,” “Attera Totus
Sanctus,” and “Godhate.” But then the band gives us a moment to (sort
of) relax with the mid-paced “Atrum Regina,” a
sorrowful dirge which reminds me of Antestor. But this is quickly followed by three more
blindingly fast songs, “Angel Flesh Impaled,” “Feed on the Mortals,” and “Final
Ritual.” So what do we have here? We have the expected Dark Funeral black metal
wall-of-sound, an intense and furious ¾ hour of music. (The word “uncompromising” has already been
used by other reviewers). You know what
to expect here really, because Dark Funeral have been remarkably consistent in
their recordings: they are fast, heavier than many, and EVIL. Long time fans will be very satisfied.
DESTRUCTION “Inventor of Evil” (12 tracks.
50.4 mins).
CANDLELIGHT RECORDS
Rating: 6.5. Country of
origin:
I am old enough to remember Destruction
from the 1980’s. Back then they had a
distinct sound which I grew to love. But
like other old timers, I’ve had a bit of a hard time appreciating the new music
the band has been making since Schmier’s return to
the band five years ago. The new
Destruction just doesn’t sound anything like the old Destruction. (I suppose bands can get in a catch 22 where
they get criticized for either changing or not changing. This is always subjective). For the most part I felt like Mike and Schmier were consciously going for a more modern, death
metal sound, and I didn’t like it.
Inventor of Evil changes that
somewhat. For the first time since Schmier rejoined the band does Destruction sound somewhat
like their former selves; not that Inventor of Evil is a complete return
to the sound of Eternal Devastation or Release from Agony, but
they have finally found a way to fuse the old with the new. It is clear they intended to conjure up some
of their old sound in some places. “Calm
Before the Storm,” for instance, conjures up memories of “Reject Emotion.” Perhaps “Dealer of Hostility” could have been
on Infernal Overkill if it were played faster. “Twist of Fate” borders on an old Destruction
sound. And the final song, “Memories of
Nothingness,” a light instrumental brings “Final Judgment” to mind. Nevertheless this is new Destruction. And new Destruction is a different
animal. Their music is more death than
thrash—obviously influenced by producer Peter Tagtgren—and
cliché. Songs like “Alliance of
Hellhounds,” despite the guest appearances of Messiah Marcolin
and other notables, is just silly.
No one can fault a band for changing their
style—and perhaps this is preferable to stagnation. But when it all comes down to a final
analysis, it is all about the gut reaction:
“How do I feel about it?” Well, I
like it better than the last three albums considerably. And there are some good riffs here. But I’m sorry, I’ll always be partial to Eternal
Devastation, Mad Butcher, Release from Agony. I’m old.
What can I say?
DETONATION
“Portals to Uphobia” (10 tracks.
43.8 mins.).
OSMOSE PRODUCTIONS/THE END
Rating: 8.5. Country of
origin: The
Portals to Uphobia
is a classy melodic, but full-on death metal album with a pre-Gothenburg sound
(again, think At the Gates). I do not
have Detonation’s first album, so I don’t know how to compare it to this one,
but I will say that I haven’t heard a band that reminds me of At the Gates
as much as they do. Speed is not always
an issue, however. It is there, but
Detonation clearly knows the value of variety.
Koen Romeijn and
Mike Ferguson are a wonderful team of guitarists. While their style is reminiscent of At the
Gates, they show a lot of originality both in riffs and solos. Also, they pause from the aural carnage in the
middle of the CD (“Lost Euphoria part III”) to dazzle us with some Spanish guitar. CDs like this are a pleasure because, yes,
they are brutal, but they have a real sense of musicality as well.
DIVINE EMPIRE
“Method of Execution” (16
tracks. 58.1 mins.). CRASH MUSIC.
Rating: 9.5. Country of
origin: USA. Release date: August 9.
Typically I am a bit skeptical about death
metal bands. Though it is one of the
most popular sub-genres of heavy metal, it is not always advisable to be
creative. This album is the exception—an
exceptional exception! I don’t know if I
have ever used the terms “epic” and “death metal” in the same sentence, but I
will now. I wasn’t prepared for how much
I would enjoy this album, but they have taken the
DOWN FACTOR
“Murder the World” (10
tracks. 43.3 mins). SCOURGE RECORDS.
Rating: 9. Country of origin:
I think these guys have taken an intelligent
approach to reawakening the famed Bay Area thrash sound. They mix death metal with a thrashy groove for some energetic and aggressive
music. Their playing is extremely tight
and their riffs are razor sharp. And
occasionally, like on the title song, “Murder the World,” they achieve that
unbelievably fast and chaotic thrash style that Destruction made famous in
their early career.
A title like “Murder the World” may cause
some to react negatively, but the title (and song) is about tyrants and
despots, I assume, like no one in particular, though Hitler and Stalin come
readily to my mind. Practically all of
their songs have politically/socially oriented lyrics decrying deception and
blind obedience! I think fans of Nevermore
would really take a liking to this band both musically and lyrically, though DF
may actually be a bit heavier. Speaking
of which, Steve Smyth (recent addition to Nevermore) makes a guest appearance
on this album. Fans of Pro-Pain will
also enjoy Down Factor’s in-your-face style.
“The Blood of the Patriots” parts 1 and 2 will definitely resonate well
with those who appreciated Pro-Pain’s recent effort, Prophets of Doom. A strong release from a new
band.
EPICA “Consign to Oblivion” (11
tracks. 52.5 mins). TRANSMISSION/THE END
RECORDS.
Rating: 9.5. Country of
origin: The
Not long ago I was overjoyed to receive Epica’s CD (last update).
Now I am listening rapturously to their third full-length—and it does
not disappoint. I think Epica may have hit upon the best combination of metal,
opera, and soprano vocals of any band out there. Like I said about her performance on 2
Metter Sessies (see last update), Simone Simmons
has one of the most beautiful mezzo-soprano voices out there. On that last release her performance of
“Memories” from Cats was a demonstration of a professionally trained
voice which transcends the metal genre (I think Andrew Lloyd Weber would be
pleased). Here she continues to sing
with poise, beauty, and charisma.
Nowhere is this more obvious than on the ballad/duet “Trois Vierges” with Thomas Khan (Kamelot). Not
only did this song make me think of the Phantom of the Opera, but also
my wife who has a formal musical education.
The rest of the band is awesome, as are the songs, but Simone is this
band’s ace-in-the-hole. She is a true
star. However, Mark Jansen and his
co-musical creators have to feel proud of the music they have recorded
here. And thanks once again to Sasha Paeth for his production expertise
(Aina, Rhapsody, etc.).
Consign to Oblivion has the musical
depth and creative spark of genius that Broadway composers possess—but it’s
metal! And it is awesome. It is one of those CD’s you proudly pull out
and play for those unbelievers who say that “anyone can play metal. It’s just a bunch of screaming!” No it isn’t.
This is majestic and refined. Consign
to Oblivion is a real joy to listen to.
I cannot imagine anyone not being inspired by this CD.
ETERNAL REIGN
“Forbidden Path” (11 tracks. 48.1 mins). LIMB MUSIC PRODUCTS.
Rating: 5. Country of origin:
This is basically commercial metal like a
lot of British and American bands in the 1980s.
It goes verse-chorus, verse-chorus, solo, chorus, and end. Nothing special, in my
opinion. But I am very sure there
are others who would disagree with me.
EXCALION
“Primal Exhale” (9 songs. 50.6 mins). SOUND RIOT RECORDS.
Rating: 9. Country of origin:
This is my favorite of the Sound Riot
releases. Excalion
are from
FROM THE INSIDE “s/t” (11 tracks. 47.7 mins). FRONTIERS/LOCOMOTIVE
Rating: 9. Country of origin: .
Release date: .
The pet project of Danny Vaughn (Waysted, Tyketto),
From the Inside is like an updated version of bands like Journey, Survivor,
and Whitesnake. While it doesn’t really qualify as “metal” by
our standards, it certainly fits into the category of excellent power pop. No one can deny that the typical radio rock
of today is inferior in terms of musicianship and quality compared to the glory
days of 80’s rock that is exemplified here.
This fact means that as far as the
GAIA EPICUS
“Symphony of Glory” (10
tracks. 52.9 mins). SOUND RIOT
Rating: 6.5. Country of
origin:
GHOST
MACHINERY “Haunted Remains” (13 tracks.
63 mins).
SOUND RIOT.
Rating: 8. Country of origin:
Lead man, Pete Ahonen
(vocals, guitars), may already be familiar to some of you from his other band, Burning
Point (Limb Music Products).
Apparently there is too much neo-classical power metal “burning” within
this man for one band. So he teamed up
with Tapsa Pelkonen (bass)
and Jussi Onero (drums,
keyboards) of Wildcard. They came
up with a cool name, Ghost Machinery, and thirteen rock solid metallic
anthems. It goes without saying that
Burning Point is a good comparison for this band, but this is not completely
the case. First, these songs were not
exactly BP songs, and second, Pelkonen and Onero bring a different approach to the genre. Thus Ghost Machinery is not a
clone of Burning Point. What most
impresses me about this CD is how steady the music is. I wouldn’t call it laid back, there are
blazing guitar solos and galloping drums after all, but there is just something
wholistic about the music. Maybe this is because the band’s music gives
a bit of a nod to the glory days of classic metal. Songs like “Dreamworld”
evoke comparisons to Dokken and Whitesnake, albeit with a decidedly Finnish
sound. But overall the music is
up-tempo, commercial, and well-conceived.
GODIVA “Call Me Under 666” (11 songs. 47.4 mins.). LIMB MUSIC PRODUCTS
Rating: 7.5. Country of
origin:
Godiva sound to
me like a modern version of Krokus. From the sound of things they are a German
power metal band with the requisite balance between speed and
commercialism. They bear a strong
resemblance to other similar bands like Accept, and Judas Priest,
but mostly like Krokus. And with song titles like “When Lightning
Strikes,” “Hellraiser,” and “Maneater,”
well, the comparison seems very appropriate.
Also, if you hear “My Fate” you will probably agree that Krokus and Accept are major influences for this band. The guitars have a nice edge and the
guitarist(s) show some affinities with Wolf Hoffman. The vocalist (name?) has a Marc Storace meets Udo Dirkschneider type voice.
Finally, this band has personality.
“Call Me Under 666” is clever.
Overall it is a fun album to listen to, it pays tribute to a classic
metal style, and does it all rather nicely.
GREEN
CARNATION “The Acoustic Verses” (7 tracks. 43.5 mins.). SUBLIFE/THE END RECORDS.
Rating: 9. Country of origin:
Some bands are just plain talented. No matter what they do, it is good. Green Carnation is definitely one of those
bands. While some bands make acoustic
versions of their heavy songs, but these songs were written specifically for
this acoustic release. Each one is a
gem, but the highlight is the tune, “The Burden is Mine Alone,” written by
Stein Roger. I would not be surprised to
hear this song on the radio because it is an example of exemplary song
writing. And though it is acoustic, it
has all the angst and psychological elements we have come to expect since Blessing
In Disguise came out. The CD opener,
“Sweet Leaf” demonstrates Tchort’s songwriting acumen
as well. This is not the Black Sabbath
tune you might have thought it was (from Masters of Reality), but has
that trademark Green Carnation sound.
Vocally, Kjetil Nordhus
displays dexterity on this song which rivals Bono of U2. And there is a “Child’s Play Part III” (left
over?) from The Quiet Offspring which came out earlier this year.
Though Green Carnation began as one of Tchort’s many outlets of musical expression, it has evolved
into a very powerful and meaningful project.
Rather than following any trends or trying to repeat previous successes,
they have forged their own path quite successfully. This band, if it continues
in its own footsteps, has the potential to rival some of the biggest bands out
there. I’m thinking Opeth
and Porcupine Tree, for instance.
And, I think it is impressive that this band has been able to make five
albums that are musically different from one another while maintaining such a unified
atmosphere. A lot of bands cannot do
this. Finally, a lot of people are going
to be tempted to compare this CD to Opeth’s Damnation,
but I do not think this is a proper comparison.
Damnation is what it is: Opeth’s complex,
jazzy styled progressive music without the death metal parts. It is a truly great album by a truly great
band. But The Acoustic Verses by Green
Carnation is great—perhaps equally great—for other reasons. One of those reasons is that the band is
simply composed of six (or so) highly talented musicians with a great sense of
what makes for excellent music. They
have not followed in anyone’s footsteps—not even Opeth’s.
Interview with Green
Carnation
HEADRUSH “Headrush” (12
tracks. 50.6 mins). FRONTIER/LOCOMOTIVE
Rating: 8.5. Country of
origin: . Release date: available now.
Headrush
consists of two well-known Italian artists:
Alex De Rosso who has played for the likes of Dokken, and Roberto Tiranti
who sings for Labyrinth. Together
with Dave Fini on drums and Mauro Catellani
on bass these guys have put together a very listenable commercial heavy rock
album. It can be deceptive at
first. The commerciality of the music
balances the aggressiveness. De Rosso’s flair for chunky riffs is very enjoyable. I can understand why Don Dokken
recruited him. But despite his excellent
chops, De Rosso never lets the guitar overpower the
song. And Tiranti’s
vocals are soulful and crisp, providing a pleasant and passionate complement to
the music. Though this is their first
album together, it is obvious that these guys are veterans and have a clear
idea of what makes for good commercial rock/metal: good melodies, lyrics about
life, and dynamics.
HE WHO
CORRUPTS “He Who Corrupts” (5 tracks.
7.9 mins + 2 videos). EUGENICS RECORD LABEL
Rating: 4. Country of origin:
I’ve been “sitting” on this disc for a
while. I have been at a loss for how to
describe it. In less than eight minutes
this newcomer band blasts through five songs.
They sound insane. The music is
death metal which takes the Mortician approach to length of composition
(average song length is about 1.5 mins), but not in
lyrical content. They have strange song
titles like “Your Momma on the Rocks,” and their lyrics are totally loony with
the sort of adolescent sexual vocabulary that would please Beavis and Butthead.
KHOLD “Krek” (10 tracks. 34
minutes). CANDLELIGHT
Rating: 8. Country of origin:
Khold continues
to keep their black metal at mid-tempo, but they manage to do it without
exhausting their creativity. I mean,
there really isn’t much more to say about it than that for me. I have always like their emphasis on power
rather than speed. The music is very
enjoyable, not primitive or sloppy. The
vocals are the right combination of grit and coherence. So why should I want them to change
things? I will say, however, that Krek has the best guitar riffs the band has
conceived of to date.
MESHUGGA BEACH
PARTY “Twenty Songs of the
Rating: 7.5. Country of
origin:
I am quite familiar with the surf music
that this CD is inspired by (Surfaris, Ventures, Dick
Dale, early Beach Boys instrumentals, etc.).
Also, I am currently working on a masters degree in Jewish studies. So I was pleasantly surprised to find this
disc in my mailbox. I thought someone
had maybe made the connection …
Apparently there is a mensch
from
PAGAN’S MIND
“Enigmatic Calling” (11
songs. 1 hr.). LIMB MUSIC PRODUCTS.
Rating: 9. Country of origin:
This band has some serious mojo! From the
get-go I was hooked on their complex prog-metal sound
because it has balls. I put them up
there with Into Eternity because of their energy-inducing riffs, and
emotion-invoking melodies. The
difference is that Into Eternity has a death metal side, and Pagan’s Mind does
not. I would really like to know how
people can write music this complicated and this interesting. There are so many facets to this music I
hardly know how to describe it.
Sometimes I think the best review I can give a band is to say that I
like them. Were I to simply describe
Pagan’s Mind’s music for you, you might say they sound like a dozen other
bands. Descriptions don’t always account
for that spark of genius or creativity which makes a band stand out among their
peers. Let me just end by saying that it
is surely one of the best albums of the year.
The only problem I see with this album is that it may be too good (if
that is possible).
SKULLSHIFTER
“Here in Hell” (3 tracks. 15.6 mins). DEMO.
Rating: 7. Country of origin:
Here in Hell sounds to me like a
combination of Pantera and Pro-Pain,
maybe with a touch of Tourniquet.
These three tunes are composed of thick, thrashy
rhythms and commanding vocals. What I
hear is potential. I think they have the
right idea, but I would like to see the band develop a little more. It is worth noting that the E.P. (or demo)
was mixed by Simon Efemey of Paradise Lost and
Love Like Blood fame. I’m not
sure what the connection is to this band, but the crisp production sounds like
what you might expect from a producer like Andy Sneap
or Devin Townsend. Then again, maybe Efemey has mixed other heavy duty bands like this one. In any event, he does a masterful job with
this one. Finally, the professional
looking packaging lends the impression that this band wants to be taken
seriously. Check them out at: www.skullshifter.com.
SCUM
“Gospels for the Sick” (10
songs. 41.6 mins). CANDLELIGHT
Rating: n/a Country of
origin:
Lots of people will be interested in SCUM
because of its line up: Casey Chaos (Amen),
Samoth and Faust of Emperor, Cosmocrator (Mindgrinder),
and Happy Tom (Turbonegro). It also features guest appearances by Nocturno Culto (Darkthrone), Mortiis,
and Knut Schreider (Turbonegro/Euroboys). But frankly, I cannot imagine what caused
these guys to come together to make a punk record. Of course you know these guys by their
reputation, they are not shabby musicians.
But this just isn’t my kind of music.
Those of you who like punk along with death metal will probably enjoy
this CD a lot. And it does have its
death/black and thrash moments. But for
the most part it is punk.
JEFF SCOTT
SOTO “Lost in
Translation” (13 tracks. 53.5 mins). FRONTIER/LOCOMOTIVE
Rating: 8. Country of origin: .
Release date: available now.
Famous as a vocalist for Yngwe Malmsteen, Eyes,
Takara, and Kuni, as well as vocal
performances for Queen and others, Jeff Scott Soto is no stranger to
fans of melodic rock. This is his third
solo album. He wrote all of the tracks,
sometimes collaborating with Neal Schon of Journey,
and at other times collaborating with Gary Schutt
(band member), Soto demonstrates that he is more than just a good
vocalist. He is an good songwriter as
well. This is not surprising considering
the notables he has worked with. Lost
in Translation is a 13 song example of this talent. Already recognized in Europe, he and his
label hopes that
SUNN 0))) “Black One” (7 tracks.
1.1 hrs). SOUTHERN LORD.
Rating: ? Country of origin:
I’ve always had trouble quite knowing what
to say about this band and their music.
It is what it is: understated, under produced sludge with some creepy
vibes. I know they get most of their
press in the metal mags, and that people will often
refer to them as doom, but obscurantist and creepy is a better
set of descriptive terms in my opinion.
I mean, it is interesting to listen to—kind of like music for the “Deadites” in Army of Darkness—but I wonder how this band
can actually tour? And I do believe they
are touring. I think their motto should
be, “pure ambient evil!”
SUPERMERCADO
“Scary Baby” (11 tracks. 42.2 mins). DARK STAR RECORDS.
Rating: 8.5 Country of
origin:
This is a hyperactive band with two
vocalists, Matt Mercado of Mindbomb, Pivotman and Erotic Universe fame, and
hip-hop rhymer Cliff “Killa
Kat” Hunt. They come across as a cross
between Kidd Rock and David Lee Roth.
The music is very commercial, but heavy, and very upbeat. It is obviously going for the crossover hard
rock/hip hop crowd that Kidd Rock appeals to (just check out “Bitch @$$”). This accounts for the chuncky
guitars, funky bass, programmed sounds, rappable drum
beats, and party atmosphere. The label
must have put some serious money into this album because the production is
thick. Songs include “Scary Baby,”
“Canon Ball Dream,” “Turn it On” and “Supermercado”
with its Elvis-esque vocals. The fact that in his earlier career Matt
Mercado’s band, Mindbomb, toured with the likes of Kiss
and Halford and had tracks featured in films like
Cliffhanger and Kalifornia says
something about the potential of his new band to turn some heads.
Rating: 7.5. Country of
origin:
If the name strikes you as being unusual,
then rest assured that the whole CD is totally unlike anything you have ever
heard. These guys have a totally unique
take on death metal from their own name to the song titles (e.g., “This Man’s Gotta Get a New Suit,” “Face it Girl, Prince Charming isn’t
Coming,” and “This is Not a Boating Accident” to name a few). Each song is a dizzying combination of chunky
rhythms and screamed vocals. I could do
without the screaming, but the music is very different and very interesting. They are totally unique as far as I am
concerned.
TNT “All The Way to the Sun” (12 tracks.
45 mins).
MAYHEM.
Rating: 8. Country of origin:
I admit that I have not kept up with TNT
over the years. I remember them as a
sort of big hair, glam rock band back in the 80’s. But apparently Tony Harnell
and company have not proven to be the fly-by-night, jump-on-the-bandwagon types
that I thought. But here we are twenty
years later and TNT is still around, still making hard rock. Rather than fade into 1980’s obscurity and
being condemned to retirement as the subject of a VH-1 type documentary, these
guys have stayed the course and stuck to their guns. (Earlier in 2005 I was quite impressed with Harnell’s other project, Starbreaker). So you know that if you purchase this disc
you are in for some spunky hard rock featuring Harnell’s
classic rock voice and Ronni Le Tekro’s
flashy guitar riffs. I would say that
neither have lost their edge. The title song, “All the Way to the Sun” is
unforgettable, and the album features a rock version of “What a Wonderful World.” This is actually my first TNT album, so I can’t
say whether it is better or worse from their other recent albums. But I can say that I remember their videos
from MTV, and I know Starbreaker (see above). And I would have to say that Harnell could probably beat up Bon Jovi!
VILE “The New Age of Chaos” (9 tracks.
29.9 mins).
UNIQUE LEADER RECORDS.
Rating: 9. Country of origin:
From the first listen it became obvious
that Vile are a very tight and competent death metal band in the Floridian
vein. The excellent production allows
the listener to distinguish between guitar, bass, and drums. The music the sort of unrelenting death metal
assault one expects from
WIZARD “
Rating: 6. Country of origin:
It’s been a while since we’ve heard from
these guys—2001, I think. Wizard are all
about heavy metal attitude in its classic sense: fast tempo German speed metal; lyrics about
fire, blood, death, war, magic and sex; clean vocals and screaming; wailing
guitar solos; and of course, the concluding tear-jerker ballad, “Don’t Say
Goodbye.” If
MY DOOM
Also,
reviewers sometimes get burned out. We
need a break from listening to music in order to critique it, and just listen
for pleasure. So, I invested some cash
in some doom CD’s that looked really promising (doom is my absolute favorite
genre, but I get next to nothing in that area to review.) I picked up the two most recent My Dying
Bride albums and found them to be solid as always. Songs of Darkness, Words of Light
being the best of the two. I thought it
time to check out Pantheist since everyone raves about them. Well, their recent album, Amartia
(Greek, amartia, pronounced “ha-martia”
due to a rough breathing mark on the alpha), starts out really strong and is
well over an hour in length. The song
titles, based upon the seven deadly sins, and the iconic imagery, might
interest my Greek Orthodox and Roman Catholic friends, but I think the band’s
reputation is a bit overstated. Though
the album starts out strong, it gets repetitive and a bit predictable. It is one thing to layer vocals and
instruments into a wall of doomy sound, it is another
to make music that is engaging, creative, and more than three chords. Then I decided to check out some other of the
doom bands from
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