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Chronicles of Chaos Issue 048
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Fifth Anniversary Mega-Issue
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CHRONICLES OF CHAOS e-Zine, August 12, 2000, Issue #48
http://www.ChroniclesOfChaos.com
Editor-in-Chief: Gino Filicetti
Coordinator: Adrian Bromley
Copy Editor / Contributor: Pedro Azevedo
Assistant Copy Editor / Contributor: Brian Meloon
Contributor: Adam Wasylyk
Contributor: Paul Schwarz
Contributor: Aaron McKay
Contributor: David Rocher
Contributor: Alex Cantwell
Contributor: Matthias Noll
Contributor: Alvin Wee
Spiritual Guidance: Alain M. Gaudrault
The individual writers can be reached by e-mail at
firstname@ChroniclesOfChaos.com ("firstname" must be replaced by the
respective writer's first name, e.g. Gino@ChroniclesOfChaos.com).
NOTE: You may unsubscribe from Chronicles of Chaos at any time by
sending a blank e-mail to <Unsubscribe@ChroniclesOfChaos.com>.
For more Chronicles of Chaos information, check out the
Details section at the end of this issue.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #48 Contents, 8/12/00
---------------------------
* Editorial
* Loud Letters
* Deadly Dialogues
-- King Diamond: The House That King Built
-- Dismember: Dissecting a Decade of Dismemberment
-- Glenn Danzig: Machine
-- Earache Records: Foreseeing the Future of Music...?
-- In Flames: Molding Their Visions
-- Broken Hope: Broken but Not Subdued
-- Demons & Wizards: Satan and Merlin Unite!
-- Aghora: A Cynical Eastern Gathering
-- ...And Oceans: Scandinavian Domination
-- Saturnus: For the Loveless Lonely Lives
-- Rapture: The Futility of it All
-- Thy Primordial: Reasoning With the Heretics
-- Necrophagia: Gore Is Fun
-- Malevolence: Malevolently Materialized Martyrdom
-- Decapitated: Beheading the Eastern Prophets
-- Rebaelliun: Pyromaniacal Slayers Assault Paradise!
-- Jag Panzer: Staging a New Sound
-- Mental Home: The Shores of Inner Thoughts
-- Burning Inside: Burn Florida Burn
-- Altar: The Shrine Unshrouded
-- Transport League: Still Fighting for Exposure
* Album Asylum
-- A Perfect Circle - _Mer de Noms_
-- After Forever - _Prison of Desire_
-- Altar - _In the Name of the Father_
-- Anaal-Nathrakh - _Total Fucking Necro_
-- Ancient Wisdom - _...And the Physical Shape of Light Bled_
-- Angel Dust - _Enlighten the Darkness_
-- Angelwhore - _Superman_
-- Apollyon Sun - _Sub_
-- Ashes You Leave - _The Inheritance of Sin and Shame_
-- Asiatic Spike - _Beastial Warfare_
-- Asphyx - _On the Wings of Inferno_
-- Autumn Tears - _LPfDC Act III: Winter and the Broken Angel_
-- Axel Rudi Pell - _The Masquerade Ball_
-- Ayreon - _Universal Migrator Part 1: The Dream Sequencer_
-- Black Label Society - _Stronger Than Death_
-- Blinded by Faith - _Veiled Hideousness_
-- Blood Storm - _Pestilence From the Dragonstar_
-- Bloodbath - _Breeding Death_
-- Borknagar - _Quintessence_
-- Charon - _Tearstained_
-- Chastisement - _... But Lost We Are_
-- Circle of Nero - _Massive Obliss_
-- Coffin Texts - _Gods of Creation, Death & Afterlife_
-- Corvus Corax - _The Atavistic Triad_
-- Cruachan - _The Middle Kingdom_
-- Various - _Curse of the Demon: A Tribute to Mercyful Fate_
-- Dark Funeral - _Teach Children to Worship Satan_
-- Dark Tranquillity - _Haven_
-- Darkness Eternal - _Dawn of the Suffering_
-- Defaced Creation - _Serenity in Chaos_
-- Descend / All That Is Evil - _Split CD_
-- Destruction - _All Hell Breaks Loose_
-- Dying Fetus - _Grotesque Impalement_
-- earthtone9 - _hi-point_
-- Entombed - _Uprising_
-- Even Song - _Of Man's First Disobedience
(Expulsion From the Divine Abode)_
-- Everon - _Fantasma_
-- Exciter - _Blood of Tyrants_
-- Fates Warning - _Disconnected_
-- Fleshcrawl - _As Blood Rains From the Sky...
We Walk the Path of Eternal Fire_
-- Grief of Emerald - _Malformed Seed_
-- Grimm - _Nordisk Vinter_ 7"
-- Hair of the Dog - _Rise_
-- Hatred - _The Offering_
-- Hypnos - _Hypnos_
-- Hypocrisy - _Into the Abyss_
-- Impaled - _The Dead Shall Dead Remain_
-- Impaled Nazarene Vs. Driller Killer
-- In Flames - _Clayman_
-- Incantation - _The Infernal Storm_
-- Jag Panzer - _Thane to the Throne_
-- Juvenes - _Riddle of Steel_
-- Keelhaul - _Keelhaul_
-- Linea 77 - _Too Much Happiness... Makes Kids Paranoid_
-- Long Winter's Stare - _The Tears of Odin's Fallen_
-- Lux Occulta - _My Guardian Anger_
-- Mayhem - _Grand Declaration of War_
-- Mental Home - _Upon the Shores of the Inner Seas_
-- Milligram - _Milligram_
-- Murder Corporation - _Murder Corporation_
-- Nightsky Bequest - _Of Sea, Wind and Farewell_
-- Nile - _In the Beginning_
-- Nokturnal Mortum - _NeChrist_
-- Obscenity - _Intense_
-- October 31 - _Meet thy Maker_
-- Opprobrium - _Discerning Forces_
-- Orth - _Feed the Flames_
-- Overcome - _Immortal Until Their Work Is Done_
-- Pain - _Rebirth_
-- Pantera - _Reinventing the Steel_
-- Power Symphony - _Lightbringer_
-- Primordial - _Spirit the Earth Aflame_
-- Raging Speedhorn - _Raging Speedhorn_
-- Various - _Raise the Flag of Hate: A Tribute to Kreator_
-- Red Harvest - _Cold Dark Matter_
-- Rorschach Test - _Peace Minus One_
-- Running Wild - _Victory_
-- Saturnus - _Martyre_
-- Sick of Society - _Sportsman Sound_
-- Sincronisity - _Winters of Despair_
-- Sinergy - _To Hell and Back_
-- Spiral Architect - _A Sceptic's Universe_
-- Stormhammer - _Fireball_
-- Suicide Culture - _Hallow Be the Agony_
-- Summon - _Baptized by Fire_
-- The Chapter - _The Chapter_
-- The Gathering - _if_then_else_
-- The Project Hate MCMXCIX - _Cyber Sonic Super Christ_
-- Thornspawn - _Blood of the Holy, Taint thy Steel_
-- Thy Primordial - _The Heresy of an Age of Reason_
-- Thy Serpent - _Death_
-- Tidfall - _Circular Supremacy_
-- Twilight Kingdom - _Adze_
-- Unmoored - _Kingdom's Greed_
-- Usurper - _Visions From the Gods_
-- Vehement - _Unbalanced for Mankind_
-- Venom - _Resurrection_
-- Violation - _Moonlight's Child_
-- Vordven - _Woodland Passage_
-- Winterblut - _Der 6. Danach_
-- Wolf - _Wolf_
-- Yogge Sothothe - _Yogge Sothothe_
* New Noise
-- Actual Time - _Actual Time_
-- Belshazzar - _Sie Nur Ad Astra_
-- Bongwater666 - _L-yeyed/Tanner_
-- Butterfly Temple - _Baec_
-- Condition Red - _Back in Business_
-- Midnight Scream - _Midnight Scream_
-- Omnium Gatherum - _Promo 99_
-- Scald - _Nematoid: Specimen Parts I-IV_
-- Shaw Shank - _Beautiful Bedlam_
-- Soul Destruction - _United in Obscurity_
-- Suffering Souls - _Cries of Silence_
-- Te Deum - _Demo 99_
* Classic Carnage
-- Atheist - _Piece of Time_
-- Basil Poledouris - _Conan the Barbarian_
-- Carnage - _Dark Recollections_
-- Celtic Frost - _Morbid Tales_
-- Celtic Frost - _To Mega Therion_
-- Celtic Frost - _Into the Pandemonium_
-- Crumbsuckers - _Life of Dreams_
-- Crumbsuckers - _Beast on My Back_
-- Cynic - _Focus_
-- Deceased - _The 13 Frightened Souls_
-- Dodheimsgard - _666 International_
-- Manowar - _Fighting the World_
-- Manowar - _Kings of Metal_
-- Manowar - _Battle Hymns_
-- Manowar - _Hail to England_
-- Manowar - _Sign of the Hammer_
-- Nocturnus - _The Key_
-- Rush - _2112_
-- Spinal Tap - _Spinal Tap_
-- Anathema - _Serenades_
-- Anathema - _The Silent Enigma_
-- At the Gates - _Slaughter of the Soul_
-- Dark Tranquillity - _The Gallery_
-- Emperor - _Anthems to the Welkin at Dusk_
-- Enslaved - _Blodhemn_
-- Katatonia - _Dance of December Souls_
-- My Dying Bride - _Turn Loose the Swans_
-- Summoning - _Stronghold_
* Chaotic Concerts
-- Milwaukee MetalFest XIV
-- Another Pilgrimage to the Metal Midwest
-- Crusade to the Carnage Capital
-- The New Millennium Maiden Slayers: Iron Maiden, Slayer and The
Almighty in France
-- The Maiden Voyage to a Brave New World: Iron Maiden, Slayer and
Entombed in England
-- Air Guitar Raid on Zurich: Iron Maiden in Switzerland
-- Devil's Plaything: Danzig, Six Feet Under and Disturbed
-- There's No Mercy in Satan's Oven: Deicide, Immortal, Cannibal
Corpse, Marduk, Vader and more
-- Scotland Skinned Alive: Dismember, Akercocke and Infestation
-- Invadering From Across the Seas: Vader, Vital Remains, Fleshcrawl
and Rebaelliun
-- Pledge Your Allegiance! Suicidal Tendencies in London
* Writer's Wrath
-- Machine Head Are Becoming Manowar!
* What We Have Cranked
* Details
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by: Pedro Azevedo
[Welcome to the fifth anniversary MEGA issue of Chronicles of Chaos.
This month I have turned over my coveted privilege of editorial
writing to my workhorse of a co-editor, Pedro Azevedo. As I've told
everyone, I've recently, voluntarily, turned my life upside-down by
moving to the United States, getting married, graduating University
and getting a new job. As a result of the extremely busy schedule
I've been trying to live with, I have had to turn almost all of my
duties over to Pedro (who already does more than his fair share each
issue of CoC). It is for this reason, that I most graciously
relinquish my editorial to him. Knock 'em dead boy... -- Gino]
In August 1995, Gino Filicetti, an e-mail-less Adrian Bromley
and Brian Meloon assembled and distributed the first issue of
Chronicles of Chaos. For the past five years, their initial vision
has grown and evolved into what you now behold without ever losing
any of its unique "personality". This is CoC's fifth anniversary
issue, and also by far our biggest to date (twice as big as the
previous record-holder, actually), and contains an unprecedented
number of interviews and album, demo and concert reviews (including
our coverage of this year's Milwaukee MetalFest), a special Classic
Carnage section and a Writer's Wrath article. A proportionally
massive amount of hard work went into this issue, which makes it even
more special to us -- but we are already planning special treats for
the future as well: expect a full report on the first ever European
CoC reunion soon...
We are also welcoming new members to our staff. First of all, we
are pleased to announce that Alvin Wee is now a permanent staff
member, and deservedly so. In the near future you will also be likely
to find the work of three promising new contributors in CoC: Chris
Flaaten from the cold fjords of Norway; Eli Fishbein, who will be
writing from Israel; and from the USA, Scott Andrews.
As I write my first editorial, I know just how special
Chronicles of Chaos is to me. In fact, I am sure I can speak for
the entire CoC staff and say we are all truly proud of writing
and working for this remarkable publication. But we also believe
CoC is very special to many of you readers out there. Rest
assured that we will continue striving to keep its spirit alive
and stronger than ever, and after five years we still
doubtlessly intend to keep doing so for as long as we possibly
can.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
As many of you readers may recall, awhile back, we put out the
word that Chuck Schuldiner, Death / Control Denied frontman and death
metal pioneer, had been afflicted with a deadly condition for which
expensive experimental surgery was the only hope. To help the
Schuldiner family in their time of need, we at CoC decided to take up
a collection amongst the staff, and any of our readers who felt so
inclined. As you may also have noticed, we did not follow up with
postings of reader donations as promised, though only because there
were none. While we were only able to collect from within our ranks,
we would like to think that our bringing this issue to your attention
prompted at least some of you to contribute directly to the
Schuldiner family, perhaps being a little wary of sending your
hard-earned dough to total strangers. Chuck appears to be well on his
way to recovery, which is the most important outcome of this ordeal.
And to the one reader who sent in the cheque made out to "Chuck
Schuldiner Appeal", we thank you, even though we were unable to cash
it without opening a special account under that name. Your
thoughtfullness is commendable.
-- Alain M. Gaudrault
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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
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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 <mailto:LoudLetters@ChroniclesOfChaos.com>.
All letters received will be featured in upcoming issues of
Chronicles of Chaos.
Date: Sat, 27 May 2000 20:38:31 +0930
From: "Frank" <bassmetalchick@iprimus.com.au>
Subject: Satanists VS Christians and anyone else who wants to join
the battle
Ok, for all of you out there who appear to have completely the wrong
idea altogether here is my view on this whole religion debacal:
Satanism is a respectful religion in which one emulates satan and
becomes his/her own god there for satanists are not devil worshippers
and aren't necessarily out for christian blood. In my opinion
christianity is a harsh religion which merely allows weak minded
people to blame all the problems in their life on someone else -
their god. I do not believe in god therefore I am not part of either
religion (note here that if you claim to be a satanist you need to
realise that you are also to an extent, accepting christianity into
your life). I just think that life is going to be good so long as you
do what you want, be who you want to be and enjoy it! You don't need
a superior being standing over you to make sure you smoke the right
drug. Oh no, god doesn't allow drugs does he? Well there goes your
fun! Catcha
Date: Fri, 09 Jun 2000 21:03:37 -0600
From: "S.R. Prozak" <prozak@anus.com>
Subject: a damn troublemaker speaks...
Greetings,
I must say I am honored to be mentioned in C.O.C. by so many angry
people. I have found in this life that there are usually both leaders
and followers in any grouping, and that the latter take on leadership
abilities when the continuity of their existence as followers is
threatened. I'm glad to see that you followers are upset.
In your complaining, "I don't like the debates about Christianity in
metal" becomes a rallying cry for those who feel directly opposed to
the ideology predominantly expressed by metalheads in those debates,
or for those who think they are becoming "free" by ignoring issues
that bring up conflict. That is after all, social courtesy and good
business. This is the same response as moving to the suburbs: You're
crazy, and we're locked up with private security. Their argument
boils down to a complaint that we are being selective and not "fair"
to all democractically equal but radically different beings. Because
in this merciful world, of course, "selectivity" is one step away
from hatred.
But something made metal distinct - an internal selectivity? Look at
why metal emerged from history. There were all these people making a
good income with progressive rock and "70s" style neo-bluegrass disco
cheese. Why be "hateful" and "dark" and "occult"? Black Sabbath,
until the Christians dragged them down, *did* have an artistic
suggestion in mind for the times - to abandon the way of thinking
that had even infested all of the 1960s movements that had become
commerce. These first metal musicians, like metal musicians now,
hated the transparent world of material control (religion, society,
state) and the meaningless rules it accumulated, but most of all,
they had a spirit that was - better? - than the one it contrasted.
They wanted to live life to extremes and not fear the "bad" or
"negative," even if that meant a morbid nihilism of accepting death.
Metal has been the culture outpouring from that theory, and through
its eras it has successively identified enemies: heavy metal
(christianity, normals, war, society); speed metal (nuclear war, the
middle east, organized religion, police brutality, society,
environmental destruction); thrash (society, government, religion,
illogicality, environmental destruction); death metal (people,
society, rules, morality, Christianity, new agers); black metal
(christians, jews, non-whites, god, society, normals, the merciful).
You may notice that "Christianity" or "religion" appears many times
on that list. It enemies are not its betters, but its opposites: the
theories that compete with its own and its own claim to independence.
This is an issue of metal's leaders versus society's followers. This
issue will not go away, nor will it ever be resolved, because there
will constantly be a part of the Christian religion wishing to
neutralize the "threat" of heavy metal and heavy metal attempting to
work for its independence. This is simple competition. Those urging
the issue "go away" are trying to strip metal of its cultural
heritage in philosophy and politics so that Christianity may have a
voice for propaganda in a genre that directly contradicts
Christianity. If you can corrupt your enemy's will, you win. This is
what the followers hope to do. They hope to make things difficult for
ideology so we all give up and conform.
Thanks to an intelligent editorial policy, you heard it here.
---
Live Jesus Christ Sodomy Video!!!
http://www.anus.com/altar/
Date: Sat, 15 Jul 2000 15:31:46 +0200
From: thomas mao <thaumas@club-internet.fr>
Subject: christian metal
hi everybody
i know, everybody's overstuffed by the christian debate, but i'll get
to the forefront 'cause definitely i want to have the last word on
this subject 8 )
i think you (nearly) all missed it. did anyone involved since Coc42
lift his ass up to define the 'christian metal' label ? come on ! i
mean john tardy's a hobby gardener; did obituary play 'gardening
death metal' ? it's lame folks.
if the christian label is needed, it must be that the musicians
develop biblical views through their music, not passively being
christian. so you can be christian and compose unchristian metal, and
when you EXPLICITLY call it 'christian metal' then that's that it's
propaganda or marketing strategy etc. in either case that doesn't
relate to the music itself; i think it's clear, 'cause the mechanisms
by which you illustrated jesus' word could as well serve an inverted
purpose (in history this is the contrary : music took on the satanic
duties first) > 'christian' is an ideological connotation
indifferentiative of the musical forms.
metal is about sublimating one's mind. it's something that tackles
our innate perceptive capabilities. it's something highly
individualistic. then you'd legitimately reply : what about concerts,
why are they so important ? the parameters are different here ;
that's more a sociological stuff that has nothing to do with music.
there's the human factor, the 3D sound plus various stimuli that are
likely to push you out of critical lucidity. now WARNING : if you're
heartedly headbanging along the hardcore metal stuff, if you don't
wait for the end of the songs to put out first appreciations, if from
one riff to another you lose memory, if you don't collate/corroborate
elemental variations and/or prefer to dig aesthetical impact and
musical consistency, i see no pt for you to follow me. (please check
out my reviews at http://perso.club-internet.fr/thaumas.) where the
hell does it fit into anything? for sure, christianity binds people
through doctrine. religious music is overtly simple for this sake ;
anyone into religious music knows how this is rigorous, rigid (the
gregorian/council thing for instance) and moves on to more and more
accessible areas. but this IS the same gregarious force of the
concert shit ! the more people you take in, the bigger the chance you
have to build a solid basis for mass/congregational formation (i know
people who got involved into christianity for the majesty/solemnity
of its church music), whereas metal helps in exploring one's inner
potential. so i think that metal is NOT anti-christian music : it's
satanic when you take it from the christian side; it's neither
especially 'christian', in that music is generic to beliefs, but
music can reduce itself to ideology lyric-wise. i think that as its
power is essentially narrative and not analogic/phenomenologic in the
meta-psychic way, metal with pro-christian lyrics has a good chance
to tread in polluted waters.
also one word for the 'true' christian metal played with balls :
christian guys can make art as well, but i'll get as far as this :
when this is art as approached above, they're BAD christians that
suck both the metal and christian things.
thaumas not
check my band, AAAAARGH!bloody 2-handed chainaxe blow at
http://perso.club-internet.fr/thaumas
Date: Wed, 26 Jul 2000 20:33:44 +0200
From: "Jackie Smit" <1998549750@wwg3.uovs.ac.za>
Subject: The great Christian metal debate
Hi!
I am so fucking sick and tired of hearing every boring, pimply faced
wanker with an e-mail address, a computer and a keyboard moaning and
groaning about how cool Christian metal is, or how much it sucks. And
then to top it all off, we have idiots like Alla Xul who do exactly
what they supposedly hate, which is preach.
I'm a Christian as well and to me it's a very personal thing and I
NEVER try to tell other people that what they believe is wrong,
because I feel that their paths will lead them along the way that was
destined for them. Even though I'm a Christian, I dislike almost all
so-called Christian metal, because the bands (especially
Mortification) sort of expect a person to listen to them based soley
on lyrical content, even though their music is a load of shit. I
listen to music which sounds cool to me and I don't care from what
genre it is either, as long as the artist I'm listening to has talent
and can make me say WOW! In fact, my favourite bands/artists are
Devin Townsend, Samael, Morbid Angel, Emperor and The Kovenant and
none of them are what you'd call Christian. I do however derive
immense enjoyment from their music, and I have found much of what
they have said with their music and (yes, Alla Xul) even their lyrics
to be a great source of personal strength. The fact that their
religion differs from mine, is inconsequential, because I see it
merely as a difference of opinion.
So, what I'm trying to say is, that music should be judged on music
alone and not on lyrics. If you happen to like the lyrics, then it's
a plus. The worst lyrics in the world aren't written by Emperor or by
Tourniquet - they're written by Dez Faffara who is probably the
biggest asshole in all of music, apart from Phil Anselmo. And please
pick another topic to write about, because this is getting annoying!
Thanks to CoC for a brilliant zine and best of luck in the future.
Jackie Smit
South Africrap
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T H E H O U S E T H A T K I N G B U I L T
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to King Diamond
by: Alex Ristic
"Nobody does it better!" A cliche and well used, but one that aptly
describes all that is King Diamond. Compared to him, no one writes
more involved concepts or stories on their albums, no one else gets
the best out of their musicians like he does, and maybe, just maybe,
some have an equally entertaining live show (but King getting
cremated on stage is tough to beat). It's now time for a new opus
from the Great Dane, in the form of _House of God_, an involved story
and album that continues to bear the Diamond seal of approval and
will entertain his many fans. The following is the near hour long
conversation that Chronicles of Chaos had with the King.
CoC: Only getting a promo copy of the album, I don't have a set of
lyrics. Can you please tell me what the story is about?
King Diamond: Oh, great. That's not what you want to hear, right?
That's not really your fault. They [the record label]
need to do that kind of stuff. Anyway, the story
itself, the scenario takes place in Southern France; I
took it from real life. But that actual story that
takes place in that scenario is, of course, my doing
and has nothing to do with what really exists. But
there really is a church in Southern France, upon a
hill, that has this inscription over the door that says
"This place is terrible". And at that very place it
also has a devil that looks you right in the face as
you walk inside the main entrance; very strange. I
think it has up to about 20000 visitors a year,
tourists they say, that come to look at it, and most of
them don't actually go into the church because they
feel appalled by the thing in the church, and they feel
like something is wrong. The story goes about the
church itself, and I kind of used that for just that
short theory that you hear during the intro of the
album, and that is that they talk about this priest
that was in charge of this church. He supposedly found,
like I said in the beginning, there's a foreword that
talks about this story taking place 200 years ago, and
the main character in the story has chosen to tell the
story as if it happened to himself. But he's changed
some names because he had to, and in the end just
remember that this is just a story, and most stories
are exactly that: something told by someone else
without the actual facts to prove it. But there is a
story about that church, that goes like this priest
supposedly finding these four scrolls that talked about
Jesus, if you believe in him for real and as having
lived and all that stuff. It says, in those scrolls,
that he actually lived at this church, with Mary
Magdalene, having married her and founding a new
dynasty, and that he never died on the cross. And this
priest also found a secret grave that indicated that
Jesus was buried there, but he brought these things to
the Vatican and came back from there a filthy rich man,
as if he had something that they did not want out.
Later, when he died, he tried on his deathbed to tell
these secrets to his housekeeper, but never managed to
get to the actual secret before he did die. It's kind
of shrouded in mystery and these weird theories about
it. And I think, if that was really the case, it would
be good for Christianity. The whole foundation that he
died for our sins would be out the window, and that
would not be very good. So that's kind of put into that
intro. But from then on it is completely about my own
story, dealing with this character who's out travelling
in the mountain regions of Southern France, and
suddenly finds himself lost. He's been there many times
before, but now the roads look different, and he hears
this distant howl, wolves howling, and suddenly finds
himself surrounded by wolves ready to attack. And he's
preparing himself to die when suddenly this big black
and silvery white wolf steps forward with magically
blue eyes, and all the others kind of step back scared
of it. And this wolf talks to him; not verbally, but
actually with its mind, and tells him to follow it. And
he does that, and they travel up the mountainside to
the top of the mountain where they get to this church
that looks horrible from the outside; it's in complete
decay. Once they get inside the church it completely
changes before his eyes, and becomes this beautiful
church, but there are some odd things in there that
don't normally belong in a church. Like, there's two
pulpits in there; one of them is decorated with these
protective gargoyles, while the other one has these
little figures of demons having fun. And there are all
these mirrors with crucifixes, and there's also this
little devil figure sitting by the altar. It's just
like "whoa", it's a little chaotic because it doesn't
seem to belong together. When he's inside that church,
suddenly the wolf sheds its skin, right before his
eyes, as the church is changing too. Out of it comes
this beautiful lady; he's never seen anything like it.
He immediately loves her sight, there's no doubt. He
doesn't even care where she came from or what she was,
or anything; it's just like "Wow, this is it!" He never
experienced that feeling before. From that point on,
for a couple of days, they have a lot of fun in this
church. They have sex everywhere in this church; just
having a really cool time. But somewhere along that
line, one morning he sees this girl kiss the black
devil figure as he wakes up, and he's like "What the
hell was that?" And then he starts paying attention to
these strange things that are in the church, and
suddenly the girl approaches him and says: "There's
something I have to tell you. I have to give you two
choices now, because I have seven days left. I swore by
signing a sacred pact to be a guardian of this church
for a year. When this year is up I will either die, or
you can sign this pact and take over the guardianship.
By doing that you can set me free and I can walk out
the door as a woman. Otherwise, I have only been able
to leave this church as a wolf, as part of the pact.
But I would be able to leave as a woman and continue my
life, but the second I step outside my memory will be
erased and I will not remember ever having seen you,
and I will not be walking back into the church. It will
be the last time you see me. The other way, I have
seven days left, so we might have two more days of fun
but then you will have to experience me dying in front
of your eyes." And he simply can't handle that part, so
he decides, unselfishly, to set her free. And he signs
the pact, and she leaves, and suddenly he finds himself
in this situation where he can only leave the church as
a wolf, which gives him nothing. He becomes very
lonely, and he feels a loss with her, and he starts
drinking and he gets very, very frustrated about the
whole thing; he doesn't even know why he's in the
church. "What is it I'm guarding?" He's not been told
anything. It turns into desperation, and then, finally
almost insanity, where he goes crazy in that song
"Help!!!", and starts smashing all the mirrors with
crucifixes in them, because he can't stand looking at
his own misery. Suddenly, when he smashes that last
mirror, it triggers a mechanism that moves the altar,
and that leaves a big black whole in the floor where
there are stairs leading into the dark. And he knows
that he has to go there; there's nothing else for him
to do, so he does that. As he walks down there he finds
himself, suddenly, with a candle in his hand and these
long narrow hallways, and there are lots of little side
chambers full of human bones. From one of these side
chambers there's a light coming, and he walks in that
side chamber, and in there finds this Virgin Mary
statue and it's full size, big, carved in wood. And
seeing another religious symbol, he starts smashing its
head and realizes that it's hollow. There's something
inside, and what he finds inside is a mummy that's
wearing a crown of thorns; that's obviously Jesus. He
starts to take the bandages off the head, and in
through the eye sockets he can see a light, and this
light starts coming out of the eye sockets and then he
hears this scream from inside of it, and he turns
around and starts running for his life. Then this light
comes after him through these hallways, and he makes it
back up into the church, and there, this light follows
him into the church, and fill the entire church.
There's all these faces and bodies floating around in
it. Then the two have a confrontation, and of course
the person asks the light "What are you?" And it says
back to him that it's the highest there is. Then the
guy says "Well, what do you mean?" And it's like "Well,
there's nothing higher and you don't need to know what
I really am. It doesn't matter. You have totally over
stepped your boundaries, you were not supposed to have
seen or found what you found. I will never explain to
you why we kept him down there." He's referring to
Jesus, the mummy. It says that "There could be a couple
of different reasons, of course, it's obvious that we
might have kept him away from God, so he would never
find him and put him back on Earth again. Another
reason would be to keep him safe from people like you",
he says, "who could probably crucify him again, or try
to. Or it could be something else. It's none of your
business. All you need to know is what we are, not what
we are about." And this guy says "Well, that's no good
for me. I'm not going to serve some unknown god. If you
really are the highest God there is you need to prove
it to mankind, not just me. You need to prove it to
everybody at the same time that you are the only one in
existence. Then you need to explain to us why we are
here; what is the meaning of life. None of us really
know. We're only guessing, still today, we are still
guessing about all the different gods there are. No one
has the proof that their god is the right one. No one
on this Earth has been able to prove to the rest of the
Earth that what they're believing is the right thing.
We'll avoid a lot of bad stuff; all the wars that are
going on in today's society. Ninety per cent of those
are based on religious differences. Because we have all
these different gods, no one has ever been able to
prove he's right." He says: "Tell us what the meaning
of life is. Show us death, show us what's after death.
Explain it to us and show it to us so that we know.
Give us some guidelines to assist this Hell that we are
sometimes going through on this Earth. And this god
says: "It's not for you to know these things. You just
live your life the best you can, and leave the rest to
us." And this guy is like "I can't do that. I will not
accept that. If you can't do that, it's probably
because you don't know the truth yourself. You're
probably just another puppet on someone else's higher
strings. And you really don't know the truth, that's
why you can't tell me. What effort would it really be
for a big God to show itself to us on Earth for 20
minutes? Just 20 minutes man, that's all we ask. Is
that really that much to ask? It could be that the real
reason is that there may be no gods at all." So, they
have this confrontation and this guy will not buy what
this "god" says. So he says to the god: "You know what?
I'm a man of logic, and I will prove to you that I can
think for myself and I can take according action. What
I am going to do is, I have nothing to live for in this
church. I'm imprisoned in this church. I can't even
leave the church as a human being, and you won't tell
me why I am here? You give me no choice. I want to find
out, and there's nothing else to do in this church
anyway, so what I'm going to do is choose death over
you, and you just try and stop me, because you can't."
So he takes a rope in his hands, and throws himself off
this high tower and he hangs himself. At last comes the
instrumental "Peace of Mind", which is what he finally
finds. It's a funny dilemma that we have here on Earth
sometimes; we don't know why we're here, and we'll
probably never find out until we're not here anymore.
What I'm trying to say with the story is some of what I
told you before; it blows my mind that we have all
these wars based on religious differences, even today,
even though people don't know whether they believe in
the right god. Even though you think you have the right
god you can't prove it to anyone else, for the very
fact that you might not be right. And for the fact that
we don't actually know why we're here on Earth; none of
us do. I'm accepting that I don't know it, but at the
same time I know that no one else knows, and I'm
accepting that I don't know what death is and what's
coming after death. I don't have any proof for that,
but I also know that nobody else has that proof. But a
lot of people spend their time worrying about that.
Worrying about things?, you can worry about death and
what it consists of for the next 20 years and you won't
get the answer. You're wasting your time. Some people
are even scared of death, they're fearing death. And
when you ask: "What is it that you actually fear?", you
don't know, because you don't know what death is about.
I have chosen to be extremely logical about those
things, and I'm telling myself that I'm not going to be
afraid of something I don't even know. It could be the
best thing ever; I don't know. But since I don't know
I'm not going to waste my time worrying about it. I'm
not going to waste my time here on Earth trying to
figure out why I'm here, because I won't. Though these
answers, maybe if there is this big god somewhere, and
if it ever decides to give us a little time of day to
show itself and explain it to us, then maybe I'll find
the answers. But that might never happen in this
lifetime, so why would I spend a lot of time trying to
figure out what the reasons are? I'll never have that
chance. Instead of wasting all that time I'm going to
do things that I know make me feel good, and that way
I'll live a better life here on Earth. And if more
people did that we'd have a much better world. More
people would feel better, and when you fell better you
have a surplus of giving, that would be a much more
positive environment to live in. At the same time it
would stop those stupid, insane wars where people are
trying to prove that they're right by fighting someone
else. If I could meet Einstein and beat him up, it
doesn't mean that his theory is wrong. To me, these
wars and people trying to prove and shut others out,
because they think they've found the right god, they
can't prove it to anyone else, so how can they be so
sure they're right? It's a guess, a theory. I can come
up with a theory that's just as meaningful, which just
goes to show how stupid that really is. I can tell you
that I have a yellow flower in my yard, that's really
big, and that's God. It speaks to me. <laughs> And
people would say "That's really insane." But I can say:
"What do you mean? You say your god speaks to you. You
can't even see your god. At least I can see mine. This
flower tells me that if you don't believe in the same
thing that I do, then I should kill you." That's how
crazy it really is. It blows my mind man, I can't get
it through my little brain how people can act that way,
and we still do. I certainly respect that people
believe in different gods. If people would only use it
for what it is, it's almost like, and I mean this in a
positive way, a pacifier. It calms you down, in respect
to the questions that you will never get the answers
to. Human beings hate chaos; we want to put things in
little drawers. They worry about death so much that
they have a need to create a god that, in Christianity
for instance, says there's a heaven. "That's where I'm
going to go." Fine, if that soothes you that's great,
but don't hold it against other people for not
believing in the same thing that you do. That is what
this album is very much about.
CoC: This album seems to have a lot of social issues involved in the
story. Do you think that will surprise people?
KD: They all actually do. It's kind of like things that bother me for
a year before I do an album, that's usually what I write a horror
story around, so I can put those human issues into the story.
Like _Voodoo_; it also deals with that kind of stuff. I'm not
fearing other people's way of life. Instead of being scared of
it, if you can research and you have a chance of finding out what
it's about, do that first before you start taking drastic
measures to get rid of it. You might find out that it's harmless,
and you don't need to do anything at all. It would take you maybe
a couple of days to read a book on it, and you'll find out that
voodoo is harmless if you leave the people alone. But if you try
to interfere and destroy their stuff, they will take into
consideration that their life is being destroyed, and that's
actually what you would do by trying to destroy a voodoo burial
ground. There's so many things that people don't know about, that
they don't want to take the time to find out about, if they
actually can. But there's always social issues in all King
Diamond albums; jealousy, greed, hate, love. There's a lot of
these human issues woven into these stories, and the stories
themselves may take place in another time period, but those human
issues are the same, and very valid today. Some of them take
place today. _The Graveyard_ was dealing with child abuse.
There's always these issues, but this album, though, goes very
deep because it actually goes in and touches on religious
beliefs, in a very down to earth, logical way. It's deeper than
anything else we've done.
CoC: _House of God_ is your first direct reference to Christianity
since _The Eye_. Has this album been something that's been
planned for a long time?
KD: No, actually not. And it's not directed at Christianity either.
As soon as the word "God" is thrown in there most people take it
for granted, but there are many gods in this world today. There
are many different gods that people believe in, and that's why
the church itself, that I use, is set up in a weird way. There
are two pulpits; which one is the right one? There is God and
Satan in this church; that's of course Christian gods -- both of
them, which is something Christians sometimes forget, one of
their gods is Satan, created by their own God that's supposed to
be perfect. He created an imperfect angel and threw him out of
Heaven and into Hell, which he also created. So therefore he
created evil. But that doesn't matter. It's in a general sense
that I talk about the "God", that no one has proof that their god
is the right one. Christians have never been able to prove to
Muslims that they have the only correct way to believe, because
they can't, and probably because they don't have the right god.
It's a guess, it's purely a guess. But maybe I could turn around
and say that the Christians are right, but they can't prove it.
Maybe the Muslims are right, but they can't prove it to the
Christians. If there ever was one, or is one, he has never taken
the time out to visit us here, and at the same time to show all
of humanity; that would give the proof. That's what the guy asked
for in the story; "Show yourself to mankind. Not just to me, I
don't know if you're real or if you're not. You could be from the
spiritual world and claiming to be the biggest god. If I were
Christian I might think you're Satan trying to tempt me into
following you."
CoC: All your stories have a lot of detail. In a past conversation
for the _Voodoo_ record, you had mentioned that you performed a
lot of research for the album. How important is it to research a
topic so thoroughly?
KD: It's only important if it's a subject that I really want to write
something about, and I don't know about. I didn't know anything
about voodoo except what people get from watching movies. They
chop the heads off chickens, drink the blood, and they dance
crazily, and they stick needles in little dolls. That's pretty
much what I knew. The reason for trying to find out, again it's
often coincidence, but the music for the actual song "Voodoo" was
written before I started writing that story. But it had those
tribal drums in it that gave me the feel, I had all these visions
in front of me with these voodoo dancers dancing crazily around
the fire. I was like "Wow man. Maybe I should see if there's more
to voodoo than just these two little things, because if there's
only these two little things it's not interesting enough to write
a story about." So I borrowed three books and started reading
about it, and I found out how deep a religion it really is. I had
no idea about the stuff that comes into it, and that it's
actually a religion and not some kind of cult thing.
CoC: What about _House of God_?
KD: I read about this church from Southern France in the newspaper,
but that didn't inspire my story. It inspired the place where I
put the story, and the twist for the intro. It's like the same
kind of theory, like what would be if suddenly we found out
aliens are for real? Visitors from outer space; there are other
populated planets in this universe, a universe that we can't even
comprehend how big it is. To think that there would not be some
kind of life in a universe that's bigger than we can ever
imagine, I think is ignorant. I think it's ignorant to say that
there could not be life anywhere else, just because we haven't
found it yet. We can't even comprehend the beginning of time; we
have no idea of how things started. Some scientists have a theory
about a big boom, but it's pretty obvious that a bunch of
molecules have to bump into each other to create a big boom. So
where did they come from, and where did the space come from that
they were in? We can keep going and we'll never hit that wall
that says "here is the right space". We like to do that, we like
to create order out of chaos, because it bothers us so much to
have chaos. We can't exist in chaos, which is why we probably
create all these gods and other things, to try and make sense of
it. But we also know that if you have a rocket, eternal life, and
eternal fuel, would you ever hit a wall out there, and what would
be on the other side of that wall? It's just weird, and our minds
go "This is -not- fun." Same thing with some of the other stuff
that we mention in this album. It's not fun to think about not
having a clue as to why you're alive; what are you supposed to
achieve with life? And what's going to happen afterward? You
don't have a clue about these things. I certainly would love to
have these answers, but at the same time I know I'm not going to
get them. Why would I waste my time on these things when it is a
waste of time, really? It is fun to talk about, it's a good brain
exercise, just as long as you know before you start to talk about
it that you'll never get a result out of it; you're never going
to a reach a conclusion because there is none. It's interesting
to sit and talk about because you can throw all these theories
around. That's fun stuff, as long as you don't take it more
seriously than that.
CoC: When you were going into production for this record, I had seen
and heard rumors that this album would be _Voodoo_ part two,
much like a connection between _Them_ and _Conspiracy_. I'm
wondering if that's sitting in a vault somewhere?
KD: No, actually not. I know that it's set up to go straight on into
another one, and you could do that with several of our albums,
actually, where there's room for continuing. Even though it's not
the case, it would look like I had run out of ideas, so I just
went on with the story I had started. Actually, before I went on
with _House of God_, I had three different stories. I had written
a lot of notes while I was out touring with Mercyful Fate, and
when I came back home -- other people stay in my house taking
care of it when I'm gone, they keep all the mail; I have to sort
through it when I get back. All my notes got lost in that pile; I
couldn't find them, and I had three stories that I could choose
from, depending on the mood I was in. Then I read one day about
the church in this newspaper. Then it was like "Wow. Could
actually put some of those thoughts I've had in the past year,
about how unbelievable it is that we have these religious wars
even though people can't prove that they have the right god, and
why we're alive." I think about that sometimes, you know, and
then I grab myself and say "Don't waste your time on this stuff,
because you won't find the answers." The same about death and
fearing things that I don't know if they're good or bad. So I was
like "Wow, maybe here's the opportunity to do that." So suddenly
it got very deep and heavy and I had to have a talk with Andy
[LaRocque, guitarist] about it and said: "This is really deep. I
don't know if we should do this stuff at this point." And we
discussed it a little bit, and a couple of days later I called
him and said: "We're going for it. I don't give a shit, man,
let's just do it." And we did it. Afterwards, probably not until
after I came out of the studio, I actually found all those notes
for those three other stories. I don't know. It's not like I was
thinking "Oh, there was a purpose to that." No. I know why it
happened. There was a big mess when I came home, and they got
misplaced. <laughs> I'm actually glad now that they got
misplaced, because it gave me the opportunity to do this other
thing.
CoC: You welcome along two new band members on this album in Glen
Drover and Dave Harpour. How did they wind up joining?
KD: Well, Glen started before we started the _Voodoo_ tour in '98.
The guitarist, Herb Simenson, quit the band before the tour for
family reasons; he wanted to spend more time with his family. And
I respect that. People's lives change. I've been around so long,
and you really have to be prepared to sacrifice a lot,
specifically as long as I've been in this business. Some people
can't; their values are different from mine. Their priorities are
different, and like I said, life changes. But Glen I'd known six
years before that; he actually sent me videotape of himself
playing our songs a long time ago. I always kept him in mind
because he has a very unique style and would fit perfectly in the
band. Suddenly here was the chance. I called him up and said: "Do
you want to go to tour?" He's like "What? You're kidding!" "No,
I'm serious, man." And he prepared for it and he did it; he did a
killer job on that tour. He fit in so perfectly that there was no
doubt that he would work out in the studio too. And then going
into the studio he really proved himself. Tons of ideas, he has
killer technique, he works fast. He's there ready to sacrifice,
and that was perfect. Then, coming off the tour, the same thing
happened with the bass player. The family situation. He married
his girlfriend, who has a ten year old daughter, and they bought
a house and were talking about having another baby. I was like
"Are you sure you can tour?" "Uh, no." "Well, we need an answer
before we go into the studio, because I don't want to be in a
situation where you record the album but I have to find another
guy to go on tour. It's unfair to us, the new guy and everybody
else. You need to notify us in good time." And that's what we
did. John, actually, our drummer, suggested Dave, who lives here
in Dallas too, because he played with him ten years ago in a band
called Chastain, and he said he was amazing -- and he sure was.
Now he's in the band, and he seems like one of those guys who
would sacrifice anything for this. He's totally into it, and
always was a King Diamond fan. None of us can wait to go out and
tour for this. And we have a brand new production for _House of
God_ that's been built in Sweden. When we hit the big stages we
can put everything up; it's going to look awesome. We're bringing
the coffin again so we can do the cremation trick. There's going
to be a lot of stuff to watch, and the set we're going to play
will be very interesting too, because if you saw us in '98, half
the songs you see will be different. That's quite a big exchange
of songs. Of course you'll hear the intro from the new album at
some point, and then we'll play five songs from the new album,
two from the _Voodoo_ album and then we completely jump over _The
Graveyard_ and _Spider's Lullabye_ on this tour, for the very
specific reason that we noticed on the '98 tour a lot of new
young faces in the audience, and they have not seen us play quite
a few of the older songs. So we're trying to emphasize more of
the old set, compromising a little bit with the mid-time
_Spider's Lullabye_ / _Graveyard_ area. There are songs in the
set that Andy and I haven't played in ten years. We're playing
"No Presents for Christmas" again, "Black Horsemen", "Dressed in
White", and then there's one we've never played from _The Eye_,
"Burn". Still, you'll get "Welcome Home", "The Invisible Guests",
"Sleepless Nights", "Abigail", "Family Ghost". It's a long set, a
lot of songs, and it's so much fun when we're playing it. It's
going to be very cool and refreshing for those who come to see
the show.
CoC: You mentioned having to sacrifice a lot to be where you are.
Have you ever wanted a family?
KD: Well, I love kids, you know, but my marriage did not work out --
but there were different reasons. I'm not involved with anybody
at this point. The past five months, before I started my share of
the writing for this album, it was a crazy time -- I'm glad I
wasn't involved with anybody at that time. The Mercyful Fate tour
last year went on for a little longer than expected, and we had
already booked time for the studio, for the third of January, for
King Diamond, and when we came off the tour it was only two
months until Christmas. So I had to change my whole writing
habits around, and do it differently and actually spent maybe
even double the time that I normally do on this album. I did that
by actually -- and this literally -- spending every minute that I
was awake in those two months in my music room, working on my
songs and the lyrics. I didn't watch one movie for two months, I
didn't listen to one CD for two months. I saw two human beings
that I know, face-to-face, that I talk to, and that was the
drummer, one time to give him the CDs of the album for him to
give to the others, and I saw the studio owner once because
sometimes we watch Monday Night Football together. That's it.
Otherwise, I saw a couple of grocery clerks buying food, but that
conversation only goes so far as "Paper or plastic." It was
really strange afterwards, finally going into the studio, even
though I know all the band members really well, it was still like
"What is this strange feeling? There's human beings walking
around me, talking. What is this?" It was when you kind of like
stand there, and look at yourself, and think "What the hell, man.
What did you just do? Isolating yourself for two months like
that." And then going into the studio for three months. Andy was
there for two months, the other guys a couple of weeks each, but
me and the co-producer, Kol Marshall, we were there for three
months. I mean three days off in that whole period of time, and
working a schedule that is 12 to 14 hours every single day; in
the end you're pretty burnt. And then you come out of the studio
and it's almost Summer time -- it was about to become Winter in
Dallas when I started to write. I mean, it was worth it, but five
months just flew right over my head.
CoC: You hooked up with the Usurper guys for their album. How did
that come about?
KD: It's not very much, you know. It's not like I'm featured on that
album in any way. It's just a little guest appearance, doing one
verse, and I think a bridge. They recorded at the same studio.
They had booked time at Nomad Recording, in Dallas, and the
problem was we were not done, and we spent a month more than we
had scheduled. And they had booked time there and arranged for
flight tickets, hotel and all that kind of stuff. And suddenly
it's like "I wonder if they can change it or not?" I had to tell
the studio owner: "I can't stop now. I'm not going to leave the
set-up we have now and then try and get back to that and
re-capture the sound; no way in hell. If you force me to do that
you'll never see or hear me again, and that's a guarantee." And
that's just from the business side, because we're the best of
friends. And he said: "No, I know. You've got to call those guys
and tell them what's going down." "I'd be willing to, if they
find that interesting at all, if it means anything to them, I
don't know what they think of King Diamond, but I would be
willing to do a little guest appearance on one of their songs if
they wanted me to. If that would make it attractive for them to
hold off until we're done, and change their plans and
everything." And they really loved that idea. Then we made
everybody happy. The owner was not forced to say "You can't come
in here and be an asshole", and not keep his word. It worked out
very well that way, but it was strange to do, man. I mean in two
hours I had to go in there and figure out what the riffs were.
I'd never heard the music before in my life; and then sing
someone else's words, of which there were too many for me. I
don't sing in that way where I kind of growl a lot of words in a
short time. It was suddenly "How do I do this?" I had to come up
with vocal melody lines on the spot, and still get the feel for
the music, do it right, and actually re-write some of the words
so it didn't change the meaning that they were after, to give me
fewer words so I could actually sing like I do; my style. That
was definitely a challenge. I was suddenly realizing "This is so
odd, man." In two hours it actually worked out. I found some cool
melody lines, and I think I recorded up to eight vocals,
actually, in some of the parts. It worked out well, and it was
fun. It was a fun experience, but it was odd. I had never done
that kind of thing before. I would certainly prefer, if I ever
had anyone approach me wanting me to do a guest vocal appearance
on a song, it would be like "Yeah, if you let me write my own
words. Tell me what your story's about, but let me write my own
stuff. That way I can better relate to it, and put more emotion
into it." It would be much easier. Then have them give me stuff
in advance, so I know what I'm going into.
CoC: I talked with Snowy Shaw recently about his band Notre Dame. He
said he still gets along well with you, but there were things
that bugged him about his time with you in the past.
KD: Oh, really? Maybe he is, I don't know. I never talk to him. I saw
him once, in '97 when we toured and played Sweden, he came to the
show. I have no relationship with him, really; I don't talk to
him.
CoC: He didn't say anything negative, really, but he said he felt he
wasn't given enough room for creativity in the drumming.
KD: You see, that's the danger sometimes for people if they don't see
the big picture of what a band is trying to achieve. When we
recorded _Time_ [Mercyful Fate], a thing you don't want to hear
somebody say, just because they get a chance of recording an
album and there's actually time to record it properly, you don't
want to hear that person say "Oh great, now I finally get the
chance to show what I can do, so I'm going to do everything on
this album that I ever learned to do." It's like "No, no, it's
not a solo project. We don't need drum solos everywhere, we need
songs to work like they're meant to work. We don't need big drum
breaks every time a verse goes into a bridge goes into a chorus."
That's like stretching over five bars or so, and that breaks up
the whole flow of the song. If that's your way of arranging a
song then you have to be held back, you have to be told "That
doesn't work. You're killing the song." The same goes for a bass
player. The bass player we have now is so skilful, Dave, you
know. He can do anything with a bass; it's unbelievable. But he
has that sense for arrangement. He knows when to add some stuff,
where he goes off into his own melodies, it still fits and
enhances the music. That's a person that has a feel for
arrangement. If you don't have that feel then you need to be
told, because I'm certainly not going to be sitting there
listening to somebody destroy an album just because they have to
show every little thing they've ever learned, every little lick
they've ever been able to play, but have not had the chance to
play on an album. It's not going to be a compilation of Snowy
Shaw tracks. <laughs> That's not the way it works in this
business; we've been around for a little too long to let that
happen to an album. It's always the song that comes first. The
songwriters have a vision of what they want to come out of a
song, a certain expression, a certain feel, and then you try to
get that out of the music. There's always so much space in our
music for you to show off anyway, as a musician; always. But you
can't turn it around and suddenly turn it into that new guy's
solo project. I have no outstanding things with Snowy at all.
He's always been a very cool person. But I know exactly what he's
referring to there, that he could have felt that he was being
kept back a little bit, but that was a necessary evil, otherwise
we would have ended up all over the place.
CoC: For my last question, I would like to know your thoughts on some
of the King Diamond tribute records.
KD: I have not heard them. All I ever knew of that was that I saw an
ad in a magazine. I have not heard it, or seen it or anything
else. The first time I knew of it was when I saw an ad in a
magazine, and the funny thing about it was that I don't mind
that. It's not like I'm sitting here being pissed off or
anything. But it did say something like "The only King Diamond
tribute album endorsed by the King himself." The first time I saw
the album I was like "Oh yeah? Really?" <laughs> In any way, fans
or record labels, whether they make money or not, making an
effort to pay tribute to someone that influenced them to maybe
start becoming musicians themselves, or entertainers, it's a big
honor, always. And it doesn't even matter what it sounds like.
The most important thing is that they should not try to sound
like us. It should sound like their own band sounds. It should be
as if that band just plays one of our songs, which is what it
really is. I have so much respect, and I'm honored, that people
have taken time out to do that. But it's kind of funny when you
see an ad in a magazine for something I've endorsed and I haven't
even heard about it. <laughs>
CoC: Thanks very much, King. It was great to talk to you again.
KD: Vice-versa.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
DISSECTING A DECADE OF DISMEMBERMENT
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Dismember's Matti Karki
by: Paul Schwarz
Ascending to Chaos
~~~~~~~~~~~~~~~~~~
At the steel doors of Glasgow's Cathouse, around six in the
evening. Finding myself having to half-shout "I am here to interview
DISMEMBER!" at a door on a street in a city previously unknown to me
does make me feel awkward. That I am of course asked the classic
follow up "Which publication are you with?" and proclaim to street
and door alike "CHRONICLES OF CHAOS!" does naturally not settle me.
And once stairs had been ascended and band found crammed into a low
ceilinged room -- tables covered in tour-rider-requested fluids and
multiple copies of a German compendium-of-metal mag, prepared in
readiness for the upcoming Summer festival season, littering what
tabletop space remained --, the first thought from Matti Karki upon
establishing who I was and why I was there was: "Let's go outside."
Having already found my dictaphone's batteries dead and now
standing in a bare fire-exit corridor with a notepad clumsily trying
to account for my lack of recording device, it suddenly dawns on me
how laid back and fan-like the bearded singer is; despite my
situation, I am quite at ease. Thus, Matti's answer when I ask him
why he and his bandmates still struggle on with Dismember, nearly ten
years down the line from their classic _Like an Everflowing Stream_
debut, is unsurprising.
"We just do it for fun, really. We enjoy doing the band, so
that's what we do." It's hardly an unusual sentiment, but rewinding
Dismember to the beginning of the nineties we see Matti and his
bandmates on their album's back cover drenched in pig blood; we see a
band with a strongly defined image. Dismember are furthermore a band
very much from a scene, the Sweden's Stockholm "death metal" scene.
"We don't give a fuck about the scene now -- we have families
and jobs and all that; we don't have time to anymore." Matti's
response today will no doubt prompt the metal die-hards among you to
cry sell-out, poseur or rock-star, but why -should- Dismember take
interest in something which no longer interests them? The scene
Dismember emerged from no longer exists and even the -extreme- music
they care about seems to lie mostly in the past.
Acts of the Repeatable
~~~~~~~~~~~~~~~~~~~~~~
"Autopsy rules!" followed by the lifting of a nondescript hooded
sweatshirt to reveal a _Severed Survival_ original cover t-shirt
(which inspired hideous jealousy in me). That was the impassioned
reaction of Richard Cabeza (Dismember's former full-time bass player)
-- stirred from his concentrated joint-rolling on only this one
occasion -- to Matti and I's conversation later on in the original
low-ceilinged band room, then vacated by the other members. Cabeza is
filling in for the band on this tour but will not commit to Dismember
anymore. All are still friends, and Matti respects Richard's decision
fully. Conversation had moved onto the subject of Autopsy, a band
close to Dismember's collective heart, but closer yet to Matti's: he
positively worships them and has in past interviews proclaimed
_Mental Funeral_ as the best death metal album ever. We were just
previously salivating together over the prospect of the Ravenouz
album due out in September. Ravenouz is a new death metal project
featuring Brutal Truth / Nuclear Assault / SOD bassist Dan Lilker,
Killjoy from Necrophagia (who also features in trans-Atlantic black
metal supergroup Eibon) and Autopsy's Chris Reifert.
"Chris Reifert is the Midas of death metal: everything he
touches turns to gold!", exclaims Matti -- and deriders to this claim
should remember that Reifert is -not- involved in Abscess --,
prompting an espousal of the merits of Autopsy.
"Autopsy's structures, the riffs, are simple -- they're easy to
play. But the -feel- is what makes it so amazing." And we should not
forget that this feel was born of a band playing in a garage. The
relevance is to the Stockholm scene from which Dismember comes. Back
in the day Dismember were among those such as Nihilst (later to split
into Entombed and Unleashed), Corpse (later to be known as Grave) and
others doing the local rounds together.
"The inspiration for the Stockholm scene was all this
aggressive, noisy stuff like Repulsion", Matti explains. "That's why
it always has this raw dirty sound." Matti and I in the process of
juxtaposing Stockholm's late-eighties scene with another certain
Swedish metal scene of the nineties: "I don't like the Gothenburg
stuff, really, they are very power metal influenced. It is very
technical; there's like a million notes -- Magnus [Sahlgren,
guitarist] is into all that technical shit like Yngwie Malmsteen too
--, but there isn't much feel, in my opinion. We were always about
-feel- more than technicality, like Autopsy and Repulsion."
In fact, Matti's so obsessive over Autopsy that he has a band to
effectively pay tribute to them. Murder Squad is the entity through
which he began this, one black sabbath. "Murder Squad began because
me and Uffe from Entombed and a few other guys used to jam together
on a Sunday and try to get over hangovers. We needed to play
something easy so we ripped off Autopsy. We would just smoke pot,
drink and jam out these cool riffs."
It may sound like something unsuitable for public consumption,
but Matti and his cohorts, after a few years with Murder Squad on
hold for various reasons, decided to take the first-album plunge.
"The record has a one-day production, it was on a low budget, we did
it fast. We think it might be too good a sound, though."
A one day production with "too good" a sound? Does it seem like
an oxymoron? Well, you obviously don't share Matti Karki's tastes in
music.
Reeking Over the Coals of Memory
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Matti and I sit with band manager Stuart Ness and talk music. We
all agree that Mortician are rubbish, and bemoan why a label with
such a consistent roster as Relapse -- who are also strongly touted
to put out Murder Squad -- keep this rather low quality band on their
books. I suggest that they may be Relapse's biggest seller, judging
on past Milwaukee MetalFest crowd draws.
Next up is Carcass. I, predictably, sing the praises of
_Necroticism -- Descanting the Insalubrious_; Stuart, straight out of
leftfield, opts for first and last as his only interests. Matti
bemoans the clean, boring sound of _Symphonies of Sickness_ before
proclaiming that... "_Reek of Putrefaction_ is the ultimate brutal,
extreme music album." Which was not a phrase I thought I'd -ever-
hear. "It has all kinds of noises and blasts. Still, today, no band
has topped it. I don't like any Carcass album but the first one. And
the rough mix makes it even better." Yes, unbelievably, the muddy
mess of a sound that is _RoP_ was re-mixed from an original recording
deemed by the band to be worse, but not by Matti. Matti had, and may
resurrect, a similar project to Murder Squad by the name of General
Surgery, which pays homage to _RoP_ like Murder Squad does _Mental
Funeral_: by unashamedly ripping it off in style.
Shadows of the Past
~~~~~~~~~~~~~~~~~~~
So now it should make sense how a one-day production is too good
for the sickening tastes of Mr. Karki. He is nonetheless excited to
finally be putting out something tangible from Murder Squad. Matti is
happy with Dismember's new album _Hate Campaign_ -- as he is happy
with all of Dismember's albums apart from _Massive Killing Capacity_
("I like some songs on it but I don't like the production. I can't
listen to that album all the way through without at some point going
"What the fuck was I thinking there!?"") -- but he is more excited to
be putting out the Murder Squad album. The feeling for him is more
like when Dismember originally made their now-classic _Like an
Everflowing Stream_ album. But did it occur to Matti at the time that
Dismember were making history, making a record that would someday be
spoken of as a classic?
"No, we were just excited to make a first album. Carnage [see
review of the re-issued _Dark Recollections_ in the classic reviews
section] was rushed and collapsed before the album even came out;
Mike left to join Carcass only a few weeks after we finished
recording the album. After that, Fred [Estby, drums] reformed
Dismember and he asked me to sing. Of course I accepted."
"When we got the contract from Nuclear Blast we were just
excited to be able to be signed. Our relationship with Nuclear Blast
is pretty non-intervention; they don't have any creative control, we
just get money from them to do our thing." A classic example of this
comes up as we discuss the video for "Dreaming in Red". I tell Matti
that it's probably my favourite music video ever.
"The shots of the band were done in one day", he reminisces,
"then this freak who was doing it filmed all the other shit on his
own, without us, without even consulting us. Nuclear Blast had
nothing to do with it, they just gave us -some- money for it."
Unfortunately I didn't ask Matti whether Nuclear Blast were the
impetus behind Dismember's blood-splattered appearance on _Like an
Everflowing Stream_'s back cover. However, I did ask him whether the
whole mess the band got into over that first album, which centred
around the track "Skin Her Alive" for which the band went to court in
the UK on charges of obscenity, was an intentional ploy to get
publicity; did they know it would cause such a ruckus?
"No, we didn't originally set out to cause offence. "Skin Her
Alive" was about what happened in the house next door to me. I retold
it from the killer's point of view, though. Once customs seized it
they weren't too happy. We went to court for that and so on the next
album, _Indecent and Obscene_, I wrote "Eviscerated (Bitch)" to get
up their noses, to piss them off. But by then no-one really cared
about all this stuff and so no-one noticed."
Pulling cheap death or black metal shock tactics up short is
fine by me, but when "no-one really cares" starts to apply to a
band's output, that's when there's a problem. Dismember are
self-confessed non-innovators, but they've always had people who
cared, who noticed what they were doing. "It's not our intention to
innovate; we just to do Dismember but keep things fresh." One of the
methods for keeping things fresh over the last three years has been
the influx of Iron Maiden-esque melodic stylings, juxtaposed with the
head down and brutal Swedish death metal attack which Dismember have
never abandoned.
"We grew up with Iron Maiden, they were an influence from early
on, so that comes out in some songs. But we put a brutal slant on it.
We contrast the brutal with the melody."
Beyond Good and Evil
~~~~~~~~~~~~~~~~~~~~
Matti's explanation of what Dismember are doing is plain and
unpretentious, and the latter term is also applicable to the band on
a musical and lyrical level. To provide some prompting, I brought
along some books I figured Matti probably would have seen or even
read, being a death metaller of the early nineties. The books were
"Dagon and other Macabre Tales" (a collected volume of H.P.
Lovecraft's stories), "Beyond Good and Evil" by
late-eighteenth-century German philosopher Freidrich Nietzche and the
infamous "Necronomicon", which is believed by most to be faked but
claimed by some to be the actual final testament of one Abdul
Alhazred who, writing in Damascus in the eighth century, espoused the
magickal (sic) secrets of ancient Sumeria. All three are classic
nineties death metaller fare. "Necronomicon"'s introduction
unwittingly lists a plethora of extreme metal acts, song and album
titles, many of which also unsurprisingly appear in Lovecraft.
Neitzche, on the other hand, is a philosopher in the academic sense,
recognised as worthy of study by universities and schools. He was
chosen on impulse because, as any of you with _Hate Campaign_ will
know, the title to this book of his was stolen by Matti for a song
title. "And that's all I got from Nietzche", claims the singer. "I
found his ideas interesting, but I didn't think he was right. You
should talk to Magnus about this, he has a degree in Philosophy." The
singer didn't believe that the "Necronomicon" was based on truth
either. Matti's reaction to Lovecraft was simply to repeat the
author's name as if regarding an old friend not visited for aeons,
but who deserved at least one last visit before the end.
All this literary dabbling happened as we stood in the fire
corridor and just as I am about to put the books back in my bag, the
rest of the band leave the practice room to soundcheck. Matti brings
the Neitzche text to Sahlgren's attention, who regards it much as
Matti did Lovecraft before. Sahlgren and I resolve to talk philosophy
later, but it doesn't come together on this evening -- maybe next
time Dismember visit the UK.
However, though the gig that evening at the Cathouse turned out
to be a roaring success [see Chaotic Concerts], I wouldn't hold your
breath for such an event. This was Dismember's first show in the UK
for nearly eight years, and touring has not recently produced the
most positive of experiences for them. The band's last proper tour
"organised" (that's definitely a broad use of the word) by the
Metalysee agency turned out to be a deliberate rip-off and a
hideously bad experience all round: it contributed to Richard's
original departure. All the same though, Dismember soldier on. "We
are playing for our fans, for them to see us live", Matti plainly
states. "Maybe we'll also gain a few more fans by playing live."
Matti's final offhand remark is eerily played out as I am in the
process of leaving the Cathouse after Dismember finish their set...
"I don't believe it! They don't have any more CDs!" The comment
is from a fellow student at my university who I quizzed before the
gig as to what he figured to the new Dismember material and got the
response that he'd never heard the band: he was here on a friends
recommendation. I gave him the name of a good mail order business he
could contact for a copy of _Hate Campaign_. "Why aren't these guys
bigger? I mean, why aren't they bigger -in the metal scene-?!", he
incredulously adds.
There are a ton of reasons I could posit to answer his question,
but in the end, and based on my own affectation for the band, I
sometimes find it hard to believe that Dismember aren't at least a
-bit- more popular. Time will tell, and since Matti says that
Dismember will keep doing their thing as long as they are able, time
may be on our side.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
M A C H I N E
~~~~~~~~~~~~~
CoC interviews Glenn Danzig
by: Aaron McKay
The word "machine" brings to mind concepts of precision,
well-timed movements and, for some reason, the late Harvard professor
B.F. Skinner, known for his behaviorism school of psychology.
Speaking of the science of mind and behavior, "machine" also
consciously surfaces the movie "8mm", the shadowy thriller starring
Nicholas Cage from Columbia TriStar Pictures. If you haven't seen the
film, then you won't understand what "machine" has to do with Glenn
Danzig. Without going into too much detail, Machine, a fundamental
character in the movie, is a hulking beast of a psychopath who,
evidenced by the irrefutable shrine to Mr. Danzig in his room, is a
big fan of the band.
In spite of some -obviously huge- differences between Machine
and myself (i.e. the "8mm" character is certifiable and I'm not!!),
we do both seem to support one truly great musician. Having been
informed of the Danzig / Six Feet Under / Disturbed show in Cedar
Rapids later in the week, I hurriedly engineered an interview with
Mr. Danzig for a pre-show critique on the Wednesday before the
concert. Glenn was cordial and accommodating on the phone during our
twenty-plus minute conversation. Attentive to the pressures of
bringing on a new bassist, preparing for a two month US/Canada tour,
all the while doing press for individuals like myself, I did my
damnedest to smooth the interview into Mr. Danzig's schedule as
easily as possible.
Very few artists seem as busy as Danzig right now. "I just came
from mastering the Samhain box set", begins the incredibly congenial
Glenn Danzig. "I have to go through tons of hours of live cassettes,
DATs and tapes and pick the best of. It's real sloppy and a real pain
in the ass." Set for a June release, the Samhain box set comes
complete with the sometimes referenced comic of Danzig's second band.
"It's going to be in the box set", the Master continues. "We put the
cover up on the website." As you might imagine, as loyal CoC readers,
having an artist as interested in putting things out there on the
Internet is a true and sincere pleasure. Glenn elaborates: "Part of
the reason we do it is so the fans can go on there and see the "real
deal". Over the years, people have printed a lot of shit, not just
me, but a lot of other artists, and this is a way for artists to say,
"Hey! That's bullshit!""
Speaking of intense interest in the Internet, Glenn actually has
two covers of the new album: one general release and one solely
Internet. Mr. Danzig adds: "Marty [Edmond] did the original cover,
came in and we looked at it -- it was awesome, but she's totally
naked. I mean, he went into great detail on some parts of her
anatomy." Simon Bisley (a.k.a. Biz) enters into the release cover
discussion. "I called up Biz and he's like, "Yea, I'd love to do
another cover"", Glenn chimes in, "you know, he did the _Thrall..._
cover." That one becomes the general release cover and subsequently
Marty Edmond's design is relegated to the Internet site.
Contributing to demands on Mr. Danzig's time, there's been a
recent line-up revision. New bassist, huh? "Yea, Lazie wanted to
spend more time with his son Rocko, who's about four going on five
years old", Glenn replies. "Howie's awesome. It's all really, really
good. We've been rehearsing for the past three weeks and it is
actually more solid -- not to dis Lazie or anything", the band's
founder adds.
Also, B-sides of Danzig's material are on the docket for
release. "Actually, I'm mixing all these European B-sides right now;
they are new tracks", Glenn points out. "They're not leftover tracks
or anything. There is an unreleased tracks record that'll be coming
out next year", the undaunted Mr. Danzig assures. Glenn goes on:
"That is just stuff from everything from Danzig One to Five; there
might be some Danzig Six stuff on there. The stuff that I'm in the
studio doing right now, besides the Samhain thing, is I'm mixing
these tracks from European singles. There is a cover of [David]
Bowie's "Catpeople" on there, and there is this song called "The
Coldest Sun" on there. There are four original tracks and two cover
tracks", Danzig verbally illustrates. Would you believe there was
some trouble with a label not wanting to put out material by this
quintessential outfit? Me either, but Disney was clued in that the
sixth album ways slated for release on its Hollywood label. "We had a
problem as soon as the record came out, about three weeks in", Glenn
explains. "They freaked out and were getting protests or whatever via
e-mail -- everything. Originally when we did go over there we were
told that Disney would have nothing to do with us; we'd be
autonomous. I was supposed to get my own label there, actually."
Finally distancing themselves from Hollywood and avoiding a
lawsuit, the band settles on a newer, centric music company, E-magine
Entertainment. "After I finished recording Danzig 6 and started
talking to the major [labels] again, I go, "it's just going to be the
same bullshit"", Glenn picks up on the story. "I started talking with
Christoph [Ruecker, co-founder of E-magine and an ex-BMG executive]
and he told me what he was starting. I decided this would be the best
direction to go in." So it was, I think. Christoph additionally
participated on _Satan's Child_, cited in the CD's liner notes as
supplying executive direction. According to Glenn himself, the band's
fans voted the gratifying new release as the finest of the group's
history. Hence, I think it safe to say that Danzig, along with
E-magine Entertainment, orchestrated a powerful new album primed for
a huge North American tour. Vision of Disorder had their tour support
pulled, however, fear not! Looking out for the fans' best interest,
Hatebreed has been added for some East Coast and Canadian dates.
Glenn Danzig, the multi-talented, pleasant and extremely affable
artistic authority, finishes: "It's pretty crazy [right now]... It
has never really been hard for me to do all the different things [at
once]. I know what people are capable of; nothing shocks me."
This last comment leads me to speculate that Machine would be
gratified. Look for many great things to come from metal's Man in
Black.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
F O R E S E E I N G T H E F U T U R E O F M U S I C . . . ?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Digby Pearson, head and founder of Earache Records
by: Paul Schwarz
Digby Pearson (or Dig, as he is more commonly known and also
referred to on various album sleeves) started Earache Records in his
own bedroom in the late-eighties. Earache went on to help release not
only some of the first grindcore albums ever in the shape of debuts
by Napalm Death and Carcass, but also, as Earache grew, the label
became one of the most important homes for death metal in the
nineties. Morbid Angel, Carcass and Entombed, among others, found
their first home and recorded all or most of their releases last
decade under the Earache banner.
Around 1995/6, various techno albums began to surface on the
label (as part of a deal with the New York based label Industrial
Strength), and Earache's main logo was changed from eardrum-splatter
original to a more shiny, rounded piece of graphical work. Many
people lost faith in Earache; by the middle/late-nineties death metal
or grindcore albums with real punch appearing on the label were few
and far between; Carcass and Entombed had left, citing money as one
influencing factor, for the "greener pastures" of the major label,
Columbia -- which they subsequently released nothing on, the former
splitting partially as a result and the latter taking a lengthy break
between albums three and four; Morbid Angel had seemingly split after
the departure of David Vincent; only a few bands such as industrial
heavyweights Godflesh remained from "the good old days". It didn't
help Earache's reputation that, in a relatively short period of time,
they released a lot of B-side compilation albums, live videos and the
like from their departed or defunct artists. Though admittedly these
were in most cases "contract fillers" that Earache were, of course,
well within their rights to release, from the perspective of some of
the bands and their fans such releases seemed like needless,
money-grabbing cash-ins.
In early 1998 things began to change. Earache's newly formed
Wicked World imprint label began releasing material more in the vein
of the stuff which had made Earache a big name. Additionally, Morbid
Angel released the brutally brilliant _Formulas Fatal to the Flesh_
[CoC #28], which definitely bolstered confidence in the label from
quarters who had got the impression that Earache were "running out on
metal". 1998 was a good year for Earache, producing a number of
well-received and exceptionally brutal albums, and since then Wicked
World has helped keep Earache in the game of unleashing brutal metal
albums.
However, recently Earache took a step I, in my ignorance of the
inner workings of the industry, had not seen coming: they released
their entire back-catalogue to Emusic.com for sale over the Internet.
Interested, I asked to talk to someone at Earache, and Dig was
suggested. Though surprised to be offered a label's founder and head
for an interview in our pages, I of course jumped at the chance to
talk to someone who'd helped release (and, it -seemed-, produce) so
many releases that I own and cherish. It turns out that Dig is big
into "the digital revolution" and where it is taking things, so it
made every bit of sense to talk to him about the Emusic deal, though
of course I didn't restrict conversation only to this issue.
CoC: Are you ready to answer questions on the Emusic thing? The whys
and the wherefores?
Digby Pearson: I'll chat all day long if you want, 'cause I'm really
into it.
CoC: First, on a different point, are Earache still, in this new
millennium, centralising themselves on metal, or are you going
to be branching out with the main label and possibly relegating
metal to the Wicked World side of things?
DP: No, hardly. I don't know how much you know about Earache's
history.
CoC: I know a fair amount.
DP: Well, I wouldn't call ourselves a metal label. Extreme music, in
all its guises, is what I try to say, which confuses a lot of
people. Metal has been a thing that we're most known for: death
metal and grindcore things. Nothing wrong with that. I personally
grew up listening to that sort of stuff, Slayer and all that --
still my ultimate favourites to this day. That's what Earache's
always going to be doing, to be honest. The confusion arose
because three of four years ago we started to get -- I personally
started to get really into, how can I put it... dance music, I
suppose. In all its forms: drum 'n' bass in the UK, pirate radios
and all that sort of stuff. I became a big convert to the
programming skills, people who program beats on computers and
stuff like that. And I thought it was just as much a skilful art
and a way to be creative as normal bass/guitar/drums/vocals
outfits.
CoC: I have to say, I agree with you on that.
DP: Do you? Well, yeah, not many people do actually. That's one of
the things that makes Earache interesting as far as the label
goes, I think. We're very maverick in terms of what we do,
because we don't have any sort of central head office, Sony don't
own us or we're not part of the Zomba group -- so many labels
have a corporate headquarters and a chairman and board that you
have to answer to. And Earache's so street level compared to
that. We're big in one sense, but if you actually saw our
operation here -- we're a bunch of fuck-ups sitting in a little
office in Nottingham, basically.
CoC: On the earlier releases you helped with production as well...
DP: Well, that's part and parcel of the thing: I was in the studio
with the bands doing it. I don't think I actually touched the
mixing desk back in those days, but it was part of an ego thing
as well. A lot of labels have done it, early Cacophonous ones
would have Nile as the producer and even Nuclear Blast records
would have Markus Staiger as a producer. It's basically a perk of
the job. I stopped doing that years ago because it's just an ego
boost and I don't really need that anymore. But as far as the
Earache label is going, we've flirted with electronic music, the
real extreme end of it, the gabba stuff, and we tied up with the
Industrial Strength label in New York and I became a big fan of
that label's output, really. I thought it was fairly extreme but
done in a different way. I think I'm seeing reverberations of
that little thing that we did a few years ago: a lot of people
are a lot more accepting of programmed beats. It's just the way
the world is now: even black metal bands, it's like the new thing
to have programs and experiment. It's another instrument to me.
CoC: I don't know quite how it has filtered its way in, but it has
become way more accepted. I do agree with you that in general
people who like extreme music in the metal sense tend to say,
"and not all that dance shit!". I suppose I'm lucky myself,
because I grew up not with just a metal crowd of people. I grew
up just with a crowd of people who love music and so I got to
hear what I term "good" techno. There's a lot of -bad- techno
out there just like there's a lot of bad metal; there's a lot of
poor, boring house and poorly constructed techno. So, people get
the impression that it's totally uncreative. If you actually
listen to something like Future Sound of London you get quite a
different impression.
DP: Yeah, it's a real art in its own right and I think it's going to
be accepted: the sampler. The "Q-Base" on the computer is just
another instrument just as valid as everything else. But to
answer your original question, I am actually bored of that now,
believe it or not. We've had our flirtation with a lot of
programmed beats artists and spurred on, I suppose, by Wicked
World's success. Dan, the label manager here, had said to me,
"Dig, do you realise that all these techno bands that you keep
signing are diluting our appeal to our fanbase, our real bread
and butter death metal fanbase?" And I was like, "Shit, you're
right!" He was dead right, actually. So he was like bursting at
the seams and Wicked World is basically Dan's A&R input. I said,
"We'll give you another label name." It's all part of the Earache
thing, but it's just concentrated on Dan's ears, basically. Those
bands have done really well so far: Hate Eternal especially and
Decapitated are doing really well.
CoC: It has got a response as well, the Wicked World label. Some
people do say, "Why aren't these records on -Earache-?!" After
that, though, people are quite pleased. You get something from
Wicked World, you know the general idea of it.
DP: In a way it's going back to what Earache started as, it's a sort
of a purist label and it'll be only underground metal bands on
it: Dan's not into experimenting and that's fair enough, and I
appreciate that and it's actually great. And it'll be for the
purists, the underground purists, they'll be nothing but extreme
underground metal on it. I don't want to say "death metal", but
it's predominantly death metal. Gandalf are coming out with an
album that's kind of hard to explain. It's actually brilliant:
it's like AC/DC meets Carcass. It's really anthemic,
fist-in-the-air kind of metal, with heavy vocals and heavy riffs;
it's bizarre. Dan can speak better about it. Anyway, Wicked
World's doing well and in a way that's had an impact on Earache.
In my world the sub-label is now driving how I think about metal
again. So we're actually in discussion with a few, newer metal
acts to be released on Earache. I mean, we've never really given
up on metal. We've had this bad press from a few quarters who
just think Earache is putting out weird shit these days or techno
shit. A band like Berzerker is interesting for me. I do like it.
It's extreme. We're going to have some more extreme stuff coming
out on Earache that'll surprise a few people, hopefully. I wish I
could tell you the names, but they're not signed up yet. But at
the same time we're doing bands like Linea 77, who I'm
particularly into, who could be construed as on the Deftones'
side of things. I think it's quite valid. I don't think death
metallers will particularly take to it, but I think they're an
extreme band in their own right and quite cutting edge and
current: I like 'em, anyway. I mean, that's the ultimate thing:
it's my label so we put out what we damned well feel like,
really.
CoC: Moving onto the main topic of discussion, one of the things I
love about the Emusic conversion is I've now got one of the
ultimate contradictions in terms: I've now got "Technology Is
Gay" on MP3. <we both laugh> What made you decide originally to
put the back catalogue on Emusic.com? Because not -that many-
labels have yet signed these kinds of contracts [though there
are, I discovered upon really looking, a lot more than I thought
when this conversation with Dig took place --Paul], a lot of
people are -very- dubious about the whole conversion to the
Internet. They think it will possibly kill them [the labels],
and give the power to the bands. What made you decide to really
go for it?
DP: Well, again, we've embraced technology since the Internet was
getting past the technologists stage and moving to mass
popularity. We had an Earache.com site in 1995, which is a long,
long time ago in Internet time, and we had, within a few weeks,
some of our music available for digital download from the site.
It was the obvious thing to do as far as we were thinking, we
didn't really have any second thoughts about people downloading
it and that ruining our CD sales. That's absolute bunkum, in my
opinion. As will become evident, in my opinion, in the next few
years. It's a whole new -paradigm-, to use the current buzz-word,
it's a whole new way of looking at music. I'm not a Nostradamus,
but it's a new thing and Earache wanted to be involved in it
straight away and that's why we didn't say no when Emusic was
knocking on the door, basically. Any label that doesn't want to
embrace the MP3 revolution is kind of crazy, really. They're
hangin' onto an old mindset. Music: you can now download it, it
takes a few minutes if you've got a good modem, and you've got a
track.
CoC: One of the reasons I was prompted to do a piece is because I'd
never really bought MP3s before. At university, I'm on a LAN so
I can download it really fast. I ended up getting really into
the whole downloading thing.
DP: It works, doesn't it?! It's amazing, isn't it?!
CoC: It also allows you to get stuff which is different or rare or
stuff like the _Love of Lava_ which was only re-released with
the entire album.
DP: Which you wouldn't want to buy anyway... Actually, that's a funny
one because each song is really only a solo, so one of the
catches is that Emusic, with our permission, also allow a thirty
second free sample of each song as well, so if you're lucky the
_Love of Lava_ might actually have the whole song. I'll have to
check. The full version might be forty seconds, so why bother?
Unless you want to pay a dollar for the extra ten seconds...
CoC: Is it Emusic's policies on the albums and tracks or can you put
different prices on the albums? 'Cause the songs are universally
99 cents, so you can pay forty dollars for an AC album...
DP: No, you can download the whole album for $8.99...
CoC: Yes, but theoretically you could pay forty dollars for an AC
album if you wanted to.
DP: But you wouldn't, you'd pay $8.99, wouldn't you?
CoC: Fair play. It's kind of interesting, though, 'cause you can get
Iron Monkey's _Our Problem_ for less than $8.99...
DP: That's true. We've gone with the standard pricing that Emusic
advise and it's their experience of the pricing. It's still such
a new thing -- the prices could come down, presumably will do.
You can get it, presumably, on MP3 from Napster for free. I do.
Though we use Macster 'cause we have Macs here. We just thought,
MP3s are out there, the genie is out of the bottle; why pretend
otherwise? Also, we want to embrace that as well. When I've heard
stories about how people have used Napster, people who've sort of
gone out of music and Napster's revitalised their interest
because you can get hold of stuff quite easily. So, you read
about bands and you haven't got it and it's hard to get. Napster
just brings it to your desktop, your PC or Mac, straight away,
and you can just enjoy the music and become exposed to new music.
CoC: The other thing I was curious about was: was it just a decision
to put it on the Internet just for the sake of it, just to get
it out there, or is it for a particular market? One of the
advantages of Emusic is that though I, living in England,
-could- get it through the mail, if I lived in some country
which didn't have all of Earache's releases available to me...
DP: Exactly.
CoC: So would that be a lot of the purpose of it: so people can get
it wherever they are in the world?
DP: Exactly. It's also a phenomenon 'cause we don't have physical
distribution of our CDs in every territory; we have it in most
territories. We have a lot of Malaysian people actually -- it's
hard to get deals over there to distribute the CDs, it's a
different market. I don't know why we just haven't really cracked
it.
CoC: I think they have quite an oppressive government, don't they?
DP: Absolutely dead right, you've just reminded me of the reason.
We've had deals before and they've gone sour; the minute we put
out something crazy they go: "We can't release this." In
Singapore, for instance.
CoC: I've got letters from people in the past saying "don't write
back using my band name".
DP: Yeah, our deals have fizzled out in those places. So there you
go, the beauty of the Internet and MP3. I think they're bringing
plans in to try and censor it, they're always talking about it.
But now our music is available for legal download, globally.
We've noticed a few e-mails from China, and we've had no
distribution in China ever, physically. There's a steady trickle
of Chinese e-mails, I don't know if they're picking us up from
the Internet or whatever, or downloading those tracks. It's a
fantastic feeling to know that we're reaching places -- that's
the power of this thing, it's a powerful tool. You never know, it
might actually lead to a physical distribution deal.
CoC: If you permeate the market, people get used to it and they might
as well let you distribute the CDs. I have to say as well, the
catalogue you've got on there is the whole -available-
catalogue.
DP: It's the whole damn thing, supposedly, everything. Every record,
I mean there might be some gaps there where they haven't uploaded
it yet, but technically it will be every CD, every track that
Earache has ever released will be on there sooner or later. Some
of our early releases have not been available since their release
and they've become sort of collectible things, and they're
supposed to be up there because that's the beauty of it again:
there's no inventory for us, we don't have to keep CDs or vinyl;
it's just available for download as and when people choose to
download it. I know that the whole beauty of it for me was to
have our complete and utter catalogue up there for download.
There's no reason why some albums are up there and other albums
aren't, it's just a matter of: our biggest bands are up there
first and then the other stuff will probably be put up later.
CoC: I didn't yet notice stuff like Carnage and Old Lady Drivers...
DP: They will be up there.
CoC: And especially bands like Spazztic Blur are a bit of an
underground classic...
DP: That's a band I was going to mention: it's meant to be up there.
They've got the master, all I can think is they haven't got
around to it yet. We've got a total of two thousand tracks
available on that. Ten years of Earache are now available for
download. In theory, you can hear a thirty second sample of
everything we've ever done, every track. The power of it is still
hitting home, to me. I mean, to do that in the physical world
you'd have to... I don't know.
CoC: It's great for the older, less requested stuff. If one person
wants one copy of one album it's no difficulty. You don't have
to repress a thousand copies.
DP: That's another beauty of this: it makes our catalogue complete
and available on an individual download basis. Spazztic Blur is
one that I'm looking at to get on there as well. There's no CD
available of it, it was only ever released on vinyl. Technically,
our whole catalogue should be up there in the next weeks.
CoC: What other re-issues do you have planned? You've done Massacre
and Carnage. Might you use the Emusic site to determine what
re-releases you do in the future?
DP: It's debatable. Unless there's a huge, huge demand, I don't think
we'll be doing any more re-issues of so-called old classics.
CoC: No Cadaver then?
DP: Cadaver's possible because one of the bands we're thinking of
signing is the new Cadaver: Cadaver Inc. [A stupid name in my
opinion, but, I admit, I got it wrong: I reviewed the Cadaver
Inc. demo as Cadaver back in issue #47 -- Paul]. We're close to
signing them. That's what's so funny to me: when we did Cadaver
originally, no-one gave a fuck about it, it was just some weird
band from Oslo, Norway, pre-black metal and pre-all the murders
and stuff. If we have a huge demand for Cadaver after Cadaver
Inc. comes out then there's a slim chance we'll be re-issuing,
but it just seems kind of why now, you can just download it,
can't you?
CoC: I think the concern from people is that a lot of the fans of the
old Earache stuff aren't technological people that own
computers. A lot of them are still CD collectors working a nine
to five day job and so until MP3 players become part of stereos
I think people will say that you're kind of leaving out the old
fanbase because they won't have the capacity to get the MP3s;
that's the problem.
DP: I guess then it would be a case of if there's sufficient demand.
From a record company's point of view you've got to sell at least
five hundred or a thousand to cover the costs, really. And that's
a pretty big number, really, for something that's many, many
years old.
[Conversation turns to the Carnage album -- see this month's classics
section for a review -- and then comes to Napster.com.]
DP: Napster is as we speak transforming the music industry. And I'm a
big fan of it, actually, even though it could put us out of
business. It's about the music in the end, and I'm sure we'll
find a way to get involved with it. I've been talking to Napster
in America about doing something. It's amazing the mixture of
music you can get on there. The smallest band; someone somewhere
has got their out of print 7" or something, on MP3. We're big
fans of Napster, so I guess with the whole Emusic thing we're
actually having our cake and eating it. Napster lets everyone
swap MP3 files for free. I don't know, as long as the music's out
there and people are enjoying it, then I think it is just
promotional stuff and at the end of the day people will want to
either download the full album or buy the CD. Either way the
artist will get paid at the end of the day, through us, the
label, and everything should be OK, hopefully.
CoC: I think the whole MP3 "scare" is about equivalent to the "home
taping is killing music" label they used to have on vinyls. In
the end, if you tape something for someone, they don't keep the
tape and never buy the CD unless they don't have the money to
buy the CD. Most people who love an album will buy it on CD.
It's not just a question of honesty, people like to have albums.
I don't think that will stop. I think people will still want
albums even if they have MP3s: they're nice to have. Maybe a
generation from now kids won't even care 'cause they won't even
have this whole CD [hangup].
DP: I think there is a revolution imminent about how people treat
music. I think music's going to become like free software. The
only thing that really bothers me is when we get e-mail from guys
like this guy, I think he's in France, who compile like four CDs
of MP3s of death metal, basically -- it's got four hundred tracks
on it --, for ten dollars he's offering it. That's actually
getting us pretty annoyed, because he's actually charging,
basically, for compiling four hundred of his tracks onto a set of
four CDs.
CoC: I think that's where you have to draw the line: if you want to
use someone else's software, that's cool, but you can't sell
someone else's software.
DP: Exactly. If Napster started charging, then they'd be closed down.
The fact that it's totally free is what makes Napster the
equivalent of tape trading: there is no charge. This CD thing, I
mean four hundred tracks is some labels' entire output. A lot of
the labels have sent each other e-mails about this. Although, I
was talking to the guy at Century Media about it and he said he
didn't want to join the MP3 revolution <laughs> just yet,
so it's weird that you can't get any of the German label bands on
MP3 -- they've got different attitudes. All the tracks that are
on this guy's compilation, with the four CDs, we're going to try
and e-mail him and make him see the error of his ways.
[Conversation moves through various topics and we get into the idea
of people taping or trading for CDs as a form of promotion.]
DP: At the end of the day, from a record company's point of view and
from the artist's as well, we want to get people to hear the
music and whatever technology or tools there are to achieve that
aim we want to use them all and that's kind of why we're here.
I'm just glad that you discovered some of our stuff that you
wouldn't otherwise have discovered 'cause then it will have
proved the whole point, I suppose. [I was talking to Dig earlier
about my buying via Emusic certain Earache releases that I'd been
meaning to check out. -- Paul]
[Conversation moves again to Napster in connection with use in
universities, where Dig says it has in some places been banned; we
then proceed to the freedom the Internet offers: how difficult it is
to censor?]
CoC: That's the great thing about the Internet, I think, especially
for underground music because underground music has always been
beaten down a bit by lack of exposure and the attitude taken to
it by certain people. Earache was really helped early on by John
Peel's patronage of Napalm Death and Bolt Thrower.
[We chat about the possible redundancy of journalism in the future,
accounting for the possibility for fans of simply listening to a
release rather than having to read a review.]
DP: I'll tell you what I think is going to be needed: I think it's
all going to be about trusting people in the future. If you go on
Emusic, go to genre "metal", it's got an A-Z. You haven't got
time to wade through every band that's got an MP3 out, and
MP3.com is even worse.
[MP3.com becomes the topic as we discuss demo bands and I tell Dig
about the fact that many of my recent demo reviews have been of
MP3s.]
DP: I think it's all going to be down to tracks in the future. I
think it will just be compilations that will rule in the future.
Like, "here's this month's selection of the best stuff out" and
it'll be the people who you trust to make those selections who
are the Sonys or whatever of the future. It'll be the ones who
are the experts in the music genre that people trust. Good MP3s
will aggregate around those people and then other people will
know that instead of wading through all the MP3s, it'll be, "I'll
just go for the readymade compilation that my selector has
already done", to use a term from dance music. I think it'll be
the same as where DJs decide the tracks in the dance arena,
because you can't be arsed to wade through every track, you trust
the DJ to do it for you. The same, in rock.
CoC: It happens in a lot of industries. That's one of the purposes of
service industries: to cut down the amount you have to look
through stuff. A good search engine does that. It can be
depressing as well, trawling through MP3.com, because although
there are plenty of good bands there are lots of -really shit-
bands. Bands I think are starting to record way too early.
DP: Oh, absolutely, yeah.
CoC: There is an over-abundance of bands who spend three weeks
together and think they need to get a release out.
DP: Oh, tell me about it, we get demos like that every day. Some of
them I'm tempted to say, you know, "Ring us back in two years
time." But actually they usually end up on a French label before
then or something like that. It's actually shocking the amount of
bands we see and then they end up with a CD deal. The labels are
to blame a lot of the time 'cause they just add to the crap out
there.
CoC: Certain magazines contribute to it as well, if you don't tell a
band they're not very good when they are not very good. A lot of
the time they won't get that much better.
DP: Bands do get better, actually. Some bands are absolutely crap and
then they can have a burst of creativity and get very good very
fast.
CoC: Fair enough, but what I meant was that it's less common or less
likely for a band to get better if they're not aware of the fact
that they have to improve. If you get ten out of ten
consistently for each album, then why change your format? Unless
you're a particularly creative person.
[We wound up our conversation talking about CoC itself and the fact
that Morbid Angel's new album will be an MP3 promo as well as
eventually being physical.]
To date (August 7th), only the non-deleted Earache catalogue is
available on Emusic -- no Spazztic Blur yet...
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
M O L D I N G T H E I R V I S I O N S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to Bjorn Gelotte of In Flames
by: Adrian Bromley
Sweden's In Flames are easily one of my favorite bands out
there. Their music is a brilliant meshing of death metal vocals
accompanied by powerful melodies and some of the coolest guitar solos
that have been displayed within the metal scene in recent years.
Their constant evolution and groundbreaking work within the melodic
death metal scene has stationed them high up on the list of bands to
be inspired by and copy.
Their new work on _Clayman_ [reviewed in this issue] is
breathtaking and we are indeed blessed with the notion that the band
is just hitting their stride, no doubt anxious to see where their
music takes them within the next few years.
"When we start to record an album, we never really plan what we
are going to do or where we are going to take the band", starts
guitarist Bjorn Gelotte about the ideas that inspired the new disc.
"We just used the inspiration that we got from touring and just
meeting people. We just bring into the fold ideas and inspiration
from how people are reacting to what we do."
"We also try to look at what we did with the last record and try
to take the music of In Flames one step further. I think that is
quite obvious since we have the same li
ne-up now that we did on
[1999's] _Colony_ [CoC #40] and that makes all of us feel more
comfortable with what we do. We [the band is rounded out by singer
Anders Friden, bassist Peter Iwers, drummer Daniel Svensson and
guitarist Jesper Stromblad] grew together on this record and we took
it to the next level."
Indeed they have. Ever since their debut album, the death
metal-tinged disc _Lunar Strain_ (Wrong Again Records, 1994), In
Flames has gradually taken on a much more melodic overtone within
their music, a change brought forward in their punishing (and in my
eyes classic release) _The Jester Race_ (1995) [CoC #12]. Since then,
the band has managed to capture a real solid feeling of creativity
and musicianship in the last few years by putting out one impressive
record after another.
While the band does have a very faithful following, a lot of
fans of the band feel very passionate about the work on _The Jester
Race_ and think that much of In Flames' new work is just a
continuation of that, not really breaking from that mold. About those
comments from fans, Gelotte answers: "Let people think what they
want. Some people even want us to go back and record another album
like _Lunar Strain_. Why should we do that? That would be like living
in the past. We are getting older now and are being influenced by
many different things these days. We have much more diverse music
styles than we had when the band first started. It would lying to
ourselves and In Flames if we just stayed in the past, because we are
always trying to move forward with each recording."
"It has never been this easy to create songs for a record, but
this time it was", states Gelotte of the recording of _Clayman_. "We
were on tour in the United States, the first one we have ever done,
and we were so inspired with this tour and the great experiences that
we had, we didn't waste any time when we got home. We just started
writing and it came together very fast. It was all pretty much done
within the time frame of a month. It was very fast and it felt so
good to be able to go into the studio inspired and get it all done so
quickly."
"This whole idea of being inspired to write music is something
new to us. A while back we would normally have to book studio time to
get things rolling for us and working on music and inspired to write
for an In Flames record. It isn't like that anymore. We used to be
very lazy, but this time around it was the total opposite. After the
tour, we just couldn't stop writing and we didn't want to. We didn't
want to stop the momentum of all this."
How does Gelotte and In Flames feel about all of the respect
they have garnered over the years? "It is very flattering to hear
people speak so highly of In Flames and reading how all of these
bands are influenced by us, but I also got to thinking about all of
that too. When you create music you are trying to create your own
identity, and if you don't, something gets lost along the way. There
is already one In Flames. The world probably doesn't need another one
and people must know that they can use what we do and get influenced
by it, but then they need to take it to their own next level and get
their band noticed."
I ask Gelotte about the perils of being lumped into a music
scene, In Flames most notably thrown into the "Gothenburg" Swedish
metal scene. He answers: "We have always tried to do our own thing.
We were there when this whole "Gothenburg" scene took off. We were
there in the beginning and we had to decide just where we were going
to go as well. It was the only way for us. I don't think we followed
trends or tried to stay within a scene sound. We don't know what we
are going to do next and I think you can hear that with what we do,
especially on the new disc and how some of the choruses and ideas
have been done. We aren't afraid to do things like that and I think
it is important to be dynamic and have songs that'll come across
solid live, because let's face it, we like to tour and play for our
fans. Everything is important to us and our music and I think it is
important for many bands to stay focused on what you do and let
things happen, and not have a great plan."
What inspires Gelotte and his songwriting / guitar playing? "I
would have to say the touring and most importantly the line-up of the
band. We have been the same band for the longest time now and we are
like a family. For the last few years In Flames has kind of been a
project with members being used from other bands to help In Flames,
but now we are a full unit with all members devoted to the cause of
In Flames. It used to be Jesper and myself telling people what parts
to play and all that, but now everyone brings into the group their
ideas and we function as a full unit. This time around, and over the
last year or so, everything seems to be great for us and working as a
team", says Gelotte. "It just seems very relaxed and that is a great
feeling."
On the topic of the album title, Gelotte responds: "We had a
bunch of names to go as the title, but they didn't work out. We chose
the title _Clayman_ because it was very short and easy to remember,
just like the last record _Colony_. Also, the name seemed to fit very
well with the concept of the record too."
As always it seems, an In Flames release is a big deal and that
means big pushing by their label, Nuclear Blast. So how does Bjorn
feel about all of the press work and hype surrounding each release?
He comments: "I think doing press is a lot of fun and it is great to
talk to people that like metal, as well as meeting some very
interesting people. I think it is more of a necessary evil for us
because we just want to play the music. That is the main reason why
we started all this. When we started out, we didn't want to talk to
the press, but this is needed to help push the band name and make
things smooth for the label we work with and the people who help us
out. Oh well, it is only for a short time when the record is coming
out and the rest of the year we get to play music and tour. Now
-that- is exciting."
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B R O K E N B U T N O T S U B D U E D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Brian Griffin of Broken Hope
by: Aaron McKay
From _Bag of Parts_ to "Engorged With Impiety", featuring James
Murphy, to "Siamese Screams" and the phantom instrumentals of "Deadly
Embrace", finally to "War-Maggot", I've braved the delineated path of
these authoritative metal connoisseurs. Having waited patiently for
the release of _Grotesque Blessings_, I eagerly clamored for a chance
to canvass Broken Hope topics with Mr. Griffin via an e-mail
exchange. The typed dialog to come is both encouraging and daunting
concurrently. I encourage you to read on further to harvest the seeds
of erudition from the indisputably busy and exceedingly talented
Brian Griffin.
CoC: With all your commitments with, for instance, EmSinfonia,
producing, engineering, mixing, mastering and guitar duties for
the mighty Broken Hope, you and Erik Rutan [Hate Eternal / Alas]
could be accurately described as a couple of the hardest working
men in the business, huh?
Brian Griffin: I would have to agree there. I can't speak for Erik,
but I do know he is the same as I am when it comes to
dedication to our craft. I have been doing this for
ten years and it never gets boring. I like to devote
all of my time to music in one way or another. It is
great to be in more than one band as well as have a
studio to work with other bands. Music is my life and
everything else isn't quite as interesting. As a
matter of fact, I have just started my third band,
which is another death metal project, but more extreme
than Broken Hope. I can't imagine slowing down. I just
want to try a lot of different styles, because I
wouldn't be happy just sitting around watching someone
else do it.
CoC: Having been exposed to Broken Hope for a great number of years,
the band seems to be extremely proficient in self-promotion.
What do you think? True? And, as a follow-up to that question,
was it Martyr Music's ability to give BH the support the group
deserved, finally, that made you go with this up-and-coming
label?
BG: Broken Hope has always been self-sufficient. We can't rely on
someone else to get us to the next level. All bands really need
to work hard to get to where they want to be, nowadays. If you
expect to get something done you really have to do it yourself.
Martyr has made us a priority and I think that is what we really
needed at this time. They know what needs to be done because of
their years of experience in the industry. We bounce ideas off
each other and the band/label relationship we have could not be
any better. Things are getting easier as the label gets more
well-known and being on a label that actually knows the scene is
a big plus.
CoC: I believe I can hear Broken Hope influences in others bands'
material. What do you think about the influence BH has
effectuated on music and brutal death metal in specific?
BG: We definitely have our influences and they are quite varied. I
think it is a great compliment to have another band be inspired
by what you have done. We are definitely not innovators anymore.
We have been around awhile like a lot of the older bands and the
newer acts have definitely taken what we started with to a new
level. Back in the day there weren't many death metal bands, but
now there is one on every block. This was all started by the
bands that were around ten or twelve years ago and it is great to
be one of those bands.
CoC: Seems to me that for a long time Broken Hope was kind of an
undiscovered treasure in the world of metal. Would you agree,
and do you think this is changing? Is the band more exposed now?
BG: I wouldn't say we were a treasure, but we definitely didn't get
the push we were hoping for in the past. With all of the
competition it is difficult to make your mark, but I think
sticking it out all of these years has shown that we are
definitely a group of guys that are willing to do it for the
music and deal without the recognition if that's what it takes.
We are getting quite a bit of exposure through Martyr because
they are more in tune with the scene and know what media outlets
will benefit us the most.
CoC: Speaking of hidden aptitude, how would you characterize the
notoriety you've achieved through your production efforts with
other bands, in addition to Broken Hope?
BG: I am still working on getting my name out there as a producer. It
is a never-ending job. With today's technology everyone thinks
they are a record producer and that makes for more competition.
In the past I concentrated on death metal recordings, but now I
am expanding into all styles. I plan to do this for the rest of
my life and I feel it is time for me to try it all and not get
pigeon-holed into one genre. I also find it a good idea to record
other styles so it keeps my ideas fresh when it comes to the
death metal albums I record. It is too easy to get into a routine
and make everyone sound the same and that is the stage death
metal is at now. I am very fortunate that the death metal scene
has given me a name as a producer and I have enjoyed working with
all of the bands and I can't wait to work with more. It's a great
start that I am going to expand on, but I will never forget where
I started from.
CoC: There seemed to be a little bit of a "lag time" in the release
of _Grotesque Blessings_. What was happening? And could you
possibly elaborate on the situation with Joe that was brought
out on the Broken Hope webpage, www.brokenhope.com?
BG: I took some time off from Broken Hope to work with my other band
EmSinfonia and do a lot of studio work. In the meantime nothing
was being done with the band, because the other members aren't
24/7 music guys like I am, so they took the break to do other
things. Once we found the right people to write with we got
things together for _Grotesque Blessings_. As far as Joe goes...
he is back with us. He decided he was not ready to do the tour we
had booked and bowed out at the time. We in turn could not fail
our fans and decided to go on with the tour with a different
vocalist. It went well but we are glad Joe has decided to
continue with us.
CoC: Speaking of Joe, on the new album I would say that his vocals
are somewhat more distinctive and discernible. Is this accurate?
BG: The band and Joe made a decision to try and make the vocals more
understood this time around. In my opinion Joe is at his best
this way, instead of trying to do a million words in every line.
We concentrated on less lyrics to make things easier on him.
CoC: Was there more of a co-operative writing effort on this album
between you and Jeremy?
BG: Not really. Jeremy and I have been working the same since the
beginning. We each write our own songs. We both have different
capabilities and each one of us has progressed in our own way.
Our style in writing and structuring varies. The fans seem to
like the variation in the songs. If we were to collaborate too
much every song would more or less come out too predictable.
CoC: Interesting the way the band utilized three other bassists in
addition to Brian Hobbie, the group's "full time" bass player,
and then some bass work by you, as well. How did this come
about?
BG: I had originally planned on doing all of the bass on the album,
but between writing, recording the guitars, leads, and producing
and engineering alone, I found myself needing fresh ideas. I did
in fact play a lot of bass on the album, but it was good to have
input from the other players.
CoC: What would you say the biggest selling point is regarding
_Grotesque Blessings_, as opposed to other prominent Broken Hope
releases?
BG: _Grotesque Blessings_ is by far more advanced in playing. We have
better structuring and have really improved since the last album.
The vocals are more intelligible, the drumming has more flare and
the bass playing is more diverse. I guess there are quite a few
selling points. It is also our best layout and cover as well.
CoC: Would you recommend _Grotesque Blessings_ as a "first CD
purchase" to inaugurate someone new wanting to get into Broken
Hope?
BG: Yes, I would. But, then again, it is just my preference, because
I prefer to hear a band at their latest stage of progression. If
you were to buy this one and _Swamped in Gore_, you would
definitely think it was two different bands.
CoC: Last couple of years I've seen you and Jeremy Wagner at the
Milwaukee MetalFest. Any chance that you'll play this year?
BG: We go there to promote the band. MetalFest has become less
appealing to us as the years have gone by. It is great to go see
up and coming bands, but the scheduling is usually screwed up and
it gets difficult for a band to put on a good show. I doubt we
would do it again.
CoC: A pretty reliable source informed me that "Bag of Parts" made it
on the play list for this coming tour! I, for one, think this is
fantastic!
BG: Yes, it did. We consciously made an effort to add songs that get
requested at the shows. It was great to have a variation in the
set this time around. Some of the songs took people by surprise.
CoC: As a colleague of Chuck Schuldiner's (and a true friend of his
as well, I'm sure), can I impose upon you for your thoughts on
his situation?
BG: We are not close friends that keep in contact all of the time,
but meeting and working with him was a special time for me. He is
the kind of person that you can be around for a short time and
consider a good friend. I can't think of anyone more supportive
and personable to work with. Chuck is an amazing person. What can
I say? He has done it all, and his contribution to music has
definitely inspired all of us. The strength he has shown in
battling his illness is just what I would expect from him.
Nothing can stop him and I am confident we will be hearing him
play for years to come. It is great to see all of the support
everyone is giving him in return for what he has done. I hope he
has a speedy recovery so he can get back to what he enjoys, and
that is writing music for all of us.
CoC: It has been an honor to conduct this interview with you, Brian.
Please conclude any way you would like...
BG: Thanks for the interview, Aaron. Thanks to everyone for
supporting Broken Hope throughout the years and the rumors!!
Contact: http://www.brokenhope.com
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S A T A N A N D M E R L I N U N I T E !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to Jon Schaffer and Hansi Kursch of Demons & Wizards
by: Adrian Bromley and Aaron McKay
Metal fans would probably think that Iced Earth guitarist Jon
Schaffer and Blind Guardian singer/bassist Hansi Kursch would have a
difficult time venturing outside of their own bands to start up their
new project, Demons & Wizards. Actually, according to Kursch, it
wasn't that hard to do at all.
"It all just happened quite easily for us to get this together",
starts Kursch when asked about the formation of D&W with guitarist
Jon Schaffer. "It has been such a great time. Jon and I have known
each other since the early '90s, and we knew what to expect from us
getting together with our ideas. We're both professional and we were
very confident with the musicianship we would bring to D&W."
"We'd talked about doing this for a while now", explains Kursch.
"One day a while back we got together for an afternoon and just
jammed. We got such a good vibe from that time and felt with
chemistry that good, it would be a waste to not put these talents
together. We just waited for the right time to do this. This was very
easy to do for us, really. I mean there is so much we can do with
Blind Guardian and Iced Earth, and there is so much else that we can
venture out and do with D&W."
"The first time we met was on a promotional tour that I was
doing", co-founder Jon Schaffer clarifies. "We ran into each other at
a disco and the guys from Rock Hard magazine said "This is Hansi from
Blind Guardian and these are the guys that you are going to be
opening for", so we hit it off instantly there. Really, it was kind
of a magical thing that doesn't happen between bands normally; we
became brothers right off the bat -- right from the first day!"
The band's self-titled debut for SPV is a wicked combination of
heavy-duty '70s guitars, breathtaking choruses and some of the finest
melodic vocal stylings to hit metal in some time. Kursch and Schaffer
have taken their talents from their current bands and etched them
into D&W, but still set out to bring something new to the metal
genre.
Together, the imaginative magic between these two uncommon
individuals confidently exhibits itself on no better place than
"Fiddler on the Green" and "Winter of Souls". "I just wrote that
music [for "Fiddler on the Green"] and sent it over to Hansi. The
whole concept is his and it's based on a true story", Jon elaborates.
"[Hansi] was out walking his dog and he saw a little boy get killed
on a bicycle -- hit by a car. Well, it happened again, like a week
later -- same spot, same place in his neighborhood in a place where
something like that would never happen. Over in Germany, the Fiddler
is like what we call the Reaper." Sounds like the Demons & Wizards
album cover, wouldn't you agree? In summary, the Fiddler makes a
mistake and takes this little boy's life too soon. Thusly, he
promised the boy he'll create this paradise for him. The girl in this
scenario would have been this little boy's future wife, so the deal
is that the Fiddle makes a heaven for this pair as part of the
bargain. In case you were wondering, this is Jon Schaffer's favorite
track.
""Winter of Souls" goes back to 1986 or something. I stumbled
across it and added one new section, the clean bridge part towards
the end; then it kicks up and gets heavy, that's new", Schaffer
illustrates with his typical insight. "Hansi liked it a lot and I
like the vocal melodies he came up with. In addition, he lyrically
based it on the King Arthur and Mordred thing."
About his songwriting style and approach to the D&W material,
Kursch says: "I find the material of D&W a lot darker. The topics
range from weird fairy tales, bizarre dreams and fictional ideas, to
life experiences. A lot of the stuff is more brutal that most of the
stuff I would normally be doing with Blind Guardian. It was great to
break away from a type of mold here", admits Kursch. "The thrill of
making music was awesome. The best part was the whole spontaneity of
things."
But what about those who are calling the new D&W record a
meshing of Iced Earth and Blind Guardian styles? Kursch answers: "We
never considered to do anything in between our bands' music or go a
certain direction with the D&W sound. Jon can't deny his songwriting
style and I have a very identifiable vocal style. While it may be an
amalgamation of us creatively, I still hear something new with what
we are doing."
The last three songs are a trilogy, right? "Yea! And I can't be
blamed for it", Schaffer jokes good-naturedly. "Everybody's like,
"Schaffer did another trilogy". It's not the case this time." This
Dante-esque, near-_Stormrider_ abstraction is a wonder of
de-evolution as a gnome takes a human through a losing faith scenario
as it ranges from Creation to Revelation. Jon concludes: "I like dark
stuff, man."
Many great things are in store for this praiseworthy band
collaboration. Kursch finishes: "I hope that people who listen to the
record two or three times will come to the conclusion that this isn't
a straight copy of Iced Earth or Blind Guardian. It is a whole new
experience, and an exciting one at that."
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A C Y N I C A L E A S T E R N G A T H E R I N G
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Santiago Dobles from Aghora
by: Paul Schwarz
Let's note that cynical is present here in its ancient use: as a
means to achieve virtue. Aghora are no depressive, frustrated,
baggy-pants metal brat pack, nor some violently thrashing death
troupe; they have both a positive outlook and a wide-ranging musical
scope. Aghora also have the talents of Sean Malone and Sean Reinert
(Gordian Knot and ex-Cynic bassist and drummer respectively) filling
their rhythm section, and a female vocalist, Danishta Riviera, on
vocal duties. When one adds the guitar playing of Charlie Ekendahl
and Santiago Dobles (who is also the band's central figure) the
result is a progressive, eastern-tinged but defiantly riff-laden
journey which has proved to be one of the few truly original and
creatively unrestrained releases I have heard in recent years. Aghora
really are on to something different with their self-titled debut
release [CoC #47]. I caught up with Santiago Dobles to discover from
where this technical and unusual outfit has emerged, how things came
together for them, and where they might hopefully be taking music and
people in the future.
CoC: How would you describe the style of music of your self-titled
debut album?
Santiago Dobles: It's hard to really describe, but to me its like
putting World music, fusion and metal in a blender
and creating a balanced concoction. I think the
style is actually something new.
CoC: It would be fair, I think, to say that there is a strong
influence of prog-rock/metal (with elements of jazz) running
through your music. Why did you choose to combine female vocals
with the this rather technical and somewhat instrumental
tapestry?
SD: It was what I was hearing in my head. I was fascinated with the
idea of trying to fuse all the elements I listened to into one
sound. Danishta, to me, has a wonderful voice. Her tone is very
sincere and angelic-like.
CoC: Whom would you say are influences for you as a player? What
records would you say have most influenced the style of
_Aghora_?
SD: I am very influenced by Allan Holdsworth. He completely leaves me
mesmerized. I am also always inspired by Steve Vai, Frank Zappa,
Jason Becker, Brett Garsed and Greg Howe. As for the _Aghora_
sound, these following albums had a deep impact: Cynic's _Focus_
and the later _Portal_ and _Aeon Spoke_ demos, Mahavishnu
Orchestra's _Visions of the Emerald Beyond_ and _Inner Mounting
Flame_, Shakti, Tool's _Aenima_, Meshuggah's _Destroy Erase
Improve_, Peter Gabriel's _Passion_, Bjork's _Post_, Alanis'
_Jagged Little Pill_, _Supposed Infatuation Junkie_, Dead Can
Dance's _Aeon_, Steve Vai's _Passion and Warfare_.
CoC: Are Aghora spawned of a "scene" of similar music?
SD: No, unfortunately the legendary metal scene of south Florida no
longer exists in the way that it used to. Aghora is spawned out
of the lack of a scene and out of every artist that has inspired
us.
CoC: How did you first come into contact with Sean Malone and Sean
Reinert of Gordian Knot / Cynic and how did you come to use them
as your rhythm section?
SD: I met the entire band [Cynic] when they performed live in Miami
to support the _Focus_ album. This was back in 1994. Afterwards I
began taking guitar lessons from Paul [Masvidal]. As time went by
I made friendships with all of them. They are all incredibly cool
people. I pretty much stayed in contact with Paul and the rest of
the band. After Paul left to California, I began to communicate
more with Sean Reinert. At that time I was writing music that
would later be used for Aghora and I needed to form a band. I
asked Sean if he wanted to play drums. He listened to the music
and showed interest in developing what later became Aghora. As
for Malone, things with our original bassist didn't work out; so
Sean and I both suggested to each other to contact Malone and see
if he would be interested to join. I called him in Oregon, and he
said it would be an honor. Of course it's been a dream come true
for me to work with both Sean Reinert and Sean Malone. Not only
are they amazing musicians, they are truly unique and down to
earth people.
CoC: How much did Sean Malone and Sean Reinert contribute to
_Aghora_?
SD: Sean Reinert and I have had more time to play together than with
Sean Malone. Reinert has been contributing to Aghora since 1997.
I have always given him the freedom to be the backbone for
Aghora. In my opinion, he is the one that sets the vibe and the
power. For the album, Reinert had a lot to do with the feel and
helped in making the songs come alive. He added the dynamics.
Also he helped with writing "Jivatma" and "Anugraha". As for Sean
Malone, he came into the band in the second week of recording the
album. I sent him charts in Oregon along with basic tracks of the
album and demos. In less than three weeks he learned the album
and created his bass parts. His bass parts completely filled the
vibe missing in Aghora. Sean has such a unique style and control
over his instrument and expression. When he was recording the
album I was very confident that his contribution would turn
Aghora into something higher or more evolved. He came down during
the mix down sessions and helped mix down and produce four songs.
He has an incredible talent both as a musician and as a creative
force in the studio.
CoC: How did Aghora come together as a band and when?
SD: I always had the idea to form a group where together everyone was
extremely tight and yet as individuals everyone would shine. The
idea to create this band was cultivated while I was attending
school in Berkley in 1995. At that time, I was beginning to
sketch ideas which later evolved into music for the band. It
wasn't until I moved back to Miami in 1997 that the band became a
reality. Originally the band consisted of Charlie on rhythm
guitar, my sister Danishta on vocals, Andy Deluca on bass and
Sean on drums. Because Andy lives in Chicago and everyone was
extremely busy with school, our rehearsals were limited. While we
recorded the '98 demos we got to rehearse only once. For the '99
demos, we had to rely totally on faith in each member because
rehearsal time was non-existent. At that time, Sean Reinert moved
to Los Angeles, so we only saw each other a few times in that
year. When the opportunity came to work on the album we had to
hurry and prepare everything for the recording sessions. Sean
came back to Miami for rehearsals. At this time, things didn't
work out for us with Andy and we parted ways with him. Two weeks
into the recording of the album during the summer of '99, we
asked Sean Malone to join the band. His entrance definitely
helped Aghora evolve towards the direction we wanted to go. In my
opinion the band started to sound like a band and come together
while we were creating the album.
CoC: In writing the music for _Aghora_, were tunes penned by you and
brought before the band in a mostly-finished format or is it
primarily a project based around jamming and improvisation like
much jazz, for example, is?
SD: Basically, I tried to give the band a very complete "rough draft"
of the songs. It's a bit of a long process, but I think it helps
to have some form of foundation before you actually make things
"final draft". The album is very structured. The music was
composed for the musicians involved. Most of the music was
written between 1997 and 1999. After I completed the basic
structure of the songs, I would sequence them with MIDI and
record a demo with guitar parts and melodies. After this process
I'd give the band their copy of a demo and charts. I then had
them mould their sound and style into the music. After that,
Charlie, Danishta, Sean Reinert and I would rehearse it and get
it ready for the studio. Most of the parts stayed the same but
some things ended up coming out more and feel more alive. It ends
up getting the band's sound. This was basically the process we
used for recording the album and our demos. Sean Reinert and I
would rehearse together to bring the dynamics out and to get the
overall feel right. The only songs that were based around jamming
where "Jivatma" and "Anugraha". For these two songs we wanted a
breath of fresh air to the album. "Jivatma" was completely
improvised. We wanted something different from every other song.
CoC: What is the lyrical focus of _Aghora_? I notice elements of what
I think is Hinduism and certainly a focus on "the divine".
SD: The whole album has an underlying message of looking within or
"unplugging from the matrix". Ever since I got into eastern
philosophy I began to think and desire a goal of
self-realization, detachment and compassion towards everybody.
It's difficult now to be a "detached" person because we easily
get caught up in things that keep us within the "Veil of Maya" or
the "Matrix". Every human being has the potential to do great
things. So my idea was to present a message of positivity and
self-discovery based both on philosophies and on personal
experiences.
CoC: Are the lyrics of Aghora important or are they merely to give
backing to the music and a wider scope for audience acceptance;
could Aghora have been an instrumental project?
SD: The music and lyrics are very important to the whole picture
because they give you the imagery and feel for the struggle we
constantly battle against our own Ego. I don't think Aghora could
have been an instrumental project. It wouldn't seem right without
Danishta's voice and the lyrics.
CoC: What do you consider "capturing the individual soul of music"
(as you credit Shakti and the Mahavishnu Orchestra with doing)
to be, and do you think you have achieved it? Is it your aim to
achieve it?
SD: Well, I think it means to capture your self within a moment of
true expression. Bands that inspire me such as Allan Holdsworth,
Frank Zappa, Shakti and Mahavishnu Orchestra relied heavy on
improvisation and being in the now. It's as if they channel a
higher state through their instruments. You can hear it on albums
like _Shakti_, _Shut Up & Play Your Guitar_, _Inner Mounting
Flame_. To me it represents the idea of life. You have to always
be in the moment. I don't think being in the moment is a state
that can be mastered, but it can definitely be achieved and
experienced. I think on songs like "Jivatma" and "Existence"
Aghora experienced those magical moments of being eternal in the
moment. "Jivatma" is full of this feel. It reminds me of a modern
day raga from India. You can also experience the soul captured in
Sean's drum solo in "Existence". In my opinion it's a classic
moment of true expression. We hope to go deeper into this
"experience" in the next album. We found out later that Aghora in
Portuguese means "now". It's an interesting coincidence with the
vibe we wanted. [In fact, the Portuguese word for "now" is
spelled "agora" and not "aghora". -- Pedro]
CoC: Why do you create the music of Aghora? (E.g. success, your own
musical fulfilment, to bring a message to the world, etc..)
SD: There is always the want to satisfy your musical thirst. I have
been very dissatisfied with the heavy community because
everything nowadays tends to sound the same and has no inherent
value to it. I wanted to compose what I hear in my head. I wanted
something that satisfied my thirst musically. As for the message,
I think a lot of music today tends to be very negative and gives
of a very violent message. I don't think there is anything wrong
with aggression or raw power, but I do think it should be
harnessed and sublimated to a higher state. That type of energy
can have a strong impact on kids if it is fused with intelligence
and something positive. We didn't want any negativity around the
music. I think it's time for people to somehow uplift themselves
and begin to find ways to evolve. If Aghora makes some kids
somewhere in the world think and open new doors to things like
philosophy and evolution within the arts, you will have a higher
resonating consciousness moving towards great potential. And
before you know it, a "new" scene will arise.
CoC: Why did you decide to put out your debut record on your own (or
your brother's?) label? Did you try to get a record deal through
normal channels?
SD: My father has been supporting our efforts since day one. Together
out of frustration we established Dobles Productions in order to
secure the rights of the band and not get screwed by the
industry. We grew tired of waiting around for labels to simply
play around with us. A lot of labels either wanted to exploit our
creativity or simply wanted to change our ideas. We wanted to
stay true to ourselves and maintain integrity in our work. A lot
of labels turned us down because they felt the vocals weren't
"metal" enough for the heavy labels and the music wasn't
"progressive" enough for the prog labels. They would also
complain because the lyrics' message hints towards eastern
thought. Some even went as far as to say that the message of the
lyrics is religiously controversial and offensive to Christian
beliefs. They all came back telling us they would be risking a
release that was so different from everything else they have
released. It seems they are afraid of change or anything new.
Everything has to sound like something that has already been
done. It's almost as if they set the standards on what is
considered "good" in the scene. So they are the ones that start
the trends and keep up the cliches that end up polluting the
industry for good artists.
CoC: Is there a meaning or a connotation to be derived from the
rather understated artwork and presentation (grey is not the
most striking of colours...) of the _Aghora_ CD; does it give a
message of some sort?
SD: There is no hidden meaning, we just wanted a simple album cover.
We wanted this album to be as organic as possible. The entire
album has a rawness to it that seems as if the band is in the
same room with you while you listen to it. This is what we wanted
to achieve.
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S C A N D I N A V I A N D O M I N A T I O N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews K-2t4-s of ...And Oceans
by: Adam Wasylyk
Finland is quickly becoming the hottest place in Scandinavia to
hear metal music that's brutal, melodic, and challenging. Already a
healthy scene with mainstays such as Impaled Nazarene, Sentenced and
Amorphis, a younger crop of bands are making sure to carry on the
country's proud tradition of creating music worthy for the ears of
metal fans worldwide. While many of the elder bands in Norway, for
instance, find themselves in a transition state -- maturing beyond
their roots -- Finland's young and upcoming acts find themselves with
an excess of aggression and the compulsion to purge. A classic
example is ...And Oceans, whose second album _The Symmetry of I, the
Circle Of O_ (on Season Of Mist) [CoC #44] combines great riffs,
strong harmonies, harsh blastbeats and powerful vocals. It must be in
the water or something, as this part of the world is creating some of
the most creative and innovative metal presently. And don't expect
things to change anytime soon.
Vocalist and co-creator K-2t4-s picks up the story as he
explains his thoughts and feelings on _The Symmetry..._: "The album
was recorded at Tico-Tico Studio here in Finland", he begins. "It was
released as a double digipak with a bonus disc containing ambient
material which was spontaneously created in the studio, in addition
with just a normal jewel case with the regular metal CD. Overall we
are still pretty satisfied with the material and our previous
releases, but of course there are things that could've been more
properly done. One can never be too satisfied by one's own material,
and that's the reason why one keeps releasing and making more
material. I think the new album will be more like a well-done [piece
of] beef compared to the half-raw beef _The Symmetry..._."
Getting a little more in-depth, K-2t4-s mentioned what
originally spawned the idea for this ambient creative outburst, and
what additional bands were involved. "The idea came long before
entering the studio. Originally there were two bands, Puissance and
Tiermes. Puissance did their job, but Tiermes were too busy with
their minds that they didn't have the time to finish their track. We
just wanted to add some special atmospheres to the album and these
bands in question would've contributed by doing some material for us.
Both bands are also very different to each other and therefore it
would have suited the concept perfectly."
So will you continue to create that sort of music in the future?
"I don't think we will continue creating that much ambient type
of music for our next release 'cause it got a bit monotonous and
boring. Nothing against monotonous music, but we just want to
constantly move on instead of suffering from stagnation."
With The _Symmetry of I, the Circle of O_ being ...And Oceans'
sophomore album, I made sure to ask about their debut album, entitled
_The Dynamic Gallery of Thoughts_ [CoC #33]. "Well, we are not that
satisfied with the previous material, but I guess that's pretty
normal", the frontman honestly states. "There are so many things that
could've been done differently in the past. Some things are better on
the debut album, but musically and lyrically _The Symmetry..._ is
much better; it's more personal and colorful. I guess the debut album
was an OK release -- nothing more, nothing less."
He also discussed the band's first recording -- a 1995 demo
entitled _Wave_ -- along with their first official demo, which will
soon be re-released. "The _Wave_ demo was an unofficial demo tape
which was more technical and sounded more death metal than the
material released after that particular tape. I don't think we will
ever release it on CD, even if the sound quality is damn good. The
first official demo, _Mare Liberum_, will be pressed on CD before
Fall and released by the Italian label Nocturnal Music. The demo CD
will also contain five live tracks from our European tour."
Our conversation turned back to _The Symmetry..._, in which the
first-time listener is confronted by a tracklisting with titles like
"Acid Sex and Marble Teeth" and "I Wish I Was Pregnant". So I had to
ask, what exactly is going on here lyrically?
"The track titles should be seen as different sides of the same
coin and as different coin of the same sides, if you prefer", begins
the rather perplexing explanation. "Physical phrases are combinations
of letters and numbers modified into codes in our mental vortex and
[your] individual interpretation and comprehension is the energy of
systematic thinking. Man is divided [into] mental sides, like a coin
in its physical existence, and therefore the energy is visualized one
way or the other, stronger or weaker depending on the person in
question. Actually, I don't think it makes a difference which side is
stronger 'cause both are naive and affected by conservative rituals,
but they still do compensate each other. The semantic aspects of the
written lines are as black as they are white, but yet they stay on
the personal level. I stand behind the lyrical curtain, but it's up
to the listener to decide what the deeper semantic construction is
all about. I don't want to affect anybody particularly, 'cause it's
always better for the listener to construct his own surrealistic
mindworld into something suitable for him and his mind. Find the
oppositions 'cause contradictions can be constructive." Hmm... I
think I got it...
The oddly named vocalist also commented on the upcoming movie
the band are working on, and all of the work that has gone into it
thus far. "Actually, it was planned to be more like a short movie,
about 12 to 15 minutes long, containing two ambient tracks and one
metal track. The material has been shot with three different cameras,
one 8mm, one 16mm and one security camera, and of course everything
is black and white with some moments containing excessive light. The
screen will be divided in at least two separate pictures, depending
on where we can edit the film, and with different topics rolling on
at the same time. We've got about 13 hours of material, but we still
have to go through the whole material, do the cutting and editing.
It's very time demanding, but we're working on it and hopefully we'll
get it finished sometime this year. The head man behind the cameras
has done a lot of short movies and won some cultural prizes for his
work, but he is very busy with his own job and is often abroad, so
we'll just have to wait for the right moment before finishing the
movie. Maybe we will take the tracks from our next album instead of
_The Symmetry..._ 'cause those tracks seem a bit old and boring for
our current existence."
...And Oceans is composed of six musicians (guitarists Neptune
and de Monde, vocalist K-2t4-s, bassist Gaunt, keyboardist Anzhaar,
and Grief on drums) who find themselves involved with several
different bands in the Finnish metal scene. Speaking about this,
K-2t4-s states: "Some of our members are involved in different bands,
but they are not project bands. They were all formed before ...And
Oceans, but due to the fact that it's very difficult to find
competent and interesting members around this neighbourhood. Our bass
player, drummer and keyboard player are part of Black Dawn, who
recently recorded their debut album on Necropolis Records. Our
drummer is also part of Enochian Crescent, who are signed to
Avantgarde Music; and our bass player is part of Rotten Sound, which
is also signed to Necropolis Records. All bands are important for the
members, and there's no sort of competition between the bands."
I concluded by congratulating him and the band for signing to
Century Media, and asked how that deal came about, along with what
the current status of the band is. "We just sent over some promo
packages to several labels in order to gain knowledge about what
different labels thought about us. Several labels showed interest,
but as Century Media seemed like a great label we thought we could
move on and sign a contract with them. We haven't really discussed
any details about tours or anything yet, because we have a lot of
stuff to do with our material at the moment. Hopefully we'll head out
for a tour later, but we'll see what happens after the release."
And what about newly written material?
"We have basically seven tracks completed for the next album and
I think we'll make two more before entering the studio in September.
I think the new material is more rhythmic and vibrating than the
previous material."
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F O R T H E L O V E L E S S L O N E L Y L I V E S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Peter Poulsen and Thomas Jensen of Saturnus
by: Pedro Azevedo
Saturnus managed to make a significant impression within the doom
metal scene with the quality melodic doom/death of their debut
_Paradise Belongs to You_. However, for me it was its successor, the
very broken-hearted MCD titled _For the Loveless Lonely Nights_, that
most clearly proved there was something special about this band: the
emotion was definitely there, both on the melodic doom/death tracks
and on the acoustic ones, supported by well above average musical
quality. The recently released full-length follow-up to that MCD,
_Martyre_ [reviewed in this issue], is another worthy effort by the
band, even though I have mixed feelings about a few of its songs.
Still, Saturnus, who started out as a melodic death metal band and
then played what seems to have been a rather life-changing gig with
My Dying Bride, seem poised to maintain their place as one of today's
melodic, dark-romantic doom metal's highest exponents. Having once
played with a choir inside a church and having been nominated for the
Danish equivalent to the Grammy awards in the past seemed to be
further subjects for interesting conversation; so here is a brief
e-mail chat with guitarist Peter Poulsen and vocalist Thomas Jensen.
CoC: You seem to have been somewhat influenced by My Dying Bride,
with whom you played a gig in 1996. How influential was that to
your progression as a band?
Peter Poulsen: In the beginning of Saturnus we played melodic death
metal, but the gig with My Dying Bride in 1996 opened
our eyes to something else that could express our
music better. Maybe that's why we have those
influences from My Dying Bride.
CoC: These days, however, the evolution of your musical style tends
to remind me more of the kind of path followed by Anathema
towards a lighter and more melodic form of doom metal; yet you
certainly have not forsaken the death vox on _Martyre_. Most
bands, however, would probably say death vox do not fit well
with the kind of melodic, broken-hearted doom you play -- I
disagree and feel the death vox do suit your music very well. Do
you think they will continue to be a part of your music in the
future?
Thomas Jensen: As the years pass you evolve from what you started
from, and will on your way maybe end up in another
place, different from where you started. Maybe the
death vox will stay. Maybe they won't. It's all in
what you feel at the moment.
CoC: Where do you think your sound might evolve to next, emotion-wise
and also as far as becoming instrumentally softer or heavier
again?
PP: We can't say, for the time being. But we're creating some new
material, and it will take us further on the way to expressing
ourselves in this particular moment in time. So it will still be
Saturnus again, just new!
CoC: Speaking of Anathema, you have now included a new half-sung,
half-growled vocal style, somewhat reminiscent of Darren White
[formerly of Anathema and The Blood Divine] but sometimes maybe
more "rocking", together with your death grunts and clean vox.
Why did you decide to use this new vocal style in your music?
TJ: Because Darren White is my favourite singer!!
CoC: Can you tell us more about your 1997 concert in St. Stefan's
Church with a female choir? That's quite an unusual event for a
metal band...
PP: That is quite an unusual event for a metal band indeed, and it
caused quite a stir in the Danish church. Klaus Olsen, a
sound/picture artist, had been involved in an arrangement in the
church the previous year, and the priestess, Anne Braad, said
that she, for long Friday (you know, the day long ago when
somebody was crucified to death), needed death and destruction!!
Klaus answered her: "I know a band that I guess will be very
interested!" And that's it.
CoC: Another thing which is rather unusual for metal bands is to get
nominated for national music awards, yet you were nominated for
Best Hard Rock Release of the Year for your _For the Loveless
Lonely Nights_ MCD in something that is supposed to be like the
Danish Grammy awards... How was it like? And, by the way... who
won?
PP: It was great fun to be nominated for the Danish Grammy awards
(free food and beer). It was the second time that the "best hard
rock" category was included in the show. We didn't win the award,
but we won the party... so fuck the prize! Superfuzz (at the time
an unreleased, unknown band... I guess they stopped playing as
well) won the award and we were very happy on their account...
bull...
CoC: You had Flemming Rasmussen, of Metallica fame, as your producer
for _Martyre_. What motivated that? Are you happy with his work?
PP: Mr. Flemming "Trainconductor" Rasmussen is a very gifted man who
knows his ways in every kind of music; and we talked about the
possibilities for havin' him doing the CD, contacted him and he
was open and keen on doing the project with us. It's very nice
when you can work with a man you have been talking and listening
to all your childhood. We hope he's up for the next CD, which we
are at this time working hard on!
CoC: What about the album itself, how much of a progression do you
feel it was from your past releases? How satisfied are you with
it?
PP: Of course there must be progression from one release to the next;
you grow as a person and as a musician and you reflect about life
as you grow with it. -We- are very satisfied with _Martyre_, it
just couldn't be better!
CoC: Despite some changes, _Martyre_ carries on your darkly romantic
doom metal style. Do you think you can write, play or even enjoy
such broken-hearted, gloomy music even if you're feeling good
and things are going well for you, or does it take some real
feeling behind the music for you?
PP: As said before, we grow all the time and every particular moment
in your lives brings sadness and happiness with it. We are very
happy people on the outside, but yet we cannot deprive ourselves
of the nothingness we grow in. The music and lyrics will stay sad
with us.
CoC: What kinds of music does the band generally enjoy these days?
PP/TJ: We can only speak for ourselves. In comparison it will be
something like "mainstream rock", metal in general, pop...
whatever; we're not that fixated on style, names or
production, just as long as the music talks to us!
CoC: Is there anything else you'd like to mention to end this
interview?
PP/TJ: Stay heavy and keep smiling... Saturnus is coming to a town
near you... and tell all your friends we're "nice" people...
Contact: http://www.saturnus.dk
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T H E F U T I L I T Y O F I T A L L
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Petri Eskelinen of Rapture
by: Pedro Azevedo
Rapture's remarkable debut _Futile_ [CoC #45] was one of 1999's best
surprises: an emotionally gripping album, music drenched in sadness
and the sense of all-encompassing futility indicated by the album
title. It was, however, immediately labelled as Finland's answer to
Katatonia's _Brave Murder Day_, which is understandable but also an
unfair suggestion of lack of originality that the band did not
deserve. Indeed, regardless of eventual similarities, _Futile_ is
still an album that is very relevant. It was one of the highlights of
the year for me, and I can't wait to hear its successor. The
following is an e-mail interview with vocalist Petri Eskelinen.
CoC: Quite a significant part of the doomiest bands around these days
seem to come from Finland -- Rapture, Unholy, Skepticism,
Dolorian, etc. --, more so than from other Scandinavian nations.
What is it about Finland that you think might cause this?
Petri Eskelinen: I don't have the slightest idea. Could be the long,
cold winters. Then again, we have the highest
suicide rates in the world, I think. Finnish people
are generally kind of introverted and... I really
don't know, 'cause everybody tells me that I'm not
your average Finnish bloke, but rather really
extroverted and sociable.
CoC: What do you think of the Finnish metal scene in general? How
does Rapture fit in it, what is it that you think can make you
special?
PE: The Finnish metal scene... I really don't know if there is a
"scene" anymore. At least I haven't been involved in it anymore
for a long time. We have some very, very good bands here, but as
far as the demo scene goes, I don't know. I don't think I have
the energy to be interested in demo bands anymore, unless
somebody comes up to me and really recommends something. About
fitting in the scene, I don't quite understand what you mean by
it, since I don't think there's too much of a scene to fit into.
[I was thinking of this "scene" as being formed by the bands that
I mentioned in the previous question, amongst others. --Pedro] We
just do our own thing to please ourselves. And what makes Rapture
so special to me is that it's something I'm deeply a part of.
Whatever makes it special to someone else, I really can't tell.
That's something for each and every one to decide for himself.
CoC: Do you think there might be a chance that Finnish doom became
known more or less like Swedish death or Norwegian black did,
despite the obvious differences between the aforementioned
Finnish bands? And would that be a good thing, in your opinion?
PE: Firstly, I don't feel we're that much a doom band. Secondly, doom
will never be as big as black metal, 'cause it's far more extreme
and hard to swallow than black metal. Plus, there's nothing
"cool" in doom to scare your parents with. If doom were to become
big or whatever, I couldn't care less. There would still be a lot
of good bands to listen to.
CoC: What about Rapture, what makes you want to write and play music
as sombre and sad as _Futile_?
PE: Well, our guitar players write all our music, so I'm not in a
position to say anything about that, but I guess they only want
to express some of their own feelings through this kind of music.
That's what I personally try to do when I'm writing lyrics. This
band is -- and I think I can safely speak for the whole band here
-- an outlet for expressing emotions that would otherwise pile up
and later come out in some unhealthy way. For me, it's a way to
release depression, frustration, <place any human feeling here>
and for example anger through words and music together. It's a
great feeling to have found people around you that can put into
music the things you yourself put into words.
CoC: What feelings would you ideally like to induce in the listener
with your music?
PE: Liking good music or art in any form is a matter of relating to
what the musician/artist has tried to say. Well, not always, but
in most cases. I'm not trying to induce any feelings in our
listeners. Whatever feeling you get from listening to Rapture is
fine by us. We play music only to satisfy our own need to create
and release some feelings from our inner selves.
CoC: To what degree do you feel you have achieved that with _Futile_?
PE: If I didn't play in Rapture, I'd be a fan, I guess... I think
it's a good album and I do get the chills whenever I listen to
it. I guess that's a good indication that we've achieved
something, since we wrote it for ourselves. I've had people come
up to me and say that they've cried listening to the album, so...
CoC: How concerned are you with all the criticism about _Futile_
sounding a lot like Katatonia's _Brave Murder Day_? Will it be a
priority for you in the future to reach a more distinctive
sound, or are you more worried about just creating music you're
satisfied with?
PE: I don't care. I know that we're different than Katatonia and it
will most definitely not be a priority to "reach a more
distinctive sound" in the future. As I said before, we write
music that comes to us naturally and to please ourselves and
ourselves only.
CoC: What main changes can we expect to find in Rapture's next
release? Will you be treading a similar path as far as the
emotions you express with your music?
PE: Oh yes, definitely. I still have some demons to exorcize and I
think the guys have their share of emotional distress as well.
Only time will tell... We write the kind of music that comes to
us naturally, so it's impossible to say what will come next. Of
course every band grows and evolves, but don't hold your breath
expecting a pop record! <laughs> We will possibly try out some
more clean vocals and concentrate a bit more on the general
atmosphere...
CoC: What are your plans for the near future? New album on the works?
PE: We're playing a show here in Helsinki on the 5th of August, so
we're rehearsing like hell at the moment. After the show, we will
begin rehearsing some new songs and continue writing more new
material. The new album will probably come out in late Summer or
Fall 2001.
CoC: Is there anything else you'd like to add to this interview?
PE: I guess all is said and all is done. Thank you for the interview
and sorry about the delay...
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R E A S O N I N G W I T H T H E H E R E T I C S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Mikael Andersson of Thy Primordial
by: Alvin Wee
It's always sad to see how some quality bands in the underground
are neglected; especially one as promising as Thy Primordial. Perhaps
it's their lack of truly outstanding innovation in an overcrowded
scene. Or maybe the lack of promotion. Either way, the band hasn't
been getting the attention they deserve -- not from the fans, and
even less so from the press. Hoping to expose the work of this
underrated group, I summon Mikael Andersson -- axeman, composer and
spokesman for one of Sweden's most underrated acts -- from his
Northern lair for a quick "what's up" chat.
Thy Primordial still haven't made the impact one would have
expected from a young and talented, if not incredibly unique, outfit.
Despite having been released ages ago, little has been seen or heard
of _At the World of Untrodden Wonder_, the band's third album. [CoC
#46] "_At the World..._ has been out for some time for sure. Almost a
year, I think." A case of poor promotion, perhaps? "We have done
pretty much only interviews to promote the album. But nothing else
other than that for promotion." In a scene where marketing speaks as
loud as the music itself in securing the success of a band, the work
of individual labels has become crucial in determining the outcome of
new releases. "I don't know about the rest of the world, but here in
Sweden and most of Europe there has been almost no promotion at all
for _AtWoUW_; I saw an ad for it in Close Up mag [Sweden's largest
metal publication -- Alvin] some time ago, but that's all I've seen."
I suggest that working with Pulverised Records (the premier
Singaporean label that introduced Amon Amarth to the world) hasn't
been altogether favorable, but the Swede is quick to point out: "The
promotion for _Where Only Seasons Mark the Paths of Time_ [CoC #20]
was a lot better, at least in Europe. And otherwise I don't see any
big problems working with them, except for all the delays that have
cursed the band."
Thy Primordial must have realized that taking up a contract with
an unrecognized, Asia-based label would be a gamble in its own right.
Delays would be inevitable, and promotion would no doubt be inferior
to that of an Europe-based office. So how did their relationship
begin? "They wrote to us asking for material. We then sent some
samples from each of our demos and promos. They liked what they heard
and sent us a contract for three releases, which we, after some
changes, decided to sign. What made us sign with an "exotic" label
was that there was no other interest from any labels back then."
With respect to the debut album, the efforts of the "exotic"
label proved respectable, to say the least. Advertisements sprung up
in most major magazines worldwide, and while distribution proved to
be a stumbling block, the name of Thy Primordial made the rounds for
a time. Mikael interjects, "I think you mean the _Where Only
Seasons..._ album here. Which is -not- our debut album, although the
first to be released." Which brings us to the most confusing part of
the band's history: the debut album that wasn't.
Most fans and journalists alike took their maiden release,
_Where Only Seasons Mark the Paths of Time_, as simply an impressive
debut. But circulating in the underground, among the better informed,
were rumours of a little-known, unreleased album. It was only until
1998 that, without fanfare or explanation, _Under Iskall Troll Mane_
surfaced on certain distro lists. An obscure, B&W affair of 1000
copies, hardly distributed and advertised less. Most of all, the new
album wasn't on Pulverised Records as expected... "Pulverised was not
even a record label when we recorded that album. Back in '95 we were
signed to this American label called Gothic Records. They faced a lot
of economic crises and it took them till '98 to release the album.
Things got really messy for us, people thought that it was our new
album. That is nothing we are pleased with, but there was nothing we
could do about it. We tried to cancel the whole album as it doesn't
represent Thy Primordial today, but Gothic refused to listen, as they
saw a bright future for the label."
Despite the lack of sustained interest in the band, Mikael
remains unfazed. One assumes the livelihoods of the members don't
rest solely on the success of the band. "No, we don't live on the
music. Music is a hobby for us. I work in a factory, Albrektsson and
Nilsson study, Morth works at Sunlight Studios and Isidor walks
around unemployed (that lucky bastard)."
While retaining the characteristic melody of their Swedish
roots, Thy Primordial has eschewed the traditional technique-heavy
style of their countrymen. Driven by an almost Norwegian-style
aggression and fury, the band's ferocity is more than one would
expect coming out of Sweden. "We play in a more Norwegian style
because we like the songs to be less melodic than the rest of the
bands from Sweden", Andersson explains. "Probably because me and
Albrektsson, who are the main songwriters in the band, are more into
that kind of style."
_AtWoUW_ took the band to greater heights of complexity and
aggression, yet there was no way to pinpoint any concrete change in
the songwriting. "The riffs are more worked out. And the material is
a lot more aggressive on _AtWoUW_ for sure, Mikael states. "When we
did the _Where Only Seasons..._ album we were a bit stressed, as
Pulverised needed a quick release from us. So we didn't have much
time to write new songs. Some of the songs on _WOSMtPoT_ were like
two years old already when we started recording. We used about one
year for the songwriting for _AtWoUW_. Basically everything feels a
bit more worked through on _AtWoUW_."
"We told Isidor that we would like him to change the vocals", he
continues, highlighting another major change in the music. "We
thought that the way he screamed on _WOSMtPoT_ took down the energy
in the music. Also it shall be mentioned that we used only English
lyrics on _AtWoUW_, which is a lot easier to sing than Swedish." I
did like the Ihsahn-type shrieks that accompanied the earlier album
for the atmosphere it added, though. "We think Isidor's new way of
singing is a lot better than the style he used on the _WOSMtPoT_
album", he remarks, putting an end to the discussion.
An alarming number of bands are treading a new path; Satyricon
and Dodheimsgard are just two of the many bands who have turned to
electronic experimentation. Satyr believes that the inclusion of
industrial/urban elements in an already dark musical style will
achieve an even more oppressive and inhuman effect: black metal for
the urban chaos, so to speak. "I have to agree with Mr. Satyr. If
such elements are used right, it makes the music more brutal, and
darker", Mikael opines. "Although it will -not- be included in the
music of Thy Primordial for sure." I breathe a sigh of relief, and he
finishes: "But I think a lot of bands will use such stuff."
So Thy Primordial, like many other underground bands, are
sticklers for tradition. But do they see themselves progressing
anywhere in the future? "Of course I see a progression in the band",
Mikael says emphatically. "Otherwise we would split up today. I don't
see any reason for doing the same shit again and again. Today's Thy
Primordial is a bit more controlled, but still brutal enough. You
will understand when you hear the forthcoming material." Indeed, but
what does the man think of "holocaust metal" bands like Marduk, who
believe that melody only detracts from the hatred in the music? "Yes,
nice melodies take away the brutality of the music, but they also add
something new for the listeners. It might get boring to listen to
total chaos from beginning to end. So there I see a reason for using
some nice parts. But not too many!!"
The band's obsession with all things dark and depressing is
clearly reflected in their lyrics. "Death and darkness through
different forms -- that's basically the concept of our lyrics.
Albrektsson is the main lyric writer in the band, even if both myself
and Morth have added some over the years. We write our lyrics so the
listeners can decipher them in their own way. To spread darkness and
hatred is the goal of both lyrics and music. Misanthropy is a concept
which is often used in our lyrics for sure. I can't really get deeper
into it, as I leave most of the lyric writing to Albrektsson."
Sensing a dead end in the topic, I turn the discussion over to
music in general. New record labels have all but destroyed the demo
scene with indiscriminate contract offers to new, inexperienced
bands. I ask Andersson if he's heard anything promising in the
underground lately. "No, I don't think I have heard a single demo
tape for years. I am not too up-to-date about the demo scene at all.
Seems like most of the bands got signed before the demo was released.
I don't know how many Gothenburg bands got signed. I stopped buying
those types of records years ago", he says, and I couldn't agree
more.
New material has already been recorded for the upcoming album,
_The Heresy of an Age of Reason_ [reviewed in this issue]. The new
album boasts a cover done by Ola Larsson (who also did the _Where
Only Seasons..._ cover) and a superb Sunlight Studios production. "We
changed studio from _WOSMtPoT_ to _AtWoUW_ because we thought (and
still think) that the old studio sucks. The guy who owns Rolab [the
_WOSMtPoT_ studio -- Alvin] is pretty good to deal with, but he is
not too involved in the metal scene. We were actually the first metal
band to record in that studio. He doesn't understand the music at
all. In Sunlight the people at least understand what the hell you are
doing. Anyway, nowadays, as Morth works at Sunlight, it is our
natural choice to record there. Good price and plenty of comfort
while we're there. The sound is outstanding on this upcoming piece.
We hope people will enjoy it!" Listeners can be sure that when
Pulverised does get around to releasing it, it'll be one hell of a
ripper!
Contact: http://go.to/pulverised/
Contact: http://come.to/thyprim/
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G O R E I S F U N
~~~~~~~~~~~~~~~~~~~~~
CoC interviews Killjoy of Necrophagia
by: Aaron McKay
The philosopher Lucretius (c. 95-52 BC) once expounded: "So far as it
goes, a small thing may give analogy of great things, and show the
tracks of knowledge." Continuing in that vein of thought, Lucretius
persisted: "That fear of Acheron be sent packing which troubles the
life of man from its deepest depths, suffuses all with the blackness
of death, and leaves no delight clean and pure." Doesn't that simply
ooze images of Necrophagia? I especially enjoy the implication of the
first quote that thought processes behind pieces of a larger puzzle
can eventually become clear. That makes me think that the mighty
_Black Blood Vomitorium_ is only the tip of the iceberg for
Necrophagia's creative convictions and we are getting to see the
whole thing as it evolves. To get a closer look, read on as the
authoritative Killjoy escorts us through his world by way of this
e-mail exchange.
CoC: First off, congratulations on _Black Blood Vomitorium_!
Incredibly -heavy- MCD, Killjoy, but then again they say
dynamite comes in small packages, huh?!
Killjoy: Thanks. I think _BBV_ is by far our heaviest stuff thus far,
but the sickest is yet to come. Halloween 2001...!!
CoC: My first exposure to Necrophagia was years ago on the inlay
sleeve to Death's 1988 release _Leprosy_. How did this
association come about? Did Necrophagia and Death tour together?
K: No, we never toured together, but have been good friends since
1983. Mantis/Death and Necrophagia started around the same time.
We traded demos, shirts, etc. and have just kept in contact ever
since. I hear Chuck is recovering quickly now -- great news, for
sure!
CoC: I understand the first incarnation of the band began to take a
different direction after the commanding _Season of the Dead_
release.
K: Yeah, those guys got way out of their heads. The stuff they were
coming up with was like Scorpions and Queensryche. Arghhh!
CoC: I think you have currently enlisted the assistance of some major
talent. How did Necrophagia come together as it is today?
K: It was actually our guitar player's idea. I have know him
("Anton") and Wayne for a long while. I think this line-up
completely crushes the old one!!
CoC: Kind of an eclectic group of Necrophagia songs on the Red Stream
compilation disc, _To Live Is Ever to Be in Danger_. Thanks for
getting "Death Is Fun" on there. You were responsible for the
release's title too, correct? Were you happy with the
compilation in general and specifically Necrophagia's other two
songs on there, "The Cross Burns Black" and "It Lives in the
Woods"? "It Lives in the Woods" was inspired by "Evil Dead" and
is kind of a sequel to "Devil Eyes", right? Was there a reason
that the band put "It Lives in the Woods" out again on _Black
Blood Vomitorium_?
K: The title was inspired by what Maniac did on the intro to "The
Cross Burns Black". I like the songs on that release. At the time
it came out it represented Necrophagia past, present, and future.
"It Lives in the Woods" is indeed about "Evil Dead" and a sequel
to "Ancient Slumber" from _Season of the Dead_. "Devil Eyes" was
our cover of a Mercyful Fate song.
CoC: Someone political once said to William F. Buckley (National
Review) that they felt daunted by discussing politics with the
"world's greatest debater". Well, I now know how that individual
feels; only my question is posed to the world's biggest fan of
horror... Probably my favorite film in the genre is "Exorcist
III". I know you sampled it on track one, "Blood Freak", on
_Holocausto de la Morte_, but what are your honest thoughts on
the movie and how does it compare to some of the more
underground Van Bebber and Fulci films you are fond of?
K: I think "Exorcist III" is fucking brilliant. Very disturbing and
one of the greatest modern horror films made, in my opinion. It's
a whole different style than what Fulci does. I turned Van Bebber
onto it, too; he loves it, as well. I won't sample anything unless
I really like the film it comes from.
CoC: Speaking of _Holocausto de la Morte_, incredible packaging and
artwork on that release. "Dr. Gore" Balun was responsible for
the painting, right? Did you and he work closely to tie in the
concept so well with Necrophagia's undertakings?
K: Yes, we worked very closely on that cover. Chas is great. He
understood exactly what we wanted on that cover -- a homage to the
maestro, Lucio Fulci. Chas did an amazing job, for sure. Fulci
lives!!
CoC: In my review of _Holocausto de la Morte_ in CoC #38, I stated
that: "Probably this writer's favorite aspect on this effort,
other than Necrophagia's 10-ton style, is their
more-than-adequate use of feedback in strategic places. This
technique is brilliant when done well, and exemplifies
immaturity when done otherwise. The latter point is of no
concern to Necrophagia. I have heard few bands pull this guitar
approach off as effortlessly as these guys." I suppose this
should be more appropriately addressed to "Anton Crowley", but
would you agree with my assessment, Killjoy?
K: Yea, "Anton" is totally responsible for that stuff. It kind of
sets the mood at times. He is the master of the macabre riff, in
my opinion. Wait till you hear the next record. Trust me!!
CoC: As if you aren't busy enough, I hear that the Eibon material is
coming along quite nicely and, in fact, you have recorded a
track, "Mirror Soul Jesus". Is it difficult song-writing and
working over long distances due to Satyr, Fenriz and Maniac's
participation in the group? Any word yet on the label handling
Eibon will be or still too early to say?
K: Eibon is progressing rather well now. Phil [Anselmo] and Satyr are
finishing the writing on the current Pantera European tour. It's
not really a problem with writing. Satyr came over for a while
last year. We got together at Phil's house and did some writing.
We hope to start recording in July and finish by year's end. I'm
not sure what label yet. Probably Moonfog for Europe. Maniac is no
longer in Eibon.
CoC: Touring. I hear rumblings that Necrophagia might take the stage
in Milwaukee this year at the MetalFest. True?
K: Well, we have spoken with them a lot about this, but unfortunately
it all comes down to money. It isn't cheap to put on the show we
want, plus our travel expenses, etc.. So, hopefully, in the
future, but not this year.
CoC: Almost as an irrelevant aside, do you remember or have any
thoughts on a band from awhile ago called Rigor Mortis? Mike
Scaccia's old group before landing his Ministry guitar post.
K: Oh yea, of course I remember them. They had a major label release
and an EP. Cool stuff...
CoC: Killjoy, it has been a pleasure to conduct this interview with
you. I wish the band much success and please wrap this dialog up
in any way you would like!
K: Thanks for your support, Aaron. We truly appreciate it. Check out
our gore-drenched video!! Fulci lives...
Contact: http://www.necrophagia.com
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M A L E V O L E N T L Y M A T E R I A L I Z E D M A R T Y R D O M
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Karlos Kariano of Malevolence
by: Pedro Azevedo
Nowadays, Malevolence are simultaneously one of Portugal's best and
also most promising metal bands. Not only is their second full-length
_Martyrialized_ [CoC #46] more than able to make an impact on its
own, the band doesn't seem willing to settle for anything less than
highly ambitious achievements. Vocalist/guitarist Karlos Kariano has
in the meantime started his own label, Maquiavel Music, through which
_Martyrialized_ was released, and recently signed the remarkable
Polish band Lux Occulta. Indulge in Kariano's massive answers below
if you want to know more details about Malevolence and Maquiavel
Music, and also find out how passionate Kariano is about his work.
CoC: I'm curious about the album title _Martyrialized_; what made you
think of it?
Karlos Kariano: As you already know, our texts are just spinning in
this useless hole in time. Upon them we are often
trying to expand ideas of igniting something to
perfectly achieve something different, something
that's better than the present state of decline that
Humanity faces. So "Martyrialized", as a name, just
arrives with the conceptual idea reflecting that we
will never agree with the schemes from people that
always act as if they were supreme or flawless,
because in fact there isn't a global truth upon
mankind and no one shall suffer for the sins
committed by others. We have just made the reunion of
two interesting words to create the full conceptual
idea for the album. So you have the word "martyr"
united in accordance with the word "materialized" to
give the full martyrdom thematic approach. Even if we
take some lyrical influences from both Machiavelli
and Immanuel Kant upon the thematic side of the
album, we will never entirely agree with their own
thesis and formulas. I believe that both of them have
made a huge impact upon our systematic sound
structures and thematic accomplishments, but that
does not necessarily mean that we think they were
perfect or even supreme compared to any other human
form. It doesn't matter if it's just another writer
or even a dissimulated human form that comes unto my
thematic and lyrical approach, I am always able to
create my inner individual approach to always
construct new interesting themes and conceptual
works. Therefore, on _Martyrialized_ you will be able
to sense our own inevitable collision course with all
those Christian persevering performances that people
often take as true reality in their lives. We are
just expressing that we are the opposition to the
carnival of Christian madness. So instead of being
abandoned in bleeding faith and afflictive penitence
when the speech of the saviour (Christ) always sounds
the same, we just prefer to be considered as the new
researchers of progressive and supreme apocalyptic
art. With the thematic side on Malevolence we have
always been trying to show people that we all must
unite our own efforts to get rid of the moral raping
madness that's infecting our living path. That's to
say that we need to constantly battle all the
tyrannical ideals upon the carnival of morals and
politics that we have had to face since ancestral
times, not only in Portugal but also all over many
other countries. At this point, in _Martyrialized_ we
have expanded a conceptual view about the present
state of Humanity's decline in general. The album
becomes the perfect vehicle for us to amplify and
bring about all these twisted visionary
accomplishments because on it we made the supreme
reunion of all the biggest aspects that we consider
of the highest martyrdom of our own existence on
Earth. We are just materializing on the album all the
entities which have been previously marked and
restricted by the laws of injustice, stealth customs
and several other punishments. We are currently
living in a society that is extremely dangerous and
often cruel for their kind fellow creatures, so
_Martyrialized_ exposes to people in general that all
those entities that have been suffering that
treatment will enter an inevitable collision course
with all the aspects of their martyrdom. Throughout
the use of our individual reflection we might be able
to start renouncing over and over the same codes and
models set by the entire segregating community we
inhabit. Therefore, in conclusion, you also have a
fine phrase in the album that sums up the entire
concept when I say, ironically, that men teach men to
kill their brother men. Just watch and listen to the
statement I make: "I send my brothers to teach the
brother men, I teach my brothers to kill the brother
men...", upon the song "A Shining Onslaught of
Tyranny" on the new effort, to get a glimpse of that
particular conceptual idea of the conceptual word you
asked me about.
CoC: I'm sure you must get this question all the time, but I still
have to ask: what was the story behind the recording of
_Martyrialized_ in the Fredman Studio in Gothenburg? That's not
very common for Portuguese bands.
KK: That's the main reason why we have recorded over there, if you
positively ask me. It looks like nowadays we are a bit like a
non-standard metal act based in Portugal. We never followed the
natural procedures that other Portuguese bands like to follow too
much, and we have always tried to improve when it comes to
entertaining and pleasing ourselves in terms of musical
achievements. Fredman Studios were a very natural choice for
Malevolence after we decided to cancel the potential recording in
the Abyss Studios, also in Sweden, with Peter of Hypocrisy. We
have opted for Fredman, but do not look at it thinking that we
made it just for the great role this studio has nowadays in the
underground metal scene. If you ask me, I will tell you right
away there's no great importance in having the name of the studio
typed upon the band's promotional stuff. I am even against using
all those procedures just to get some extra exposure at the end
of the day. When we decided to record in Fredman Studios the main
intention was just to get a qualitatively perfect sound plus a
very powerful crystalline production above everything else that
you might think. I know that nowadays people do have a great
syndrome to get all those famous studios and producers to have
half the work already done when it comes out in all levels. I
also have to admit that the fact we have recorded this new one
over in those studios has helped us in some aspects as well, but
at the end of the day we were not even interested in the methods
used by that single producer in his own studio just because he's
actually one of the main gurus in the recording scene. Of course
it was a phenomenal experience to record in such a great place
like Fredman Studios with the support of Fredrik Nordstrom and
Anders Friden of In Flames, but I guess all that is just
secondary for us. This new recording was way more relaxing and
even faster than when we recorded _Dominium_ unto all thy levels.
As we have made some mistakes in the previous recording of our
musical creations, this time we just decided that we had to get a
professional studio with a professional sound engineer that could
also make a final powerful mixing of all the ideas we were going
to record for _Martyrialized_. In a way, this was certainly an
unusual task to accomplish for a Portuguese band, but we will
keep proceeding like that in the future, since in Portugal we
might have good studios as well, but there's a great lack of good
sound engineers and mixing technicians to help you achieve the
final perfect recording result that you have in mind.
CoC: Did you enjoy working with Fredrik Nordstrom and In Flames'
Anders Friden there at Fredman Studio? Is the final result as
good as you expected?
KK: From my point of view, I think this recording was just
phenomenal, if I have to compare it to all the previous
recordings that we made for the demo and also for the debut
album. Initially we had fifteen days to record the new album and
I can assure you that on the seventh day we had almost everything
completed down there as well. The recording, the mixing, the
production and the final mastering have worked perfectly well,
because to some extent we had already made all the pre-production
of all the individual tracks by ourselves before we left
Portugal. We all knew in advance the ideas that we wanted to
capture and put in practice over there for the final result. What
mainly made us focus on recording the album in that particular
studio was that we had at least to have the chance for one single
time in our lives to use the very same studio that a band like At
the Gates has already used in the past to capture all that
aggressive smell that tastes so good all over the most typical
metal caterpillar albums assassinating men in general. We needed
that crystalline quality and powerful sound from the Fredman
Studios unto our audio bastardization in such a level that we
ended up choosing that one as the perfect room to record all our
annihilating production, as opposed to the raw production idea
from the Abyss Studios. This time we were not only looking for a
satisfying result like we did for the _Dominium_ recordings, as
we also thought that way in the past and now there's many
elements that we would have liked to change in the initial
recording. We were just looking for the highest and final perfect
result in order to also live with the album in the future without
even wanting to change anything. After seven months since the
album was released we still feel the same level of passion for
all the songs gathered there, so we definitely made the right
choice this time and we are very proud of this record on all
levels. The differences are evident, in our own opinion -- and
_Martyrialized_ speaks for itself without need to resort to any
external influences. Fredrik just made the final mixing of the
musical product and we think he did a phenomenal job. I still
remember that Fredrik told us that we were a very talented band
and that he was not expecting such a professional, tight metal
unit from Portugal to record over there. He told us that while we
were just accomplishing the final mixing for _Martyrialized_'s
nine tracks. He also told us that he was more than surprised with
our natural and powerful ability not to sound Swedish all over
our musical pores, as every goddamn band that goes there strives
only for that single purpose and achievement. I also remember his
own words: "This material sounds really good, definitely not
Swedish, but that's also twice as good for you as a metal band."
Then when we were making the final mastering for the work with
Mr. Goran Finnberg -- who also mastered the works from In Flames
and Arch Enemy, among many others -- he also told us that he
found our musical approach very original and refreshing compared
to all the other stuff that he had already worked with. Believe
me, man, we were the first ones to be caught by real surprise by
that and these really are their opinions and words; so everything
worked perfectly between all the parts involved this time and we
are more than pleased with all of the final result.
CoC: I suppose recording an album there must have been quite
demanding financially; did that influence the fact that
_Martyrialized_ is only 30 minutes long?
KK: Yeah, that affirmation might be right, but that had nothing to do
with the actual length we decided to accomplish for
_Martyrialized_. It might sound strange to you, but be sure that
since we started the promotion of this brand new devastating
full-length album people have been systematically approaching us
with questions similar to yours. So at this point I guess I have
to take that observation of yours as another fine compliment
towards our musical art instead of narrow-minded criticism. [My
opinion on that subject can be found in CoC #46. -- Pedro] If you
ask me, it's more than great to know that in fact we have been
able to drive away so many people this time as we also had that
purpose among our ideas when we started to develop all the
musical themes and structures for this new album. That's one of
the main rules that make us move, actually. We just love to shock
people just for the individual pleasure. I guess if the album is
only 30 minutes long, that's also twice as good in our own
opinion. We have in fact recorded two more songs in the studio
that could have been in the album, but the whole idea we had was
just the creation of a shorter one in order to create that
dependency over pissed off people who will always find the album
shorter than many others out there. We hadn't released a new
album for almost three years, so we positively had to come back
twice as aggressive as possible, if you understand what I mean.
If you ask me, at the end of the day, whether this was done on
purpose for this new full-length effort, then I have to reply
with a positive answer, as we just wanted to be able to achieve a
very short but mighty album on all levels with _Martyrialized_.
We were able to do just that, as you are not the first one to ask
us this question. Many people really react like you and say that
the album could have been longer, to some extent. Anyway, we do
think that those 30 minutes of sonic mayhem are more than enough
to make the conceptual idea that we initially had in mind. You
will be haunted by a caterpillar-like rhythmic section full of
original and intense ideas during those 30 minutes, and when you
get to the end of the album you will feel an urgent necessity to
press the play button once again, as you are so marvelled by all
that's going on that you don't want to stop the sonic mayhem
addiction that the album possesses on all levels. Some of the
best metal albums out there, in my opinion, like for example
Slayer's _Reign in Blood_, Deicide's _Legion_, At the Gates'
_Slaughter of the Soul_, Vader's _Black to the Blind_, or even
the new album from Hate Eternal, _Conquering the Throne_, also
had that impact on us and are actually some of the jewels of the
extreme metal scene. So why would we try to expand the albums
sometimes a bit longer when with 30 to 32 minutes you have
already accomplished all the ideas that you had in mind with
strong effects in general all over the masses? It's always better
to have 30 phenomenal minutes of pleasure than 45 or even more of
boredom and disgusting musical approach, in my sincere opinion.
Besides that, we have managed to accomplish a very diverse album
in the end and we just want to allow our potential listeners to
listen to the album more than only a few times, as they will also
have the necessity to understand the album with a couple more
listens than the first normal ones. This is an album full of
annihilating new elements, so this means that after all the
attentive listening you will see that the album really grows on
you, and that keeps it twice more interesting than many of the
long running albums that nowadays are made just to have that
schizophrenic depressive effect unto your mind.
CoC: How satisfied are you with _Martyrialized_? [Retrospectively,
looking at Kariano's previous answers, I wouldn't have asked
this had this been a real-time interview. Such are the
shortcomings of e-mail... -- Pedro] Sales-wise, I've been given
numbers around the 8000 mark for sales, which is quite
impressive for a Portuguese band on a national label.
KK: All we have been achieving since the recording of the new album
has been more than impressive unto all thy levels. The reaction
to our new full-length effort so far has been more than
phenomenal, both in terms of promotion and distribution. To be
honest with you, we were positively the first ones to be caught
by surprise this time. I mean, we knew since the very beginning
that we really had a very good and twisted accomplishment upon
our hands when we got out of the studio, but the idea that we had
from the very first reactions really had nothing to do with all
the major and amazing feedback that we have been receiving so far
in terms of promotion and sales in general. In Portugal we were
able to sell 1000 copies just in the very first weeks, and now we
will soon be reaching more than 8500 copies sold worldwide,
including three different licensing deals upon countries like
Poland, Norway and Malaysia. So far it's been one full year since
the release of the album and it still sells very well, since
there's still a great demand for it nowadays. I guess we are more
than in the right path to duplicate the number of sales, because
there's definitely a lot of promotion to be done in the future as
well. We will very soon also be reaching more than 750 interviews
answered regarding the promotion for the record, and believe me
because these are not fake numbers, as in fact I have been dying
to come up with the answers for them all since we also started
the promotion. We are mainly doing exclusive interviews for many
radio shows around the world, including per example as many
diverse places as Canada, Australia, France, England, Romania,
Mexico, Chile, Spain, Holland, Belgium and many others. What
really surprises me at the end of the day is the fact that this
time we have also been able to be included with interesting and
deep interviews in some of the biggest and most professional
magazines in the world, including for instance names like
Terrorizer, Hard 'n' Heavy, Legacy, Nordic Vision, Grinder,
Torment, Riff, Metal Hammer, The Grimoire of Exalted Deeds,
Ancient Ceremonies, Oskorei, Imhotep, Thrash 'Em All, Necromance,
Black Light, Masterful, and many others all around the globe. At
the time I am answering this one, you can be sure that I also
have some more to answer soon. All of this sounds very amazing
and I am the one still not believing all these recent happenings
for sure. I am also more than surprised with the name we are
spreading at the same time for the label, as actually we already
have exclusive distribution in Portugal, Spain, France, Germany,
Poland, England, Holland, Slovakia, Greece, Czech Republic,
Canada, Italy, Greece, Japan, Malaysia, Singapore, Scandinavia,
Brazil, Russia, Belarus and Chile. Besides, we are currently
working towards also closing a couple more exclusive distribution
deals in some other countries like Australia, Bulgaria and
Romania to mention just a few more. It's just unbelievable what
we have been able to accomplish, all this recently with such a
new label as well as with our second full-length album so far,
metal brother Pedro. As the entire rejoinder in general has been
so great, we are already thinking of taking a support slot for
some bigger bands upon the end of 2000 on our possible first ever
European tour. We've already had some offers to make some
interesting ones with bands like Immolation or Behemoth, but we
just want to do some more promotion in the meanwhile to see if in
fact we can obtain an even bigger tour package at the end of the
day. As if all that was not yet enough, I can also tell you in
advance that lately we have also been receiving some number one
positions in some radio play lists, so what the hell can we
complain about this time when everything is going so marvelously
for the band on all levels besides the sales -- which are not the
most important thing in music for me.
CoC: Do you feel the success of other Portuguese bands such as
Moonspell has made more people notice you, even though they play
a completely different style?
KK: About this one I cannot totally match my opinion with yours.
That's a major fact, that those guys are now the biggest band
from Portugal, even if I don't think that nowadays you can
classify them as a metal act. Anyway, I never did see in their
interviews any words of support towards other bands from
Portugal. It might be just my schizophrenic point of view, but to
be honest I remember that in the beginning of their career they
even told the media out there that we had no underground metal
scene in Portugal or even any metal bands to look out for. Just
seek some of their interviews and let me know how many Portuguese
acts they mention in their interviews to open those gates for the
Portuguese underground metal that you mention. All of what we
have been accomplishing with Malevolence is a direct fruit of our
hard work behind the existence of this band and nothing else, in
my sincere opinion. The fact that they are in a very large record
company does not mean that all the Portuguese bands will get more
credit just for that single reason. I believe that all the
Portuguese bands have to strive for their own metal niche and
also start to support their fellow creature bands, as we do have
one of the biggest and most talented scenes of the entire metal
world. One thing is for sure: Malevolence is now able to be among
all those higher level acts and is even capable of surpassing
some of them in terms of achieving better reviews and amazing
rejoinder from all the media metal press. We are even considered
in some countries out there as being the best Portuguese metal
band that people have the chance to know. In some cases, believe
me or not, they only know Moonspell and we just become so amazed
how can that be in the world we live in nowadays, since bands
like Heavenwood are just in a bigger label than us. So this means
that we are finally able to be exposed unto the most underground
magazines and also over the most notable and professional radio
shows all over the entire world. I have to agree with your
proposition in some levels, since sometimes certain names
involved can just give you a bigger chance to succeed out there
as people will look at your work from a different perspective,
but in Moonspell's particular case I guess you are treading a
totally wrong path, as I do not remember honestly to have seen
them defending our competitive metal scene. [I never suggested
that. Unfortunately, Kariano misinterpreted my question. --
Pedro]
CoC: You recently played live in Portugal with Behemoth -- a concert
I unfortunately was unable to attend. How good was that
experience for you? Any European touring projects yet?
KK: In my strong opinion, playing live is great no matter whether you
play with bigger bands like Behemoth or with small underground
bands. What positively interests me is all the chemistry behind
the bands and the live situations in general. The single show we
made in Portugal with Behemoth was not an exception to that rule,
and I can tell you that they are wonderful people to play with.
Playing live has some magic and that's when you have that special
chance to meet a great amount of your fans besides many other
people related with metal. Everything happened that way regarding
the show with Behemoth and we had a great time together. I shall
also mention the devastating metal act Devileech, since they were
also great people to deal with. On that particular show, if you
were there in the venue I guess you could see the rage flowing
from the eyes of the crowd from a different point of view that
you don't have while you are recording the material for the album
in a studio. Believe me, this is just one of the best sensations
you could ever get towards your musical approach in rehearsals
and later in studios. Playing live with wonderful, down to earth
people is always sacred, because you have a common place like the
stage where you can share all your emotions no matter whether
they are more aggressive or even more intense. When Malevolence
play live we can express our musical views even better and even
get a great dose unto the mind of the attentive listener
directly, with no subterfuges. We do not use any effects in
general in our own shows and we are of those few who still
believe in the integrity and rawness of thy music to make people
move with a certain vibe of energy. No one can stand deeply
concentrated in one of our live shows without feeling a strong
vibe for moving. Recently we have played with bands like
Behemoth, Sinister, Purgatory, Asgaroth and also some others acts
from Portugal including Devileech, The Firstborn, Goldenpyre,
Holocausto Canibal, Theriomorphic, Sirius and some others. In the
meanwhile there's also some plans to share the stages in Portugal
and also Spain with bands like Necrodeath from Italy and Avulsed
from Spain, but nothing has been decided yet. Lately we were also
supposed to play at the shows that Testament made in Portugal,
but that did not happen due to the fact that the promoter took us
out of the bill in the final hour. Concerning European tours, we
had an offer from Metalysee from Belgium in mid-1999 (as I have
already told you) to open for the American act Immolation.
Anyway, we were at the beginning of the promotion for
_Martyrialized_ all over the place unto thy magazines and radios
from all over the world and we just had to refuse that one due to
the 700 exclusive interviews that Maquiavel Music Entertainment
Lda. had already booked for the band. At this time there's a huge
demand from the fans throughout Europe to see the band live and
we are going to try something out during the fall of 2000. If we
cannot get something interesting in the meanwhile, then we will
take our time to concentrate upon the recording of the third
album and then we will move towards the European tour later on. I
just hope that we will have some kind of opportunity in the
future to play out there and watch the same relentless emotions
in foreign lands all over Europe like we have been able to feel
when we play on Portuguese soil.
CoC: You used a drum machine on that concert with Behemoth, and it
was Genocide drummer Gustavo Costa who played in
_Martyrialized_. I assume you're planning to bring in a
permanent drummer -- any news yet?
KK: I guess that you will always have that lack-of-drumming
insatisfaction while you watch our live performances. I mean, we
are no longer interested in using a live drummer, as we only want
to use him for studio recordings. This is one of our best actual
options and is resulting in a very phenomenal way. Gustavo Costa,
the drummer, is a very occupied person as far as his own personal
life, and it happens that sometimes he would not be available for
the same live dates we have on offer for Malevolence. So this was
our best survival option to keep on playing live without more
problems in our career. Anyway, you will not be able to feel the
drummer's absence, as we are using the same real drum recording
from the Fredman Studios live upon a very advanced studio
processing machine allied to our own extreme and devastating live
performance. It works with bands like Samael, so why shouldn't it
also work with a band like Malevolence? There's no way to
incorporate a live drummer in our performances. People just have
to respect our own choices no matter whether they will love us or
hate us. We have made the best options unto our musical path and
we just want to keep them that way. This new line-up works
perfectly in the strength of each other and as you know
_Martyrialized_ is the result of a collective work, even if I was
the main composer of the musical and lyrical structures for the
new full-length effort. Gustavo Costa will keep on recording in
our future releases and in the live environment we shall keep the
performance the way it is nowadays. Everything worked more than
fine this time and we shall keep it that way in the future.
CoC: Speaking of Polish bands like Behemoth, Lux Occulta recently
signed for your label, Maquiavel Music, as well. This seems to
reveal a very positive attitude from the label; what's the story
behind Maquiavel?
KK: Maquiavel Music Entertainment feels like an old dream since I got
into metal. This is the lifestyle that I love and as I am also
addicted to metal I had to create my own drug. I have the
necessity to maintain myself always hyperactive in all ways.
Since I had that Embryonic Magazine thing that I got the
possibility to discover many people from different cultures
engulfed in many obscure life models from the entire world, so I
guess this is just the progression of those old emotions I got
from metal. As you also know, there are many elements and aspects
from life and humanity in general that I have a strong aversion
to. By releasing this art upon a label that I have created is
another fine chance to be able to show my contribution to the
installation of some radical difference unto the normal musical
models of Humanity. I am now in a superior position to deal with
the rebellion of the oppressed masses, so it's like giving new
chances for the appearance of new flesh sent to the lions with
our overall support unto their back. I am just inaugurating thy
arena of musical insubordination to keep the flame of artistic
freedom alive. I am always struggling towards the most depressing
moments in life in general with the creation of this new extreme
label. Therefore, I am now giving the opportunity for people to
voice their own disgust for the actual situation of decline of
humankind, as well as giving them the possibility to release
their own dreams and skilled metal machinery upon albums,
merchandising, tours and everything that a band really needs to
express their own hatred out of their individual human mortal
forms. In my own opinion, music is the strongest vehicle to
amplify those twisted visions, and by using this "weapon" I can
crush cretinism, hypocrisy and the carnival of the Christian
madness in a more effective way. Maquiavel Music Entertainment
and Malevolence being two of my individual creations does not
mean that I have created the label just for my own creations and
twisted visions. So signing Lux Occulta is a very natural
progression from the work we have been developing with the
release of the second professional album from Malevolence. This
is a label for all the extreme metal bands like Malevolence and
Lux Occulta and also for all of the Earth that might share our
ideals, philosophies and individual ambitions in general. So far
everything has worked perfectly between the label and the band
and we are by now preparing all the necessary procedures for the
their fourth full length release, since they are going to enter
the studio during December 2000 to record their debut album for
our label, as they left Pagan Records from Poland to stick with
us for their next musical creations. That's for sure a very
positive and devastating addition to our new extreme metal
catalogue and we shall keep being so selective with signing
professional and original bands as we have been until now.
CoC: What are your plans for the near future? When can we expect a
new album and what can we expect from the evolution of your
musical style?
KK: I cannot wonder about the band's future since I am not a total
visionary. Of course we do always have some new ideas to develop
with every new musical creation that we accomplish. But at this
time it's pretty difficult to tell you too much information in
advance about the next album or even about the next moves for the
band. We do have many long term barriers that need to be
surpassed within the band, but at this level what I can tell you
in advance is that we will keep on composing our music by making
the reunion of our bestial and natural musical skills like an
elite. This means that we will keep the musical progression we
have carved with the very unique and multidimensional metal
element upon our _Martyrialized_. The differences between each
single new release from Malevolence are always huge, so I cannot
advance much more for now. What mainly differs between all of our
full-length achievements is our refined and polished individual
potential to play and compose even greater audio hymns to
remember each time that we release a new work, if you ask me. All
the preceding years have taught us the highest experience and
granted us with enough knowledge in order to deliver much more
than simply a normal album saga upon the metal masses, so we will
be able to still shock people with the third release. There's
always a whole new universe that we can use to develop our music
one step further. So we will never lose the band's already
achieved integrity and identity, as you can be sure that we will
always be very pissed-off individuals. I guess that we positively
know extremely well how to handle our own instruments, so that's
only a matter of using our inner force, our mental madness, as
well as our strong individual imagination to keep on breaking the
boundaries of metal and keep on twisting everything louder than
anyone else. We do not have a specific formula to produce our
multidimensional metal, so we will just keep on gathering all our
extreme voracious emotions with our dark enigmatic atmospheres
upon each single new musical achievement. The material for the
new album is already in process of composition and that's all I
will advance for thy current moment.
CoC: Any closing comments?
KK: With Maquiavel Music Entertainment Lda. we do not have any kind
of restrictions imposed upon our audio bastardization or even our
musical themes and dark philosophies in general. This also means
that we are more than able to keep our imagination as well as our
ferocious metal rebellion intact and preserved from all those
infiltrators behind our back. Everything has changed for the
better and I am now proud to state to you that we are finally
happy with all our latest achievements -- the recognition,
promotion, distribution and sales for the new full-length effort.
There's a very fresh chemistry of mutual co-operation unto the
entire band right now and we shall keep it that way since all the
members are interested in breaking all the musical barriers
imposed upon the band by making the union of all the power and
inner strength inside us all. Malevolence will keep on fighting,
conquering and discovering always-new dimensions within this
scorched Earth we inhabit. Thanks for all the support and keep
the pain, the invention and the madness of Chronicles of Chaos
running forever, because we definitely need more powerful and
dedicated metal magazines like yours in the devastating metal
scene. Thanks for everything and keep the Christ fucking metal
raping madness alive!
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B E H E A D I N G T H E E A S T E R N P R O P H E T S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Martin of Poland's Decapitated
by: Paul Schwarz
Yes, they are from Poland, yes, they are unusually young, and yes,
they do owe a meagre few stylistic debts to Vader -- but forget all
that: ultimately, none of it really matters. Decapitated are a -very-
promising new band, plain and simple. Their _Winds of Creation_ debut
[CoC #47] isn't perfect (in particular, Sauron's vocals need more
character and variation), but it's light-years ahead of older "more
experienced" bands and other spring chickens alike in pure
musicianship, let alone songwriting. _Winds of Creation_ would be a
great debut for any band, but it is a debut that shows potential
rather than being a statement or mark of its time which will become
classic in its own right. Decapitated are a hope for the future:
they've got a long way to go, but they've made a really, seriously
impressive and promising start. Done by e-mail, this interview with
bass player Martin should give you an insight into Decapitated's
character, as well as providing the background story to how these
Polish hopefuls got together.
CoC: How did you enjoy working with Peter Wiwczarek from Vader on
your debut album? Were you happy with the production he
achieved?
Martin: From the very beginning our co-operation was practically
seamless. In fact, we really felt comfortable going into the
studio, for two reasons. First of all, all logistic aspects
of the session had been taken care of by our management: we
had two weeks worth of studio-time, all food, accommodation
and equipment was arranged. All that made this session quite
unique and very much different from all others. We just knew
we would have time for everything, including the smallest
details. It's very reassuring to know that no sound you don't
like will find its way outside the studio. In the past we
could rely only on ourselves and with rather poor financial
resources we just could not spread our wings. The other
factor was Peter's presence. He recorded in many studios,
worked with many producers, and in Selani itself made three
Vader albums. Accordingly, he knew the studio like no one
else, both its advantages and disadvantages. All that
considered, we could simply concentrate on the recording and
sound we wanted to get. It's also very important that Peter
is not only a good musician and producer but also a wonderful
person. Plus he really knows what death metal should sound
like!
CoC: How did the four of you [Sauron, Vogg and Vitek in addition to
Martin] meet and form a band?
M: Well, the band formed quite spontaneously, but despite such
beginnings we have never had any changes in the line-up or the
name. Vogg, Vitek and Sauron started the band in Autumn 1996, I
joined them in early 1997. And it was only because I didn't have a
bass guitar earlier -- I had just played the guitar, also in the
music school. In fact, we all had known each other for a long time
before Decapitated was born, as we all attended the same school.
Sauron and Vogg are graduating this year and they want to continue
at the university. But back to Decapitated -- in June 1997 we
recorded the debut demo _Cemeteral Gardens_ and in October 1998
another one, titled _The Eye of Horus_. The latter brought us a
contract with Massive Management, which in April 1999 financed the
recording session for our debut album. The management was also on
the lookout for the recording contract, which finally turned out
to come from Wicked World.
CoC: Overall, were you pleased with the results you achieved on
_Winds of Creation_?
M: I think that without any false modesty we can clearly say that we
are satisfied. Very much so, in fact. When I listen to that album
I cannot help thinking that we have really made it and I'm simply
proud. _Winds of Creation_ is a milestone in our career in all
possible respects. It marks our musical development, it's much
better musicianship-wise, it's well conceived. We have matured in
the basic sense of the word and we treat what we do very
seriously, as much as it may seem to be somewhat funny considering
our age. But that's a fact. Someone may say, "What do these kids
know about music?" I can only reply: quite a lot, in fact. We have
lived with music since our early childhood, we wouldn't be able to
live without it. As far as the album itself is concerned, _Winds
of Creation_ presents us the way we were a year ago and we have
progressed a lot since then. We learn all the time and try to be
as attentive as possible when it comes to all sorts of musical
tricks.
CoC: What made you feel, still being so young, that you were ready
to
make your debut album? Were you at all tentative about taking
that plunge at such a young age?
M: Because we started so young and achieved so much so early in our
lives, we feel ever more inspired and motivated to do what we have
been doing for the last several years. We really feel recognised
and appreciated and we are happy that we can convey so much in our
music. Music is a perfect medium of talking to other people and
influencing their lives. We simply have that power, so what else
could we want? The fact that we already have an album under our
belts makes us even more determined to work harder and devote all
our time to music. Not to mention the fact that so far our music
has been received really well. Of course, I would lie if I said
that we are not interested in the number of albums we sell or
whether people like the material or not. I cannot really
understand it when some musicians say things like that -- it just
stinks hypocrisy a mile away! If somebody does not really care
about fans and audiences, why do they bother to record albums? Our
age -- well, it has both good and bad sides. Some people, even
those who interview us, make jokes about it and ask sort of
malicious questions. But then again there are also praises. I do
not really care much about those who joke. Music is what counts
and not how old the musicians are!
CoC: How much influence or inspiration do you draw from Vader?
M: Never ever have we tried to sound like Vader. We all listen to all
sorts of music, including a lot of non-metal. Of course, we do
like and respect them but it would not be fair if we tried to
imitate them. I am sure that subconsciously they have been an
influence just like many other bands, but when it comes to
conscious actions we try to be ourselves and follow our own
musical path and write our own music. I think it will become more
and more obvious with time. Maybe there will even be the day when
somebody will say, "Hey, they sound like Decapitated!" Not that it
is my dream, but it would definitely mean that people respect and
see us as an independent band playing its own music.
CoC: Do you worry about sounding like Vader or other bands from
Poland like Devilyn?
M: Well, I am not afraid of anything. The comparisons with Vader have
worn out a bit and they do not surprise me. Just as I said, it's
good that we are compared to such a good band. It's definitely
better than being compared to some shitty bands -- luckily no one
has made those. We all have our likes and dislikes, so it's better
to be compared to those whom we like. In the past we were also
described using such names as Morbid Angel, Deicide or Death. I am
not sure why -- but everyone has the right to their own opinions
and impressions. Also, it's not like people keep comparing us to
others all the time; these are just the names that we hear most
often. At the end of day these are just words and our music can
defend itself very well.
CoC: Do you think there is a "Polish sound" developing?
M: It's hard for me to say that. I live in Poland and I have heard so
many Polish bands. They all sound different to me, so I really
can't define "the Polish sound". I guess people from abroad who
have some perspective would find it easier to do that. In the same
way, I can definitely make similar statements about other
countries. For example in Poland we talk about "the Swedish
sound", which supposedly covers such bands as Dismember, In
Flames, At the Gates or Dark Tranquillity. Swedes may like it or
not, but we definitely use the term. And when we talk about "the
American sound" we think about Immolation, Cannibal Corpse and
others.
CoC: Where do you expect and hope to see Decapitated go in the next
few years?
M: I hope we still have the opportunity to create music. We would
like to play live as often as possible. Gigs are our element. What
do we expect from Decapitated? I would like the band to give me
pleasure, I would like it to develop and progress. Maybe one day
we will even be able to live off playing music? It would be really
wonderful! I would only need to worry about whether we will play
this or that concert or if I still have hair on my head. <laughs>
CoC: Are you writing new material to follow up _Winds of Creation_?
If so, is it shaping up very differently or similarly?
M: Yes, we do have some new material. What I can say at the moment is
that the new tracks will be far more complex, both in terms of
arrangements and musicianship. One way or another, they will
definitely be better than those from the debut album. And I hope
they will constitute a certain whole. _Winds of Creation_ is more
of an illustration of our whole career than a coherent album: one
track comes from the _Cemeteral Gardens_ demo, the core was
originally recorded for _The Eye Of Horus_, and there are also two
brand new songs. They may sound similar, but there is no central
concept there whatsoever. But then again, it's Decapitated all the
way through!
CoC: Do you make it your aim to take death metal to new places in the
years to come?
M: We do not want to create any hype or artificially cause sensation.
We want to remain true to what we really are. We are not here to
start some strange revolution. This is not why we started the band
in the first place. We are not interested in improving things
because it would mean that we want to improve somebody else's
style and this is not why you play music. Have we contributed
anything to music? Very much so -- the book titled "Death Metal"
has just got a new chapter: "Decapitated"! Is that good? Time and
people shall tell.
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PYROMANIACAL SLAYERS ASSAULT PARADISE!
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with guitarist Fabianno Penna of Brazil's Rebaelliun
by: Paul Schwarz
If you crank up opener "At War" from Rebaelliun's recently released
debut _Burn the Promised Land_ [CoC #45] you can not only hear the
guns of war blazing as their percussion battery hits ground zero, you
can even hear the cartridge casings hitting the ground as the bullets
of aural battery are spent. But cool touches like this aren't what
make Rebaelliun worth noticing; they're worth a second glance for
musicianship alone. Pretty much matching Krisiun in the speed stakes
is no easy task, and doing so without mimicking their sound is yet
more of a feat. Rebaelliun have managed both, putting a distinctly
Slayer-esque spin on their take of late-nineties Brazilian death
metal insanity. Guitarist Fabianno Penna reached through a relatively
solid grasp of English to express the meaning of Rebaelliun music,
lyrics and ideas. Unfortunately, the cost of a phone call to Brazil
hindered the amount of time we had to talk.
CoC: You've emerged from Brazil quite recently, you're getting quite
a few good reviews: where have you come from -- what scene --
and where are you aiming to go?
Fabianno Penna: That's the history of the band, is that what you're
asking me about? We started playing in '92 but with
another band. We played together from '92 to '96.
Then, we just stopped with the band 'cause we didn't
have the right conditions to stay together. So, in
March '98, we started Rebaelliun. We took a two year
break and then we started Rebaelliun. But we play
with a strong purpose, you know? For six months we
just rehearsed with the line-up, then we went to
Europe for the first time. Then things started to
happen for the band.
CoC: So since you've been doing this for such a long time, do you
feel like this band is the band that you're really going to be
able to do things with? After doing music for quite a while, do
you think that Rebaelliun is going to be "the one"?
FP: Yeah, I think that we have very clearly in our minds what we want
for the band. So, since we've started with the band we've just
been dedicating our time to it. All the time rehearsing,
improving as musicians and getting the right contacts around the
world. So I just think that we can do a lot in the future, but of
course we need support.
CoC: And the tour that you're doing around May or June will help a
lot. How do you feel about playing with Vader and Vital Remains?
I imagine you're pretty excited?
FP: Yeah, of course. It will be the best tour ever for us to play,
because before we played with Limbonic Art and Mystic Circle...
CoC: Ughh...
FP: Yeah. <laughs> They weren't death metal bands, so it wasn't a
good tour for Rebaelliun. But we played twice with Vader already
and it was great. We also played with Deicide -- the best -- in
Belgium and Germany. It was also great. But we'll be playing with
Vader and Vital Remains; great and famous death metal bands in
the world. So I think it will be the right tour for Rebaelliun
this time.
CoC: In terms of the music, what would you say are your greatest
influences? You've got bits of Slayer and old thrash, but also
there's a very heavy death metal element to your music, and it's
got Satanic lyrics. I was just curious where you drew -most-
inspiration from for the music you're doing for Rebaelliun.
FP: Yeah, you're right. I think Slayer is the most important
influence we have and also Morbid Angel from _Altars of Madness_
-- very strong influence. But basically Slayer: _Reign in Blood_,
_Hell Awaits_. The old stuff. It is the most important influence
for us.
CoC: So Slayer are one of your favourite bands? Are you aiming to do
something that is new and -different-, but -taking- influences
from bands like Slayer and things like that?
FP: No, no, actually we are not going that way. We just make death
metal but we are trying to draw some influence from the past, the
eighties. And maybe in the album, _Burn the Promised Land_ you
can't hear it yet, but in the new stuff you will see that. 'Cause
we are just drawing influence from the first steps of Slayer; the
riffs. Of course it is more extreme and faster, because we are at
least twenty years from where they started. But basically this is
the influence. We are not interested in making something new in
the death metal scene because I think that death metal is not the
kind of style where you can just always put something new in. I
think that you have to run in the right way but playing with
something new for your band but not for the scene, you know?
CoC: You've been in the Brazilian scene for ten years now and I was
wondering: where you think the Brazilian scene is going?
FP: I think you probably know the band Krisiun. They are one of the
bands responsible for this new death metal scene that's rising.
Bands always playing faster and more extreme. I think that they
were one of the first bands to do albums with blastbeats from
beginning to end. A lot of bands down the road are influenced by
them. Now Brazilian bands can think that if Krisiun can do that,
they can do it too. So right now Krisiun is the biggest Brazilian
band and one of the biggest death metal bands all over the world
and now Rebaelliun is starting to rise as well, and we have too
many Brazilian bands that could be touring Europe like we will do
in one month. Bands like Mental Horror and others. A lot of
bands, very good bands.
CoC: How did Rebaelliun come together? Why did you guys decide to
form Rebaelliun? What was the idea behind the band and what are
the ideas behind the lyrics, songs like "At War"?
FP: First, in '96 we just stopped. And then in '98 the conditions
were a bit better, but we were not playing -- I'd just sold all
my equipment: guitars and amplifiers. So, two years total break.
Then, in March '98 I just thought to myself that I had to play
again. Then I just invited the other guys from the old band.
Actually, when we stopped the band in '96, the first band we had,
then we just decided it was the time to stop, we didn't have any
conditions. We started again with Rebaelliun; we created a new
band called Rebaelliun. But now the other guitarist left the band
some weeks ago and I am the only guy left from the first band.
About the lyrics, I just think that our lyrics talk about the
hate we feel towards mankind, you know? Against all this shit
that we can see around the world, you know. Lyrics like "At War"
-- it's just that we are not Satanists. For us it is not just
worth writing Satan and Satan and that's done. We want to write
things that we really feel. It's not just to sell CDs. I think
lyrics like "At War" are very strong. You can feel the end of
mankind, the end of the road. It's like apocalypse or something
like that.
CoC: So you think the lyrics definitely have to fit with the music.
Later Slayer material talks about war and things and the
late-eighties thrash scene tended to centre on apocalypse and
things. What I've noticed is that both you and Krisiun seem to
have taken up this topic. Were albums like _Beneath the Remains_
and Nuclear Assault albums an influence?
FP: Yeah, yeah, for sure. It's a feeling I like a lot, you know, like
_Schizophrenia_ from Sepultura and _Hell Awaits_ from Slayer,
_Reign in Blood_. All this feeling is very strong and very
honest. It's not like a lot of bands trying to play fast, play
heavy and writing about Satan. It's not like that. Our lyrics are
very anti-Christian, but you know that Brazil is a very Christian
country, so we can see a lot of stupid things every day. The
lyrics are just the way we have to express ourselves, to say we
don't like that.
CoC: To express your feelings towards what you see around you.
FP: Yeah. I hope you understood everything.
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S T A G I N G A N E W S O U N D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Mark Briordy of Jag Panzer
by: Adrian Bromley
To many, the world is a place where creativity and ideas clash
to spark off new routes of inspiration and emotion. Music is much the
same, a spectrum of ideas that propel themselves into the uncertain
direction that individuals make them go to. Trying to find new routes
and new ideas is nothing new, as countless bands throughout the last
few decades have struggled to find the perfect concept to push forth
their ideas and keep us interested.
Colorado heavy metal act Jag Panzer have done just that with
their new disc, titled _Thane to the Throne_ [reviewed in this
issue], a multi-dimensional concept record based on Shakespeare's
classic play Macbeth. Not only does the music within _TttT_ bask in
the realm of Shakespeare's world, but the music and vocals, even the
lyrics, run deep with references to the classic tale. Listen to the
detailed work on such numbers as "Blood Crime", "Treachery's Stain"
or "Face of Fear" -- they reek of classic subject matter.
It seems as though this idea would be something very hard to
achieve and almost impossible to carry out. Guitarist Mark Briordy
agrees, but notes that the challenge was worth it. "I was a little
apprehensive about doing this record this way and we weren't sure how
much harder it was going to be. It was a lot harder", he says, "but
it wasn't unmanageable by any means. It was a great accomplishment to
get this recorded and done."
He adds: "We have always tried to do something a little bit
different, not too different where everything is way out in left
field, but to stand out a bit. So Harry [Conklin, singer] came up
with the original idea to tell it like a storyteller. It was like the
times before radio and TV where someone would just tell stories and
people listened. He wanted to tell a classic story and we picked
something that would be able to give us enough room musically to work
with, and we went from there."
Another bizarre notion is the fact that an American-based band
opted to do this, not some European band that most definitely was
more exposed to the content of Shakespeare's work. Was it a hard task
to take upon themselves? "It was very difficult for us to bring the
older element of the story into a modern story", says Briordy. "It
was a lot of fun, though. In the past, Chris [Broderick, guitarist]
or I would write a riff and it would become a part of a song. Then
Harry would write the lyrics and the song would be done. This time we
had to really pay attention to what was going on. There was a lot
more to think about with this record. We had to figure out how we
would go from one song to another without losing a step."
Concept records are rarely done, but with the right work and
ethics compiled to make things bond, they can be very rewarding. How
does Briordy think fans of Jag Panzer (or fans in general) will react
to _TttT_? "I think people will like what we have done here", states
Briordy. "I think we got a really strong performance out of Harry and
the production is just really great. I hope people will like it." He
laughs.
"This time, especially for the subject matter of the record,
Harry worked really hard on the pronunciation factor and phrasing and
breathing techniques. As guitar players, we worked on different ways
to play the music, rehearsing numerous times to see how we would pick
at certain guitar stylings. We worked on refining all of the parts,
which is something we really never do. For past work, I'd write a
song, learn how to play it and record that song and it would be over.
With the new album, by doing all of this rehearsing and learning the
songs, I was able to know just how each song was made up from and
what was the best way to work the song and get the most from it."
Over the past few years, Jag Panzer have propelled themselves
into the spotlight once again with two solid records: 1997's _The
Fourth Judgement_ and _The Age of Mastery_ in 1998. The time was
right for them, the music was right. Are things starting to work in
their favor once again? "Yeah, we can see it all happening again",
says Briordy, whose band went away after a promising start in the
late '80s and a much-respected release titled _Ample Destruction_.
"It is a slow climb, but with each album we [the band is rounded out
by drummer Rikard Stjernquist and bassist John Tetley] see more
people at the shows, see more press, more sales, and it just seems
like everything is on the rise again for the band and that is a nice
feeling."
"We really work hard to give each member as much artistic
freedom as they want to have, as long as it can work within the
confines of how we do things. That adds a bit more freshness to what
we do, 'cause we always try to make each recording experience
different, whether it be a new studio where we do the record or a
different way of assembling songs."
Seeing that Briordy's band was at one time marked for death, no
doubt a factor of the changing music scene and what have you, I ask
him to comment on today's music scene. His answer: "I think there is
a lot of good stuff out there. There are so many sub-genres out there
that it is really hard to pick who is really good and who is bad. I
mean, out of all the sub-genres, I'd say there are two or three
really good bands that are making an important impact for the metal
music scene. I like bands like Nightwish. I like Devil Doll, though
they are pretty obscure. I like Blind Guardian and Iced Earth too."
Mentioning the latter two bands, I ask Briordy if he likes the
tag "progressive metal band" stuck onto Jag Panzer's work. "I'd
prefer not to have it at all", admits Briordy, "but the way things
work in the press you pretty much have to, so we don't really fight
it." He concludes: "There are a lot bigger bands within this genre
and it doesn't hurt us to be lumped in with them, so we aren't
complaining."
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T H E S H O R E S O F I N N E R T H O U G H T S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Michael "Maiden" Smirnoff of Mental Home
by: Aaron McKay
Every once in a great while you happen across someone or something
that inspires you to trudge forth and re-engage your proper musical
imperatives. Such is the case with the following interview conducted
with a very welcoming Michael "Maiden" Smirnoff of the band Mental
Home from Russia. As you will see, Maiden, as he like to be called,
jumps right into the interview with a heartfelt apology that more
than made up for any delinquency you could have inferred as dilatory
(but I didn't) in getting his responses back to me via e-mail. It was
a terrific experience to converse over the computer with Maiden about
a broad range of topics, but Mental Home's music in particular. With
his responses, I believe you will still find Maiden as much of an
enigma and the mysteries he clears up. Press on and wrap you eyeballs
around the wonders of Mental Home.
Maiden: First of all Sir, I'd like to apologize for taking such a
long time to answer... I have no excuse but so is my life...
CoC: To begin, happy belated birthday, Maiden! Did you do anything
wild and crazy?
M: Thanks a lot, it's always great to get some greetings from such a
big and famous mag. Actually I didn't do anything, I didn't even
celebrate it. Also, if it matters, I'd tell you that I don't drink
at all, so it's a very rare thing for me to go crazy. I prefer
silence and solitude or sitting with a few friends in the kitchen.
CoC: If you would, please tell me a little bit about your feelings on
Mental Home having been instrumental in the foundation of The
End Records.
M: Well, we never thought we'd ever happen to be the reason of the
record label's foundation. But in mid '97 we got in touch with
Sergey Makhotkin, who wanted to help us by releasing our stuff on
CD. After long negotiations he decided to founded a label together
with his good friend Andreas Katsambas. The name for the label was
The End. We were not the only reason of founding that label;
there's another band, Nokturnal Mortum, whom The End really wanted
to release. But we happened to be the first release of the
newfounded label. We are very grateful for that chance they gave
us. And us being on Century Media would also have been impossible
without tremendous efforts from Andreas trying to get us a better
spot in the business.
CoC: What was the band's collective impression about Mental Home's
_Vale_ being released before _Black Art_?
M: The reason for releasing _Vale_ before _Black Art_ was that we
still wanted to give some chance to our former label MetalAgen
Records to release _Black Art_ and cover some studio expenses paid
for us. But after all it did not work and we ended up giving
MetalAgen their money, taking _Black Art_ masters and selling them
to The End Records. Maybe it was not a good idea to try being
gentlemen for us, maybe we should have released _Black Art_ first
'cause it was most up-to-date back then. But things turned out as
they did and we followed natural chronology... We don't feel sorry
for all that and we are proud of _Vale_. And I'd add that if we'd
give [the go ahead for] _Black Art_ to go out first we would never
see _Vale_ on CD, 'cause we'd been writing new songs as _Black
Art_ went into printing.
CoC: If you were to play another instrument, other than keyboards, in
another band, let's say a raw black metal side project, what
would that instrument be? What would you name this fictitious
group?
M: If I tell you that I'm not actually a keyboard player, would you
believe me? My first time on keys was right at the day I got an
invitation from Mental Home. They just told me that I had to learn
how to play that instrument. In all my previous local bands I did
vocal/guitar duties, having no idea how to play keyboards. So you
see that's not a hard thing to imagine for me. I also play
keyboards in another band together with our drummer Igor -- it's
called Rossomahaar and we play black metal there. I'd say it's the
most interesting black metal band around here. I think you should
take a listen.
CoC: How did "Stained" come to be the song chosen for The End's
_White_ compilation?
M: It's simple. They asked me what song I'd like to put onto that
sampler and I gave them "Stained" because it represents the album
better than any other one ready at that moment. It's a rare
version of "Stained", because we gave The End its first mix and it
wasn't mastered at all, so it's got a pretty raw sound. All that
makes the _White_ compilation a collectors item! <laughs>
CoC: Can you give the Chronicles of Chaos readers some idea of the
current metal scene there in your home country, please?
M: It's hard to give a brief description of our scene. It's as big as
our country is... Many bands in hundreds of regions. The main
problem here is the lack of honest and big metal labels. All we've
got here is a few labels that cannot offer any suitable conditions
to bands they release. As the band grows it becomes unsatisfied
with the conditions they're being offered, and since there's
nothing better, people split up disappointed with making music.
After we showed others that Russian bands can sign with foreign
labels, bands began sending their promos far and wide and very
soon many of them got signed to more or less big foreign labels.
It's a great progress within our scene, 'cause before we've had
dozens of great bands living and dying here.
CoC: Was the title of _Against the Sun_ changed to _Upon the Shores
of the Inner Seas_? If so, why was this the case?
M: Yes, it was. I was supposed to write lyrics for that album as well
and we wanted it to follow _Black Art_ lyrically. But I've had
huge mental health problems and even spent a month in a mental
hospital. So I could not handle my lyrical duties and no songs
were completed. Then our vocalist Sergey Dmitriev stepped in and
wrote lyrics on his own. He is a different person and his views
and thoughts are quite different from mine, so his lyrics are
absolutely different from what I could write. The old album title
became unsuitable, so I came up with the new one, which did a
better job of incorporating Sergey's inner world, through which he
led us with his lyrics.
CoC: On the _Black Art_ digi-pak, the CD-ROM video clip for "Pagan
Freedom" was extremely impressive and erratic. What did it mean
to you personally?
M: The song itself means a lot. It describes how Christianity ruined
our great culture, our legacy and everything we've accumulated
through years of our Slavonic History. As Yiotis Katsambas
(Andreas' brother) and John Swanson of Mythos Media made a clip,
they represented their own version of the song, not following the
lyrics, but giving you the right sorrowful impression, very
similar to what I intended you to feel through the lyrics.
CoC: For the most part, by and large, the first The End Records
compilation, _...Until the End of Time_, was the first exposure
the US metal community had to Mental Home. Why was "Under the
Wing (of Gamayun)" chosen?
M: That song is very monumental and with a piano and bells dark intro
it became a perfect opener for that compilation. It was the right
mood we wanted to bring to people. We'd changed our label from
MetalAgen to The End Records, we'd changed line-up -- one of the
composers left the band and we wanted to show the world that we
were back to rule, that we were even stronger than ever before. If
you remember, there was another Mental Home song on that sampler
-- "Southern Calm Waters". It's a very melodic and impressive song
that we were playing on every show. It's from the _Vale_ album.
CoC: What would you say the difference is in the sound between the
version of "Amidst the Waves" on _Upon the Shores of the Inner
Seas_ and the original recording on 1995's _Mirrorland_, besides
possibly money and notoriety?
M: We changed harmony in some places from minor to major, changed the
back solo and cut away the last lead guitar part. Also the vocals
were now done in a double track version with some intervals never
used in _Mirrorland_ era. The final keyboard part is played
differently and with different sounds. As we release _Mirrorland_
on CD, you'll see the difference.
CoC: Let's say, hypothetically, during a full US tour, while the band
was in the country, what would be some of the things that you
and the other Mental Home members would want to do, see or
experience in America?
M: First of all, we'd like to kick some asses during our live shows.
In between we'd visit some interesting places, maybe museums, talk
to fans and other people around. We'd just love to know more about
that brand new place for us. The rest is to schedule a full US
tour for us. <laughs> Actually, we don't know when we'll get a
chance to tour in the US, but I can assure you we'd leave all
venues ruined.
CoC: Before we wrap this interview up, allow me to ask you about your
nickname, "Maiden". Also, tell me your thoughts on Metal Home
and the reformed Iron Maiden on a world tour together. What do
you think?!
M: You understood my nickname right -- the reason is that great band
that we all love very much. When I was 14, I'd been raving [about]
Iron Maiden in high school during lectures saying things like,
"Wow, yesterday I was listening to _Somewhere in Time_! You can't
imagine how cool the lead guitar was", or something like that. And
it was every day... So people began calling me "Maiden". With time
my nickname almost became my second name and my signature reads as
"Maiden" (even in my passport). Reunion of Iron Maiden... I
remember running around and telling each and every human that the
Maiden guys are back! I was so happy, man... It's my biggest dream
to tour with them. I have no words... UP THE IRONS!!!
CoC: Other than Iron Maiden, is there a band that you would desire to
play with in concert or tour with in general?
M: Yes! Those are Anathema ("Did I punish you for dreaming...?"), The
Gathering and I'd still love to see Tiamat as headliners. They
have changed their image and music but J. Edlund remains the man
who wrote _Clouds_ and I worship that state of the art.
CoC: Thank you very much for taking the time to answer these
questions for the Chronicles of Chaos readers, Maiden. End this
interview in any way you might like and best of luck to Mental
Home. I hope I see you in Milwaukee at the MetalFest.
M: Thanks a lot for giving us a spot in your magazine. We'd love to
hear from you again. Please let us know if you need anything from
Mental Home. And could you please publish our contacts:
Contact: Sergey Dmitriev, ul. Kastanaevskaya, 55-51,
Moscow 121108, Russia
mailto:mentality@rusmetal.ru
Contact: Michael "Maiden" Smirnoff, P.O. Box 345,
Moscow 121151, Russia
mailto:maiden@glasnet.ru
Contact: http://www.rusmetal.ru/mentalhome/
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B U R N F L O R I D A B U R N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Steve Childers of Burning Inside
by: Paul Schwarz
Responses to Death's 1998 album _The Sound of Perseverance_ [CoC
#33] may have been mixed, but I remember one reaction being pretty
consistent: "Who the fuck is that drummer?!"
Richard Christy was "that" drummer and he's also Burning
Inside's drummer. But don't allow my name-dropping intro or Richard's
"connections" (he also plays in Control Denied and Iced Earth and has
just finished tours with Incantation and Demons & Wizards) to fool
you into thinking that Burning Inside is just a side-project
"featuring..." some famous faces. Not only is Burning Inside from
before Richard's "fame", but it's also a band with music which I
-couldn't- ignore, even if the band were made up of the most loathed
names in music. Ironically, it -was- Richard's incredible rhythms
(though I didn't at the time know it was he who was laying them down)
which first drew the attention of my stimulation-hungry brain to _The
Eve of the Entities_. But once I was sat up straight, I was easily
converted by the mix of modern, dark and atmospheric death metal, and
technical traditional heavy metal which came flowing at me. _The Eve
of the Entities_ subsequently found quite a pattern of rotation in my
stereo.
So, with a whole load of questions as to where the hell this lot
have been hiding, and why I'd never even heard mention of them before
_The Eve of the Entities_ turned up in my possession, I hunted down
guitarist Steve Childers so that he could give CoC an account of
Burning Inside and what they're trying to achieve. After a few
mix-ups, I got him on the phone from his Florida home back in early
June.
CoC: How's things goin'?
Steve Childers: Great, man.
CoC: You doing shows with the band at the moment?
SC: At the moment no, Richard's gone, he's doin' a tour with Demons &
Wizards [Iced Earth and Blind Guardian collaboration; interview
in this issue and review in CoC #46 --Paul] in Europe. We're
working on some recordings. We did some drum tracks so now we're
messing around with some demo tracks, and that's what we're doing
now.
CoC: Can I establish the full line-up, and what other bands everybody
is in?
SC: Well, to start with myself, I play rhythm/lead guitar and I'm
also in a band called Black Witchery. I play guitar in that. Then
you have Richard Christy, who...
CoC: Does so much it's unbelievable...
SC: Yeah.
CoC: Death, Control Denied...
SC: Well yeah, if you name off everything he's done; right now he's
doing Demons & Wizards, their tour. He's done Death, Control
Denied, and he's just done a tour with Incantation. Also, Jamie
Prim, who plays bass and vocals, he's not currently doing
anything else. Michael Estes plays guitar and he was in Acheron
for a couple of albums.
CoC: Thanks, just 'cause I got various messed up reports from people:
someone said the band had someone from Iced Earth.
SC: Well, one of the guys from Iced Earth is in Demons & Wizards (Jon
Schaffer) and I think Richard's gonna be doing an album with him
later too. [As it turns out, Richard is also now drumming for
Iced Earth --Paul].
CoC: How do you think Burning Inside is a meshing of all the stuff
Richard does and maybe the sort of influences you have or Mike
might have from Acheron? 'Cause there's a lot going on in
Burning Inside. People are touting it as a great record for the
death metal scene, which I think it is, but almost in a
-progressive- way in some respects.
SC: Yeah, it's different sounding. To answer the question of meshing
of influences, Burning Inside is a band that started before all
the other projects. So, we've been jammin' and writing stuff:
this is our album that we all write original material in. And the
other things are written by other people, so that's why you get
an influence of what we like. Mike likes Brian May and Dio type
stuff. We all like Deicide and Morbid Angel, we're into that. And
also we all grew up in the eighties, so we have the eighties
background. So we're trying to blend the brutality of death metal
with a bit of a technical edge. Not to go overboard, but still
making it brutal, you know? Trying to come up with something
original was our goal from the beginning. It's different
sounding, I think it's different.
CoC: Yeah, and it's interesting because the elements all work
together. Like I noticed an influence in your riffing and Mike's
riffing -- there's some -low- death metal stuff --, but there's
a lot kind of like what Immolation do.
SC: Yeah, yeah.
CoC: With blasting or without but very atmospheric. I find it has
sort of "damned" feel to it.
SC: Cool, thanks.
CoC: But all this meshes with Richard's drum style. Do you think it
would work without that rolling drum style? He just pulls out
shit all the time.
SC: No. No, it wouldn't work without Richard. He is the key element
in the band and, especially on some of the newer stuff, he writes
a lot of the guitar stuff. The basic riffs he'll come up with,
some of 'em. His drumming adds a really unique sound to it. This
is his place, where he can do whatever he wants, and that's what
he wants to do, and it's unique sounding.
CoC: It gives it that kind of edge that Death have had the last
couple of albums. It's much more -metal-, but metal in a sort of
technical way. More than in a "down hard" way [a la Saxon or
Manowar].
SC: He blends a lot of -- he'll do blastbeats over certain parts and
then go into his upper hand work. His upper hand work is where he
excels. I mean he's good everywhere, but his upper hand work, he
does some very innovative stuff.
CoC: You mean on the cymbals...
SC: Yeah, everything. He's just hitting shit everywhere. He's got so
much stuff. On the demo he even had a drum pad that he was
hitting for an electronic tom sound, so he had more toms than
what he had and he had two hi-hats going.
CoC: That's really impressive. The album has this whole mix. Jamie's
vocals are quite traditional death metal. What I find about the
album is that it's really good, it's got a lot of potential as
well, but I find the production -is- good but lets some of the
elements down...
SC: Yeah, I would agree with you there.
CoC: And I find Jamie's vocals are good, but they're very death
metal. He hasn't done a lot of moving around. So, you've got
this death metal element, but then it goes all crazy. The end
solo in "Blind to All That Exist" is just -very metal-. How do
you feel pulling something like that out in the middle of what
is quite a dark record; it [the record] doesn't have the
exuberance of, say, Iron Maiden or something.
SC: We tried to work different riffs together; it took us a long time
to write a lot of those arrangements because a lot of stuff -- to
get them to blend together we had to constantly re-arrange them
and re-arrange them until we found something that sounded the way
we wanted it to sound. Otherwise it gets out of hand. If you
could hear what we start with, it's pretty insane. We'll strip
real technical riffs down and make 'em way less technical. So
it's kind of complicated and we haven't toured or anything, so
the few years we've been here we've had a lot of time to write
songs. We've got other songs.
CoC: But this isn't the compendium of a demo career? Has this come
out of the last couple of years of writing?
SC: _The Eve of the Entities_ is a combination of stuff we wrote in
'95 and '96: there's three or four songs, like "My Own" and
"Masque", which were written then. Then "Eve of the Entities" and
the rest of the songs on there were written in '97, '98. Kind of
just a collaboration of some of the songs we've written from '95
up 'till '98.
CoC: The album seems to get more adventurous as you come towards the
end; it varies in different places, but "The Eve of the
Entities" is much more tentative with bringing things in than
the later tracks. How did you feel writing this material, did
you feel that you were writing just a metal record, or a death
metal record... or did you at one point go: "Wait a minute,
we're trying to write a death metal record, and it's really
metal!"
SC: Well, all I can say is we just practised the material that we
have and went in and recorded it and that's the way it came out.
We didn't have a set... -- we're not going to say "We're a death
metal band". We've never really labelled ourselves. I try to
label it "dark technical metal". It has elements of so many
different things it's kind of hard to label it.
CoC: Totally.
SC: As for the production: the next production will be a lot better.
We had to go into a... modest studio and... you know, when we
hear _The Eve of the Entities_ we know that we could do it five
times better now. You know how it is, after playing it out so
much and stuff. But the next one -- we've matured a lot, all of
us, recording. We've all been recording with different bands. So
we're learning so much stuff recording; I think the next one's
going to be a lot more powerful sounding and -drums- already --
from what we've done so far it sounds really good.
CoC: How do you feel Burning Inside fits in with the rest of the
death metal and extreme music scene -- you've only just started
pushing the band into the outside world?
SC: Well, I think we fit into a lot of categories. I think a lot of
people that are into nothing but more technical stuff will like
it and I think people that are into traditional... -power metal-,
I think, will see elements in it, in fact I've been told that
already: even though it has the higher vocals [Steve is referring
to Jamie's vocals being gruff death grunts, broadly speaking
--Paul]. And I think it's got a -lot- of death metal elements.
There's a lot of things going on, a lot of influences. We're
influenced by so much stuff. Just my influences vary so much, and
Richard's also. So it blends good: we had to work at it but... A
lot of bands try to end up sounding super brutal or something. It
just doesn't work, so we're trying something different and we're
doing what we each like. And there's no egos here at all. If I do
a riff that doesn't fit they'll tell me and we'll drop it. So
that's how it works and that's why the members are also able to
do other bands and stuff: because there's no egos. We know
Burning Inside's our music -- the four of us.
CoC: Do you think, therefore, that it -won't- be hard to keep Richard
Christy in the band? I obviously don't know about how you guys
know each other, but he's done a lot of stuff, so the first
impression is kind of like: hmm, he's probably guesting. Do you
know what I mean?
SC: Yeah, I mean this band's been here -- I've been jammin' with
Richard since '92, so I'm sure this project will always exist. We
went through so much shit so far just to get where we're at, you
know? I mean, we've moved, we've relocated, we've had labels turn
us down a lot. We've just been through a lot of shit and there's
nothing that's going to break it up that I know of. I mean,
Richard might be out doing a tour, but he's back in a month and a
half. And he's home, and then you know what? He's around three or
four months, so we jam, you know.
CoC: It sounds like, from reading [the PR] and what you're saying,
that the band is very much what you wanted to do, and what you
all wanted to do, like a focal point.
SC: It's fun. We like doing it, so that's what keeps it going. And
we've got so much to record. We want to record, we want to tour,
we want to do so much, but at the moment we're not offered any
tours. We got the album out, so I mean if we're not really doing
anything and people [in the band] have opportunities to make
money, or jam something here, you know, we're working musicians.
CoC: On touring, the guy from Still Dead said that Cannibal Corpse
were thinking of taking you guys out after hearing the album.
That's what I've heard.
SC: Well, we were asked one time if we were interested and we said
yes, but I don't know... That's just talk. We'd love to, you
know... Everybody knows we want to tour, everybody in the scene
knows... We're serious about it and we can do it, but we just
haven't had any serious offers, so I don't know what to do, I'm
just waiting. We're a great live band, I think that's one of our
best -- that's one of our things, we love to play out, we like to
play our material out live, it's a lot faster and more in your
face live.
CoC: And I think in a way with music, it's the way that music is
supposed to be.
SC: Yeah, you know, especially metal.
CoC: Metal is such a live thing.
SC: You can listen to your vinyl and it's fuckin' kick ass, and then
you go to a show and it's fuckin' ten times heavier.
CoC: Yeah, I mean, I've listened to Iron Maiden for a load of years
and I like their albums and I put 'em on, but I'm going to see
'em next week and that's going to just top everything [see
Chaotic Concerts for whether it did --Paul].
SC: Fuck yeah.
CoC: So that would be great for you guys to get out: the exposure of
the album will do a lot to help that happen. What have you found
from the responses you've got so far?
SC: I've done... I couldn't even count how many interviews and the
response has been really, really good. I was expecting it to do
good, I'm not trying to sound egoed out, I expected it to do good
but I didn't expect it to do -this- good. There's been a lot of
tension on it. I think it's a great debut album. I think it's
done a good job for a debut. Now we just want to keep going, put
out another one, try to strive to do better and better.
CoC: Like you say, it sounds on the record like you've really got a
good record, but a record that gives you a lot of possible ways
to go; you don't really exhaust all your possibilities in one
album. What did you find with the album, what were the songs you
were most happy with?
SC: "Blind to All That Exist" and "The Eve of the Entities" are
probably my two favourite off of there, but I also like "My Own"
and "Masque". I pretty much like it all.
CoC: I pretty much agree. With the tracks you were mentioning, and
just in general, how did the lyrics fit in with it? It kind of
defies death metal convention as well, because it'll sound
strange maybe, but it almost has a sort of power metal feel, in
some ways, because it's sort of thematic, it's sort of
conceptual. The music and lyrics fit together in a much more
complete, album sort of way.
SC: From the beginning what I wanted to do, what all of us wanted to
do -- let me turn this video down I'm watching. What we tried to
do, what I wanted to do is have -- I'm 34 years old, when I used
to buy an album in the eighties I'd put it on, and each song
usually had a feeling to it, it had its own characteristic. And
the last song -- you always remember the last song, this side.
Then you'd turn it over, you know; it's got a personality to it.
And I think _The Eve of the Entities_ definitely has that. I
think it's got a feeling; each song is different, the lyrics are
different: some of them are horror, horror movie based and
psychological. A lot of mental psychological; just things to do
with one's self, individualism. Just a lot of things; we like
horror movies a lot and that kind of stuff influences us.
CoC: Which kind of horror movies in particular, which era?
SC: I'm into Hammer films...
CoC: You can definitely notice the Hammer influence...
SC: Yeah, and I watch Italian. I watch Italian gore like "Maniac".
CoC: Fulci and stuff like that?
SC: Fulci, Argento, Mariano Baino, Diodar. The "Cannibal..." movies.
CoC: Like "Cannibal Holocaust", right?
SC: Yeah, I'm watching "Make Them Die Slowly" right now. Got it on
DVD just now.
CoC: I ordered just a while back "City of the Living Dead", I haven't
seen that one and it's supposed to be killer!
SC: Yeah, that's my favourite Fulci movie.
CoC: It's better than "The Beyond"?
SC: It's my favourite, but a lot of people think "The Beyond" is his
best -- but I personally like "Gates of Hell" [one US release
title for "City of the Living Dead" --Paul]. One of the songs on
our new album is called "The Gates of Hell". I wrote it about it.
The newer lyrics, I think there's four that are based on horror
movies. Richard's really big into John Carpenter, especially "The
Fog" and "Halloween". I've got like 800 horror movies, so...
CoC: Nice. You know who you should tour with, you should tour with
Deceased.
SC: Yeah, I could handle that tour.
CoC: For someone who was interested in getting into Burning Inside,
thinking of buying the album, what elements of it would you say
would attract people; what elements would you say are its
primary good qualities?
SC: FUCKING METAL.
COC: <laughs> That's good.
SC: You just ask the person: are you into FUCKING METAL? And if they
say yes, then you ask 'em what kind. Yeah, just as long as they
like metal I think they'll like it. A lot of the real sick people
that are just into more primitive shit probably -- the band Black
Witchery that I'm in is almost the exact opposite to what I do in
Burning Inside. It's really raw, stripped down, Bathory, Beherit
blastbeat type metal. But I have people that are into that band
that also like Burning Inside. So, I think it's open to a lot of
doors, I think people just need to listen to it. That's why --
another thing with the name is that that doesn't really pin us
down to any certain style.
Steve and I also chatted briefly about:
Metal from England...
SC: My favourite bands, like Judas Priest, Black Sabbath, fuckin'
Maiden: they're all from there.
Venom turning up unexpectedly...
SC: I remember when I went to the MetalFest at Milwaukee, Cronos just
walked by at ten in the morning. I'm like: "That's fucking
Cronos, man, I'm standing next to Cronos here!"
And a classic Canadian band...
SC: I'm going to Canada 21st of July to see Blasphemy: they're
playing their first show in nine years. They're the gods of
Canada; skinhead satanic -black- metal: they've got a black guy
in the band.
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T H E S H R I N E U N S H R O U D E D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Marcel Verdurmen of Altar
by: Aaron McKay
No sense in getting all wrapped-up in too many details. Usually the
shortest distance between two points is a straight line. It would
seem that Marcel from Holland's Altar would be a defender of that
line of direct reasoning, judging from the replies I received back on
e-mail from the band's goliath guitarist. I found his answers to be
simple, forthright and fraternal. After a simple, obviously
unsuccessful attempt to speak with Marcel on the phone, I coordinated
this e-mail dialog with the band's spokesperson and guitarist for
you, the CoC readership. I hope that you find it illuminating in some
regard.
CoC: Altar has two different covers for the new album, for the
European and US releases, huh?
Marcel Verdurmen: It seemed better to bring out two different covers,
because some people thought the one with the girl
and priest on it was too shocking.
CoC: You have been given -a lot- of credit for taking the band to the
next level in ability, with respect to _Ego Art_, with your
clever, weighty guitar approach. Do you agree with that?
MV: Well, I had another approach to Altar's music, but I always kept
the Altar style in mind when writing any new material.
CoC: In your opinion, before this new release, would you say that
_Provoke_ was more innovative and/or radical than _Ego Art_?
MV: Yes, I agree. _Provoke_ was more melodic and in my eyes more
mature than the _Ego Art_ album. It was not an experiment, it was
just a new album with a different approach, and it is still an
album we are very proud of.
CoC: Where did the title of _In the Name of the Father_ come from?
MV: Well, here in Holland some priests were caught in a clothing room
of a swimming pool filming little naked boys and girls and in the
beginning this was a great case, but after all, they did not get
convicted and had no punishment at all!! So we decided to give
our album this title with [that] meaning behind it. Even if you
are a pervert priest, no one will blame you for this, because he
is acting "in the Name of the Father".
CoC: Did I read somewhere that _Provoke_ was Altar's rebuttal to --
was it the media or organized religion?
MV: I think both. <laughs>
CoC: Last year, Altar performed at the Waldrock festival with In
Flames, S.O.D, Immortal, Mercyful Fate and Sepultura, among
others. How was that compared to other concerts Altar has done?
MV: Well, to play on Waldrock was a wish we had for years. We enjoyed
it a lot and playing with other well known bands is just far
out!!
CoC: I see that you are slated for a date in July in the Czech
Republic with Dark Funeral and Behemoth. Anything happening with
a US tour? Deeds of Flesh, possibly?
MV: Hopefully, we are waiting for other people who promised this tour
to us to keep their word and hopefully we are going to the US. I
know Altar is a band you have to see live. We are much better on
stage.
CoC: European tour with Vader?
MV: Same answer.
CoC: Didn't you guys do a split album with Cartilage?
MV: No, I think that was another band.
CoC: What song did Altar cover on the Chuck Schuldiner Benefit
Concert (with Altar, Blo.Torch, God Dethroned, Occult, Dead Head
and Consolation)?
MV: We did the song "Evil Dead".
CoC: Did you particularly appreciate any other the other bands'
covers?
MV: Yes, sure!!
CoC: What happened with your former label, Displeased? How are things
working out with Pavement?
MV: After a long fight and so much discussion going on, we said
goodbye to Displeased. Some things just did not work out. With
Pavement things are looking OK, but you always have to see what
happens in the future.
CoC: You guys worked up everything to do with _In the Name of the
Father_ all by yourselves. Did you shop that, your now fourth
release, around to labels or were you prepared to go the entire
distance without any support at all?
MV: No, when we said goodbye to Displeased we had already signed a
deal with Rough Trade / Zomba. Pavement came in later.
CoC: I noted that Pavement is handling promotion for Altar everywhere
-but- in Benelux [Benelux is the name used for the group of
countries comprising Belgium, Netherlands and Luxembourg, which
are on the western coast of Europe, nearest to the United
Kingdom -- Aaron]. Who's handling that?
MV: Rough Trade / Zomba.
CoC: Anybody you are listening to now? Found any impressive bands
lately?
MV: I like Rammstein a lot.
CoC: My very best wishes to the band and please end this interview
anyway that you would like -- and thanks very much for your
time, Marcel.
MV: No need for thanks at all, and I thank you for your interest and
hopefully we will see each other on some tour and have some beers
together. Cheers!!
Contact: http://www.altarband.com
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
S T I L L F I G H T I N G F O R E X P O S U R E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Tony Jelencovich of Transport League
by: Adrian Bromley
Sweden's Transport League is one of the most underrated and
exciting bands out there. Unfortunately, not many people know of
them. What a shame.
Having followed the band since their 1994 debut disc titled
_Stallion Showcase_ (and before that with singer Tony Jelencovich
fronting B-Thong) and onto other interesting works like 1997's
_Superevil_ and their latest effort _Satanic Panic_, I have always
told people of the band, urging them to tell others about their
unique sound and direction. But I could only do so much.
Things seem to be on the up and up as we speak. Transport League
have signed a worldwide deal with Pavement Records with _Satanic
Panic_ and I am hoping that the band gets the exposure they deserve.
I've got my fingers crossed for you guys!
"Things are going good for us right now and we are back working
on new material for a new record", states singer Jelencovich.
"_Satanic Panic_ came out last year and it just seems so old to us
now, we just want to explore and try out new things. The groove is
going to be the same, we have always had that, it is just that we are
itching to write new material. I think the new record will be a bit
like _Satanic Panic_ but maybe flirting a bit with that nu-metal
sound."
When asked about the creative process that goes into a Transport
League record, he says: "It has become a bit harder to write music,
but at the same time it is easier too. It is hard to explain, really.
We have become better musicians since the first disc [Jelencovich is
the only original member -- Adrian], but at the same time the
arrangements are more technical and harder to grasp. Each day we are
experimenting and coming in contact with all of these ideas and it is
great to be able to change music and have fun at the same time -- or
at least try to have fun. We have a really good band right now too",
he says. "Patrik [Sten] is a great drummer who has brought a lot into
the band and he also plays guitar, so that adds something to help
creating ideas. He isn't just a drummer."
One dream that Jelencovich wishes is for the band to be able to
come over and tour the United States. It is still just a dream.
"Things have just been a bit slow for us over here in terms of
exposure. Things haven't been going too well for us. The key market
over here is Germany, but over there they are looking for bands that
play progressive metal or melodic death metal, bands like HammerFall,
In Flames or Dark Tranquillity. The stuff that we are doing is very
difficult to fit over here. Since the first record, we have been
hearing that our music would fit very well with what is going on in
the United States, but we've never been able to try and tour over
there."
"I'd love to tour with Pantera or Machine Head. That would just
be the best to go out and play across the United States and see if it
is true that our music works well with what is going on over there.
It is worth a shot", he quips, "I hope it happens. We are keeping our
fingers crossed."
Listening to the new disc by Transport League (rounded out by
guitarist Peter Hunyadi and bassist Ken Sandin), it is quite obvious
a lot of the material is very personal and hard-hitting: songs like
"Neckdraft", "Tar" and "Plague Ship" have a real harrowing display
of darkened imagery and heaviness combined. So is there a dark side
to _Satanic Panic_? What is the significance to the album title? "We
chose the name _Satanic Panic_ because it was connected to the hype
of the millennium coming and all that stuff. There was this big panic
with all of these people being worried about computers crashing and
all of this crazy shit going on. Whatever. It is also a bit sarcastic
and it rhymes. <laughs> It is just a fun title, I think, for the most
part, kind of playing off the last album title _Superevil_. It is
just a name..."
"As for the music, this is just us saying how it is like. There
is no need to be all cute and simple about things. Life is difficult
and so is being in a band, and in order to be something you need to
strive for something."
"Our music is the way it is because we have fused together all
of these elements (groove, samples, hardcore vibes) and made it
aggressive and very much Transpor
t League. We believe in keeping
things on the go and _Satanic Panic_ is one of those records that
never lets go. We just need people to give us a chance and see what
we are all about."
"I do this because I enjoy the music. I enjoy the creative ideas
that we do with our music. I just enjoy the fact that I can make
music and people react to it", explains Jelencovich. "Up to this
point, it has been a lot of fun to be a part of Transport League.
Hopefully we will be going somewhere in the near and distant future.
As you can see, so far we have gone nowhere with the band, really.
<laughs> And that is a shame. It is a long way to the top, you know?
Well, we don't want to get to the top, we just want to make a living
from all of this."
"Hopefully things will happen soon for us", he finishes. "I'm 32
years old right now and who knows how long this can go on for? The
important thing for me right now is that I still have a goal with
this band and we will continue to get Transport League where they
belong."
May the Force be with them!
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_____ .__ ___.
/ _ \ | |\_ |__ __ __ _____
/ /_\ \| | | __ \| | \/ \
/ | \ |_| \_\ \ | / Y Y \
\____|__ /____/___ /____/|__|_| /
\/ \/ \/
_____ .__
/ _ \ _________.__.| | __ __ _____
/ /_\ \ / ___< | || | | | \/ \
/ | \\___ \ \___ || |_| | / Y Y \
\____|__ /____ >/ ____||____/____/|__|_| /
\/ \/ \/ \/
Scoring: 10 out of 10 -- A masterpiece indeed
9 out of 10 -- Highly recommended
7 out of 10 -- Has some redeeming qualities
5 out of 10 -- You are treading in dangerous waters
3 out of 10 -- Nothing here worth looking into
0 out of 10 -- An atrocious album, avoid at all costs!
A Perfect Circle - _Mer de Noms_ (Virgin, May 2000)
by: Paul Schwarz (8.5 out of 10)
With this being lyrical genius and intensely emotional Tool singer
Maynard James Keenan's side-project-of-sorts, it is not surprising
that from the first notes of finely crafted opener "The Hollow", APC
bear comparisons to one of the greatest bands on the last decade,
which can't be an entirely bad thing. Maynard's vocals are admittedly
the main cause of this and only a handful of tracks (e.g.
"Magdalena", "Judith" (which is the classically irreverent "single"))
are actually exceptionally close to Tool's heady interplay of guitar,
bass and drums. That said, APC will appeal to people like myself who
are fans of Tool, and if you find Tool a bit too emotionally troubled
in their lyrics or "long-winded" in their song structures, then maybe
APC will even be the quicker fix to better suit your tastes. APC
bears a much stronger influence from ordinary alternative rock, and
its track lengths (particularly) and song structures (somewhat) stick
far more closely to popular music norms than Tool ever have; no song
on _Mer de Noms_ clocks in at over five minutes in length. Maynard's
collaboration with Billy Howerdel, Paz Lenchantin, Josh Freese and
Troy van Leeuwen (and I'll bet they're all from California with those
names...) has resulted in a record peppered with a nice batch of
really great songs but which has definite fall-out points, and fails
to capture the soul-searing sincerity of Tool's creations.
After Forever - _Prison of Desire_ (Transmission Records, 2000)
by: Chris Flaaten (7.5 out of 10)
After Forever from The Netherlands is the latest fruit from the tree
of doom with soprano and death metal vocals. Many claim that this
kind of music has been overdone, but this album from After Forever
actually has enough quality and character to deserve attention. The
album opens with a very atmospheric synth and choir piece, with Latin
lyrics that represent the prologue to the lyrical trilogy consisting
of track two, five and nine, while the music itself is the perfect
intro for the album as a whole. The second track -- and all of the
remaining nine tracks, for that matter -- follows perfectly with both
varied, well composed and well played music lead by singer/soprano
Floor Jansen's tremendous talent. After Forever's music is mainly
based on traditional guitar riffing with the synth in more of a
support role. The most apparent comparison is Within Temptation, and
Sharon den Adel also appears on the album's last and perhaps most
beautiful track, "Beyond Me". Still, the comparison does not describe
AF's music accurately; Within Temptation meets Nightwish, perhaps?
People interested in either of those bands' music should definitely
check After Forever out.
Altar - _In the Name of the Father_ (Pavement Music, March 2000)
by: Aaron McKay (6.5 out of 10)
Don't be thrown by what could be construed as a lower marking on this
release. Launching their savagery from Holland, Altar pours forth
some truly malevolent and spiteful offerings on this, the band's
fourth release. For the most part, I very much agree with the
comments expressed by my colleague Adrian Bromley in CoC #33, when he
reviewed _Provoke_. Altar's sound is as metal as you'd want it to be,
sounding somewhat like subdued or suppressed _Harmony Corruption_-era
Napalm Death. The band has a truly well put together sound showcased
no better place on the record than on a couple of back-to-back
tracks, namely "I Spit Black Bile on You" and "Hate Scenario". As I
understand things, after parting company with Displeased Records,
Altar took matters into their own hands when making _ItNotF_ before
ever firming up a deal with Pavement. Pavement added two extra cuts
to this release, "I Am Your New Provider" and a cover of the classic
"The Trooper", by Iron Maiden. Looking directly at this effort, Altar
clearly has nothing to be ashamed of; the album is powerful. At the
same time, I can honestly say the material included on _ItNotF_ is
mostly forgettable, with the aforementioned couple of songs being the
exceptions. Were this a spectacular release, I would say subjugate
yourself to the will of Altar, but as things are, I might only advise
visiting their sanctuary for a brief sermon before joining the
congregation.
Anaal-Nathrakh - _Total Fucking Necro_ (Leviaphonic Records, 2000)
by: Pedro Azevedo (8 out of 10)
Having reviewed their self-titled demo in CoC #43, I was very pleased
to receive this new CD from Anaal-Nathrakh -- and this time I knew
what to expect: very harsh and destructive black metal delivered with
outstanding brutality and intensity. (How ironic that the package in
which they sent me the CD had more "very fragile" warnings written
all over it than I can remember ever seeing before.) This CD
contains five new songs and their first demo, all recorded with very
raw but effective production -- except for the very nasty, but
fortunately brief, sound glitches near the end of the opening track.
The thing with Anaal-Nathrakh still is that they can mix very unusual
amounts of venomous fury with a strange kind of catchiness that
emerges from their wall of sound. The opener "The Supreme Necrotic
Audnance" is one devastating, unrelenting track. The doomier
overtones of "Satanarchist", featuring almost _Bergtatt_ era
Ulver-like slow and sad bass lines, complete an excellent opening
duo. Note that this is nothing like _Bergtatt_'s superb atmosphere or
even sound style, though; _TFN_ is far more destructive and has no
focus on atmosphere. The following two tracks keep up the aggression,
even if somewhat less remarkably, before a cover of Mayhem's "De
Mysteriis dom Sathanas" closes the first section of the CD -- and a
good cover it is, imbued with AN's own style. Their first demo then
follows, its sound quality slightly inferior but acceptable and the
music equally enjoyable. This may not be such a jewel hidden beneath
misanthropic production as Ulver's _Nattens Madrigal_, but for five
pounds or nine US$ from Golden Lake Distribution, this 45 minute long
onslaught should definitely be a treat for anyone into very harsh,
grim and powerful black metal to whom a raw but adequate production
isn't a problem (otherwise you can basically ignore the 8 out of 10
rating above).
Contact: mailto:crushfuk@fuckyou.co.uk
http://www.users.globalnet.co.uk/~dbanger
Contact: Golden Lake Distribution, 19 Castlehill Drive,
Newton Mearns, Glasgow G77 5JZ, Scotland
mailto:serenade4@yahoo.co.uk
http://www.members.tripod.co.uk/golden_lake/index.htm
Contact: http://www.leviaphonic.co.uk
Ancient Wisdom - _...And the Physical Shape of Light Bled_
by: Eli Fishbein (9.5 out of 10) (Avantgarde, 2000)
This is the latest solo offering from Mr. Marcus E. Norman (writer,
arranger, performer, producer, engineer and mixer) and it easily tops
his previous opuses, _For Snow Covered the Northland_ [CoC #16] and
_The Calling_ [CoC #28]. The tracks are tighter than before, the
melodies catchier -- though still extremely dark -- and the vocal
range much wider. I could not help noticing the soulfulness with
which The Big Man delivers his Satanist messages, as opposed to the
older, more mechanical approach. He sings with grandeur that
approaches the sublime, in correspondence with some of the most
resounding harmonized passages to come out of Sweden. A testament for
this man's genius can be heard in the last track, "The Spell", a
cover of Demon's 1982 heavy metal classic, that surpasses the
original in every way. The cover -- which also appears on the
_Tribute to Demon_ CD -- digs out caves behind that '80s antiquated
style to discover a new, beautifully sinister interpretation. The
only beef I can come up with is the rigidity of the piano-playing
throughout the album. To establish an emotional vibe, the keys need
to be gently caressed, not banged upon. This is only a minor
drawback, though, and does not impede on the spellbinding ambience
that this album masterfully weaves, nor on its indelible imprint.
Angel Dust - _Enlighten the Darkness_ (Century Media, June 2000)
by: Pedro Azevedo (5 out of 10)
Perhaps in an attempt to revitalise power metal, Angel Dust seem to
have added a slightly goth-like atmosphere, at times not too far from
EverEve's disappointing _Regret_ [CoC #46], and also some electronic
elements. The strong drumming, riffs and melodies in opener "Let Me
Live" made me think this could be more interesting than I had
anticipated, and the following track, "The One You Are", didn't let
it down. But from that point onwards, hardly anything seems to
achieve a similar level, and as the record went on I wondered what
happened to the elements that initially made it seem more
interesting. "Beneath the Silence", for example, starts with a
Tiamat-like spoken part (think _Wildhoney_) before changing into a
pretty damn mainstream ballad -- and you get plenty of that
throughout the album. The initial interest is never again recovered
as the extra-sweet ballads, less than effective heavier parts,
annoying goth-like elements and electronics just add up to tracks
varying between mediocre and average quality -- which is rather
disappointing after the first couple of songs. Overall, musically a
competent album, but it clearly could have been much better. But as
it is, in all honesty -- and I know they play a very different style
--, for some reason _Enlighten the Darkness_ just makes me wish I was
listening to Sentenced instead.
Angelwhore - _Superman_ (Casket Music, June 2000)
by: Adrian Bromley (5 out of 10)
Imagine if you will, Dani Filth and the rest of his undead elite in
Cradle of Filth rocking hard to a hard rock groove. Shed the
keyboards and beef up the wails of aggression and the guitar riffs
and you pretty much know where Angelwhore are going with their music.
Vampiric qualities are etched everywhere as the band descends into
darkness with punishing numbers as the title track, "Victim" and
"Nausea". Without scaring people off, I picked up certain sounds
reminiscent of Marilyn Manson too. There is enough to keep you
interested, but I'm not sure if this hybrid will work for some metal
fans.
Apollyon Sun - _Sub_ (Mayan, May 2000)
by: Paul Schwarz (8.5 out of 10)
Thomas Gabriel Fischer has never been an easy man to predict --
actually, let's face it, he's damn near impossible to predict: very
uncharacteristic for a musician who's worked so long in the metal
genre. His post-Celtic Frost band's debut album -- finally released
after nearly nine months of delay in mixing and remixing -- shows no
indication that old age has made Tom lazy; _Sub_ is certainly no
exception to his ever-unpredictable recording career. Apollyon Sun
seem impossible to label without either constructing ludicrously long
adjective strings to pre-modify "metal", or resorting to useless
splicings like "techno-metal" or "electro-metal" which generally
either say nothing informative or narrow down a small part of _Sub_
to represent its whole. This is key to _Sub_'s success as a "Thomas
Gabriel..." album; however much I were to ultimately enjoy the
innovator's latest step, the last thing I wanted was for _Sub_ to be
easy, either to comprehend or to categorise. And not only is it
neither, but I even like it. Maybe not as much as 'Frost at their
best -- _Sub_ is neither that successful an innovation nor has songs
of quite that calibre --, but 'Frost on _Vanity_/_Nemesis_? Possibly.
To give you an idea of what to expect, _Sub_'s songs are usually
structured centrally around a few simple slow and occasionally
mid-paced downward progressing riffs. These are backed by a very
pronounced bass guitar and overlaid by Tom's vocals -- which are
seedily under pronounced, lending a slimy, grimy urban sheen to the
Godflesh-esque guitar and bass interplay. The drum patterns sound
entirely programmed (though sampled), but this element is probably
_Sub_'s most complimentary quality, rather than the fall-down it so
often seems to be for a "metal" record. A wide variety and
combination of rhythmic sounds and patterns greatly enhances the
comparatively simple interplay of guitar, bass and vocals. The
picture presented so far may be called the "skeleton" of _Sub_. Onto
it is poured tons of contrasting and varied "flesh" and a quality
production "skin". Oscillations, drum 'n' bass / trance breaks,
samples, scratching and a host of other, mostly seamlessly integrated
aspects feature on _Sub_. It has been put together carefully and
professionally. The coherent sound throughout many musical
fluctuations belies accusations from some quarters that this is some
cobbled together "industrio-metal" affair. _Sub_ has been well
executed and is certainly daring; whether you like it will depend on
your musical tastes, but do its great financial cost and ambitious
musical scope justice and give it a good, focused slab of your time:
Tom deserves it, Apollyon Sun deserve it, and _Sub_ is more than
worth it for its possibly pleasurable musical rewards.
Ashes You Leave - _The Inheritance of Sin and Shame_
by: Pedro Azevedo (8 out of 10) (Morbid Records, February 2000)
My expectations regarding AYL's _The Inheritance of Sin and Shame_
were very high, considering this Croatian band's quality debut _The
Passage Back to Life_ and second album _Desperate Existence_ [CoC
#39]. _TIoSaS_ did not disappoint me, but it did not turn out to be
as amazing an album as I still feel AYL can produce, either. It's
still very doomy metal with female vocals and some death vox, as well
as violin and flute, and still not anywhere like the vast majority of
bands that might fit that description. AYL's sound continues to have
a slight pleasantly raw edge that you do not generally find in such
bands, while the vocals and the various instruments produce less
flashy but often more interesting and emotional results -- AYL
continue to very clearly play doom metal with a highly personalised
musical approach. Similarly to _Desperate Existence_, _TIoSaS_ has
some really fine passages that would justify an even higher rating
and prove that this band can reach something very remarkable indeed
soon. But even forgetting for a moment the incomprehensible happy
section in the title track, AYL just need to be able to make a whole
album that can be as special as those passages on _TIoSaS_. The band
is currently going through some considerable line-up changes as well
as a change of label. If things go well, I strongly suspect their
next album might see them finally making full use of all their
potential. In the mean time, _The Inheritance of Sin and Shame_ is a
fine album indeed, and a very welcome change from the genre's norm.
Asiatic Spike - _Beastial Warfare_ (<Independent>, May 2000)
by: Adrian Bromley (5 out of 10)
I'll admit it. I did find myself cheering on this totally bonkers and
off the wall tirade and massive mess of mayhem found on Asiatic
Spike's _Beastial Warfare_ offering as I played it. But things are
different now. After it came to a close I was left with little if any
interest to give it more than a few spins. At times it is very
reminiscent of a death metal version of Faith No More mixed with the
hard groove of, say, Sepultura or Soulfly and a real grindcore-like
drumming (thrown throughout). I'm sure there are many out there that
would love to bask in Asiatic Spike's malicious energy vibes, while
I'd rather watch from the sidelines.
Contact: mailto:mrphuq@hotmail.com
http://members.tripod.com/~asiaticspike/
Asphyx - _On the Wings of Inferno_ (Century Media, 2000)
by: Alvin Wee (8 out of 10)
If good, brutal old-school death is what you're hankering after, what
better merchants to turn to than a legendary Dutch troop who's grown
up with the likes of Pestilence? "Death, the brutal way!!!" is what
the trio claim to offer, and shunning the machine-gun speedrumming of
Krisiun or Mortician has yielded terrifying results. All but the most
inattentive of death metal fans will know that Asphyx have advocated
mid-paced, heavy-as-fuck death since their humble beginnings with
_The Rack_, and _OtWoI_ is no different. Wannes Gubbels' (on loan
from countrymen Pentacle) typically torrid Dutch cries evoke fond
memories of Martin van Drunen days, and provide an anguished
counterpoint to Eric Daniels' plodding, pounding riffage. It is this
combination which makes the title track the most massively heavy
death metal since Brutality's _Screams of Anguish_. Slow, crushing
and inexorable, the monumental riffs plod menacingly onward as
Wannes' tortured cries presage your doom! An exercise in heaviness
unparalleled by the lightning-fast bands of today, despite the intro
riff having (apparently) been taken straight off Bolt Thrower's
"Final Revelation". Just throw on _War Master_ and you'll see! And
like old Bolt Thrower, Asphyx seldom lose their composure, preferring
a strictly rhythmic, almost martial tone throughout the album. If
you've been pining for some old-fashioned pounding death the way it
hasn't been done for years, _OtWoI_ is just the cure for you. All 29
minutes of it.
Autumn Tears - _LPfDC Act III: Winter and the Broken Angel_
by: Pedro Azevedo (9 out of 10) (Dark Symphonies, May 2000)
The highly anticipated third act of the "Love Poems for Dying
Children" series [see CoC #23, #37, #43 and #45] is Autumn Tears'
finest to date overall, though it contains no major surprises. I
suspected their sound might begin to lean more towards Elend-like
tenebrae, especially considering their latest MCD _Absolution_, which
pointed in a different musical direction, was considered as being
mostly experimental by the band and not an indication of what the
future might bring. However, the one song on _Winter and the Broken
Angel_ that was taken from that MCD, the sublime "The Never", turns
out to be the track I enjoyed most on the full-length. And indeed
sublime is a very appropriate adjective for most of the music on this
album, though dark, eerie and melancholic are equally valid. The
quality heralded by the excellent opener "The Grand Celebration"
never disappoints (even if the chanting of "The Passion and the Fury"
may not be my thing). The fact that there are now two (superb) female
vocalists in the band, with Jennifer LeeAnna joining and Erika
returning, increases the potential for variety in the music, though
the possible interplay between their voices isn't really explored on
this album. Erika's distinctive black vox found on Act II are only
used on the last track this time, which was somewhat disappointing.
The keyboard work is again superior to previous releases, though not
very different in style, still aiming more at eerie melancholy than
grandeur -- yet at times the music is also more grandiose than
before. Beautiful ethereal melodies draped in sombre shroud, finely
packaged and superiorly composed and performed by Autumn Tears is
what you will find on _Winter and the Broken Angel_. What follows?
Contact: http://www.darksymphonies.com
Axel Rudi Pell - _The Masquerade Ball_ (SPV, 2000)
by: Alvin Wee (9 out of 10)
The Pell is back! And raring to go, it seems. No introduction is
needed to a band, who like compatriots Running Wild, churn out album
after album of similar-sounding material, yet never once fail to
satisfy. Reprising the tried-and-true power-rock formula has garnered
this old rocker no small measure of success over the years. Opening
with strikingly memorable leads and Johnny Goielli's searing cries,
"Earls of Black" establishes the dark yet epic atmosphere from the
outset. Things take a lighter turn with "Voodoo Nights", harking back
to older, "rock" days with the singalong chorus and vocal acrobatics,
not to mention Pell's effortless solos. Even more nostalgic is the
ballad "Night and Rain", and here is where Johnny's rough yet
operatic throat shines, dragging out his high notes Dio-style, adding
a touch of raw power to former singer Jeff Scott Soto's more polished
tones. The title track fills the spot of the obligatory ten-minute
"Pell"-epic. Another nod must be made to Dio; just hearing Goielli
scream out the chorus evokes images of the dark Elf himself. The
remaining tracks show a more "rock" side of the band, and takes a
more laid-back approach than _Magic_'s speed-riffing. What more can
be said about a man who has eleven albums under his own name behind
him, and who's been churning out such quality since his old days with
Steeler? I'm already kicking myself for missing last year's _Oceans
of Time_, so if you're into German heavy-rock/metal, don't make the
same mistake with this one. Available as a "limited" edition of a
ridiculous 20000 copies in a nice box with a great poster.
Ayreon - _Universal Migrator Part 1: The Dream Sequencer_
by: Chris Flaaten (8 out of 10) (Transmission Records, 2000)
As the title of this album indicates, this is the first part of a
two-CD set, the second being _The Flight of the Migrator_. While the
second half of the set features heavy rock and progressive metal, the
first part consists of song-oriented and atmospheric, almost dreamy,
progressive rock. Both have been written in full by Ayreon mastermind
Arjen Lucassen and as always he has a horde of guest vocalists along
with him: Johan Edlund, Neal Morse and Lana Lane, to name a few. The
first instrumental introduces us to the Dream Sequencer, a machine
that takes the user on a dream journey back in time. We fly from the
21st century to the first man on Earth, stopping by everything from
the moonlanding in '69 to the Mayans. The music lets us participate
properly in this dream. Lucassen's and fellow prog rocker Erik
Norlander's synths create an atmosphere that is just uncanny. This is
soothing, relaxing music at its best. Some melodies might seem odd at
first, as if taken from late '80s arcade games, but it doesn't take
many spins to thoroughly enjoy the wholeness of this album. A must
for those interested in prog rock and all of you who, like me,
weren't at all disappointed by Tiamat's amazing _A Deeper Kind of
Slumber_.
Black Label Society - _Stronger Than Death_ (Spitfire Records, 2000)
by: Aaron McKay (8.5. out of 10)
I cannot say for sure which I like more: Zakk Wyldes's music or his
attitude. I've been singing this fuckin' album to, from, and at work
for weeks, especially "Phony Smiles, Fake Hellos". I think this song
was written about people like I deal with every day. Can you say
idiots? Dead on, Brother Zakk! That's one of the best features of
_Stronger Than Death_: I think it speaks to -everyone-. I know that
most of you have run across those morons who act like The Undertaker
at a high school wrestling meet, except they haven't the capacity but
to just put one foot in front of the other let alone wrestle
competitively. You know, the belligerent wannabe pricks... Mr. Wylde
has a song on _STD_ that speaks to those of us that have to put up
with these types, if not in school then on the roads, malls, or
restaurants. He calls it "13 Years of Grief". Excellent track. Of
course, all the things that you would expect from this guitar
proficient proprietor are present on the album. I'm thinking Rick
Rozz's style crossed with everything you'd want from Crowbar. What am
I talkin' about? Most of you own _No Rest for the Wicked_, so you
have -some- idea what I am taking about. For a clearer picture of
BLS's sound, down a bottle of Jack Daniels (Texas fifth, of course)
and run the Boston Marathon. Once you've crossed the finish line,
immediately wring out your Gang Green t-shirt into a glass and drink
it. Ha! The liquid equivalent off BLS. After hearing _Stronger Than
Death_, you'll be pouring yourself a glass of this ample alcohol
alacrity daily. Salute!
Contact: http://www.ZakkWylde.com
Blinded by Faith - _Veiled Hideousness_
by: Adrian Bromley (5 out of 10) (Tuxedo Productions, June 2000)
If you can't pick out the Cradle of Filth influence in this band from
the first few seconds, may I suggest that you get your ears examined?
Quebec-based band Blinded by Faith are talented musicians stuck in a
rut. Their music is full of emotions and assembled with some very
nicely organized melodic pieces; it is just that once the band hits
its stride with the black metal attack they come off sounding like a
carbon copy of CoF. It is a shame, but they bring nothing new or
varied to the black metal scene. Maybe that was planned? Maybe not.
Whatever the case may be, Blinded by Faith play melodic,
keyboard-driven black metal that sounds like second-rate CoF at
times. If that is enough to turn you on, then so be it. If it
doesn't, cover your ears and move onto the next disc in your CD
collection.
Contact: Danny Emond, 430 rang sainte-Anne ST-Amselme,
Quebec G0R 2N0, Canada
mailto:blindedbyfaith@hotmail.com
http://fly.to/blindedbyfaith
Blood Storm - _Pestilence From the Dragonstar_
by: Aaron McKay (2 out of 10) (Soul Sold Music, 2000)
While I continue to have high hopes for the Soul Sold label, this
isn't the best CD to inaugurate me to their endeavors. About the
three minute mark on "Death Thunder", track two, and the ensuing
first seconds and middle of the following song, "The Chaos Magician",
provide the only illumination by which to see your way clear of this
release. Horrendous. While some would think Raise Hell (Nuclear
Blast) might qualify as unsatisfactory material generally, Blood
Storm takes things to an all new level within the black metal sphere.
BS was hatched from namelessness by Mezzardurus (vocals and guitar)
in 1994 to issue forth an onslaught of occult metal. In my opinion,
the band was better left in obscurity. No sense beating a dead horse.
I'll be the first to own up to the fact that having only been exposed
to the band's 1997 _The Atlantean Wardragon_ (Cacophonous Records)
release prior to this atrocity of an album, I can't say that I am
Blood Storm's biggest fan; not by a long shot. As I have told those
who have asked about this newest offering, with so much scathing
black metal to choose from today, I can honestly offer no compelling
reason to own _Pestilence From the Dragonstar_. Beware.
Bloodbath - _Breeding Death_ (Century Media, 2000)
by: Matthias Noll (8 out of 10)
An all star line-up consisting of Akerfeldt (Opeth), Renske and
Nystrom (Katatonia) and Dan Swano (he of countless projects, bands
and production jobs) doing a three track EP of old school death
metal. Is that what the world needs? My answer is yes. This is a
great EP (bought it for the price of a single) which has made me bang
my head quite some more than some full-blown releases I've listened
to this year. The old school trademark is kind of misleading, because
this record doesn't sound dated, even if there are traces of bands
like early Unleashed, Gorefest, Massacre, etc.. The production is top
notch and the songs are less simple than you might expect (not the
Six Feet Under approach). Bloodbath do achieve heaviness with medium
paced grinding riffs on top of which Akerfeldt's impressive grunts
sound like another instrument that provides memorable rhythmic hooks
like in the remarkable last track "Furnace Funeral". This release is
neither groundbreaking nor spectacular, but it has such a high
quality standard that I think the 8 is well deserved. If your
definition of death metal does not list blast or hyper speed parts as
a must, then get this release and join me in hoping that this won't
be the last Bloodbath output.
Borknagar - _Quintessence_ (Century Media, April 2000)
by: Pedro Azevedo (8 out of 10)
_Quintessence_, the fourth album by Borknagar (and second by the
Garm-less version of the band) is a record that neither disappoints
nor astonishes. A solid record made by very skilled musicians,
perhaps slightly superior to its predecessor _The Archaic Course_
[CoC #36], it showcases a band still successfully maintaining the
fluidity and, to some extent, the grandeur that characterised their
music in the past. However, as was the case with _The Archaic
Course_, the abstract strength, brilliance and feeling contained
within and transmitted by the band's last recording with Garm on
vocals, _The Olden Domain_, is never entirely reached during
_Quintessence_. The style is somewhat different, but not different
enough to avoid this comparison, despite Solefald's Lars Nedland
having added a somewhat different keyboard style to the band. Vague
memories of Dimmu Borgir's _Spiritual Black Dimensions_ may also
occasionally arise, though they are not necessarily caused by
vocalist Simen Hestnaes' participation in that album. As a matter of
fact, _Quintessence_ contains less clean vocals than I expected,
considering Hestnaes' renowned prowess in that area, and at times
some of his black vox are not very far from Garm's, in a way.
Nevertheless, the differences are obvious, not simply in terms of
vocals but also instrumentally. Although in my eyes Borknagar may
still remain unable to equal their _The Olden Domain_, _Quintessence_
still is another very good album from this talented band.
Charon - _Tearstained_ (Diehard, April 2000)
by: Paul Schwarz (7.5 out of 10)
They may not be all that original, but there is a touch of an
x-factor in Charon -- something which is essential for any great band
-- which sets them apart from the chaff of mere imitating hangers-on
that every scene is polluted by. Comparisons between Charon and their
Finnish cousins Sentenced hold ground beyond the band photos
presented in _Tearstained_'s inlay, but Charon acquit themselves in
producing this stunningly catchy and impressive album of distinctly
gothic-leaning songs, but songs which never forget to be
invigoratingly metal. Since their _Sorrowburn_ debut of two years ago
Charon have evidently worked hard, honing their songwriting skills
and expanding their musical thinking. It has all paid off and the
impact is felt throughout _Tearstained_'s forty-five minutes. Should
Charon build on this momentum, then I can only see them go from
strength to strength in the years to come, provided they don't allow
themselves to slip into a one-dimensional groove and thus stop
exploring new musical territory.
Chastisement - _... But Lost We Are_ (<Independent>, 2000)
by: Pedro Azevedo (7 out of 10)
Rather enjoyable half-hour long self-financed album from Sweden, this
one. Based on melodic death, with a few thrash guitar elements at
times and occasional somewhat Meshuggah-like riffs, Chastisement's
music is certainly varied, dynamic and entertaining throughout. With
the simple but effective production staying out of the way, the band
shows good technical skill and ability to keep the listener
interested, with songs such as "At the Garden of Eden", the title
track and "Life Denied" standing out. Riffs, rhythm and vocals
frequently vary in style throughout the record, and one of
Chastisement's main qualities is precisely that doing so helps them
avoid stagnation -- which is very useful as their sound itself is not
particularly complex and atmosphere is not something the band seems
to worry about. Of course the other side of the coin is usually loss
of consistency or some of the styles not working properly, but
Chastisement generally avoid falling into any major traps in both
cases. The price, by the way, is supposed to be "around 10 to 12$".
Contact: http://www.chastisement.com
Circle of Nero - _Massive Obliss_ (<Independent>, May 2000)
by: Adrian Bromley (7 out of 10)
Hard to really say just how I feel about Circle of Nero. This
talented progressive metal / hard rock outfit play truly tight and
technical metal music, topped by the great vocal range of Doyle
Stone, but it just seems a bit too flashy for me. It is like they're
going all out to show just how good they are and impress someone.
Guitarist Koky Flores really knows his way around a guitar and it
shows, and while I think the music seems to "show-off-like", I must
admit the solos are pretty neat. I'm on the fence with this one, but
in the end the band's talent helps make this worth a listen --
especially tracks like the dominant "Dark Side of Eternity" or the
nifty "Thorazine Dream".
Contact: P.O. Box 1594 Stafford, VA 22555-1594, USA
http://www.circleofnero.com
Coffin Texts - _Gods of Creation, Death & Afterlife_
by: Aaron McKay (7 out of 10) (Dwell Records, April 2000)
Against my original impression, I am inclined to give these guys some
manoeuvring room with the vortex of pulverizing conflagration this
band has manipulated here. The condensed version is: I like Coffin
Texts. Expanding on that a bit more, I'd like to have seen some more
intrepid, pioneering steps taken on this release. Coffin Texts
certainly has the power and ability to pull off an innovation here
and there, but instead chose to play things close to the vest. Desert
dry, guttural rasp/growls scour across the tumultuous sand dunes of
brutality CT lays waste to on _GoCD&A_. At times, I am reminded of
Nile, but as you might imagine, this can be a good thing especially
when a band colors the golden tan soundscape generously with their
own style. Two favorites to be on the lookout for: Coffin Texts's
self-titled track and "Disturbing the Priest". Both are extremely
alluring, but the savior of this effort is CT's very
Massacre-sounding cover of "Crypts of Eternity", which is of course a
remake done initially by Slayer on _Hell Awaits_. This track can also
be found on Dwell Records' 1999 various artists release, _Gateway to
Hell -- Tribute to Slayer_. At just over thirty-eight minutes in
length, you can seen Coffin Texts's potential spelled out in
enigmatic writing all over the wall -- or crypt, I guess, in this
case.
Corvus Corax - _The Atavistic Triad_
by: Pedro Azevedo (8 out of 10) (Dark Symphonies, February 2000)
_The Atavistic Triad_ is composed of three long tracks and a shorter
instrumental, for a total duration of about forty minutes. Their mid
to fast-paced, very atmospheric, doomy, and well crafted black metal
reaches its most remarkable level during fifteen minute long opener
"Son of the Earth", in which the influences ranging from classical to
dark folk music, the aggression and the doom elements in the band's
music all come together extremely well. Symphonic despite the rather
subdued keyboards, always in a dark and gloomy way and sometimes with
a more war-like sound, Corvus Corax do not disappoint during the rest
of the record either. "Terminus Est" and "Mystagogue" are also very
good, though not quite as remarkable as "Son of the Earth". The
acoustic track "Sojourn" is a highly evocative one, fitting perfectly
into the album's atmosphere, which is further enhanced by both images
and lyrics. Corvus Corax have created a fine debut, very interesting
and highly promising, and certainly seem to be an excellent addition
to the Dark Symphonies roster.
Contact: http://www.darksymphonies.com
Cruachan - _The Middle Kingdom_ (Hammerheart, May 2000)
by: Paul Schwarz (4 out of 10)
_The Middle Kingdom_ could comfortably be dismissed as merely another
misconceived attempt to combine Celtic folk music (in this case
Irish) with metal (in this case black-ish) if it weren't for
Cruachan's seeming belief (expressed in Hammerheart's press release)
that they have created something significant and original in this
sophomore effort. What _TMK_ essentially does is combine
vaguely-black metal riffing with folk music -- expressed centrally by
bagpipes, among other traditional instruments, along with folk-styled
female singing -- in a rather clumsy fashion, which generally
constitutes the mere harmonising of folk instruments and distorted
guitars. Had Cruachan instead intertwined the two elements, they
certainly could have emerged with quite an effective and maybe even
original album. As it is, _TMK_ is mostly tediously unoffensive;
though points such as the ska-like timing of "Unstabled Steeds of
Macha" do try my patience somewhat, I find myself getting bored
rather than frustrated when listening to _TMK_.
Various - _Curse of the Demon: A Tribute to Mercyful Fate_
by: Aaron McKay (8 out of 10) (Dwell Records, 2000)
This is probably one of the better and fine-tuned tribute albums I've
heard in quite a while. It is no secret that releases of this nature
are not what I'd call a favorite of mine, but any fool knows a
valuable commodity when they come across it; well, most simpletons,
anyway. Let me save you the embarrassment of subjecting yourself to
the idiot-test; if you like Mercyful Fate, old and new, and bands
savor the works of Deceased, Vital Remains, and Necrophagia -- buy
this. Acheron's instrumental "Room of Golden Air" track is near
perfect and Soilwork's "Egypt" is almost as compelling as the
original, with a backdoor vocal approach that is numbing to hear.
Varathron's cover of "Nuns Have No Fun" is nothing like the Deceased
variety on the Listenable Records tribute to King Diamond, Hank
Shermann and the rest of Mercyful Fate, but no less interesting, I
assure you. Watch out for the first track, Equinox's version of
"Gypsy". It is sensational. Why don't I own some Equinox? After
hearing their cut on _Curse of the Demon_, I intend to rectify this
oversight. I might also suggest that if this Dwell Records tribute to
one of the mightiest of bands through the annals of time is not in
your collection, that you too rectify this omission.
Dark Funeral - _Teach Children to Worship Satan_
by: Aaron McKay (9.5 out of 10) (No Fashion Records, February 2000)
Here they are again in rare form. Fresh from their prominent
_Vobiscum Satanas_ release in 1998, an incredible new MCD is now
available from black metal's powerhouse, Dark Funeral. I believe I
notice, more than just occasionally, -so many- bands in this genre,
in some way, distinguish their relationship to Dark Funeral, whether
it be thanking them, as touring allies, or even as inspiration.
_Teach Children to Worship Satan_, as you can tell from my rating
above, is astounding, despite the fact that I could do without the
title of the disc; too clumsy, in my opinion, for such a celebratedly
arcane and nebulous band. No points were deducted for this, however,
only a mere 0.5 subtracted for the petty fact that I could have
certainly tolerated another -new- track on this MCD. As things turn
out, the wildly superior "An Apprentice to Satan" is all I have to
tide me over until Dark Funeral's next full-length offering. The bulk
of _TCtWS_'s points come in the form of their renditions of Slayer's
"Dead Skin Mask" and the grand and wondrous "Remember the Fallen" by
Sodom. I've always thought that this was Sodom's strongest song off
of _Agent Orange_ and I'll shamelessly admit that any band that
covers that track wins -big- points in my book. At any rate, rounding
out the other two cuts on _TCtWS_ are King Diamond's "The Trial" and
Mayhem's "Pagan Fears". Four covers and one new Dark Funeral song
therefore complete this exceedingly strong MCD. There is also a
CD-extra MPEG video on here that is completely beguiling for any fan
of the band. I have to wrap this up now, as it's time for a thrash
around my room to DF's Sodom tribute; "Honour the fallen heros. See
their last resting place. Perished in the battle of nations. Where
they found eternal peace..."
Dark Tranquillity - _Haven_ (Century Media, July 2000)
by: Pedro Azevedo (9 out of 10)
Immediately and unreservedly did I like what turned out to be my
third favourite album of 1999, _Projector_, despite all the changes
in Dark Tranquillity's sound -- the frequent clean vocals, the
keyboards and the general feel of the music. There was, however,
plenty of teeth gritting on my part during the first few times I
listened to _Projector_'s successor, _Haven_. Nevertheless, being the
masters of their art that Dark Tranquillity doubtlessly are,
_Haven_'s tracks, although quite short (generally below the four
minute mark), ultimately start making enough sense on their own and
as a whole, and musical quality begins to really shine through as one
would expect from DT. However, _Haven_ is not without its faults as
far as DT's options are concerned, in my opinion. The clean vocals
that suddenly appeared in DT's sound on _Projector_ were completely
forsaken this time, in exchange for a very considerable increase in
the use of electronics -- more on that later. Mikael Stanne's raspy
vocals are now somewhat deeper and used throughout the album, in
order to produce contrast with the occasional returns to his old
style, which is a somewhat more high-pitched and anguished
scream-like growl. This duality is well planned and works quite well,
but nevertheless I would have liked him to use his old style more
often and I also miss the emotional clean vox he used on _Projector_.
As far as that's concerned, _Haven_ still proves to be an emotionally
strong album, though for me not as much so as _Projector_. Guitar and
drum-wise, no major changes are apparent and quality remains as
remarkably high as usual, with some of the music strongly reminding
me of _The Mind's I_ -- the end of "Not Built to Last" even brought
to my mind "Of Chaos and Eternal Night". The keyboards, however, are
used quite differently and are, for me, by far the album's main
problem. Even the short duration of the generally mid-paced tracks
turns out to be quite acceptable, as the structures aren't linear or
predictable as is often the case under such circumstances, but a lot
of the keyboard work is just average or even mediocre. There are
exceptions, but most of the time the keyboard's electronic elements
are just redundant and annoying, which becomes even more evident when
compared to the better keyboard sections and especially to the
stellar work of the rest of the band. Still, with DT's musical
excellence resulting in tracks such as "Feast of Burden", "Haven",
"Fabric" and "At Loss for Words", _Haven_ is still a great album.
However, for me, it just is not worth a 10 out of 10 as I had reasons
to believe it would be.
Darkness Eternal - _Dawn of the Suffering_ (<Independent>, July 2000)
by: Adrian Bromley (6.5 out of 10)
I was ready to give up on this band the first time I saw the lame
artwork adorning the album cover. No doubt this is the -worst- cover
for a record, indie or major label, that I have ever seen. It depicts
a "Virgin Mary"-like figure holding a lizard-tongued child in a sea
of flames while a bleeding eye looks on. I know: -lame-! But luckily
for one-man metal machine George Valaetis (yes, he plays all the
instruments), the music of Darkness Eternal is a nice, somewhat solid
piece of death metal -- but still full of faults. My problem doesn't
lie within the production, that is actually pretty good; my problem
is with the pace of the record. Loose ideas seem to spur on the songs
at times, making this just lumped ideas with no real congruency. I
liked the record, notable numbers being "Mass Suicide", "Impeccable
Doom" and the title track, but it needs work. And, of course, a new
album cover.
Contact: George Valaetis, P.O. Box 5002, Spruce Grove,
AB T7X-3A2, Canada
mailto:Darknesseternal666@hotmail.com
Defaced Creation - _Serenity in Chaos_ (VOD Records, 1999)
by: David Rocher (8 out of 10)
With more than just their name being reminiscent of US deathsters
Malevolent Creation, Scandinavia's Defaced Creation have the cutting
aggressiveness, precision and inspiration to impose themselves
rapidly as one of the uprising leaders of the... American death metal
scene. Indeed, _Serenity in Chaos_ is a blasting, mauling assault
that, and with vicious bloodlust at that, taps into the same gory
vein as renowned acts such as Malevolent Creation, Cannibal Corpse or
Germany's lesser-known Mental Aberration. With a sharpened, maiming
rhythmical backbone provided by their fantastic drummer Arttu Marrki,
and a four- and six-string section revelling in exemplary precision
and power, _Serenity in Chaos_ boasts twelve tracks of crushing,
blasting death metal guaranteed to pound listeners into dust, served
with a crunchy Morrisound-style sound that nonetheless bears deep
scars of the Scandinavian sense for power. Defaced Creation are
murderously intense, surgically precise and superbly violent -- I
know as little as nothing about these guys, but I'll wager that more
will be heard of them at some point in a near future. With song
titles such as "Stillborn" and "Cannibalistic Feast", this definitely
un-canorous quintet know where they're headed, and are decidedly
injecting true dedication into their career. Violent, raging death
metal fans should make sure to keep tabs on these lads.
Descend / All That Is Evil - _Split CD_
by: Adrian Bromley (6 out of 10) (Cutting Edge Records, May 2000)
While the opening wave of violence put forth by storm troopers of
death metal Descend is of admirable quality, with their deep vocal
growls and menacing guitars riffs, it is the dominating death metal
drive of All That Is Evil that puts this split venture into
overdrive. Tight, technical when need be and truly sick and in your
face, All That Is Evil crush on "Peril at Sea" and "The God of
Duality". The recording of their four tracks is very raw and just
enhances their attack. Good stuff here. A safe bet, with All That Is
Evil being the real draw here.
Contact: P.O. Box 77036, Cleveland, OH 44107, USA
Destruction - _All Hell Breaks Loose_ (Nuclear Blast, April 2000)
by: Matthias Noll (6 out of 10)
Reunion time again. Be it public interest, money or whatever that has
spawned the resurrection of the legendary German thrashers, it might
not be financially dangerous for anybody involved (quite the
contrary, I assume), but I think at least Destruction's own legend
and credibility is at risk. The Germans and their label have done
their best to raise expectations to a high level: producer Peter
Tagtgren, references to the days long gone with bullet belts,
coloured contact lenses (where are the inverted crosses?) and song
titles like "The Butcher Strikes Back". With the release of this
record it's time to look behind the hype and let the music do the
talking to show what Destruction have to offer in the third
millennium. First of all, this album, musically, is not a return to
the style of the three classic releases _Sentence of Death_,
_Infernal Overkill_ and _Eternal Devastation_. The retro factor is
kept to a minimum. Decide for yourself if that's what you want; I
give them loads of credit for not playing it safe. While opener "The
Final Curtain" is propelled along by a typical Destruction riff,
their year 2000 style is far more complex, less straightforward and
fast than one might expect. Every song features loads of riffs,
breaks, tempo changes, pre-chorus and bridge sections, and that's my
main gripe with _All Hell Breaks Loose_. Less technicality would have
resulted in more power and ultimately better, more cohesive songs.
Too many of Mike's impressive riffs start to grab you by the throat
and unfortunately the next break for the sake of adding another break
is only seconds away. While the first half of this record is strong
enough not to suffer too much from excessive complexity, later tracks
"Visual Prostitution" and "Kingdom of Damnation" are hardly more than
filler material, and I think it's no coincidence that the OK-ish
remake of "Total Desaster" is placed on position 10 in the track list
to regain the listener's attention. In general, _All Hell Breaks
Loose_ reminds me a lot of the complex thrash metal Forbidden
delivered on their later albums like _Green_ or, to a certain degree,
the instrumental style of Nevermore on their more thrashing tracks.
Adding up to this, Schmier's highly improved vocal delivery also does
sound a lot like Forbidden vocalist Russ Anderson, and when listening
to this record for the first time the moments where his voice sounds
familiar are more rare than one might expect. Of course Tagtgren has
given "All Hell Breaks Loose" a good sound, but it's definitely not
superior to the rather samey Abyss jobs of late (Sunlight/Morrisound
syndrome revisited?). Overall this is a decent record, featuring
professional musicianship, five or six good tunes without a real
standout track, and I would recommend this to fans of technical
thrash metal as well as long time Destruction lunatics. On the other
hand, I have to say that bands of the fifth or sixth wave of thrash
metal like Defleshed have learned how to outshred their idols and I
don't see anyone giving _All Hell Breaks Loose_ another spin in a
couple of months after the initial Destruction-reunion bonus has worn
off.
Dying Fetus - _Grotesque Impalement_ (Blunt Force Records, 2000)
by: Aaron McKay (9 out of 10)
I feel nearly the same way about this almost 22 minute MCD as I did
about Viking Crown's _Onorthodox Steps of Ritual_ [CoC #42] -- if you
don't like this, you should stop reading my shit! Also, if you don't
like this type of all-out, balls-to-the-wall death metal, you should
re-examine yourself as a fan of the genre. I think these East Coast
gentlemen have some of the best style in metal. I must confess that
Dying Fetus's _Killing on Adrenaline_ [CoC #34], is -still- my
favorite, but this is -solely- due to the fact that _Grotesque
Impalement_ is an MCD. Otherwise, with the presentation of more,
newer DF material, I would be forced to re-evaluate that decision.
I'd argue, convincingly and to the best of my ability, that Dying
Fetus possesses the epitome of a death metal vocal style. "Hail
Mighty North / Forest Trolls of Satan (Anno Clitoris 666 Opus 11)" is
a cut reminding you of the heaviest song Gang Green -wishes- they
could have recorded! Killer, powerful and brutal work on _Grotesque
Impalement_. Do yourself a favor and check it out. Again, guys,
unquestionably heavy as a really fuckin' heavy thing.
earthtone9 - _hi-point_ (Copro Productions, May 2000)
by: Adrian Bromley (8 out of 10)
There are few bands out there nowadays that I'll put high on a
pedestal with my fave band, Nottingham outfit Pitchshifter. But
earthtone9 has easily made the jump to such high distinction. These
guys write some of the coolest hard rock / hardcore / noisecore
numbers out there. With a real kinetic vibe and a badass flow of
intensity, English outfit earthtone9 know how to stay grounded, but
expand with this four-song outing by using momentum and technology.
Keep your eyes peeled for these guys and get down to opener "Tat Twam
Asi".
Entombed - _Uprising_ (Music for Nations, March 2000)
by: Matthias Noll (8.5 out of 10)
Warning: this is neither another _Left Hand Path_ nor another
_Clandestine_. If that's what you're looking for, you can skip this
review. If you haven't lost hope after the disastrous _Same
Difference_ (what a lie) album and have preserved your appreciation
for the Swedes and their music throughout most of their musical
changes, then there's plenty of reason to rejoice. Let's forget about
that last album and compare _Uprising_ with the -- in my opinion --
fantastic _To Ride..._: on _Uprising_, Entombed have again decided to
throw some more (death) metal elements overboard, namely Petrov's
vocal style, who's more screaming than growling now, and also their
trademark Sunlight studio boost. (Gasp!) The latter got replaced by
an excellent, raw and natural sounding production which leaves the
impression of personally being in the rehearsal room with cabinets of
smoking speakers and amps in front of you. Sound-wise a great
achievement which brings back the spirit of Voivod's wicked debut or
AC/DC's _Let There Be Rock_ masterpiece. With a slight portion of
regret, I have to say that I do understand and appreciate the band's
desire to turn their back on the more artificial Skogsberg treatment.
Musically this is still the same Entombed that did songs like
"Wreckage" or "Out of Hand", only this time with an even heavier
infusion of Motorhead-style, dirty, rabid rock 'n' roll and,
according to CoC's Paul Schwarz, some Autopsy-influenced riffs. The
album starts in great fashion with a couple of driving, heavy songs
like "Say it in Slugs", has one or two somewhat less intense moments
and ends with a great finishing track, "In the Flesh", with its
"Black Sabbath" meets the last part of "Left Hand Path" doominess.
Overall this is a true return to form. Slightly inferior to _To
Ride..._, but definitely an album I see myself banging my head to in
the years to come.
Even Song - _Of Man's First Disobedience
(Expulsion From the Divine Abode)_
by: Paul Schwarz (7 out of 10) (Displeased, April 2000)
When constructing their arrangements and choosing their progressions,
this Hungarian quintet certainly didn't wimp out and make things easy
for themselves. The guitars of Mihaly Szabo and Gabor Olah rarely fix
on one theme (let alone one riff) for long, except for the meagre few
sections where the band decide that riffing things up (usually in a
doom-inspired style) is what a song needs. The majority of the time
Even Song spend dealing out melodious progressions by the bucketload;
the guitars almost constitute a third, genderless singing voice which
constantly complements the duelling male and female voices. Symphonic
keyboard work underlines a complex rhythm section resulting in a
final concoction which is frustrating to assess. On the one hand you
can't but admire Even Song's technical ability and challengingly
complex arrangements. On the other, _OMFD(EFtDA)_ does fail to really
grip me; Even Song impress more than they emote. Definitely not an
album to buy blind, but one which may hold considerable joy for it
"hits the spot".
Everon - _Fantasma_ (Mascot, May 2000)
by: Paul Schwarz (7 out of 10)
As Everon get down to business with the prog-rock/metal of their
fourth effort _Fantasma_, "If Rush were German..." was the phrase
dancing its way through my cranium, and it remains my most poignant
recurring thought after absorbing the album's entirety. Everon spin a
big, brash, fantasy yarn of a prog-metal album brimming with
high-pitched, crystal clear vocals, sometimes-preposterous synth
textures, melodic and consistently shifting riffs and a relatively
complex rhythm section to backbone it all. _Fantasma_ may be cheesy
as fuck in both sound and occasionally also lyrical content; some of
Everon's best moments may reek a bit too much of Rush (my gods as far
as this sound is concerned) to make them overly convincing; all the
same, though, _Fantasma_ provides those of us who (whether biting our
lips to suppress laughter or grinning widely in unbridled enjoyment)
enjoy the works of bands such as Dream Theatre, the aforementioned
Rush, or even the more popular Genesis with some good, clean,
fantastically-inspired prog-rock/metal.
Exciter - _Blood of Tyrants_ (Osmose Productions, June 2000)
by: Matthias Noll (6 out of 10)
Quite some time before the Metallica shockwave shattered the earth,
Canadian metallers Exciter had their classic debut out (_Heavy Metal
Maniac_) and together with Venom reigned on the extreme Metal throne.
For their first three records they maintained their quality level
before the typical line-up roulette started, and the band disappeared
after some shitty records. With only one member from the original
line-up, and I think it's a bit ironic that it's John Ricci (the
original guitarist who was the first to leave), the Canadians have
reformed in the late '80s and this is their second record after the
reunion. The reborn Exciter have chosen to follow the path of one of
their main influences, Judas Priest (one of whose song titles was
used for the band's name) much closer than ever before. Gone are the
screechy but unique vocals of original drummer/vocalist Dan Beehler
and new singer Jacques Belanger, who prefers the high pitch, sounds
like Rob Halford's lost brother, with an impressive and powerful
vocal range almost identical to the original's performance on Priest
songs like "Painkiller" or "Freewheel Burning". Lyrics and songtitles
also seem to be taken from ravishing Rob's textbook of what to sing
about if you're more metal than metallic metal. Only by inches do
Exciter miss the highest mark of metal-cheese on cliche laden tracks
like "Rule With an Iron Fist" or "Weapons of Mass Destruction". Think
"Faster than a laser bullet, louder than an atom bomb" and you're on
the right track. Musically, the old Exciter style is still intact and
recognizable, so this is not a total change of direction to direct
some of the power metal bucks into Ricci's presumably small wallet.
Speedy and powerful, nowhere near intricate riffing, a few breaks and
simple song structures, a slower crunching number now and then, and
John Ricci's noisy leads. Despite my criticism, I do have the
impression that even with the 20% of originality Exciter have to
offer nowadays, they are far more sincere and honest than most of the
mullet and leather wearing bulk of European power metal revivalists.
In comparison to the moustache metal from bands like Sinner or Primal
Fear, they sound dirty, rough, unpolished, dedicated and definitely
show some muscle even with their mostly unoriginal approach. If
Priest's _Painkiller_ record has a top slot on your best album ever
list, then you might want to check this record out instead of new or
old output from bands like Pegazus, Stormhammer, etc., etc., etc..
Fates Warning - _Disconnected_ (Metal Blade, July 2000)
by: Brian Meloon (6 out of 10)
Fates Warning's latest offering shows them shows them moving in a
different direction than they were with _A Pleasant Shade of Grey_.
Unfortunately, while that was a step back in the right direction,
this one seems not to be. The overriding word that was in my mind as
I listened to the first few tracks of this album was "grunge". Yes,
you heard that right: the first few tracks ("One", "So", and "Pieces
of Me") have that "dirty rock" guitar sound that was popular among
"alternative" bands a few years back. Adding to this are riffs that
sound more like something Soundgarden or Tool would have com
e up
with, and a definite similarity in vocal tones -- but most of the
vocal melodies sound like those on Fates' _Parallels_. There are even
a couple of parts which have a techno influence, reminding me
somewhat of Nine Inch Nails. This makes for a unique sound, though I
find it neither compelling nor progressive. After that, though, they
settle down and the album improves. The next two songs, the
eleven-minute "Something From Nothing" and the sixteen-minute "Still
Remains" are mostly slow, roughly in the vein of "The Eleventh Hour"
from _Parallels_. At times, though, they slow down to almost ambient
speed. The grunge influences are somewhat toned down by the fact that
the songs are slower, though the guitar tone remains the same and the
industrial/techno influence is still apparent. The closing track,
"Disconnected Part 2" is even more ambient, and drones on and on, but
is still preferable to the earlier stuff. The playing is solid
throughout, but there is very little that's actually challenging.
There are very few guitar leads, and most of the playing is very
restrained. Overall, this is an interesting album, as it is a fairly
radical departure away from progressive metal. There is some good
material here, but largely I find it a step in the wrong direction.
Fleshcrawl - _As Blood Rains From the Sky...
We Walk the Path of Eternal Fire_
by: Paul Schwarz (7 out of 10) (Metal Blade, April 2000)
Fleshcrawl have no interest in being original. They have made it
their mission, as a -German- band, to deliver music solely of the
early nineties Swedish death metal variety, and on _ABRFtS...WWtPoEF_
a single Exciter cover is the only possible exception to this rule.
Being a fan of early nineties Swedish death metal and thus owning
many of its highs and even some of its lows, I must admit that,
bizarrely enough, Fleshcrawl really have hit the nail on the head as
far as reproducing the early nineties Swedish sound goes: they have
the structures, the vocals and, well, everything you could wish for
in an early nineties Swedish death metal album... except originality.
When Entombed made _Left Hand Path_, the production sound and musical
style they were part of was new; it was a different take on the
gore-soaked, bass-heavy, Scott Burns produced sounds which were
emanating from the USA at the time. In 2000, Fleshcrawl are not
giving us something fresh or new; they are merely repeating the past.
However, with the Fredman studio and an engineering Fredrik Nordstrom
to help them, Fleshcrawl have undeniably delivered one of the most
Swedish sounding albums of the last few years, which will no doubt
enthral those who wish Entombed had done five more _Left Hand Path_s
and Dismember four more _Like an Everflowing Stream_s.
Grief of Emerald - _Malformed Seed_ (Listenable Records, May 2000)
by: Pedro Azevedo (8 out of 10)
_Malformed Seed_ is the second offering from Grief of Emerald, and
having missed their first, _Nightspawn_ [CoC #35], I can only imagine
where they are coming from musically. This proudly self-produced
record does sound somewhat different from the norm, and although some
of the production options may be a bit questionable, the overall
result is good. They apparently aimed at having a peculiar kind of
big, "explosive" sound, which they achieved to some extent. Faster
and slower parts and a few different guitar and keyboard styles are
used throughout in an attempt to keep their symphonic but aggressive
take on black metal varied and interesting, a goal which is partially
achieved. In the end, though, album still tends to seem a bit in need
of a good interlude or two. Grief of Emerald are very competent and
entertaining, thus earning their rating, but they are so without
really achieving anything remarkably brilliant or innovative. This
nonetheless does not detract from the fact that the album is quite
consistent and enjoyable and does have a characteristic sound of its
own.
Grimm - _Nordisk Vinter_ 7" (Vinyl Maniac bootleg, 2000)
by: Alvin Wee (9 out of 10)
We're not in the habit of reviewing unofficial stuff like this
bootleg from "Vinyl Maniac Records", but this stuff is too good to
pass up. This bootleg 7" is one in a series of cult bootleg
re-releases by the label (we'll feature more next month), and
features the band's 1994 demo of the same name. Starting out as a
cult act in the underground, the band pretty much stayed that way
despite boasting the session playing of the two Carpathian Forest
members. The otherwise one-man act soon disappeared, leaving the
legacy of this recording, the quality of which questions their
obscure status. A grim mixture of old Burzum and Darkthrone, this is
black metal played in the old way, and its short duration will leave
black hearts panting for more. Titles like "The Embrace of the Cold"
and "Darkest Depths" don't require much explanation: like old
Carpathian Forest, the music is dark, droning and chill, with the
semi-raw, fuzzy production sending delicious tremors through your
frost-bitten limbs. Old school maniacs mustn't miss shit like this,
especially if you think Carpathian Forest's _Through Chasm, Cave and
Titan Wood..._ is godly (I do!). No info given, but I know you can
get it ($7 should do the trick) at:
Contact: No Colours Records, Postfach 32, 04541 Borna, Germany
Hair of the Dog - _Rise_ (Spitfire Records, 2000)
by: Aaron McKay (3 out of 10)
Sounding a lot like the new Alice Cooper record, I think both these
groups could have given a touch more "metal" to the cause. Without
getting into an Alice review here, I guess that I was nourished on
material like _Raise Your Fist and Yell_ (Kane Roberts!) and the
like. I think that I've always believed that Mr. Cooper was ahead of
his time, but this last release, _Brutal Planet_, with a few notable
exceptions on the album, isn't worth hollering about -- let alone
putting my fist in the air and screaming. So anyway, I mention the
Alice due to both groups belonging to the Spitfire label, along with
Testament and Black Label Society. Those last two bands being
favorites; Hair of the Dog obviously not being all that close to my
heart. HotD camouflage themselves as devotees of Kiss, Van Halen,
AC/DC and, to some degree, Eric Clapton. What I hear when listening
to _Rise_ is something that puts me in mind of what I used to listen
to in clubs near the concert venue awaiting bands like Dark Angel and
King Diamond. Fluff. I hear a lot of puffed-up metal when I spin this
newest Hair of the Dog effort. How this band ended up opening some
dates in the mid-West for Motorhead and Nashville Pussy toward the
middle of July, I'll never know. I'll give _Rise_ this, it is smooth
as a shot of Absolute! Very clean and professionally done. So well
done, in fact, that my girlfriend has frequently requested I give
_Rise_ a spin after my 12th time through Venom's _Resurrection_.
Also, the group has an extremely impressive website. If you crave
unabashed musical whipped cream or your desire to impress your
significant other overrides what I know to be your better judgement,
then Hair of the Dog's _Rise_ might be for you. Otherwise, vaccinate
yourself against the rabies these guys are surely spreading.
Contact: http://www.hofd.com
Hatred - _The Offering_ (Demolition, June 2000)
by: Adrian Bromley (8 out of 10)
Holy fuck! Run for cover as Hell has spewed open and the minions of
Satan are spreading like wildfire. Virginia-based act Hatred (great
name, by the way, guys) play some of the most ball-busting, brutal
death metal that I have heard in some time. While they deliver big
time on the speed of it all, the real winners here are the menacing
screams of anger and aggression that singer Tom Clayborne brings to
the fold. His menacing cries just keep the momentum in strike
position from start to finish. Get crushed by such fucking brutal
numbers as "Rotting" and "Trust No One". Hatred is here and it is
spreading. You've been warned, folks.
Contact: P.O. Box 10264, Alexandria, VA 22310, USA
mailto:hatredva@aol.com
Hypnos - _Hypnos_ (Morbid Records, May 2000)
by: Paul Schwarz (7.5 out of 10)
As the debut EP from a new band featuring no less than two former
members of Krabathor -- one in particular significantly being
long-standing bassist and 50% vocalist Bruno --, _Hypnos_ may be part
of a body of evidence suggesting the imminent demise of the
long-suffering Czech death metal heroes (in which catalogue we should
include last month's Martyr album, which Krabathor's other half
created with the help of Master mastermind Paul Speckman), but it is
nonetheless a promising introduction to a band seemingly in
Krabathor's league as well as centrally following their musical path.
Here, Hypnos only provide us with a three-track taste of their own
music along with a cool Bulldozer cover ("The Cave", for which I have
not heard the original) by which to assess them. My jury is still out
as to whether Hypnos will necessarily be much of a concern in the
future. They have a good strangle-hold on the loose and unrestrained
style of death metal favoured by many bands of the former Eastern
Bloc, but essentially the material they have presented here amounts
to average Krabathor or Yattering tracks and certainly not anything
unusually promising or original. One to keep an eye on all the same,
though.
Hypocrisy - _Into the Abyss_ (Nuclear Blast, August 2000)
by: David Rocher (8 out of 10)
Talk about insomniac workaholics in metal, and the names Dan Swano
and Peter Tagtgren immediately spring to mind. With their eponymous
and very atmospheric-toned sixth effort released just over a year
ago, Tagtgren's melodious bunch have certainly wasted no time in
readying its sequel, _Into the Abyss_. And surprisingly, a first
cursory listen to _ItA_ actually proved to be mildly disappointing;
Hypocrisy indeed simply seemed to have reached a crucial point where
they have apparently become that bit too proficient and professional
for their own good. _ItA_ showcases simply brilliant tracks, that
fully live up to Hypocrisy's celestial standards; distinctly hateful
and aggressive back-to-the-roots material, such as the searing opener
"Legions Descend", or the very brutal "Total Eclipse", thrashes
alongside majestic mid- and slow-tempo hymns such as "Resurrected",
"Fire in the Sky" or the fantastic closer "Deathrow (No Regrets)".
Now where is the problem, then? Well, quite bluntly, _ItA_ lacks
rawness and rage; whereas the customary Abyss sound fits _ItA_'s
slower anthems like a heavy metal gauntlet, on faster, tentatively
"old-school" tracks where Hypocrisy lash out in full speed and fury,
this same fantastically smooth and perfect sound in fact actually
blunts their rage's cutting edge, and makes potentially violent
material sound tame and somehow subdued. I am very likely being
overtly pointillious and demanding, and complaining about musical
perfection is maybe wasted energy, but as Hypocrisy's seventh chapter
closes, its sleekness and utter perfection will leave many a listener
craving for a lashing of growling rawness and unbound savagery.
Impaled - _The Dead Shall Dead Remain_
by: Aaron McKay (4 out of 10) (Deathvomit Records, March 2000)
I honestly gave it everything I had to liking this offering. All I
have to say is the sum of this release's points come from the fact
that I think the distinctive guitar work is beyond belief. I tried,
over and again, to get into this effort, but every time I was greeted
by a sense of Carcass's _Necroticism -- Descanting the Insalubrious_
rehashed by Impaled in a less than commendable way. I noted that
James Murphy mastered _TDSDR_, another authoritative reason for me to
at least -try- to like this release, but the connection wasn't there.
Track four, "Spirits of the Dead", has an incredibly strong riff
about the four minute mark, and the "fuck off" statement imprinted on
the disc itself was humorous, but even together it was still not
enough to compensate for the remainder of the album.
Impaled Nazarene Vs. Driller Killer (Solardisk, March 2000)
by: Paul Schwarz (7 out of 10)
Whether you'll be interested in this four track MCD representation of
last year's split 7" between these two bands, depends how fanatically
you dig either Impaled Nazarene, Driller Killer, or in best-case
scenario, both together and intertwining. You see, in a mere ten
minutes each band manages to belt out a song of their own, but also
cover a song of the other's. If you've only ever heard these bands
tagged, and not actually heard their music, this might sound more
novel than it actually is. However, let's face it, Impaled Nazarene
can be very punk for a black metal band and Driller Killer are metal
and raw enough a punk band, that together on one MCD the two do not
sound overly disparate from each other. Since Solardisk only has a
major distribution deal in Finland, your best bet to pick this up is
at their website.
Contact: http://www.solardisk.com
In Flames - _Clayman_ (Nuclear Blast, July 2000)
by: Pedro Azevedo (9 out of 10)
_Clayman_ is already In Flames' fifth full-length record, yet they
still sound every bit as enthusiastic as before and even more
skilled. When a band has such characteristic elements as In Flames'
very own blend of melody and aggression, it can quickly become
difficult for them to avoid repetition without losing some of the
most distinctive elements in their sound. In Flames managed to
half-reinvent themselves with _Clayman_ -- not in the sense of such
reinvention being desperately needed and having been left half
finished, but rather in the sense of again having been able to change
enough without changing too much. _Clayman_ still definitely sounds
like In Flames, but rhythmically unusual riff patterns do appear, as
do rather different keyboard elements occasionally. Vocals have
changed as well, having become slightly more screamed and less raspy,
which reflects an overall sensible increase in aggression throughout
most of the album. Plenty of semi-spoken passages were included as
well in order to create some contrast, which the band achieved very
well. Without being revolutionary or the greatest album of the year,
_Clayman_ is an excellent record that still sounds like In Flames,
but a somewhat different In Flames: a band that has kept their style
intact while still evolving and exploring, staying as fresh,
memorable and energetic as ever.
Incantation - _The Infernal Storm_ (Relapse, March 2000)
by: Paul Schwarz (8 out of 10)
Losing Daniel Corchado (who is currently back doing great things in
The Chasm) seems to have been more of a blow to Incantation than his
meagre writing credits in their last _Diabolical Conquest_ [CoC #33]
would suggest. Incantation in 2000 comprises, of course, omnipresent
figurehead John McEntee and also bassist Robert Yench, who are joined
this time by new vocalist Michael Saez (ex-Deathrune, also second
guitarist) and a guesting Dave Culross on drums. And though this
means that the inexorable hounds of Culross' pounding double kick
drums and tight snare are ever on your heels, it doesn't make for a
selection of songs or an overall sound which has the same enrapturing
power as _Diabolical Conquest_. Incantation's rumbling and raw death
metal style requires, for my ears, quite a fine balance between
production sound and song structures to weave a web around its
listener, and on _The Infernal Storm_ I don't think McEntee and co.
have got the balance consistently right. Though the mind-numbing
repeated minor chord progressions of _TIS_ do create good atmosphere,
they are far over-used and the punctuation of the stronger, thicker
melodic strains (still minor) which well balanced _Diabolical
Conquest_'s character are sadly forsaken here. All the same,
Incantation have given us another appetising platter of dark death
metal which explores the less ambitious style presented on their
first two outputs (_Onward to Golgotha_ and _Mortal Throne of
Nazarene_), though with a far superior production and somewhat better
constructed songs.
Jag Panzer - _Thane to the Throne_ (Century Media, May 2000)
by: Adrian Bromley (8 out of 10)
I don't know what the guys in Jag Panzer are drinking, or what lucky
charms they got draped around their necks, but this Colorado
progressive metal machine continues to put out great records. The new
disc, _TttT_, is the interesting and (very) different follow up to
1997's _The Fourth Judgement_ and 1998's _The Age of Mastery_. And
why is this so different? Well, for one thing, the whole disc is
based on the work of William Shakespeare's Macbeth. Yes, you heard
me: Macbeth! The band has worked their music and material around the
classic theatre production, with singer Harry Conklin drumming up
some great vocal styles and axe-slingers Mark Briody and Chris
Broderick bringing up the rear. A concept-style record that works
wonderfully, most notably on numbers "Bloody Crime" and "Insanity's
Mind".
Juvenes - _Riddle of Steel_ (No Colours Records, May 2000)
by: Alvin Wee (8 out of 10)
It must be something in the water over there: Poland's black metal
elite just can't seem to get enough of this "Viking" mood. First,
Poland's loyal sons Graveland surprised us with their epic _Immortal
Pride_, and now debutantes Juvenes follow suit with another
"Hammerheart" tribute. Advertised as the "Polish answer to Bathory
and Falkenbach", this obscure Carpathian outfit doesn't disappoint
with the five long tracks on this album. A suitably majestic
horn-blowing "Prolog" opens up the album, leaving little to the
imagination as "Chariots of Gods" rides in with the requisite martial
drumming and more horns. Pretty involving stuff if played out loud,
evoking a truly medieval, war-like feel, which is more than can be
said for the draggy _Immortal Pride_ album. Clean "Viking" bellowing
takes over on the ten-minute epic "Ubi Sunt", which carries on the
olden-warrior thang a tad too long, before the title track breaks in
with a promising beating of war drums and blowing of war horns.
Clearly the best track on the album, "Riddle of Steel" blends all the
previous elements into one glorious war hymn clocking in at fifteen
minutes. Guaranteed to please the most deluded warrior with its
interwoven motifs and epic structure, this is clearly no album to
take on the road; a little patience and imagination should pay off
well here. Stop buying all those big Viking names and support the
underground by sending $20 to:
Contact: No Colours Records, Postfach 32, 04541 Borna, Germany
Keelhaul - _Keelhaul_ (Escape Artist, May 2000)
by: Paul Schwarz (9 out of 10)
This record completely passed me by when it originally emerged a few
years ago, so I am very glad that its recent re-release occurred,
because otherwise I may never have got to discover, absorb and enjoy
its unusual character. Still, I find it difficult to describe or
explain precisely -why- I like _Keelhaul_ so much. Largely
instrumental, sometimes for whole tracks (like the aggressive "Tuco"
opener or calming closer of "ESP") but just as often for large
sections of songs where Aaron Dallison's grating vocals nonetheless
feature, _Keelhaul_ is not a first listen record: it takes a while to
absorb and digest. When Dallison's direct shout/screams do feature,
the instrumentation is uncomplicated. However, when Keelhaul move off
instrumentally, -that- is when they really get interesting. From a
relatively simple rhythmic base and basic riffs the band layer
various harsh melodies and percussion fills, slowly and hypnotically
building to massive climaxes: the intimacy of the compositions makes
you feel like you're hearing a band (and a very tight, good band at
that) jam in their own practice room. Then, momentarily and
dynamically, Keelhaul will reduce their complexity down and plough
themselves in a different direction. There's something about
_Keelhaul_ that's strangely private; it's a hard record to listen to
amongst people who don't "get it". That said, giving its unusual and
intensely individual forty-five minutes repeated spins is well worth
the moments of wonderfully pure musical enjoyment it will yield.
Virtually nothing on _Keelhaul_ fits any traditional description of
"nice" -- it's nearly all hard and harsh in one way or another -- but
yet its nastiness is more atmospheric than it is gut-wrenchingly
brutal; Keelhaul doesn't use percussion battery or multiple-tracked
guitars to do its work, it instead evokes feeling more purely through
its musical compositions. That's what makes great music: making an
impact on a deep, lasting level. A devastating, shocking first strike
may initially make peoples' jaws drop, but it doesn't keep hitting
the spot in listens or years to come, and I think _Keelhaul_ will; in
fact, I think it'll just get better the more time I put into it.
Linea 77 - _Too Much Happiness... Makes Kids Paranoid_
by: Paul Schwarz (6 out of 10) (Earache, April 2000)
After Crackdown -- Italy's answer to Biohazard -- in 1998, we now
have Linea 77 -- Italy's answer to Korn --, who are having their
debut of last year re-released for the European market via the
Earache label. Linea 77 -appear- to have created a not inconsiderable
stir in their home country's live scene with the vitriolic
baggy-pants metal blend showcased over the thirty-odd minutes of
_TMHMKP_. However, they have quite simply delivered nothing more than
a debut which displays ample competence at condensing various
elements from names such as Korn, Deftones or Limp Bizkit down into
aggressive three minute soundbites. _TMHMKP_ has nothing, musically
speaking, which is likely to enthral even a person only moderately
acquainted with the ways of the baggy-pants metal crowd; it provides
a tangible backing to Linea 77's live performances, but it provides
little to nothing else.
Long Winter's Stare - _The Tears of Odin's Fallen_
by: Pedro Azevedo (8 out of 10) (Dark Symphonies, June 2000)
How very appropriate that a band who describe themselves as creators
of "dark symphonic metal" is now signed to Dark Symphonies.
Coincidences aside, LWS's third release [CoC #32, CoC #39] sees the
band continue to explore their rather unusual sound, now with female
vocalist Deirdre Faith in their ranks as well. After LWS's previous
record _Before the Dawn, So Go the Shadows of Humanity_ I was
wondering where the band might go next. That album was interesting
but not very consistent, and I felt further experimentation might
subtract more from that consistency if they were not careful. LWS did
make some good choices for this record, however, and did manage to
make some interesting changes to their sound without losing more
consistency (even if they didn't gain much either). Deirdre Faith's
often sombre but quite varied vocals are certainly a worthy addition
to LWS's music, while the male vocals continue to evolve somewhat.
The thick, dirge-like guitar sound is used in such a way that it
leaves centre stage for the vocals, keyboards (mainly classical
piano) and contrabass, backed by the competently programmed
artificial percussion. This all works very well indeed during the
slower sections, but whenever LWS try to add some more power or pace,
their musical engine clearly struggles to keep up, as their sound is
not well suited for that at all -- the slower and sadder the music
gets, the more appropriate it seems. The album's highlight for me is
a good example of that: the rather tragic "In Arms". Other tracks,
such as "Blood of Steel", are also worthy of mention, but again LWS
need to achieve a more consistent album than this, for there are
still passages that don't work too well. A nearly twenty minute long
funereal doom track closes this hour-long album. It does not fully
justify its length, as it does get rather repetitive, but the idea
was good and the execution competent. This is another unusual album
from LWS that might cause very varied reactions, but they do have the
merit of sounding quite different from the norm, in addition to the
quality that _The Tears of Odin's Fallen_ does have.
Contact: http://www.darksymphonies.com
Lux Occulta - _My Guardian Anger_ (Pagan Records, 1999)
by: Pedro Azevedo (9 out of 10)
A band that has impressed me with every release so far [CoC #18, CoC
#29], Lux Occulta did not fail to do so again with _My Guardian
Anger_. Starting with an interesting album title and very good front
and back cover art, Lux Occulta proceed to constantly challenge you
throughout the record with their uncanny blend of aggression,
technicality and avant-garde ideas -- a bit like what Solefald could
have done instead of their disappointing _Neonism_ [CoC #43], but
more metal-oriented and with a different sound. Indeed, the sound on
_My Guardian Anger_ essentially leans more towards death than black
metal elements, compared to the band's past efforts, but the keyboard
work, arrangements, sudden rhythmic and contextual changes and
musical influences therein defy classification. Very heavy, crushing,
driving, and forming such a rapid yet fluid sequence of acute
changes, the music just does not allow distraction. Be forewarned
that this is a record unlikely to make much sense initially, but
things really start finding their places after repeated listens and
the massive fluidity, strength and creativity of it all fully
surfaces. Challenging and remarkable.
Mayhem - _Grand Declaration of War_ (Season of Mist, May 2000)
by: Paul Schwarz (8 out of 10)
Scanning backward after engaging _Grand Declaration of War_ in the
old melenky stereo reveals an intro which is, reflectively, backward.
From this very much black-tinged-with-the-crunch-of-death styled yet
simplistic and uncharacteristically relaxed first intro begins a
healthy and growing infection of influence from Canadian thrash metal
oddballs Voivod. "A Grand Declaration of War" is the aptly titled
second intro, and first track. This embraces more recognisable black
metal atmospheres with Blasphemer juxtaposing loose relaxed riffing
with beefy chugging, backed by thick, solid and fluent drum work from
Hellhammer. As a militaristic rhythm establishes itself, a quietly
venomous, vocally proclaiming Maniac introduces us to Mayhem's
minorly-flawed two-part concept album of a sophomore release. The
lyrics of the third and final initial intro "In the Lies Where Upon
You Lay" begin to lose their initial power, to even grate, when the
consciousness-rebellion-concept war declaration narrows its focus to
Christendom, the "religion of pity". Mayhem have said words in recent
interviews to the effect that the rebellion against Christianity is
in some way symbolic of a larger scale rebellion towards greater
personal self-awareness -- or that's how I read them in any case. My
problem is that Mayhem seem articulate enough thinkers adept more
than sufficiently in English to tackle less basic and overused
symbolism. Krisiun, with a less firm and assured grasp of English,
can acceptably settle for the second place of requiring verbal
explanation for people to properly understand their wider vision; in
my opinion, Mayhem could and should be getting a general point across
more effectively in the lyrics themselves, rather resorting to rough
metaphor. "ItLWUYL" introduces the first batch of serious riffing and
speedy drumming, but this segues quickly into the lyrical
proclamations described above. There are pangs of disappointment, but
the brooding six minute testimony still provides many moments of
vividly evocative power. First true (yes, without capitalisation)
song "A Time to Die" does not back up the assured threats of the
aforementioned trio of intros. And yes, since we're on the subject,
_GDoW_ does have too many intro tracks. "A Time to Die" is
undoubtedly intense -- especially once its second, more furious half
really gets moving -- but it is ultimately primitive in arrangement
and by far the most creatively redundant track on _GDoW_. "View From
Nihil" learns from every one of its predecessors mistakes,
dynamically juxtaposing the earlier use of proclamative lyrics over
militaristic percussion, with sections of insanely fast drumming and
speedy, crushing riffing. As "View From Nihil" closes, a one minute
outro-of-sorts in a similar style closes off Part II (_Wolf's Lair
Abyss_ has retrospectively become Part I). Part III begins with
another spoken section (again using Christianity as a reference
point) to introduce "A Bloodsword and a Colder Sun", the definite
oddity of _GDoW_. Mimicking the atmosphere electronics of Kraftwerk
and (I'm told on good authority) Skinny Puppy, Mayhem more than
merely defy expectations; they positively shatter them. But the
impression is still more of a band experimenting for effect, rather
than pure musical value. Ultimately, the track serves little higher
purpose than as an intro-of-sorts to The New Mayhem, should such a
term be applicable. "Crystalised Pain in Deconstruction" contrasts
sharply in continuing Blasphemer's evident love-affair with Voivod,
and taking it to new heights; the classically jagged riff patterning
woven into arrangements that are the most fully realised on the
album. It may not have "View From Nihil"'s crushing speed and
intensity, but "CPiD" digs deeper on an emotional level. "Completion
in Science of Agony" goes yet more dark, atmospheric and gradual than
any of its predecessors, while still embracing Mayhem's guitar-based
approach. All the same, it has definite flaws. Its nine-minute length
is not succinctly filled, and like some of _GDoW_'s opening few
tracks it adopts the feel of an extended intro for what follows it.
And "To Daimonion" is just the closer to assure that Mayhem finish up
_GDoW_ with their style intact, and an element of mystery pungently
lingering about them. Embracing an almost bouncy groove and lacking
little or nothing in roaring power, Mayhem exuberantly chug their way
through _GDoW_'s final few minutes before Maniac delivers an
ambiguous final proclamation: "I remember the future. A new beginning
in time", over total silence. Mayhem's admittedly massive alterations
in style are not as concerted a break from the extreme music norm nor
as creatively rich as those managed, for example, by The Chasm on the
masterful _Procession to the Infraworld_. Mayhem seem almost confused
by comparison. The proportion of their potential which is realised is
comparable to Satyricon's _Nemesis Divina_. I hope Mayhem can inspire
themselves to a similar turnaround in creative success as the _Rebel
Extravaganza_ which followed for Satyricon. Because, interesting and
occasionally rhythmically unusual though _GDoW_ may be, its
(nonetheless very welcome) Voivod throwbacks and mildly effective
conceptual character still leave it wheezing and panting behind the
likes of Dodheimsgard's _666 International_. Their concept works well
overall, though it is somewhat prosaic, and certainly surpasses black
metal crisp-packet-philosophies like Gorgoroth's "The Sin of Satan is
the Sign of Gorgoroth". Mayhem have not put themselves at the
forefront of innovation, but they have very firmly thrown down the
gauntlet at the feet of those who would have them attempting to
recreate "the good old days" (i.e. _De Mysteriis Dom Sathanas_).
Ultimately, it is time that will tell if the name of Mayhem retains
the (un)hallowed resonance it has enjoyed in the nineties, in years
to come, and I must admit, whatever my misgivings about _GDoW_, I
will be curious to see where the band are in ten years.
Mental Home - _Upon the Shores of the Inner Seas_
by: Adrian Bromley (6 out of 10) (Century Media / The End, June 2000)
The most appreciative quality about Russia's Mental Home is not the
fact that that their music is chock-full of many sounds and styles,
one time going the melodic metal route, the next taking on a
doom/gothic sound backed by searing keyboards. The music is well done
and very complex, and while many critics and fans like them, I am
beginning to see a loose grip of material take over their sound. They
expend too much time working on shape-shifting their music here to
make it a solid listen throughout. Highly potent at times, but still
missing the mark by a small distance in my books. Choice cut:
"Breakdown".
Milligram - _Milligram_ (Tortuga Recordings, June 2000)
by: Adrian Bromley (8 out of 10)
It is hard to believe that it has been seven years since Only Living
Witness dropped a bombshell of a record called _Prone Mortal Form_, a
highly groove-oriented metal release that drew deep influence from
the East Coast hardcore scene, but still supplied its own genius to
each composition. Now with Milligram, ex-OLW singer Jonah Jenkins
once again fires up the troops with this crushing musical experience.
The music of Milligram has succulent grooves and melodies, but
delivers a one-two punch like an experienced bar room brawler. Check
out the menacing "I Don't Bleed (For You)".
Contact: P.O. Box 382409, Cambridge, MA 02238-2409, USA
Murder Corporation - _Murder Corporation_ (Regain Records, 1999)
by: David Rocher (4 out of 10)
This eponymous album was recorded in the cold month of October '97,
as the snow fell in a white funereal veil of sorrow, icing mortals'
very hearts and the blood in their veins and -- well, fuck that,
because "Murder Corporation ain't never going to hang around the
woods!", boasts _Murder Corporation_. A massive extremist
death-metallistic dirge is what Deranged axeman Rikard's bunch have
spawned here: a grinding, grunting and distinctly unemotional musical
deformity, that prides itself in sneering at romanticism, subtlety or
any boring emotion of the kind. With twelve titles of gross, intense
and totally caricatured grind-sodden death metal, _Murder
Corporation_ is clearly a proud statement of intent according to
which feelings are for wusses, especially black metal warriors who
lurk around forests at night. Well, the fun unfortunately fades
quickly, as the interest of this album, despite the few cool
hooklines and breaks it features, generally vanishes into sameness,
and very rapidly turns out to be a damn good reason indeed to go to
the woods for a nocturnal communion with the unleashed elements, or
simply to check the enjoyable silence out... It's actually nothing
personal, but this album is better a joke than a convincing death
metal album, and Murder Creation's musical humour picks off precisely
where my tolerance fails and shrivels away into sheer annoyance!
Nightsky Bequest - _Of Sea, Wind and Farewell_
by: Adrian Bromley (9 out of 10) (X-Rated Records, May 2000)
I was surprised at the first listen of Bulgarian act Nightsky
Bequest's release _Of Sea, Wind and Farewell_ -- not for the variety
it offered, but for the passion that came with each track. Passion of
vibrant proportions that seemed to shine with brilliance as the
soft-toned creations of this melodic, acoustic and atmospheric band
helped carry things onward. I was smitten by this band from the
get-go and it is no surprise that they took their (careful) time in
creating and executing such pieces of art. Singer Radoslava Dikanska
adds a unique classical element with her vocals on _OSWaF_. Fans of
ambient-styled/melodic metal acts will want to scope this out. This
band, while not recording a masterpiece like The Gathering's
_Mandylion_, have served up a stellar release for us to consume.
Nile - _In the Beginning_ (Hammerheart, April 2000)
by: Paul Schwarz (8.5 out of 10)
The debut albums of bands discovered and exalted upon the unleashing
of their second opus are often not worth speaking of, but for USA's
Egypt-obsessed and brutally warped death metallers Nile this is
certainly not the case. This welcome re-issue of earlier this year
re-introduces 1995's _Festivals of Atonement_ to the international
catalogue of availability and also includes the later _Ramasees
Bringer of War_ EP -- though this latter rarity merely serves to demo
a few of the frenetic numbers which later appeared on Nile's second
exalted opus, _Amongst the Catacombs of Nephren-Ka_ [CoC #32]. _FoA_
is interesting for its stylistic differences, for though it is for
the most part unmistakably Nile, it is Nile at a much reduced tempo
from _ATKoNK_. Heady, powerful chugging and crushing outpourings like
the monstrous opener "Divine Intent" do display the trademarks you'll
be accustomed to if you've checked out _AtKoNK_, but the songs on
_FoA_ extend often beyond the six or seven minute mark, bestowing
upon them, and the whole record, a vaguely epic quality. The mere
five tracks presented (plus the "Immortality Through Art" acoustic
instrumental) clock in at thirty-two minutes, and that's including
the sign-for-the-future, under-three-minute crush of "The Black Hand
of Set". Nile's debut finds a comfortable spot between a low but
rough death/thrash rumble and the dirty, doomed-out grind of Crowbar
and others of a sludgy and rumbling nature. It may not be perfect in
terms of songwriting and even sound, which nonetheless is rich and
hard-edged, but _FoA_ is well worth owning, replete as it is with
some of the band's best solos and some great, evocative moments.
Nokturnal Mortum - _NeChrist_ (The End, 2000)
by: Brian Meloon (7 out of 10)
Nokturnal Mortum's latest release could be described as a mix of
their previous two releases, _Goat Horns_ [CoC #31] and _To the Gates
of Blasphemous Fire_ [CoC #38], though I find it to be slightly more
in the vein of the latter. The music is fast and brutal black metal,
with a significant folk influence and dual keyboardists. Folky parts
are interspersed with black metal parts, and in places layered over
them. While this isn't a particularly original combination, Nokturnal
Mortum do have their own sound, due partly to their use of
traditional Slavic folk, and the variety of woodwinds they use. The
interplay of their dual keyboardists with the rest of the band also
remains a distinguishing feature. The playing and production are once
again top-notch. The playing seems a little more technical this time,
though I find the production could've been a bit more powerful.
Although there are 88 tracks on the CD, tracks 10-87 are each 4
seconds long, and consist of nature sounds (birds chirping, frogs
croaking, etc.), leaving the CD with 10 longish tracks of brutal
black metal. Ultimately, this is not a groundbreaking album, but it
is well done, and is likely to appeal to fans of the style.
Obscenity - _Intense_ (Morbid Records, May 2000)
by: Paul Schwarz (6.5 out of 10)
Obscenity have made a few meagre attempts to vary the speedy and
brutal pastiche of death metal styles from Europe and the USA which
they offer as their own identity. With nods towards the fabled
"Swedish sound" and tighter, faster blast sections both notable
improvements on this new opus, Obscenity have unsurprisingly remained
essentially the same: _Intense_ still displays an overwhelming bias
towards Massacre, Obituary, Death and Deicide -- solos included.
Obscenity play well, structure songs adequately, are complemented by
a nice production and thus produce results which are at least
fittingly brutal. End-riff melody squeals and a near-five-minute
song-length average dent _Intense_'s semi-glossed sheen, but
nevertheless Obscenity create a marginally convincing Frankenstein
with _Intense_.
October 31 - _Meet thy Maker_ (Metal Blade, June 2000)
by: Paul Schwarz (7.5 out of 10)
The one-star cast -- Deceased main man King Fowley being that one
"star" -- of October 31 have delivered a traditional eighties "cult"
heavy metal record. And they've actually done it pretty damn well,
just without any surprises. Though he is reported to be being
replaced on their next album by the more accomplished -singing- voice
of Shawn Pelata, King's half-successful attempts at singing in tune
on _Meet thy Maker_ somehow flaws it in a very good, honest and metal
way; it divides October 31 from that commercial over-clarity that
afflicts HammerFall. Of course, what with Deceased sliding closer to
full-blown melodic metal mayhem by the day, the divide between
Fowley's main concern and this side-project-of-sorts is not that
sharply defined. Furthermore, King lapses into his "Deceased
(capitalised or not) voice" a number of times on _Meet thy Maker_.
Thus, there are points where one could be taken for the other. The
production, executed by Fowley, is rough, but not so lo-fi that the
fist-banging power of tracks like "Power and the Glory" ("To the
power and the glory / Raise your glasses high / To the power and the
glory / Be with me tonight", its unrepentantly traditionally themed
chorus lyrics!) or "For There Is War!" can't be comprehended, and
without having to go through dozens of careful listens either, the
songs pretty much jump out and grab -you-. Brian Williams and Kevin
Lewis' guitar duelling sees them pull out classy riff lines with
pleasant regularity, and though, probably through the influence of a
similar metal "upbringing", they remind of the results of the
Smith/Adams pairing in Deceased, their similarities do not amount to
mimicry and are quite acceptable. A fun, air guitarable record, but
ultimately not something truly special.
Opprobrium - _Discerning Forces_ (Nuclear Blast, June 2000)
by: David Rocher (6.5 out of 10)
Just when you thought opportunistic reformations were beginning to
really piss you off, here come (or rather return) Opprobrium, their
CD proudly bearing the statement that the band are in fact better
known as "Incubus, from Louisiana, USA". Indeed, after releasing the
death metal classic _Serpent Temptation_ in 1988, Incubus released
its somewhat samey sequel, _Beyond the Unknown_, in 1990, and then
mysteriously disappeared from the face of the scene. Well, maybe it
should have stayed that way; many a fond memory is better laid to
rest -- a thought which Slayer should definitely consider reflecting
on. It's not that _Discerning Forces_ is in any way a bad death metal
album, but it would certainly have kicked a lot more ass some eight
or ten years ago, as a direct follow-up to _Beyond the Unknown_. What
_Discerning Forces_ most unconceitedly reveals is that founder
brothers Francis and Moyses Howard (former bassist Mark Lavenia
having apparently spontaneously mutated into thin air) have, over the
past seven or eight years, taken the time to study the scriptures of
Bolt Thrower, Obituary, _Leprosy_-era Death and many hardcore acts,
whose influence they have attempted to graft on to their own
thrashing songwriting style. As a result, _Discerning Forces_ is
actually a pleasant, in fact really catchy death metal entity at
times, but merely falls short of offering the same level of
enthralling violence as _Serpent Temptation_ surgically delivered at
the time; despite the fact that it offers many a tight, aggressive
and catchy riff, this comeback slab sounds rather disjointed on the
whole, and basically tends to display a lack of congruence and
conviction within one same track. Moreover, warnings against the
spiritual devastation incurred by Internet surfers ("Addiction set
forth, Denial is always high, Warning unnoticed, Trapped to the web")
prove to be just slightly (a frantic understatement) anachronistic in
a Y2K death metal album. So all in all, albeit being efficiently
interpreted by proficient and probably dedicated metal musicians,
Opprobrium's new offering just fails to rise from the slightly tepid
musical swamp in which it revels.
Orth - _Feed the Flames_ (Morbid Records, May 2000)
by: Paul Schwarz (6.5 out of 10)
Fun and brutal Orth may in parts be, but _Feed the Flames_ displays
no evidence that Orth either have anything hugely original or
wonderfully constructed to offer the world of extreme music. "Bobby
Brown", for example, is a hilarious, semi-balled styled ode to
Whitney Houston's former husband -- who is here heard -seemingly-
proclaiming in the first-person: "oh god, I am, the American Dream"
-- delivered in a style part Six Feet Under, part grindcore and part
intense thrash, but it and the few other relatively good tracks on
offer here are themselves far from masterpieces, and they comprise
the good "half" of _Feed the Flames_. Still, Orth do not rest on the
laurels of any other particular band's style for long and thus _Feed
the Flames_ at least manages to keep a decent stream of variation in
tempo and even style going over its forty-five minute duration. As
death metal goes, Orth may not be clever, but they are certainly
competent and in possession of a sense of humour.
Overcome - _Immortal Until Their Work Is Done_
by: Paul Schwarz (7 out of 10) (Facedown Records, May 2000)
Having never before consciously listened to "Christcore", or
Christian hardcore as it is more commonly referred to, I was somewhat
surprised at how musically similar it seems to be to the music of
many SXE bands, e.g. Earth Crisis. But, going back yet further than
my being informed that _IUTWiD_ -was- indeed "Christcore", I must say
that Overcome failed to make any large impression on me with their
music, and even though a reasonable amount of listening to this
record has interposed the time between then and now, I remain in my
original conviction. I enjoyed Overcome's "work" more than Earth
Crisis' _Breed the Killers_, for example, but to my -- admittedly
relatively untrained -- ears this is not musically enough over
Turmoil, or Integrity and Earth Crisis' good moments, to warrant a
great deal of fuss. If you're content with angry, screamingly brutal
metallic hardcore (which entails plenty of similarities to the more
straightforward, atmosphere-devoid death metal bands out there) with
big chunky kicks drums and sheet metal guitars, but nothing to
severely challenge your musical mind (except maybe the acoustically
driven penultimate track, "Reverance"), then I expect you'll be
content with _IUTWiD_.
Contact: http://www.facedownrecords.com
Pain - _Rebirth_ (Stockholm Records / Universal, June 2000)
by: Adrian Bromley (6 out of 10)
While I was a sucker for the industrialized/electronic flow that
Peter Tagtgren presented us a few years back with Pain's self-titled
disc on Nuclear Blast, his latest release on Universal (a major
record label) is coated with a much more commercial sound. Not to say
that Peter T. sold out, he didn't, I am just missing the dark,
depressing vibe that came along with the self-titled disc. While
still dark in every aspect (just look at the song titles), it seems
as though Peter T. wants to hit a crossover market. Who can blame
him? He is talented and the world should know this, right? Even if I
hated this, I don't think Peter T. gives a fuck. He's exploring his
musical creativity and I guess we should all be proud of that.
Pantera - _Reinventing the Steel_ (Elektra, February 2000)
by: Paul Schwarz (7 out of 10)
Before I review _RtS_, I wanted to use the occasion of this review to
say a few things that have been on my mind. It may surprise you to
find that the CoC staff was almost put to the vote as to whether I
should even be -allowed- to review _Reinventing the Steel_. All,
including myself, agreed that Pantera didn't need the exposure, that
most readers of CoC would likely have had the opportunity to read a
review of _Reinventing the Steel_, and that none would need informing
that a new Pantera album was out. But is CoC merely a forum for
exposure? Isn't it a forum for sincere critical analysis of music? I
opt for the latter. That is why we're free of advertising, isn't it?
So we can say what we think, -whatever- it is? However much the
chest-beating "true" underground may proclaim the unimportance of
Pantera to their musical lives -- either because they sincerely don't
like them or are just too fucking underground to listen to an album
that sells over three hundred thousand, let alone a million --, it
still seems undeniable that it is the popular face of metal like
Pantera or even recent Metallica (it's sad, but true...) that gets
much of the younger generation started on "extreme music"; we all
have our own opinions, but I don't think Oasis or Britney Spears draw
people into the metal or extreme music underground. I was listening
to metal's popular mid-nineties output (Pantera, Fear Factory,
Machine Head et al) for nearly two years before I started seriously
swaying to the vocal incomprehensibilities, blastbeats and general
musical extremities of Carcass and Entombed, and thus further into
the genre broadly labelled "extreme music". It's not simply a natural
process that someone gets into more underground bands; it does depend
on personal taste, but being exposed to the music and the whole
"scene" is key. It wasn't that I'd heard of all the underground bands
I love now but just hadn't checked them out; I didn't know that
Immolation existed, I didn't know that Morbid Angel existed, ditto
Celtic Frost, Darkthrone and hundreds of others I now know and love.
Granted, the fact that bands like Pantera -do- get people started on
metal doesn't mean that we should leave them without criticism (hence
this review...), or that they are the best at what they do, but
forgetting "worthiness", the reality is that Pantera -are- one of the
bands who have the platform to draw people into the genre or metal. I
can't change that, and not critically assessing Pantera won't change
that either. Ignoring Pantera and thus not trying to put popular and
underground music on the same level for critical assessment, amounts
to the underground -- despite its oft-professed belief to be
musically "better" -- not making itself available to those outside of
it, and not wishing to have itself judged one-on-one against popular
releases. That constitutes pointless pride: to me, it's all
assessable as heavy music. I don't think we should just be telling
people who like underground metal about the scene they know; I think
the music I listen to is -good-, that's why I listen to it, that's
why I review it, and that is also why I want to expose people outside
of it to it and see if they bite. Most people can probably tell you
if they like Oasis or Britney Spears because they've heard them and
can see interviews with them on TV. Go ask someone if they like
Immolation or Morbid Angel and the response you're most likely to get
is "I've never heard them". So, to sum up why I am reviewing
_Reinventing the Steel_: 1) to give you, the CoC reader, an honest
opinion on it as a piece of music; 2) to show anyone reading who
-hasn't- heard of the smaller bands we at CoC love -and- hate, that
liking Pantera doesn't make them "unworthy" to read CoC and that
Pantera are not in a league of their own musically or critically:
either in a good way, or a bad way. One thing I would say is that if
you think Fear Factory is as heavy as it can get, or that no-one
rocks it live like Machine Head, or that Pantera made the greatest
thrash album ever with _Vulgar Display of Power_, then please do me a
favour and check out some of the "underground" (though I really mean
the semi-underground: labels like Relapse, Metal Blade or Nuclear
Blast are not what we traditionally think of as "underground"),
'cause I think you'll change some of your opinions if you hear some
of the bands who are out there; I certainly did.
Unfortunately, Pantera haven't come up with the goods. I can't say
the same thing back to CoC's Pantera naysayers; _Reinventing the
Steel_ is just the album to make me doubt how worthy Pantera
ultimately are of their influential position. I really do feel a bit
cheated simply by the title of this album, for it suggests quite the
antithesis of the truth about where Pantera have taken their sound:
nowhere. There really is no "reinvention", as far as I can see, on
_Reinventing the Steel_; it is Pantera at the flattest I can recall
them. Its songwriting is more quality-consistent than on _Vulgar
Display of Power_, is more stylistically predictable than on _The
Great Southern Trendkill_, and is far more controlled (or tame...?)
than on _Far Beyond Driven_, but no song gets to as high a level as
the high-point(s) of any one of their four previous albums in the
nineties, and as a whole _RtS_ is lacking in impact, something which
has always been key as an enhancing factor for Pantera's albums.
_RtS_ is most convincing in its lyrical focus which, though hard to
tag with a single term, can be characterised by how universally, in
my opinion, it will appeal to "metal kids" -- that may be a mildly
patronising tag for a group, but I do think we all know what it
means. The lyrics to "Goddamn Electric" brilliantly speak with the
voice of exuberant youth, or just the metal party goer: "Your trust
is in whiskey, weed and Black Sabbath, it's Goddamn Electric". This
lyrical focus on honesty, and the accordingly honest delivery, allows
Pantera to retain the credibility they would have undoubtedly have
lost if they'd taken a Manowar-a-la-_Fighting the World_ turn to
shameless self-glorification and use of cheap religious imagery
(which I love on _Fighting the World_, but let's face it, only
Manowar can pull off convincingly). However, the end result of the
four year wait from _TGST_ has not resulted in an album that is
either terribly memorable, varied or extreme. It's a shame, but hey,
there's always next time -- and if Phil stops getting drunk at every
show I hear of, maybe they'll still be worth seeing live as well.
Power Symphony - _Lightbringer_ (Pavement Music, May 2000)
by: Aaron McKay (6.5 out of 10)
Power metal, whatever the definition of that phrase you choose to
identify with, for me, has been largely limited to Morgana Lefay and
a choice few others. Preferring black, death and thrash/speed metal
to the likes of Power Symphony's ilk, I will note that _Lightbringer_
is a strong and well done release. I'll single out here the song
"Gethsemane". The track is catchy, evasive, and biting. I'd have to
say the most well executed piece on the album right down to the
provoking lyrical content. The rest of _Lightbringer_ has a definite
alluring charm in its largely mystifying workings of keyboardist
Claudio Berra. The band having originally no use for it, the addition
of the keyboards, especially on this release, is well done. The
remaining charisma emanates from the vocal entrapments of Michela
d'Orando. A rich alluring female style with Celtic influences is
utilized to bring off _Lightbringer_ with proper decorum. Having been
around since late 1991, with more than their fair share of setbacks
in recording material for the group, I would have expected a more
intriguing effort than what is served up on _Lightbringer_,
especially when it was produced by veteran Joey Vera. Actually, I
wasn't that impressed with Vera's Engine project either, come to
think of it. Unless I become weary with Morgana Lefay, I doubt this
disc will see much time in my player; but it might occasionally, from
time to time. Also, this disc has a "hidden track" (if you can call
it that) about the thirteen minute mark into the last song, "The
Necromancer". Into your brain, Ms. d'Orando beats the phrase, "Isn't
it charming? Isn't it tempting?" The answers are "No!" and "Hell no!"
After track seven's music ceases, stop the CD. You'll thank me for
it.
Primordial - _Spirit the Earth Aflame_ (Hammerheart, May 2000)
by: Pedro Azevedo (9 out of 10)
Following such a superb record as _A Journey's End_ [CoC #33] and an
MCD like _The Burning Season_ [CoC #45], I expected nothing but sheer
brilliance from _Spirit the Earth Aflame_. And after the title-track
intro, "Gods to the Godless" provides you with an immediate taste of
the impressive feeling, atmosphere and strength Primordial can imbue
their music with. It is very epic and sombre, with an instrumental
side similar to _A Journey's End_ (as is generally the case
throughout) and offers the first indications that Nemtheanga's clean
vocals still are not replacing his harsh vox, which in fact abound
throughout _StEA_. The record reveals itself more epic and overall
less doomy than _A Journey's End_ (though it still certainly has
quite a doomy atmosphere), with dark, hateful passages arising more
often than on its predecessor -- especially impressive during "Gods
to the Godless". The third track "The Soul Must Sleep" is also very
good indeed, doomier and very emotional, and is then followed by the
title track from the _Spirit the Earth Aflame_ MCD -- another very
good song that fits perfectly within the album, though a bit of a
waste for those who own the MCD. Another mid-paced track, "Glorious
Dawn", then follows, carrying vitriolic black vox throughout and a
very effective fast passage. The highly evocative and war-like
instrumental "The Cruel Sea" then precedes the album's final track,
"Children of the Harvest", which is a less than brilliant closer but
still acceptable. Overall, _StEA_ did not disappoint me despite my
huge expectations, although it was not every bit as amazing as I
though it could be -- maybe I expected too much from the band, but
only time will tell. In any case, _StEA_ is very satisfactory:
emotional, intelligent and quietly majestic.
Raging Speedhorn - _Raging Speedhorn_ (Green Island, July 2000)
by: Paul Schwarz (8.5 out of 10)
There are definite parallels to be drawn between the frustrated,
aggressive noisemaking of Corby's Raging Speedhorn and the similarly
happiness-allergic works of Iron Monkey. This is not to say that
Raging Speedhorn ape (sorry, but that pun was irresistible) or
replace the now-defunct and much revered former-Earache act, but
Raging Speedhorn's intense, sludgy, aggression-venting pound does
evoke memories of Iron Monkey at their bruising best, and in the most
respectful, reverential way I can see possible. Finally releasing
their fury onto plastic after getting over 200 gigs under their
collective belt was a refreshingly mature decision which has paid
serious dividends; Raging Speedhorn display the confidence that comes
from having "tested" your material time and time over before putting
it onto record; I wish more bands had their patience. The duelling
vocals may not make the band out-of-ordinary as one might expect, but
maybe that's good; Raging Speedhorn don't have a gimmick, instead
they have a pounding, "physical" sound which almost literally jumps
out and smacks you right in the face.
Various - _Raise the Flag of Hate: A Tribute to Kreator_
by: Aaron McKay (5 out of 10) (Full Moon Productions, 2000)
Spouting off the obvious, Germany's Kreator has a very long and
distinguished history of fundamental thrash metal. Simply ask me
about the effect of 1985's _Endless Pain_ as it relates to my
music-listening pursuits. Fioretti and Petrozza's writing was
exemplary. Coincidentally, more than a few tracks off of _Raise the
Flag of Hate_ come from Kreator's debut album. To keep this review
succinct, I'll just give you the finer points. To be truthful, I
fluctuate quite a little bit on my opinion as it relates to tribute
CDs. I guess that it has more than a little bit to do with the
quality of the band being celebrated and the groups doing the
saluting. With the Full Moon Productions offering there seems to be
equal parts to the aforementioned verbal equation. Kreator is
certainly worthy of praise for the most part, and the bands paying
homage are solid to a large degree -- some more flattering than
others, obviously. Krisiun, Goddess of Desire and Acheron do a
powerful rendition of their respective Kreator songs, but I expected
a little more from Centinex and Hemlock. I'd say get this tribute
only if the thought of balancing a fresh slant of renovated Kreator
songs against some of the old tried and true favorites of yesteryear
calibrates totally and completely in your mind.
Red Harvest - _Cold Dark Matter_ (Nocturnal Art, May 2000)
by: Pedro Azevedo (7 out of 10)
Not being familiar with any of Red Harvest's previous output through
Voices of Wonder, I cannot analyse their musical evolution; but on
_Cold Dark Matter_, through the use of heavily distorted guitars,
effect-drenched vocals and an overall oppressive atmosphere, Red
Harvest produce a reasonably bleak yet hard-hitting sonic assault.
Variety is considerable throughout the record, as the band seems
equally likely to
vaguely remind one of a darker version of Machine
Head as to opt for a black metal-like approach (including Fenriz of
Darkthrone on guest vocals) or imbue the music with more electronic
sounds and rhythmic elements. This does not entirely work to their
advantage, as I find myself clearly preferring the industrial black
metal kind of approach. Nevertheless, the first half of the album
does flow quite well. As the end draws nearer, however, interest
clearly tends to decrease, although not to any dangerously low
levels. The album does have some good moments and ideas, the quality
level generally remaining quite acceptable, and overall it is
different and interesting enough to justify some attention --
especially if the blending of generally dark electronic elements with
metal attracts you. For me, however, Red Harvest's "matter"
throughout a very significant part of this album still isn't quite
"cold" or "dark" enough to be especially remarkable given its musical
quality.
Contact: http://www.redharvest.com
Contact: http://www.nocturnalart.com
Rorschach Test - _Peace Minus One_ (E-magine, 2000)
by: Aaron McKay (4 out of 10)
I loathe to say that college psychology 101 rears it
attractively-challenged head again. The Rorschach Test, if my memory
serves me correctly, was considered to be what most in the field
called "projective". As I understand projective tests, they endeavor
to measure an individual's personality based on the theory that
people tend to project their own unconscious perceptions and outlooks
into ambiguous situations. Of course, the Swiss psychiatrist Hermann
Rorschach (1884-1922) garnered somewhat of a respected standing
surrounding this school of thought. This leads me back to the _Peace
Minus One_ release by Seattle's Rorschach Test. RT released some
previous material on the now defunct Slipdisc Records, namely
_Unclean_ in 1998. About that time, from what I understand, _Unclean_
stirred up the Seattle scene a little bit. Today RT's current
offering, _PMO_, would put the listener in mind of solution including
Pro-Pain, Ministry, Skinny Puppy and a tablespoon worth of KMFDM
bleeding together on the tie-dye canvas of a white t-shirt. This is
my first exposure to RT and my impression is of a pseudo-social
agenda designed band with more-or-less sophomoric lyrics. Sometimes
the groove that Rorschach Test finds itself in is catchy, like on
track four, "Shocking", but more often than not it is grating and
pesky. I think Hermann Rorschach wanted his projective test to
measure people's unconscious outlooks on situations, but his namesake
band whips-up a few very conscious perceptions of their music that I
wish I could say were more positive.
Running Wild - _Victory_ (Pavement Music, April 2000)
by: Aaron McKay (3 out of 10)
I can't say I have a lot of time for this type of metal. Like a
primed geyser, founder Rock 'n' Rolf (NO! I'm not making this up) and
the rest of Running Wild whip up a frenzied foam of excitement, but
amounting to nothing more than musical delirium. The background
filler the band is passing off as music would remind you of Peter
Frampton meets Yngwie Malmsteen at a Badlands concert. "The Final
Waltz", an instrumental track timing in at only about a minute and
twenty seconds, could very well be the only reason I don't use this
disc for skeet shooting practice. Running Wild opened for Motley Crue
on the Theatre of Pain tour and recorded a rendition of Lennon and
McCartney's "Revolution" for this release. Enough said?
Saturnus - _Martyre_ (Euphonious Records / Voices of Wonder, 2000)
by: Pedro Azevedo (8 out of 10)
With this follow-up to their fine debut _Paradise Belongs to You_ and
the excellent _For the Loveless Lonely Nights_ MCD, Saturnus carry on
with their lovelorn, broken-hearted melodic doom. Things have become
somewhat softer than before, and indeed quite far from the doom/death
of their debut, though much of the guitar style is recognisable and
both the death vox and spoken parts are still used (though not as
much of the former as I would have liked). A new vocal style, which
turns out to be perhaps predominant overall, has been introduced:
half-sung, half-growled, not far from the style of Darren White
(Anathema), though occasionally with a rather more "rocking" feel and
not quite reaching similar emotional quality. It is soft, melodic,
darkly romantic, but fine tracks such as "Inflame thy Heart", "Noir"
and "A Poem (Written in Moonlight)" eventually begin to give way to a
generally somewhat less accomplished second half of the album. A
percussion-less version of the excellent "Thou Art Free" from their
previous MCD provides a good segue midway through the album, but I
still prefer the original -- as a matter of fact, my favourite
Saturnus track is still "Starres" from that MCD. Quite a bit of
_Martyre_ sounds like it would have benefited from a more frequent
use of death vocals instead of the Darren-like ones, and some rather
happy-ish (or at least excessively rocking) passages do sometimes
spoil the atmosphere quite a bit, but Saturnus' skill does overcome
that in order to produce a very good record indeed. Overall,
_Martyre_ is a well performed, easily enjoyable and not very
demanding doom album.
Sick of Society - _Sportsman Sound_ (<Independent>, 2000)
by: Pedro Azevedo (3 out of 10)
This release has quite a mish-mash of styles, ranging from punk-like
elements to groovier or more metal ones and even soft ballad parts;
but all this results in nothing capable of interesting me. Neither
the music itself nor the atmosphere it creates is ever impressive,
consistent or remarkable in any way: mediocrity abounds. The music
could at least have been reasonably aggressive, but that's generally
not even the case -- and when they do try something a bit more
aggressive, they fail to achieve any noteworthy results. The ballads
they strangely decided to throw in the middle of all this do not
help, either. By the way, I don't know what the great purpose of
inserting nine minutes of silence before the last track in a 30
minute long record really is, but some bands seem to find that kind
of thing hugely fun. And "fun" may also be what whoever might like
this will probably derive from _Sportsman Sound_ given the music's
general feeling, which is somewhat conceivable considering that the
playing isn't bad and the production acceptable -- which earns them
all their marks, because for me this just does not work at all.
Contact: Oliver Kast, Romerstr 26, 89269 Vohringen, Germany
Sincronisity - _Winters of Despair_ (Black Sheep Records, May 2000)
by: Adrian Bromley (6 out of 10)
This one of the oddest records I have ever had to review for
Chronicles of Chaos. Sincronisity manages to take death metal, turn
tables, movie samples and a real hard rock groove and work magic with
it. Don't ask me how it works or why I'm in support of it, I just am.
Sort of. You'll just scratch you head as tracks like "Obsession", "No
World Order" or the title track play on. Sincronisity, please stand
up and take a bow. You got me interested. File this next to Mike
Patton's project Fantomas.
Contact: 1 Washington Drive, Lindenhurst, NY 11757, USA
Sinergy - _To Hell and Back_ (Nuclear Blast, June 2000)
by: Paul Schwarz (6 out of 10)
Sorry, press release, but I don't think a title such as "metal
goddess" can be anything but hyperbolic when applied to Kimberley
Goss, the black metal back-up singer turned "true metal" wailer. The
sophomore release of her "true metal" band Sinergy sees only Children
of Bodom's Alexi Laiho salvaged from the line-up that recorded last
year's _Beware the Heavens_. But not to worry, the departure of
Jesper Stromblad and Sharlee D'Angelo has wrought no changes to
Sinergy's style. The key difference is simply that _To Hell and Back_
is better than its predecessor. Goss' vocals aren't so ludicrous in
their attempts to imitate the masculine metal vocalist, and Laiho's
melodic compositions this time gel better with her vocals. It's
musical rehash but it's well-executed and at least differs from the
endless stream of Priest/Helloween rip-offs that pollute Europe's
metal mags and festival second stages -- though mostly this is simply
because _To Hell and Back_ has a woman singing rather than a man with
clamped testicles.
Spiral Architect - _A Sceptic's Universe_ (Sensory, 2000)
by: Brian Meloon (8.5 out of 10)
Being a fan of these guys from way back [CoC #9, #11], I had expected
their long-awaited debut album to really blow my socks off.
Unfortunately, I was quite disappointed. Whereas their demo showed a
band with an original take on the progmetal genre, this album comes
off sounding a lot like Psychotic Waltz's _A Social Grace_
(especially the vocals) and Watchtower, with some Fates Warning
(_Perfect Symmetry_) and Cynic thrown in. The music is very complex
and technical, often causing a disjointed feel to the music. While
this isn't necessarily a bad thing, they aren't consistent with it.
At times, they begin to develop sections and then rapidly switch to a
completely different style, with no apparent connection. This kills
any flow that they were starting to create for the song. The playing
is excellent, however: very tight, even when each of the band members
are playing completely separate parts. The parts of the individual
musicians are usually very technical. The production is clear, but
the separation of the instruments is a little too much for my taste.
The bass has a very compressed tone (similar to Sean Malone's on
_Focus_), which -- while making the bass easily audible -- also tends
to split the music apart. A richer, fuller tone would've created a
more coherent sound. Ultimately, there's a lot of good music on this
CD, and fans of technical and progressive metal should enjoy it, but
I think that these guys are capable of a lot more than they showed on
this disc.
Stormhammer - _Fireball_ (Century Media, July 2000)
by: Paul Schwarz (3 out of 10)
Try to picture this. Myself, Pedro, Matthias and David (the European
CoC Contingent of the time) are perusing various albums, recent and
well-aged, at Mr. Rocher's abode, in Brittany. Matthias, with a hint
of amused trepidation, asks if he can spin this, Century Media's
latest entry into the true metal resurgence movement. After a few
bars of Helloween cut 'n' paste riffs to which we all look
despairingly at each other, I sarcastically put in, "I wonder what
the vocals will be like?". As Kai Hansen's carbon copy begins his
high-pitched melodic wailing, Matthias' face displays visible
disgust. "This makes me feel ashamed to be German", he exclaims. I
put in, again sarcastically, "Yeah, isn't it funny? We get -six-
Helloween albums a year these days". "More like 60", is Matthias'
quick-fire reply. The above are first impressions, but they sum up
_Fireball_ adequately. There may be a decent lick here and there, the
band may not be -atrocious- songwriters, but Jesus H Fucking Christ,
I think we have had E-fucking-nough of true fucking power metal
fucking rehash. There was enough before HammerFall kicked off this
mass resurrection of over-melodic metal; there was more than enough
two years ago. Now, there is ludicrously far and away too much, and
the output of the "genre" is getting worse and lazier. And the albums
are getting longer! I find Stormhammer hard enough to tolerate for a
few songs; listening to all 55 minutes of this creative dinosaur
gives me the martyred feeling of suffering for my art -- whether my
writing matches up to that description is your opinion, but I doubt
anyone would claim such a classification should apply to this
unoriginal dross. The world needs no more superfluous rehash; we
don't need more than one Helloween; we certainly don't need more than
one HammerFall, especially with under-par vocals.
Suicide Culture - _Hallow Be the Agony_ (<Independent>, May 2000)
by: Adrian Bromley (7 out of 10)
I liked what I heard with death-ish speed metal act Suicide Culture
on their three-song demo back in CoC #33 and I'm down with their
sound and style on the new five-song outing. The new offering, which
features four new songs and a cover of Celtic Frost's "Jewel Throne",
is much heavier than past work and a welcome change at that. The
guitar solos still rip out at you, as the demonic growls of frontman
Kevin Bedra echo atop the blistering drum beats courtesy of Joshua
Hanenburg. The thing I like about Suicide Culture (though they could
use a name change, I think) is that they don't hide their influences
that they wear on their sleeves. They pay homage to their heroes and
at the same time try to maintain a sound and a style that'll push
their band forward into the spotlight. They could be onto big and
better things with this release for sure.
Contact: P.O. Box 70566, Seattle, WA 98107, USA
mailto:suicideculture@webtv.com
http://suicideculture.itgo.com
Summon - _Baptized by Fire_ (The Plague / Hammerheart, April 2000)
by: Paul Schwarz (7 out of 10)
_Baptized by Fire_ spends most of its time attempting to flatten its
listener with a whirlwind of lightning fast blastbeats, double bass
runs and incomprehensible solos. However, despite showing
considerable technical ability, this tactic merely results in the
band bringing to mind the bastard child of a union between second
rate Angel Corpse and Marduk clones. Interposed between _BbF_'s
speedy opening and closing tracks is the mid to slow-paced number
"Realm of No Return". The tracks surrounding it varying tempo more
than earlier tracks but remain centrally speed driven. Though more
varied, and in the case of "Realm of No Return" adopting a different
modus operandi, these differences only minorly contradict my previous
characterisation of Summon. Certainly _BbF_ contains nothing that can
be called original, but that's not to say it isn't listenable,
competent and momentarily good.
The Chapter - _The Chapter_ (Stark Records, May 2000)
by: Adrian Bromley (3 out of 10)
Fans of Manowar will no doubt see the comparisons and fans of Iron
Maiden will no doubt pick up on the band's attempt to try and tell a
story. Guess what? They fail -- miserably. The Chapter are one of
those bands that get together, jam and record an album thinking that
they got what it takes to get noticed. Well, they don't. Cheesy
vocals (and lyrics too!) -- once you get past the testosterone charge
of "Underdog" or the lame ballad feel of "True Self Revealed", you
will no doubt want this all to end. This Chapter needs to be
rewritten if they want to be taken more seriously.
Contact: 1460 Neil Armstrong Street #309, Montebello, CA 90640, USA
mailto:marcespinoza@earthlink.net
The Gathering - _if_then_else_ (Century Media, July 2000)
by: Adrian Bromley (9.5 out of 10)
I remember when 1998's double-disc _How to Measure a Planet?_ [CoC
#36] came out and many critics harped all over the band for expanding
their sound and (god forbid!) trying new ideas. That record was
brilliant, showcasing the band's finesse at song structure and solid
production. But there was indeed something missing. The missing link
is found in The Gathering's new disc titled _if_then_else_, an
interesting ride of sonic bliss and stunning vocal arrangements. The
music creeps along with subdued passion and mesmerizing segues of
lustful melodies -- and never lets go. Get sucked in by opener
"Rollercoaster", "Bad Movie Scene" and the ultra-cool "Analog Park".
This all comes together quite well, and in the end The Gathering's
sonic brew of masterful collaborations presents itself in true
talented fashion. Other than her masterful work on my fave album
_Mandylion_ [CoC #7], singer Anneke van Giersbergen has never sounded
so radiant.
The Project Hate MCMXCIX - _Cyber Sonic Super Christ_
by: Adrian Bromley (9 out of 10) (Pavement, June 2000)
Hands down, this is one of the most exciting releases for me this
year. Managing to engage in a volatile battle between the beauty and
the beast, TPH (a project led by Entombed's Jorgen Sandstrom) rip and
tear through a monstrous array of song death metal / keyboard driven
ideas, splitting up any notion that this would be any ordinary metal
release. The passionate vocal chants of Mia Stahl add electricity to
the already vibrant music circulating through the record. Killer
production (thank you, Dan Swano!) and a real hatred flowing from
every pore makes TPH the real deal in 2000.
Thornspawn - _Blood of the Holy, Taint thy Steel_
by: Aaron McKay (8 out of 10) (Baphomet Records, April 2000)
Infuriatingly horrific! Completely engaging black metal out of San
Antonio. From beginning to end, these monsters lead the all-out,
full-on rampage totalling over fifty minutes of tireless metal. A
true feather-in-the-cap for American black metal can be found within
_Blood of the Holy, Taint thy Steel_'s material. The band includes
ex-Necrovore bassist Bjorn Haga, guitarists Swornghoul and Lord
Necron, as well as drummer/vocalist Blackthorn. I've always been
impressed by how an individual can manage to play an instrument, let
alone drums, and double-up on vocals in addition. Truly an august
achievement, to say the least. If the proper amount of persuasion
were applied, I would have to say track four, "Ancient Path", is
certainly my favorite on this release. Thornspawn has all the corpse
paint, aggression and talent to survive and succeed in this
ever-increasingly crowded metal conglomeration. I'll be watching for
great things from this band. All praise, Thornspawn!
Thy Primordial - _The Heresy of an Age of Reason_
by: Alvin Wee and David Rocher (9 out of 10) (Pulverised, July 2000)
With surprisingly little time elapsed since the release of their
fantastic third album, _At the World of Untrodden Wonder_, Sweden's
unjustifiably unrecognised Thy Primordial have now, anno 2000,
crafted their finest work of retaliation to date. Blasting in true TP
style, opener "Ceased to Decay" showcases the band's knack for
melding epic melody lines with pure aggression. As a moment of calm
deceptively seems to settle in, writhing, serpentine riffs finely
woven into a sudden storm of blasting drums and growling bass
brutally lash out in venomous, hateful and melodic rushes, laden with
spectacular, intense drumming and vocalist Isidor's harsh, grating
and baleful screams. The highly impressive double-pedal pummelling of
Morth sets the score right from the start: TP are faster and tighter
than ever before, launching into attacks of breathtakingly furious,
yet disarmingly melodious Swedish mayhem. The rage which animates
_THoaAoR_ is truly tangible, and the incredible, bewitching melodic
guitar work, at times tinged with the icy fury of early Norwegian
black metal, can barely claim to shroud the sheer bestial anger that
emanates from this thundering, rabid black metal opus. Comparisons
with countrymen Dark Funeral will no doubt be made, but rest assured
that TP's material rises far above the oft monotonous straight-ahead
speed of the former. Masterfully tamed musical savagery is indeed
what _THoaAoR_ perfectly embodies; Thy Primordial's fourth
full-length exudes aggressive, outstanding musicality, played by five
competent and inspired musicians. While one yearns for the stronger
melodies of their early work, the sheer power and intensity on this
album crushes any uncertainties one might have about this band's
ability, as well as providing a testament to the faultless Sunlight
production. In fact, TP's skills for keeping such relentlessly fast
material from sounding messy or formulaic has always been remarkable,
and the band looks to be honing it to a finer edge with every album.
Despite the label's apparent lack of distribution and advertising,
this record is brimming with an expensive production and layout
worthy of much bigger labels. At a time of the ever-renewing metal
cycle when black metal seems to have slipped into a coma, Thy
Primordial have dealt a fourth merciless blow with _THoaAoR_, and
spawned an album which reveals that the chthonic forces lurking in
the Swedish scene are certainly as talented and worthy of recognition
as the Swedish black metal flame-bearers Marduk and Dawn. Check out
the interview in this issue for more information.
Thy Serpent - _Death_ (Spinefarm, June 2000)
by: Adrian Bromley (9 out of 10)
Most will see an EP by a band as an opportunity to fool around with
their sound or do a cover song. Or much more simply, just a filler
between albums. The new _Death_ EP by Finland's Thy Serpent, however,
is an important step for the band, as it continues on with their
vibrant dark metal sound they relayed to us with 1998's
_Christcrusher_ [CoC #35], as well as introduce us to new band
members (Throne of Chaos' Teemu Laitinen on drums and Rapture's Tomi
Ullgren on guitar) and the sound they bring to the band. The music is
amazing, a wall of sonic beauty meshed within a darkened vibe of
intensity. Luscious keyboards combat with searing vocals and stunning
guitar work to form abrasive, yet sometimes melodic works of art. The
title track and "Sleep in Oblivion" just blow my mind. This an EP
that fans of the band will find comfort in and a release that will
definitely draw in new listeners once they hear it.
Tidfall - _Circular Supremacy_ (Nocturnal Art, 2000)
by: Eli Fishbein (8.5 out of 10)
The booming layers of over-the-top Dimmu Borgirian keyboards
immediately point to Nocturnal Art as the label behind this outfit.
Present here are the same sci-fi concepts and the same overwhelming
guitar/keyboard-oriented musical tsunamis that characterize at least
two other Nocturnal Art bands: Sirius and Odium. It seems to me that
all these bands have conquered a niche, which would not be a bad
thing had that niche not been too crowded by now. So before these
bands get too repetitious (assuming they haven't already), I hope
they look for labelmates Limbonic Art and Emperor for inspiration,
mutate a bit, quit cloning, and start designing. Originality must be
the key factor in whatever they do next. This is not to say _Circular
Supremacy_ is not a good album; far from it. In fact, context aside
(for contextualization, after all, eliminates individuality), tracks
like "Empty Silence" and the closer "Hymn to Fall" exemplify just how
grandiose Tidfall might become. The former track is colossal and
jagged in a manner reminiscent of later Hypocrisy, with both slower
and faster moments and creative double-tracked vocal arrangements.
The latter is relentless in its pursuit of appropriate musical
imagery -- as if searching for a new path -- to accompany the
funereal and emotive lyrics ("The tear you / didn't dry, has died and
turned into a scar. Your dreams / are becoming the photograph you
never wanted to see.") For the sake of evolution in the post-black
era -- as it is beginning to be defined by coevals Nagelfar and
Limbonic Art -- with more than just evil as its only permanence, I
hope that this band decides to slip free of the Norwegian moorings
and find their own echo chamber. There is no telling what might come
out then.
Twilight Kingdom - _Adze_ (Siegen Records, 2000)
by: Brian Meloon (7.5 out of 10)
This is likely to be the longest review I will ever write for CoC,
but being as familiar as I am with these guys, I have a lot to say
about it. Their music is similar in style to the progressive/pompous
style of Dream Theater's _Images and Words_, though somewhat more
consistent: generally lighter, but without the excessive cheesiness.
Their songs tend to be in "extended" verse-chorus format (i.e. with
an extended development section in the middle), which puts them
roughly between five and nine minutes in length. The music is
keyboard heavy, but guitar driven, with a good mix of lighter and
heavier sections. The choruses tend to be memorable, and sometimes
catchy, though the songs are hardly hook-heavy. The playing is
generally good, at times flashy, but most of the time restrained and
appropriate instead of technical for the sake of showing off. The
lyrics are generally very good, dealing with subjects without being
too direct or too abstract. Unfortunately, there are a number of
problems with this release that make it far inferior to their 1995
independent cassette-only release, _The Guardian_ (which incidentally
contains the best five songs on this album). First and foremost is
the production. This album sounds worse than my CD copy of _The
Guardian_, which was digitized from a half-worn-out four year-old
cassette tape, originally produced on a shoestring budget. The guitar
is a fuzzy, tinny mess, sounding quite a bit like the tone obtained
by we-don't-care-about-production black metal bands. There's also
virtually no bass. It's almost like they recorded it too muddy, and
to "fix" it, they cranked the high end. In any case, I'm unable to
think of a progmetal CD with worse production. My second complaint
would be the sloppy playing. The guitar solos are particularly bad in
this department, as Trey's timing seems non-existent at points (e.g.
the last guitar solo in "Shadow Troops"). Chris' vocals are sloppy as
well, almost as if they were rushed in the studio during the last few
sessions. While he's usually a talented and natural vocalist, he
doesn't sound like he's trying very hard on this recording. His
timing is noticeably off in a few places, such as the last chorus of
"Awakening". He's also off key in a few places. Part of this may be
because the original vocal lines were changed to lower registers,
which was a particularly bad idea, as Chris' voice is more naturally
in the high registers. Generally, all of the changes they made to
songs from _The Guardian_ -- such as cutting down "Shadow Troops" and
the intro to "Forever Sacred" (though I can see why keeping it
might've caused legal problems) -- were bad ones. The non-musical
intro "Dreams of Osirus" is pointless, especially when "March of the
Guardian" (the far superior intro to _The Guardian_) is the "hidden
bonus track". Having "hidden" bonus tracks is a stupid idea, moreso
now than ever, but if they really needed to do it, why didn't they
use "March of the Guardian" as the intro, and put "The Ticket" as the
hidden track? On this record, they sound like a band who have been
together for a little while, trying out a new singer, and just
screwing around in their garage. It's hard to believe that this is a
"professional" CD that took three years to record and mix. That said,
if you've never heard these guys before, you'll probably think
"they're a good band, and they have some good songs; if they clean up
their act, they'd be pretty good." If you're lucky enough to have a
copy of _The Guardian_, you probably won't be able to listen to this
very much.
Unmoored - _Kingdom's Greed_ (Pulverised, July 2000)
by: Alvin Wee (7 out of 10)
Obviously trying harder than ever to make up for the flop that was
their debut album, Unmoored are back with a vengeance, sporting an
album that's surprisingly good. This time round, Unmoored buck the
annoying hardcore-ish elements of their debut in favour of a
semi-technical death/thrash slant, a step many Swedish bands have
taken in the past year or so. While not as overly progressive as
Theory in Practice, _Kingdom's Greed_ isn't exactly easy-listening
material either. "Feral Blaze" kicks things off rather ferociously,
Christian "Evil Spice" Alvestam's vicious rasping over grinding
guitars a lot more appealing than his previous semi-shouting style.
Session skins-pounder Jocke whips up a venerable cacophony of nifty
rhythms, while the guitars weave an atonal web of death/thrash
riffage interspersed with scorching leads and keyboard epicness. As
if to display their knack for melody, "Final State Pt. II" boasts an
intro lead worthy of a good (read: early) In Flames album, while
screamer Christian busts out his clear singing in a brave show. A
ballad of sorts, it's mighty impressive and a welcome break from the
disharmony of the previous tracks. Things remain rather thrashy
throughout the album, with occasional flashes of brilliance and
all-round impeccable musicianship. Unmoored have an arduous climb
ahead of them after last album's transgressions, but _KG_ should
serve as a mighty push in the right direction. The music is far more
original than the cover (ever seen Pestilence's _Spheres_?) and makes
for many rewarding listens.
Contact: Pulverised Records, P.O. Box 109, Yishun Central,
Singapore 917604
mailto:pulverised@pacific.net.sg
Usurper - _Visions From the Gods_ (Necropolis Records, April 2000)
by: Aaron McKay (7.5 out of 10)
This "1994 demo and rare live and unreleased material" started off
with "Soulstalker '96" sounding an -awful lot- like Gorgoroth's
_Destroyer_, but then cuts into a riff about the two minute mark that
work do Tad proud. Excellent! Then track two, "Deep in the Forest",
blows your (black) heart through the back of your chest with
sludge-heavy rhythms and double bass drum work. I think Blackheim and
Bewitched would be impressed by Usurper's excoriated work on this
album. Let me touch on track eight, "Wolflord", for a brief second.
At the very onset of the song, I thought that Usurper covered
Crowbar's "I Have Failed". Yes, it's cool. As it turns out, I think
that "Wolflord" might be a welcome addition to Crowbar's repertoire.
As cement crushing as this track is, it is no wonder it turned out to
be a favorite of mine on _VFtG_. Even the one and only live track on
the release, "Blood Passion", as the last track, nine, is completely
venerable. If the truth be know, I think that _Usurper II: Skeletal
Season_ is my favorite -- possibly even more than _Diabolosis_, the
band's debut on Head Not Found. _VFtG_ places a very respectable
third regarding the band's album history, I feel I have to admit. I'm
not convinced that anyone can go wrong with -any- Usurper effort.
Vehement - _Unbalanced for Mankind_ (Cellar Records, May 2000)
by: Adrian Bromley (3 out of 10)
Vehement's music is definitely "unbalanced". The death metal groove
of this Illinois trio flies at us with a rapid fire of death metal
growls, drum blasts and a real aggro-core groove for the most part.
And while that may sound appealing to some, the band delivers it with
a real weak, clunky approach throughout the disc and that alone
brings down the overall effect of the band's death metal vibe. The
music is brutal enough to mosh to, but nothing really earth
shattering. I'll let all my other brothers and sisters making up
mankind to make their own judgement. Bland.
Contact: Cellar Records 116 N. Peoria Ave., Dixon, IL 61021, USA
mailto:tjoos@essex1.com
http://www.essex1.com/people/tjoos/
Venom - _Resurrection_ (Steamhammer, April 2000)
by: Matthias Noll (8 out of 10)
I was on stand-by to rip this record to shreds. "War against Christ",
"Black Flame of Satan" -- does that sound like anything else than an
obvious attempt at cashing in on the commercial potential black metal
has (no, I won't elaborate on the trueness of the cash cows here)?
Did anyone expect that Venom were capable of other things than
spending their bucks in the local pubs in Newcastle or do the
festival thing with loads of pyros, red boots and yesteryear's hits?
Thinking about this kind of things I put _Resurrection_ in the CD
player, expecting some more ammunition for a below 4 out of 10
review. What I got was the perfect proof that the old law which says
that predicted catastrophes do not happen still applies. The openers
"Resurrection" and "Vengeance" immediately define what Venom 2000 is
all about: simplicity, brutality, drive and the use of massive
headbanger-friendly powerchords, with Chronos' trademark nasty snarl
on top of that. These old farts have managed no less than fusing a
certain amount of Fear Factory style staccato riffing with the old
approach of songs like "Warhead", "Countess Bathory", "Seven Gates of
Hell" or "Don't Burn the Witch" while miraculously still sounding
like classic Venom and not just a bunch of old fuckers who try hard
to remain relevant in the year 2000 by ripping off the sounds of
modern metal. Among the fourteen(!) tracks on _Resurrection_ there
are two or three weaker cuts, like "Pandemonium" or "Man Myth and
Magik", with overlong melodic choruses, but whenever the disk seems
to lose pace there's a series of killer songs to put it back on
track. Surprisingly enough, even the songs with stereotype dumbass
black metal titles turn out to be killer tunes. The production work
of Charlie Bauernfeind is simply amazing. He's preserved Mantas'
shredding guitar sound and Chronos' bulldozer bass in their primitive
early '80s form, but made them sound crisp, powerful, huge, huge and
huge again! I don't see anyone missing Abaddon (he who sounds as
tight as a drum kit falling down the stairs), even if new guy Antton
is not doing much more than providing the two old-timers with some
solid drumming. This is the best Venom record since _Black Metal_ and
definitely worth having in your collection, no matter whether you've
joined Venom's Legions in 1982 or are thinking about applying now.
Violation - _Moonlight's Child_ (Red Stream, May 2000)
by: Aaron McKay (6 out of 10)
I'll be honest, after the first couple of listens to this
German-based melodic death / atmospheric metal band, I was chewing
over the possibility of spitting Violation out with a lot less of a
grade than what they ultimately scored. As you can see, they won me
over a touch more than what an average score might indicate. Formed
in 1993, Violation's _Beyond the Graves_ disc finally saw the light
of day in early 1998 after contracting with Last Episode Productions.
Endeavoring to release the follow-up CD, the band parted company with
Last Episode and sparked a brief relationship with Invasion Records
before settling in the fine company of Red Stream. The Violation
bouquet, smelling somewhat like an In Flames fragranced Gates of
Ishtar rose, is truly very becoming and certainly one that grows on
you. Recording at the Abyss II and co-production by Peter Tagtgren
could only have helped the effort, but the strongest aspects of the
band rely almost exclusively on their melody and not brutality. If
Violation would concentrate more on melody and loosen their struggle
for brutality, I'd have no trouble giving this effort a 8 or 9 out of
10; but things are not this way, you see. A glorified, intense
melodic atmosphere awaits the listener like a siren beckoning to a
lonely sea captain, but if it is unadulterated brutality you crave,
your desire will surely be splintered against the rocks.
Vordven - _Woodland Passage_ (No Colours Records, 2000)
by: Alvin Wee (7 out of 10)
Following an under-promoted full-length debut, these Finnish mongers
of melancholy return with one aptly titled MCD. Having found their
synth-drenched syrup rather promising before, I cracked open the new
one with some anticipation. Smacking of _In the Nightside Eclipse_
Emperor, the opening track heralds a new aggression, and a departure
from Tolkien-worshipping musings to a more pagan-fronted stand.
Titles like "Cold Pagan Steel" signal the band's new-found
motivation, but old habits die hard as further investigation yields
the familiar Covenant-style sweetness (minus the commercial pandering
that makes Covenant so repulsive to us). On the bright side, Mika and
Co. have dropped the lassez-faire tone of their debut in favour of a
more powerful metal sound with fast double-kick beats and sonorous
synth passages occasionally reminiscent of early Emperor.
Musicianship has improved by leaps and bounds, and the band doesn't
hesitate to showcase it in faster and more varied material. An
uncharacteristically professional layout from No Colours should
ensure this sylvan sojourn does better at the cash registers than the
ill-fated debut. And I have to admit falling for their brand of
catchy fantasy metal this time round, no matter how wimpy it makes me
look. Gentler folk and the fairer sex don't have to look any further
than this for a class act in epic synth-based metal.
Winterblut - _Der 6. Danach_ (Darker Than Black Records, 2000)
by: Alvin Wee (6.5 out of 10)
Yet another Teutonic obscurity from the stables of Darker Than Black,
a label known for its blatant anti-Semitism, if little else. An
interesting release, _D6D_ features four chapters of varying music.
The first part is a rather perturbing mess of low-key synth,
electronic drumming and guttural sneering. Not exactly a promising
start. Things look up with the second chapter as rather
run-of-the-mill Norse-style black metal takes over. Winterblut (as
the sole member) is rather fixated on his keyboards, and while he may
be no Charmand Grimloch, the melodies he churns forth aren't half bad
either. Things proceed at a surprisingly leisurely pace over the next
tracks, not something one expects from raw, underground acts like
this. Enjoyable, if not exactly adrenaline-pumping stuff. Chapter
three brings dejectedly rasped vocals against the backdrop of sparse
keyboards and monotonous drumming. Not exactly inspired stuff,
especially since Abigor's infinitely better attempt (on their debut)
is brought to mind. Chapter four isn't much different; more synth
noodling with even more obscure vocals doesn't offer much more than
suicidal depression. Three tracks of that, and we're at the end of
this 72 minute curiosity. Not everyone's cup of tea, but certainly a
fascinating album to discover. Darker Than Black has sister-labels in
the States and Canada, so check out their website if profound
NS-sympathies don't annoy you.
Contact: http://paganfront.cjb.net
Wolf - _Wolf_ (No Fashion Records, March 2000)
by: Aaron McKay (7 out of 10)
Debut material here from a truly promising band. A pure and
unadulterated metal barrage is what you can expect from this Swedish
underground four-piece. Production a la Peter Tagtgren at the Abyss
Studios. Clean vocal work, sounding -very- eighties, on Niklas
Olsson's part, who also picks up the second guitar responsibility.
The group is rounded out by Henrik Johansson on guitar, Daniel
Bergkvist with drum duties and Mikael Goding filling the bill on bass
guitar. To be honest, I didn't expect something this "clean" from No
Fashion. I'm used to more of the Ablaze My Sorrow, Allegiance, Lord
Belial and Mork Gryning material on the label, so Wolf was a welcome
surprise. A class metal effort here reminding me, at times, of a very
raw and stripped Helloween, but better in many regards. Personal
favorites on the release include "The Voyage", track five, and the
little bit of feedback and transition passages of "In the Eyes of the
Sun", track nine, are brilliant. The aptitude of this band is
staggering and, at forty minutes in length, I figure it is time
pretty well spent.
Yogge Sothothe - _Yogge Sothothe_ (<Independent>, 2000)
by: Adrian Bromley (6 out of 10)
Stepping out from the ashes of Pain Lab [CoC #27, #32] comes Yogge
Sothothe, a bizarre mix of grinding death metal and technical metal
know-how. Unlike the radiant sonic assault of the past band Pain Lab
(which was in the vein of Blunt Force Trauma and Merzbow), YS
presents us with a maniacal and raw stride of metal mayhem. Brutal
and to the fucking pounding point. While the production could have
easily been souped up a bit, the raw element helps make this
enjoyable. My only qualm with the band is the cliche start 'n' stop
guitar riffs and some boring musical sections. A passable release,
but hopefully next time I'll be knocked off my ass.
Contact: Joel Rosenberg, 614 Canby Street Apt. C,
Laramie, WY 82072, USA
mailto:geeheeb666@hotmail.com
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/ \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \
/ /\ / __/\ V V / / /\ / (_) | \__ \ __/
\_\ \/ \___| \_/\_/ \_\ \/ \___/|_|___/\___|
If you have a band, don't forget to send us your demo, including a
bio, if you want to be reviewed. We accept demos either on
traditional media or MP3 format. E-mail us at
<mailto:Demos@ChroniclesOfChaos.com> to know which is the most
appropriate postal address for you to send your CD or tape, in case
you are sending one, or to indicate the location of a website from
which we can download the MP3 files of your entire demo (but do
NOT send any files attached to your e-mail).
Scoring: ***** -- A flawless demo
**** -- Great piece of work
*** -- Good effort
** -- A major overhaul is in order
* -- A career change is advisable
Actual Time - _Actual Time_ (5-track demo)
by: Brian Meloon (****-)
Actual Time are a three-piece from Virginia, formed from the ashes of
Ataxia [CoC #16]. The band they remind me most of is Don Caballero
[CoC #11], though their style is more metallic and less dynamic.
Their music is all instrumental, and relies heavily on rhythmic
syncopation instead of melody. Unfortunately, this imposes a severe
limitation on their style, which causes the music to be a little
boring when taken as a whole. While it's fairly complex, the
complexity is due to the polymetric layering and odd time signatures
rather than flashy playing on the parts of the musicians. The riffs
tend to be interchangeable between songs, so the songs end up all
sounding much the same. It's not that the music itself is bad, but
it's so heavily focused on rhythm that the songs come out sounding
too one-dimensional. They're missing something, whether that would be
more melody, guitar solos, a vocalist, or anything else that would
add dynamics to the music and break up the monotony. The playing is
flawless, though: very solid and tight, though there is little that
is flashy. The production is good, especially for a demo recording.
As it is, this demo clearly shows that they have potential; with the
infusion of some more diverse elements to their music, they could be
very good.
Contact: mailto:actualtime@virginia.edu
http://www.people.virginia.edu/~sha3u/time/
Belshazzar - _Sie Nur Ad Astra_ (4-track MP3 demo)
by: Paul Schwarz (**---)
An acceptable though rather shoddy demo of what is more or less black
metal from this Lanarkshire duo. Creators Arioch and Mars impress
almost as little with the music presented on _Sie Nur Ad Astra_ as
with their choice of pseudonyms. Their production ranges from average
(on the first two, produced tracks) to irritatingly bad (on the
closing two, rehearsal-room recordings) while the music neither has
atmosphere, nor gains any through the rough quality of its production
as, for example, Darkthrone so famously do. Belshazzar has little to
do with black metal as far as I can see; it has none of its
atmosphere and is not even stylistically that similar. Thus this demo
of -metal- is simply nondescript and uninteresting, displaying, as is
often the case with demos, a band able to play heavy music, but not
necessarily with any particular skill in fashioning great or original
songs from it.
Contact: 23 Tarbolton, Calderwood, East Kilbride G74 3SQ, Scotland
mailto:arioch@goresville.freeserve.co.uk
http://mp3.com/Belshazzar/
Bongwater666 - _L-yeyed/Tanner_ (2-track demo)
by: Adrian Bromley (***--)
While I still own these East Coast sludge-mongers debut six-track
demo _Pissed off and Fuzzed out_, [CoC #19], I am glad to see that
Bongwater has managed to strengthen their sound since the demo three
years ago. The sound, while still a noisy mess of guitars and clunky
drums and plenty o' fuzz, has become a lot more Melvin-like and
deeply situated within this real drivin' groove. Fitting somewhere
between noise and stoner rock, this two-song offering of present day
BW666 material gives us all yet another reason to hit the bong and
just chill out. They get an "A" for effort.
Contact: Nedal Ayad, P.O. Box 204, Bay Roberts, NF A0A - 1G0 Canada
mailto:nayad@nf.sympatico.ca
http://www3.nf.sympatico.ca/nayad
Butterfly Temple - _Baec_ (11-track demo)
by: Paul Schwarz (****-)
Boasting a host of bizarre, unusual keyboard textures and Russian
chanting on top of a slew of other odd noises and a varied array of
female vocals, this Russian band, who even sing and print their
lyrics in their own language, are impressively ambitious and, yet
more surprisingly, successful in being interesting and enjoyable
quite a reasonable amount of the time. _Baec_ takes a few listens to
absorb, but it's refreshing in its seeming drive to not simply follow
the flock but strive on in its own, relatively individual, direction.
It is no musical revelation, but it shows a lot of potential and a
full-length with some serious financial backing behind it could prove
very interesting. Unfortunately, singing in Russian may severely
limit the band's appeal outside their home country.
Contact: Agafonov A., P.O. Box 17, 117313 Moscow, Russia
mailto:btemple@mail.ru
http://listen.to/btemple/
Condition Red - _Back in Business_ (4-track MP3 demo)
by: Paul Schwarz (**---)
Five years of playing together has, unfortunately, evidently not been
enough time for this Finnish five-piece to develop a sound which
establishes a truly individual character for them. _Back in
Business_, the band's third demo titled to symbolise their return
after nearly a year where three of their number were occupied with
military service, reeks far too obviously of Machine Head to leave
Condition Red with much to credibly call their own. Essentially,
Condition Red simply pull off various nineties power groove cliches
with skill and a powerful sound. Vocalist Jone has a good voice,
Roope's drums, especially in the double-bass department, back up the
loud guitars and underlying bass well; the band can play their
instruments very competently, but creatively they really do have to
do some serious thinking and work hard to get away from the cliches
of a genre all-too-prevalent in metal's popular, late-nineties face.
Add a point if you're not yet sick of the _Burn My Eyes_ sound.
Contact: mailto:jvpkuism@cs.helsinki.fi
http://come.to/conditionred/
Midnight Scream - _Midnight Scream_ (4-track demo)
by: Paul Schwarz (**---)
Though produced by Nightwish guitar player Mike Galiatsos, Midnight
Scream is certainly not congruent with his band's more traditionally
heavy metal styled, female vocal accompanied and melodic creations.
Instead, _Midnight Scream_ offers us a deeply simplistic three tracks
of death metal, plus a traditionally irrelevant keyboard-based intro
to bring the track total to four, which are, to be quite frank,
severely limited in musical scope and somewhat shoddy in
presentation. I get the impression Midnight Scream have let their
enthusiasm to get things moving recording-wise get the better of
them. _Midnight Scream_ positively -screams- of a band who need more
time to tighten up their musical cohesion, while singer Makis Memmos
needs to do some serious individual time at the death metal
vocalists' school of hard knocks to bang into shape a characteristic
and affecting throat which has importance to his band's greater music
vision -- something his performance on _Midnight Scream_ quite sorely
lacks. That _Midnight Scream_, the demo, is rather under-par does not
necessarily mean that Midnight Scream, the band, are a lost cause or
entirely without promise. _Midnight Scream_ sounds more like a good
band who simply haven't yet put the requisite time in to make great
music than a poor bunch of musicians who've pretty much reached their
peak. Time is what is needed here; we'll hopefully keep you posted as
to any interesting developments.
Contact: Lukas Bergis, Panagouli 1, 17237 Imittos, Athens, Greece
mailto:Midnightscream@freemail.gr
http://www.geocities.com/SunsetStrip/
/Theater/8279/Welcome.htm
(Price: 3 pounds sterling; other currencies also accepted)
Omnium Gatherum - _Promo 99_ (4-track demo)
by: Paul Schwarz (**---)
Bar one track, the songs that make up the seven and a half minutes of
this _Promo 99_ are tracks ready to be included on Omnium Gatherum's
imminent debut full-length. However, despite a relatively thick
production which gives their rabid, raw-ish death/grind tirades an
unprecedented bite, Omnium Gatherum are essentially little more than
purely derivative as a musical entity. There is certainly nothing
presented on _Promo 99_ to suggest innovation, and nothing which
enthrals me greatly. Omnium Gatherum are welcome to a friendly pat on
the back for playing decently and taking the time to produce their
material relatively well, but at present they are of no real
significance to the international death metal or grindcore scenes.
Contact: PO Box 79, Kilkenny, South Australia 5009
mailto:omniumgatherum@arcom.com.au
Scald - _Nematoid: Specimen Parts I-IV_ (4-track promo)
by: Paul Schwarz (****-)
Delving into the realm of mind-numbing sludge which only those such
as Eyehategod usually brave, Scald have blended this dirty, lurching
breed of extremity with some of the percussive, striking aspects of
death metal and even touches of the extremity of the noisecore
fraternity here belching forth four tracks which are planned to make
up half of a theoretically upcoming full-length album. Judging by the
relatively well-produced and nicely constructed material featured
here I think the band deserve a contract, even if it be with a small
label, to give _Nematoid_ a full album crack. I for one would
definitely be interested in hearing the results.
Contact: Paul McCarroll, 32 Dellmount Rd., Bangor,
Co. Down, BT20 4TY, Northern Ireland
Shaw Shank - _Beautiful Bedlam_ (3-track MP3 demo)
by: Paul Schwarz (***--)
A very nicely produced ten minutes composed centrally of the angsty
baggy-pants metal Korn and Limp Bizkit peddle, with some of the more
hip-hop / DAT machine-esque sounds of the latter making their
prescence felt. There are some nicely placed and unexpected sections
of double-bass drums and (on "Caimera") a definite bias towards the
more suicidal, depressive tones of Misery Loves Co. and Nine Inch
Nails. Unfortunately, however, nothing presented on _Beautiful
Bedlam_ is overly adventurous and little of it truly grabs me by the
throat. Shaw Shank are promising musicians and surprisingly competent
songwriters, but their material is, as yet, nothing particularly
remarkable.
Contact: mailto:shank_shaw@hotmail.com
http://fly.to/shawshank/
Soul Destruction - _United in Obscurity_ (5-track demo)
by: Aaron McKay (*****)
It's just now May, going on June, and thus far this year I have had
two extremely pleasant surprises: the new Venom release and this demo
from Ohio's Soul Destruction. They present their sound as "diversity
and power". I might be compelled to call 'em "poignant" and
"imposing" as well. I received Soul Destruction's promo material on
audio cassette instead of CD and -still- was astonished at the
immensity of SD's sound. Without planting personal preconceived
comparisons in the acreage of your thoughts (a little mid-West humor
there), I don't have to stretch too far to hear some shrouded S.O.D.
and possibly Wrathchild America congruities. Now with a duel vocal
offensive, a power-lung roar and a low-register quake, Soul
Destruction stands to make some very impressive rumblings through the
industry. Having shared the stage with Armored Saint and Today Is the
Day, what would make me really pleased now, I think, would be a Venom
/ Soul Destruction bill. With a demo like this, the SD boys are going
to have to find another way to be -united-, 'cause it won't be in
-obscurity- much longer.
Contact: http://www.souldestruction.com
Suffering Souls - _Cries of Silence_ (3-track demo)
by: Alvin Wee (****-)
What an obscure release... Out of Germanic forests rises a new
four-piece claiming to play "German Black Metal Art". More a demo CD
than an official MCD, this little underground three-tracker offers
nothing more than old-school synth-laden hymns to the night in
typically mediocre Norse fashion. Failing to achieve the depth of
Nargaroth or the raw simplicity of Moonblood, _CoS_ comes off as
trying too hard to squeeze something out of a genre that's already
been milked to death. Credit goes to the highly ambitious
arrangements and commendable musicianship, signs that a band is ready
to offer more than the one-off recording on sundry overnight labels.
Sadly, such run-of-the-mill material might have easily reaped much
label attention in Behemoth's demo-days (strange how this one brings
to mind _From the Pagan Vastlands_), but today's competitive scene
demands a much greater kick in the balls than generic Norsecore. All
said, these boys (and a girl) won't be toppling over so easily; the
quality of _CoS_ bodes well for things to come, and
underground-minded labels might like to check out this ambitious
young act, as they're unsigned as far as I know. No price, but 10
bucks should do the trick.
Contact: Suffering Souls, c/o Tobias Micko, Scwalbenweg 15,
92245 Kummerbruck, Germany
Te Deum - _Demo 99_ (4-track demo)
by: Pedro Azevedo (****-)
Interesting demo CD from this young Portuguese band: well played,
decently produced and certainly unveiling some very significant
potential. Te Deum build their sound around dueling vocals -- a
highly promising, and indeed already very good classically trained
female singer, and a competent male vocalist who performs both death
and clean vox. Sounds familiar, most likely, but Te Deum still manage
to avoid sounding as derivative as the above description might
suggest. There is some good keyboard playing at times, particularly
during the church organ-like instrumental track (except for the final
part, in which it loses most of the dark atmosphere). The drumming is
reasonably good (neither a highlight nor a problem), while the
guitarists appear to be quite skilled, though perhaps in several
places their style does not seem entirely adequate for a doom band.
In fact, that is the main issue here: technically this is clearly a
very competent band, but I feel they need to make some choices in the
future, namely whether to really become a doom band or not. I would
have liked deeper death grunts that could contrast more with the
female voice, more downtuned and doomier guitars, stronger drum
sound, and keyboards that could really drench the sound in a darker
atmosphere. Of course this might not be what the band wants at all,
but I feel that it would be the best way for them to capitalise on
the finest elements of their sound. Creating greater contrast would
highlight those elements, ultimately resulting in more intense and
emotional music. As it is, Te Deum are definitely talented, have very
interesting potential and did create a very pleasant, enjoyable and
clean demo CD with some very good passages scattered throughout its
duration. However, some things are still missing, and therefore I'll
save the 5 out of 5 for their next demo, in case they can keep up the
progression and simultaneously create something more intense.
Contact: Te Deum, Rua Combatentes do Ultramar 79, Aruil,
2715-247 Almargem do Bispo, Portugal
mailto:te_deum@fcmail.com
http://www.angelfire.com/myband/tedeum
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/ / / / __ `/ ___/ ___/ / ___/
/ /___/ / /_/ (__ |__ ) / /__
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/ ____/___ __________ ____ _____ ____
/ / / __ `/ ___/ __ \/ __ `/ __ `/ _ \
/ /___/ /_/ / / / / / / /_/ / /_/ / __/
\____/\__,_/_/ /_/ /_/\__,_/\__, /\___/
/____/
You've asked for it, and now you've got it. Classic Carnage is the
one and only place to find all your favorite albums of yesteryear
reviewed from today's point of view. This section will be appearing
sporadically in Chronicles of Chaos, gracing our special editions
exclusively.
Atheist - _Piece of Time_ (Roadrunner, 1989 / NMG, April 2000)
by: Paul Schwarz (9 out of 10)
Atheist were one of those few bands in metal's long history who dared
to experiment. They imposed uncommon time signatures and musical
textures, along with thought-out lyrics from their earliest days,
onto an essentially barbaric, anger-driven musical style: death metal
(of the thrashy late eighties variety). Their _Piece of Time_ debut
only dabbled in such deviations -- the major step into truly
uncharted waters came two years later with 1991's _Unquestionable
Presence_ -- and it is primarily on the opening title track that said
dabbling occurs. But though not really showcasing the characteristic
which Atheist are most remembered for, _Piece of Time_ is both a
remarkable debut and an impressive musical achievement seen in its
1989 context. Death get a lot of credit for the technical
developments of _Spiritual Healing_ (1990) and _Human_ (1991), but I
think Atheist outdid either exalted line-up of Schuldiner's legendary
act in terms of intensity -and- technicality with _Piece of Time_.
Scott Burns' production crossed the primitive low-end-driven
_Leprosy_ sound with the speed/thrash intensity of _Beneath the
Remains_, and Atheist emerged with a vitriolic debut which pre-dates
most "classic" death metal albums, yet even today doesn't play like a
selection of genre cliches. "Piece of Time" is classy, rich with
unpredictable time shifts and the seemingly effortless bass-work of
the now-late Roger Paterson. The likes of "Unholy War" or "On They
Slay" may be comparatively simple, but in their own way they are just
as effective, whereas closer and band signature "No Truth" suffers
only from trying to cram too much intensity into one place at one
time as it progresses. Lovers of technicality, intensity,
late-eighties thrashing monstrosities and considered lyrical content
(if not always writing) will be right at home with this long-deleted
debut by one of the nineties criminally forsaken and sadly departed
creative enigmas. NMG's pleasingly eighties-looking re-issue includes
"Looking Back..."-style sleeve notes by every band member except of
course the sadly departed Patterson, and also includes six bonus demo
tracks. These comprise alternatively titled demo versions of "Life"
and "Why Bother", along with demos of "On They Slay" and "No Truth",
and two never-before-released early Atheist songs in demo format:
"Brain Damage" and "Undefiled Wisdom". All the tracks, including the
bonus demos, have individual explications by Kelly Shaefer. All
tracks have also been digitally re-mastered and sound as crisp and
clear as a 1989 Scott Burns production ever can, or should.
Basil Poledouris - _Conan the Barbarian_ (Varese Sarabande, 1982)
by: Paul Schwarz (10 out of 10)
This is more than a film soundtrack: it is a wonderfully structured
piece of music. If you travel to England, ask my friends, or even
better, just ask me my opinion on John Milius' 1982 film of Robert E.
Howard's titanically defined hero of fewer words than sword strokes,
you'll quickly realise that I have more than merely a passing
interest in this epic, fantasy tale told in celluloid. Truth be told,
I love it. The specific reasons why I love "Conan the Barbarian" need
not be expounded here (though many will surely spill out as this
review unfolds), but this s
oundtrack is a good portion of the reason
why "Conan the Barbarian" works so brilliantly as a film. However,
enjoying and appreciating the score's musical value is not dependent
on knowing or enjoying the film it was scored to, though it will
greatly enhance the score's evocative power and effect. Poledouris'
score, composed closely with Milius and deftly edited to fit the
film's structure and specific visuals, heavily utilises the operatic
device common to Wagner of using repeated musical themes to represent
characters, places or ideals. It thus takes on an operatic character
as a soundtrack. But _Conan the Barbarian_ goes a step further than
the average score-soundtrack album. It is infinitely more important
than the film's minimal and (wonderfully) simplistic dialogue.
Sectioned musically into the various scenes of the film -- and,
independent of the visuals, the tracks vividly evoke each in turn if
you've seen the film even a relatively small number of times --, this
near-complete sixty-seven minute representation of Poledouris' score
is musically valid independent of its visual/narrative creative
impetuses. This is certainly not what one might crudely describe as
"wimpy classical music"; _Conan the Barbarian_ is stirring and
-heavy- in more ways than one, and quite frankly more ways, and with
more profundity, than most "extreme music" releases I receive for
review. Tracks like "The Anvil of Crom" or "Battle of the Mounds" are
heavy in a Wagnerian, percussive, and dramatic sense; the former with
its stirring and pronounced opening drums of war and the latter with
its dramatic orchestral cymbal crash climaxes. However, the
soundtrack as a whole is heavy on a far more significant, emotional
level. To paraphrase Kirk Windstein [CoC #47]: heaviness is not about
playing fast, slow, loud, soft or even (dare I say it...) on a
distorted guitar, or with a drum kit backing you up. It's about
emotion; it's about how effectively you push across -feeling- through
music. If that's heaviness, _Conan the Barbarian_ is one of the
heaviest albums I own. Beautiful, stirring, inspiring, doom-laden:
_Conan the Barbarian_ works on many different levels, but most
importantly, it works, it clicks, it makes you feel good to be alive.
And it's among the most empowering and gripping records I own; right
up there with _Reign in Blood_, _Clandestine_, _Focus_ and many
others which remind me why music matters so much to me. Make sure you
get Varese Sarabande's 16 tracker, as it is the most complete score I
know of. If you can find a more complete, or -the- complete
soundtrack, then get that, but please drop me an e-mail if you do,
even if it -is- only so you can gloat.
Carnage - _Dark Recollections_ (Necrosis, 1990 / Earache, June 2000)
by: Paul Schwarz (8.5 out of 10)
Exalted and tape traded for years since it was deleted as part of
Jeff Walker's Necrosis Records Earache offshoot (who also released
Cadaver and Repulsion material), _Dark Recollections_ is a primitive
and visceral slab of traditional Swedish death metal, and this
re-release is not only a welcome musical nostalgia trip, but due to
its linear notes also a charming lesson in Swedish death metal
history. "In a way I think the band was maybe more famous for what
came after it" is the aspersion of Mike Amott in said extensive
linear notes, and I am very much inclined to agree with him. He
himself split Carnage when he joined Carcass -- which according to
vocalist Matti Karki happened more or less the second that _Dark
Recollections_' recordings were finished -- and went on to form both
the seventies-styled Spiritual Beggars and later help herald the
return of death metal in the late-nineties with Arch Enemy. His
bandmates in Carnage comprised what are arguably Dismember's three
most pivotal figures (drummer Fred Estby, vocalist Matti Karki and
guitarist David Blomqvist) and Johnny Dordevic, whose ghostly
appearance on Entombed's _Clandestine_ is here cheaply credited
seemingly to bolster this re-release's credibility. Carnage also
originally featured the vocal talents of Johan Liiva Axelsson, who
went on to record some classic Swedish death metal with Furbowl and
has more recently rejoined Amott in Arch Enemy. The family trees of
over half a dozen bands thus lead back to Carnage, and one
accordingly expects a lot out of _Dark Recollections_. The truth is,
it doesn't generally live up to most people's expectations, but
mostly because, quite honestly, people expect too much out of five
young Swedish kids making their first recording. _Dark Recollections_
is a classy Swedish death metal record, and a first recording to be
proud of. Its songs are even more primitive and gritty than _Like an
Everflowing Stream_ or _Left Hand Path_, though not of the same
quality, and the fuzzy crunching guitar tone trademark of Swedish
death metal is present and very much correct. Blomqvist pulls out a
few of his classic melodic solos and leads, which are like an old
friend to any Dismember fan, while some of the riffs Amott churns out
-- particularly on the definite standout "Malignant Epitaph", with
its infectious vocal patterns -- are memorable as well as being
unashamedly brutal. Its influence, due to its limited availability
almost since the day it was released, may be questionable, but all
the same _Dark Recollections_ is undeniably a pivotal piece of
Swedish death metal history, and a very much worthwhile purchase for
lovers of classic Entombed, Dismember, Grave and Furbowl. This
re-release is pushing the must-buy category: not only, as mentioned
above, does it tell a great tale of an important time in a number of
today's extreme metal musicians' formative years, but it also has
both Carnage demos, and even includes the rough mixes of the first.
This not only gives you the opportunity of hearing Johan place -that-
throaty growl over some material which later appeared on _Dark
Recollections_ (_Infestation of Evil_), but it also gives you three
tracks which never even made it as far as the full-length debut. _The
Day Man Lost_ is a primitive but surprisingly enjoyable
death-grinding five odd minute ride strongly bringing to mind early
Carcass; whether you like it will depend on how many Earache releases
with a Mosh number ten you own, and how much you like them.
Celtic Frost - _Morbid Tales_ (Noise, 1984 / Noise, January 2000)
by: Paul Schwarz (9.5 out of 10)
Haunting, raw, classic. Definitely three words which apply to Celtic
Frost's debut album, _Morbid Tales_. Though the band went on to
refine and innovate with _To Mega Therion_ and _Into the Pandemonium_
respectively, it is still _Morbid Tales_ which gives me the greatest
listening enjoyment. Offering classics like the record's storming
opener, "Into the Crypts of Rays" along with the likes of "Dethroned
Emperor", "Procreation (of the Wicked)" and "Return to the Eve",
_Morbid Tales_ set a standard in certain sectors of the thrash
community and exerted considerable influence, long after its initial
release, on the music of the Norwegian black metal scene
(particularly in the case of key players Darkthrone). Likewise,
Frost's image at the time also influenced the uniform of spikes,
bulletbelts and accentuating face-paint of the early-to-mid nineties
black metal movement and again many in the thrash fraternity. Frost
influenced death metal considerably. _Morbid Tales_, along with _To
Mega Therion_, range from providing the general percussive playing
style and deep vocals in most cases, to supplying most of the music
in others (i.e. Obituary, whose, "Circle of the Tyrants" cover was
hardly discernible from their own material). Regardless of what
followed it, _Morbid Tales_ demands praise of itself. It has
atmosphere and heaviness while also sticking distinctly in the head
and not ending up a mindless blur as early thrash albums sometimes
tend to. Closing ominously with the haunting and catatonic atmosphere
piece of "Danse Macabre", _Morbid Tales_ is undeniably excellent both
as a representation of Frost at the time and a precursor for the
turning upside down of thrash metal conventions that was soon to
come. In comparison, the later _Emperor's Return_ EP, which is
included as a bonus here, is nothing to write home about. The songs
are faster but far less well written on the whole, and the
production, whether you take these original mixes or the previously
released ones, is lacklustre. The most interesting and significant
thing about it is that it features the first version of "Circle of
the Tyrants", which would become a 'Frost staple and produce one of
their few videos. Re-issue includes the _Emperor's Return_ EP, with
all tracks in their previously unreleased original mixes, and full
digital re-mastering. In addition, the booklet is now in full colour
with all lyrics, linear and sleeve notes, and a good collection of
pictures and images from the time. Unfortunately, unlike Noise US'
recent reissue of _Morbid Tales_, the Hellhammer _Apocalyptic Raids_
EP is not included on this new edition of _Morbid Tales_.
Celtic Frost - _To Mega Therion_ (Noise, 1985 / Noise, January 2000)
by: Paul Schwarz (9 out of 10)
I am told that this is, to this day, Frost's most popular album
overall. Whether that is based on sales or comments I don't know, but
what I must admit is that there are bountiful reasons to like _To
Mega Therion_, especially for a modern metal listener not as
interested in the creakier, creeping feel and slower pace of _Morbid
Tales_. Furthermore, on _TMT_ is where Frost's flirtations with the
symphonic and the atmospherically odd begin to blossom. The pomp of
opener/intro "Innocence and Wrath" is contrary to the expectations of
a thrash metal album circa 1985, at which time proceedings more
typically began with a tokenistic keyboard intro, acoustic guitars or
a fade in of wailing feedback/thrashing to set up a simple dynamic
with the aural evisceration that was to follow. In contrast, Celtic
Frost close their intro and wait an instant before launching into the
intensely percussive first song, "The Usurper". From this frenetic
beginning 'Frost pound through mid-paced classics like "Jewel Throne"
and the huge, heady Sabbath-ish riffs of "Dawn of Megiddo" (a song
with a uniquely ominous atmosphere) on to "Circle of the Tyrants",
one of their more famous and fully realised tracks. Though more
polished, _TMT_ still has a dirty, overdriven feel to it, reinforcing
the division between 'Frost and other bands of their time, though not
as solidly as their flirtations with the avant-garde did. 'Frost
hammer their way through "(Beyond the) North Winds" and "Fainted
Eyes" in full-on thrash glory, but the brooding atmospheric piece
"Tears in a Prophet's Dream" is nothing typical. 'Frost close _TMT_
with the hammering precision of "Necromantical Screams", complete
with coherent and impressive female backing vocals. Definitely ahead
of its time and standing up as a powerful and effective metal record
to this day, _TMT_ provides the essential link between _Morbid
Tales_' endearing imperfections and the drastic experimentation which
_Into the Pandemonium_ would later showcase. On the re-issue,
original album mixes of the "The Usurper" and "Jewel Throne" are
replaced with the later re-recordings (featuring Martin Eric Ain who
had left to be replaced by Dominic Steiner for _TMT_'s original
recording) featured on the _Tragic Serenades_ EP. The 1985 "Return to
the Eve" studio jam, also from this EP, is added as a bonus track.
All tracks have been digitally re-mastered and all lyrics are
included, along with both H.R. Giger pieces licensed to the band for
the album, and plenty of photos along with informative sleeve notes
by Tom G. Warrior.
Celtic Frost - _Into the Pandemonium_
by: Paul Schwarz (10 out of 10) (Noise, 1987 / Noise, January 2000)
It isn't quite my favourite Celtic Frost album, but if any thrash
metal album ever deserved a 10 out of 10 for its combination of
quality song-writing and an unrestrained drive to do something
different, then this -must- be it. It was as much of a pain for
'Frost to get the experimentation of _ItP_ past Noise, their record
company, as it was for them to reach within themselves and commit its
orchestrated, avant-garde form to tape. With the nineties now only a
shadow of the past themselves, it is perhaps hard to appreciate just
how drastic _Into the Pandemonium_ was in 1987, especially for a
record which actually came -out- of the heavy metal genre, rather
than merely borrowing from it. From opening Wall of Voodoo cover
"Mexican Radio" to the closing "Oriental Masquerade" outro, _Into the
Pandemonium_ is an encapsulating experience: as astoundingly varied
as it is unpredictable. Warrior switched his assault of relentless
death howls for a style which crooned as much as it crushed, while
the influx of other voices, including many brilliantly used ones of
the female variety, gave _ItP_ a unique vocal soundscape. The track
objected to most by Noise was "Tristesse de la Lune", which comprises
merely a solo violin and rich female singing. The track comes
straight out of leftfield: though in 1987 it was probably more
astounding, let's be honest, we don't expect this kind of daring from
the majority of metal bands even today, thirteen years later. Much as
it is a daring departure, _ItP_ does contains some of 'Frost's best,
heavy, metal moments in the shape of tracks like "Babylon Fell" or
"Inner Sanctum". However, it is the tight, infectious and
pop-structured crush of "I Won't Dance" and the operatic,
thematically constructed closing song "Rex Irae (Requiem)" which
provide _ItP_'s most stirringly brilliant moments. "One in Their
Pride", a programmed drum affair paying a strange homage to the NASA
space mission to the moon, is the final jagged piece of the puzzle
thus far not mentioned here. _ItP_ is intense and moving even today;
despite inevitably showing its age in places, it is nonetheless a
brilliant and shockingly original album, 'Frost's greatest peak (from
which the valley and the "cold lake" at its bottom was deep), which
will surely guarantee them a place in metal history for as long as
the style itself is remembered. Re-issue includes four bonus tracks:
an extended mix of "One in Their Pride", "In the Chapel in the
Moonlight" (a Dean Martin cover taken from the limited vinyl EP _The
Collectors Celtic Frost_) and two versions of "The Inevitable Factor"
(a track which never made the final cut of _ItP_) with differing
vocal tracks. All tracks are fully digitally re-mastered, and the
booklet contains informative sleeve notes by Tom G. Warrior along
with all the original artwork affiliated with the album, and numerous
photos of the band from the period.
Crumbsuckers - _Life of Dreams_ (Combat 1986 / Relativity, 1999)
Crumbsuckers - _Beast on My Back_ (Combat 1988 / Relativity, 1999)
by: Aaron McKay (9.5 and 10 out of 10)
Outside of Death and a choice few visionaries, the Crumbsuckers
-were- certainly a band vying for my unparalleled attention and
devotion during some of my formative years. To review _LoD_ and
_BoMB_ is like a grand ride through Central Park in a Sherman tank.
Strangely soothing in its New York punk/thrash amalgamation, these
albums were clearly way ahead of their time. Bending their sound to a
largely more metal convergence, in 1988 the Crumbsuckers released
_Beast on My Back_ or (BOMB), as it was referred to among my concert
going buddies at the time, but I'll get to _BoMB_ in due time. Truly
adrenaline-driven, _Life of Dreams_ smoldered and fused the scene
together cohesively along side groups like Agnostic Front about the
_Cause for Alarm_ and _Liberty & Justice for All_ eras. Yet the
Crumbsuckers had so much more to offer with -their- seemingly beer
mashed hardcore/meal blend. Often biting with a bitter commentary on
life, one gets an inside, underdeveloped glimpse of what Pro-Pain
eventually evolved from after bassist Gary Meskill's and drummer Dan
Richardson's development upon the mighty unfortunate dissolution of
the Crumbsuckers after _BoMB_'s release. While "Shits Creak",
"Bullshit Society" and "Mr. Hyde" off of _LoD_ are some ascetically
killer tracks and "The Longest War" gives the enthusiastic listener
the first malted taste of things to come from Pro-Pain, I don't
believe that anything the band did could ever top _BoMB_'s
"Remembering Tomorrow". Like a seasoned brewmaster, the Crumbsuckers
mixed their soft melody hops and metal barley ingredients without
flaw on "Remembering Tomorrow". One single note not exactly where it
is would have been a crime. History repeats itself. I think that this
is ultimately true when it comes to the Crumbsuckers. So much as the
band was ahead of its time way back in 1986, I could argue these
metal clairvoyants were definitely in the position of "Remembering
Tomorrow" and hindsight is usually 20/20.
Cynic - _Focus_ (Roadrunner, 1993)
by: Paul Schwarz (10 out of 10)
Cynic have remained the fascination of a surprising number of extreme
metal fans considering that they never made the impact on the scene
which they deserved to back in 1993, added to which the fact that
this incredible debut record is now deleted. As probably the most
divergent yet also relevant left-fielder to emerge from the Florida
death metal scene, Cynic dared to combine the improvisational styles
of jazz, a milieu of keyboard textures, guitar and vocal
synthesisers, and an introspective philosophical approach, with death
metal: an essentially barbaric musical form. It is testament to
Cynic's incredible talent that they succeeded not only in making a
brilliantly diverse and gripping album, but that they succeeded also
in making a death metal album. Electronic-sounding voices give way to
Schuldiner-like howls, vicious chainsaw guitars slide effortlessly
into spiralling progressive leads or keyboard flourishes and
double-bass insanity is exchanged momentarily for improvisational
jazz rhythms. This is _Focus_. It is probably the most diverse
listening experience which falls, however close to the edge it is,
within the wide boundaries those such as Morbid Angel rightfully
place on the death metal genre. It is a stunningly successful
experiment where dazzling technicality combines with impressive
songwriting to create a complex but comprehensible whole.
Deceased - _The 13 Frightened Souls_ (Relapse, 1992)
by: Paul Schwarz (9.5 out of 10)
Their vision of a post-apocalyptic world of faceless desolation --
arriving a few years after the late-eighties where such subject
matter became an obsession for some -- can belie Deceased's true
brilliance on their second release, this near-perfect EP. After a
rather shoddy debut in 1991's _Luck of the Corpse_, it must have been
quite easy to dismiss Deceased, on an international level at least,
as little more than a second-rate thrash throwback. _The 13
Frightened Souls_ banishes such conceptions utterly. Two pairs of
expertly and astutely written thrash songs are interposed by a
tightened-but-authentic "Voivod" cover, and result in what must be
one of the finest EPs in my collection, standing equal or superior to
the likes of _Despise the Sun_ (Suffocation) and _Flag of Hate_
(Kreator). Deceased mix up Voivod, Possessed and Kreator in
fashioning a sound which is characteristically their own, and
creating thrash driven metal songs with a stronger percussive
permeation and dynamic quality than was typical with the
aforementioned eighties heroes in their heyday. On _The 13 Frightened
Souls_, Deceased don't concentrate on going slow or fast; they just
concentrate on writing and playing great, hard, metal songs with
effectively despair-ridden moments as well as megatons of
headbang-inducing riffs and rhythms. Rarely are bands so free of even
a single dud moment on an individual release, be it EP or LP.
Dodheimsgard - _666 International_ (Moonfog, 1999)
by: Paul Schwarz (10 out of 10)
I'd love to call it an _Into the Pandemonium_ for the nineties, but
unfortunately Dodheimsgard's triumphant statement of individuality
bears out only one comparison: it is a creative milestone of metal.
Though forged of shocking originality and incredibly daring
innovation just like _ItP_ was, _666 International_ never rocked the
boat of its genre (black metal) like Celtic Frost managed to with
theirs (thrash metal). _666I_ was not unleashed on a similarly
massive and loyal fanbase and was more commonly quietly ignored,
objected to or shelved than held up as a standard for others who
wished to innovate, to follow. Describing _666I_ is a difficult task
without creating the wrong impression. Its drums are programmed
(though sampled from Czral), its rhythms often move into very unusual
time signatures -- I could go on listing characteristics, but it will
suffice to say that, to a greater extent than any other record in the
black metal genre, _666 International_ defies any but the most
deranged of expectations. However, I would say that like every great
piece of innovation, it remains essentially tied to its roots; _666
International_ -is- a black metal album: no other genre can claim
primary responsibility for its existence. Like _Focus_ or _The Key_,
it pushes boundaries rather than incompetently cutting and pasting
other styles on top of itself; this is not techno-metal. _666
International_ marries the raw, dark, haunting qualities of black
metal with the 21st century: from the technology used for its
creation to its visual presentation. I'd rather not go too far into
describing the compositions; I'd rather let you discover these
wonders yourself, I'd rather (as the old phrase goes) let the music
do the talking, because it's got a -lot- to say -- but over twenty or
thirty listens and six months down the line from first obtaining it,
I am still hearing something new each time I put it on, and I am
still struggling to fully comprehend what Dodheimsgard have done. I
must admit at this point that I was wrong about Arcturus [CoC #30],
that I did allow myself to get carried away on its hype, that I was
wrong to give it a 10, but don't let my mistake fool you into
ignoring _666 International_, for it is something truly
extraordinary. Even if you don't think you'll like it, you should at
least hear what black metal's creative forefront sounds like. And
actually, now that I think of it, I guess that's one other way in
which Dodheimsgard's moment of creative clarity compares with Celtic
Frost's: anyone who considers themselves truly interested in music
should at least hear it.
Manowar - _Fighting the World_ (ATCO, 1987)
by: Paul Schwarz (9.5 out of 10)
I am listening to it right now, and God damn it I can't help but sing
more or less -every- line and air-guitar to -every- solo -- at the
rate I am currently going, this review will take a lot longer to
write than it rightfully should. Yes, I am a Manowar fan; yes, I do
think they are probably the greatest metal band ever (or at least
high up among the likes of Iron Maiden, Judas Priest and Black
Sabbath); but I also think there is something about Manowar that
makes them a band that everyone should hear, a band that many more
people than do will at least get something out of -- maybe even, like
me, something that is actually life affirming. And _Fighting the
World_ is quite possibly the easiest place to start. Not only does
Manowar's fifth album have some of their catchiest, most solidly
rocking songs on it, but it also displays their taste for the epic
more concisely than on other works. _FtW_ moves from the rocking,
intensely catchy realms of the title track, "Blow Your Speakers",
"Carry On" and "Violence and Bloodshed" to "Defender"'s slow and
solemn pound (complete with Orson Welles spoken "vocal" part) and
onward to the relentless "Holy War", before capping itself off with
the magnificent closer of "Black Wind, Fire and Steel". Manowar's
music is not technically driven. Though all members are technically
exceptional (Joey's bass playing is a particular standout in this
respect), their abilities permeate their solos instead of dominating
their songs. Eric Adams' vocals have the spirited power of Dickinson
and Halford, and are surely one of the elements totally essential to
Manowar's charm. I remember a time when I laughed at this band. I'd
heard _The Triumph of Steel_ (probably the band's lowest point) and
its lyrics (which are notoriously over the top, proclamatory and
fantastical), had disliked the band's image, and had thus labelled
them as embarrassing rubbish. My attitude was quite typical of a '90s
kid growing up with the cynical, realist trappings of grunge and the
likes of Machine Head, Rage Against the Machine or Metallica. I
thought metal should be gritty and realistic and hard. Then I gave
_Kings of Metal_ a chance. It converted me and I am most definitely
the happier for it. I recommend giving Manowar a chance, and if you
don't want to do it for yourself, do it as a favour to me.
Manowar - _Kings of Metal_ (Atlantic, 1988)
by: Paul Schwarz (10 out of 10)
Although probably among the most boastful album titles ever penned,
_Kings of Metal_ is, in my opinion at least, also one of the most
accurate. Beginning similarly to _Battle Hymns_, with the roar of a
powerful engine followed by the squealing of tires on a vehicle
accelerating at high speed, this short introduction is a perfect
warm-up (please excuse the pun) for the opening barrage of "Wheels of
Fire". Tagged as Manowar's "thrash metal song" in certain circles,
its vicious speed/thrash is more than adequate incitement to commit
multiple driving offences, speeding not least. Initially belting out
a venomous verse tirade, Eric switches to his classic melodic style
for the evocative, stunning chorus lines of "Wheels of fire / burn
the night / ride across the sky / wheels of fire / burning bright /
we live to ride." From here on in _Kings of Metal_ proves to be a
strangely reconciled mix of being Manowar's least restrained work in
terms of what could be attempted with their sound and also the album
which features some of the best material they have yet written in
their classic style. It is a masterpiece. "Kings of Metal" pounds
with its proclamative chorus and headbang-inducing rhythm while
"Heart of Steel" still stands as undoubtedly the band's most
convincing ballad. "Sting of the Bumblebee" is Joey's electric bass
rendition of Nikolai Rimsky-Korsakoff's "Flight of the Bumblebee",
and despite its indulgent nature, is technically astounding and great
fun to listen to. _KoM_'s most majestic moment, and probably
Manowar's as well, is also its halfway point: "The Crown and the Ring
(Lament of the Kings)". Backed by a canoldir male choir in St. Paul's
Cathedral, Birmingham (conducted by Joey in his finest jeans and
leather; not crackerjack clothes), the song features no guitar but is
gloriously moving and a simply astounding piece of songwriting. "Hail
and Kill" is the record's magnificent penultimate track. Beginning
with an acoustically backed opening call to arms, the song quickly
emerges as a raging slab of heavy metal which is among Manowar's
best. The chorus of chanted "Hail, hail, hail and kill"'s is as
unrelenting it is heavy, and the song is bolstered by some of Ross
"The Boss"'s greatest speed solos, riffs and lead lines. Eric, in
turn, reaches deep for the dynamic and gripping vocal delivery while
Columbus' drumming assaults the ears. It is a true classic. The album
closes with a four minute story told in Wellesian style with the
pretext of a grandfather telling his grandson a "real story". After
this, "The Warriors Prayer", the final grandiose assault of "Blood of
the Kings" leads the final charge into battle. Though closing in
hideously self-indulgent style, "Blood of the Kings" is a supremely
convincing finish to _Kings of Metal_ which hails fans across the
globe (it is, in this respect, a distorted twin of "Army of
Immortals"), encouraging others to "join the cause of true metal",
and mentions every one of the bands previous album titles, and half
the countries in Europe by its finish. It is a towering testament to
virtuosity and confirms, if any confirmation were needed, that
Manowar have no interest in underplaying anything for the sake of
"good taste". _Kings of Metal_ is best summed up in Manowar's own
words: "No synths, no pedals, no wimps. Just power, metal and might."
Manowar - _Battle Hymns_ (Liberty, 1982)
by: Paul Schwarz (9.5 out of 10)
As with _Kings of Metal_, Manowar's landmark debut begins with a
roaring motor engine, from which the classic opener "Death Tone"
takes off. From here on in Manowar indicated that conservative
commercialism and restraint were never going to be their fortes. And
though songs like "Fast Taker" and "Shell Shocked" showcased a
socially aware lyrical content which Manowar never again explored,
_Battle Hymns_ also established their barbarian-like lyrical
character, stage personas and visual image as much as it first
introduced their war-like music to the metal scene of 1982 -- which
we must remember had only recently witnessed and adjusted to the
birth of the heavier New Wave of British Heavy Metal movement bands
like Iron Maiden and Saxon. Emerging from New York and hailing '70s
heroes Black Sabbath and Dio rather than their English
contemporaries, Manowar were not another NWOBHM band. They took the
accentuated image of metal to a tasteless level of excellence, while
epic track "Dark Avenger" took "epic metal storytelling" ("cheese" to
non-fans of this sort of thing) to an impressively high level,
complete with an Orson Welles narration he prepared -with- the band.
The muscular metal of _Battle Hymns_ is neither strictly traditional
nor drastically innovative. Mostly, what it has is power and
exuberance: a brash but catchy blend of pounding percussion, huge
upfront bass lines, accomplished but simply constructed guitar lines,
classy and indulgent solos, and brilliant but completely over the top
vocals. _Battle Hymns_ is Manowar at their most hungry; it is thirty
five minutes of great metal.
Manowar - _Hail to England_ (9.5 out of 10)
by: Paul Schwarz (Music for Nations, 1984 / Metal Blade, 1999)
Following in the tradition of '70s rock and metal acts, Manowar, in a
mere two years, had already made it to their third release: _Hail to
England_. The title a "thank you" to the band's loyal supporters in
the territory, _HtE_ was Manowar's most polished release at the time,
and it still stands as one of their best. The powerful, thumping,
anthemic "Blood of My Enemies" begins proceedings followed soon by
classic Manowar staples "Kill With Power" and "Army of the Immortals"
-- one of their many songs which pays homage to their fans all over
the world. Track six is Joey's first creatively interesting bass solo
piece, "Black Arrows", a frenetic barrage of arpeggios delivered at
astounding speed. It's not his greatest solo bass moment (that was to
come on the next album, recorded in the same sessions as _HtE_, _Sign
of the Hammer_, with "Thunderpick") but it is at least technically
astounding and comfortably sets the more standardly written songs of
_HtE_ apart from its final epic, "Bridge of Death". Among the
greatest in Manowar's catalogue, "Bridge of Death" is reason alone to
own _HtE_. Its calculated, monstrous, gradual main riff and grandiose
lyrical content puts it almost on par with Iron Maiden's epic "Rime
of the Ancient Mariner", and certainly the power and emotion it
evokes by the time it reaches the final proclamation of "He is the
one who waits / Satan is His name / Across the Bridge of Death /
there he stands in flames" is truly affecting. Not a bad starting
point as a Manowar album, and definitely essential if you are even
mildly fanatical about the following three.
Manowar - _Sign of the Hammer_ (10 Records, 1984)
by: Paul Schwarz (10 out of 10)
Kicking off with the macho proclamation of "All Men Play on 10",
_Sign of the Hammer_ is anything if not varied. Though the
aforementioned and the following song "Animals" are Manowar at their
boastful and full-on rocking best, "Thor (The Powerhead)" puts the
tone and feel onto mythological lyrical subject matter and provides a
different, more majestic musical muscle to pump Manowar's iron.
"Mountains" is a classy epic along similar lines while "Sign of the
Hammer" and "The Oath" follow with equally thundering power.
"Thunderpick", which precedes the closer, "Guyana (Cult of the
Damned)", is easily Joey's creative peak with solo bass work and the
closer itself is no downer. The power of Eric's vocal talents are
mercilessly displayed while the pound of Manowar's basic, thumping
metal riffs and war-like drum patterns, interspersed with classy
leads from guitar and bass alike, wreak their havoc. Despite being
recorded at the same time as _Hail to England_, and even being
released later in the same year, _Sign of the Hammer_ bears no real
resemblance in terms of production or songwriting -- except of course
that both are so unmistakably Manowar. _Sign of the Hammer_ is my
favourite of the early Manowar albums and an inexorable album from
start to finish. A must own.
Paul's Ranking of Manowar's albums to date
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1. Kings of Metal (1988) [10]
2. Sign of the Hammer (1984) [10]
3. Battle Hymns (1982) [9.5]
4. Fighting the World (1987) [9.5]
5. Hail to England (1984) [9.5]
6. Into Glory Ride (1983) [9]
7. Louder Than Hell (1996) [8]
8. The Triumph of Steel (1992) [8]
Nocturnus - _The Key_ (Earache, 1990)
by: Paul Schwarz (10 out of 10)
Before Nocturnus went ahead and did it, no-one in the early nineties
would have dared attempt to fully combine death metal with keyboards.
However, with this debut album Nocturnus not only dared it, they
managed to do it effectively, creating one of the most sinister and
infectious death metal releases of the year, as well as surely the
most innovative. It earned Nocturnus no points with death metal's
only recently created but still ever-conservative fanbase, and so,
though critical appraisal was considerable, Nocturnus did, over the
years, slip slowly into obscurity to only recently be revived in time
for the third millennium. Irrespective of history, however, the power
of _The Key_ as a musical entity is undeniable. It is not merely the
idea of adding keyboards that makes Nocturnus special. The twin
guitar attack of Mike Davis and Sean McNerny is, with no
overstatement whatsoever, complete technical insanity. I am surprised
it is even possible for a human to play the combination of chords,
fills and monstrous, spiralling solos which these two between them
manage on _The Key_. What is yet more surprising is how it somehow
works. It is possible to follow McNerny and Davis' insanity, and the
reason is that Louis Panzer's keyboards and Mike Browning's vocals
are there with them, making them make sense. A riff or solo is often
backed by a subtle chord from the keyboard played with some eerie
sound effect, while the tale of the evil which exists in man being
reborn all the stronger through technology proclaimed through
Browning's harsh vocal tract does a great job of punctuating the
intense textures of sound. Meanwhile, his rhythm work on drums
provides a crushing assault of speed and well-calculated pounding to
underscore the whole experience. And that's exactly what _The Key_
is: an experience. A complex and morbid horror/sci-fi concept
expressed through detailed lyricism and technical, technological and
of course original death metal. A masterpiece of creative
achievement.
Rush - _2112_ (Anthem, 1976)
by: Paul Schwarz (9.5 out of 10)
The title track concept piece totalling nearly the length of its name
which kicks off _2112_ is, to me, not only a wondrous piece of
progressive '70s rock with dynamics, emotion, and classy songwriting
in abundance; it is also the soundtrack to a trip across a small part
of the beautiful country of Canada which, as much as any single event
ever has, changed my perspective on life. So, yes, I'm biased.
Regardless however, "2112" is absolutely brilliant music to drive to,
especially when the scenery that flies by as you speed down the
highway is as beautiful as that of Northern Ontario. And maybe this
intensely personal image of _2112_ is not as leftfield as it might
seem, for Rush are Canadian (from Ontario itself, no less) and there
is something almost -distinctly- Canadian about the way they helped
revolutionise rock music and create a part of the blueprint for what
the term prog rock means today. _2112_ is a key part of this
movement. Though with such songs as "Bytor and the Snowdog" Rush had
explored the challenge of the epic concept piece before, "2112" was
among the longest, and for my money the best and most effective, of
its time. With Neal Peart laying down rhythms to die for, Getty Lee
made sure his vocals were as effeminately high but also full bodied
as was always his trademark. Meanwhile Lee's bass work combined
itself with Alex Liefeson's incredible guitar histrionics to form a
sound which, though it was free of the brash, abrasive paint-peeling
sound of the likes of Black Sabbath or Judas Priest, was still
undeniably full on, and also some how very folk-tinged in its own
way. The five tracks following "2112" do step down into more familiar
rock territory, but all the same are definitely more than just
fillers. I must admit, I tend to only listen to the whole album about
every ten times I listen to its epic title track, but giving them a
long-deserved spin now, I realise that maybe I just don't give these
five other tracks, which include the live staple "Something for
Nothing", enough of a chance because of their unfortunate
juxtaposition to the epic title track. _Farewell to Kings_ and
_Moving Pictures_ particularly may have taken Rush to greater heights
in terms of writing great songs to more concise lengths, but for the
inalienable memories as well as its epic qualities, I personally
choose _2112_ over the others I own for when I want to sit back and
enjoy the brash, "good-taste"-disregarding (cheesy lyrics? Never!)
sound of classic seventies progressive rock.
Spinal Tap - _Spinal Tap_ (Polydor, 1984)
by: Paul Schwarz (9.5 out of 10)
Recorded by the band to accompany the "This Is Spinal Tap"
"rockumentary" made by Marti "enough of my yakin', let's boogie" de
Bergi, _Spinal Tap_ is essentially a soundtrack album of that film.
Nigel "better done in Dolby" Tufnel, David "and why not?" St. Hubins,
Derek "luke warm water" Smalls, Mick "the law of averages" Shrimpton
and Viv "I've got two hands here" Savage play the songs from their
history which featured prominently in the film, with finesse. They
exploit every rock cliche in the book to their bitterly pitiful, and
somehow brilliant, logical conclusions. Maybe this would be the
review, if Spinal Tap were a "real" band, for, as most of you
hopefully know, Spinal Tap "merely" exist in the aforementioned Rob
Reiner film, "This Is Spinal Tap". However, there is a sense in which
Spinal Tap are more real than many a faceless glam/shock rock band,
for they almost personify the whole genre, and this album is
razor-sharp in summing up the mid-to-late seventies and early
eighties in rock music. The lyrics are perfectly idiotic, cutting
amazingly close to the bone of bands like Manowar, while being
hilariously reverential in some strange way, rather than feeling like
the cold knife in the back fashioned of misunderstanding mainstream
criticism of the extremities of rock and metal. "Tonight I'm Gonna
Rock You Tonight", "Rock and Roll Creation", "Sex Farm" and
"Stonehenge", to name only some of the classics on here, all have a
strange reality to them despite effectively being jokes, and are
strangely enjoyable in the traditional musical sense, in addition to
being possibly the most utterly hilarious musical compositions ever
written. Christopher Guest, Michael McKean, Rob Reiner and Harry
Shearer managed to tap a vein of lyrics which, though they
brilliantly make fun of rock cliches, are not unbelievable -as-
lyrics. Likewise, the riffs, solos, drumming and keyboard fills are
riotous exploitations of many the cliches rock music adopted at the
time. With complete joke tracks purported to be from Spinal Tap's
pre-rock sixties days like "Cups and Cakes", "Gimme Some Money" and
"Listen to the Flower People" thrown in for good measure, the only
reason this doesn't get a 10 is for the different version of
"Tonight..." and its mere thirty five minute length. _Spinal Tap_ is
a classic; it may be a humour classic, but it is a classic all the
same. You'll need to have seen the film a few times to fully
appreciate it, but if you haven't done this already then you have
been severely deprived and need to fix that problem: I believe "This
Is Spinal Tap" is consistently available at a very cheap mid-price
these days. So, admire yourself in the "huge black mirror" of a
cover, turn your stereo up to 11 and revel in this "ponderous
collection of religious rock psalms". You might wonder on what day
the lord created Spinal Tap, and you might end up wishing he'd rested
on that day too, but if you're a 'Tap addict like myself or you are
able to have a laugh at rock's past excesses in tastelessness, then
this is a 100% essential purchase.
Pedro's Selection
~~~~~~~~~~~~~~~~~
Since this is the first time I've participated in a Classic Carnage,I
decided to review the albums I selected for my top "10+1" of all time
featured in CoC #45, even though some of them have been reviewed in
CoC before. I have already reviewed two of these albums in past
issues of CoC myself, namely Empyrium's _Songs of Moors & Misty
Fields_ in CoC #30 and Opeth's _My Arms, Your Hearse_ in CoC #32; my
opinion about them hasn't changed since then and they therefore will
not be included here. Four of these "10+1" albums came out in 1998 or
1999 and the oldest ones were released in 1993, but nevertheless
these are all classics for me. I decided not to give any ratings;
these are most of the albums I would still today give a 10 out of 10,
with very few possible exceptions. So, here are my reviews of the
albums I chose as personal classics.
Anathema - _Serenades_ (Peaceville, 1993)
Anathema - _The Silent Enigma_ (Peaceville, 1995)
by: Pedro Azevedo
The massive differences between Anathema's first two albums suggest a
greater time gap than two years, but they have at least one major
characteristic in common. It is one they share with the vast majority
of all the brilliant material Anathema have released to date: given
the right opportunity, the music and lyrics can crawl into that
sullen corner of your heart, coil inside it and never leave.
Throughout the band's career, the Cavanagh brothers' guitars have
led Anathema as they tell of grief and misery as eloquently as the
finest poet. And from the broken-hearted doom/death of _Serenades_
with Darren White on vocals to the equally emotional and more
atmospheric doom of _The Silent Enigma_ with Vincent Cavanagh's
voice, this is music with a sorrowful spirit of its very own, coming
from a band that still today has not lost its direction, creativity
and pure genius.
At the Gates - _Slaughter of the Soul_ (Earache, 1995)
by: Pedro Azevedo
The title of the album that is arguably the most demolishing and
intense slab of Swedish metal ever, _Slaughter of the Soul_, actually
carries a deeper meaning than may be initially apparent -- one that
unveils what this record is all about: "slaughter" and "soul". Never
has an album slaughtered so mercilessly and with such relentless
precision -- because driving the aggression is a soul that carries
such unbridled anguish-fueled rage that virtually every single
element and every single moment of the album carries its own amazing
amount of pure raw energy. With _Slaughter of the Soul_, At the Gates
gathered the doom and despair of their brilliant trilogy of past
efforts as well as their technicality, and encapsulated it all in
highly destructive sonic shotgun shells aimed at your skull.
Excellent since their very first full-length release and having
produced such superb tracks as "Neverwhere" (_The Red in the Sky Is
Ours_), "The Burning Darkness" (_With Fear I Kiss the Burning
Darkness_) and "Forever Blind" (from the brilliantly titled _Terminal
Spirit Disease_) among many others before _Slaughter of the Soul_,
one can only forever wonder what might have been next if At the Gates
had not split up after this album (good as AtG-derived band The
Haunted's debut album may be, the style is different and vocalist
supreme Thomas Lindberg is absent). Everything just seems to work so
incredibly well in _Slaughter of the Soul_, however, that one can
hardly even begin to envision what a superior successor might have
been like.
Dark Tranquillity - _The Gallery_ (Osmose Productions, 1995)
by: Pedro Azevedo
The relentless aggression of At the Gates' _Slaughter of the Soul_
may have been a landmark for Swedish metal in 1995, but the same year
saw another Swedish landmark of equal importance be released: _The
Gallery_, arguably the most technically remarkable Swedish album
ever. In _The Gallery_, Dark Tranquillity managed to somehow blend
that technicality with such emotion, aggression and dynamics that the
result was beyond all reasonable expectations. Not just classics such
as "Punish My Heaven" and "Lethe", but the whole album can grip you
firmly in its claws; each sequence just blends effortlessly into the
next, and with such creativity that this becomes one incredibly
intense ride. Very emotional and with such vast amounts of creativity
and skill flowing throughout the record, _The Gallery_ is simply an
amazing and seemingly ageless album.
Emperor - _Anthems to the Welkin at Dusk_ (Candlelight, 1997)
by: Pedro Azevedo
Important as its predecessor _In the Nightside Eclipse_ may have
been, for me it was _Anthems to the Welkin at Dusk_ that truly set
the standard for extreme symphonic black metal. Ferocious guitars and
vocals backed by amazing percussion and enwrapped in brilliant
keyboards tear through complex song structures that can be as
atmospheric as they can be searingly intense. Some amazing crescendos
(especially the main one in "With Strength I Burn") further enhance
the album's excellent dynamics, which together with the very
complexity of the music practically guarantees that _AttWaD_ will
keep unveiling deeper details every time you listen to it for quite
some time. Add to this the fact that most of the atmosphere from _In
the Nightside Eclipse_ was well preserved despite the changes that
did occur (contrarily to what happened with _AttWaD_'s successor _IX
Equilibrium_) and you have what is arguably the most important
landmark in modern, symphonic black metal.
Enslaved - _Blodhemn_ (Osmose Productions, 1998)
by: Pedro Azevedo
With _Blodhemn_, Enslaved decided to leave behind most of the Viking
elements that previously drenched their music, and opted for a far
more condensed and intense approach. The result was devastating.
Propelled by Dirge Rep's drumming, the downright merciless
guitar-driven black metal on _Blodhemn_ is indeed remarkably dynamic,
aggressive and intense -- and all this is further enhanced by one of
Tagtgren's finest production jobs to date. Almost incredibly, amidst
all the bloodthirsty frenzy of some passages, Viking chants and some
highly effective mid-paced sections still find their way into the
music, and it all flows seamlessly. Very violent indeed, but with
absolutely remarkable skill that takes all the violence to far
greater levels of intensity.
Katatonia - _Dance of December Souls_ (No Fashion Records, 1993)
by: Pedro Azevedo
When trying to find the best way to describe Katatonia's debut album,
I always come back to one single word -- one which most "normal"
people would be more than unlikely to even associate with music. That
word is sorrow. To me, vocals never sounded more anguished, strings
never sadder, drums never more melancholic. With a little help from
Dan Swano, the young Katatonia produced a landmark black/doom album
in 1993. Not a flawless album -- maybe even far from that at times --
but even its flaws seem to add to its overall effect. Indeed, in
spite of a few less adequate passages, Katatonia reached amazing
heights in musically expressing sorrow with _Dance of December
Souls_. Depending on the listener, this is potentially one of the
most mesmerisingly emotionally powerful albums ever made.
My Dying Bride - _Turn Loose the Swans_ (Peaceville, 1993)
by: Pedro Azevedo
Perhaps the most highly praised doom metal album of all time, _Turn
Loose the Swans_ set the standard for many an atmospheric doom band
these days. More importantly perhaps, My Dying Bride released this to
a mostly unsuspecting metal world back in 1993 and proved that the
innovators often set long lasting standards. And indeed, as far as
doom/death metal goes, in recent years not many have even challenged
this record (Evoken's _Embrace the Emptiness_ certainly comes to
mind, though -- an album which came very close to being featured
here). Besides Aaron Stainthorpe's mix of nearly-wept and harsh
growled vocals, this was also the album that showed what Martin
Powell's heartbreaking violin could do for doom metal; but how unfair
it would be to forget the remaining members of the band. The dark
romanticism of the opening and closing non-metal tracks pervades the
whole record: a seemingly unstoppable succession of musically and
emotionally crushing -- yet somehow beautiful -- dirges.
Summoning - _Stronghold_ (Napalm Records, 1999)
by: Pedro Azevedo
If there ever was music that could take your spirit for a journey
soaring through the sky and into mysterious, gloomy yet wonderful
places, then this must be it. In fact, the music on _Stronghold_ is
at times so intensely evocative you may have to force yourself to
open your eyes in order to remember where you are. Elected Chronicles
of Chaos' 1999 album of the year [CoC #46], _Stronghold_ is currently
the pinnacle of a series which started with _Minas Morgul_ and
continued with _Dol Guldur_. It consists of mostly slow-to-mid paced
symphonic, atmospheric blackened metal -- not exactly black metal in
the evil sense of the tag, except for the anguished vocals and the
dark atmospheres. A drum machine is very well used on _Stronghold_,
interwoven with the all-encompassing keyboards and the guitars, all
presented in a very strong, clear, yet at times still somewhat harsh
production. However, it is Summoning's outstanding ability to create
monumental arrangements, melodies, passages and atmospheres,
complemented by the tortured vocals, that truly give _Stronghold_ its
uniqueness. Magical.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
____ __ __
/\ _`\ /\ \ /\ \__ __
\ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___
\ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\
\ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/
\ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\
\/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/
____ __
/\ _`\ /\ \__
\ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____
\ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\
\ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\
\ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/
\/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/
ANOTHER PILGRIMAGE TO THE METAL MIDWEST
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Milwaukee MetalFest XIV
July 28/29 2000 @ The Milwaukee Auditorium
by: Adam Wasylyk
An eleven-hour drive finally landed us canucks into the American
Midwest -- the hardest rain I've ever seen greeted us while
travelling past Chicago (to the tune of Vintersorg in our CD player)
and "Poltergeist" movies awaited us on TV at our hotel room. They
must have been omens for what was to come, as Milwaukee Metal Fest
2000 was one of the best on record. Some great bands were to play,
and the usual attraction, European bands, were here and ready to
play. My anticipation was as strong as the prior five years I've
attended, and for good reason. For some of the bands scheduled to
play, it was to be their first time in North America. Hopes were
high, and they would eventually be met.
As far as organization goes, MetalFest 2000 was one of the
smoothest on record. Of course this year had disappointments as far
as cancellations go (Behemoth and Opera IX most notable), but then
again, it wouldn't be Milwaukee if things went absolutely perfect.
Stages did fall behind but none of the European bands (hence, the
important bands) suffered serious cuts to their sets. Some great
music was to be heard during the 27 or so hours scheduled for metal
music. Here's most of what I was physically able to see.
Day 1
~~~~~
We arrived at the venue at around 1 p.m., heading straight to
the vendor area to meet old friends and buy some merch while the
getting was good. A Burzum longsleeve would be had for a great price;
already a smile was on my face. Yep, it's time for Milwaukee again...
Running into Aaron McKay, the only additional Chronicles of
Chaos writer present, we made our way winding through the crowded
hallways, up and down staircases and circling through four different
stages to find anything that would keep us interested. At times it
wasn't difficult at all, at other times it was nearly impossible.
The first band we were willing to see was Sarcophagus. Having
strongly impressed me at last year's March Metal Meltdown in New
Jersey [CoC #39], I was a bit disappointed by their mediocre set of
death/black metal. I had heard that vocalist/guitarist Akhenaten
moved to Germany but had returned to play this set, so maybe the band
were a bit rusty? The sound wasn't exactly great, but I would soon
discover (as I have in previous years) the first song in a set is a
band's soundcheck, but the latter songs never sounded that much
better. Too bad.
Blood Storm, as usual, failed to impress, so it was time to move
to another stage. Bongzilla were well into their hemp fueled set of
stoner metal when we arrived, so we took a seat in the plush red
seats in the Relapse stage room. The band's harsh vocals and droning
riffs didn't do much for me; I would say I was more complacent than
"high", so to speak.
Up next were Today Is the Day, a band I knew would not fail to
impress. Steve Austin is one of the most enigmatic frontmen I've had
the pleasure to see. It's not that he commands an audience, rather he
bewilders them; he's thoroughly entertaining to both watch and hear.
Scrambling for tapes to play as song intros, along with a mike half
way down his throat as he screamed, he, with band, put on a
performance that won't be forgotten. They played a good variety of
material; TItD fans were surely satisfied, and so was I.
Hate Eternal should have been good. This of course being Erik
Rutan's death metal project outside Morbid Angel, I give credit for
the technicality and at times catchiness, but the P.A. gave their
music the consistency of pea soup. A hard act to walk out on, but my
ears had to be spared.
The female led band Promisques did a good job in entertaining
the 200 or so people on hand to check them out. Much more aggressive
than I imagined, the death metal outfit were surprisingly
entertaining. And it never hurts to end a set with a Cannibal Corpse
cover ("Stripped, Raped and Strangled").
Maudlin of the Well was perhaps the most laughable band on hand.
It's not that I don't respect them for certain aspects --
particularly their incorporation of female vocals, brass and other
instruments into their metal sound. But the outcome was quite bad. It
was as if two bands were playing on top of each other, the differing
musical styles in the band never mixing. One style sunk and the other
floated, never cross-pollinating. Another disappointment, and at this
point I was starting to question the choices I was making as far as
which acts to catch. Fortunately that bad luck would end soon.
Mayhem were to make their second appearance at the Milwaukee
MetalFest, this time on tour promoting the critically acclaimed
_Grand Declaration of War_. Playing a healthy variety of both old
material (arriving on stage to the beat of "Silvester Anfang", and
playing "The Freezing Moon", "Chainsaw Gutsfuck", "Deathcrush", "Pure
Fucking Armageddon") and new (dammit, forgot which one, thanks to the
beer I was drinking), the only downside to their set was the size of
the stage. It was too big for Maniac and co. to command, something
smaller (like the Rave stage they played a couple of years ago) would
have been perfect. No blood was shed at this show, so fans had to be
satisfied by a great sounding, well chosen set of material.
What was great to find out was that the Nightfall stage had
fallen behind (due do the cancellation of Malevolent Creation, I
believe) so this meant I was able to catch both Mayhem and Katatonia,
as it would have been near impossible to choose between the two.
Katatonia, despite the rare off-key singing of Jonas Renkse, was
simply amazing. They favoured material off _Discouraged Ones_ ("Saw
You Drown", "Stalemate", "Cold Ways", "Deadhouse") rather than the
more recent _Tonight's Decision_, which may be due to the fact that
it still hasn't seen a domestic release in North America. Honestly,
this suited me just fine, as I had always believed _DO_ to be
drastically superior to _TD_. Playing "Endtime" off _Brave Murder
Day_ (which Jonas sung using the old vocals!) was a great ending to
the set. I was later to discover that the band actually played on
practised gear and not their own, meaning they weren't entirely
thrilled with how their live sound compared to that on record. But I
must say that their set was nearly worth the entire trip itself --
not only for it being their first show outside Europe, but the
calibre of material was near perfect.
Katatonia having been the last band I needed to see on day #1,
it was time to sit down and give my feet a rest. Watching four songs
of King Diamond had me entertained, dancing girls and all. I just
don't get the appeal of this band. Most people I know say this band
has steadily headed downhill the past two or three albums, but they
still seem to get a good sized crowd totally hypnotized. They played
"The Graveyard", I remember, as it was repeated in the chorus
numerous times. Time for yet another beer...
Opeth (playing their first show in North America) would be the
last band I was to check out on Friday night's festivities. Solid and
strong, they played to a packed Nightfall stage with fans singing
along and swaying to their melodic black/death songs. Playing with
great sound, I wish I had been more familiar with their back
catalogue so I could get more into it, but I decided to leave early
and get some sleep for the much-longer day #2. Mayhem, Today Is the
Day and Katatonia would be my personal faves for this day; three
great bands who made all of the shit I had to sit through worth it.
Day 2
~~~~~
We arrived purposely late to miss as many pay-per-play bands as
possible. Some CD browsing and purchasing would commence until a
suitable band was worthy of my picky ears. This would come in the
form of Relapse's Origin.
With a frontman both sounding and looking a lot like
Suffocation's (R.I.P.) Frank Mullen, the music, however, is much
more
in death/grind vein. Playing material off their self-titled debut
disc for Relapse, their set was technical at times and just outright
brutal in others, keeping things tight and entertaining for the
20-odd minutes they played.
Not even allowing a breath of rest, Benumb soon afterwards
stormed onto the stage, spasming to their great hardcore/grind,
patented from the sunny state of California. While at home I received
a call from vocalist Pete in which he said that both he and the band
were thoroughly disappointed with their set -- I however must take
issue with this, my friend. Having played new stuff off _Withering
Strands of Hope_ and of course playing material from the acclaimed
_Soul of the Martyr_, I must say they were one of my highlights on
this day. Very entertaining, to say the least; it's my third time in
seeing the band, I just wish it was more often than once a year.
Sweden's Entombed rocked the main stage; the material was well
chosen, but the effort put forth by band members could have been
better. L-G's vocals didn't fully cut it, it was almost as if he was
only putting in 70-80%, and what was missing was tangible. Having
seen them on their two stops in Ontario during their _To Ride..._
North American tour, they just didn't live up to those performances.
However, classics like "Out of Hand", "Evilyn", "Left Hand Path" and
"To Ride, Shoot Straight and Speak the Truth!" were played, for the
most part very well, so all is forgiven. They didn't play "Stranger
Aeons" though, so hopefully I'll live long enough to see them perform
that track live.
Ravenous had many curious on hand to check out their set.
Featuring Killjoy (Necrophagia, Eibon), Danny Lilker (ex-Brutal Truth
/ S.O.D. / Nuclear Assault) and Chris Reifert (ex-Autopsy/Abscess),
they performed a great set of "necro death metal", the only lowpoint
being a new Abscess track which, well, sucked. Pulverizingly heavy
and tight (with an obvious Autopsy influence), coupled with a -great-
vocal performance by Killjoy, this set was unforgettable. Can't wait
to hear their first full-length, _Assembled in Blasphemy_, scheduled
for release soon by Hammerheart.
Having seen Destruction in Toronto three days prior, it wasn't a
priority to check them out, but since my schedule opened up for it I
decided to get another glance of the German metal legends. Playing on
a much bigger stage (with a light show) than in T.O., they played a
cool set and got a -much better- reception than their last show in
Milwaukee (performed by "Neo-Destruction", as Schmier colourfully
refers to them as). Playing a host of classic tracks, the crowd I'm
sure were happy they didn't have to throw empty cups at the band a
second time.
The band that turned out to be the surprise of the MetalFest was
England's Anathema. I didn't expect such a powerful set from a band
whose new material (the past three albums) I could care less about.
Vocalist Vincent Cavanagh and co. performed a varied set, and their
fans couldn't get enough. Performing for the first time in North
America, it was clearly evident that Cavanagh was pleasantly
surprised and taken by both the reaction and enthusiasm from their
fans on this side of the pond. Performing my favourite Anathema song
"Sleepless" (without the harsh vocals) scores them points as well.
Cavanagh's announcement to the crowd that they had another ten
minutes left resulted in what could be called "an uproar", so they
treated us to a cool Pink Floyd cover and a rousing rendition of The
Misfits' "Halloween". I'll have to re-investigate this band, as I was
thoroughly impressed with their new stuff live, and I rarely give a
band a second chance.
Children of Bodom also made their first North American
appearance, but since I've never cared for them I didn't stick around
for too long. Plenty of happy riffs and keyboard leads left me
unsatisfied, ready to check out the nearby vendors for a last look at
CDs. Oh cool, there's the first Solefald album...
Also having seen Dying Fetus on the Wednesday prior with
Destruction, again I decided on a second glance in almost as many
days. I must say that Dying Fetus, both on disc and live, are one of
the best brutal death metal bands ever. EVER. I hold them in as high
regard as I do with Suffocation or Incantation. My personal highlight
would have to be "Nocturnal Crucifixion", but there were many to
choose from. And the new stuff they played from _Destroy the
Opposition_ sounds really tight, and very true to what they've played
before. Can't wait to hear their new album, which should be out on
Relapse in October.
There couldn't have been a better way to end off this year's
instalment of MMF than with a set by Norway's Enslaved. It's rare
when I'll actually get riled up and find myself within the world of a
live band, but this was one of those occasions. Vocalist Grutle
Kjellson stole the show with an awe-inspiring vocal performance,
gliding from majestic clean vocals to harsh black metal vocals oh so
effortlessly, and the drumming of Dirge Rep was spot on as well. I
wish I could remember the entire track listing of their set (again,
beer is to blame, along with some herb from Cephalic Carnage), but
standouts in my mind would have to be the opener "Slaget I Skogen
Bortenfor", "Eld", "Sacrifice to the Elves (Alfablot)" and a great
new song off their new album _Mardraum (Beyond the Within)_.
Mesmerizing from start to finish; after all was said and done I was
still in a state of shock. Enslaved's near hour-long set will no
doubt enter the annals of Milwaukee's longest running metal festival,
and rightfully so.
Thus another chapter in America's longest running metal festival
ends. After a mediocre 1999, I was wondering beforehand if this year
may be my last. But MMF 2000 has restored my faith in this festival.
As long as they keep bringing over high quality European bands, they
can count on my attendance. There's also a plan in the works to have
the majority of CoC writers in attendance for 2001, something I'm
already looking forward to. Thanks to Aaron for gracing the MetalFest
with his presence and for making my experience all the more
enjoyable. Cheers!
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
C R U S A D E T O T H E C A R N A G E C A P I T A L
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Milwaukee MetalFest XIV
Milwaukee Auditorium, July 28 and 29, 2000
by: Aaron McKay
Well, judging from some of the reviews I've read concerning Jack
Koshick's previous March Metal Meltdown, I whole-heartedly believe
that he needed this show to go off well. I don't think that I am
alone in that opinion, either. I feel that for the amount of bands
that were there, people in attendance, and the seemingly smooth flow
of the event, I wouldn't hesitate for a minute in placing this year's
Milwaukee MetalFest in the "success" column.
At any rate, before I tackle the formidable abundance of bands
collaborating for the 'Fest, I'd like to point out the most
gratifying aspect of this year's show: comradery. I was powerfully
delighted to see my good friend and colleague from Canada, Adam
Wasylyk, who I had not seen since last year's MetalFest. Also, Chris
Bruni of Unrestrained! and some friends from Iowa and individuals in
bands, both playing and not playing, whom I haven't seen in what
feels like aeons, made the entire trip well worth it. Well worth it!
Coming in a very close second to enjoying the company of my
metal brethren was the line-up this year. As always, too much
happening to completely consume and devour, but the portions served
and presented this year were very much to my liking.
Having arrived in Milwaukee the night before (as to not miss
anything that I might have deemed important, like beer), I was able
to make it to the Milwaukee Auditorium shortly after the first bands
went on -- pretty close to three o' clock. To be completely candid, I
was not much interested in catching any of the performances until
about 4:55, as Sarcophagus arrived on the Nightfall stage.
I suppose this is as good of a time as any to rehash the venue's
arrangement. The main stage, this year titled KNAC.COM, is the
vastest and most cavernous of the show halls. Imagine if you will a
large, older gymnasium with fairly decent sized stage at the far end.
This main area is split in half by a curtain with some recording
labels on the side facing the main stage and the majority of the rest
on the other side of the partition situated around the outside, along
the wall like a giant "D" shape. The only stage upstairs, as it was
last year, was the Relapse one. A great carpeted environment with
cushioned chairs and good acoustics. Back downstairs, off the main
hall, or KNAC.COM stage, are the two smaller, less comfortable, but
effective Nightfall and Necropolis stages. As it turns out, these
last two were where most of the bands I saw played.
Day 1
~~~~~
Immediately after nothing more than an acceptable show from
Sarcophagus (not bad, but nothing to elaborate on either) was Blood
Storm on the same stage. After having reviewed _Pestilence From the
Dragonstar_ elsewhere in this issue, and not having cared for it too
awful much, I was curious to see if Blood Storm had a notable
improvement in a live setting. They didn't. After about four songs,
my group of friends and I walked out.
At this point, as I remember, we headed for our first beers of
the evening. $3.75 draws for Miller Genuine Draft heavy or Miller
Lite. Pretty pricey and I wish I could say that inhibited my usual
intake of the frosty brew, but it did little for me in that respect
-- save draining my cash reserve. If I would have had the beer prior
to Blood Storm's gig, I might have possibly viewed their show with
less critical enmity, but I severely doubt it.
Not a lot took place until my first venture of the 'Fest up to
the Relapse stage for the last song of Bongzilla and subsequently
Today Is the Day immediately thereafter. Having heard only the very
ass-end of Bongzilla's last tune, I'll just touch on Today Is the
Day. As you might imagine, -extremely- high energy. I am sorry to
report that I am not as well-versed on the Nashville group's material
as I would appreciate being, but their supersaturated, in-your-face
impact style was certainly enough to grab my interest for thirty
minutes. Today Is the Day guru Steve Austin deserves a huge round of
applause.
Time to make a viscous dash to the Nightfall stage (again) to
observe Hate Eternal. Erik Rutan's release on Wicked World,
_Conquering the Throne_, is one probably worth possessing. The demo I
have from when Mr. Rutan was shopping around for this deal with
Wicked World, however, is all I own. I was glad to see them live, but
I was truly disappointed with the sound the room was fostering for
Hate Eternal. Getting nothing out of the remaining time allotted for
HE, I departed.
As an aside, after this performance by HE, the time slots for
the Nightfall state became fouled-up and -if- Malevolent Creation was
at the MetalFest, they sure didn't play anywhere close to when they
were supposed to. This mattered very little, since the press
conference with members of King Diamond, Mayhem, Babylon Whores,
Shadows Fall and others threw me off kilter time-wise. I'm getting
ahead of myself a bit, however.
Now things began to get frenzied. I'd have liked to have seen
Cephalic Carnage upstairs, but was instead tortured by the discord on
the Necropolis stage radiating from Promisques, an all girls and a
guy "metal" act (and I do mean -act-, 'cause they sure didn't seem
like real musicians) -- bad, bad, bad. The only reason I stayed was
the cover of Cannibal Corpse's "Stripped, Raped and Strangled"
Promisques pulled off. I think it was to the liking off all within
earshot. In the hopes of catching Malevolent Creation, we stood
around across the hall in the Nightfall area. Winding-up listening to
Maudlin of the Well, a very populated group comprised of many members
playing -a lot- of different instruments, from keyboards to some
brass horns. Not at all to my liking, but then again the room wasn't
helping matters any, either.
Frustrated at the whole time disorder and Malevolent Creation
mishap, we wondered over to the main hall to watch and enjoy Shadows
Fall. These Massachusetts-based tempo change-up artists ended up
surprising me. While I don't think I'll seek out _Of One Blood_ at
Century Media's website, I did enjoy the atmosphere and presentation
of Shadows Fall (and being in the main auditorium again).
Before Mayhem began, we dashed to the Necropolis state for a
smattering of Babylon Whores. What a mistake that was. BW sounded to
me like a warmed-up hard rock band from Atlantic Records, as opposed
to a group associated with Necropolis. I heard all I could handle
after two songs and decided to wait out Mayhem's arrival back where I
was.
Having had my _Grand Declaration of War_ disc snap in two in the
mail, I was pretty unfamiliar with their new material. I was told by
some pretty reputable pals in the music industry that I would enjoy
this new Mayhem direction completely. As my first exposure to
anything off of _Grand Declaration of War_, I will say that I am
speechless. The sound Mayhem achieved on stage was gripping,
all-encompassing and clear/clean -- not something I am used to
spouting-off about a black metal band. A wonderful spread of material
ultimately ending with my favorite cut, "Pure Fucking Armageddon".
Beautiful performance.
As I remember, we peaked in on Avernus about this time to see if
I could grab a listen to my all-time favorite song by them,
"Godlessness". Hearing no indication of it, we moved back to the
KNAC.COM stage for King Diamond. Having grown up with a majority of
King's releases in my collection and going to see him live numerous
times while in Florida, I was interested in seeing the respected
musical entertainer on a larger scale. Before his arrival, a dolt
dressed up like the King walked around complete with a would-be
sidekick "band member" in hopes of fooling individuals into thinking
he was King Diamond. What a loser. Some people have -way- too much
time on their hands.
The King opened with a couple tunes off _Them_, my absolute
favorite KD release, so I was instantly thrilled. The decked-out
stage, adorned with candelabras, a coffin (for the infamous "coffin
trick" that apparently I have never witnessed), and "Grandma", was
enough to make Alice Copper green with envy. After a track from
_Conspiracy_, we dragged ourselves (it was getting late in the
evening by this point, so "dragging" is truly appropriate) down to
hopefully absorb some of Katatonia.
The Swedish doom metal band seemed to be uninhibited by the
shittiness of the Nightfall room and playing their complicated and
contrived musical concoctions. As the members of Katatonia pulled off
resembling sleep-deprived transients, I also slowly began to feel the
effects of the day. No more so, however, than when Opeth finally
emerged immediately following.
Opeth, as most all of you are aware, can stretch a melody in a
song in so many ways over such a long period you almost forget what
you're listening to. Although Opeth are talented musicians, and I
-was- picking up a nice shift from _My Arms, Your Hearse_ to
_Morningrise_ through the infinite crappiness of the room, I became
far too exhausted to wrench anything alluring from their expertise.
Couple this with the fact that I couldn't stick around for Usurper or
even see Macabre and Gorguts (playing at the same time as Katatonia
and Opeth); frustration compounded my malaise. Thusly, I brought to a
close a fairly productive day at the MetalFest, but tomorrow bragged
of much greater things.
Day 2
~~~~~
Saturday found our intrepid clan rested and in need of some
sustenance before entering the Milwaukee Auditorium again for the
last day. After a much regretted, failed attempt to meet Adam and his
friends for a bite to eat, my group ate some good, ol' fashion
mid-West cooking and made a move for the venue -- there was metal to
be heard and seen, damn it!
Once we realized that our search for Mr. Wasylyk and his
companions was fruitless, like I said, we made haste to the concert
after eating. For the record, these asses would have pulled this shit
on me, but today the infantile, prick, asshole "door-watchers"
(hardly security) decided in their obviously infinite wisdom that
taking some granola bars into the venue is "not allowed" today (but
not yesterday, mind you, just -today-). After this episode,
everything went off without a hitch. Morons.
Okay, sorry for breaking away from the music there for a second,
but I have to continue in that line of thinking for another moment.
These same pathetic, idiot "door-watchers" were -also- the source of
the stream of "squatters" in the 'Fest. In case you have been
fortunate enough to never have run across these "squatter" fucks,
they are nomadic losers -by choice-, constantly mooching off the
concert-goers for beer and money. I am quite sure they don't bathe
and sleep on the grass as a way of being indigently different. To
illustrate the point, some "squatters" wore designer eye glasses, but
couldn't find their way to a fucking shower if their pitiful lives
depended on it. Ass-fucks -- every last one of them! Furthermore, I
know first hand that the equally stupid "door-watchers" were sneaking
them into the concert hall through a side-door on purpose. One
dip-shit "door-watcher" even muttered to the other dip-shit
"door-watcher" while smuggling them on in, "I wonder if we could lose
our job over doing this?" Heaven, I hope so! That'd be poetic justice
if ever I did hear of it. Mr. Koshick, if you are reading this -- I'd
do something about it for next time around.
Back to the much more sophisticated part of this review: metal.
Again, about three o' clock for the second day, we were in full
concert preparedness. I'd have really liked to have seen Michigan's
Summon, but screw getting there at 11:00 a.m. just for them. The time
slot for Summon was honestly regrettable. We goofed around the
labels' stands buying up the CDs until we seated ourselves for
Wolfspider at 4:20 in the main hall. The group sucked, but not enough
for us to leave or pick our asses up out of our chairs. If the truth
be known, Wolfspider wasn't deplorable, just nothing great, but they
did carry a beat pretty well and understandable vocals, so we
listened in spite of ourselves. -Hell-, we all had earplugs!
The reason we put up with Wolfspider was for what was to follow:
Yellow Machine Gun. Maybe the greatest surprise of the event for me.
I truly enjoyed this Japanese trio that seriously appeared as if they
just came from the airport (with luggage and all) moments before
their set, and -shit-, what a set it was, too. On Howling Bull
records, these three females brutalized the audience from power chord
number one on. Speaking of the crowd, the depth of audience steadily
became more and more and more as either the word spread about YMG or
the concert-goers took in a listen as they moved from room to room.
Either way, for so early in the evening (about 5 o' clock), a nearly
packed house cheered for Yellow Machine Gun by the end of their set,
which included a killer cover of Black Sabbath's "Paranoid".
Next, on to Fleshgrind. I listed this band as one of my Top 10
of 1999. Based on the strength of _Destined for Defilement_ and their
performance on the all-too-well established Nightfall
"acoustically-shit" room, I still maintain that was an excellent pick
(at the risk of sounding like a sycophant). Guitarist and all around
amiable guy Steve Murray disclosed to me that the band has a new deal
with Olympic Records, which I hope yields them more of the fan-base
they deserve.
Off to the main stage for my second time seeing Immolation at
the MMF. Not too bad and I will say this, Immolation having formed
from the ashes of Rigor Mortis (one of 'em) is -about- the only
reason I pay them any attention, so their debut, _Dawn of
Possession_, is about the band's strongest effort, in my opinion.
Ross Dolan and company, for the most part, provided an excellent
musical backdrop to conversations between myself and the rest of the
group.
Right after that, Immolation welcomed Entombed to the main
stage. I remember trying to go see these guys in Iowa City, Iowa
about two years ago, but the weather that Winter must have been too
much for 'em and they cancelled. That stunk because I think that I
would have liked to have seen the group on more of an intrinsic level
as opposed to this time on such a large scale, being my first witness
to Entombed's subversion. I watched for a while and not hearing
enough from the mighty _Clandestine_ release, I left for the Relapse
stage upstairs for Epoch of Unlight.
Here is a group that -never- disappoints. Epoch of Unlight
utilizes fantastically sharp, technically-edged material -- and I'm
just talking about their old stuff. The band blessed the room with
some new material of an upcoming release, hopefully soon, on The End
Records, that was diamond-cutter accurate and meticulously pulled
off. Impressive right down to the addition of the second guitarist,
who was not with EoU at last year's MetalFest. To emphasise my point
about what a great group this is, during a guitar change by the
individual I just mentioned, there was some silence, naturally.
Someone yells out "Drum solo, Tino!" Tino taps his cymbal once and
the fans break into laughter. "Burning as One" off of _What Will Be
Has Been_ is always a pleasure to hear. Incredibly enjoyable to
witness EoU in action once again.
Break time! Some beers are consumed at this point while we
sponge the sounds of Destruction from some seats situated afar
(Destruction have -never- been favorites of mine), but their lighting
and stage show was pretty good.
Somewhat rejuvenated, we hopped over to catch a group that I
wanted to see ever since my interview with Killjoy revealed to me
that Necrophagia wasn't going to perform at the 'Fest -- Ravenous was
my appeasement. Being not too familiar with Chris Reifert's
(ex-Autopsy/Abscess) earlier works (or bands), I was impressed with
his contribution to Killjoy (Necrophagia / Viking Crown) and Danny
Lilker (Nuclear Assault / S.O.D. / just about any other band you can
think of) during Ravenous's half hour. Killjoy's necro-vocal style
was in stunningly tight form. I'm clamoring to get their _Assembled
in Blasphemy_ release through Hammerheart to arrange an interview for
more information to pass along for you -- it'll be worth it for sure.
-Thank heavens- the Nightfall stage was running late, otherwise
I would have been deprived of Mortician, one of a couple of tried and
true staples I demand at the MetalFest. I would devitalize the
greatness of Mortician's performance by droning on, but I will say
the room was -packed-, the ferocity was evident and the fans were
appreciative. Will Rahmer was in his characteristically brutal
posture peppered with appreciation and humor for the fans, while
Roger Beaujard took over drum duties this show instead of guitar. I
have to confess here, I do not know who Mortician had on guitar, but
I am pretty sure it wasn't Desmond Tolhurst. I could be wrong due to
my uncertainty in this regard. Regardless, Mortician -pulverized-! I
just have to get me another copy of 1999's _Chainsaw Dismemberment_
soon (my original was stolen out of my truck last year).
Conflict time. Children of Bodom or Dying Fetus? Well, the
choice was clear to me, but not the rest of my group -- but that soon
changed. Luckily for us, DF was getting on a bit later than they were
supposed to, so to keep the whole gang happy, I was glad to take in
some of Children of Bodom. Having interviewed Alexi Laiho last year
for the release of _Something Wild_, I was especially grateful to get
to hear the song "Children of Bodom" live. Out the door and across
the hallway, I see my friends John and Jason of Dying Fetus adorning
their instruments on the other stage (it's good to be tall) -- time
to go!
While through this whole review I've bitched, moaned and
complained about the Nightfall Stage's incredibly terrible acoustics,
to this very minute I haven't the foggiest idea what occurred, but DF
sounded as good as Mayhem did the previous evening. Torrid! Killer!
Marksman perfect and overwhelmingly tight -- I could not have been
more pleased with Dying Fetus's set. As I was telling someone just
last night, it's like this: if you want a good doctor, find out to
whom your physician goes; and if you want a killer band, find out
where the other groups' members are going. Watching Dying Fetus, I
saw Trevor P. from Obituary, Corporate Death from Macabre, Jeremy
Wagner from Broken Hope, Danny Lilker from pick-your-group, and many
others. Get this: after a whole day of being in the same building, at
the beginning of the DF set is where I ran into my good friend Adam
again, who I hadn't seen since before getting in the Milwaukee
Auditorium. Better late than never, so we enjoyed DF en masse.
Becoming increasingly drained from the events of the last two
days, we decided to watch a few minutes of Enslaved. They gave me
what I wanted to hear, the song "Eld", and having gotten separated
from Adam yet again, I took a few moments to congratulate John (DF)
on the band's magnificent job and headed for the last time to the
main stage area for a taste of Howling Bull recording artist
Hellchild. I was too tired and worn out to fully appreciate what I
think was a pretty decent show by these stripped-down violent
Japanese metallers. Even some members of Destruction joined us and
the sparse crowd for some of Hellchild's set. That was about all,
kids.
Time after time, I am ultimately pleased by the Milwaukee
MetalFest and so much for Dani's (of Cradle of Filth) prediction that
last year was final time for the event. I'm delighted in his
inaccurate understanding. This was a mighty fine year. When all is
said and done, you can't go wrong with some good beer, superior
friends, and metal music. Here's to next year!!
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
T H E N E W M I L L E N N I U M M A I D E N S L A Y E R S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC attends Iron Maiden, Slayer and The Almighty
at the Palais Omnisports de Paris Bercy, Paris, France
June 14th, 2000
by: David Rocher
Returning to Bercy with undeterred determination almost a year
after Iron Maiden's apocalyptic appearance with Megadeth (and very
proud to have indeed survived 9/9/99 well...), I arrived at the
entrance of the POPB to discover that quite a few long-maned
individuals had also survived the Great Britain sextet's
eschatological show last year, and had also returned for more. With
the very promising prospect of beholding Slayer and Iron Maiden on
the same evening (now, did anyone mention The Almighty?), this
two-and-a-half band "package" was undoubtedly, to some considerable
extent, a dream come true. Oddly enough, Bercy was filling up, but
slowly -- well, 16000 odd thrashers were after all going to be
treated to a definitely not-very-Almighty reformation show, so being
late that evening was probably only a half-assed effort to try and
spare oneself some aural agony.
So, the lights went out, Bercy's audience didn't bother standing
up, cheered with rather lukewarm conviction, and The Almighty (minus
Pete Friesen -- good on him) made a tentatively triumphant arrival on
stage; they then awkwardly waddled through an excruciatingly boring
half-hour long set covering material from all their albums since
_Powertrippin'_, whilst methodically racking my nerves and ears with
excerpts from their obviously gruesome new album. Ricky Warwick
sounded like a tone-deaf drunken punk choir, the guitar work was lame
and unconvincing, and only drummer Stump Monroe proved to be worthy
of any interest that night, as he vainly attempted to salvage this
"Ricky's bunch go iceberg-spotting onboard the Titanic" spree. After
what seemed like the longest half-hour in my life, The Almighty had
convinced me that reformations suck, that poppy punk music also
sucks, and had me wondering, for many a sleepless night thereafter,
how I could possibly ever have enjoyed _Soul Destruction_ and
_Powertrippin'_.
During another endless 20-minute period as roadies cleared the
stage, Bercy began to twitch, growl and shudder as the excitement
related to Slayer's imminent appearance soared to a peak. Finally,
the lights went out, and a warlike roar flooded Bercy, as the
legendary thrashers invaded the stage. They started out with their
classic "Mandatory Suicide", then flawlessly broke into a high-speed
rendition of "War Ensemble", followed by the eerie "South of Heaven".
Slayer's playing was perfectly on time, powerful and made for a
totally enrapturing set. The quartet halted, and started to play a
few of their newer tracks, including the rather unconvincing "Stain
of Mind" and another excerpt from _Diabolus in Musica_, after which
Slayer attempted to "grace" their Parisian audience with an
unreleased track, named "Here comes the Pain" -- which Araya proudly
introduced with the words "this is a song about the band... SLAYER".
Well, Slayer's forthcoming album is apparently slated for October
31st this year, and I'm quite sorry to say that I sincerely believe
that they should put a bold and timely end to their career (rather
than beating a dead horse the Sepultura and Metallica -- scratch
that, should I rather say "Rockica"? -- way) and cease chipping away
at their legend by revelling always deeper in their new-found
Korn-style antics. After having more than molested Megadeth's opening
appearance last year, I found myself to be more eagerly awaiting the
Mustaine mob's new album (which should see them reverting to _Rust in
Peace_ and _Peace Sells..._-style aggressiveness) than Slayer's next
output... oh, woe is me.
Nonetheless, after this rather tepid fifteen-minute interlude,
Slayer paused, before dealing the finishing blows to Bercy as they
moved onto cult material such as "Dead Skin Mask", "Hell Awaits" and
"Reign in Blood". Without granting fans a second to catch their
breath, Slayer closed their set off with the much-awaited "Angel of
Death", and left the stage after saluting the writhing mosh-pit at
their feet. No encore was granted to us that night, and the
bitter-sweet taste of having actually seen Slayer, but only for a
ridiculously short 50 minutes, probably remained long in many a fan's
mouth that evening.
After another twenty-minute break, the glorious heavy metal
legends Iron Maiden then appeared, and things took an unpleasant turn
as they instantly opened fire with two tracks from their horrible
last collection of essential deja-vu classics, _Brave New World_. I
fail to remember what tracks they played from this "Brave New
Reformation" that night, but I do however recall that we were
mercilessly treated to every track featuring a "wohowoho" sequence
for the public to sing (and occasionally collectively go flat) to,
including rather lengthy and unconvincing "epic" slabs such as "Dream
of Mirrors" or "Blood Brothers". Compared to the splendorous track
listing and stage of last year's tour, the backdrop here seemed
rather bland and uninteresting, and Iron Maiden's selection of
material did nothing to stray away from the assortment of classics
they have taken the customary habit of treating their audiences to,
such as "Wrathchild", "Iron Maiden", "The Number of the Beast" and
"Two Minutes to Midnight". The sextet unfortunately decided to
studiously ignore all material from their 1987 masterpiece _Somewhere
in Time_, and their godly _Seventh Son of a Seventh Son_ was very
meekly represented by the nonetheless great "The Evil That Men Do".
But Iron Maiden's strong point was, as always, their fantastic
scenic presence; Bruce Dickinson was absolutely frantic that night,
as he tirelessly ran from one end of the stage to another, then
appearing crucified on a cross that was raised behind the stage
decor, gracing French audiences with some of the most perfect singing
I have ever heard from him. The string section put on a fine show as
usual, Dave Murray's and Adrian Smith's godly leads ceaselessly
giving chase to one another, Steve Harris bass-gunning the audience,
and Janick Gers making a total fool of himself on many an occasion --
a heart-warming sight indeed, something that has the feel of coming
home after a long journey... After the Maiden first left the stage,
faithful to tradition, an encore gimmick took place, as always capped
off by a brilliant interpretation of "Hallowed Be thy Name"; Bruce
Dickinson was literally ethereal on this track, so perfectly flawless
were his vocals, reaching heights unknown to me with utterly
awe-inspiring smoothness.
The band then left the stage for good, and Bercy began to
empty... I can't help but think that despite his electric performance
that night, Bruce must feel somehow restrained on a tame collection
of rather banal heavy metal material such as _Brave New World_;
however, I sincerely wish that the Maiden's next offering will prove
me wrong, and that with the ideal line-up they have conjured, the
Britons will release the glorious sequel a timeless milestone such as
_Seventh Son of a Seventh Son_ so direly deserves.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
THE MAIDEN VOYAGE TO A BRAVE NEW WORLD
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Iron Maiden, Slayer and Entombed
at Earls Court 1, London, England
June 16th, 2000
by: Paul Schwarz
Having arrived and just sat down, I was immediately greeted by
the dimming of lights, and shortly by the eruption of "Eyemaster",
preceded as ever by Entombed's Imperial March intro, from the -- at
this remove -- tiny stage. Though going back only as far as
_Wolverine Blues_ -- save for the closing half of "Left Hand Path"
which likewise closed the set --, Entombed put on a good show, with a
half-full Earls Court sporting enough Entombed fans to voice the post
chorus "Fuck!" of "Out of Hand". Entombed acquitted themselves
adequately to the Maiden-only, truly -adult- audience, but their
impact is much more profound in a club atmosphere where their punk
attitude and overdriven rage can fester under contained pressure
rather than dissipate uselessly into the air around them. Entombed
are just -not- an arena band.
But neither are Slayer. However, the major difference between
the two is that while cramming Slayer into a smaller venue compacts
their aggression down into an inexorable juggernaut of musical
destruction, the band are experienced and adaptable enough to cope
with other situations; in five times of seeing Slayer (two outdoor,
three indoor including this evening) they have always ruled and
always reaffirmed my faith in metal's worth, never have they even
come close to disappointing. Tonight was no different. Veterans of
more than two or three Slayer gigs in the nineties will note, and
maybe object to, the fact that there is only a certain catalogue the
band ever draw from live (and every song pre-'94 on tonight's set
list can be found on the _Live: Decade of Aggression_ double CD set),
though this catalogue covers virtually every album in some way or
another. But this was certainly no pitfall this evening; where Slayer
may actually be gaining new fans rather than merely reaffirming the
faith of their following. Anyway, who can seriously object to being
treated to belting renditions of the likes of "War Ensemble", "Bitter
Peace", "Raining Blood", "Hell Awaits" and "Angel of Death"? Tonight
the extra treat on the menu is not the lack of Tom Araya's usual
stoic silence, but "Here Comes the Pain", a new track which is
showcased. With lots of dirge and a crushing low-tuned riff its
nucleus, "Here Comes the Pain" was progressive while still retaining
Slayer's very individual character, and it bodes well for a
forthcoming new record.
So, it's on to Iron Maiden. Seven years since Bruce was last
here with "the boys", or vice-versa, and things have finally come to
the crunch on their "home-turf", after the band have been half way
around the world. Strange maybe, that Iron Maiden should wait so long
to come home, but there is no bitterness in the air as Earls Court
goes ablaze with light, sound -- and a few small pyros -- as the
opening riff of "The Wicker Man" sounds out and Maiden kick off a set
filled at every moment with energy and exuberance, but unfortunately
not always filled with the greatest of their songs. "The Wicker Man"
is a damn fine opener (as I wagered it would be), but "Ghost of the
Navigator" is not quite the follow-up -I- was looking for, and
immediately adding "Brave New World" to the catalogue of new tracks
showcased did stretch my patience, and visibly the patience of others
around me. Maiden return to safe waters with "Wrathchild" and then
follow with the godly "2 Minutes to Midnight" before challenging our
minds once again with the present-day-Metallica Vs. Manowar-isms of
"Blood Brothers". Things continue in more or less this vein with
Maiden contrasting old and new -- crowd-pleaser vs. crowd-challenger
-- and thus trawling through two more ("The Mercenary" and "Dream of
Mirrors") from _Brave New World_ and a small selection of Bailey-era
material in the shape of "Sign of the Cross" and "The Clansman".
Despite closing with a straight run of old material -- from "final"
song "The Evil That Men Do" through the whole four song encore of
"Number of the Beast", "Hallowed Be thy Name", "Iron Maiden" and
"Sanctuary" -- Maiden delivered a set which, overall, was
disappointing. I understand that _Brave New World_ needs promotion,
and that this is the time to do it, but -forty minutes- of it in a
less-than-two-hour set? Where were classics like "Flight of Icarus",
"Aces High" or "Run to the Hills" while the -nine-minute- "Dream of
Mirrors" echoed its choruses twenty times or more through my head?
All the same, whatever my qualms about the new songs chosen or the
old ones left out, what cannot be denied is that, musically, Maiden
were more than a force to be reckoned with, they were a force to
conquer the world with. The likes of "Fear of the Dark" and "The
Trooper" were mesmerising, powerful and anthemic: metal songs to lose
your voice to. Performance-wise, Maiden were spot on expect for a few
hairy-timing and mushy-sound moments. Set-wise, Maiden -were- heavy
on new songs, but between the old ones they gave us and Bruce's
promise in "Sanctuary"'s final throes that the band would be back
before Christmas, they assured that no proverbial mud this
performance might have thrown up would stick. Whether intentionally
or unintentionally, Maiden kept the attention of their crowd, and
pandered to their patience as necessary, but only as necessary. They
cut a fine balance, but ultimately their expertise at the
give-and-take game of live performance, sent, I believe, everyone
home smiling and expectant of the next time they would roll into
town. I can't tell if it was deliberately planned, but Maiden
succeeded in getting a -very- indulgent set list past an audience
who'd waited at least seven years to see them. To me, that's
testament not only to their fans' loyalty, but also to the quality of
the performance they put on.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
A I R G U I T A R R A I D O N Z U R I C H
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Bruce Dickinson, Steve Harris and Nicko McBrain
plus three unplugged guitars, a.k.a. Iron Maiden,
supported by Spiritual Beggars
at the Hallenstadion, Zurich, Switzerland
July 7, 2000
by: Matthias Noll
What a change of vocalist can accomplish is simply amazing. From
their descent into the small venues, Iron Maiden have returned to the
big 4000 or 5000 seat arenas, at least in Europe.
The Spiritual Beggars, lead by the multi-talented Michael Amott,
did fairly well in front of the 4000 Maiden fans. Even the fact that
the keyboards made Amott hardly audible did not stop the people down
the front from showing their appreciation by raising their fists and
applauding enthusiastically after each song. The band looked a bit
odd on the big stage, but they definitely managed to win many new
fans with an enthusiastic, driving performance.
Maybe because I got too used to the multiple band line-ups, it
was kind of weird to see the headliner so soon, after only one
opening act. Introduced by a very dramatic classical intro, Maiden
entered the stage, greeted by a sea of hands and ear-shattering noise
from a crowd that went absolutely crazy and generated a hair-raising
atmosphere that sparkled with electricity. Adrian Smith led the band
into "The Wicker Man" and when Murray and Gers joined him (at least
they started working their guitars) I couldn't help but laugh out
loud, because the sound coming from the stage left the impression of
a band making an attempt for the Guiness book of records in the
category "the band with the least power per guitar". Picture this:
three good guitarists on a big stage, running around, posing (Gers
should think about giving lessons for air guitarists), banging their
heads; and what you hear is drums, bass, vocals... A special thanks
to Bruce Dickinson for telling the crowd that "Heavy Metal" is, among
other things, about loud guitars -- what's Maiden, then, trance?
Dickinson himself was in top form and it was mainly him who made the
gig an enjoyable event. His vocal delivery in "Hallowed Be thy Name",
"The Evil That Men Do", "Dream of Mirrors", "Sign of the Cross" and
"Fear of the Dark" were simply amazing, and with the help of 4000
vocalists in the audience, he was weaving that hair-raising epic
Maiden magic. However, I felt that the set list was a bit short of
classic material. In addition to the songs I already mentioned, the
band played "Wrathchild", "The Trooper", "Two Minutes to Midnight",
"Number of the Beast", weak versions of "Iron Maiden" and "Sanctuary"
(imagine these songs without powerful guitars), plus another four
songs from _Brave New World_ -- but with so many albums you just
can't do everything you should. Overall, I have to say that it really
felt great to see the classic Iron Maiden back on the big stages, but
please, bring the guitars with you next time around (and if that
helps, leave Steve Harris at home).
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
D E V I L ' S P L A Y T H I N G
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Danzig, Six Feet Under and Disturbed
in Cedar Rapids, Iowa
March 31, 2000
by: Aaron McKay
News of the Mighty One's slated date to perform live in Cedar
Rapids, Iowa fell upon my ears like a sunset shower on parched earth.
Not since the Milwaukee MetalFest o' so long ago have I been to a
show -so- worth travelling to see. What's that? Six Feet Under is on
the ticket, as well?! My revered brothers from the Sunshine State?!
Damn, I couldn't wait. Before departing for the show, I arranged a
brief interview with the "Man in Black" himself for a word on the
March 31 gig (see Mr. Danzig's interview, "Machine", elsewhere in
this issue). Serving as a delectable appetizer, my hunger for
Danzig's appearance increased ten-fold.
Arriving about 7:30 p.m. at Third Street Live, my concert-going
companions and myself were greeted with a line that the venue, I'm
sure, hasn't seen in ages. A snake-like throng of souls stretching
out from the door to oblivion that we had to somehow find the end of.
Eventually making our way inside, I grabbed a frosty brew just as the
opening act, Disturbed -- hailing from Chicago, I believe -- fired up
what turned out to be a tight and concise set; not too long and
respectful of the bands to follow. Not having ever been exposed to
this band of miscreants previously, I found myself chugging along to
a semi-techno, Pro-Pain-esque power rhythm that wasn't terrible to
stomach, despite Disturbed's obvious influences stemming from a
number of other established outfits. I did observe, standing near the
concert gear stand, that Disturbed's tour shirts were selling at a
pretty good clip. I think they made a fan or two at the show, at
least.
I could feel the tension, as could the crowd; Six Feet Under was
next. My first witness to this arguably formidable group of death
metal prognosticators. During my years in Florida, I've seen the
these gentlemen in their preceding organizations: Cannibal Corpse,
Death and Massacre. Now was the time for SFU! Opening with an array
of new material off of _Maximum Violence_ that got the people stirred
up substantially, Six Feet Under were not careless to include some
favorites like "Insect", "War Is Coming", "Lycanthropy" and "Beneath
the Black Sky". All told, they would have stolen the show if not for
the great and all-powerful Danzig to follow.
Blasting on stage with the force of tempest, Glenn overwhelmed
the mid-West multitude with musical attitude and style uncommon in
today's industry. Danzig worked his album repertoire with the utmost
skill and ease found only in a musician of Glenn's caliber. Dancing
with dexterity between the encompassing new release, _Satan's Child_,
and his vast back catalog, all the while playing to the audience for
their participation. Glenn bellowed richly from his metal pulpit for
the fans to decree the next song from either the second or fourth
Danzig release. The crowd fires back resoundingly, "TWO! TWO! TWO!"
-- "Killer Wolf" ensues. Straight from one song to the next. No
talking, almost without exception, as a perfect fusion of material
became evident through Danzig's set to the appreciation of an eager
horde. Tracks like "Under Her Black Wings" and "Twist of Cain"
enraptured seasoned followers while the new tech-tinged material of
the latest issuance, _Satan's Child_, flowed effortlessly forth to
mold the prevailing, "Johnny-come-lately" mass into the fold. Do I
have to mention at this point what the encore was? "Mother", despite
its popularity, is -still- stunning!
Some of my favorites include "Brand New God" and "Until You Call
on the Dark" from _Danzig 4_, "7th House" off of _Blackacidevil_, and
"It's Comin' Down" on 1993's _Thrall-Demonsweatlive_ EP. If I must
confess my one and only disappointment, it would be the omission of
"Devil's Plaything", my personal favorite from _Lucifuge_.
The reconfigured line-up did a remarkably fine job, including
former DGen bassist Howie Pyro, his inclusion having been only in the
last couple of weeks. This transpiring from Josh Lazie's desire to
terminate his tenure with the band to focus more on family matters;
the substitution having been completed before this concert, Danzig's
first date of the tour. I would have to admit it went largely
unnoticed by the devotees there to observe the performance.
The hour and a half set came to fruition much too quickly.
Danzig arrived, captivated, and subsequently departed leaving awe and
devastation in his wake. If you have never seen Glenn Danzig live,
-do so now-; If you have, see him again. The force of the show was
imposing and the satisfaction -- treasured. You are welcome in Iowa
anytime, Mr. Danzig, but please, next time, play "Devil's Plaything"!
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T H E R E ' S N O M E R C Y I N S A T A N ' S O V E N
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Deicide, Immortal, Cannibal Corpse, Marduk, Vader,
Dark Funeral, Hate Eternal and Vomitory
at the Hafenbahn, Offenbach, Germany
April 23, 2000
by: Matthias Noll
An incredibly hot Easter Saturday did not stop about 800 extreme
metal maniacs from witnessing the year 2000 No Mercy tour in
Offenbach. Despite temperatures way above 35 degrees Celsius (it felt
like 60) inside the sold-out Hafenbahn, countless individuals took
the chance to present their truest outfit including Gladiator boots,
leather coats, denim jackets, long-sleeve t-shirts and other assets
of the true black/death metaller who is experienced in withstanding
the fires of hell. Personally, I did have problems lighting a
cigarette and keeping it on fire for more than a few seconds, because
the sweat was running down my arms like the river Styx.
The heat did immediately increase when Vomitory unleashed a good
dose of Scandinavian old school death metal. Not really spectacular,
but they turned out to be a good opening act with aggressive stage
acting and some decent tunes. The crowd reaction was OK and I've seen
opening bands do much worse under such extreme conditions.
On the second slot, Offenbach already got one of death metal's
shooting stars of 1999: Hate Eternal. Definitely one of the most
anticipated acts of the No Mercy tour, the band turned out to be
seriously handicapped by the loss of second guitarist Doug Cerrito.
Even Eric Rutan's extensive live experience did not prevent a rather
disastrous performance, which suffered from a lack of heaviness and
definition -- individual songs were only distinguishable by Rutan's
guitar solos. The three-piece appeared rather tired, did not have any
real stage presence and wasn't really up to their mission of
attacking with some serious, brain damaging death metal.
Dark Funeral did not really manage to raise the level of
excitement with their live set. Twenty minutes passed without any
real highlights or reaction from the crowd until they once again
ended their set with the rather odd Slayer cover version "Dead Skin
Mask". The crowd suddenly came alive, fists were raised and banging
heads appeared everywhere. In my opinion it's a rather poor trick, to
gain the only crowd attention with a Slayer cover (who wouldn't
headbang during this one?). My advice: add "Am I Evil", "Ace of
Spades" and "Post Mortem" and next time the whole gig will be
successful.
After numerous convincing appearances on German stages, Vader
definitely do not suffer from a small fanbase. The Hafenbahn stayed
alive and the crowd started to rush towards the stage and chant
"Vader, Vader". Knowing that time was short, Peter Wiwczarek greeted
the crowd with the words "Kameraden, tonight there'll be no mercy"
and the band directly launched the crushing "Blood of Kingu".
Sometimes headbanging while on their knees, the band delivered their
usual energetic stage show conducted by their fortunately returned
drummer Doc, who remained nearly motionless despite the incredible
whirlwind he produced with his kit. "Red Passage", "Sothis", "Wings"
and "Xeper" were all executed perfectly and once again Vader proved
to be one of the best live bands in the death metal genre.
After some exhausting headbanging and still under the memories
of Marduk's disappointing gig when they supported Cannibal Corpse
last year, I left the venue for some time to cool down in front of
the hall. I returned halfway through their set and was pleasantly
surprised by a much more convincing show than last time. The band
sounded much more aggressive this time around -- especially
throughout "Funeral Bitch" and "Wolves" --, Legion's stage acting was
frantic as always but came across a lot less poseur than last time,
and I start to see that their hyperfast material like "Scorched
Earth" or "Panzerdivision Marduk" really works when the band is in
top form.
Following Marduk, Cannibal Corpse used a slightly altered set
list and opened with "Staring Through the Eyes of the Dead" and
"Stripped, Raped and Strangled", two mind-numbing songs from _The
Bleeding_. Their sound was inferior to the last show I witnessed, but
the band still managed to play a convincing set that pleased all
death metallers in the audience. The band's tightness and power
during killer material like "Unleashing the Bloodthirsty" is
something that will make me always return to see them again.
For most, Immortal were the real headliners of this event.
Unfortunately, the whole schedule was blown to pieces by this time
and they were left with meagre 20 or 25 minutes. I had been really
looking forward to see the band, but tonight they did not seem to be
in complete control of the forces of nebula winter. Abbath's guitar
sound was way too thin and his playing on "Triumph" and "Solarfall"
was extremely sloppy. New bassist Iscariah looked extremly wimpy
underneath the corpse paint and did not add that much musically; only
Horgh (who fortunatley was wearing a shirt) did a good job,
delivering some intense drumming. Hardly ever was the band able to
unleash some ice-cold black metal atmosphere upon the crowd. Songs
like "Mountains of Might" even sounded a bit commercial when
delivered the way they sounded during Immortal's gig and both
Abbath's and Legion's fire-spitting intermezzos were also more
amusing than impressive. I'm sure Immortal can do a lot better than
that; maybe it was just too hot for the frostdemons to rule.
Deicide had the headliner slot, but with an eight band line-up
I'm sure this is definitely more a status symbol than an advantageous
position. By this time everybody was tired, soaked with sweat or
about to break into dry, tiny little puzzle pieces because of acute
dehydration, and the crowd reaction was weak at best. The long breaks
between individual songs, which were used by Benton to announce the
upcoming track accompanied by endless wannabe evil breathing into the
microphone didn't help to maintain a steady level of excitement
throughout the show either. To my delight the band played some great
tunes like "Dead by Dawn", "When Satan Rules His World" and "Dead but
Dreaming" with a sound that was far better and heavier than their
Scott "where the hell did that natural guitar sound get lost again"
Burns produced albums. Stage acting wise there wasn't much going on;
Benton occasionally banged, big Hoffmann was probably thinking about
weightlifting and little Hoffmann and drummer Steve Asheim did their
job but nothing more. Overall, Deicide were quite OK, but after seven
other bands, not really capable of wreaking havoc and proving that
they really deserved the headliner slot.
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S C O T L A N D S K I N N E D A L I V E
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Dismember, Akercocke, Infestation and Regorge
at the Cathouse, Glasgow, Scotland
May 22nd, 2000
by: Paul Schwarz
Regorge, the local support, show far more promise onstage
tonight than on their comparatively derivative _Decerebate_ demo.
Launching an instrumentally superior attack with an impressively
clear live sound, they grind, groove and occasionally blast their way
through a blistering twenty minutes of death/grind, interspersed with
decent leads and a deftly executed finger-tapping descension into
chaos. Successfully casting off most of their borrowed, Malevolently
Created rags, Regorge display potential to move to a new level.
Infestation's commanding crowd control exemplifies just such a
higher echelon to reach. Despite some muddiness in their sound and
the crowd's likely unfamiliarity with their material, Infestation (as
ever without bassist) belted out their Florida-influenced and
pounding tirades drawing a crowd response second only to Dismember.
The cries for more echoed even after Infestation had regretfully
succumbed to the constraints of their allotted stage time, after
squeezing in the traditionally death metal themed short-but-sweet
"Butcher Knife".
Unsurprisingly, Akercocke's blend of grim death/black blasting
and a darkly occult, semi-corporate atmosphere did not go down so
easy with the gathered death horde. That the PA didn't bring to the
fore Akercocke's infamous love for "the blast" (despite the fact that
it did bring out their solos and dynamics), and that Jason's guitar
went totally dead after about the third song in, did not aid the
crowd's uneasy digestion of such sharply contrasting soundscapes to
the rest of the evening's entertainment. Unconventional songs like
"Marguerite & Gretchen" are just not instant death metal-crowd
pleasers. The response was about 50 for 50 against as far as I could
see, ranging from enthusiasm to open derision. Akercocke will shift
that balance with more live work in Scotland -- this was their first
show here, after all.
As Dismember's opening volley of _Hate Campaign_'s preliminary
three song medley blasts from the PA, it becomes quickly evident that
their first(!) Scottish performance will not be a let down either to
the fanbase or to Dismember themselves. "Of Fire", "Bleed for Me",
"Trendkiller" and "Hate Campaign" itself scorched their way from the
speakers cementing my developing feeling recently that Dismember have
somehow become timeless in their own sphere; their material sounds
neither old nor new: just like them, just Dismember. Sure,
Blomqvist's guitar went out for a song or so, and yeah, maybe the
sound wasn't perfect all the way through, but by the time the final
encore of "Override the Overture" and the classic "Dreaming in Red"
came rushing like a storm from the stage, when soundboard, band and
crowd had all got into the swing of things, there was nothing that
could have stopped the crowd from moving, and my current sore neck
becoming an assured consequence of the evening out. When a previously
unexposed patron exclaimed his surprise at Dismember not being bigger
within the metal scene, even a cynic like me had to stop and wonder.
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I N V A D E R I N G F R O M A C R O S S T H E S E A S
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Vader, Vital Remains, Fleshcrawl and Rebaelliun
at the Underworld, London, England
June 8th, 2000
by: Paul Schwarz
Stirred from pottering about the Underworld waiting for the
evening's musically destructive events to kick off by the unholy roar
of Rebaelliun in full live swing, I quickly headed for the stage to
see how well these frantic but talented Brazilians would acquit
themselves in the live arena. Overall, Rebaelliun fared relatively
well, conjuring memories of seeing Angel Corpse play at this very
venue two years ago in support of Immortal, by virtue of their
roaring but unclear live sound, monstrously loud, stark and violent
presence, and shaven headed, spitefully-venom-spitting vocalist.
Rebaelliun were more about impact than music: they made a great
impact, but you could hardly pick out the songs themselves, save for
the dynamically brutal cover of Morbid Angel's "Day of Suffering".
Like Angel Corpse's, a performance which did not do the band justice,
but which seemed to draw interest from enough people to assure that
their next visit should be at least quietly triumphant.
Despite well-executing a Swedish death metal album with this
year's _As Blood Rains From the Sky... We Walk the Path of Endless
Fire_, I could think of little reason before this evening why
Fleshcrawl's existence in today's extreme music scene was in any way
necessary -- we certainly had more than enough well-executed Swedish
death metal albums before _As Blood..._ came into existence. But
Fleshcrawl live is about the only way, in the early zeros, to see a
Swedish death metal band play live in the early nineties. The only
other way I can picture involves Dismember, a set list 
