Copy Link
Add to Bookmark
Report
Chronicles of Chaos Issue 015
.|'''', '|| '||`
|| || '' ||
|| ||''|, '||''| .|''|, `||''|, || .|'', || .|''|, (''''
|| || || || || || || || || || || ||..|| `'')
`|....' .|| || .||. `|..|' .|| ||. .||. `|..' .||. `|... `...'
.|'; .|'''', '||
|| || ||
.|''|, '||' || ||''|, '''|. .|''|, (''''
|| || || || || || .|''|| || || `'')
`|..|' .||. `|....' .|| || `|..||. `|..|' `...'
CHRONICLES OF CHAOS E-Zine, November 18, 1996, Issue #15
Editor-in-Chief: Gino Filicetti <ginof@io.org> <_DeaTH_ on #metal>
Coordinator: Adrian Bromley <energizr@interlog.com>
Assistant Editor: Alain M. Gaudrault <alain@mks.com>
Contributor: Brian Meloon <bmeloon@math.cornell.edu>
Contributor: Steve Hoeltzel <hoeltzel@blue.weeg.uiowa.edu>
Contributor: Adam Wasylyk <macabre@interlog.com>
Contributor: Drew Schinzel <drew@magpage.com>
Contributor: Andrew Lewandowski <lewan@peachnet.campus.mci.net>
Mailing List provided by: The University of Colorado at Boulder
--> Interested in being reviewed? Send us your demo and bio to:
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
CHRONICLES OF CHAOS
57 Lexfield Ave
Downsview Ont.
M3M-1M6, Canada
Fax: (416) 693-5240 Voice: (416) 693-9517
e-mail: ginof@io.org
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a monthly magazine electronically distributed
worldwide via the Internet. Chronicles of Chaos focuses on all forms
of brutal music; from thrash to death to black metal, we have it all.
Each issue will feature interviews with your favorite bands, written
from the perspective of a true fan. Each issue will also include
record reviews and previews, concert reviews and tour dates, as well
as various happenings in the metal scene worldwide. We here at
Chronicles of Chaos also believe in reader participation, so we
encourage you to submit any material you may have to Gino Filicetti
<ginof@io.org>.
HOW TO SUBSCRIBE
~~~~~~~~~~~~~~~~
You may subscribe to Chronicles of Chaos at any time by sending a
message with "coc subscribe <your_name_here>" in the SUBJECT of your
message to <ginof@io.org>. Please note that this command must NOT be
sent to the list address <coc-ezine@lists.colorado.edu>.
WORLD WIDE WEB SITE
~~~~~~~~~~~~~~~~~~~
We are currently in the process of constructing a website for
Chronicles of Chaos. You can check it out by pointing your web
browser to http://www.io.org/~ginof/coc.html. If you have any
comments or suggestions, please e-mail Brian Meloon
<bmeloon@math.cornell.edu>.
AUTOMATIC FILESERVER
~~~~~~~~~~~~~~~~~~~~
All back issues and various other CoC related files are available for
automatic retrieval through our e-mail fileserver. All you have to do
is send a message to us at <ginof@io.org>. The 'Subject:' field of
your message must read: "send file X" where 'X' is the name of the
requested file. Back issues are named 'coc-n', where 'n' is the issue
number. For a description of all files available through this
fileserver, request 'list'. Remember to use lowercase letters for all
file names. If you experience any problems or are having difficulty,
feel free to e-mail us the usual way at <ginof@io.org>.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #15 Contents, 11/18/96
----------------------------
* Editorial
* Loud Letters
* Ferocious Features
-- Revealing the Brutal Truth
-- Exit-13: Exit to Euphoria
-- Human Remains: Revealing the Remains
-- Type O Negative: Spreading the Darkness Once Again
-- Vision of Disorder: Expressing the Vision
* Chaotic Chat Sessions
-- Dimmu Borgir: Storming the Black Castle
-- Stuck Mojo: When Pigs Fly
* Independent Interrogations
-- Anhkrehg: Montreal's Maniacs
* Record Revelations
-- Abscess - _Seminal Vampires and Maggot Men_
-- Acid Bath - _Paegan Terrorism Tactics_
-- Dio - _Angry Machines_
-- Dismal Euphony - _Soria Moria Slott_
-- Twelve After Elf - _Twelve After Elf_
-- Equinox of the Gods - _Images of Forgotten Memories_
-- N.A.O.S. - _Melancholia_
-- Shadowcaster - _Abandonment_
-- Sort Vokter - _Folkloric Necro Metal_
-- Tsatthoggua - _Hosanna Bizarre_
-- Gomorrah - _Caress the Grotesque_
-- Human Remains - _Using Sickness as a Hero_
-- Inner Thought - _Perspectives_
-- Korn - _Life Is Peachy_
-- Iron Maiden - _Best of the Beast_
-- Manhole - _All Is Not Well_
-- Manowar - _Louder Than Hell_
-- Merzbow - _Rainbow Electronics 2_
-- Morgoth - _Feel Sorry for the Fanatic_
-- Atrax Morgue - _Cut My Throat_
-- Nevermore - _The Politics of Ecstasy_
-- Old Man's Child - _In the Shades of Life_ MCD
-- Overdose - _Scars_
-- Oxiplegatz - _Worlds and Worlds_
-- Pyogenesis - _Love Nation Sugarhead_ EP
-- Serenade - _The 28th Parallel_
-- Slapdash - _Slapdash_
* New Noise
-- Anhkrehg - _Brutal Witching-Metal_
-- Engulfed - _Castellated Architecture_
-- Human Disorder - _Twisted Sane_
-- Jim Studnicki - _The Second Day_
-- Mono Grande - _Mono Grande_
-- Phycus - _Sonderkommando Now_
-- Prototype - _Seed_
-- Thug - _Monochrome_
-- Within - _Bliss_
* Chaotic Concerts
-- An Evening of Intensity: Anal Cunt with Incantation
-- Danzig Does Detroit: Danzig with Speedball
-- Vicious Violence Vented: Voivod with Crisis and Pro-pain
* Writer's Wrath
-- Scouring the Scottish Scene
* Tours of Torture
* What We Have Cranked
-- Special Samhain Edition
* The Final Word
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
E D I T O R I A L
~~~~~~~~~~~~~~~~~
by: Gino Filicetti
Here it is folks, the big 1-5. That's right, CoC #15! What's so
special about this issue you ask? Well, nothing really: except the
fact that we're still around, pumping out the finest features for all
you fiends.
That said, I must make an announcement about CoC #16. It will be
released a little later than usual, but that is because we need time
to prepare a wealth of great material for it. It is going to be a
special issue, jam-packed with shitloads of interviews and reviews.
You'll be in for a shock in December, believe you me.
As you may have noticed, the survey I've been promising you all
hasn't been sent out yet. Things are just too hectic around here
right now. The projected release date for the survey (which will be a
separate mailing from the magazine), is some time after the 18th of
December (my last exam). I hope you will all participate!
As you'll notice in this month's Loud Letters, as well as the
past couple of months, there is another request for an "oldies"
review section where we review some classic albums. At first, I was
closed to the idea, but since it seems that more than one of you is
in favour of the idea, I've decided to entertain the suggestion.
However, this will not be a regular monthly column; instead, it will
be part of next month's special issue and any other special issues we
may have in the future.
Your Loud Letters seem to be coming in at a steady pace lately,
so I can't complain about lack of feedback. Thanks to all of you who
have taken a few milliseconds out of your life to send us some
e-mail. You rule.
Lastly, I just want to mention that our subscriber list has
topped 800 since our last issue, and right now it's hovering around
the 850 range. Add to this the number of people who read our magazine
via our web page, and those who are not privileged enough to own a
computer and must rely on the few of you who actually print up CoC. I
am, and always will be, in awe of the number of people we've managed
to reach through CoC. I hope we've been living up to your standards,
and we will endeavor to continue doing so. Until then, I'm Gino
Filicetti saying, "Enjoy the rest of the 'zine!"
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
M""MMMMMMMM dP
M MMMMMMMM 88
M MMMMMMMM .d8888b. dP dP .d888b88
M MMMMMMMM 88' `88 88 88 88' `88
M MMMMMMMM 88. .88 88. .88 88. .88
M M `88888P' `88888P' `88888P8
MMMMMMMMMMM
M""MMMMMMMM dP dP
M MMMMMMMM 88 88
M MMMMMMMM .d8888b. d8888P d8888P .d8888b. 88d888b. .d8888b.
M MMMMMMMM 88ooood8 88 88 88ooood8 88' `88 Y8ooooo.
M MMMMMMMM 88. ... 88 88 88. ... 88 88
M M `88888P' dP dP `88888P' dP `88888P'
MMMMMMMMMMM
This is the column where we print those lovely letters our readers
decide so graciously to write us. Whether they be positive, negative,
ignorant or just plain spelled wrong, you can rest assured that
they'll be here in their original form. If you'd like to see your own
letter here, e-mail it to <ginof@io.org> and enter 'Attention Loud
Letters' in the subject field. Hopefully all letters received will be
featured in upcoming issues of Chronicles of Chaos.
Date: Thr, 17 Oct 1996
From: JDBowden <jbowden@ASSB01.ARL.MIL>
Subject: Great Death/Black Metal Source
Gino:
I am going to give you a great little operation to plug in the
Chronicles. Elergy is a kick ass source for cassettes and CDs. His
selection isn't the biggest, but sells the Brutal best. He works out
of his home and his prices are rock bottom and no postal charge for
the continental U.S. He is extremely knowledgeable in these genres.
His stock is for the Extreme Metalhead. This kudos is totally
unsolicited. He is just a no bullshit dude trying to make a living
selling what he enjoys, how many of us wish we could do that. Here is
his number:
ELEGY - (201) 614-0670 (6:30pm to 11:00pm EST)
Check out his Website: http://www.grave.com/~elegy
Date: Fri, 15 Nov 1996
From: "Jason St. Jacques" <jstjacqu@uoguelph.ca>
Subject: Festival
FESTIVAL OF FIENDS (FIENDS NOT FRIENDS)
When: Saturday, December 21st, 1996. Doors open at 3 p.m.
Where: Royal Canadian Legion (Branch 60), 828 Burlington, Ontario.
Who: 17 bands from Hamilton, Burlington, Oakville, and Waterdown.
Disgruntled Postal Workers, Brown Like Dirt, the Vapids,
Tom's Lunch, Six Sins Left(formerly known as State of Grace),
Helen's Basement, Balm, Photosiren, failsafe, Remotely
Kosher, Marvin K. Mooney, Chauvez, This Side Down...,
Overhead, and three bands who are presently choosing new
names.
In an effort to avoid labels I have not mentioned what style
each band plays,
What: $8 admision at the door. The show is all ages/licensed.
How: Festival of Fiends Hot-line--(905)-336-3376
Thank you for your time;
Jason St. Jacques
Date: Tue, 15 Oct 1996
From: Kris <kris@mail.telepac.pt>
Subject: Hail to the Metalic conspiracy
Hail Gino! I appreciate a lot COC although I do not like all bands
exposed! Keep on going with it I appreciate your willpower and honor
to proceed as you do so!! Never let the scene die! NEVER! I wonder it
if is possible to write a short note about Rites and that I will be
taking part in Blood servant mag on COC? Thanxsssssssss
Constance/ aka NataSSsja..........
Date: Tue, 15 Oct 1996
From: Jack <sorcerer@gnn.com>
Subject: Loud Letters
Dear CoC,
Great job on issue #14! I can find little fault with your excellent
'zine.
My primary purpose for writing is to second the motion proposed by
Zev Toledano <zeevt@superstudio.co.il> in October's Loud Letters
section. Zev suggested a new column that would have a few reviews of
old CD's that merit attention. As he wrote, this section would be
most interesting to new fans who may not have heard the music of
bands like Destruction, Blood Feast, Assassin, etc. I'd be happy to
contribute each month a review or two of albums from my collection of
classic extreme metal. We should not let this music be forgotten!
-Jack Medley
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* "All things please Nature. * <http://members.gnn.com/ *
* We serve Her as we sin." * sorcerer/homepage.htm >*
* - Exodus * FUCK CENSORSHIP *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
P.S. Keyboards rule! ;)
Date: Wed, 16 Oct 1996
From: Fin Allman <finianm@minyos.its.rmit.EDU.AU>
Subject: Re: Chronicles of Chaos #14 (1/4)
LOUD LETTERS.
FROM FIN ALLMAN
RE: Letter from GREGORY NALBANDIAN
DEAR GREGORY,
Well hello mr expert i know everything and i am the biggest
death metal know it all in the universe. Gee i wish i was as
powerfull as you. You know everything about music. And you are such
an expert you know how shit pan thy is.
Well dickhead since your such an expert where is your fantastic
brutal evil death metal band and what is your cd called. You seem to
know so much your album would have to sell 48 billion copies.
I dont even like pan thy and i can still say it is one of the
best releases to date. You kneed a brain to make music like that. Bet
you could not play it.
You weak minded winner.
Date: Tue, 5 Nov 96
From: wizard@finet.rosmail.com
Subject: Loud Letter
Hi guys!
I'm Dmitry Kobozev from Russia, Stavropol
(aka Unholy Black Wizard)
Yours e-zine is fucking amazing stuff! Keep working in this way! I'm
a great fan of Black Metal and your `zine help me to check out some
new releases. I've reading these e-zine from #8 and now want to write
some words.
Did you know anything about EMPEROR? What these guys are doing
now? I'm tired to waiting for new album. And what about ex-MAYHEM
members? There are they (except Hellhammer)?
Some about COC#14 -> All was ok, but why you write MORK GRYNING
release date as May 1996?? I've purchased this CD at end of 1995!
Dmitry <Wizard@Finet.rosmail.com>
[Black Wizard] BLACK METAL forever!
Date: Tue, 22 Oct 96
From: "GONCHAROV I.A." <ivan@rsuss1.rnd.runnet.ru>
Subject: Loud Letters
Hi, Gino!
With pleasure I was reading your last e-zine. In one I foundmany
interest for me reviews and letters. In section "Loud Letters" I've
read the letter of Zev Toledano about old releases. It's good idea.
Let's suscribers will write about which release they want to read and
if you can you'll write in zine (if it's possible certainly). Ok?
Also I want to answer on letter Gregory Nalbandian. From first side
he is right. Often and my mark's of releases don't identical with
CoC's one. But from second side... In Russia says "On color and taste
don't find a friend". It's all.
P.S. Your e-zine is good work guys. Keep it forever.
Best regards.
Andy Sayanov
Russia
ivan@rsuss1.rnd.runnet.ru
[Well, it looks like we're going to have to please you all, so if
it's oldies you want, it's oldies you're gonna get. We've decided to
include a special section in our next issue where we will review some
of our favorite albums of yesteryear. Hope you all like it -- Gino]
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
___________ .__
\_ _____/__________ ____ ____ |__| ____ __ __ ______
| __)/ __ \_ __ \/ _ \_/ ___\| |/ _ \| | \/ ___/
| \\ ___/| | \( <_> ) \___| ( <_> ) | /\___ \
\___ / \___ >__| \____/ \___ >__|\____/|____//____ >
\/ \/ \/ \/
___________ __
\_ _____/___ _____ _/ |_ __ _________ ____ ______
| __)/ __ \\__ \\ __\ | \_ __ \_/ __ \ / ___/
| \\ ___/ / __ \| | | | /| | \/\ ___/ \___ \
\___ / \___ >____ /__| |____/ |__| \___ >____ >
\/ \/ \/ \/ \/
The meat of the matter lies here. Read on for the juiciest morsels on
bands ranging from the reknowned to the obscure. No fat, no gristle,
just blood-soaked slabs served hot and ready. Dig in, readers.
R E V E A L I N G T H E B R U T A L T R U T H
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An interview with New York's kings of grind
by: Adrian Bromley
The leap from Earache Records to Relapse Records has been a
positive one for Brutal Truth members Danny Lilker (bass), guitarist
Brent "Gurn" McCarty, vocalist Kevin Sharp, and drummer Richard Hoak.
The band's debut album/EP release for Relapse Records, entitled _Kill
Trend Suicide_ and produced by Billy Anderson (The Melvins,
Neurosis), is thirty-five minutes of insanely violent guitar riffs
fused between spurts of anger and raw intensity. In the end, _KTS_ is
a powerhouse of sound and might that would shake even the strongest
foundations.
While with Earache, the band made its mark with the
well-received releases of _Need to Control_, the _Perpetual
Conversion_ EP, and _Extreme Conditions Demand Extreme Responses_,
but as time went on, the band and label parted ways leading the band
in the direction of Relapse Records. Now with the EP (and full-length
debut for the label to surface in early 1997), the band plans to once
again make some noise with their multifaceted and original sound.
From grindcore to death metal, Brutal Truth has managed to keep
things different with each release since forming in 1990.
"A lot of the material was written when we were in limbo between
Earache and Relapse," starts drummer Richard Hoak over the phone from
the Relapse offices. "At that time, we were in the rehearsal studio
three times a week. We didn't stop writing music just because we
didn't have a label. We always kept recording. A lot of the stuff we
had recorded on an 8-track in the studio. When we had decided to work
with Billy (Anderson), we had sent him the live 8-track recordings
which we had liked because of the live and raw intensity. The songs
sounded like they would if we were playing them live and we wanted to
capture that," describes Hoak about making the record. "We didn't do
everything we wanted to do with this record but we did pretty much
what we could do."
And why an EP as opposed to a full-length debut? Answers Hoak,
"We knew we had to record it cheaply and quickly, and had to have a
live overall sound. So we made the EP and it turned out the live way
we wanted it. I describe this record as a
"full-on-grindcore-chaotic-noise-mayhem" that'll rip your head off,
but at the same time seems so beautiful." He laughs.
One thing that most fans will note of the newer Brutal Truth
stuff is the sound. As opposed to what the band had done with _NtC_
or _ECDER_, the newer material is much more focused on speed and raw
aggression rather than a dominating factor of being extreme and
grindcore sounding. Hoak thinks that might turn off some older fans
of the band. "I'm afraid some of the older fans might not dig this
record as it doesn't sound like the older records sound. There are
real people who get offended by that. Some people will come up to us
and say, 'Man, _ECDER_ was such a heavy record and why doesn't the
new record sound like that? I dug _ECDER_ but why is this record like
this?' I say that is great for those people and they will have to
listen to _ECDER_ all the time then. Like I say to all those people,
this is where we are at. These songs were written in a very natural
way and came out of us while we were sitting around playing with
nothing to do. I think they are more musical and coherent. We like
the way they sound. It sounds like the music sounds when we play it
and that was important to us when we started to record this record."
So what is different? What are people seeing to be the different
factor between this album and the older material? "A lot of the older
fans dig it. They think our blasts of speed and intensity have gotten
a lot more intense and faster which is hard to believe. Everything is
not so mechanical anymore as it was. It is like all the other records
and their intensity is controlled going 'Grrr!' and with _KTS_, the
intensity is more raw and primal. It is more of a natural growl going
'Grr..ah..ah..grrr! It is hard to explain but I hope you see what I
mean."
About the making of music he says, "We please ourselves when we
make music, first. If it doesn't sound good to us then we don't
record it. It is a natural way of songwriting. For me personally as a
drummer, I like being able to play the whole thing through and having
all the parts fit together nicely. The song as a whole has to work,
and then I am comfortable with it."
One thing Hoak will attest to is the way his role as a musician
has changed over the years. Whether it be going from record label to
record label, recording albums and/or touring, Hoak has been a part
of a changing scene and now feels things are on the up and up for the
band. "It has gotten a lot better since signing to Relapse," says
Hoak. "It was such a horror story at Earache for us. They work hard
here at Relapse and expect us to work hard too which we do. I have
run into a bunch of jerks in the long run whether it be club owners
or label people but I have also met a lot of nice people in the end
too. And that makes being in this business a lot more enjoyable."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
E X I T T O E U P H O R I A
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An interview with Exit-13
by: Adam Wasylyk
Exit-13 have always been on the experimental side. On both prior
albums, _Don't Spare the Green Love_ and _Ethos Musick_, the use of
pro-pot lyrics and their jazzy-grindcore sound separated them from
the horde of generic grindcore bands. With their latest opus,
_Smoking Songs_, Exit-13 have further experimented with their sound
by dropping the blast beat drumming and grinding guitars, and instead
playing the trombone and piano! What can be heard on the album are
jazz/blues cover tunes of 1920s, 30s, and 40s marijuana anthems. On
my first listen, I didn't quite understand what I was hearing, but I
soon found myself snapping my fingers and tapping my toes to the
music.
I had a pleasant chat with Bliss Blood, better known for her
work in Pain Teens, from her New York home. Bliss contributed all of
the female vocals that can be heard on _Smoking Songs_, and the
amazing kazoo playing on the track "1'1 (Thirteen Inches of Fun)",
which was on the _UHF/VHF_ Relapse compilation. Her vocal work is
definitely one of the outstanding points on the record, which really
complements the jazzy music.
First off, Bliss explained how she came to meet up with a couple
of the members of Exit-13 and how she ended up singing on _Smoking
Songs_. "I've known Dan (Lilker) and Rich (Hoak) from Brutal Truth
since 1993 when my band Pain Teens did a tour with them and the
Boredoms. Danny had been playing on Exit-13 records with Bill
(Yurkiewicz) and Steve (O'Donnell), so when they started kicking
around this idea to do this record, Danny immediately thought of me
as far as a female vocalist that sang jazz. Although that's not what
the Pain Teens was about, he knew I was into jazz. I talked to Bill
and we clicked as far as our aesthetics of what we wanted to do, so I
just flew up and we did some sections [of songs]". When recording,
Bliss did have some choice as to which songs were going to be covered
for the album. "I picked out the songs with the female vocals that I
liked, and they had already picked out some other songs that they
wanted to do, like "Hemp Cake". We basically all agreed on the songs
that we were covering, as there weren't that many to choose from, so
it was pretty easy".
On my first listen to _Smoking Songs_, I truly wondered if this
was some sort of joke or gag. Was this album a serious one? I shared
my feelings with Bliss, who answered, "It's sort of a novelty album,
compared to the grindy stuff. But most of Exit-13's albums have been
thematically along the same lines, like "smoke a lot of pot." In that
sense, it was a continuation of their ideas with a different format
for it. It's pretty adventurous of them to even think of doing what
they did".
On listening to all 13 tracks, what is evident is each track had
been modernized to a more 1990s sound, while still sounding true to
the original. Bliss acknowledged this and also informed me on her
involvement in the studio. "I had a little bit of influence as far as
ideas for the arrangement of some of the songs," she began,
"especially when the trombone player came in. I was giving him some
ideas as far as the parts that he was playing. He could play
Dixieland music anyway, but I did help him with specific licks. I
thought that the guys were going to modernize [the songs] a lot more
when they mixed them down, like add lots of weird, tripped-out stuff.
Like the mix that I did on "If You're a Viper", you can hear the bass
[which was] a later re-mix that they did. I suggested that they make
it sound like it was in a big room, like Carnegie Hall. I was pretty
surprised when I got the tape later on, and that they mixed it really
straight. I wish I would have had more imput if I had been here when
they mixed it. It would have been a little different".
Will older fans like _Smoking Songs_? "What Bill told me is that
the fans of Exit-13 were intelligent and open minded enough to check
out different things. But basically, they're not really concerned
with doing music for the fans, they're concerned with doing music
they dig. I'm sure a lot people who just like grindcore won't check
it out, but you'd be surprised, a lot of people like variety, and
especially if they're big pot smokers they're going to like it."
And finally, I asked Bliss if she'll record with Exit-13 again,
and if she knew where the band was headed next. "I don't know. We've
been talking about maybe doing a series of these records. Like doing
one record about getting drunk, and one record of sexy blues songs
from the '30s, because there's ton's of those. We may do some other
projects, it just depends on how busy everyone is." I wondered out
loud if perhaps some of the attraction to Exit-13 is not knowing what
they'll do next? "They definitely are looking for ways to amuse
themselves, as far as sheer variety [goes]. They want to keep the
audience on their toes".
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
S P R E A D I N G D A R K N E S S O N C E A G A I N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC Interviews Type O Negative
by: Adrian Bromley
Gothic/metal Brooklyn-ites Type O Negative return to the music
scene with _October Rust_, the follow-up opus to 1993's well-received
and breakthrough record for the band, _Bloody Kisses_.
On _OR_, Type O have somewhat shifted their darkened, aggressive
tendencies into a more eloquent and seductive method of pleasing the
listener this time out. The music on _OR_ is a very sinister, yet
ethereal dose of gothic mayhem (VERY Sisters Of Mercy-ish) bounded by
overwhelming guitar riffs, haunting vocals, and atmospheric
keyboards. The band has once again set their goals on achieving
success with their latest long player, and to tour extensively,
something they did (2 years of touring) with _BK_.
Sitting with keyboardist/producer Josh Silver (the band is
rounded out by bassist/singer Peter Steele, drummer Johnny Kelly, and
guitarist Kenny Hickey) it isn't hard to sense the compassion and the
admiration he has for Type O's new release and the direction the band
is now headed.
"The album we have created is a natural evolution. I think many
bands find a click or sound that works with them and they stick with
it," points out Silver. "We don't do that. We try to be as different
as we can and we never try to repeat ourselves and what we do. Just
because _BK_ was successful or did well doesn't mean we are going to
make _BK II_. We have such an admiration for bands like The Beatles
who put out a variety of stuff."
The album, which Silver calls "psychedelic, sexual, smooth, and
satirical," is a rather assorted supply of melodic pieces of music
and full of trademark Type O sounds. Silver agrees. "I think that
this album has some of the elements we used with _BK_, and some of
the ideas and sounds of _Slow, Deep and Hard_ (1991). To me this is
where the band was always going." He adds, "It was never intentional
to write melodic or commercial songs. We do what we do and I think
that will bring in more fans, ultimately, than be what we are not."
"Recording is an experimental process that never ends," states
Silver about the making of the record. "I mean, when we were in the
studio mixing the record, we were changing things around. I don't
think this record came easier or harder for us. We were under a
different set of conditions to work under and we adapted to it."
The album _OR_ was recorded in a short period of time following
the finale of the _BK_ tour and the start up of this tour. The band,
with Silver and Steele producing, took time to get the mood and
sounds right for them on _OR_. Sure there was some pressure from
labels and fans to repeat success, there always is, but Silver says
there are ultimate methods to block those pressures out. "We take
lots of drugs trying to forget about the whole business end of it
while recording. If it sounds good to us then we'll do it but if we
are not happy, then there is no point in doing it."
Silver also notes that bands do change, and the years of touring
and road experience do bring about changes, something Type O has
witnessed. He smirks and says, "Man... if you are the same person you
were six years ago, then you are in deep shit and something is really
wrong."
Silver, who is 33, says that as things evolve and the band
grows, his views of the industry shift. He has been exposed to the
ways of the industry and has had to find ways to get by and still
remain the same person. But things have changed. Confident that he
will be involved in the music industry in years to come, whether it
be in the band or behind the table twiddling knobs as a producer,
Silver is still figuring out what his role will be. "We are not
seventeen year-olds in a band thinking, 'I want to do this for the
rest of my life.' I don't know what I will be doing in the years to
come. I know it will have something to do with music. I know that
being in a band is tough; I chose this way to go, but being on the
road 3 or 4 years does rip apart your life. It was my choice to do
this and in your life you make lots of choices and sometimes you
don't know what the consequences will be. You give it a shot, go out
on a limb, and take it from there. What else is there to do in life?
You are here, this is the waiting room for death so try to make
something good out of it."
About the whole view of the band being seen as evil, women
hating racists, Silver says, "I think people misunderstand us or take
us way too seriously. We don't take ourselves seriously as well. We
are not out to preach, think we are gonna move people or change the
world. We are not setting out to do that and we don't plan to do
that. We express our feelings, but there is also a lot of camp and
satire in what we do."
He closes by saying, "Sometimes misconception works for you and
sometimes it works against you, but either way it is funny to see
people's interpretation of your music and what you do."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
R E V E A L I N G T H E R E M A I N S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An interview with Human Remains
by: Adam Wasylyk
A lot of people reading this interview may be asking themselves
"Human Who"? Others may have heard their sole track, "Rote", off the
_Death Is Just the Beginning 3_ compilation (named on the comp
"Weeding Out the Thorns", incorrectly) and wondered when they would
release an album. Human Remains' recently released mini-CD, _Using
Sickness as a Hero_, is the band's first, but last record as the band
is now defunct. Fans, as well as I, will miss the band's music
trademarks: quirky riffing, harsh vocals, and insane drumming.
However three of the five members will go on to form a new band named
The Sky Is Denied.
I talked with drummer Dave Witte who was calling from Relapse's
home office in Pennsylvania. Dave has kept himself very busy as he
can be heard in a couple of other bands. He is busy at work recording
the second CD for Discordance Axis and has also done some 7" work
with Exit-13. Dave and I discussed Human Remains' death and the birth
of his new project.
"I guess we were getting tired of it," begins Dave on the reason
why Human Remains broke up. "Everybody in the band had different
ideas and directions to go into, and it didn't work out, so we
decided to stop. We're going to do our own thing, the bass player is
doing his own thing now, and the guitarist is doing his own thing.
Me, Steve, and Paul are going to be doing the new band." As to
whether there was any resentment between ex-band members, Dave
answered comfortably, "Oh no, everything's all right. It's just that
we all had different ways in how we wanted to do things, and it
wasn't working out."
On how Human Remains came to sign to Relapse, Dave made it sound
so easy. "We pretty much just sent them the tape," Dave chuckles. "We
sent them the tape a couple of times, and then [the band and Relapse]
started talking. We convinced them to come see us one time, and
afterwards, when they were really interested in us, they set us up a
show, and they all came down. They dug us and we took it from there."
A lot of people's first exposure to Human Remains was through
Relapse's compilation, _Death Is Just the Beginning 3_. Dave gave his
comments on its success in getting the band's name out, and gave his
opinion on how the tracks sounded. "It got [the Human Remains name]
around, but we weren't too happy with the mix and the playing of the
song, but it represented us, definitely."
Since relatively little is known about the band, I asked about
musical influences of the band. "The major influence was Ripping
Corpse in the beginning. A couple of us, including myself, didn't
even play until we heard that band. They just opened up our world.
And during the band's existence, bands like Rush and Skinny Puppy and
some fast stuff. It's like a big melting pot."
_Using Sickness as a Hero_, a 6-song mini-CD (the 7th song,
"Beyond Human Perception" is blank), is again the first and last
recording for Human Remains. Dave gave his opinion on the record,
which were far from great. "I think it could have been better," Dave
starts with his criticisms, "but it represented us kind of well. I
wasn't too happy with the mix; there was too much reverb on the
drums. Next time we'll be better." Delays also plagued the recording,
including re-recordings and even a foot injury suffered by Dave. Dave
begins with an uncomfortable chuckle, "We had a bass player change
and I had some torn ligaments in my foot. It was just a mess. I've
listened to it, there's a lot of stuff that I'll hear myself that no
one else will hear because it's my own little errors, little things
here and there that irritate me".
One of my favorite aspects on _Using Sickness as a Hero_ is
Dave's drumming ability, which still amazes me to this day. I asked
him about his drum training, and was shocked to hear his lack of any.
"I'm self-trained," Dave says with pride. "I took one lesson and I
was pretty bored with it. I almost felt robbed! I didn't really like
lessons so I just stayed home, so when everyone went out I just
stayed home and played."
With Human Remains gone, the majority of its members will join
and form The Sky Is Denied. So I asked Dave what the band sounds like
compared to Human Remains, and when it will release its first record.
"It's kinda hard to say when we'll release a record. We want to
primarily write for ourselves at first, and once we're happy with it,
then we'll see if anyone (labels) wants to do anything with it, with
first choice to Relapse. [The sound] will be very experimental, it'll
be a new form. It'll still have aspects and traits of Human Remains,
but it'll be progressed, it'll be multiplied by a hundred."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
E X P R E S S I N G T H E V I S I O N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An interview with Vision of Disorder
by: Adrian Bromley
Long Island's Vision of Disorder are a band that feels the need
for intensity and the ability of being able to channel one's anger,
life's experiences, and visions within one's music. On their debut
album, _Vision of Disorder_ (Roadrunner/Supersoul), the quintet's
music blares powerful chants of hatred, respect, love, and despair,
coated with thick metallic tones and hardcore tendencies. But as much
as they believe in the power of a hard-hitting song, they also
believe in the need for growth in a band.
"We are very happy with the style and sound that we have
progressed into," says frontman Tim Williams in a thick Long Island
accent over the phone from Roadrunner Records New York H.Q. You see,
Williams and his band - guitarist Mike Kennedy and Matt Baumbach,
bassist Mike Fleischmann, and drummer Brendon Cohen - have grown with
their music ever since the formation of the band in 1992, a process
that has involved numerous live shows, being included on a
compilation titled _New York's Hardest_, and the release of a popular
7".
"I don't think we have lost anything with growing," continues
Williams, " I think we are still completing our goals. One of which
is being able to reach a larger audience which we are doing now,
being able to tour and have a record out. It was tough for us to do
that in the beginning, but now we have people out there doing it for
us and spreading the message. I don't think we have lost anything in
growing. We have gained through experience and being on a label and
releasing our record."
Most new bands will notice the vast amount of requirements and
conditions that come with being on a label: press, record company
executives, touring, etc. It is all part of being on a label, and
Williams and the rest of his crew are seeing this first hand. "I
can't tell you how much I have learned. It is fucking ridiculous. The
whole recording process of making the record was one in its own. It
was very difficult. I still don't know much about it and we let them
(record company) deal with it, but I am still learning. I guess I
have learned a shit load since getting signed."
When asking Williams what he thinks sets VoD apart from other
bands, he responds, "One thing is the drums. People always for some
reason hear the drums. People also tell us the vocals separate really
well. I don't think that my vocals are the key. I think it is
everyone doing their own part for the record and each one of those
parts coming together. I think the whole unit and our sound together
is was sets us apart."
The sound of the band is something to behold. The debut album,
shows off the band as a monstrous flow of reality and hard-life tales
told through the words of Williams. Tough to take, but nonetheless
realism thrown into our faces. And live the band is something also to
see says Williams. According to Williams, the music and live show are
two very different things. "When people come to our shows, they get a
completely different slap of reality. We are not a fake band that
stands up behind a microphone or on a pedestal. People know we
interact and mingle. We know that they know that we know that we are
not above them, rather they are above us. They are what made us. They
got us to Roadrunner. Maybe our music got us there but without the
fan base it wouldn't have happened. The labels go for someone when
they see money. If they see a thousand kids going to a show they go
'Wow' and see money. Then they listen to the music. But first you
hear the buzz from the kids."
About signing to Roadrunner or a label in general, Williams
says, "I had a feeling that it would happen, that all of this would
pay off one day. This is what we worked hard to do and something had
to go right for us. It hasn't paid off yet but it is starting to. I
have been doing this since I got out of high school, four years ago,
and every fuckin' day it has been the band. I went out of my way all
the time for the band. The band has been my number one priority in
life for the last four years now. It will always be that way and I'm
glad to be doing it on this level now."
"I am doing this for self-gratification and getting my message
out," says Williams about his music and wanting to keep at this band
for years to come. "I also want to see different lands and meet lots
of people and acquire knowledge. I think knowledge is the key. You
can get knowledge from anything, you don't have to go to school for
it. I did, but I think the best knowledge comes from experience."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_______ __ _ _______ __
/ ___/ / ___ ____ / /_(_)___ / ___/ / ___ _/ /_
/ /__/ _ \/ _ `/ _ \/ __/ / __/ / /__/ _ \/ _ `/ __/
\___/_//_/\_,_/\___/\__/_/\__/ \___/_//_/\_,_/\__/
____ _
/ __/__ ___ ___ (_)__ ___ ___
_\ \/ -_|_-<(_-</ / _ \/ _ \(_-<
/___/\__/___/___/_/\___/_//_/___/
This is the column where CoC sits down to have a face to face, no
holds barred conversation with your favorite bands, and get the
inside scoop into what's happening in their lives.
S T O R M I N G T H E B L A C K C A S T L E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC speaks with Silenoz of Dimmu Borgir
by: Steve Hoeltzel
Although they're certainly not the most notorious black metal outfit
to emerge from Norway in recent years, Dimmu Borgir are definitely
among the best of them. More emotive songwriters than most of their
corpse-painted brethren, they give distinct and stirring expression
to black metal's unquiet spirit, weaving together compelling
tapestries of sound from moments of quiet sadness, desolate majesty,
and charging anger. And the band's quality has not gone unrecognized:
after releasing two solid full-length albums (_For All Tid_, on No
Colors Records, and _Stormblast_, on Cacophonous), they have signed
to Nuclear Blast, and their new CD-single _Devil's Path_ (just out on
Norway's up-and-coming Hot Records), has sold thousands of copies in
quite a short span of time. In the midst of this flurry of activity,
guitarist/vocalist Silenoz recently sat down to share his thoughts on
the band and the scene with CoC. And he certainly didn't pull any
punches... so just remember, the beliefs and attitudes expressed are
-his-, not necessarily those of anybody here at CoC.
CoC: What is the meaning of the name "Dimmu Borgir"?
Silenoz: Dimmu Borgir is an Icelandic name (as well as a place on the
northern part of Iceland), and in English it means "The
Black Castle."
CoC: On both _For All Tid_ and _Stormblast_, your music evokes a
feeling of majestic sadness which few other black metal bands
seem to be capable of creating. What inspires you to craft such
somber and moving songs?
S: Well, I guess the inspiration mainly comes naturally, as the music
and the lyrics mirror our souls and reflect how we actually feel
deep inside. To say it short, if we had been feeling good and
happy about ourselves inside, we wouldn't have been making this
kind of music. That should be pretty obvious by now, as we would
probably have been making some Hawaii-sounds, or whatever,
instead, if we hadn't been honest to ourselves. We play what our
heart tells us to do - not necessarily the sane parts of our
minds.
CoC: When you're not making music, what kinds of music do you listen
to?
S: What I really appreciate is good, old heavy metal, a lot of
classical music, and opera such as Wagner and Dvorak, synth/dream
music such as Schulze (the genius with a big G!) - and of course,
black metal of the eighties and of today, as well as some death
metal.
CoC: Is there a particular message or theme which you want your music
to communicate? (I am especially curious about this, because I
like your music very much, but I'm unable to read the Norwegian
lyrics, inscriptions, and so on.)
S: One thing that is highly important for us is to show the world our
massive hate towards God and the messengers of Christianity.
Almost every lyric is written from a Satanic perspective, drawn
out of ideas and notions of what we want OUR world to be like. We
feel an obligation to represent Satan, the dark and evil side of
life - and if we are able to both possess and provoke the other
human beings on this earth through our music - together with the
written part, which in our case is just as important - we have
done exactly what we feel our mission is. But since the lyrics so
far have been written in Norwegian, a lot of people have
misunderstood and thought that we are a band that sing about the
Vikings. Even though I don't blame those who thought so, I still
think it is too easy and narrow-minded to jump to a conclusion
like that. We have therefore decided to quit writing Norwegian
lyrics and instead concentrate on writing them in English, not
only because of this matter, but also because we have signed to a
bigger label (Nuclear Blast), where we obviously have the
opportunity to reach a lot more people and new listeners.
CoC: What does black metal represent to the members of Dimmu Borgir?
Do you regard it simply as a particular style of music, or do
you think of it as something more significant than that - an
overall outlook or way of life?
S: I would, without a doubt, admit that black metal, in its true word
and essence, has become our life, the reason why we still exist. I
dedicate my entire existence to my band and everything that may
follow. For me, it is not only important just to record albums and
play gigs; it is also about dedicating myself mentally. I don't
work. In fact, I don't even have what you would call a hobby
either. I have no time and space left over to collect stamps and
cards. We are putting so much energy and work into what we are
doing, so if once in a while we are lucky and get laid, I guess we
are as shocked about it as anyone else around us... Ha ha!!
CoC: What do you think of the current state of the black metal scene
in your country? How would you compare today's scene to the more
tumultuous period of a couple years ago?
S: If our scene was tumultuous a couple of years ago, it sure as hell
is an even more tumultuous period we are going through now! Before
all those newspaper-scribblings started, everything was under
control. It was law and order. But suddenly, when the media got
into it and started to fuck up really bad, everything got totally
out of hand - especially after the death of Euronymous, when
people started to choose sides. Should they stand behind a
murdered man, a legend - or should they back up the newcomer who
so endlessly bragged about "killing another weak human," as he put
it? It became pretty pathetic, if you ask me. You know, he
actually stabbed the man to death in his underwear... a very
honorable and heroic act indeed. So after these happenings, there
popped up a lot of new bands, some very good and some that never
would have lasted more than a few days if Euronymous had still
been alive. Everything has its positive and negative sides. The
positive must be that our scene really has been "placed on the
map" as one of the best scenes, maybe the best one ever, with a
lot of different-sounding and ambitious bands. The negative side
must certainly be that a lot of kids and "children" without
knowledge and respect for the music and cult came into the coven.
Even though they never will be looked upon as a threat, I would
prefer that they disappear and fade away - escaping the earth,
possessed by us.
CoC: What is your opinion on the current state of black metal in
general?
S: I suppose the black metal scene in general mostly holds a good
standard. There are also a lot of shitty and terrible acts,
certainly, but in my opinion, Norway and Sweden undoubtedly have
the best bands. Each to his own taste, of course, but I think no
bands outside of these two Nordic countries are able to compete,
music-wise. I do not exactly know how the scene in the States is
right now, even though I know you also have some really good
bands, too.
CoC: When did Dimmu Borgir first come together?
S: Shagrath (lead guitar and vocals) and I formed the band together
with Tjodalv (percussion) back in '93, and after some weeks,
Brynjard Tristan (who has now been replaced by Nagash) joined on
bass. We also have a guy who handles synths/choirs and piano for
us.
CoC: Did any members of the band have any involvement with the black
metal scene prior to the band's formation?
S: Yes, we all played in different bands, although with varying
success, before Dimmu Borgir was created. The only band that is
worth mentioning must be Fimbulwinter, where Shagrath played
guitar until they split up in '92.
CoC: Did the band release anything prior to _For All Tid_?
S: We released a 7" EP entitled _Inn I Evighetens Morke_ ("Into the
Eternity of Darkness") on Necromantic Gallery Productions in '94.
It was sold out within only a few weeks.
CoC: _For All Tid_ features contributions by Aldrahn from
Dodheimsgard and Vicotnik from Ved Buens Ende. Have members of
Dimmu Borgir collaborated on any other musical projects?
S: Tjodalv also plays the drums for Old Man's Child, and Nagash, who
is the second part of Covenant, has a side project named Troll
where he plays all the instruments himself. Troll is out on Head
Not Found these days, and the full-length can be expected to come
out very soon on Damnation in Holland.
CoC: Are there any current bands which you regard as especially
important or relevant? Any which you would especially recommend
to fans of your own group?
S: Well, I guess checking out Arcturus, if some of you still haven't
done that, might be a good idea if you are into black metal with
piano parts and synths. Also, the long-awaited Covenant album is
on its way, and that is something you cannot miss if you like
majestic, melodic, but grim black metal.
CoC: What does the future hold for Dimmu Borgir? How would you like
to see the band continue to develop?
S: We hope the good development will continue, as we have got a new
member, and we have been signed to Nuclear Blast, which gives us
the opportunity of touring. Maybe we can do some shows in the
States in the future? Our third album, _Enthrone Darkness
Triumphant_, will be a mixture of heavy metal; classical;
ultra-fast, harsh, and evil black metal; slow and melodic, dreamy
parts, and so on. I think we have about all the possible
ingredients of metal in it! Hopefully it will be released in early
spring of '97. We will also do a European tour in the beginning of
next year with Dissection, In Flames, Night In Gales, and (maybe)
Satyricon.
CoC: Any parting words for readers and fans?
S: First of all, I would like to thank you for doing the first Dimmu
Borgir interview EVER on the Internet! You are now historical! I
would otherwise thank our fans and listeners, bands and
individuals that we cooperate and are in touch with. Great fucking
hails to you all!!
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
W H E N P I G S F L Y
~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Stuck Mojo
by: Adrian Bromley
Atlanta, Georgia's Stuck Mojo received rave reviews for their
1995 debut album on Century Media, _Snappin' Necks_. The album was a
hybrid mix of metal, rap, and hardcore that flowed heavily with
groove and attitude. Their debut album contained flashes of fury with
"Not Promised Tomorrow", "2 Minutes of Death", and "Snappin' Necks",
and the band was considered a "must see" live band.
Now a year later, the band has released their follow-up to _SN_,
_Pigwalk_, a much more solidified take on the live feel and groove of
the band. With the help of producers Devon Townsend (frontman of
Strapping Young Lad) and Daniel Bergstrand (producer, Meshuggah), the
band was able to capture the kinetic alliance of both live groove and
might on CD, something the band has not yet been able to do. It's
raw, it's tight, and most of all _Pigwalk_ sounds heavy. Extremely
heavy.
Frontman Bonz and guitarist Rich Ward carry on the ways of Stuck
Mojo, and with the addition of a new rhythm section - bassist Corey
Lowery and drummer Bud Fontsere - the band edges itself more into
becoming a towering pillar of intensity. The band is not far off that
goal.
Chronicles of Chaos recently caught up with Bonz at home in
Atlanta following a short European tour to talk about _Pigwalk_ and
an upcoming North American tour. Here is how it went:
CoC: The band has done well with sales and touring over in Europe
(the band played this year's Dynamo Festival). It has been a
different story over here in the United States. Why do you think
that is?
Bonz: Over here they don't have a heavy metal format and over there
they do. And the zines over there give us more exposure and the
people are more open to the style of music that we are doing.
Over here it is programmed. Over here you got one style which
is alternative and that is all the radio plays. Over there they
don't have any radio stations and all they do is go out to see
the bands that are on tour. Also they watch a lot of video
shows. Them having heavy metal format overseas it is a lot
better for us than here. But we tour a lot here though.
CoC: Are you gonna go back again after playing in the U.S. for a bit?
Will you be there a longer period of time next time?
B: We are going to be going back again for like two months. We are
playing there in November and December with Life of Agony which
should be cool.
CoC: With _Pigwalk_, what was the vision and sound that you were
trying to capture and show people this time around as opposed to
what you had done with _SN_?
B: The live energy is what we wanted and we did that this time.
Daniel (Bergstrand) and Devon (Townsend) came in to help on the
production of the record. Those guys are a lot younger and more
from our vision of what we wanted. We know Devon too, he is a
friend of ours, and it was a pleasure working with him. He has
seen us a few times and is excited about the sound of the band and
the direction we can go. Basically Rich (guitarist) has been
working real hard. The boy has been working real hard and we just
plugged it out. _Pigwalk_ is a growing effort of the band. It is
basically the same material we were writing at the end of the last
record. That record (_SN_) is very old. We recorded it in 1994 and
released it in 1995. We have changed.
CoC: Whether it be the loss and addition of new members or different
approach of the sound and style of the band, is this where Stuck
Mojo wants to be in 1996?
B: I guess. This is what we produced and the sound that we came up
with for us. Our sound continues to evolve and we have to find
just what we are. We are still searching ourselves. With the
addition of the new members, that has helped create and free up
our creative juices because we were pretty stagnant with the old
unit where they didn't want to be a part of or see things the way
that Rich and I saw things heading. We wanted to change somewhat
and expand our horizons a bit more. We didn't want to just talk
about the things we hate. We wanted to put some solutions to some
problems. You know, point your finger in the mirror and stuff like
that instead of just standing on a soapbox and talking about one
subject. We tried to spread some ideas around.
CoC: With album number two, how has the label support been for the
band?
B: This time around I think the label (Century Media) is going to do
a lot for us. Number one, they went out and got the producer we
wanted, and suggested that we work with Devon too after we had
been thinking about it too, which shows that they were clicking
with us. The promotional staff overseas have been wonderful. They
work hard. You got to take in account this is a "B" label
stationed overseas and don't really have a good idea of what goes
on over here in the American market. I mean they have an office in
Los Angeles but it is small. So they are dealing with an American
band that tours extensively but really has no exposure to a
European market. They are trying to figure out how we fit into
their program seeing that they used to work with mostly death
metal bands. We are new material to work with for them. With the
new stuff on the label you will be impressed. It is a good
assortment of stuff like the new Samael, Moonspell, and Nevermore.
All those new records are slammin'. I think Century Media will be
a record label to deal with in the future and hopefully they will
want to continue to grow 'cause we do.
CoC: Would you ever consider going to a major label?
B: Everybody wants to go to a major. If it happens, it does, and if
it doesn't, it doesn't. We ain't gonna stop.
CoC: What kind of stuff have you been doing since the record is out?
Do you write and record while on the road?
B: I write all the time and so does Rich. We are always thinking
ahead and we know we just can't rest on this record. By the time
we do the next record we want to have a record to kill this one.
Plus we want to do some side things too, so we are always writing
for something. We never stop writing.
CoC: A lot of people have dismissed the band for being one of these
bands that mix both metal and rap, which wasn't the case for
Stuck Mojo. You guys showed people that those visions of the
band were false and proved them wrong. This time around with
this record there seems to be more of a groove and a direct fist
in the face saying, "We are staying."
B: We want to compete with the "Big Boys" and show them that our
music has yet to be exploited. Some bands have been doing this for
awhile, but we have been doing it longer. We just haven't had the
exposure. We have been cut off and we just have to work twice as
hard than the other because we are not from New York or L.A. - we
are from Atlanta, Georgia. We deal with that shit all the time and
we are prepared to do it. With this record we set out to prove a
point. We want to put ourselves o
n the planet and not just the
map. We just want to compete with the "Big Boys" and there ain't
no joke about that. If the "Big Boys" would just open up and take
the smaller ones out, then the sky is the limit. It is great for
an "A" band to take out a "D" band because they get exposure. It's
like "BOOM!", the band gets some exposure and then the band is
known. But that is not happening right now with a lot of bands.
There is an ego trip happening.
CoC: Where does the title name (_Pigwalk_) come from?
B: It is about society in general where people of all levels, they
walk all over the weak and meek. It is a pigwalk. Be it a rich
pig, a bully in high-school, your cousin, your teacher, anyone, a
judge, an officer of the law. It is anyone who pushes their
authoritative power on someone else, whether it be physical,
political, financial power or mental power. Everyone needs help
out there every now and then and people like to walk all over
everyone. It happens everyday. A short story and example of this
would be that we were making a video down here for "Pigwalk" with
a video crew from New York in a neighborhood down here (Atlanta),
and this man came out of his house making a scene saying, "Why are
these white people working with these black people," and just
making problems. He had a gun in his back pocket and told us to
leave the neighborhood. He had back-up there in the neighborhood
too and he was serious about us not being there. See, there is an
example of someone pushing their power. Someone pigwalking.
CoC: What do you think fuels the aggressive nature of the music?
There also seems to be a lot of reality in what you do. What
inspires you to create music?
B: Everyday issues inspire me to write. Songs on the record deal with
several topics. "Mental Meltdown" deals with industry radio,
"Despise" is dealing with the alternative nation and how they took
over and made it harder for bands like us to get out and play, and
"(Here Comes) the Monster" is about us trying to get out and play,
and for the big metal guys to give us a chance. It is like, give
it up or we'll take it. Lots of topics make up a Mojo record.
CoC: If you had to sum up or describe the record in a word or a
description, how would you describe _Pigwalk_?
B: This record is like [Mike] Tyson getting out of jail and coming
back to claim his title. We are the number one contender and we
want you to give it up. We just want our shot. We want our title
shot with some people and a chance for us to be at center stage.
We are like Tyson coming out refueled, hungry, and ready. <laughs>
Be ready, we are here to beat up your eardrums.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
::::::| :| :| :|
::| :::\ :':| :~~/ :::\ :~~/ :::\ :':| :~~/ :::\ :::|
::::::|:|:| :::| :::, :::/ :::, :|:| :::| :::, :|:| :|
:|
::::::| :| :| ++
::| :::\ :::| :~~/ :::| :::| ,::\ .::\ /::| :::| :| ,::\ :::\ <::<
::::::|:|:| :| :::, :| :| `::/ `::| \::| :| :| `::/ :|:| >::>
,.:/
Here is where CoC gets the inside story on up-and-coming bands. Check
out this column for a variety of fresh, brutal groups. Should you be
an aspiring band on your way to super-stardom, send us your demo and
bio; our address is included in the zine's header.
M O N T R E A L ' S M A N I A C S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interrogates Anhkrehg
by: Adam Wasylyk
What has become legend in Canada is the strength of the Montreal
metal scene and the number of talented metal bands from the region.
Bands like Kataklysm and Cryptopsy have gone from relative obscurity
to international recognition. Anhkrehg are one of many Montreal bands
who have high hopes in obtaining the success that the aforementioned
bands already have. Conducted through Canada Post is an interview
with guitarist Michel Monette [a.k.a. Shrapnel (Angel of Hate)] which
touched on the band's history, prior work, and their newly released
demo _Brutal Witching-Metal_.
CoC: How did the members come to join and form Anhkrehg? Didn't the
band have two bassists at one point?
Shrapnel: It started in the winter of 1992, with Khayr (bass/vocals),
Dead Christian (drums), Blac(K)night (guitar) and Killer
(guitar) just jamming to heavy music. After the _The Oath
of Sorcerer-King_ demo release, Killer left because of
personal obligations and the band continued on as a trio.
Shortly after I joined (with me knowing Khayr for some time
prior to joining) as a helper, I then became band manager,
mainly because I saw the potential in the band, music-wise.
As the months went by, the second demo arrived which was
called _Sacrificial Goat_. [The demo] was more serious than
the first one, it helped us to establish ourselves within
the very crowded Montreal death metal scene as well as
gaining recognition for our still developing style of
music. It is also then that I joined Anhkrehg on guitar,
having Black(K)night become the second bassist. It didn't
last long (only two shows), but we felt that it had to be
tried (with him leaving afterwards). I still think playing
live as a trio is the best line-up, for us anyway. Demo #3
_Brutal Witching-Metal_ was released in July 1996 with our
new concepts and our own black metal trademark (Brutal
Witching-Metal).
CoC: How would you describe the band's sound? I had always thought of
the band being black metal, but to label it just black metal
would be quite misleading.
S: Fast, infernal, and furious. That's how I describe it.
Grindcore-ish type of riffs splattered with black screaming vocals
with bits of the good ol' "blast'n'heavy" parts.
CoC: What has Anhkrehg released up till now, demo-wise? What is each
release like/how do they sound/your thoughts on each of them.
S: First was the '94 demo _The Oath of Sorcerer-King_ which was our
first try. A little underproduced and our sound wasn't quite
perfected at that point. It was followed by our '95 demo
_Sacrificial Goat_, which sound-wise needed better production.
Next we were featured on a CD-compilation called _Underground
Symphonies #2_ which helped to get contacts with different people.
Following it was a live promo we did called _Howls from the North_
which was just a promo and isn't really for sale. It had a great
live sound, the kind of sound I would like us to have all the
time. Finally to the present with our release _Brutal Witching-
Metal_ which is in our opinion the best release so far. Music-wise
and lyric-wise a lot better, it's where Anhkrehg dwell now.
CoC: Tell me about the new demo _Brutal Witching-Metal_ and describe
it musically and lyrically.
S: We lurk under our brutal witching metal banner which stands for
black-grind music with lyrics about ancient history, merciless
warriors, and forgotten wars.
CoC: There's a live track on the demo isn't there? What show was it
recorded at and who were you playing with?
S: It was recorded August 31st 1995 in Montreal when we played a show
with Sarnia, Ontario's Inner Misery and headliners Malevolent
Creation.
CoC: What other bands have Anhkrehg played with that you consider
notable?
S: In my opinion, most of the bands we've played with that I consider
notable are Malevolent Creation, Kataklysm, Hidden Pride, Agony,
Cryptopsy, Demence, Resisting Arrest (ex-Majester), Inner Misery,
Corpus, Elements, etc.
CoC: Are there any other outside influences on the band, like perhaps
an interest in the occult, or reading about history or war, etc.?
S: Khayr reads A LOT of books on history and wars, as well as having
interests in role-playing games like Dungeons & Dragons,
Warhammer, etc.
CoC: You also run a management company called E.S.T Management. What
bands do you handle? How did you start the business/why/when?
S: It started in the summer of '94 with bands Mortify and Anhkrehg,
both from the same home town in the eastern part of Quebec. It was
just basically me helping them from Montreal. A year later I
became manager for Montreal's Demence and Repentigny's (Quebec)
Hidden Pride and then Agony asked for me to do the same in
November '95. Since then, I now work full-time for Anhkrehg,
Agony, and Hidden Pride. I began on my own being insecure and
unaware, making phone calls to people I didn't even know,
contacting promoters, etc. After awhile I really got comfortable
doing those sort of things. Helping my friends, meeting new
people, and most of all, listening to great music all the time!
CoC: How is the Montreal scene right now? How many people go to your
average show?
S: Everybody knows that Montreal is overcrowded with all sorts of
bands (especially metal/alternative). Just last month, I received
news from three death metal bands who are planning to relocate to
Montreal! As far as shows go, it's very unpredictable. I'd say an
average show is somewhere between 60 and 100 people (for smaller
bands). For bands like Deicide and Morbid Angel, you could expect
around 800 people.
CoC: Do the Montreal bands support each other? Do bands like
Cryptopsy and Kataklysm help and support the lesser-known bands?
S: Yes of course. Each time a big band plays, inevitably they will
need an opening act. And that's where the smaller bands come in.
CoC: You've played shows in Quebec and Ontario. Will Anhkrehg venture
out further, like to the U.S?
S: We'd love to, but for now we try to conquer our own backyard
before invading others.
CoC: Are you happy with the demo, production-wise?
S: I'm much happier with this one than the last one. It also had to
do with the manufacturer we worked with this time. I'm looking
forward to the next one. I've got a lot of new ideas.
CoC: Why was the decision made to have a good portion of the songs
sung in French?
S: Khayr is in a better position to answer that question since he's
the lyricist/vocalist of the band. I'd say it has to do with our
French Canadian roots that he wants to explore and represent in
the music.
CoC: What's the band doing now? Writing any new material? Touring
Quebec?
S: Right now we're not doing much, as far as the whole band together.
As for myself, I'm keeping very busy with my distribution for
E.S.T. management, as well as keeping in contact with various
people in the metal scene.
CoC: And finally, what do you feel sets you apart from other bands
that play extreme forms of metal??
S: The fact that we are from an unknown region of eastern Quebec and
that we play intense metal, and also the fact that we emphasize on
our "brutal witching-metal" trademark. We also do not dwell on
typical black metal trademarks (like female voices,
chains'n'leather, Hollywood make-up, gothic keyboards, etc).
Demo prices:
_The Oath of Sorcerer-King_: $4
_Sacrificial Goat_: $7
_Underground Symphonies #2_ CD: $12
_Brutal Witching-Metal_: $5
Contact: E.S.T Management, c/o Michel Monette
755 Muir, Suite #205, Saint-Laurent, Quebec
H4L-5G9, Canada
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
______ __
| __ \.-----.----.-----.----.--| |
| <| -__| __| _ | _| _ |
|___|__||_____|____|_____|__| |_____|
______ __ __ __
| __ \.-----.--.--.-----.| |.---.-.| |_|__|.-----.-----.-----.
| <| -__| | | -__|| || _ || _| || _ | |__ --|
|___|__||_____|\___/|_____||__||___._||____|__||_____|__|__|_____|
This is where we rant, rave, and rip apart albums. Check this column
every month for the scoop on the latest in heavy hand-outs.
Scoring: 10 out of 10 -- If there was ever a perfect CD, this is it!
8 out of 10 -- A great piece of metallic mayhem
6 out of 10 -- Not too bad of an album
4 out of 10 -- You are treading in dangerous waters
2 out of 10 -- If you like this, you are fucked!
0 out of 10 -- My shit can put out better music than this!
Abscess - _Seminal Vampires and Maggot Men_
by: Adrian Bromley (4 out of 10) (Relapse Records, Fall 1996)
Ugh! It's loud, poorly recorded and, extremely lame at times. Welcome
to the world of Abscess. The music of Abscess floats in an endless
supply of reckless guitar riffs, screams, bad lyrics, and sick,
demented humor. Most of the time, the songs (i.e. "Freak Fuck Fest",
"Burn, Die And Fucking Fry" and "Removing The Leech") are an endless
supply of bad, loud music that seems to make the listener cringe and
want to turn off the music. So why would we listen to this? Humor? A
fascination with sick humor? A lust for multiple music styles? I can
see some of the reasoning behind cranking up an Abscess record, much
like an Anal Cunt record, to be amused by someone's idea of being as
loud or as sick as possible. That's about it. This material gets old
real fast.
Acid Bath - _Paegan Terrorism Tactics_ (October 1996, Rotten Records)
by: Adrian Bromley (9 out of 10)
_Paegan Terrorism Tactics_, Acid Bath's follow-up album to 1994's
disturbing and violently coated release _When the Kite String Pops_
(killer John Wayne Gacy artwork serving as its cover), follows much
of the same direction and sound of _WtKSP_ with an unclean,
well-powered slab of heavy guitar riffs, flowing grooves, and a vast
assortment of screams and growls all thrown together. I thoroughly
enjoyed - and still do - this release as it has enhanced the groove
and diversity of the band with singer Dax Riggs providing some killer
vocals (both the clear and unclear ones) and the band shaping its
sound into a more proportioned deliverance of their musical
"terrorism tactics" this time around. Being from Louisiana, the band
radiates a Southern-style flare to their music, much like that of
Corrosion of Conformity or newcomers Floodgate, but still manages to
fuck shit up with their incorporation of death metal growls and
fast-paced guitar licks. This record is like a rollercoaster ride.
It's fast and slow-paced at times but you always know there is a good
thrill around the bend. Attention grabbers include the stomp of "New
Corpse", "Locust Spawning", and "Bleed Me an Ocean", as well
"Graveflower" and "Venus Blue". There is also a neat and lengthy (and
pretty morbid) acoustic track called "Dead Girl" that rounds out the
record. Note: The mid-point of the record, "Old Skin", has to be one
of the creepiest things I have heard in some time. Creepy. Also, to
keep up with the controversy, the band has included a painting by
"Dr. Death" himself, Dr. Jack Kevorkian (called "For He Is Raised"),
to serve as the cover artwork. Gotta love it. The "sophomore jinx"
has not affected Acid Bath as _PTT_ delivers a well-balanced and
diverse offering that'll surely grab the attention of many fans of
multiple musical genres. This album comes highly recomended.
Dio - _Angry Machines_ (Mayhem, October 1996)
by: Adrian Bromley (8 out of 10)
One listen to Ronnie James Dio's latest release of _Angry Machines_,
even look at the cover artwork, and it isn't hard to see that Dio's
music has become more modern. A modern Dio? Cool. For those of you
that loved his last Black Sabbath contribution, 1990's _Dehumanizer_,
then you will enjoy the direction and sound of _AM_. The music on
_AM_ has a very 90's feel to it as do the lyrics and writings of Dio,
dealing with topics such as divorce and the role of women in society.
Managing to piece together a stellar group to record with, guitarist
Tracy G., bassist Jeff Pilson, and drummer Vinnie Appice, Dio (who
produced the record) manages to take his music to new heights with
some great vocal arrangements and some real slick musical interludes.
The music of _AM_ stands as a test of time for the singer that
brought about so many ideas and creations with his other work with
the bands Elf, Rainbow, and Sabbath, not to mention his strong effort
and accomplishments of releasing seven solo efforts. Dio has managed
to carry on with his ways for more than three decades now, and seems
to be just as content now as he did when he started. Standouts
include: "Big Sister", "Black", "Institutional Man", and "Stay Out Of
My Mind". This man is a legend and continues to create stunning
masterpieces.
Dismal Euphony - _Soria Moria Slott_ (Napalm Records, September 1996)
by: Steve Hoeltzel (8 out of 10)
This is an imaginative and adventurous release, one in which the
creative forces released by the black metal explosion take on a
striking new form. Like many bands, Dismal Euphony augment the basic
black metal vocal, guitar, and drumming style with synthesizers,
female vocals, acoustic guitars, flute, piano, and so on. But while
most black metal bands only rely on such "non-metal" touches
occasionally, and locate them at the edges of their sound, these four
highly talented Norwegians proudly give such instruments extensive,
starring roles in their compositions. Propelled by Austrheim's
muscular percussion, their songs are dark mini-symphonies, usually
arranged around Elin's excellent, epic synth lines, which sound great
and don't overly dominate the mix. Guitar by Ole and Austrheim adds
an eerie, buzzing tone, mixed fairly quietly to leave space for the
more interesting components of the sound - especially the vocals,
which alternate in very creative ways between haunting melody lines
sung beautifully by Keltziva (who is female, in case you couldn't
tell) and Ole's chilling black growls. It sounds crazy, I know, but
it's very thoughtfully done, and it works amazingly well. The
songwriting is confident and imaginative, and the arrangements are
rich, textured, and inventive - rolling soundscapes blanketed with
gently falling synthesized snow, brushed by Keltziva's eerie melodies
and the icy gusts of Ole's snarl. "Atmospheric" doesn't begin to
describe this stuff, and "wild" doesn't either. Yet all the while, it
stays true to black metal's unquiet spirit, as the eerie "Natten
Loftet Sitt Tunge Ansikt" attests. "Isgrav, Det Siste Hvilested" does
the same. _Soria Moria Slott_ is an awesome addition to black metal's
sonic legacy.
Twelve After Elf - _Twelve After Elf_ (WOM, September 1996)
by: Drew Schinzel (5 out of 10)
Hailing from Germany, and having a name that sounds like it belongs
to a Tolkien-inspired black metal band (it actually just means
"Twelve After Eleven", in German), Twelve After Elf play a kind of
mid-paced metal/rock hybrid which, on the surface, is fairly good,
but after a few listens changes into just mildly annoying. The vocals
alternate between very Alice In Chains-like "clean," and some pretty
bad death growls, by far the worse of the two. The playing is pretty
simplistic, also, without much melody to be heard. Maybe I'm just not
the person for whom this album was intended, and I've heard that, in
a live setting, Twelve After Elf are awesome, so I can't totally
dismiss this album, but take caution when considering its purchase.
Equinox of the Gods - _Images of Forgotten Memories_
by: Steve Hoeltzel (7 out of 10) (Unisound Records, 1996)
This band's hybrid "gothic metal" style is not exactly my cup of tea,
but they definitely deserve credit for their ability to craft catchy,
yet somber melodies, and embed them in rich, layered arrangements.
"Welcome Home", "N.L.S.", and the impressive "Dance of the Dead" are
memorable songs loaded with melodic hooks, cool vocal phrasings, and
nice ambient touches like piano, chiming bells, female vocals, and
the like. Without a doubt, these guys have got tons of talent. Lead
vocals are mostly delivered in the usual sonorous gothic style, and
the tempos are slow to mid-paced throughout. My only substantial
gripe with _Images..._ is that the guitar tone is rather thin.
Granted, this helps to accentuate the other diverse elements of the
band's multi-faceted sound - but I can't help thinking that a bit
more metallic punch would greatly increase their overall impact. (In
fact, I think they'd sound a lot like Moonspell if they beefed up the
guitar. But these guys aren't copycats; they've been around.) Anyway,
even if it isn't maximally heavy, this is a first release that
showcases real creativity and talent.
N.A.O.S. - _Melancholia_ (Cacophonous Records, 1996)
by: Steve Hoeltzel (2 out of 10)
My advice to the reader this month: Beware of keyboard-based solo
projects which claim to have some kind of affinity with the extreme
metal scene!! N.A.O.S. is just such a project, the brainchild of none
other than the estimable Magus Wampyr Daoloth - an integral member of
both Diabolos Rising and the excellent Necromantia. Knowing that
much, I expected to find this fairly interesting, but frankly, I
hated it. Maybe this is killer stuff by "dark wave" standards, but I
just couldn't take it. Three of the eight tracks are boring keyboard
pieces of the sort that kick off way too many black metal albums;
three more sound like a (one-man) new wave band singing about the
occult; one sounds like a couple of goths playing a circus march on
their synthesizers. I did find "Ourobouros" somewhat enjoyable, but
it's a far cry from metallic: It sounds like a crazy cross between
dark wave and R&B. If you're a fan of Mr. Daoloth's other bands,
don't expect to hear anything even remotely like them on this
release. (... And now, for even more reasons to be suspicious of
projects like this, see the review of Shadowcaster below.)
Shadowcaster - _Abandonment_ (Unisound Records, 1996)
by: Steve Hoeltzel (3 out of 10)
Shadowcaster is touted as an "experimental" entry into the black
metal genre, but "tedious one-man keyboard project" would be a much
more accurate description of this release. _Abandonment_ features
loads of synth, some slow programmed percussion, and plenty of
tortured vocalizations "sung" in the black metal style - but there is
not one note of guitar (or bass) to be heard at any point in its
71-minute playing time. That's not why I'm giving it the low rating,
though. No, it's because the incessant keyboards sound cheap and
rather goofy - and, frankly, they're not played with much skill.
Moreover, the compositions tend to be really simplistic, monotonous,
and overly long. Some moments even end up being unintentionally funny
(to me, at any rate). In comparison to the awesome ritual music of
Equimanthorn (also on Unisound) or the spellbinding "dark ambient"
music of the mighty Mortiis, this is incredibly doltish sounding
stuff. The album does contain a few moments of weird, nocturnal
charm, but those moments are way too few and far between.
Sort Vokter - _Folkloric Necro Metal_ (Napalm Records/Norse League,
by: Steve Hoeltzel (8 out of 10) September 1996)
Wow!! This disk sounds like the recorded output of some freaked-out,
inhuman woodland entity who does lots of drugs and thinks that early
Bathory is God!! "This album was fully recorded under the influence
of T.H.C., with no care for technical details," says the back cover.
Sort Vokter is a one-man project from Norway dedicated to producing
only the most abrasive and ultra-simplistic forest black metal.
Indeed, this stuff is -so- primitive, raw, and distorted that it's
outright psychedelic. The guitars are a wall of super-crusty fuzz; so
is the bass, and the rudimentary arrangements are propelled by harsh
programmed percussion that creates a supremely chilly feel. Vocals
are done in the standard black metal style (occasionally filtered
through various effects), and synthesizers are used in a genuinely
creepy way. _FNM_ is a very deceptive recording: If you listen
casually, it sounds totally crude and unimaginative - yet closer
attention (headphones help) reveals multiple layers of morbid sound
carefully designed to congeal into a juggernaut of stark, atmospheric
black scorch. "Grdlysning" is very simple, yet very cool; "Bak to
Lysende Oyne" just sounds mean as hell; and the inhuman shrieks in
"Hatefulle Tanker ut I Natten" are incredible. This whole album is
one mighty, resounding "Fuck off!" to those who proclaim their love
of black metal, then whine about bands who don't have slick
production or fancy-pants arrangements. Hell, I'm tempted to give it
a nine.... (Killer packaging, too.)
Tsatthoggua - _Hosanna Bizarre_ (Osmose Productions, July 1996)
by: Steve Hoeltzel (6 out of 10)
These over-energetic lunatics proudly describe their style as
"satanic-devastating-black-sadomaso-mad-whipping HYPERSPEED metal."
Apparently this is the style you get when you take the basic Impaled
Nazarene sound, augment it with loud, screechy keyboards, and crank
out compositions as quirky and furious as anything by Brutal Truth.
Kinda weird. (In fact, there are quite a few parts of the disk that
sound, I swear, like old Destruction LP's played at 45 rpm instead of
33. Not that that's necessarily bad.) This is totally crazed music
which only occasionally attempts to be catchy, and often becomes so
frenetic that it makes more famous purveyors of the standard
fast-black-metal formula seem laid back by comparison. But even
though that description might sound enticing, I end up being kind of
bored by this release. It definitely has its moments (best among them
the blasting "Worm of Sin"), but most of the album's riffs are quite
uninspired, and the jumpy song structures do little to hold one's
interest. (Plus, the overall sound, though thick, is incredibly
high-pitched, with keyboards mixed very loud.) This is totally
ferocious stuff; it's just that Tsatthogua's song-writing prowess
doesn't keep pace with their all-out need for speed.
Gomorrah - _Caress the Grotesque_ (Black Mark, October 1996)
by: Adrian Bromley (7 out of 10)
Unlike the rather harsh mentality and direction that was essential to
the strong debut album, 1994's _Reflections of Inanimate Objects_,
Gomorrah's follow-up, is a downscaled version in terms of aggression
and anger, though increasing substantially in both groove and focus
in songwriting. While some fans of England's quintet may feel less
invited to take a listen because of lack of growls, it is the clear
and precise attempt at developing a well-rounded feel to the music
that need be explored and taken note of. Personally, I enjoyed _RoIO_
a lot and felt that the band had a lot to offer in the future with
their music. _CtG_ has some great numbers, most notably "Fireball",
"33 Utopia", and "Feed On Me", but at times seems to lack some kind
of burst of energy. Maybe trying too hard to focus has lessened the
aggressive lunge of the band's musical drive? No problem, when you
look past that, the album is pretty strong in its own right.
Human Remains - _Using Sickness as a Hero_ (Relapse, Summer 1996)
by: Brian Meloon (7 out of 10)
After a lengthy delay that included a name change or two (to
"Remains" and back again), Human Remains finally released their debut
EP. The band hails from New Jersey, and play a chaotic, heavy brand
of death metal. As with Within (see review this issue), they have a
few sections which sound "quirky" or "goofy", which helps to break
the monotony. This EP is pretty short, with seven songs clocking in
at roughly 20 minutes. But this might be just as well, as a little of
this style goes a long way, and the album might get boring if it were
any longer. Overall, this is a good effort, but I find it a little
too unfocussed for its own good. Some of the parts are too chaotic to
retain the heaviness that they appear to be going for. In fact, I
can't really judge how tight they are in these sections, because they
usually go by in a blur, with the bass and drum parts totally
decoupled from the guitar parts. Otherwise, though, the playing is
very tight. The vocals are okay, and the singer reminds me of a more
aggressive Chuck Schuldiner, as some of his vocal parts have the same
kind of discernible sneer. In any case, the production is great, with
a heavily distorted bass, and brutal guitar tone. It's an enjoyable
listen, but with a little focus (like Within), it could be better.
Inner Thought - _Perspectives_ (Dwell Records, October 1996)
by: Gino Filicetti (9 out of 10)
Since the first time I heard Inner Thought, I found it hard to
believe that one man, Bobby Sadzak, could compose the masterpieces
that are Inner Thought's songs. Perhaps you have heard his name
before, that's because Bobby was once in the legendary Canadian band
Slaughter, who, along with their American contemporaries, pioneered
the death metal genre. On this record Bobby plays guitar, programs
his drum machine, and plays keyboards. The only other member of Inner
Thought is Dennis Balesdent who's superb vocal talents grace this
release. The CD starts off with "Words" which gives the listener a
taste of the brutality and intensity that is to follow. This entire
album was recorded with the help of drum machines, however that's not
to say that the power of the drums have been compromised in any way.
On the contrary, this is probably the best use of drum machines I've
heard since Skrew. Also appearing on "Sanctioned Situations",
"Tortured", and "Autodogmatic" are female vocals care of Mary
Giordano. These, mixed with Dennis' brutal growls, create an amazing
complementary effect. My favorite song here is "Tortured", which
starts off with a sample and proceeds into one of the best riffs on
this album. This track truly encompasses all aspects of Inner Thought
with its keyboard section and female vocals close to the end of the
song. Another favorite is "Rack of Lethargy", which appeared on the
Utopian Vision Music double CD compilation, _Sonic Obliteration Part
I_. This song utilizes an array of samples, techno beats, driving
guitars and both clean and growled vocals to give the listener a
unique listening experience. I'd recommend this album to all fans of
death metal, and even industrial. A superb release to say the least.
Korn - _Life Is Peachy_ (Immortal Records/Epic, October 1996)
by: Adrian Bromley (8 out of 10)
The band's debut album on Immortal Records sold one million copies.
So will this one... maybe more... who knows? I'm impressed with the
strength and sound quality the band has been able to magnify with
_Life Is Peachy_. The screams are louder, the music seems harsher and
the dementia of the band has magnified ten-fold. This stuff scares me
at times - I'm serious. The album's "fucked-up" nature seems to carry
this album into a different state of mind several times as _Life Is
Peachy_ plays, and for those who expected Korn to sell-out with album
number two, you're wrong. _Life Is Peachy_ is an intense shot of
anger, frustration and maniacal tendencies all rolled up into one
fist-pounding blow to the skull. An album very similar, yet at times
far from what they had done with their self-titled debut release.
Heavy tracks include "Twist", "K@#*%!", the ever-cool "A.D.I.D.A.S.",
and "Kill You". They even cover Ice Cube's "Wicked". Korn returns
with a deafening, hard-edged dose of might that will surely bring a
smile to their fans and keep them moshing.
Iron Maiden - _Best of the Beast_ <2-CD box set>
by: Adrian Bromley (10 out of 10) (Castle Records, Sept. 1996)
First off, if you are a Maiden fan and don't have this release yet,
you must be on crack or something. This release should get 10 out of
10 just for the stellar packaging - amazing!!! But the fun doesn't
stop with the packaging as within this double-CD (27-song) release is
a thorough and well thought out assortment of some of Iron Maiden's
most memorable numbers from over the years, such as "Fear of the
Dark", "Can I Play With Madness," "The Trooper", "Running Free"...
the list goes on. Another good thing is that the material on this
release caters to songs sung by the numerous lead singers of the band
over the years: Paul DiAnno, Bruce Dickinson, and current frontman
Blaze Bayley. The box set also has many pictures and facts about the
band's releases and years on the road too. But wait... there is more!
The most prized gem of this release is the inclusion of material from
the band's first recording session, 1979's _The Soundhouse Tapes_ - a
much desired find for any Maiden fan. Songs from that session
include, "Iron Maiden", "Strange World", "Phantom of the Opera", and
"Sanctuary". Sure, there have been countless releases by the band
over the years of assorted material (the double-live Donnington
record, _A Real Dead One_ and _A Real Live One_), but none so
well-packaged and well assembled as what the band and Castle Records
have done with _Best of the Beast_. A worthwhile purchase for any
Iron Maiden fan.
Manhole - _All Is Not Well_ (Noise Records, August 1996)
by: Adrian Bromley (8 out of 10)
Heavy shit happening here. The debut album by Los Angeles
rap/metal/hardcore quartet Manhole, _All Is Not Well_, is a
bludgeoning assault of socially conscious lyrics and anger. The
album's songs deal with topics ranging from rape to racism to sexism,
and when singer/screamer Tairrie B. sings them, they seem so real and
so "in-yer-face." From the opening chords of "Hypocrite", the albums
kicks into some serious grooves and rhythms that do some serious work
on your cranium. Get kicked hard and violently by such lash-outs as
"Empty", "Victim", and "Cycle of Violence". Producer Ross Robinson
(Korn/Deftones/Sepultura) has done a remarkable job capturing the
intensity and live feel of the band on CD and the band play off that
work by delivering overbearing doses of adrenaline numerous times
throughout the debut. Raw and downright ruthless at times, Manhole's
debut will no doubt catch the ears of fans of such diverse bands as
Korn, Rage Against the Machine, and Life of Agony.
Manowar - _Louder Than Hell_ (Geffen/MCA, October 1996)
by: Adrian Bromley (8 out of 10)
For those of you who grew up in the 1980s listening to Judas Priest,
Accept, Iron Maiden, and Anvil material (there were hundreds more),
you will definitely cream your pants with Manowar's latest
installment of "manly metal" with _Louder Than Hell_. As if written
from the tales of Conan the Barbarian or Thundarr the Barbarian (80s
cartoon hero), the material on _LTH_ lashes out in a blinding fury of
aggression, speed, and harmony. It's tight, loud, and brings forth a
tremendous feeling of power with every song. Stomp your feet and
strap on your spiked-arm bands and head bang fast and furious with
such delights as "Return of the Warlord", "The Gods Made Heavy
Metal", and "Outlaw." At times cheesy, but for the remainder of the
time, Manowar's _LTH_ is a definite ear-pleaser. This album may do
moderately well and get some exposure seeing that they are on a major
label (Geffen). Metallic mayhem unleashed!
Merzbow - _Rainbow Electronics 2_ (Drag City, 1996)
by: Andrew Lewandowski (8 out of 10)
Recently, one of the many people uninitiated in the ways of Japanoise
attempted to provoke an argument with me about whether or not all of
Merzbow's albums sounded the same; of course, my initial response was
that such a rash comment could only be coming from the mouth of one
posessing an extreme amount of ignorance. Still, a sense of accord
permeated beneath my unwavering veneer; many of the "wall o'noise"
(for examples, see _Noise Embryo_, or the disappointing, yet easy to
locate, _Venerology_) releases that Masami Akita, Merzbow's dictator
and sole member, has composed for the past decade have started to
sound quite generic and, at times, even stale. Has the godfather of
noise started to run out of fresh ideas? After a few listens to
_Rainbow Electronics 2_, I can proudly respond with an irrefutable
nope. While still equaling many of his latter day releases in their
unadulterated bombastic nature (especially during the last two
tracks), in this sequel/remix of a rare five-year old CD of the same
name - sans the "2" - Akita throws in more of an ambient influence
this time around. Also, this release is neither manic nor monotonous
when compared to previous compositions, as the soundscapes are
constantly evolving, yet still remaining harsh throughout (especially
during the album's final two tracks; as usual, Akita bestows
chronological titles on each track) . What results is a surprisingly
subdued whole; instead of tearing apart'n'mutilating your eardrums,
_RE2_ appears to attack the listener's nerve cells, creating an
experience which is simultaneously enthralling and unbearable.
Morgoth - _Feel Sorry for the Fanatic_
by: Adam Wasylyk (8 out of 10) (Century Media, September 1996)
Morgoth, after a three-year hiatus, have released a record that is
full of experimentation that really pays off. With me having their
first effort _Cursed_, they never impressed me as I found their sound
quite boring. With _Feel Sorry for the Fanatic_, Morgoth stray from
their death metal roots and embrace a more hard rock sound. The
vocals have lost every shred of death metal influence, sounding rough
and husky rather than low. Fans may not know what to think about
track four, "... and its amazing consequences", which is a techno
track with keyboards, but is oddly one of my favorite tracks. Others
like the powerful opener "This Fantastic Decade", "Cash", and
"Curiosity" are catchy and memorable, the opposite of what I thought
of the tracks on _Cursed_. There is also a heavy use of keyboards on
the album, which I think deserve credit in making this album as good
as it is. I think track 10 sums up this record, "A New Start". It
really is, and a great one at that.
[Note: I found this album simply atrocious, having loved their old
material, _Odium_ in particular. Fans of the old stuff, *BEWARE*!
-- Alain]
Atrax Morgue - _Cut My Throat_ (Slaughter Productions, 1996)
by: Andrew Lewandowski (6 out of 10)
After producing numerous cassettes under the Atrax Morgue moniker
throughout the past three years, Marco Corbelli has released his
first four CDs in 1996. The most recent of which is this limited
edition CD (250 copies with a bandage on the jewel case), the
ominously titled _Cut My Throat_. This one continues the sparsity of
his past works; one constantly moving sound pattern occupies the
foreground, while random distortion and noises dwell in the
background. During the first track, "Before", these sounds are quite
docile; they evoke images ranging from sirens and chainsaws to more
childlike (ie: something that would appeal to a four year old)
patterns, and never become overbearing. The second track, the longer
"I Cut Yours", is comparatively harsher, largely due to more
background distortion and a pulsating foreground, yet still never
reaches an unlistenable level. Although this makes for an intriguing
listen, it lacks both the harsh and disturbing nature of better noise
artists.
Nevermore - _The Politics of Ecstasy_ (Century Media, October 1996)
by: Adrian Bromley (9 out of 10)
Holy shit! What an intense record! From the opening chords of "Seven
Tongues of God" onto the stunning "Passenger", "Politics of Ecstasy",
and till the end of the album, this 60-minute+ sophomore release by
Seattle's Nevermore never seems to falter. Led by the vocal charge of
frontman Warrel Dane, Nevermore continues on with their style and
direction with a crisier, more detailed vision of the progressive
metal they create. The music is more balanced with the melodies and
vocal styles taking shape into full-fledged epics as well as the
sound has become more firm with triumphant guitar riffs (thanks to
guitarists Jeff Loomis and Pat O'Brien) that seem to garnish the
musical platter of the band. The debut album by the band, 1995's
_Nevermore_, seems so minimal and off-center when played back to back
with _PoE_. Maturity will do that. Bottom line: _PoE_ is a truly
remarkable second release. In the same vein as Queensryche, Angra,
and Fates Warning (though heavier), Nevermore's latest truly sets the
standard for what ALL progressive records should follow.
Old Man's Child - _In the Shades of Life_ MCD
by: Drew Schinzel (8 out of 10) (Hot Records, October 1996)
Following in the footsteps of their debut full length album, _Born of
the Flickering_, Old Man's Child are back (sort of) with a new MCD,
_In the Shades of Life_. Why the "sort of?" Well, the MCD isn't
actually filled with new material, but instead consists of their
demo, remastered and pressed onto CD for mass consumption. Originally
recorded in 1994, this latest offering is fairly lengthy, for an MCD,
at 27m:10s, encompassing five tracks. Be forewarned though, the final
track is mostly synth and really nothing like the rest of the album.
Other than that, though, this release is filled with more awesome
black metal with a melodic edge and incorporation of acoustics and
the very rhythmic guitar sound embodied by OMC. Slightly slowed down
from _BotF_, _ItSoL_ doesn't sound like demo material at all, but a
mature and diverse mixture of different elements to form a complete
and pretty original sound. Of the five tracks, the second one, "Seeds
of the Ancient Gods", stands out as the best; from its blend of
acoustic guitar layered over a simple guitar melody with mid-paced
drum beat, to the high-speed black metal assault, to the clean vocals
mixed with acoustics and alternating double bass, it represents the
sound of Old Man's Child perfectly. Those familiar with OMC's style
should not miss this fantastic release, and those who are yet to
experience them would do well to pick this MCD up.
Overdose - _Scars_ (Fierce Records, July 1996)
by: Adrian Bromley (4 out of 10)
Brazil's metal outfit Overdose is a band that has the potential to
break away from being seen as a Sepultura clone, and they almost do
it on this, their second release. Almost. But unfortunately, breaking
away from a stereotype is one of the hardest things to do. _Scars_ is
full of powerful rhythm sections and works well to provide a focused
Brazilian feel to the music and vibe of the album (as seen on numbers
like "How To Pray", "The Front", and "Still Primitive"), but after
all that, _Scars_ still sets no real identity for the band. Round
three should be promising for the band... I hope?
Oxiplegatz - _Worlds and Worlds_ (Seasons in Mist, October 1996)
by: Drew Schinzel (9 out of 10)
How to describe the awesome music of Oxiplegatz? They use so many
different styles in this offering, from straightforward primitive
black metal, to death metal, to a seeming opera. The music is adorned
with trumpets, acoustic guitar, and beautiful synth. Upon hearing the
relatively straightforward opening track, one might think this is
"just another average black metal album." Not so. Take one listen to
the amazing second track, and from then on you are hooked; there is
no turning back. It is not the individual parts on their own that
make this release so wonderful, but their seamless integration and
resulting variation which create an aura of wonderment (and a
definite sci-fi twist) while listening to some tracks. The sheer
atmosphere and feeling during the slower, clean vocal sections is
enough to base a purchase of this CD on. Also, the use of a (probably
synthesized) trumpet adds much to the overall quality, with a
majestic, monumental touch. While this is definitely not the first
time a horned instrument has been used in a black metal release, it
definitely creates a unique sound and adds to the atmosphere. In
addition, the fantastic female vocals, which are prominent during the
synth sections of the songs, are some of the best performed that I've
ever heard; they actually produce feeling, unlike the female vocals
in some other black metal bands, which create the perception that the
vocalist was just a little bored while recording. For those who look
for a little diversity in their music, this is almost a must have.
Pyogenesis - _Love Nation Sugarhead_ EP
by: Adrian Bromley (2 out of 10) (Nuclear Blast, October 1996)
I really wanted to like this record - seriously - but instead am left
totally disappointed. The German four-piece have left their metal
roots and gone more for that alternative/punk rock feel to their
music. The band dabbled with alternative-ness with their last effort
_Twinaleblood_ (a la Smashing Pumpkins) but still managed to keep
some metal qualities intact. Not the case for _LNS_, a record that
shakes any past Pyogenesis qualities and focuses more on the sounds
of God Lives Underwater (techno-oriented feedback rock), Mudhoney
(rough grunge/rock), and Redd Kross (pop/punk rock) to bring forth a
new musical direction for the band. Sad. Really sad.
Serenade - _The 28th Parallel_ (Deviation Records, 1996)
by: Alain M. Gaudrault (6 out of 10)
Their label calls them "progressive doomrock", and while the band,
comprised of John Alexander on vocals, Gerry Magee and Fraser
McGartland on guitars, Stephen Mitchell on bass, and Graeme
McGartland on drums, prefers not to be labeled, I can't say that it
isn't a fitting description of the music composed by this
Glasgow-based outfit. Combining doom, death, plenty of Iron Maiden,
and 90s prog metal stylings, Serenade are out to write epics. On
their first full-length album, they chose a concept album format
"based on the voyages of Christopher Columbus and the discovery of
the Americas" (from The Crypt Fanzine, see Writer's Wrath). Pretty
strange move for a Scottish act to delve so deeply into Spanish
history, but delve they did through songs such as "Introduction:
1492", "Oceans of Despair", and "Eden After the Fall". Thin guitar
sound aside, I found the tone of the greater part of the music
somewhat same-y, although relatively complex and intricate, rendering
it mildly enjoyable to listen to. What will keep me from ever
listening to this album again, though, are the truly horrid vocals.
Part death growl, part clean, and occasionally spoken, I can't begin
to explain just how poorly sung this material is. I'll give Alexander
a few points for effort, but basically, his growling voice is
monotonous, weak, and directionless. What's more, they just don't
seem to mesh well with the accompanying music. His clean vocals are
even worse, grating sorely on my nerves whenever they come up, being
off key, and lacking in control. With a singer having such a poor
grasp of melody and harmony, and lyricist(s) with such a lack of
depth and sense for the poetic, these Dream Theater/Queensryche
aficionados will be hard-pressed to attract the same type of
audience, if that's remotely what they're after. Despite there being
so few Scottish metal acts, I'm sad to say I can't much recommend
this release other than to those who are more forgiving of such
singing limitations.
Contact: SERENADE, 19 Castlehill Drive, Newton Mearns
Glasgow, Scotland, G77-5J3
Slapdash - _Slapdash_ (Nuclear Blast/EastWest Records, October 1996)
by: Adrian Bromley (2 out of 10)
Read my review of Slapdash's _Bound_ in CoC #14. More songs, same
shit. Not impressed with this power-groove-metal quintet's debut
album at all. Next.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
__ __ _
/\ \ \_____ __ /\ \ \___ (_)___ ___
/ \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \
/ /\ / __/\ V V / / /\ / (_) | \__ \ __/
\_\ \/ \___| \_/\_/ \_\ \/ \___/|_|___/\___|
Your best source of information on the newest of the new, and the
deepest of the underground, New Noise is the place to read about all
the coolest shit you never thought existed! And if you have a band,
don't forget to send us your demo with a bio if you want to be
reviewed; our address is included in the zine's header.
Scoring: ***** -- I see a record deal in the future
**** -- Great piece of work
*** -- Good effort
** -- A major overhaul is in order
* -- A career change is advisable
Anhkrehg - _Brutal Witching-Metal_ (10-track demo)
by: Adam Wasylyk (****-)
A three-piece from Montreal, Anhkrehg show that the smaller bands in
Quebec have something to offer too. The band combines death metal
grunting and black metal screaming with heavy and catchy guitar
riffing, and often speedy drumming. On _Brutal Witching-Metal_, there
are 10 tracks, with most of the songs sung in French, about ancient
wars and battles. Songs like "Acte II (L'Armee De Dieu)", "Acte IV
(L'Invasion)", the great title track (with military drumming and
grinding bass), "Under the Reign of Leviathan", "Satan's Curse", and
"To the Devil... A Daughter" are really strong and enjoyable to
listen to. Also included is a live track, which I must say is quite
rare to see on a demo. The layout isn't bad, mostly b/w but contains
three small colour photos, one of each band member. Production is
much better here than on their previous demo, _Sacrificial Goat_ (see
review in CoC #10). A better than average demo, and a band to be
reckoned with.
Contact: ANHKREHG c/o E.S.T Management
755 Muir Suite #205, Saint-Laurent, Quebec
H4L-5G9, Canada
Send $5 for a copy of _Brutal Witching-Metal_
Engulfed - _Castellated Architecture_ (6-track demo)
by: Alain M. Gaudrault (***--)
This is without a doubt the heaviest band I've heard come out of
Scotland. I hear shades of Carcass, older Entombed, and even Bolt
Thrower. Takes a while to get past the thin production and odd guitar
sound, but underneath the mire are some passable tunes played with
much conviction. What this band needs, in my opinion is time; time to
become better songwriters, time to become a better unit. This isn't
the tightest demo I've heard, not by a longshot, but then, that's not
really a prerequisite for grindcore, by which this is heavily
influenced. Lyrics to the first three songs deal with medieval
imagery, while the last three are inspired more by Satan. Odd combo,
but to each his own, I say. Vocals are your standard grind fare,
combining warped growls with high-pitched screaming, generally
unwavering albeit well delivered. While not very original in nature,
_Castellated Architecture_ is still a decent listen for grind/death
enthousiasts.
Contact: ENGULFED, c/o Kelvin Cook
26 Nithsdale Drive, Glasgow, Scotland, G41-2PN
Voice: 0141 423 5714
Human Disorder - _Twisted Sane_ (10-track demo)
by: Adrian Bromley (****-)
Southern Ontario metal quartet Human Disorder's debut album, _Twisted
Sane_, is quite the piece of work. The riffs are thick, the vocals
are abrasive and the pounding rhythm section is tight throughout the
debut album. Molding their music after such thrash metal bands as
Anthrax and Sacred Reich, and working hard to create well-crafted
metal numbers as we would see with bands like Flotsam Jetsam and
Metal Church, Human Disorder's 10-song release is pleasing as it
flows a very consistent pattern of groove and tightness. I enjoyed
this release as it seems the band has managed to capture a very
honest feel to the way their music comes across. It doesn't seem
contrived or fake. Get drawn in by such numbers as "Horrorscope",
"Fever", and "Afraid". Musically, the band is doing something of the
kind of music that some people have ignored in the past few years
(that being thrash/groove metal), but with bands out there like
Anthrax still kicking around and new killer LPs by Sacred Reich
(_Heal_) and Meliah Rage (_Death Valley Dream_), there may be a place
for Human Disorder in the realms of Canadian metal. An independent
release worth looking into.
Contact: Human Disorder c/o New Music Management
27 Balfour Street, St. Catherines, Ontario, Canada, L2R-2G4
Voice: (905) 687-4825
Jim Studnicki - _The Second Day_ (3-track demo)
by: Brian Meloon (**---)
Jim Studnicki comes from Florida, and was able to convince Shawn
Malone and Sean Reinert (both ex-Cynic) to play on this demo. As
you'd expect, the playing is good, but unfortunately too restrained,
and the songs aren't very interesting. A late 80s metal/hard rock
feel permeates the demo, and there's a general dated sound to it. The
three songs all have a different feel, so I'll give them individual
attention. "Ensnared" starts out okay, but goes downhill after the
singing starts. The guitar riffs bring to mind the late 80s hard
rock/metal style, and the vocals added on top caused the word
"Dokken" to pop into my head. I think the vocalist is the weak point
of the whole demo. His voice is too whiney, and gives the demo an
overly commercial feel that it wouldn't otherwise have. The title
track follows, and this is the worst song on here. It's a soft
acoustic number, which reminds me a lot of Dream Theater's "The
Silent Man", or for that matter any of a number of similar songs. I
can't find anything interesting in this song, as much of it (and
especially the ending) are very cliche. Closing off the demo is the
best song, "Wolves", an instrumental that reminds me of Vinnie
Moore's _Meltdown_ in the guitar leads and rhythm parts. There is a
short but cool bass solo, and a few heavier parts, but this song
doesn't really get off the ground either. I'll give Jim credit for
playing music that isn't trendy, and for not trying to be the next
"guitar god," but I just can't enjoy this.
Contact: Jim Studnicki, 13808 Lazy Oak Drive, Tampa, Florida 33613
e-mail: studnick@soleil.acomp.usf.edu
Mono Grande - _Mono Grande_ (11-track demo)
by: Alain M. Gaudrault (***--)
Scored this one in Aberdeen in a small CD/vinyl store on Belmont
Street. One of the band members works in the store and wanted for me
to listen to his work. While I suppose this could be considered heavy
by some, it's more in the so-called alternative vein of rock/metal.
And for what it is, it's a decent effort. While somewhat hit-and-miss
in nature, it sports the occasional Prong-drenched riff and vocal
combo. Vocals are in the vein of Helmet, albeit more melodious, and
generally happier. The Nirvana-loving bass-heavy grooves and punkish
touches give it the 90s alternative feel overall, but despite that,
there are some half-way decent tunes. If you're into "hard
alternative" and happen upon a copy of this Scottish band's
self-produced affair, you could do worse than to pick it up.
Contact: MONO GRANDE, 18 Pinkie Road, Newmachar
Aberdeen, Scotland, AB2-0RG
Voice: (01224) 642662
Phycus - _Sonderkommando Now_ (13-track demo)
by: Adrian Bromley (8 out of 10)
First off, I spelled this band's name wrong last time I reviewed
their full-length release _Brainmower_. It is Phycus not Psycus.
Continuing on in the same vein as their last release with heavy NIN,
Skinny Puppy, and Ministry sounds and influences, _Sonderkommando
Now_ remains pretty much the same style as _Brainmower_ except for
the fact that the band has somewhat darkened their visions a bit more
and become a bit more experimental with sounds and samples. The album
has a lot going on within it but at the same time seems to have too
much going on within it. There seems to be no real pattern of sound
and direction, and at times, the listener is thrust back and forth
into realms of darkness and warped ideas. But maybe that is the plan?
Songs like "Zero Years," "Metal Mantra", "Mental Illness", and
"You're Killing Me" come off as disfigured concoctions of sounds and
ideas but in many ways pleasing to the ear. Regardless of my dislikes
(a few small things) of this release, I still believe this band to be
one of the few of its genre in Canada making music that can not only
sound good but really disturb you at the same time.
Contact: MUSICUS PHYCUS, P.O. Box 55083, 240 Sparks St.
Ottawa, Ontario K1P-1A1, Canada
e-mail: phycus@cyberus.ca
Prototype - _Seed_ (3-track demo)
by: Adrian Bromley (***--)
This Los Angeles-based quartet has got the right thing going on here.
With a very defined thrash metal sound, sounding much like the
newer/slicker version of Megadeth in some spots and still
incorporating some old school thrash metal elements, not to mention
progressive metal styles of Damn the Machine and Fates Warning at
times too, L.A.'s Prototype are aiming towards bringing variety and
uniqueness back to music to some extent. What happens with the _Seed_
demo is that the band leads us through a sample of their music
roster: "Seed", "Shine", and "Dead of Jericho" - songs that while
similar in some spots, radiate variety and craftsmanship. This band
consists of great musicians and do nothing wrong in making us believe
those qualities exist, it is just that even though the music on this
demo is well executed, it seems to lack a notion of integrity and
feeling. The music sounds great (don't get me wrong), it is just that
after a few listens I am left with little of any impression of what
the band has delivered to me musically. Sound is one thing but also
is reaching out to the audience and shaking them a bit. A mixed
review nonetheless.
Contact: Prototype, P.O. Box 993, Pacific Palisades, CA 90272, USA
Thug - _Monochrome_ (13-track demo)
by: Adrian Bromley (****-)
An eerie feeling seems to take over my body with every listen of
Thug's debut album, _Monochrome_. Heavily into the radiating emotions
and sounds through music, this industrial/metal trio from Oshawa,
Ontario taunt us, scare us, and take pleasure in disfiguring their
sounds and visions of material off their debut album. I'm still
trying to figure out why this album gives me the creeps. I think it
has to do with one of these three reasons: a) a top secret mission by
C.I.A. to scare music critics like myself from the business, b) a
bizarre pre-Halloween scare (it worked!) or c) this band really knows
how to manipulate sounds and music and can flawlessly incorporate
samples and feedback into songs, making them more volatile and
demented as it goes along. I think it is the last one. Interesting
numbers include: "Fucker", "Reject", "Science Fiction Organ", and
"Vole". _Monochrome_ is much like a bad nightmare that you can't seem
to wake up out of. Haven't heard shit this fucked up since my first
encounter with Skinny Puppy material. Weird shit. Goosebumps
guaranteed every time.
Contact: THUG, c/o Negative Air Research
285 Taunton Rd. P.O. Box 82571
Oshawa, Ontario, Canada, L1G-7W7
Within - _Bliss_ (7-track demo)
by: Brian Meloon (****-)
Within are from Rochester, NY, and like their contemporaries
Windbreed, play a style that can be described roughly as a more death
metal version of Lethargy (see review in CoC #4 or #14). They seem to
have fused the semi-melodic death metal style of their previous demo,
_The Unaccepted_ (see review in CoC #7), with the quirky death/thrash
of Lethargy, which I think is a change for the better. Their sound is
more diverse than either Lethargy or their previous work, as it
incorporates many acoustic/clean sections and a lot of slow parts as
well. While this is a good thing from a variety perspective, the slow
parts tend to drag on, making it boring at times. When the songs
speed up, they sound fine though; they're (semi-technical) death
metal with excellent production, and an especially clear bass tone.
The playing isn't quite as tight as it could be, but it's still very
good. The songs are usually short (seven tracks fill up about 25
minutes), but the structures avoid standard form. The singer is
typical death metal style, actually sounding a lot like the guy from
Crematory at one part. I enjoy this tape a lot, and I hope these guys
get signed in the near future. In a head-to-head competition, I'd
rank these guys above Human Remains (see review this issue), because
of their more impressive control and diversity.
Contact: WITHIN, 56 Durand Blvd, Rochester, NY, 14622, USA
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
-=-=-=-=-=-=-=-=
____ __ __
/\ _`\ /\ \ /\ \__ __
\ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___
\ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\
\ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/
\ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\
\/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/
____ __
/\ _`\ /\ \__
\ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____
\ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\
\ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\
\ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/
\/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/
Here is where Chronicles of Chaos gives you the lowdown on the latest
shows coming your way. Check out Chaotic Concerts every month for the
scoop on the bands brutalizing the masses with their own form of
terror.
A N E V E N I N G O F I N T E N S I T Y
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Anal Cunt with Incantation
October 27, 1996 at The Velvet Elvis in Savannah, GA
by: Steve Cannon
Wow! A show like this coming to our town! Actually, they were
appearing with local band Damad, who I didn't get to see, but can
best be described as a punk/death metal combo with a female lead
singer who is absolutely brutal, and puts most guys to shame in the
genre. They have a CD coming out which I will tell y'all more about!
The strangest thing about this show was the local band played last.
Incantation went on first, and lemme tell ya, there were about
30 people who drove 5 hours from Gainseville Florida to be here!
Incantation did not prove to be a disappointment, though the vocals
were a bit lower in the mix than the rest of the band. Their
material, most of which was from their previous efforts, was a good
mix of blistering speed and slow grinding riffs, and there was a good
bit of moshing about! Unfortunately, as I was not very familiar with
their stuff, I don't know exactly what songs they played, but all who
know Incantation know they are quite vicious live.
Anal Cunt was next, and this reporter definitely enjoyed the
craziness, although there were a couple of times when I didn't think
I would live through the show! Lead singer Seth was half drunk, and
fell off the stage at many points, one time falling right onto his
back and still singing in that crazed half death/half screech that
most black metal bands might wanna grab! He threw a few chairs
directly into the crowd, and some probably feared for their lives!
They did a rather short set, only a drummer and guitarist were
present besides Seth. They did the Oi version of Staying Alive, Pepe
the Gay Waiter, and the crowd was 100 percent behind them (those who
are A.C. fans) when they covered Gloves of Metal (the old manowar
hit) of which I got to sing several lines along with Seth, the second
show I've ever been to where I was allowed to sing with the singer
(Corrosion of Conformity being the first). The bouncer had a problem
with the throwing of chairs and the obvious gay bashing going on, to
which the lead singer replied "Hey, kick that gay freak's ass!" Quite
a wild troop on stage; Seth is a total madman. Many people I talked
with afterwards were saying what a great show A.C. put on, but others
still were rather put off by Seth's antics. Two bands who are almost
virtual unknowns down here got rather a mixed reception, but it's
obvious that to this backwards ass town, there are still quite a few
people who want to see a good show.
-- Steven G. Cannon
Editor in Chief of Vibrations of Doom Magazine.
Email address: ax487@freenet.uchsc.edu
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
D A N Z I G D O E S D E T R O I T
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Danzig with Speedball at The State Theatre in Detroit, MI
Halloween - October 31, 1996
by: Alyson Morrow <amorrow@emuvax.emich.edu>
On October 31, 1996, I had ventured off to the State Theatre in
downtown Detroit to see Danzig with local openers, Speedball.
Speedball are a cross between Nirvana and White Zombie, and were
pretty good. The crowd went nuts though just before Danzig was to
take the stage. The crowd of about 6,000 people were all cheering
Danzig, all waiting to see the God of Darkness himself, Glenn Danzig.
He had stood on stage wearing his usual tight, black jeans and
his black fishnet hole shirt which is like the Danzig trademark
fashion. As the lights went down the background of Danzig's latest
effort, _blackacidevil_, had been displayed and the crowd went crazy.
Danzig chose to open with his classic song, "Mother". The band then
proceeded into the long set list of favorable Danzig songs from his
first four albums. Songs included "Twist of Cain", "Long Way Back
>From Hell", "Her Black Wings", "Dirty Black Summer", and "Until You
Call On The Dark".
Danzig played three songs off of his latest album (which had
been released a day prior to the show): "Sacrifice", "7th House", and
title track "blackacidevil".
The show was incredible due to the fact that everyone was
singing all the words to the songs and the fans really got into the
new music off _blackacidevil_. There was a lot of moshing and stage
diving during the show and the pit was horrible. It had begun at the
start of the show and lasted until the bitter end of Danzig's set.
All in all the Danzig show of Halloween '96 will go down in
history as being a "treat" and not a "trick." Look out for Danzig's
album, it rules!
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
V I C I O U S V I O L E N C E V E N T E D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Voivod with Crisis and Pro-Pain
October 30, 1996 at The Masquerades in Atlanta, GA
by: Steve Cannon
As I arrived at the Masquerades in Atlanta, Georgia, I was 3 hours
early for the show and proceeded to head backstage (since I had all
the necessary "credentials" that a magazine editor must have in order
to "hang with the stars") where I met up with all the members of the
three bands. Piggy from Voivod and Dan from Pro-Pain were jamming
together, in the sense that Piggy was playing guitar with no amps,
and Dan was tapping his feet on the floor and using his hands and a
table to simulate various drum parts. All the guys and Karen from
Crisis were very friendly, and we enjoyed many interesting
conversations, especially the 30-minute tirade about various groupies
the bands encountered. Finally, at 21:00, the first band, Crisis,
went onstage. Though the crowd was not very large, they were very
appreciative, as was I, of Karen's obvious talents to be able to sing
as well, hitting bloodcurdling screams that would have the lead
singer from Drill running in fear. As they mentioned in the interview
that was done by myself and the friends of mine from a radio station
in Alabama, the lead and bass guitar work blended nicely with each
other, oftentimes giving no hint as to which was what. After a
30-minute set, which left everyone quite pleased, the moment I had
been waiting for had finally arrived. They did take their sweet time
arriving; after a 25-minute wait, in which time I smelled strong
essences of pot, they finally burst through the back stage door in a
cloud of smoke. It's obvious what was going on back there! Though
they only played a 40-minute set, ripping through newer tunes like
"Project X", and "Negatron", they also played a few classics, like
the ever popular "Voivod" and my most personal favorite, "Nuclear
War", from their first album, _War and Pain_. They did "Astronomy
Domine", and were joined by both guitarist and lead vocalist from
Crisis to do a ripping version of "Nanoman" off their new album. Many
heads were banging on the front row, and all in attendance were
overly pleased at the sound, and no surprise that new Voivod member
Eric Forrest sounds a LOT like the former singer from years back! Go
pick up the new Voivod album 'cause it's an obvious return to the
heavy days of _War and Pain_ and _RRROOOAAARRR_, but with the
technical intricacy and trippy space themes found in _Killing
Technology_, _Angel Rat_, and _Nothingface_. Finally, Pro-Pain hit
the stage, and their set was thunderous! I rushed in as I heard the
first few notes of "Shine" blast from offstage. The only band to have
an active thrashing pit, they were quite vicious in their attack, as
I knew they would be! (See Vibrations of Doom issue #13 for the
interview.) I went into this full force, loving every minute of their
ultra brutal hardcore riffs on old tracks like "Foul Taste of
Freedom", and "Death on the Dance Floor". The new stuff was
undeniably raw, and for those of you who don't have their newest
release, _Contents Under Pressure_, MUST go grab this! They performed
"Odd Man Out", "Against the Grain", and many others from this epic
masterpiece, and from the intense moshing going around (and the fact
that many were knocked down to the floor several times), it was
obvious that many fans had been waiting for this night. In fact, this
kind of material sounds so much heavier live than on disc. I want to
thank all three bands involved for being friendly and letting me
drink their beer, eat their food, and enjoy one of the best shows
I've seen in quite awhile.
-- Steven G. Cannon
Editor in Chief of Vibrations of Doom Magazine.
Email address: ax487@freenet.uchsc.edu
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
@@@ @@@ @@@ @@@@@@@ @@@ @@@@@@@ @@@@@@@@ @@@@@@@ @@ @@@@@@
@@! @@! @@! @@! @@@ @@! @@! @@! @@! @@@ !@ !@@
@!! !!@ @!@ @!@!!@! !!@ @!! @!!!:! @!@!!@! !@@!!
!: !!: !! !!: :!! !!: !!: !!: !!: :!! !:!
::.: ::: : : : : : : :: ::: : : : ::.: :
@@@ @@@ @@@ @@@@@@@ @@@@@@ @@@@@@@ @@@ @@@
@@! @@! @@! @@! @@@ @@! @@@ @@! @@! @@@
@!! !!@ @!@ @!@!!@! @!@!@!@! @!! @!@!@!@!
!: !!: !! !!: :!! !!: !!! !!: !!: !!!
::.: ::: : : : : : : : : : :
Here is where things get ugly. Writer's Wrath gives our writers a
chance to voice their own opinions about certain hot topics in the
scene today. Check out this semi-monthly column for the most obscene
and controversial ramblings this side of the National Enquirer.
S C O U R I N G T H E S C O T T I S H S C E N E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
by: Alain Gaudrault
As the plane touched down on the Glasgow Airport runway, I
recall making mental preparations for the 3-week adventure that lay
ahead for me as I trekked throughout awe-inspiring Scotland. Being
the tenacious, relentless metal fan that I am, this trip wasn't just
going to be majestic scenery and copious Scotch whiskey. There would
be metal, I thought to myself. So as my mate and I meandered about
the country in our economy rental car, fearing for our lives as a
result of right-hand steering and left-hand shifting, I daydreamed of
the remote possibility of there being a wholly undiscovered
underground scene taking place in a country greatly unrepresented in
the annals of metal history.
My first clue that Scotland was not devoid of metalheads was
spotted in a downtown Glasgow marketplace. There, right before my
eyes, a letter-sized poster indicating the whereabouts of a club that
featured extreme forms of metal. Things were looking up. We decided
to check out the club one night, only to find out that the extreme
metal was only a weekly event. The lower area that night had a stage
featuring a blues-rock band, while the upstairs section had a few
pool tables, and a DJ playing rock and early metal. We'd come on the
wrong night, but decided to stick around, as we just wanted to hang
out and have a few drinks. Saw a guy with an At the Gates shirt, so I
figured at least *somebody* had taste in the country's biggest city.
Since we were leaving for the Highlands in a few days, we would have
to wait awhile before making an appearance at The Crypt, the extreme
metal theme night at Ragnarok, the bar in question.
The Highlands, while absolutely breathtaking and making for an
insane driving experience, do not offer quite the mayhem I was
seeking. Even in Inverness, the biggest northern city, I was
hard-pressed to find metal in music shops. Scotland, as a whole,
seems to be obsessed with dance, rap, euro-pop, and traditional folk;
a major bummer, indeed. Once we arrived in Aberdeen, things started
looking up. I not only found a small CD shop which had a few of the
more obscure Monster Magnet titles, but another shop, One Up, on
Belmont Street, that sold vinyl as well as CD. The staff was
extremely helpful; playing music for me that they thought I might
like, given my interests; pointing out a CD convention going on that
week; handing me a promo copy of one of the clerk's
industro-alterna-metal band, Mono Grande (see review this issue).
Amongst the alt-rock, dance, and euro-pop, I was lucky enough to find
Gorgoroth's _Antichrist_ and Fu Manchu's _In Search of..._. I was
also told that Korpse (Candlelight Records), a band I'd heard of for
some time, was in fact Scottish. Unfortunately, I was unable to find
a copy of their latest release, _Revirgin_. The next day saw me
spending a few hours at the Stakis City Hotel, poring over thousands
of CDs at the convention which was packing up at the end of the day.
Found a few older titles I'd wanted for some time, but nothing
terribly exciting. On we went to the nation's capital, Edinburgh,
easily the most visually impressive city in Scotland. Not much metal,
found a few small shops with the occasional metal CD, plenty of punk
though. In fact, we were visiting just as a big punk festival was
raging throughout the city; mohawks, neon dye jobs, Doc Martens, and
piercings abounded on the city streets, all in anticipation of the
evening shows.
Finally, we managed to get back to Glasgow on the last Thursday
of our trip. Went to The Crypt, and lo and behold, live heavy music
could be heard. I spoke at length with Kelvin Cook, organizer of the
weekly event, and bassist/singer of Engulfed, a local grind/death
outfit. Here was a dedicated fan of genre, excited about what he saw
as a burgeoning scene in Glasgow. As well as providing a stage for
heavy acts and creating his own music with Engulfed, Cook also
manages a few other acts. Further, he provides space at The Crypt for
his friends at Deviation Records (see end of article for more
details) to sell their wares. I found several current underground
titles, all reasonably priced, in a country where music prices are
through the roof compared to North America. Kelvin was gracious
enough to provide me not only with a copy of his band's demo,
_Castellated Architecture_, but a complimentary copy of Serenade's
_The 28th Parallel_ (Deviation Records) and an issue of a friend's
publication, The Crypt Fanzine (not to be confused with the venue's
theme night), a Scottish extreme metal zine, put out sporadically
whenever the author finds the will to do so. See the end of the
article for more details. A busy man, Kelvin Cook, that's for
certain. See the end of the article for more info, should you wish to
get in touch with him.
The entertainment that night, unfortunately, left much to be
desired. Kelvin felt simply mortified, and apologized profusely. He'd
apparently been pressured by the venue management to permit a pop
punk/hard rock/alternative act to play that evening as an opening
act. He chose other less-than-extreme (more Machine
Head/Biohazard-like) acts to play that night to level things out. Not
really a wise decision, in my opinion. The crowd was somewhat sparse,
the bands lacklustre. I wouldn't discourage anybody from going,
though, as he does legitimately bring in brutal acts on a regular
basis. It was all just poor timing on our part.
In retrospect, while I can't exactly say that Scotland is a
metal haven, it does offer some glimmer of hope. Along with Korpse,
Engulfed, and Confusion Corporation are the Scottish bands to watch
for, the latter band appearing on Shiver Records' (see end of article
for details) _Sometimes... Death Is Better_ 3-CD compilation of
European death/grind/black acts. With encouragement, the scene in
Glasgow could pick up, unleashing bands who could possibly make use
of the discontent and rage which they feel towards the fate of their
country and countrymen, not to mention the British government who
seems to dog them at every turn. I would encourage Scottish metal
fans that may be reading this to send in their reports on the
Scottish metal scene for our new up and coming column, Regional Rage,
or informal comments for our Loud Letters section.
-----
Deviation Records
49 Carfin Road
Newarthill, Scotland, ML1-5JZ
Voice/Fax: +44 (0)1698 734 344
The Crypt Fanzine c/o Gregory Whalen
49 Bellevue Crescent
Ayr, Scotland, KA7-2DP
The Crypt/Engulfed c/o Kelvin Cook
26 Nithsdale Drive
Glasgow, Scotland, G41-2PN
Voice: +44 (0)1414 235 714
Shiver Records c/o Hans De Wijngaert
Bossepleinstraat 6
3128 Baal, BELGIUM
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
________ ________
___ __/_________ ________________ _________ __/
__ / _ __ \ / / /_ ___/_ ___/ _ __ \_ /_
_ / / /_/ / /_/ /_ / _(__ ) / /_/ / __/
/_/ \____/\__,_/ /_/ /____/ \____//_/
________ _____
___ __/______________ /____ _____________
__ / _ __ \_ ___/ __/ / / /_ ___/ _ \
_ / / /_/ / / / /_ / /_/ /_ / / __/
/_/ \____//_/ \__/ \__,_/ /_/ \___/
Welcome to Chronicles of Chaos' tour listing column. Check out Tours
of Torture every month for the scoop on who's coming to town and
where to catch your favorite bands. If you have any information about
upcoming tours, we'd be more than happy to hear about it. Contact us
at <ginof@io.org>.
Brutal Truth/Cannibal Corpse/Immolation
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Nov 18 - Rockafella's, Columbia, SC
Nov 19 - Biograph, Richmond, VA
Nov 20 - Jaxx, West Springfield, VA
Nov 21 - Memory Lane, Baltimore, MD
Nov 22 - Bogies, Albany, NY
Nov 23 - PWAC, Lindenhurst, NY
Nov 24 - Wetlands, New York City, NY
Nov 25 - Zootz, Portland, MA
Nov 26 - The Rat, Boston, MA
Nov 27 - Obsessions, Randolph, NJ
Nov 28 - Sub Gallery, Dayton, OH
Nov 29 - Metropol, Pittsburgh, PA
Nov 30 - Harpo's, Detroit, MI
Dec 1 - Rave, Milwaukee, WI
Dec 2 - Mirage, Minneapolis, MN
Dec 3 - Pomp Room, Sioux Falls, SD
Dec 4 - Bottleneck, Lawrence, KA
Dec 5 - Mercury Theater, Denver, CO
Dec 6 - Ranch Bowl, Omaha, NE
Dec 7 - Galaxy, St Louis, MO
Dec 8 - Masquerade, Atlanta, GA
Dec 20 - El And Gee, New London, CT
Dec 21 - Twisters, Richmond, VA
Dec 22 - Jaxx, West Springfield, VA (with Deceased)
Godflesh with Vision Of Disorder
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Nov 17 - Rave Bar, Milwaukee, WI
Nov 18 - Mirage, Minneapolis, MN
Nov 19 - Empty Bottle, Chicago, IL
Nov 20 - Bottleneck, Lawrence, KS
Nov 21 - Mercury Theatre, Denver, CO
Nov 22 - North Star Pavilion, Salt Lake City, UT
Nov 24 - EJ's, Portland, OR
Nov 26 - The Fenix, Seattle, WA
Dirge
~~~~~
Nov 17 - The X Club, Hamilton, ON (with Shallow N.D.)
Nov 18 - The El Mocambo, Toronto, ON (with various bands)
Dec 4 - Lee's Palace, Toronto, ON (with Solus and Xanax)
DIO
~~~
Nov 18 - Sneaker's, San Antonio, TX
Nov 19 - Piranha, Corpus Christi, TX
Nov 20 - Villa Real, McAllen, TX
Thanatos with Allegory
~~~~~~~~~~~~~~~~~~~~~~
Nov 17 - The Kitchen, Miami, FL
Nov 18 - 1784 Club Z, Winter Park, FL
Nov 19 - Outa Control, Atlanta, GA
Nov 20 - Jimmy's Club, New Orleans, LA
Nov 21 - The Abyss, Houston, TX
Nov 22 - The Impala, Fort Worth, TX
Nov 25 - Reptile House, Grand Rapids, MI
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Now is the icy season of Samhain - a period of steadily growing
darkness and cold, the apparent decline of the living world. An old
pagan tradition holds that the barrier between the worlds of the
living and the dead is at its thinnest at this time of year - which
makes this the perfect time for a special edition of "What We Have
Cranked", featuring our picks for the top five creepiest metal
releases ever. So read on, if you dare...
Gino's Top 5
1. Various - _... And Even Wolves Hid Their Teeth_
2. Impaled Nazerene - _Tol Cormpt Norz Norz Norz_
3. King Diamond - _Them_
4. Marilyn Manson - _Smells Like Children_ (Unedited)
5. Ultraviolence - _Psychodrama_
Adrian's Top 5
1. Arckanum - _Frad Marder_
2. Mindrot - _Dawning_
3. Black Sabbath - _Black Sabbath_
4. Various - Halloween Movie Soundtrack
5. Profane Grace - _The Divination of Souls_
Brian's Top 5
1. Abigor - _Nachthymnen_
2. Setherial - _Nord..._
3. Within - _Bliss_
4. Dawn - _Sorgh Pa Svarte Vingar Flogh_
5. Mekong Delta - _Kaleidoscope_
Alain's Top 5
1. Alice Cooper - _Welcome to My Nightmare_
2. Black Sabbath - _Black Sabbath_
3. Hellhammer - _Apocalyptic Raids_
4. Hypocrisy - _Abducted_
5. Incantation - _Mortal Throne of Nazarene_
Steve's Top 5
1. Bathory - _The Return..._
2. Darkthrone - _Panzerfaust_
3. Impaled Nazarene - _Tol Cormpt Norz Norz Norz_
4. Black Funeral - _Vampyr - Throne of the Beast_
5. Incantation - _Upon the Throne of Apocalypse_
Adam's Top 5
1. The black metal compilation Steve dubbed for me... you rule!!!
2. Emperor - _In the Nightside Eclipse_
3. Samael - _Rebellion_ EP
4. Samael - _Passage_
5. V/A - _Nordic Metal - A Tribute to Euronymous_
Drew's Top 5
1. Emperor - _Emperor_ (off the split with Enslaved: _Hordane's Land_)
2. Gehenna - _First Spell_
3. Entombed - _Left Hand Path_
4. Mayhem - _De Mysteriis Dom Sathanas_
5. The Black - _The Priest of Satan_
Andrew's Top 5
1. Brighter Death Now - _The Slaughterhouse_
2. Mayhem - _Live In Leipzig_
3. Archon Satani - _Virgin Birth (Born Again)_
4. Current 93 - _Dog's Blood Rising_
5. Thergothon - _Stream From The Heavens_
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
T H E F I N A L W O R D
~~~~~~~~~~~~~~~~~~~~~~~~~~~
So, you've actually made it to the end of another issue of Chronicles
of Chaos have you? Well good for you, your mother would be proud!
Hope you guys enjoyed this issue, including our Top Five creepiest
albums. Remember that we'll be a little late next month in lieu of
our special issue. I'm sure you'll all enjoy it. See you then!
-- Gino Filicetti
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
End Chronicles of Chaos, Issue #15
