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Chronicles of Chaos Issue 046
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CHRONICLES OF CHAOS e-Zine, March 5, 2000, Issue #46
http://www.ChroniclesOfChaos.com
Editor-in-Chief: Gino Filicetti <mailto:gino@ChroniclesOfChaos.com>
Coordinator: Adrian Bromley <mailto:adrian@ChroniclesOfChaos.com>
Copy Ed./Contrib.: Pedro Azevedo <mailto:pedro@ChroniclesOfChaos.com>
Asst. Copy Editor: John Weathers <mailto:john@ChroniclesOfChaos.com>
Contributor: Alain M. Gaudrault <mailto:alain@ChroniclesOfChaos.com>
Contributor: Brian Meloon <mailto:brian@ChroniclesOfChaos.com>
Contributor: Adam Wasylyk <mailto:adam@ChroniclesOfChaos.com>
Contributor: Paul Schwarz <mailto:paul@ChroniclesOfChaos.com>
Contributor: Aaron McKay <mailto:aaron@ChroniclesOfChaos.com>
Contributor: David Rocher <mailto:david@ChroniclesOfChaos.com>
Contributor: Alex Cantwell <mailto:alex@ChroniclesOfChaos.com>
Contributor: Matthias Noll <mailto:matthias@ChroniclesOfChaos.com>
NOTE: You may unsubscribe from Chronicles of Chaos at any time by
sending a blank email to <Unsubscribe@ChroniclesOfChaos.com>.
For more Chronicles of Chaos information, check out the
'Details' section at the end of this issue.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #46 Contents, 3/5/00
--------------------------
* Editorial
* Loud Letters
* Deadly Dialogues
-- Celtic Frost: The Morbid Tales of a Dethroned Emperor
-- Empyrium / Sun of the Sleepless: Songs of Sorrow for the Sleepless
-- Therion: Soothing Opera... To Kill By
-- Sentenced: Living on the Edge
-- Setherial: Hell in Sweden
-- Rain Fell Within: The Eternal Ethereal Downpour
-- Rakoth: Leaving Behind Dimension So Hollow
* Album Asylum
-- 2 Ton Predator - _In the Shallow Waters_
-- Abdullah - _Snake Lord_
-- Blatant Disregard - _Waging War in the Center_
-- Broken Hope - _Grotesque Blessings_
-- Cirrosis - _Reciclando Desesperacion_
-- Corporation 187 - _Subliminal Fear_
-- Cradle of Filth - _From the Cradle to Enslave_
-- Dark Shades - _Hymnen an die Dunkelheit_
-- Demons & Wizards - _Demons & Wizards_
-- Dismember - _Hate Campaign_
-- Eternal Oath - _Through the Eyes of Hatred_
-- EverEve - _Regret_
-- Freedom Call - _Stairway to Fairyland_
-- Hades - _The Downside_
-- Himinbjorg - _In the Raven's Shadow_
-- Hirilorn - _Legends of Evil and Eternal Death_
-- Various - _Holy Dio: Tribute to Ronnie James Dio_
-- Horifixion - _Rage_
-- Imperial - _Malmort_
-- Istidraj - _Metafizika_
-- Jacobs Dream - _Jacobs Dream_
-- Lock Up - _Pleasures Pave Sewers_
-- Malevolence - _Martyrialized_
-- Maudlin of the Well - _My Fruit Psychobells... A Seed Combustible_
-- Morgul - _The Horror Grandeur_
-- Mortiis - _Fodt Til a Herske_
-- Nocturnus - _Ethereal Tomb_
-- Notre Dame - _Vol1: Le Theatre Du Vampire_
-- Notre Dame - _Nightmare Before Christmas_
-- Novembre - _Classica_
-- Obtained Enslavement - _The Shepherd and the Hounds of Hell_
-- Precipice - _The Foundation / Black Sun Rising_
-- Pressure 4-5 - _Antechnology_
-- Psycho Industry - _Crushing the Individual_
-- Rain Fell Within - _Believe_
-- Sculptured - _Apollo Ends_
-- Sentenced - _Crimson_
-- Sirius - _Aeons of Magick_
-- Slaughter Lord - _Thrash 'til Death 86-87_
-- Slow Horse - _Slow Horse_
-- Str@in - _Purge_
-- Temple - _Shores of Oblivion_
-- Thanatos - _Emerging From the Netherworlds_
-- Theory in Practice - _The Armageddon Theories_
-- Therion - _Deggial_
-- Thorium - _Ocean of Blasphemy_
-- Thy Primordial - _At the World of Untrodden Wonder_
-- Tourniquet - _Microscopic View of a Telescopic Realm_
-- Trelldom - _Til et Annet_
* New Noise
-- Dark Orchestra - _Can't Stop Vomiting Demo_
-- Dauntless - _Inhumankind_
-- Deride - _Demo 99_
-- Forest of Shadows - _Dysfori Feeri_
-- Fragments of Motion - _Fragments of Motion_
-- Impaled - _From Here to Colostomy_
-- Imperator - _Gods Among Men_
-- Platform Black - _Terra Firma Decay_
-- Shellyz Raven - _Desolation_
-- Unevil Hopes - _As the Light Crushed the Darkness_
* Chaotic Concerts
-- Formulas Fatal to Gorgoroth: Morbid Angel, Gorgoroth and more
-- Untied Bronze Chains: Satyricon, Behemoth and Hecate Enthroned
-- London's Bridges Are Burning: Arch Enemy in London
* Writer's Wrath
-- A Sick Portrait of Extreme Metal
* What We Have Cranked, Top 10 of 1999
* Details
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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/ /) , , /)
)__ _(/ _/_ _____ _ //
/ (_(__(_(__(_)/ (__(_(_(_(/_
(_____)
by: Alain M. Gaudrault
As many of you may have heard, Chuck Schuldiner, a pioneer of
extreme metal through his continually evolving band, Death, had been
diagnosed with a terminal medical condition, requiring experimental
brain surgery for even the faintest glimmer of hope. And while the
surgery was approved without proper financial support, and it appears
that Chuck is now recovering well, what you may not have heard is
that this procedure comes at tremendous financial cost to the
Schuldiner family, in excess of $70,000USD. See
http://www.mtv.com/news/gallery/d/death.html
We at Chronicles of Chaos believe that we all owe a debt of
gratitude to Chuck, not only for having written much great music, but
for having broken new ground in a realm he largely fashioned, for
being an innovator who has forever changed the face of metal.
For this reason, we plead all readers to give generously to the
Schuldiner family, whose address is provided below. Alternatively,
we, the CoC staff, are taking up a collection within our ranks, and
extend an invitation to our readers so that you may all contribute to
the collective CoC donation. A running tally, along with all names
and donations (unless otherwise specified by the donor), will be
posted in a new, temporary section of the zine called The Chuck
Schuldiner Appeal, which will appear every month there are at least
five donations made. The Schuldiner family will be provided with a
copy of this list so that they may know how many people Chuck has
touched with his music. Donations in US dollars (check or money
order) are preferable. Give 'til it hurts.
The Chuck Schuldiner Appeal
c/o Alain M. Gaudrault
37 Gottscheer Court
Kitchener, Ontario
Canada N2M 3L3
mailto:Appeal@ChroniclesOfChaos.com
The Chuck Schuldiner Medical Fund
c/o Washington Mutual Bank
500 East Altamonte
Altamonte Springs, Florida
USA 32701
Account Number 351-356-4696
Chuck's mother:
Jane Schuldiner
609 E. Citrus St.,
Altamont Springs, Florida
USA 32701
mailto:tanzid@freewwweb.com
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Cryptopsy's _None So Vile_ will be re-issued by Displeased
Records (mailto:displeased@xs4rall.nl) on February 15th. The format
of this extreme death metal classic, which saw deletion when Wrong
Again Records dissolved and has been out of print for nearly three
years, will be nearly identical, with only the backprint any
different. Check out CoC #14 for our original review of this
incredible album.
-- Paul Schwarz
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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
MMMMMMMMMMM
M""MMMMMMMM dP dP
M MMMMMMMM 88 88
M MMMMMMMM .d8888b. d8888P d8888P .d8888b. 88d888b. .d8888b.
M MMMMMMMM 88ooood8 88 88 88ooood8 88' `88 Y8ooooo.
M MMMMMMMM 88. ... 88 88 88. ... 88 88
M M `88888P' dP dP `88888P' dP `88888P'
MMMMMMMMMMM
This is the column where we print those lovely letters our readers
decide so graciously to write us. Whether they be positive, negative,
ignorant or just plain spelled wrong, you can rest assured that
they'll be here in their original form. If you'd like to see your own
letter here, e-mail it to <mailto:LoudLetters@ChroniclesOfChaos.com>.
All letters received will be featured in upcoming issues of
Chronicles of Chaos.
Date: Wed, 12 Jan 2000
From: Unknown Unknownovich Unknownov <unevil@eudoramail.com>
Subject: 'Attention Loud Letters'
In the sound of Black Metal. Or. What should young christian black
metaller know, for not to fail!
Let's start from the point of what is BM. If you'll go to the streets
and start asking people what is it, some of them would probably
unable to answer, some will tell you something from chemistry,
geology, or even from steel producing industry. Few people will tell
you, that it is a kind of music, and only few of them will argue,
that this is an art, an art in it's purest form! What makes black
metal an art? I'll tell you.. It's foggy and sometimes frozen
atmosphere. Let's see how can an atmosphere in black metal be
created, some bands claim, that the atmosphere is created by keyboard
melody and therefore black metal with keyboards should be called
atmospheric. I completely disagree with such point of view!
Atmosphere is not a huge amount of air around you, but a complicated
combination of things, thoughts, views, sounds, etc... and feelings
raised by all this! Sometimes keyboards can even destroy the
atmosphere! Remember if you do not know how to play the keyboards
better do not play them! Primitive, unprofessional, oversweeted (yes
oversweeted) melody created on a cheap equipment can be revolting, as
everything, that is oversweated can be. So let's pass to the black
metal music without keyboards, let's go to the evil old school bands,
what makes such primitive and terribly evil bands as BATHORY, MAYHEM,
BURZUM, DARKTHRONE to be such a respected one? Let's revise their
music take for example some new releases from MAYHEM it will be
"Wolf's Lair Abyss" and from DARKTHRONE "Ravishing Grimness." Can you
hear a very fast and quite high, deep droining guitar noise
especially on "Wolf's...", not such noise as on BURZUM's "Filosofem"
but something, that can remind you of leaves waving on the wind! Can
you see on both releases the deep sound wall, it seems, that a sound
had been pressed! Can you hear the incredible speed of "Across the
vacuum" song from DARKTHRONE. Now if you have the internet access go
directly to the page: http://members.xoom.com/Tuonela/ choose the
link to NEKROPIRU band! This is one of the most "TRUE AND EVIL"
"TOTAL UNDEGROUND" bands found on earth and listen to their insane
songs! Especially note their first 3 min track, can you see insane
drum machine rythm almost impossible scream and the incredible
primitivity of the song. Now read the statement! It tells you about
the grey and dark realm in which the creator of this music exists!
Check out the lyrics of the song "At Nightfall the Mist Rises." Now,
while listening to all this titles mentioned above imagine youself
standing in the forest, but not in a usual forest with green trees
and grass, but in the forest of some nonexistened realm with dead
fallen tree-trunks, extremely large fir trees, rotten trunks and
colonies of large grey mushrooms all around. Imagine strange creature
covered with moss passing near you making a strange and sinister
noise. Or put yourself standing somewhere in Russia (in Pskov's
district for example) in the contryside in the field near the
"normal" forest after sunset, or even when it's just grey and foggy
day. If nature themes are not for you, then put yorself in a city of
fantasy with dark gray and braun houses made of stone. In this city
sun never shines strange small, ugly and evil citizens rarely passing
near you, or running down the gloomy streets crying something, that
sounds like "uhhu..uhh..uhhu..uhh." At least, if nothing mentioned
above is for you, I can recomened you to go to the forest in a windy
weather, put your face up to the skies for a few seconds, then blood
pressure will rise in your head a little bit and a dizzy feeling,
that you will get will remind you a lot about true black metal sound.
NOTE: please do not do it (I mean, do not put your head in this
position for more, than a few seconds, otherwise it can be harmful
for your health, you can even loose your conscious!) That is just
some of associations which can be aroused while listening to such
music. And for me, there is no doubts, that black metal is no matter
what ideology must remind you exactly about this feauters (exept for
the 'ancient city' association, which can be caused mostly by death
metal) in case music which is told to be black metal can't push such
feelings in you (especially if can't push any feelings in you) this
is not true black metal.
You can argue, that christian music shouldn't be so "cruel", "harsh"
and "extreme." I can only say: "NO, THEY SHOULD!!!" The idea of this
music is to have qualities stated above, so the power of the music is
also connected with such qualities, so if you are creating black
metal in the name of our lord JESUS you can (or even must) put it to
the extremest state of sound, it will just prove, that even in this
area evil entity can loose it's positions and points. I think, that
even if you will create such unbearable noise as AKKIKUOLEMA (also
feautered on the site above) band and it's side prokject KYPRA
(extreme noise/black metal), but in the name of God, it also can be
accepted! You can also point a finger at me and say: "You are poser,
you are telling us such things and playing MELODIC music on the
piano." Well, first of all my band UNEVIL HOPES is not black metal
(and I wished it was, there was time, when I even thought it was such
band), then in some songs I used a "sound wall" and to some extend my
music was extreme! Anyway I don't want me to be understanded wrong.
I'am not against melodic music and even melodic BM such band for
example as VAAKEVANDRING is extremly good (sorry guys I still haven't
got your CD, but your old and new samples rulez) and as an example of
an evil band here is EMPEROR their "Anthems..." album unfortunately
is still unreached by anyone, this bands know how to use keyboards.
Lets now analyze some melodic BM material. Let's take two bands:
DOMMER (unfortunately I had heard only only one song "Cries of the
Haunted.") and a secular one, an Israel band called GRIMOIRE. I
think, that their music is quite similar. Both of them use a little
bit oversweeted melodies, well, I can't say, that they are revolting,
but try to listen to them for hungred times nad for sure you will go
insane! Both made a greate mistake, they had but guitars and drums
into the background, when it is more important to put melody in the
background like VIXIVI and SANCTIFICA did on their latest recordings.
In the background even primitive keyboards won't cause
dissatisfaction. What can I advise to melodic bands: use real
instruments do not use synths, I had discovered in my own experience,
what does a cheap synth means. And for sure no synth can replace real
instruments, no matter piano, guitar or folk instruments. I also will
add, that folk instruments are more suitable for primitive melodic
line, while piano and synth are more acceptable in complex forms.
Concering cover art and lyrics it is always up to you. For I will
recommend for all true and harsh black metal bands to use black and
white covers. Lyrics also I think must be agressive, but it is
completely up to you.
BM releases can be delivered to the listener in two ways, first is to
unleash a mass of music of a highly energetic music onto a poor
metalhead, BURZUM, MAYHEM, DARKTHRONE, ENSlAVED (remember their
reissued demo "Yggdrasill") are very good at this point, bur for
example BURZUM uses at the same time the second technique. I call
this technique conceptual it means a lot of tracks of differnt styles
(metal changes, unmetal changes, again to metal, etc.) And different
length, lyrics on one theme. Sometimes a song taken separately from
such release means nothing, usually both technics are used. And I can
add, that both of them, are effective and useful.
Finaly we had come to the end. I Hope, that you are not tired of my
boring thoughts and ideas. Remember black metal of you want you can
call it unblack metal is a very serious music in the name of God,
it's the music of the coming doomsday!
God Bless you and your bands and all people around you.
Uncovered of UNEVIL HOPES.
MARRY CHRISTMAS TO YOU!
Date: Sat, 15 Jan 2000
From: DJCANTU@aol.com
Subject: NEW YEARS EVIL
HEY,
I was reading the loud letters section of the jan 15th edition and
some idiot asked about christian death metal. how could anyone be so
stupid just the name makes me sick thats so retarded. Well I just
wanted to say you guys rock lets get some more gore on it.
Date: Sun, 16 Jan 2000
From: "Mark D. White" <whitemd@earthlink.net>
Subject: Great HTML formatting!
COC,
Great job on the HTML version - I've been happily reading the email
version for a long time, but the HTML version is much more pleasing
on the eye!
Thanks,
Mark
Date: Mon, 17 Jan 2000
From: gajo <gajo@EUnet.yu>
Subject: answer to alla xul
Hello,
Regarding your statement about the relationship between metal and
christianity, I think you are wrong saying that christianity is a
sick religion that controls the lives of the weak. I think
christianity is a form of self-discipline, that keeps you from
crossing that line between decency and barbarism. You have to be
strong to be a true christian, because you have to be strong to
forgive every person that does harm to you. Metal is, of course,
total freedom, but if everyone was worshiping Satan then we'd still
live in Medieval ages. If you want to be free, then be so in your own
house, with your friends, because that is what your home is for. But
when you walk out of the door, then you don't slay down the first guy
that pushes you in the bus... that is the result of education under
the influence of religion, in your case, christianity.. you could not
imagine what would the world be without that education. I mean, you
can try, just listen to cannibal corpse..
Peace with you, Gajo
Date: Wed, 19 Jan 2000
From: THESHAPE63@aol.com
Subject: Nice comment on moonspell...
...you think its nice to say Portugal is a country devoid of any
sense?
Grow up!
[What was written in the _Wolfheart_ review back in CoC #5 was:
"Definitely an album to hear and a band to watch out for because a
band that can make a name for themselves coming from a country
completely devoid of any scene is definately (sic) not just a flash
in the pan." -- Gino]
Date: Fri, 21 Jan 2000
From: Jon
Subject: Long time fan of the underground.
I have been a fan of the underground music since 1985. I grew up on
hardcore and speed metal. From there I went to death metal and
grindcore. I still love it all. I just wanted to drop a line on the
great job you guys do on this zine. It is great to see the
advancement of the underground since I started. In the early days I
would die for a zine like this with all the information and a outlet
for the scene to spread itself out to others. Thanks for the great
job!!!
Underground For Life,
Jon
Date: Fri, 21 Jan 2000
From: Cyril Glaume <Cyril.Glaume@valtech.fr>
Subject: you've done it !
"YEAH, GREAT !!" sums up really well what I think when I discover the
new COC.
I really hope that you will be motivated enough to offer us each new
COC with such a great layout !!!
Cyril
Date: Fri, 18 Feb 2000
From: RayRuenes@aol.com
Subject: Attn: Loud Letters
Good evening.
Regarding metal, including the kind by Christian artists, I don't
see how any logical sentient being can claim the musical category
ideologically exclusive to their preference. "Alla xul," you can
claim, without evidence, that Christianity was "manifactured to
control the lives of the weaker humans," but understand that the
original disciples and the community they founded suffered tremendous
persecution for their efforts until Contantine's edict of toleration
was issued nearly 300 years later, so they didn't have a chance to
enjoy the fruits of their conspiracy if indeed that was their motive.
So Christianity "is about weakness and restriction," eh? Apparently
someone's been spoon-fed his requisite dose of Nietzsche, though it's
sadly the post-senile version of that philosopher that gets all the
attention, and not the younger scholar while he still retained his
senses. I wouldn't confine (dare I say "restrict"?) metal to a
specific purpose, since it's played for various reasons, not all of
which have anything to do with the sacrificial bent of the starving
artist. Some play it to promote one deity or other, others for
hedonistic appeal, and still others to lure enough money from your
wallet to feed their expensive vices. Talk about real parasitical
pedophiles!
Metal is no more antithetical to Christianity than any other kind
of musical expression is. What's of far more relevance to this
discussion is lyrical content, and even that carries limited weight.
For example, while it might appear contradictory for a Christian to
enjoy music from groups who are opposed to his world-view, to
consider that an endorsement of such opinions is rather specious, and
fungible with accusing a Christian of polytheism or henotheism for,
of his own volition, studying other religions, even if he does so
with the ultimate aim of strengthening Christian apologetics. I
understand that many sincere Christians have made sweeping
generalizations about secular art, but others don't find it necessary
to adopt such cultural philistinism in order to accept the doctrines
indigenous to Christianity. It's strange that eclectic metal fans
whom you would least suspect of ignorance and bigotry reveal their
abundance of such characteristics when they're confronted with
iconoclastic music that doesn't conform to their particular
paradigms, in this case Christian metal, but I guess I can appreciate
the irony evident in their predicament, if little else. I certainly
don't care for the vitriol, even from fans of Venom (and it's likely
that I started listening to that group before many of this e-zine's
editors gained continence of their bowels), but I guess I can
appreciate their reaction for what it is: a thinly-veiled fear of
this relatively recent challenge to their delusions of metal
homogeny. Sooner or later they'll have to accept the inevitable: the
diversity that they likely revere in matters where they comprise a
minority faction also applies to the area in which they believe they
reign supreme. Christian music exists in all forms, including metal,
and you may not like that, but good luck thinking you can imagine it
away or somehow ridicule it to extinction. I suspect you'll have as
much a chance of accomplishing that as many have trying to do the
same, for hundreds of years, to the historical and prophetic record
that inspired such pious rebellion.
Hail Jesus the Christ!
Ramon Ruenes IV
Date: Tue, 22 Feb 2000
From: Alla Xul <xul@phreaker.net>
Subject: -
Hi.
Ramon Ruenes wrote:
> understand that the original disciples and the community they
> founded suffered tremendous persecution for their efforts until
> Contantine's edict of toleration was issued nearly 300 years later
I dont think "the original disciples"(read brainwashed subjects) have
had much to do with the controlling minds of the religion. part of
christianitys sucsess lies in its use of subdued mindless fanatics
that are willing to sacrifice themselves and thier surrounding for
the christian cause.
> Apparently someone's been spoon-fed his requisite dose of Nietzsche
My ideas aout christianity or life in general was forged long before
i even heard about Nietzsche. Any truly living human would have
similar ideas as Nietzsche without reading any of his books.
> I wouldn't confine (dare I say "restrict"?) metal to a specific
> purpose, since it's played for various reasons, not all of which
> have anything to do with the sacrificial bent of the starving
> artist.
[...]
> Christian music exists in all forms, including metal, and you may
> not like that, but good luck thinking you can imagine it away or
> somehow ridicule it to extinction. I suspect you'll have as much a
> chance of accomplishing that as many have trying to do the same,
> for hundreds of years, to the historical and prophetic record that
> inspired such pious rebellion.
Oh sorry ...i fell asleep. Your intellectual mumbelings does not
change anything. christianity does not have anything to do with
metal. I am not ridiculating christianity, I am saying that all
christians should be anihilated with supreme force and then forced up
the anal canal of thier saviour. Your letter seemes fill the purpose
of academic masturbation more than replying to my letter.
> Hail Jesus the Christ!
Hail an castrated corpse impaled on a cross. hmm.. think i choose the
one with horns.
/ax
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THE MORBID TALES OF A DETHRONED EMPEROR
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Thomas Gabriel Warrior of Apollyon Sun / Celtic Frost
by: Paul Schwarz
Yes, I know he is now officially Thomas Gabriel -Fischer- (his
real name), but for the duration of the actual interview we at CoC
have decided to leave Tom with the name that he (if you'll excuse the
pun) made his name with, in one of metal's most innovative,
adventurous, exciting and excellent bands: Celtic Frost.
Fischer was doing interviews based on the fact that Frost's
essential back catalogue was re-issued in the United Kingdom and
North America last month, with extensive booklets, some extra tracks,
and in digitally re-mastered format. It is the first time the back
catalogue of this legendary and sadly departed band has been
available in a format which the band were even remotely happy with.
The previous CD issues were poorly and hastily assembled by the
people at Noise. These new CDs, on the other hand, were assembled by
the band themselves. The other motivation behind wishing to talk to
Frost's former main-man was to discuss the possibility of a Celtic
Frost reunion. Though long a point only of hopeful speculation, the
reinvigoration of communication between the band's former members,
culminating in a 1998 meeting in New York, sparked rumours that
Celtic Frost would actually reform, rumours which Fischer
increasingly did not deny or condemn, certainly not as strongly as he
had in years before.
Tom's current band may be Apollyon Sun, but as you should know
and can see from this interview, Celtic Frost will remain not only
what Tom is known for, but probably also the band that is most a part
of him and closest to his heart. Displaying amazing humility and zero
arrogance, here's what the twenty-odd minutes I got with Thomas
Gabriel -Warrior- yielded.
CoC: What led to you originally being called Celtic Frost?
Tom G. Warrior: Well, we didn't want to have a cliche heavy metal
band name at the time. There was already Slayer,
Metallica, and we felt we wanted to go in a totally
different direction and have philosophy: more
criticism of social behaviour of mankind. That's why
we chose Celtic Frost.
CoC: Are you happy with what they [Noise] have done with the
re-issues based on the band's proposals?
TGW: "They" really haven't done anything; the re-issues were entirely
designed by the band, by the ex-members of the band. The
proposal [to do these re-issues] was handed to Noise by us about
a year ago and Noise did provide one hundred percent
co-operation and they did give us the platform to do it, but the
re-issues are designed by the band and they reflect -exactly-
what the band wanted... for the very first time, actually.
CoC: I read the proposal on the website and so I did wonder whether
Noise had paid attention to that...
TGW: We received one hundred percent freedom with what we wanted to
do. We got full backing.
CoC: I notice that you left out _Cold Lake_, of course...
TGW: Of course! <laughs>
CoC: <laughs> ...from your re-issue back catalogue. Well, I wouldn't
disagree with this, but I want to know: would your idea be that
that album just fade into obscurity and become unavailable, or
would you just rather not re-release it?
TGW: Well, I mean, the record company agreed with our proposal of not
re-issuing _Cold Lake_. They didn't want to argue against us or
anything. Of course they have the rights for it and they're free
to re-issue it on their own if they want. They will not receive
any co-operation from us, but of course they can. I am not
denying that album at all. We did it and I had to stand behind
it because it was done under the Frost name and I cannot say I
want it to fade into obscurity, because people know about it and
it was there, but that doesn't change the fact that it's a piece
of shit. There is absolutely no quality. But it is a Frost
album, it is just not an essential Frost album. We wanted to
re-issue the essential Frost albums, the ones that are important
to the band's history. So that's what we did and _Cold Lake_ is
there [in existence, not in the re-issues], and whatever happens
to it we don't really give a shit.
CoC: But you don't mind some songs from that album appearing on the
_Parched With Thirst I Am, and Dying_ compilation which has been
re-issued?
TGW: No, _Parched With Thirst..._ was basically a compilation of
unreleased mixes and everything and some mixes which many people
thought were better than the original _Cold Lake_ mixes. That's
why they're on there, but it's not really to feature _Cold Lake_
or anything. We already disliked _Cold Lake_, kind of, during
the mixing sessions of that album. From then on no-one was
really keen to rehash that album in any case or matter.
CoC: What's happening with the possibility of a reformation of Frost
and what is happening with Apollyon Sun?
TGW: Well, let's start with Apollyon Sun: the album is not finished,
but four and a half weeks ago we finished mixes of the album
[that would have been late October --Paul]. We handed it in,
it's called _Sub_ and it is going to come out in late February.
I feel it is probably the closest I've ever done to _Into the
Pandemonium_ in my career and I am very proud of it. It is a
very diverse album, very dark, very heavy, but extremely
experimental as well as having very wide-ranging material on it.
As far as the possibility of a reformation, I am still very good
friends with the other members of Frost and we see each other as
often as possible, we communicate on a weekly basis and of
course we often talk about the possibility of playing music
together. We met last year in New York and we actually decided
to pursue the idea of an album together again. We're going to do
it as a side-project; we don't know when, but it will probably
happen within one or two years.
CoC: Right. So the fact that there is an Apollyon Sun album coming
out is not a factor that means that Frost will not reform,
because in the past you've said that since you were doing
Apollyon Sun, you wouldn't be doing anything with Frost?
TGW: Yes, I was always the one to disagree with the numerous
reformation proposals and what changed my mind was just the
basis of the friendship we share. If I had wanted to do it for
money I could have done it much earlier, because we got such
amazing offers for reformation, for studio work and live, that I
could have just said yes. But it had to feel right on a human
basis. A band like Celtic Frost, if we do something in the year
2000 or the year 2001 it has to be contemporary and adventurous
like our old work was, and you cannot base that on money. You
have to base that on band chemistry.
CoC: OK then, two questions. Firstly, which line-up of the band would
the reformation consist of? Secondly, if you were to make a new
Frost album, theoretically, do you think it would be what _Under
Apollyon's Sun_ would have been? [_Under Apollyon's Sun_ was
going to be the follow-up to 1990's _Vanity/Nemesis_ but
unfortunately Celtic Frost split before final sessions for the
album were completed or, I believe, even begun. Demos of the
album tracks do exist and two appear on the _PWTIA,aD_
compilation. --Paul]
TGW: No, it wouldn't be. The material still exists from that time,
but what we would probably do is take elements from that album
and use it. But that album was written in 1991/92 and it would
be very dated now. We would probably take elements and modernise
them, but -pretty much- design a new album that is contemporary
in its origins. The line-up would probably be the core line-up
of _Into the Pandemonium_. Possibly with Curt Victor Bryant, who
played guitar on _Vanity/Nemesis_, because he was a key person
in Frost's history too. But we were so open, really, in Frost.
We always worked with the same kind of circle of people on the
various albums, that we'd be very open nowadays to work with
guests and former members. I have to tell you, though, regarding
the _Under Apollyon's Sun_ album, my new album [this is with the
band Apollyon Sun --Paul] _Sub_, that's going to come out next
year, is, in parts, directly derived from that album. Apollyon
Sun's birth was pretty much on the basis of that unreleased
material. And of course in the years since we have developed
that material massively, but a lot of the stuff you're going to
hear on _Sub_ is directly derived from that album. So you will
hear maybe a fourth, maybe a third of that album on _Sub_.
CoC: So, between _Sub_, the demo tracks done for the [_Under
Apollyon's Sun_] album and "Idols of Chagrin" and "Under
Apollyon's Sun" on the [_Parched With Thirst..._] compilation,
there is quite a bit of the album around?
TGW: Yeah, but you have to realise that these two demos that you just
mentioned were really only basic tracks, you can easily imagine
that you cannot -demo- an album like _Into the Pandemonium_ in
the demo studio. You cannot have like an orchestra or a whole
bunch of classical singers on a demo, so what you heard were
basic tracks and what you hear on _Sub_ is fully developed
material with all kinds of effects, all kinds of guests and so
on. It is basically the fully developed material and played in a
more modern manner. But I have to say Apollyon Sun has pretty
much arisen out of the ideas that we worked into
_...Pandemonium_. Everyone who has been involved with Frost has
always been fascinated with this album, _...Pandemonium_. So, of
course any future project that we were going to attempt would
have this spirit in it and Apollyon Sun has that very definitely
in terms of us looking for new horizons, trying to break through
barriers and so on.
CoC: So you never had the idea of going backwards at all to the
earlier stuff, just because since just after Frost disappeared a
whole group of music grew up which came out of that?
TGW: Yeah, but we did that already.
CoC: True.
TGW: I am in touch with my past and I deal with my past, but I am
basically a person who looks to the future. When I did something
I've done it, and what I want to do is learn from it and apply
that the next time I do something. Try to do something new and
something fresh on the same basis. So no, I haven't really
thought of going back or capitalising or associating with all
that stuff that's been derived from Frost by other bands, and
the scene and everything. I'm not dead yet, I still think I can
create and that's much more exciting to me. I am proud of what
Frost has done, and I would never deny it, the good and the bad.
But at the same time I gain so much adrenaline from new work:
that is exciting enough.
CoC: So do you have a particular opinion on or mind or dislike the
whole black metal thing? I mean, I remember Fenriz saying once
that, basically, Darkthrone -is- just Celtic Frost.
TGW: No they're not. Hell no they're not! I know what you mean, but
hell no they're not, not in the slightest sense. You cannot just
copy Celtic Frost then say you are taking it further. That's
exactly the opposite of Celtic Frost. Celtic Frost was about
innovation, about being original, and a lot of those so-called
Celtic Frost derivative bands, that doesn't apply to them.
They're... <pauses>
CoC: No, you're right, I completely agree. The -nature- of Darkthrone
is completely the antithesis of Celtic Frost, it's just that the
musical approach is typical of _Morbid Tales_.
TGW: Right, but you know, _Morbid Tales_ has been done already.
CoC: If you were to record with Celtic Frost, would you be definitely
taking things on the road?
TGW: I would think so. It wouldn't make sense to us otherwise: half
the fun was to play live. We've had talks with management about
it and I think to begin with we'd probably do a few low-scale
shows to find out where the chemistry is nowadays, and only then
start writing an album. I think if we did an album we would
certainly take it on the road. Maybe not as big as Apollyon Sun
would do it, but I think we'd certainly promote the album in
life form, yeah.
CoC: So, would it be fair to say that a setlist from shows nowadays
would be heavily favouring the later material?
TGW: It would incorporate everything. The last Celtic Frost tour, our
setlist was something like twenty-six songs from all the albums.
I think we would do the same thing. The thing is we can have a
very dynamic set; even though it was very long we had such
differing material from almost-ballad-like things like
"Mesmerized" to hardcore songs, that you can make quite a long
set without it getting boring. If you have material like a band
like Celtic Frost you can make it so radically different from
one quarter hour to the next that it always stays interesting.
So I don't think we'll have a problem to play whatever kind of
stuff from all the band's eras.
CoC: Did you get a chance to hear the new SOD album and the song
"Celtic Frosted Flakes"?
TGW: They e-mailed me their track when they wrote it. I received it
earlier this year by e-mail.
CoC: What did you think?
TGW: Well, I had to smile. SOD were very close friends with Frost in
the eighties. We went to each other's concerts. I thought it was
typical Billy [Milano, SOD vocalist] that he did this. It's
funny but it's not something that I think about every day.
CoC: Yeah, agreed.
TGW: I had to grin. It's typical. They haven't changed.
CoC: It's an interesting irony that in the same year the band
re-issues came out and there is a chance that Frost might come
back.
TGW: Well, yeah. Some kind of basis was done. It's kind of
intriguing.
CoC: Do you have any more to add to what's been done with the
re-issues?
TGW: No, to me the re-issues are the final testament to the former
work of Frost. I don't want to delve in this forever. This has
now been done and it's been done, for the first time and also
for the last, exactly as the band wanted it. These albums that
are going to be out in January, they're really the testament of
the band's work. From A to Z, every photo, every letter on these
albums has been approved and done by the band. So this is it and
we want to look forward to it. We are happy with these re-issues
but that is really it. We're not going to do more stuff like
that.
CoC: One small question. On _Morbid Tales_ [the re-issue], why are
the tracks from _Emperor's Return_ in their original mixes?
TGW: Because a lot of people have asked me to dig for unreleased
stuff and put that on. And it's kind of a special thing in these
three cases: we didn't like either mix. To us it really didn't
matter. We cannot stand the _Emperor's Return_ EP as far as
sound quality goes. So we obliged the wishes of many fans over
the years to release the original mix, and we did that. We
realised the original mixes are in no way better than the mixes
that were released on the EP way back when, but we wanted to
give the fans something new. We personally don't really care for
these three songs much.
CoC: Whereas with _To Mega Therion_...
TGW: That's a totally different thing. We love those EP tracks, we
felt it was essential that they were on there.
CoC: I wanted to ask about the image of the band: the artwork,
clothing, etc.. I was wondering what this would be like if Frost
reformed. Would you be going really futuristic?
TGW: The image, as radically different as it always was and will be,
was never designed. The image was always an excessive
presentation of our then-state-of-mind. It was just very
overdrawn and done to the extreme, but it wasn't designed: we
didn't say "we want to look like -this-". What you see in the
pictures is always an over-painted picture of what the band was
like at the time. So if we do an album in 2000 or 2001 it's
going to be the same thing and I can't tell you yet if it's
going to be futuristic or whatever; it's going to represent the
way we are at that time and of course it's going to be modern
because we were always interested in being contemporary things.
But we're not going to sit down and say we're going to look like
-this- and it's going to be totally designed. It's going to be
real and it's going to be extreme of course and exhibitionistic,
but it's going to be real.
CoC: Since Frost split up and you've been doing Apollyon Sun, what do
you think is the most interesting development in technology
which you'd like to incorporate into the music you make?
TGW: Nowadays? The advent of the possibility to use computers -in-
music. And I am saying this very carefully, because I don't want
you to have the impression that I am just going for any computer
music. I think it is a very delicate thing; combining this kind
of warm form of music called hard rock with computers. It is
difficult to do this the right way and I personally don't like
industrial metal because I think it is done too cold and it has
no groove. But I think the advances that have been made on a
technical level allow you to do exactly that: to do it the right
way. There are so many possibilities now that if you do pay
attention to it and if you do study it, you can actually mix the
two genres without losing the true heaviness and the true nature
of the hard music, but you can only -gain- by the possibilities
you are able to exploit now. I think that has been the most
significant advance. I think ninety percent of the scene doesn't
exploit that yet or doesn't exploit it the right way, and I
don't know if we do. But what we're doing is trying to get
there, with our album _Sub_, that's why it is so experimental:
it's trying to explore a possible avenue of how to do this and
we're learning and we hope we're going to perfect that in the
next few releases.
CoC: So, obviously apart from _Cold Lake_, you find that although you
move on and you want to do new things, you don't find that what
you did in the past disappoints you?
TGW: No, not at all, no. I am very proud and I feel blessed that it
was possible for me to be in a band like Frost. At that time
there were so many bands around and which bands are still being
remembered? We are one of the few bands that are still being
remembered even though we haven't been together in six and a
half years. So, what could I say? It's amazing. We didn't know
that would happen. We're very happy with what we've done and
most of the things we've done are still justified.
CoC: Any last words?
TGW: Not really... I just feel very grateful that fans were open
enough to follow an excessive band like Celtic Frost, because we
never made it really easy for the fans to understand us and
still we had an incredible fan base. And if you ask me for a
last word, I'd just like to say that we were aware of that and
that we'd like the fans to know that we were aware of that. That
they gave us this chance.
Visit the Homage to Celtic Frost website for latest news on Frost and
news on Apollyon Sun: http://www.celticfrost.com
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S O N G S O F S O R R O W F O R T H E S L E E P L E S S
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CoC interviews Ulf T. Schwadorf of Empyrium / Sun of the Sleepless
by: Pedro Azevedo
_A Wintersunset..._ and _Songs of Moors & Misty Fields_ [CoC
#30], Empyrium's first two full-length releases, painted gloomy,
melancholic feelings upon a darkened emotional canvas with the
untouched beauty of nature as background. These were followed in 1999
by Empyrium's acoustic _Where at Night the Wood Grouse Plays_ [CoC
#42] and also the _Poems to the Wretches' Hearts_ MCD [CoC #45] by
Sun of the Sleepless -- a work of grim, yet melancholic and sorrowful
black metal of remarkable quality. The mastermind behind Empyrium,
and also sole member of Sun of the Sleepless, Ulf Theodor Schwadorf,
took the time to answer my questions about both his projects as well
as other matters, and revealed himself not only a brilliant musician
but also an extremely nice individual with very interesting things to
say.
CoC: Looking at albums such as Empyrium's _Songs of Moors & Misty
Fields_ and _Where at Night the Wood Grouse Plays_ as well as
the Sun of the Sleepless MCD _Poems to the Wretches' Hearts_,
one can find very different musical styles. Nevertheless, they
seem to share a common essence to a certain extent. Can you
describe this bond, this common essence that makes you want to
play each of these styles?
Ulf T. Schwadorf: Their most obvious common point is definitely that
both SotS and Empyrium are in essence focused on
the dark side. But whilst SotS is filled with, how
I call it, philosophical agony, Empyrium's music is
solely performed for the purpose of bringing forth
the secret mystique of nature in both word and
tone.
CoC: Something that I found quite remarkable in both _Songs of Moors
& Misty Fields_ and _Poems to the Wretches' Hearts_ is that
these titles suit the music really well. Can you describe the
feelings and musical objectives of Empyrium and Sun of the
Sleepless in greater detail?
UTS: Thank you for the compliment. I spiritually strive for finding
titles upholding the distinctive atmosphere of the music
featured on the records. As mentioned above, Empyrium's
intention is to bring forth certain moods and atmospheres, and
exists exclusively for that purpose. We are also working with a
tightly woven concept for each release (this excludes our debut
album) and are focusing deeply into the right mood to genuinely
bring forth what we have in mind, atmospherically. SotS is a lot
more spontaneous in this respect. I simply do with SotS what I
can't do in Empyrium; that which would ruin the concept, sort
of. Which doesn't mean that SotS is the garbage can for
Empyrium. It's not like that, I assure you. But I need an outlet
for the most spontaneous emotions of mine to clad them in
whatever form I desire. It grants equilibrium to my artistic
ego. Also, SotS is lyrically focused on a more philosophical
base. My despise for the decline of the masses and our culture
and my heartfelt agony that results from it -- very misanthropic
and grim lyrics. Still, I think I managed to clad these dark
feelings into an aesthetically appealing form, leaned towards
classic romantic poetry.
CoC: What is the meaning of the two band names? How does each relate
to the respective music?
UTS: Literally, Empyrium is translated as "the burning heaven" or
plainly "heaven". Its roots are in ancient Greece. The Stoics, a
Greek school of philosophers, proclaimed that beyond the horizon
that is visible to us, there was Empyrium, and thus the stars
are just holes in the firmament. We chose this name in the first
place because of its somewhat mighty and mysterious sound, but I
think its meaning upholds what our music is aiming at quite well
-- the mystical, esoteric and unexplored. The dark sides of
nature. An attentive reader of romantic literature shouldn't
have a problem figuring out where the term "Sun of the
Sleepless" comes from. It refers to the moon -- the light of the
night and the light of those few and brave individuals living on
the outskirts of society, full of despise for the meaningless,
spiritually empty hordes of sheep.
CoC: Respect and admiration for nature, or the darker and more
melancholic side of it, are present throughout your releases, as
indicated by what you wrote on your debut _A Wintersunset..._.
Can you describe how you think the two perfect locations would
be like for one to listen to Empyrium and Sun of the Sleepless?
Should the person be alone or in company, or doesn't that matter
to you?
UTS: I think that the music of both bands should be listened to with
full concentration. Empyrium's atmosphere is explored very well
when listened to in absence of electrical light: it grants a
ticket to the olden realm of fairytales, myths and sagas and
you'll find yourselves amidst a grand mystical landscape -- I
promise! SotS, for obvious reasons, should be listened to at
maximum bearable volume with headphones.
CoC: Do you believe that nature was created by some superior entity
-- something like the gods most of mankind seems to believe in?
Are you religious? And consequently, what do you believe is
there to be found beyond death? (If anything, of course.)
UTS: I would say I am a spiritual person, not religious. I am more
concerned with enhancing my spirit in the here and now than in
the after-world. I try to gather as much emotional satisfaction
and wisdom in this life as I can, which also means to respect
the darker sides of life and to live this in full consequence. I
have not thought too much about what comes afterwards. I think I
will do that when the time is right: in the Autumn of my life.
CoC: What are your opinions regarding the progress of civilization
and its effects upon the planet? Are we all more alone than ever
and heading straight into our own doom, or are you more
optimistic than that?
UTS: In theory, the world almost can't be overpopulated, as there is
enough room for more people (whether that is desirable is a
different question). However, the way the masses have chosen
since the industrialization surely leads, sooner or later, to
the fall of mankind. We should not forget that we are but
children of nature, and that the cycles of nature could well do
without us, but not vice versa.
CoC: The poem by John Keats which you chose for the first song on
_Poems to the Wretches' Hearts_, "Thou, Whose Face Hath Felt the
Winter's Wind", excellently portrays the feeling of the song, in
my opinion. What does the poem mean to you? Do you feel as
uncomfortable during Spring and Summer as it seems to describe?
UTS: I don't feel uncomfortable in Spring and Summer at all -- I can
well cope with those seasons as well and they surely have an
encharming effect on my emotions, just as Autumn and Winter
have. In my interpretation, the poem rather says that every
Winter is followed by Spring. And so it is with our emotions --
every period of profound sorrow will be followed by delight and
so forth. These differences create energy and inspiration. One
should learn to respect life's dark sides in the same way we
respect life's bright sides -- only then can we live our lives
in full consequence. The poem obviously illustrates a period of
profound sorrow, and thus I choose it to underline the grim,
melancholic character of the music. In many respects, the poem
is also a hymn to intuition.
CoC: I was thoroughly impressed by the remix of that particular song
-- which is going to be part of a forthcoming 7" EP, as far as I
know, after having been featured in Prophecy Productions' _To
Magic..._ compilation. In my review of that compilation [CoC
#45], I described your remix as "a sad, melancholic black metal
dirge of the highest quality." Will we be hearing more tracks
from Sun of the Sleepless in the future that might fit that
description? And does it fit what you intended to achieve with
that remix?
UTS: Thank you. The remix was simply meant to bring forth the
emotions of the original in a different, more dynamic form. I
tried to combine calm, almost pop-like sequences ["almost"
definitely being the key word there, in my opinion --Pedro] with
mighty emotional outbursts leaning on the black metal form of
expression. I think there's much truth in what you wrote, since
the song has a very melancholic and genuinely dark atmosphere.
CoC: What more can you tell us about that 7" EP? And what can we
expect from Sun of the Sleepless in the future? A full-length
follow-up to _Poems to the Wretches' Hearts_ sounds like a
potentially excellent idea to me...
UTS: The 7" EP _Tausend Kalte Winter_ should be released in the next
couple of days [mid-February]. Besides the remix we talked about
before, there will be a trance-like, monotone interpretation of
Darkthrone's classic "En As I Dype Skogen", which goes under the
title of "Tausend Kalte Winter" and is quite in the same
direction as "Spring 99" [the other remix], though it takes some
obvious elements from trip-hop music and trance.
CoC: About Empyrium now, how satisfied were you with _Songs of Moors
& Misty Fields_?
UTS: I can still bear listening to it, ha! No, honestly, I am still
quite satisfied, even though the musical performance is rather
dissatisfying. But the atmospherics are there and it was a huge
step forward for us, compared to the debut.
CoC: The sad guitar melodies, beautiful acoustics and the contrast
between clean and harsh vocals are used exceptionally well by
Empyrium. Will your future work continue to be based upon those
elements, or do you expect major changes to occur for the next
album? And, by the way, when can we expect a new Empyrium
release?
UTS: We are still heading for a contrastful, dynamic sound, bearing a
strong resemblance to classical music, but our form of
expression will change on future releases compared to _SoM&MF_.
It should be quite obvious that dynamics are not exclusively
expressed by the usage of noisy electric guitars in contrast
with calm, serene parts, even though some heavy metallers seem
to think so. We will try to compose deeply dynamic, atmospheric
music only by the usage of acoustic, classical instruments. I am
planning to start the basic recordings in November this year in
my own recording studio, but since the music and the recordings
will be quite complex, it will surely take a while until
everything is finished. There will also be a concept and it will
take time and inspiration to the get the poetry and the visual
appearance in balance with the music.
CoC: Regarding your acoustic release _Where at Night the Wood Grouse
Plays_, what was your motivation for recording it? It seemed to
me that, despite its quality, it lacked a bit of a greater
consistency, that it could have benefited from being more
consistently gloomy, for example. What are your thoughts on
that? Were you satisfied with the result?
UTS: I have very split feelings about this, and can agree with you to
a certain extent. During the composition and also the recordings
I had strong battles with myself about whether to include the
lighter, pastoral pieces as well, and in the end decided to let
them be a part of the album, since they build a grand contrast
with the darker and more tragic feelings performed on the first
half of the record. Nowadays, I think they definitely enrich the
whole listening experience, though I can understand your
viewpoint.
CoC: Empyrium became a three-piece when Nadine joined the band
full-time for _Songs of Moors & Misty Fields_. Can you tell us
more about her inclusion in the band? Has the ideal Empyrium
line-up been reached?
UTS: Well, without wanting to sound arrogant, I think Empyrium is in
the first place myself. Nadine has never really been involved in
the songwriting process or the creation of the concepts. Still,
her role is of course important, since I can't play the
instruments she plays, which are an important part of our music,
and she can surely bring forth the desired atmospheres
faithfully. Nowadays, Thomas Helm has also joined full time
(whilst it seems like Andreas has left the band for good) and he
is a great help when it comes to the performance and
arrangements of the choirs, vocals and classical instruments. He
is classically educated and can identify with our concept 100%.
CoC: Are you involved in any other projects besides Empyrium and Sun
of the Sleepless?
UTS: I will help Autumnblaze on bass-guitar and electronics for their
next release. I know Alvar Eldron, the main man behind this
band, very well and we have a lot in common -- musically and
spiritually. Even though I think their first album has many
flaws, I think we can do something really good on the next one,
since its conception sounds really interesting. I will also help
out my friends of Nox Mortis on their next album again on
synths.
CoC: I think your label, Prophecy Productions, currently has several
interesting new bands. What is your opinion about your
labelmates?
UTS: I like almost all bands on Prophecy and can really identify with
their philosophy. My favourites amongst the lot are surely
Tenhi. Their music is stunning.
CoC: What albums mean most to you on an emotional level?
UTS: This is hard to answer. But I think the following are definitely
the closest musical pieces to my heart: Ulver's complete
Trilogie, Landberk's _Riktigt Zkta_, Darkthrone's _Transylvanian
Hunger_ and Edvard Grieg's Peer Gynt Suites.
CoC: Care to leave a message for our readers?
UTS: Thank you.
Contact: http://empyrium.black.art.pl
http://sots.black.art.pl
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S O O T H I N G O P E R A . . . T O K I L L B Y
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CoC talks to Christofer Johnsson of Therion
by: Adrian Bromley
There aren't many people like Therion mastermind Christofer
Johnsson in the world these days. Johnsson wears descriptions like
passionate, honest, intelligent and vibrant like an old worn in
sweatshirt. His love for his work comes at you loud and
clear. The
music is his way of life, and what a life -- it has been rather
exciting over the last few years.
Since the early days of Therion, Johnsson has continued to
evolve the sound of his sonic beast, working from earlier roots of
death metal into the present day situation of over the top classical
arrangements, searing guitar solos and powerful choir chants. His
work has morphed into a warm blanket of emotions that will no doubt
confuse the listener at first, but slowly and surely drag them into
his wicked work of excellence.
The latest work from Therion, _Deggial_, is a welcome sound
compared to the somewhat weak and softer tones bestowed from 1998's
_Vovin_. [For a different opinion, see the _Deggial_ review in this
issue and the _Vovin_ review in CoC #31.] The new record manages to
tighten his grasp of classical sounds (choirs and opera work) and
toss them into a blazing metallic fold of guitar riffs and sonic
assaults. This record is still showing Johnsson's work in progress,
but no matter how far from the last work this record seems to wander,
it no doubt contains the master calibre that Therion is known for.
Change is everything for Johnsson.
Starts Johnsson about the new material: "I think the biggest
difference with this record is that we explored a lot more of the
classical angle to things, such as wooden instruments and a brass
section. That is the most obvious thing about it, but there is also
the nostalgic trip we take in terms of playing '80s metal guitar
riffs. I guess the whole heavy metal revival has inspired me to want
to do this. I'm not saying it is the work of these newer bands,
rather the fact that they are paying homage to older bands and I have
gone back to listen to those records and really understood how
important they were and still are to me. Bands like Accept and Iron
Maiden were important to me, as was Saxon, Judas Priest and Manowar,
but you can really hear Accept and Maiden within the work of
_Deggial_. It is quite obvious they are a big influence to what I
do."
While the band has been part of the metal scene for numerous
years, it wasn't until 1995's classically influenced record _Theli_
[CoC #14] stormed into the metal scene that people were blown away by
Therion's work. Not to say that the band's work was shabby before
_Theli_ came along -- it wasn't, but the band's ability to mesh metal
music and classical pieces really had jaws dropping. To this day, the
evolution of the band has managed to keep a close grip on classical
music within Therion's work, easily surpassing the many other acts
that have tried to weave it into what they do.
"I am so happy with the way things are going for this band. It
is just such a great experience to bring new ideas into what we do",
confesses Johnsson. "While stuff we do will never be as spectacular
as it was when we introduced choirs to our music on _Theli_, still I
can change what Therion does as we go about making music. And people
are enjoying what we do and I am happy about that. Each record we
make, our sales go up. The fans seem to be with me on the progress of
Therion over the years, even though I thought they would not care
about the work I was doing. _Vovin_ sold 100000 copies and that
surprised me. I didn't think there was that big of a market for this
style of music. I guess it just goes to show that many people are not
that narrow-minded about music."
"I have never really cared too much about analyzing what I do; I
just do it", remarks Johnsson. "The only way you can really hurt a
career is if you sit back and analyze what you are doing. You see
that quite a lot with bands who have a successful first album and
have a hard time repeating that come album number two. I think that
is because many bands are influenced by producers and labels on what
they should do with a first record and it isn't honest. Then when it
comes down to album number two, there is no real heart to it and they
are lost. I think bands that do what they want to do manage to live a
lot longer than the rest. Look at bands like Rush, for example. They
are not as big as they used to be, but they still manage to put out
records and still sell records. They never really went with the flow
of things and their fans know that. I appreciate that kind of work
ethic."
So how much more is left in the creative circle of Therion? Is
the well running dry yet? Answers Johnsson, "I think one of the real
reasons why Therion is still around and making such diverse and grand
records like _Deggial_ is because of money. I mean, the creativity is
within me, but money is needed to meet those expectations of the
music I want to see and hear Therion play. In order to bring in more
musicians to add to a certain direction, it takes money to do so.
Classical musicians and opera singers cost quite a bit of money to
work with. If I want to have more sections and orchestra drums
running throughout this record, as well as half a dozen more neat
ideas, it is going to cost me more. Once you get used to working with
these ideas you want to expand them, rather than abandon them and go
back to an older style. That wouldn't be right."
He adds about the monetary value of making a record: "This
record cost about $115000 German marks, which is about $80000 to
$90000 U.S. dollars. That is a lot of money to do a record, but, like
I said, you pay for what you want. Leading into the transition of the
band's style with _Theli_, it was expensive and still continues to
be. When we worked on _Vovin_ they sent an advance and the making of
it exceeded the original budget cost, so I ended up paying $5000 of
my own money to finish it off. I knew I had to help make the record I
wanted to make."
While on the subject of _Vovin_, I mention to Johnsson about not
being too into the work there, telling him that I thought it was a
weak record compared to _Theli_ or even the newer one. He says: "I am
glad you mention your tastes for Therion. I am so glad that many
people have so many different favorite Therion records. It is not
like we ever did a _Reign in Blood_ record, you know? I mean, no
matter what people say about any new Slayer material, they'll always
say, "Well, it is good, but it isn't _Reign in Blood_." You don't get
that with us and I am proud of that."
On the subject of trying new ideas and working towards band
evolution, he comments: "_Vovin_ was very melodic for us to work with
and easy to follow, I think. Everyone's mom liked it. <laughs> This
time out I was just trying to make a record that easily surpassed
what people had known us to do before. I'm always in that frame of
mind: trying to do better than the last record. If we make a record
and I don't think it is as good as the last one, I will go back to
work on it and work as long as it takes to make it better than the
last release. My mind is always set on outdoing what we did before.
Why make the same record twice? That is too boring and Therion has
never been a boring listen. Therion has always been, and continues to
be, an exciting listen."
In closing, seeing that Therion has mastered the ways of
incorporating classical music into their own music, I ask Johnsson
about his thoughts on Metallica's work with the San Francisco
Symphony on their latest live album _S&M_. "Well", begins Johnsson
with slight laughter, "it is absolutely perfect and well produced,
but it's boring. There is nothing challenging to it. Michael Kamen
[conductor] did a good job working the music with the orchestra, but
I am not sure if he really understood the work of Metallica,
especially the old stuff. He did some great arrangements and all of
the harmonies work, but it just seems he did a big classical piece in
the same scale as the rest of the music. He did a great job, but with
the amount of money Metallica has, they should be shocked about the
way it turned out and come to realize about how much better it could
have sounded if it had been handled better. If I had done some work
on that record it would have turned out better." How much better?, I
ask. "It would have been spectacular rather than this typical
Hollywood film score-type sound that they ended up with. I don't
know. It is their money and they have to worry about it. I'm too busy
with my band to worry about how Metallica is making a supposedly
classical record."
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L I V I N G O N T H E E D G E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to Sami Lopakka of Sentenced
by: Adrian Bromley
Finnish act Sentenced, who have moulded their sound effortlessly
from their early death metal days onto the current mix of melodic
hard rock and metal, have always seemed to be one step ahead of the
pack in terms of creativity. Their latest LP _Crimson_ [reviewed in
this issue] is yet another masterpiece that travels a bit further
down the rock spectrum of their sound, though still offers up a few
darkened passageways to discover.
It has been ten years since the band formed, taking the metal
world by storm with the abrasive metallic sound found on their debut
disc _North From Here_ (1993). It was death metal with clarity and
melody, though still grim in outlook and substance. It was a new
world for metalheads to discover. While speed was a factor, the music
of Sentenced waved upon us emotions that still run deep.
Through the toughened sounds of 1995's _Amok_ and the gelling of
sounds and styles since their debut, the band eventually managed to
experiment a bit more with their sounds. In 1997 Sentenced recruited
new singer Ville Laihiala and the band emerged with a solid and
well-received LP called _Down_ [CoC #17]. While more rock-oriented
than past efforts, _Down_ showcased a band geared up for the long
haul of searching out diversity. They'd grown tired of pure death
metal and working with _Down_ and its successor, 1998's _Frozen_ [CoC
#33], the band found a style that rang true for them.
Enter 2000 and the band has once again embarked on another
exploration of their emotions, a tightly knit and rocking effort
titled _Crimson_. You'd never know it, but guitarist Sami Lopakka is
still having fun after all these years. "We are just having a really
good time with this band right now", he starts over the line from his
home in Finland. "Making this record has been a blast. It was quite
easy for us. We are not trying to keep the faith and make a record
that will keep us in the spotlight and make us rich. We do this for
ourselves. Our material comes to us very easily. We never have to put
any extra effort into making our music work. It just does."
There is no doubt in my mind that some who listen to the new
record will no doubt see that the band has matured their sound,
opting for a more traditional rock act style set forth into their
music. Rather than sprucing things up with rocking speed-like riffs
and banshee-like wails of emotion, the band plays it safe and does a
fine job at it. Songs like opener "Bleed in My Arms", "Fragile" and
"With Bitterness and Joy" shine with craftsmanship. _Crimson_ is a
quality record that takes repeated listens for it all to sink in, but
once it does, you'll find it an astonishing piece of work to take in.
On the changes, he states: "We are very comfortable with the
changes that have surfaced within our music over the last little
while. Why should we be worried? It is what we want. This is the
direction that we wanted to take. We [the band is rounded out by
vocalist Ville Laihiala, guitarist Mika Tenkula, drummer Vesa Ranta
and bassist Sami Kukkohovi] were playing pure death metal ten years
ago, heavily influenced by acts like Iron Maiden, Death and
Metallica, but since then we have been working hard at trying to find
our own sound and style. Over the years we have found it, possibly
from _Amok_ onward. From then on we have basically done the same
style of material with a bit more melody. And right now it is quite
hard to really classify what we do. We sure aren't death metal
anymore."
"Music is getting a lot easier to write and arrange and that is
a good thing", accounts Lopakka on his craft at songwriting. "I don't
see an end to the creativity that we have been so lucky to have all
of these years. All of these ideas and sounds come out quite
naturally. If it wasn't this easy or the songs lacked any emotion, I
don't think we'd actually make an effort to work with them. All of
our material has meaning to us and that is a very grand thing for
us." Adds Lopakka, "We try to keep the creative side very positive to
what we do, because of all the negative stuff that is sometimes
occurring outside of the band."
Seeing that singer Ville Laihiala has been a stable part of the
band through the past three releases, how has his work helped shape
the band? "When the line-up change happened in 1996, it was very
confusing for a while. After we found Ville we knew that he was an
important ingredient which would help make sure that we were going to
be around for a much longer time. He actually has made it a lot more
positive for us in the past few years and we're pleased with that."
And despite the hardships of replacing lead singers and trying
to stay creative throughout the years, how have the changes within
the music industry affected them? Do they care? "We really don't
think a lot about the business. All we know is that each record we
put out outsells the past release in album sales. We're glad to grow
in sales and audience size. We can't complain. But I do know this,
some of the fans that we had five years ago probably don't follow us
anymore because of all the changes, but on the other hand we have
always gained more than we have lost."
So how is the tag "Suicide Kings" sticking to Sentenced these
days? "I think the feeling is something that we really concentrate on
with each and every song we do and I think that's been a strong
element within our music. For us, being able to showcase all of these
atmospheres and emotions within our music has been great, it just
seems that a lot of these ideas and expressions have been quite
negative and depressing. I'd like to think that the music of
Sentenced acts as a therapy session for us, allowing us to get those
feelings out of us for a while and into a song. If we sing a song
about killing ourselves, it sure is a lot better than doing it in
real life."
Why is there still interest in creating metal music for Lopakka?
"I just think there are so many more possibilities of what you can do
with metal music than, say, dance music or techno music. You can put
in so many different melodies and explore with your instruments. It
is very natural for us to play with electric guitars and heavy sounds
and just go all out and express ourselves in an extreme way with our
music."
In closing, I ask Lopakka the secret to the band's longevity. He
responds: "We have been very true to ourselves. Twenty years from now
we will be able to look back and say to ourselves that we didn't kiss
anyone's ass to change, we just changed. We didn't give any attention
to what others thought of how our music should be or what we should
do. We paid attention only to ourselves and that has been the key.
That is the secret for many bands to have a lengthy career. Bands
should be true to themselves and their music. Fuck the rest!"
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H E L L I N S W E D E N
~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Kraath of Setherial
by: Adam Wasylyk
Setherial's third album, _Hell Eternal_, marked one of the most
brutal black metal albums of 1999, hands down. The Swedes have
continued the legacy displayed on prior albums _Lords of the
Nightrealm_ [CoC #28] and their debut _Nord_ [CoC #12], while in the
present reaching new peaks of brutality and furious intensity.
Offering an album full of challenging, complex riffs and drumming
that detonates on impact, Setherial possess a true talent that is
often duplicated but rarely exceeded. E-mail would be the answer for
a proper interrogation of guitarist Kraath, who filled us in on their
latest album and what he and the other band members are currently up
to.
"We are very satisfied with _Hell Eternal_, I feel it stands as
a very important milestone in the band's history", states Kraath on
the new album. "We recorded it in the Abyss studio with [Peter
Tagtgren's brother] Tommy Tagtgren, and the sound is definitely the
best we've had up to date. The general style of the album is a
development of the style on the _Lords of the Nightrealm_ album; we
have taken the aggression one step further, but we also added a few
other factors in to it."
As Kraath said, Abyss was the studio chosen to record the new
album. They had done so previously with _Nord_, so commenting on how
he thought the final product came out, Kraath said: "I am extremely
satisfied with the results this time around, we really managed to
find a sound that suited the material well, and that helped push the
energy of the songs yet one step further. On _Lords of the
Nightrealm_ we had some problems with making the sound suit the
music, something that can clearly be heard when listening to that
album, but this time around it all came together really well, making
the album feel more unified than the earlier ones."
Fans of Setherial have noticed that the band have struggled over
the years with their line-up. Is Kraath confident in the current
line-up the band presently has? "I can only say that I hope that it
will remain somewhat solid; there are no ways of being absolutely
certain, though, that much I've learned through the years as a member
of Setherial. I have great hopes for this line-up, though, so I hope
that it will remain more or less unchanged so that we may see where
it will evolve."
"The lyrical concepts of Setherial tend to evolve around
Satanism in different forms", Kraath stated about the lyrics that can
be found on _Hell Eternal_. "On the new album, for instance, the main
theme is Hell in all shapes and forms. All songs relate back to that
concept, and the title track is what holds them all together, linking
the story together, if you will. We have always concentrated our
lyrical work towards the darker aspects of reality, and this has not
changed now, nor is it very likely to change in the future.
Basically, we deal with those parts of existence that most people
fear and shun, that which defines the strong and frightens the weak
by its mere existence."
Setherial have been the breeding ground for other Swedish black
metal bands, as some band members see it fit to seek side-projects to
further express their anger and aggression. Speaking on this topic,
Kraath stated: "There are a few bands involving members of Setherial,
although I don't know if they are all to be called side-projects;
some are more separate bands than they are side-projects, I would
say. Sasrof has his own band called Diabolicum [on Napalm Records] in
which he plays guitar and writes material; Choronzon is working on a
project called Chaosdaemon together with a drummer from another band.
I am personally involved in a old-style black metal band called
Blackwinds at the moment together with Alastor and former Setherial
member Zathanael."
Kraath also spoke about how the band have progressed since their
prior albums, both musically and lyrically.
How about since their previous album, _Lords of the Nightrealm_?
"I think that we have progressed a lot since _LotN_, we are
capable of producing much better material now and are more secure
about what we want in the studio. You tend to grow more confident
with each album, and this gives you strength to express yourself more
freely within your art. Musically we have developed most as
songwriters, I would say, we simply write better songs now than we
did back then. Lyrically I would say that we have taken the entire
concept yet another step further by bringing an entire album to focus
upon the concepts of Hell, painting a vivid picture of that realm for
all to perceive and interpret."
And how about since the release of their classic debut, _Nord_?
"I think we have progressed well since then, and I think that we
have in some ways continued on the path that we started out on with
_Nord_. Naturally we are faster and more directly aggressive
nowadays, but you can still hear ways of arranging things, and styles
in certain structures that can be considered similar in style to the
ones on _Nord_. I am still very proud of our first album, we managed
to make a great debut album during a period where bands after bands
were releasing total crap, and I feel satisfied knowing that,
especially considering our lack of experience and such things at that
time."
We conclude by my asking how he thinks Setherial can grow and
progress in future records, as it's apparent that the band can't go
much faster physically. "We do not feel obligated to give people what
they expect, we feel obligated to keep ourselves creatively
satisfied. If we would somehow get it into our heads to play some
soft shit, then that would be what we would be playing from that
point. Naturally the intensifying tendencies you mention can only go
so far, but it's a matter of looking beyond that when you try to
evolve, to look around instead of in straight lines, if you will. You
can evolve aggression without necessarily building speed, just as you
can achieve much darkness in your atmospheres in the same manner. The
progression of Setherial does not merely consist of tempo, it is a
matter of atmosphere to an at least equal point."
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T H E E T E R N A L E T H E R E A L D O W N P O U R
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CoC interviews Dawn of Rain Fell Within
by: Pedro Azevedo
A metal band using lead female vocals may not exactly be a
novelty these days, but some newcomers to the scene still deserve
attention either through the introduction of some innovation or
simply through musical quality. Rain Fell Within, while not a hugely
innovative band, are still different enough from their genre's norm,
and are certainly talented enough to deserve attention. They have
just released their debut _Believe_ [reviewed in this issue] through
Dark Symphonies, and therefore I e-mailed RFW's vocalist/keyboardist
Dawn some questions about the band. Here's what she had to say.
CoC: Rain Fell Within is, in my opinion, quite an interesting name
for a doom band. What does it mean to you and how does it relate
to your music?
Dawn: Well, I feel that the name symbolizes the deep sadness one
feels when listening to the sound of the rain or watching the
rain falling. In our music, we try to write songs that can
generate as powerful a feeling deep within the listener.
CoC: The images on both the front and back covers of your debut
_Believe_ depict what seems to be an angel and an open window.
It appears to me that there is a sequence here: first the angel
looks hopefully at the open window as if ready to fly away, then
sits on the ground in woe. And although the album title is
_Believe_, the title track ends with "In this I no longer
believe." I suppose this might be related to the cover artwork.
Is any of this correct?
D: We were most definitely trying to portray the song "Believe" in
the cover art. One might think, at first glance of the CD, that it
means -to- believe in something, when actually it is about a
fallen angel who is sent to Earth to change people and finds out
that the world cannot be changed; it is what it is in all of its
evil. Everything she ever believed in is lost.
CoC: Your lyrics often deal with matters of the (broken) heart and
are generally rather tragic. What inspires and influences your
writing?
D: Well, I guess you can tell I'm not exactly pleased with the world!
<laughs> Although I am not one to accept or deny any form of
religion or belief of something beyond this world, what I have
seen leaves me with a deep sadness. Most of the lyrics do not come
from actual situations that have happened to me, but things I
could see happening in this awful place we live in.
CoC: I must congratulate you for your excellent vocals on _Believe_.
Did you have any formal vocal training? The reason why I ask
this is that your voice, besides being very good, often seems to
carry a certain operatic tinge, in my opinion.
D: I have been singing since I was three. I didn't start taking
lessons until about four years ago, and I do sing a lot of opera
music that I don't sing the same way as I do in Rain Fell Within,
but I do try to have that part of my voice shine through. I think
a straight opera voice doesn't quite blend as well with our music,
so I do sing a little differently for the band.
CoC: Rain Fell Within is a bit different from other doom bands with
female vocals because of some of your instrumental side (the
guitar work that opens the album on "A False Reality", for
example). What is the band members' musical background? What do
you generally listen to?
D: The guys in the band listen to a lot of straight death metal. I am
more into the melodic stuff. Although they also listen to the more
melodic metal, I think their death metal influences can't help but
come out in the music writing. What's in my stereo right now is
Within Temptation.
CoC: Of course there are also plenty of softer passages throughout
_Believe_, and the music is often punctuated by keyboards as
well. The track that you wrote on your own, "The Sun in My
Wound", is perhaps the best example; quite a beautiful song.
What is the story behind its creation? Will you continue to
write songs for RFW in the future, or was it a unique
occurrence?
D: Actually, "The Sun in My Wound" was a last minute decision. I
wrote it in about an hour just so we could add a little time to
the CD. We are thinking about adding the rest of the band into
that song and making a heavy version of it. Since I write a song
every time I sit down at the keyboard, I don't think I will stop
writing songs any time soon.
CoC: After this debut album, what do you think the music of RFW will
be like in the future? Is there anything that you feel went
wrong with _Believe_ and needs to be changed? What are the most
likely changes, if any, now that you also have a new guitarist
in addition to Kevin?
D: Well, every time you add a new guitarist your style changes a
little bit, because the persons add their own touches to the
music. We have no intention of changing our style, only to grow
with the style we have created. I think the main thing that went
wrong with _Believe_ was the amount of time we had to record it,
which wasn't much. It was recorded in one day and mixed in one
day.
CoC: How do you feel about the other more or less doomy bands out
there who use lead female vocals? Are there any which you find
particularly interesting?
D: I am interested in all bands that have female vocals. I think it
adds a lot to very melodic heavy music. I listen to Theatre of
Tragedy, The Gathering, Within Temptation, The Third and the
Mortal, As Divine Grace, etc..
CoC: Do you feel that being in the USA is a handicap or an advantage
for a band like yours? Is there a real audience for this style
of music over there right now, or would you rather be in Europe?
D: We would love to tour Europe, but I have to say it is somewhat of
an advantage to be in America. I say this only because there
aren't many bands like us here, so we turn a lot of heads. I also
think that although we have a very European sound, we definitely
have an American twist to it.
CoC: You are also one of the first bands to have their album released
through Dark Symphonies. Are you happy with them?
D: Dark Symphonies are -wonderful- people. I could not possibly have
one bad thing to say about the way they are handling us, or them
personally. I am extremely happy with them.
CoC: Well, those were my questions. Is there anything you would like
to add?
D: Check out the other bands in the area! Witch-Hunt, Arise From
Thorns, Forty Days Longing, Garden of Shadows, As the Sea Parts,
Long Winters' Stare, Maudlin of the Well, Corvus Corax and, of
course, Autumn Tears!
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L E A V I N G B E H I N D D I M E N S I O N S O H O L L O W
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CoC interviews Rustam Shakirzyanov of Rakoth
by: Pedro Azevedo
Not many Russian bands have reached my ears to this date, but
Rakoth's _Planeshift_ [CoC #45] is a clear indication that there may
be plenty of quality there waiting to be found. The new Italian label
Code666 fortunately discovered this Russian trio's creativity and
talent and recently released their album _Planeshift_. Rustam
Shakirzyanov (vocals, keyboards and programming) answered my e-mail
interview about Rakoth and Russian metal.
CoC: Where does the name Rakoth come from? Mythology? Can you tell us
more about that name and why you chose it?
Rustam Shakirzyanov: No, it has nothing in common with mythology. It
is the name of the character invented by N.
Perumov, Russian fantasy writer. Rakoth is the
demigod, so-called "True Magician", Master of
Darkness, who refused to serve Young Gods and
overthrew them, thus becoming the New God of
Hjorvard. He was the Insurgent One, and that is
why we have chosen his name for our band.
CoC: Your musical style isn't easy to describe, as you usually
incorporate plenty of variety in your songs. How would you
describe it yourselves?
RS: We wouldn't. However, the question needs to be answered, so I'll
use the term used by Code666 Productions to describe our style:
"Epic Dark Metal".
CoC: Would you like to tell our readers what _Planeshift_ is about,
lyrically? What is the concept behind it?
RS: _Planeshift_ does have a concept; not a clear one as our
_Superstatic Equilibrium_ MC had, though. The concept of
_Planeshift_ is hazy and highly personal for each of us. I
wouldn't describe the lyrics -- everyone can read them inside the
CD cover. If one reads them and wishes to think about them and
interpret them for him/herself, the concept will become personal
for that person too. The key song (lyrically) is "Planeshift"
itself, but the others aren't less important -- they are like a
flower's petals. Something like tales, united by one central (and
not quite obvious) idea. The lyrics are painted with fantasy
images or sometimes even describe whole episodes from certain
fantasy books, but don't get caught up with it -- the album is
-not- about fantasy and we are -not- a fantasy band.
CoC: Are you satisfied with your debut _Planeshift_? I personally
found it quite interesting; plenty of work and creativity seems
to have been put into it.
RS: Yes, we are satisfied. Of course, now we would change some things
in it, but it doesn't matter at all. The album is as we wanted it
to be when we entered the studio. However, I wouldn't call
_Planeshift_ our debut. We have an MC (unreleased yet,
unfortunately) which represents a complete and finished album.
That was our debut. As for _Planeshift_, we find it more
professional than our previous works, but our future works will
definitely be even better and more professional. That's for sure.
CoC: The last song on _Planeshift_, "The Unquiet Grave", struck me as
very good and also considerably different from the rest of the
album. Do you agree?
RS: Well, we find -all- songs on _Planeshift_ very good. But I agree
that "The Unquiet Grave" differs a lot from the other tracks.
First, it is the only song on the album which doesn't fit the
concept -- the lyrics aren't mine, they were taken from "Celtic
Miscellany" and used in our own music as a tribute to Celtic
culture. Second, it is the only song (excluding instrumentals, of
course) which does not feature P. Noir's voice at all, but does
feature Dy's voice mixed with mine (on the last verse). And
finally, the music itself is different. It is because most parts
of it were composed long ago, during the times of our demo _Dark
Ages Chronicle_. We used those parts because they fit the
atmosphere of the text perfectly. Oh, by the way, there is
another feature which distinguishes the song: length. It is the
longest track on the CD.
CoC: How did you get in touch with your label, Code666? It seems
rather strange that an unsigned Russian band ended up signing
for a recently founded Italian label which hadn't yet released
anything, either. Is everything working out well with Code666?
RS: I once received an e-mail from them, something like: "We would
like to hear your music." I sent them our promo MC _Superstatic
Equilibrium_. The reply was: "Great, what about a deal?" That's
it. We signed the deal. We are glad to work with Code666. There
are certain advantages in being signed to a small (and especially
a newly founded) label. You'll see: soon, we, due to Code666,
will become rich and famous, and Code666 (due to us, undoubtedly)
will become a -big- record company, signing Madonna, Elton John
and Pet Shop Boys. <laughs>
CoC: In my opinion, very few Russian bands seem to reach the western
part of the European market these days, even though some eastern
European countries, like Poland, have several quality bands that
are reasonably well-known in the rest of Europe. Do you agree?
Why do you think this happens?
RS: The main reason is that Poland, for example, has a much higher
life quality level than Russia. So Russian musicians have much
less opportunities. However, there are some other Russian bands
which are signed to foreign labels. They are (besides Rakoth)
Nokturnal Mortum (Ukrainian band, but who cares? It's almost
Russia), Mental Home, Ens Cogitans, Satarial (not sure, but there
were rumours that they were going to get signed somewhere in
Italy) and more...
CoC: Could you give us some details about today's Russian underground
metal scene? Any specific bands you would recommend as being
especially interesting or promising?
RS: There are a lot of bands, but no "scene". Bands fight as
"true/false", as it was in Norway several years ago. There are
few bands which I would recommend: Umbral Presence (my
solo-project, hehe...), Melissa, Rossomahaar, Stonehenge, Ens
Cogitans, Temnozor'. These bands are professional and have a lot
of originality. There are other professionally playing bands with
interesting music, but they follow the trend by copying bands
such as Cradle of Filth, Dimmu Borgir, Emperor, etc..
CoC: How do you think the future will be like for Russian metal? Any
hope for improvements?
RS: Sure. I think the scene will grow in quality, not only quantity,
and it will attract the attention of foreign labels. I don't
think that Russian labels will become competitive against the
western ones in any foreseeable future...
CoC: Back to Rakoth, and speaking of the future, what are your
objectives with the band? What would you like to achieve in
these next few years?
RS: We don't plan to "achieve" something. We just create music. So,
the only plans for the future are: 1. we are going to re-arrange
and re-record some of our old stuff and release it through
Code666 (the deal has already been offered to us) this year; 2.
we intend to record the brand new album sometime during the next
Winter and release it through Code666 as well. Nothing more is
planned.
CoC: Any closing comments?
RS: I'll distort the quote from my own lyrics for the end: "Search
for the way inside thyself"...
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_____ .__ ___.
/ _ \ | |\_ |__ __ __ _____
/ /_\ \| | | __ \| | \/ \
/ | \ |_| \_\ \ | / 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!
2 Ton Predator - _In the Shallow Waters_ (Diehard, March 2000)
by: Paul Schwarz (6.5 out of 10)
As they are named based on the band's supposed fascination with
creatures like the great white shark, I can bring myself to lay aside
the cheesiness of 2 Ton Predator's chosen name without a great deal
of effort. However, their distinct lacking in the originality
department is harder to lay aside. Moshable groove metal is what we
have come to expect out of Tue Madsen produced albums, and 2 Ton
Predator defy no expectations in this respect. The heavy influence of
America's finest whiskey swillin' Nawlins natives Down, Crowbar and
Corrosion of Conformity is more than evident, and nods towards fellow
Danes Konkhra and depressive-but-brilliant grunge merchants Alice in
Chains also mark _In the Shallow Waters_' musical tapestry. All in
all, 2TP have produced a record which packs a considerable punch
whilst also locking and loading some effectively ballady moments and
occasional indulgent solos, but it is painful to hear a band's
influences seemingly playing on their album, rather than merely
influencing it.
Abdullah - _Snake Lord_ (<Independent>, 1999)
by: Adrian Bromley (9 out of 10)
I'm betting many doom metal fans who come across this superb Black
Sabbath / doom-laden release will be smiling for days. Maybe weeks?
With just two guys -- Jeff Sherilla and Alan Seibert -- pushing all
the right buttons, it doesn't take long for Abdullah to get the party
going. From the opener sway of "The Path of Enlightment" onto
"Firmament" and "Sickness Unto Death", it is quite obvious these guys
still live and breathe the wicked past of Sabbath. Their realm of
gargantuan ear-fuzzing material is made of loud guitars, awesome
vocals and some of the heaviest doses of music to storm at you in a
while. This is monster doom metal from the mid-west and it should not
be ignored.
Contact: 1569 Hibbard Dr. Trow, OH 44224, USA
mailto:shirilla@nls.net
http://web.raex.com/~aseibert/abdullah.htm
Blatant Disregard - _Waging War in the Center_
by: Adrian Bromley (8 out of 10) (Slay the Sun, February 2000)
Now this is the kind of hardcore/metal music that I like: very
hard-hitting and, most importantly, confrontational. Arizona quartet
Blatant Disregard have managed to work up enough angst, aggression
and stamina to propel this six-song release into a heavy,
face-pummelling experience. The vocal cries of singer Dion Bozman,
when matched with the solid drive of the band's hardcore deliverance,
are unbearable. Those in the pit (the ones left standing) will no
doubt love the band's material. Few independent bands out there
really make a good first impression, but these guys did. If there was
one thing wrong with this material, I'd have to say not enough songs
to keep their assault on us going. Oh well, here is hoping for a
full-length release next time.
Contact: Slay the Sun Records, 166606 S. 21st St.,
Phoenix, AZ 85048, USA
mailto:amstaff@extremezone.com
Broken Hope - _Grotesque Blessings_ (Martyr Music, January 2000)
by: Adrian Bromley (7 out of 10)
On veteran death metal band Broken Hope's latest offering they come
out armed with a cavalcade of "by the book" death metal numbers,
sinister vocals and killer guitar riffs. So why care? I'll tell you
why. Brian Griffin (guitarist) is at the production helm once again,
adding his own strong blend of production ideas into the mix, and
while some metal fans might find this a bit too samey at times, when
the band hits the solid stride they do deliver big time (i.e.
"Necro-Fellatio" and "Earth Burner"). Most death metal fans will find
solace within this band's battering ram of metal music. Plus, as the
booklet says, this is "pure sickness". Indulge, sickos!
Contact: Martyr Music Group Inc., P.O. Box 45, Natwick, MA 01769, USA
http://www.martyrmusicgroup.com
Cirrosis - _Reciclando Desesperacion_ (<Independent> / <MP3>, 1999)
by: Brian Meloon (7 out of 10)
Cirrosis hail from Mexico, and play semi-technical death metal. They
claim to be a mix of Meshuggah, Fear Factory, Pestilence, Morbid
Angel and Cannibal Corpse, but I only really hear Meshuggah
influences. That isn't to say that they're Meshuggah clones, but
there are some obvious Meshuggah influences, such as the guitar solos
in "Negando lo No Negado" and "Fariseos". The rest of their music is
standard death metal, comparable at times to the rest of the bands in
their list, but not really sounding like any of them all that much.
Their music isn't overly brutal, but it's pretty heavy. However, it
lacks the speed of a band like Cryptopsy, as the band are content
with a more mid-paced, bludgeoning approach. The production is
decent, but certainly could've been a little more powerful. (Perhaps
the fact that I'm reviewing _RD_ from a collection of MP3s has
something to do with this...) The songs vary in style quite a bit;
some of them are moderately technical, whereas other songs aren't
very technical at all. The playing is mostly good. The parts aren't
extremely difficult, but they handle all of what they play with
considerable aplomb. The vocals are standard death/thrash-type
grunted/shouted vocals. There isn't too much here that you haven't
heard before, but it's good for what it is. Hopefully the band can
improve with their next release, by defining their own sound,
perfecting their production, and narrowing their focus on what they
do best.
Contact: mailto:osunado@cob.megared.net.mx
http://www.junkyardpress.com/cirrosis/main.htm
Corporation 187 - _Subliminal Fear_ (Wicked World, February 2000)
by: Paul Schwarz (6.5 out of 10)
Being Swedish, signed to Earache, praising eighties thrash legends
like Slayer, and having a former member of Seance in their ranks, you
might wonder whether I wasn't talking about The Haunted instead of
our case in point, Corporation 187. Wittingly or unwittingly,
Corporation 187 -are- riding the wave generated by The Haunted's
impression-making arrival onto the extreme metal scene, back in 1998
with the release of their self-titled debut [CoC #34]. _Subliminal
Fear_, the debut now in question, adopts a similar MO; meshing
eighties aggression with a slick nineties coating. Corporation 187
pound out nine aggressive tracks totalling a mere 32 minutes with
precision and finesse as their welcome bed fellows. However, though
competence certainly does not evade, a defining characteristic, a
reason to choose to listen to them as opposed to any other band,
does. Vocalist Pelle never comes close to the intensity Peter Dolving
generated on _The Haunted_, and despite their former credentials as a
Slayer cover band, Corporation 187 never find that Slayer-esque vein
of unleashed violence that The Haunted managed to commendably tap.
All the same, if you're happy with tight snare drums and lots of
thrashing guitars, then you may have a winner here.
Cradle of Filth - _From the Cradle to Enslave_
by: Matthias Noll (8 out of 10) (Music for Nations, 1999)
It's time for an outing: Cradle of Filth are my favourite band of the
'90s. It's completely beyond my comprehension what their music has to
do with sell-out and I'm still looking for a Korn / Marylin Manson
fan who has bought a CoF record or shows up at their concerts. To
help you put my review into perspective, there are a couple of
reviewers out on the 'net who hate Cradle's output since _Vempire_
[CoC #11] but think that _From the Cradle to Enslave_ is a pleasant
surprise and the best material the band has written since _The
Principle of Evil Made Flesh_. What the CoF following gets here are
two new songs, two covers, a techno remix and a different version of
"Funeral in Carpathia" from _Dusk and Her Embrace_ [CoC #16]. The
title track, a rather straight song by Cradle standards, is
constructed around an enchanting guitar melody line which embeds a
ferocious thrash metal section -- the first time the band has
achieved a really heavy guitar sound (and I mean HEAVY) -- and a
blast speed passage with some superb drumming by Wes Sarginson. The
second song, "Of Dark Blood and Fucking" is uncompromisingly fast and
even after a couple of weeks the brutal riffing, showing a clear
_Reign in Blood_ influence, still leaves me breathless. Since _Dusk
and Her Embrace_ Dani has developed a far more variable, less
irritating style and is not only screeching in the highest possible
notes anymore. Backing him up, Sarah Jezebel Deva has lent her unique
voice to the Cradle once again and provides some fine melody lines.
Also noteworthy is keyboardist Lecter's work on "Of Dark Blood and
Fucking" -- total swirling madness without a hint of the usual, oh so
sweet black metal cliches. The two cover versions, Anathema's
"Sleepless" and The Misfits' tune "Death Comes Ripping" are quite OK,
but do not live up to what CoF have done with "Sodomy and Lust" or
"Hell Awaits". Forgettable is the techno remix "Perverts Church". The
alternative version of "Funeral in Carpathia" sounds like a demo or
pre-production track with hardly audible guitars and is only
interesting for hardcore fans. Judging by the two new songs, I'm sure
that if the band manages to maintain this quality level on the
upcoming full length album we'll get an absolutely killer record.
Let's wait to see if the line-up stabilizes again and what kind of
input Paul Allender might be able to give. I'm giving 10 out of 10
for the new material and 6 for the rest this time.
Dark Shades - _Hymnen an die Dunkelheit_
by: Matthias Noll (7 out of 10) (Silbersack Recordings, 1999)
The first thing I saw from Dark Shades was a logo containing 666,
inverted cross and pentagram. Being the untrue wimp that I am, I
expected less than nothing worthwhile from their debut, which then
turned out to be a pleasant surprise. Unlike the logo (probably an
older one) suggests, Dark Shades do not play unholy, true,
whateverraping black metal. I would describe their style as
atmospheric black/death metal with very straightforward and simple
song structures. The vocals alternate between grunts and rasps, the
guitars riff away with touches of icy sharpness combined with German
precision and the drumming is solid but not remarkable. Dark Shades
do work with some acoustic guitar sections plus a fair amount of
keyboards and that's my first point of criticism. The keyboard work
is not very imaginative and reminiscent of Dimmu Borgir's _Enthrone
Darkness Triumphant_, even if a bit less dominant. I do also feel
that a higher dose of aggression and speed frenzy would have made
_Hymnen an die Dunkelheit_ ("Hymns to Darkness") a better album. On
the other hand, the atmosphere of songs like "Voice of Hastur" and
"Messenger of Dark Gods" would have suffered from the inclusion of
aggression for the sake of aggression. Dark Shades' controlled,
somewhat typical German style is a good vehicle for some great guitar
melody lines which after only a couple of spins I found myself unable
to ban from my head. In my opinion that's quite an achievement in
times that spawn one faceless record after another. Do not check this
record out if you belong to the Marduk/Setherial legions. If you like
your metal melodic and simple yet with death and black metal
influences, _Hymnen an die Dunkelheit_ could be worth getting.
Contact: http://www.wischrop-net.de/dark_shades/
Demons & Wizards - _Demons & Wizards_ (SPV Records, February 2000)
by: Adrian Bromley (8 out of 10)
There were rumors about this band for many years and finally their
debut release is upon us. The group in question is Demons & Wizards,
a side project for Hansi Kursch (Blind Guardian vocalist/bassist) and
Jon Schaffer (Iced Earth guitar slinger). With high energy and great
melody, not to mention Schaffer's trademark riffs leading the way,
D&W is a blistering assault of power metal that easily transports the
listener to a far off realm to lie sedated as the tales of love, lust
and death float by. Kursch's vocal range is spectacular and Schaffer
has given his all here. While many will write this off as a "Blind
Earth" or "Iced Guardian", after numerous listens those foolish
thoughts will be non-existent. This is more than just an amalgamation
of both veteran performers' styles and sounds. It's a wonderful trip
into an experimental realm of metal music, a set of ideas that no
doubt these two would not really bring out within their respective
projects. Or could they? From the furious opener "Heaven Denies" onto
stunning tracks like "Poor Man's Crusade" and "Fiddler on the Green",
there is no doubt in anyone's mind that these guys have carefully
crafted the D&W experience. Fans of both members' other projects will
not be turned off by what they have provided us here. This is just an
extension of their talented musicianship.
Dismember - _Hate Campaign_ (Nuclear Blast, February 2000)
by: Adrian Bromley (9.5 out of 10)
Dismember are back for the attack and it is about fucking time! The
band's latest LP _Hate Campaign_ (the follow-up to the monstrous 1997
outing _Death Metal_ [CoC #24]) is a superbly tight, yet simplistic
take on death metal music. More melodic (yes, melody!) and a lot more
bare-knuckle barrage of screaming vocals and rip-roarin' guitar
riffs. In other words, a perfect harsh welcome into metal's new
millennium. The most important element of the new disc is its speed.
Crushing down upon you like Thor's mighty hammer, the quintet's sonic
assault rarely gives up. While only 33+ minutes long, the length of
the disc is perfect and _Hate Campaign_ does the job right. Nothing
more to say than get this disc and hold onto something. It is going
to be one fucking bumpy ride, motherfuckers!
Eternal Oath - _Through the Eyes of Hatred_
by: Alvin Wee (6 out of 10) (Pulverised Records, 1999)
Gothenburg used to be the site of a unique class of music, one which
blended the aggression of death metal with artfully sculpted
melodies. Radio airplay and glossy publications have since reduced
the scene to a timid, trembling wreck. The trap that Eternal Oath
have fallen into is a common one. In their search for melody and
flowing beauty, many bands seem to have overlooked the effectiveness
of short, incisive melodies coupled with sharp and memorable hooks.
The result being sweetly melodic, yet emotionally void and drawn out
-- Kenny G wouldn't be far from mind. Sentenced, anyone? Which is
exactly what _TtEoH_ is all about. Lacking the raw passion and
memorable hooks of _The Gallery_-era Dark Tranquillity or early Amon
Amarth, events inevitably dull into a sleep-inducing brew of
sweetness and pseudo-goth posing. As with most other bands in the
genre, musicianship is irreproachable, but the stellar technique only
accentuates the inadequacy of the material. While this is not a disc
I would exactly fling out the window, it isn't what I'd put my
hard-earned dough down for. Not while Depresy's still around, anyway.
EverEve - _Regret_ (Nuclear Blast, 1999)
by: Pedro Azevedo (5 out of 10)
Having thoroughly enjoyed EverEve's previous two outputs, _Seasons_
[CoC #20] and _Stormbirds_ [CoC #31], I hoped the band would be able
to overcome vocalist Tom Sedotschenko's suicide and produce a worthy
third album. New vocalist Ben Richter lacks most of the versatility
and especially dark emotion that Sedotschenko's voice had, but
unfortunately I doubt any vocalist would have been able to
single-handedly save this album anyway. Despite a few reasonably good
passages, the songs generally lack the strength, atmosphere and
emotion EverEve once had, and are instead excessively bland and
generic. The new electronic "enhancements" and increased goth
influences in their music are hardly welcome substitutes for the
doomy melodies and atmosphere EverEve used to have. The -two- covers
of "House of the Rising Sun" don't help much, either. EverEve can
never be the same again without Sedotschenko, but while I already
expected the vocals to be at least somewhat less enjoyable than
before, I never thought the music itself would lose so much of the
interest it used to hold.
Freedom Call - _Stairway to Fairyland_ (Steamhammer, 1999)
by: Alvin Wee (10 out of 10)
As if Gamma Ray, Blind Guardian and Iron Savior weren't enough, the
German power metal scene just keeps chucking better and better stuff
at its spellbound fans. Brainchild of Gamma Ray drummer Dan Zimmerman
and starring sundry other Teutonic metal personalities, Freedom Call
is set to succeed Hansen-era Helloween as undisputed masters of the
scene. Blending the drive of _Keeper of the Seven Keys_ and adding
sweetly anthemic touches characteristic of latter day, Grapow-fronted
Helloween, _StF_ is any speed/power metal fan's wet dream. Not since
Edguy's _Vain Glory Opera_ have I been astounded by luscious melodies
of such epic proportions delivered with such conviction. From the
driving, anthemic chants of "Over the Rainbow" to the slow, hymn-like
choruses of "Hymn to the Brave", Freedom Call assert their right as
kings of ultra-melodic power metal. Years of working with legendary
metal-man Kai Hansen has undoubtedly influenced Dan somewhat, and one
would be hard-pressed to find a moment on the album not reminiscent
of some Gamma Ray moment or Helloween passage. Significantly absent
are the ubiquitous Blind Guardian-style group choruses; the
folk/medieval touches here have been dropped in favour of soaring,
sweeping melodies. Not a riff is out of place, not a beat is hammered
out with anything less than the utmost confidence -- which is
expected from a crew of such experience and talent, but add to that
the blazing leads and the almost childishly sweet yet heartrending
cries of Chris Bay (formerly of Moon 'Doc and the legendary Zed
Yago), and the result far exceeds expectations. And imagine a
production team of Dan Zimmerman and Chris Bay, led by the hugely
experienced Charlie Bauerfeind (who else?)! Granted, there'll be the
odd "true-metal" fan who'll condemn the saccharine sweetness of _StF_
for being weak and "un-metal", but the genre has always placed
emphasis on quality songwriting rather than brutality, and one listen
to the much-hyped Labyrinth will prove that Freedom Call are anything
but soft. I've already pencilled in Gamma Ray's excellent
_Powerplant_ as top of the genre this year, but Freedom Call are
already proving strong contenders to the title. It's been a good year
for power metal with countless new acts like Steel Attack and the old
guard (Virgin Steele, etc.) putting out formidable works. But _StF_
is without doubt the crowning glory, as well as one of the genre's
greatest debuts ever. Get it from Sentinel Steel or
<mailto:EmpireEnt@aol.com> in the States.
Hades - _The Downside_ (Metal Blade, February 2000)
by: Adrian Bromley (5 out of 10)
New York metal outfit Hades tried to do their best on this record in
order to achieve a fine metal sound all around. The key word there is
"tried". The music, while a little generic at times, does for the
most part hit a solid stride and singer Alan Tecchio has a great
metal voice, but as Hades' record _The Downside_ hits the midpoint it
is quite obvious that the band has a hard time making their music go
the distance. Riffs and drumming mesh into a blurring wall of noise
and Tecchio's vocals become a tad irritating. The guitar riffs within
Hades' material are indeed the most interesting aspect, wailing away
in unison as Tecchio hits the high notes, yet easily dropping back to
carry the weight of the metal groove. A mediocre release if you ask
me, with just a tad bit of worthy substance to chew on.
Himinbjorg - _In the Raven's Shadow_ (Red Stream, 2000)
by: Aaron McKay (9 out of 10)
I am more than a bit taken with a group that has a song title "In the
Forest of the Demons from Within". I do find myself, however,
returning time and again to the purely instrumental and somewhat
provokingly peaceful construction of "Dream Walker" (not to be
confused with "Spiritwalker" by The Cult). What do I hear in this
release from France's Pagan black metalists? I witness elder tales of
ancient flights at midnight ingurgitated in the belly of nature's
most treasured and esoteric abhorrences -- pure and simple. Perfect
passages of pleasure and pain striped before the listener reflected
in prophetic passages such as "Thiazi's Oyne" and "The Inverted
Dimension". Edgar Allan Poe influences aside on my part, _In the
Raven's Shadow_ is beautiful and majestically metal simultaneously.
If you find yourself in some doubt after reading this review, please
check out CoC's issue #39. It includes some insight into Red Stream's
_To Live Is Ever to Be in Danger_. Himinbjorg has one unreleased
track on that CD, "De Grenselose Sjoere", as well as "Rising", which
can also be found on _ItRS_. You can't go wrong with either disc, but
fans of the path less traveled will seek out _In the Raven's Shadow_;
the not-so-adventurous will chose the Red Stream compilation's safety
net, _TLIEtBiD_.
Hirilorn - _Legends of Evil and Eternal Death_ (Drakkar, 1999)
by: Alvin Wee (8 out of 10)
Hirilorn have been Drakkar Productions' blue-eyed boys ever since
their acclaimed split cassette-LP with Merrimack, and it's relieving
to see all the promises being fulfilled on their newest four-tracker.
In a true black metal ethic that hasn't been observed for ages, this
French foursome manage to push the quartet of pieces to a whopping
50+ minutes. Less forgiving reviewers have dissed their extended
compositions for being incoherent and long-winded. The point that's
being missed is: black metal has often worked well as a rambling and
expansive style, as albums like Setherial's _Nord_ [CoC #12] so
brilliantly show. Melodic acoustic guitars and delicate whispers open
the festivities promisingly, and Hirilorn waste no time in impressing
with "Last Ride on the Winds of Eternity"'s unforgettable leitmotif,
gracefully fluid leads segueing seamlessly into old-fashioned Swedish
trilling. What a start! Distortion fades into an atmospheric
interlude, replete with tambourines, acoustic guitar folkishness and
grim narration. It doesn't hit me until the rest of the music crashes
back in with a ferocious roar that I simply haven't heard such melody
in an underground setting in ages! Hirilorn eschew today's formulaic
black metal crunchiness in favour of quietly buzzing guitars layered
over with highly memorable leads. In this day and age where black
metal is veering farther from the minimalist tenets of the pioneering
bands, Hirilorn's "music-for-music's-sake" ethos stands out with the
murky brilliance of early Dimmu Borgir or Parnassus. It may be a
personal opinion, but Hirilorn seems destined to tread the path of
the latter band: obscure sparks all but lost in the gloom of the
underground. For faithful followers of the genre, _LoEaED_ will make
a good change from the over-produced albums of today, and fans
Stateside are highly encouraged to check out a release sadly lacking
in promotion outside Europe.
Contact: Drakkar Productions, BP 420, 84071 Avignon cedex 4, France
(Price: $18)
Various - _Holy Dio: Tribute to Ronnie James Dio_
by: Adrian Bromley (8.5 out of 10) (Century Media, January 2000)
Not everyone likes tribute records and I can see why. Most of them
are mediocre bands doing half-ass renditions of one time classic
material. I hate those tributes. But then once in a while one comes
along that smashes all memories of those horrible tributes and gets
the blood boiling, helping rekindle the feelings we had inside for
those original songs when we first heard them. The Dio tribute is an
excellent one that should be purchased by fans of Ron
nie James Dio.
Some of progressive metal's best acts rock out in a big way as they
take command of classic Ronnie James Dio material from his Black
Sabbath, Rainbow and solo days. HammerFall does a solid version of
"Man on the Silver Mountain", Blind Guardian shreds on the superb
"Don't Talk to Strangers" and Enola Gay does justice to "Heaven and
Hell". Other acts like Gamma Ray, Doro and Primal Fear all take stabs
at covering Dio, all pulling it off quite nicely. Fan of Dio? Then
check this out and relive his glorious metal past.
Horifixion - _Rage_ (<Independent>, 1999)
by: Adrian Bromley (6 out of 10)
Much like their other metal brethren from Quebec, Oblivion and
Gorguts, Horifixion like to play their music fast and technical. The
music is vibrant and the guitar riffs are to die for. But why the low
marks? The four-song offering from Horifixion radiates within a realm
of repetition, whereas bands like Oblivion and Gorguts (who do it
with pure finesse) aim to strike fast and hard, but at the same time
mix things up. While those acts come off with glorious results,
Horifixion fall back into a pack of yesteryear's speed/technical
metal aficionados. It is not bad to be lumped into the past, but it
should be key to strive forth at times with modernization and crafty
ideals. Horifixion deal out the damage, but rarely keep the assault
ongoing. Choice cut: "Deserted Landscape".
Contact: Samuel Landry, 871 Trudel Quest, St-Boniface,
Quebec G0X-2L0, Canada
mailto:samuel_landry@concepta.com
http://metalmusic.net/horifixion/
Imperial - _Malmort_ (Osmose, November 1999)
by: Paul Schwarz (2 out of 10)
I don't think I have been ground into the dust by quite such a wave
of unrelentingly tedious songs since I last spun Mortician's most
recent album [CoC #42]. In fact, as far as I can see, Imperial are
Mortician's equivalent in the thrash scene of 1999. Their album
boasts a "Warning!!!": "This is an album of speedcore!!! Not for
emotive people!!!" -- this did not endear me to their cause from the
start. Maybe it is because I am an "emotive person", but I actually
think it is because I don't enjoy extreme music made by someone who
can't even write a vaguely exciting song, let alone an original one.
Imperial hack relentlessly at my psyche with the boring, repetitive
drone of _Malmort_, and after forty minutes Imperial have pushed my
spirits low, something I do not appreciate. Plundering the likes of
Exodus, Destruction, Kreator and Anthrax with little skill and less
taste, Imperial are neither funny nor exciting. I am sick of hearing
tedious, retro-thrash bullshit and if I was forced to listen to it I
would pay good money to make sure that Imperial were not the chosen
"delight" I would be forced to pollute my ears with.
Istidraj - _Metafizika_ (<Independent>, 1999)
by: Alvin Wee (5 out of 10)
Ah, the wonders a poor PA system can do for bad music! Straining to
make sense of their black metal rumblings at a recent gig in
Singapore, I was looking forward to hear a much improved rendition of
these Singaporean neophytes' work on CD. Needless to say, I already
had my doubts on opening the booklet: sprouting pseudo-philosophical
rhetoric in abysmal English doesn't do much for first impressions.
Not that the music makes up for anything. A bored schoolgirl opens up
proceedings with a dully recited couplet, and if trying to rhyme two
lines using the same word is anything to go by, Istidraj don't offer
much lyrically either. Anyone familiar with Unpure's early work will
know what I mean when I say Istidraj's music owes its depressiveness
to absolute boredom rather than purposeful songwriting. It's not that
the riffs are poorly written; on the contrary, opener "Odes of
Aeshon" is engagingly foreboding in its own right, but the sheer
monotony of the delivery results in every track sounding similar.
Apart from "Wood of Eternity"'s crunchy, doomy riffage sounding
remotely impressive with its Cathedral-like downtuned heaviness,
everything else sounds much like an amateur mish-mash of primitive
black, death, doom and thrash. And that's without mentioning the
pathetic, almost comical vocals. Bands just can't seem to get the
message that we'd rather do without vocal variety than be force-fed
Mickey Mouse Club-type girly chants. As if that wasn't enough, the
band's dark-skinned vocalist "Lord Aryan" pays sloppy homage to
Immortal by adding a pinch of dryness to Abbath's parched rasping.
Soooo evil! Frankly, I feel pretty bad about putting down a band's
virgin outing so callously, but it just goes to show that what would
be more than adequate on a demo tape fails miserably on a 34-minute
CD album. Take it as a lesson learnt, boys: demos weren't invented
for nothing.
Contact: Aryan Productions, Blk1, Jalan Pasar Baru,
#06-21, Singapore 402001.
Jacobs Dream - _Jacobs Dream_ (Metal Blade, January 2000)
by: Adrian Bromley (8 out of 10)
Woah?! I was at first a little taken aback by singer David Taylor's
uncanny similarities to Iron Maiden singer Bruce Dickinson. Too
close, if you ask me. But also with a slight nod to Queensryche's
screamer Geoff Tate and Rush frontman Geddy Lee, Taylor's voice
manages to flutter within a very unique vocal body. Very versatile
and extremely powerful. Taylor's vocals hit hard, pushed forward by
passion and intensity, that being one of the stronger elements to
Jacobs Dream. The music of this power/progressive metal outfit also
shines with passion and complexity, rarely missing the mark as the
quartet steamrolls through great sonic epics. This should be one of
the best newcomers that 2000 offers, I'm sure of it. My favorite
tracks include opener "Kinescope", "Scape Goat" and "Love & Sorrow".
Feel the passion, follow this Dream.
Lock Up - _Pleasures Pave Sewers_ (Nuclear Blast, December 1999)
by: Paul Schwarz (8.5 out of 10)
Lock Up stand out prominently amongst the faceless many who pollute
the grindcore scene, but _Pleasures Pave Sewers_, with its Andy Sneap
production and all-star cast of Peter Tagtgren (Hypocrisy), Nick
Barker (Dimmu Borgir, ex-Cradle of Filth), Shane Embury and Jesse
Pintado (both Napalm Death), is no underground crust-fest. Instead,
it kicks your ass with a crisp, clear production and assassin-like
musical precision. Shane Embury has at last got off the happy-punk
metalcore trip of the last few Napalm Death albums and instead
belched forth nine of the best and heaviest compositions he has
penned in the last ten years. Jesse Pintado's written-for-Terrorizer
quarter goes some way to recapturing the spirit of that godly band,
but this task would have been quite a feat to fully succeed in, and
Lock Up collectively haven't managed it. However, Peter Tagtgren
belts out some of his most violent and effective aural evacuations
since _Abducted_ whilst Nick Barker lays down a virtual minefield of
explosively destructive percussion. No attempts have here been made
to significantly fuck with grindcore/death's basic formula, and
though this leaves _Pleasures Pave Sewers_ in no position of
uniqueness, it is probably for the best, ultimately resulting in an
invigorating twenty-seven minute barrage of grindcore assault and
battery.
Malevolence - _Martyrialized_ (Maquiavel Music Entertainment, 1999)
by: Pedro Azevedo (8 out of 10)
This Portuguese band traveled to Sweden in order to have their
technical, dynamic, progressive death metal recorded by Anders Friden
and mixed by Fredrik Nordstrom -- all in the famous Fredman Studio in
Gothenburg. This was a very good decision, even though Malevolence
don't sound very Swedish, because thanks to Friden and Nordstrom,
_Martyrialized_ boasts a clean, powerful sound that perfectly suits
what Malevolence's occasionally keyboard-enhanced style requires. The
band's considerable musical skill and creativity shines through the
whole album, but unfortunately its nine tracks only last for a total
of 30 minutes, while the ideal length for their style would have been
something around 40 minutes, in my opinion. Maybe the financial cost
of recording at the Fredman Studio took its toll -- time literally is
money. However, the songs themselves are usually around the three
minute mark, as they aren't made of choruses or riffs which the band
repeats over and over again ad nauseum to make them last longer.
Therefore, I haven't deducted any marks for the album's short
duration, regardless of what caused it. _Martyrialized_ also features
an interesting instrumental track and a nice keyboard-based song with
drums and vocals on top, both of which add some more variety to an
already varied and dynamic album. Despite a few less inspired
passages, with _Martyrialized_, Malevolence have proven to be a very
talented band, and I think their next release can still be better.
Contact: Maquiavel Music Entertainment, P.O. Box 172,
2400 Leiria, Portugal
mailto:maquiavel@mail.telepac.pt
Maudlin of the Well - _My Fruit Psychobells... A Seed Combustible_
by: Pedro Azevedo (7 out of 10) (Dark Symphonies, December 1999)
If there are albums that can leave you puzzled and unsure of whether
overall you liked what you heard or not, then this hour-long debut
full-length from Maudlin of the Well is definitely one of those.
Instruments such as clarinet and trumpet can be found amidst the sort
of atmospheric, progressive doom/death these Americans produce, while
growls and clean male and female vocals are used as well. The
production is a bit below average overall, but acceptable. After
"Ferocious Weights" and "A Conception Pathetic" open the album with
the band's various musical influences resulting in a different and
interesting form of doom metal, Maudlin of the Well start having some
trouble keeping the album consistent. The third track, "Undine and
Underwater Flowers", is a ballad of sorts, with some highly annoying
"sweet" male vocals on top, and is entirely unable to justify its
presence (not to mention its nine minute duration). The following
three tracks see MotW back to their highly unusual atmospheric doom,
with mixed results, but overall producing something which clearly
tries to be innovative and usually manages to be interesting enough.
While contrast can be excellent in music, that ballad in the middle
of doom/death sequences is far too much for me. "Catharsis of
Sea-Sleep and Dreaming Shrines" has some more good doom/death
passages, especially the one towards the end. To finish this
seven-song album, "Blight of River Systems" is another ballad,
although somewhat less annoying than the third track. Most of you
will probably want to leave out a couple of tracks when listening to
this album (I know I will after I've finished reviewing it), but
what's left is good enough to justify giving it a chance, especially
if you like musical experimentation.
Contact: mailto:maudlin@geocities.com
http://www.geocities.com/maudlinofthewell/
Contact: mailto:orders@darksymphonies.com
http://www.darksymphonies.com
Morgul - _The Horror Grandeur_ (Century Media, January 2000)
by: Paul Schwarz (6.5 out of 10)
Morgul have chosen to mix the modern and polished black metal sound
of Dimmu Borgir or Emperor with violins, piano and even dance beats
to attain a similar sound to Arcturus, with a distinct carnival-esque
feel, at points. It is adventurous and varied, ranging from the
monotonous pound of "Ragged Little Dolls" to the industrial crush of
"Elegantly Decayed" and on to the final rage filled blast beats of
"The Ghost", but it never really feels like Morgul are truly covering
any new ground on a grand scale. Yes, they are crossing the
boundaries of traditional black metal, but the gates have already
been broken and Morgul are merely walking in the wake of other,
greater bands. There is nothing that I picked up on _The Horror
Grandeur_ which hasn't been done better on some other album by the
likes of Dodheimsgard, Sigh or Arcturus.
Mortiis - _Fodt Til a Herske_ (Earache re-issue, November 1999)
by: Paul Schwarz (6 out of 10)
Super-simplistic in its twin keyboard strands and occasional
war-drums, Mortiis' 1994 debut release certainly does betray the fact
that these two tracks ("Fodt Til a Herske" parts 1 and 2, totalling
over fifty minutes in all) were his first attempts at making music.
It isn't exactly bad or good, rather just inconsequential. It neither
significantly moves in the positive sense, nor irritates and prompts
silencing for its poor quality. It is quite good backing music, and I
expect for an animated film, documentary or even relatively
impressionistic film it would make adequate, understated and mildly
atmospheric keyboard backing music. However, sitting down to actually
meditate on its every note reveals not only its simplistic content,
but also its rather tedious structure. I am not a big fan of Mortiis
in general, but if I wanted to listen to him, I would dig out _The
Stargate_. _FTaH_ is definitely not worth its lengthy duration.
Nocturnus - _Ethereal Tomb_ (Season of Mist, November 1999)
by: Paul Schwarz (8.5 out of 10)
Nocturnus were using keyboards to augment vitriolic, technical death
metal in 1990 when most of their scene hardly knew what a keyboard
was. Now, seven years since their last full-length, they're back
together. Nocturnus have not kept themselves as drastically ahead of
the game as they were a decade ago, but who could reasonably expect
that? And who needs it when _Ethereal Tomb_ is such a convincing
musical step for the band. Davis' and McNenney's guitars are no
longer wildly technical but drivingly percussive. Having focused on
creating film-soundtrack-like sci-fi atmospheres, Panzer's keyboards
and new vocalist Emo Mowery's vocal performance have become the
deciding elements in Nocturnus' sound. Panzer is allowed considerably
more space to breathe, a fact particularly evidenced by the solo
keyboard nature of last track "Outland", which is meant to capture
the feel of the final credits of a film. _Ethereal Tomb_ is
different, though not as much to my taste as _The Key_, and enjoyable
of itself, not simply because it is one of my favourite death metal
bands returning, seemingly, from the dead. For a band too long
neglected and underrated it is a good re-entry into a scene they have
so long been absent from. I expect even better things in the years to
come. Nocturnus, welcome back.
Notre Dame - _Vol1: Le Theatre Du Vampire_ (8 out of 10)
Notre Dame - _Nightmare Before Christmas_ (7 out of 10)
by: Paul Schwarz (Osmose, October and December 1999, respectively)
Seemingly two full albums, this double bill of schlock B-movie horror
inspired quasi-black metal humour-mongering from Snowy (ex-King
Diamond drummer) Shaw's new project is a strangely refreshing breath
of fresh air from rather kitsch obsessions with being "true" to
metal, i.e. taking it super-seriously. Metal is great, metal is
heavy, but metal can also be funny, whether intentionally or not.
_Nightmare Before Christmas_ is a kind of joke album with Shaw and
his corpse-painted partners posing in mock-gothic style on the cover,
while in the top left hand corner the man himself is black metal
Santa. Beginning with Shaw whispering "When you wish upon a star --
your wish is granted -- here we are", a slogan which also adorns the
front cover, there is amusement and decent riffs to be found on
_NBC_, but it is more on _V1LTDV_ where Notre Dame's worth is clearly
identifiable. The track which the two albums share, "Black Birthday
(Hip Hip Hooray)", is, however, a good point from which to explain
Notre Dame's appeal. Beginning with a bouncy but unmistakably metal
riff which segues into a speed/thrash mockery, the proclamation of
"Don't wish me happy birthday" in full, spiteful, black metal rasping
glory is as funny as it is a hook which sticks firmly in you head. A
chorus of children singing "Well he's a jolly good fellow..." segues
the second, less speedy half of the song and the overall effect is
funny and listenable in good balance. Notre Dame produce many funny
moments with the lyrics and musical pastiches of songs like "I Bring
Nosferatu You" or "Vlad the Impaler", but they produce as many
memorable and often pleasingly muscular riffs which make listening to
Notre Dame more than just a pastime undertaken for the purpose of
having a good laugh. Unfortunately, Notre Dame manage to draw things
out to an hour on the former and forty minutes on the latter album,
and they do thus spread themselves rather thin at points, such as on
_V1LTDV_ closer "Spiderella's XXX". If you want a laugh and the
pleasure of having a dozen or so nicely executed chunky riffs
smashing at your cranium, I suggest getting _V1LTDV_, it definitely
has the edge in quality as well as quantity; if you -really- dig it
then you might want to chance a look at _NBC_.
Novembre - _Classica_ (Century Media, January 2000)
by: Paul Schwarz (8 out of 10)
Taking a page out Opeth's book in their combining of complex and
progressively developing guitar themes with the heaviness and grit of
distorted metal riffing, Novembre defy my cynically low expectations.
Though slightly more gothic and doom influences come to light on
_Classica_ than on Opeth's releases, Novembre are still eminently
comparable with the under-noticed Swedes. Though they may not live up
to the uncommonly high standards we expect of Opeth, Novembre are not
as far off as you might expect and beat out many other bands with
their effective combination of melancholy and metal.
"Nostalgiaplatz", "My Starving Bambina" or "Love Story" are alone
proof enough that Novembre have musical talent combined with a good
melodic sense, as well as the ability to pound with the percussive
rage of death, the hypnotic hammer of doom and the blistered throat
of black metal. However, with a ten year history and two previous
albums behind them, it is not unwarranted that Novembre should have
reached a high standard, it's just that so many don't. _Classica_
could be more consistent, but Novembre, though not in Opeth's league,
are doing much better than the average band playing a similar trade.
Obtained Enslavement - _The Shepherd and the Hounds of Hell_
by: Pedro Azevedo (8 out of 10) (Napalm Records, January 2000)
This doesn't seem to be the same band that recorded _Witchcraft_ [CoC
#26] and _Soulblight_ [CoC #41]... but it is. Pest, Heks, Doden and
Torquemada remain in the band, while bassist T. Reaper and, most
importantly, keyboardist Morrigan (the same who plays bass for
Aeternus) have abandoned the project. I consider Morrigan's departure
as being the most important one simply because Obtained Enslavement
without keyboards is rather hard to imagine before listening to _The
Shepherd and the Hounds of Hell_. But in times when other black metal
bands are leaving behind some of their most distinctive attributes
(Limbonic Art cutting down on their symphonic side and Aeternus
trading their extremely thick guitar sound for a clearer and more
death metal-like approach are a couple of examples that come to my
mind), Obtained Enslavement have taken a similar path and completely
dropped the keyboards that were previously so important in their
sound. Not only that, as they also opted to record at the Soundsuite
Studio with Terje Refsnes (who has been increasingly active with
Norwegian bands lately) instead of Grieghallen. Hence their
characteristic dirty and harsh yet symphonic sound is completely gone
in exchange for a much cleaner and powerful, still technical but now
guitar-based black metal. However, the most important thing isn't
gone: the band's talent. Remarkable and creative guitar work, very
good drumming and Pest's charismatic vocals (plus some clean vox as
well) mould this record into a succession of slower or more melodic
sections and technical, aggressive high-speed black metal. It all
flows very well and the usually non-linear song structures and
crescendos keep the album varied and interesting. This is very
different from what they used to sound like, and I miss the old,
somewhat more unique Obtained Enslavement, but _TSatHoH_ is still
damn good.
Precipice - _The Foundation / Black Sun Rising_
by: Adrian Bromley (7 out of 10) (<Independent>, 1999)
This seven-song release is the amalgamation of two demos from this
eclectic independent metal outfit Precipice. With a nice meshing of
thrash metal, jazz-styled guitar riffs and some sinister vocal
screams, the band manages to cruise through a solid set of material
without ever really losing the listener. While still a bit on the
older end style of metal music in sound at times (a la Cirith Ungol /
old Slayer / Venom), this band really makes the best of all metal
areas they decide to forge forward with. The newer set of material
(i.e. "Engulfed in Flames", "World After War" and "Black Sun Rising")
is stronger and of course modern sounding, but still it is nice to
see that the earlier stuff still shows life next to new material. I'm
looking forward to seeing where this band takes their music in 2000.
Contact: P.O. Box 6971, Spring Hill, Florida 34606, USA
mailto:worldafterwar@usa.net
Pressure 4-5 - _Antechnology_ (Dripping Records, 1999)
by: Adrian Bromley (4 out of 10)
Let us all welcome a new member to the already booming breed of new
metal. Here is Pressure 4-5. Please, hold your applause, metalheads.
While I have been, and continue to be, a strong supporter of bands
like Deftones, Korn, Slipknot and Rage Against the Machine, I have
found most of these, the other new breed metal bands like Snot,
Incubus and the like, just plain boring. It all sounds the same. All
the bands are playing the same riffs, just shuffled around a bit.
There is no real movement within what they are doing. And to me,
Pressure 4-5 fall into this category of musicians. Sure there is some
melody and a booming hardcore/metallic edge, but how does this
Californian act differ from all of the other crap that has over the
years sprouted from out west? It is starting to get old. I just wish
all of these new breed metal bands would add some flare to their
sometimes-vibrant edge. Good examples of bands that have the right
idea? earthtone9 and Cave-In.
Psycho Industry - _Crushing the Individual_
by: Pedro Azevedo (3 out of 10) (<Independent>, August 1999)
This hybrid of industrial/electronic and metal is a solo project
created in Marc Dumont's home studio in France. Influences range, as
far as I can hear, from bands such as Ministry to Fear Factory.
Unfortunately, the problem is that it's nowhere nearly as good as
either of those. The sampled guitar riffs just don't carry enough
power, nor do the vocals, the electronic rhythms or the
industrial/electronic samples. The first couple of tracks aren't bad,
but the Fear Factory influences then show themselves as coming much
more from the _Remanufacture_ remixes than anything else, as the
frequent annoying techno interludes and rather pointless electronic
beats only make things worse from this point onwards. The last track
then apparently attempts to transport the listener to a Brazilian
Mardi Gras. I tend to sympathize with one-man projects, but I must
judge the music regardless of that; and lacking a dark atmosphere and
some real power, _Crushing the Individual_ completely failed to
impress me.
Contact: Marc Dumont, 10/12 Rue Philibert Laguiche,
7100 Macon, France
mailto:psychoi@club-internet.fr
http://perso.club-internet.fr/psychoi/
Rain Fell Within - _Believe_ (Dark Symphonies, January 2000)
by: Pedro Azevedo (8 out of 10)
Rain Fell Within could have been just another band playing doomy
metal with female vocals, but they are in fact different enough
(apart from being American) and also simply good enough to deserve
serious attention from those who like the genre. Dawn's vocals
occasionally remind me of Kari Rueslatten (early The 3rd and the
Mortal) with a good operatic tinge. The way her voice intertwines
with the music is remarkable at times, and her performance is always
very good and confident. The instrumental side differs from the
genre's norm: the guitar work is generally melodic, but not stagnant
or dull, while the keyboards (also performed by vocalist Dawn) are
mostly used as a piano, leaving the main stage for the vocals and
guitar work. There are only five songs on this less than 38 minute
long album, the last being a short one, so you can expect four rather
long tracks. The first, "A False Reality", despite being very good,
suffers from being a bit longer than it should have been, but it
still serves as a fine introduction to the band's quality. The second
track, "Alone", has much more of a real song structure and its length
is therefore adequate to its contents; again, very good, with some
excellent vocal melodies. "Believe" isn't quite as remarkable as the
first two, but features some fine vocal arrangements as highlight.
"Sorrow Becomes Me" has a superb chorus melody which sounds very
fragile and beautiful, like the one from "Alone". Finally, the short
"The Sun in My Wound" is a tranquil and beautiful song where the
spotlight is all on Dawn's voice, once again showing the enchanting
melodies she can produce on her own. Rain Fell Within have made a
fine debut with several excellent moments, despite having had only
one day to record it, which is remarkable. The future looks very good
indeed for them.
Contact: mailto:rainfellwithin@aol.com
http://www.rainfellwithin.com
Contact: mailto:orders@darksymphonies.com
http://www.darksymphonies.com
Sculptured - _Apollo Ends_ (The End, 1999)
by: Brian Meloon (8 out of 10)
This is Sculptured's second release, following on the heels of their
1998 debut, _The Spear of the Lily is Aureoled_ [CoC #31]. Overall,
I'd describe their sound as similar to Opeth, but Sculptured are more
experimental, lighter, and generally less polished. The one thing
that stands out as really different about this album is the prominent
use of horns. They appear in almost all of the songs, and as a major
instrument, not just as a background gimmick. Unfortunately, I think
that the horns aren't really appropriate in some sections. Though
I'll give the band credit for trying something new, I don't think all
of their experiments are successful. The song structures are very
convoluted, flowing from one section to the next without any obvious
pre-defined pattern. Still, the transitions aren't necessarily
inappropriate, they're just unexpected. In other words, you can't
really predict where the song will go next, but when it ends up
there, you aren't really surprised. The playing is pretty good, but
there's nothing terribly technical here. The vocals are a mix of
clean and grunted/rasped death metal vox. I wouldn't describe the
vocals as good or bad. The vocalist isn't terribly good, but he stays
well within his limits, choosing vocal melodies that still sound
decent. The production is a little weak, but clear and appropriate
for the music. This album took a while to grow on me, but after a few
listens I began to appreciate it. It's not the greatest thing I've
ever heard, but it's not bad. I'd recommend it for those seeking
something a little bit different from the standard fare.
Sentenced - _Crimson_ (Century Media, January 1999)
by: Paul Schwarz (8 out of 10)
Sentenced have been combining catchy, gothic and folk-style
keyboards, acoustics and vocals with an exuberant metal backbone for
nearly four years, and they have now honed this craft to a fine art.
_Crimson_ sticks to the ribs of your brain, remaining to be
remembered and fed off long after you stop listening to it. Once
again Sentenced have made an undeniably enjoyable rock-style album,
but, though I raved (maybe a little over-enthusiastically, looking
back on it) about their last album _Frozen_ [CoC #33], things are now
starting to wear just a tiny little bit thin, and rather soon
Sentenced might be one of those bands who are predictably there with
a release every few years, rather than really making a lasting impact
with each individual album. That said, I still can't deny that
_Crimson_ is a more-than-ordinarily-good album of its kind and that,
for now, Sentenced have the power to draw listeners in and keep them
hooked.
Sirius - _Aeons of Magick_ (Nocturnal Art, February 2000)
by: Pedro Azevedo (8 out of 10)
Having signed to Emperor guitarist Samoth's Nocturnal Art Productions
thanks to their _...The Eclipse_ demo [CoC #37], this Portuguese
symphonic black metal band traveled to Norway to mix their debut
full-length album in the Akkerhaugen Lydstudio (of Emperor fame)
after having recorded it in Portugal. The result is a heavily
keyboard-driven album worthy of being on Nocturnal Art. In fact, with
only a few exceptions, the guitar work (which is sometimes less than
an early Limbonic Art buzz, if you know what I mean) is usually
smothered beneath the keyboards; only occasionally does it have a
noteworthy role or a stronger sound. The drum sound is also quite
withdrawn, but the drumming itself is competent. With some well
performed vocals and very good classically influenced keyboard
symphonies, the whole thing does work very well when put together.
Nevertheless, their sound, which is also much cleaner and less
aggressive than on their demo, could have been more powerful while
still retaining enough keyboard details. With the exception of the
rather forgettable keyboard instrumental track midway through the
album, the music is generally quite inspired, even if it could have
used a darker atmosphere around it, and does have a few excellent
passages as well. Sirius are one of the finest classically influenced
symphonic black metal bands out there already, but there are still
aspects that need to be improved in the future.
Contact: http://www.darkmetal.com/sirius/
Contact: http://www.deemon.com/nap/
Slaughter Lord - _Thrash 'til Death 86-87_
by: Adrian Bromley (6 out of 10) (Hammerheart, February 2000)
Another re-release from Hammerheart finds us visiting the filthy
metallic world of Aussie death/thrash metal heroes Slaughter Lord.
The band, while never having released a full album, were well known
in the metal scene thanks to word of mouth and their legendary _Taste
of Blood_ demo. The results of the remastering of these demos and
rehearsal tapes? Downright dirty metal, to say the least. With enough
anger and aggression spewing from the sinister snarls and shredding
guitar riffs, one can easily see why back in 1985 this band was
turning heads. But how would they fare in 2000? While heavy in sound,
the band's music is severely dated and the production is rather weak.
But I think it is safe to say that this release will no doubt attract
the underground. Choice cuts: "Slaughterlord" and "Die by Power".
Slow Horse - _Slow Horse_ (Free Bird Records, February 2000)
by: Adrian Bromley (7 out of 10)
Ringleader Daniel Bukszpan has a lot of issues to get off his chest
and he does him damnedest with this rather interesting six-song
release to explore those topic areas. Set within a rather bizarre
take on doomy, psychedelic rock, Slow Horse build up a charge for the
most part, though at times (especially at the tail end) their ability
to stay focused meanders away from the meat and potatoes of their
deliverance. The musical patterns flowing here are pretty simple,
doomy sludge, but the unique twist to material when done right
(opener "Lick My Wounds" and "When Are You Coming Home?") really
makes an impact. The best track? A fucked up version of crooner Chris
Isaak's hit "Wicked Game". Too cool and fucking heavy to boot!
Contact: 150 East 7th, #D1 New York, NY 10009, USA
mailto:dbukszpan@mindspring.com
http://come.to/slowhorse
Str@in - _Purge_ (Musica Alternativa, 1999)
by: Pedro Azevedo (4 out of 10)
Portugal's Str@in released this Clawfinger-influenced (except for the
vocals) debut full-length of theirs through Musica Alternativa a few
months ago. I saw them live back then, supporting Genocide, and I
felt they lacked both originality and real talent, which is a
dangerous combination. _Purge_ confirms most of what I expected after
that concert. With music that tends to sound too close to other bands
of the same genre, and combining repetitive, downright basic guitar
riffs with uninspired interludes and mediocre spoken/shouted vocals,
Str@in just can't seem to imbue their songs with any real power. It
all sounds too predictable and generic, especially their attempts at
contrast between the subdued and the more aggressive sections.
Lacking originality is one thing, but Str@in, although not terrible,
aren't even good at what they do.
Contact: mailto:malternativa@ip.pt
Temple - _Shores of Oblivion_ (<Independent>, January 2000)
by: Adrian Bromley (7 out of 10)
There must be something in the water in Austin, Texas, 'cause it is
making Dan Temple into a psycho metal freak. Dan Temple has once
again won me over with his latest concept-themed album _Shores of
Oblivion_, a much heavier and more solid recording than 1998's
doom/metal effort _Bloodletting_. With faster riffs, ultra-cool
samples and deep, deep vocal growls, Temple has managed to string
together an impressive millennium release -- and once again, all by
himself. This sucker has juice, people, rarely loosing stride for
even one second. _SoO_ is a pounding fury of aggression that breaks
away from the normality of death metal growls, adding a real neat
substance of samples and distorted Megadeth riffs pummelling away at
you. Production is pretty top notch and it is only time (Temple and I
are probably both praying at this point) before Temple sees some
label action. Far from classification, but right on the money for
what metal fans are looking for. This gets my seal of approval.
Contact: P.O. Box 201765, Austin, Texas 78720-1765, USA
mailto:temple@blackhat.net
http://www.blackhat.net/~temple/
Thanatos - _Emerging From the Netherworlds_
by: Adrian Bromley (8.5 out of 10) (Hammerheart, February 2000)
I don't know how many of you metal heads out there know of or at
least heard of defunct act Thanatos, but back in the early '90s they
were one of the premier death metal acts from overseas. They ruled
the European death metal scene, easily going up against anything
mighty that the U.S. dished out. Their strength and the flow of their
material rushed into our veins and nudged us into a state of
rampaging fury. The tight musicianship etched into the roarin' flare
of material and enhanced by devilish wails of aggression easily
sparked comparisons to Sepultura and Testament, but Thanatos was more
than a carbon copy. They were in their own realm. With this
re-release by Hammerheart (it was originally released on German label
Shark Records) we not only get a solid remastered album, also eight
previously unheard demo/live recordings thrown in to shake the
foundation. What a bonus! This rules and I suggest any new metalheads
to scope this out. By the way, Hammerheart is also re-releasing a
beefed-up version of their '92 classic _Realm of Ecstacy_. Other good
news: the band has regrouped and there is also talk of a new release
in the Summer, titled _Angelic Encounters_. Let us all welcome back
these metal veterans!
Theory in Practice - _The Armageddon Theories_ (Pulverised, 1999)
by: Brian Meloon (9 out of 10)
Theory in Practice return with the long-awaited follow-up to their
1997 debut, _Third Eye Function_ [CoC #23]. Although this album has a
lot of similarities to their previous effort, it shows them moving
toward a more unique sound, somewhat similar to that of their black
metal side project Mutant [CoC #40], but still distinctly death
metal. The music is very technical, filled with fast and challenging
riffs, quick time changes, and a good dose of melodic guitar leads.
In fact, they use melody very effectively throughout their music,
from the harmonized guitar parts to the subtle keyboard parts, which
add a touch of atmosphere to some carefully selected sections. The
melodic sections also provide a nice counterpoint to the chunky
syncopative ones. The songs are typically complex, featuring a lot of
changes -- some of which are smooth, and some of which aren't --, but
the band handles even the most difficult changes flawlessly. The
vocals are pretty standard shouted/rasped death/black vocals, and
somewhat intelligible. The production is excellent: very clear, and
appropriate for the music. In fact, my only real complaint with the
album is that they didn't really put together one great song. All of
the songs on the album are good, but there are parts of each song
that I don't particularly like. Still, technical death metal fans
should enjoy this immensely. I look forward to their next release,
and hope they continue to improve. This album is apparently going to
be re-released by Listenable in February 2000.
Samples: http://hem.passagen.se/theory/sounds.htm
Therion - _Deggial_ (Nuclear Blast, January 2000)
by: Pedro Azevedo (8 out of 10)
Therion's latest full-length is simultaneously an excellently
performed and a somewhat dull album. Lacking some of the dynamics,
complexity and (strangely) grandeur it needed, _Deggial_ was rather
disappointing, considering their last two excellent albums, _Vovin_
[CoC #31] and _Theli_ [CoC #14]. Christofer Johnsson's chosen
direction for _Deggial_ took Therion nowhere more interesting than
before -- quite the contrary, in fact. The result is an album full of
nice melodies and highly professional arrangements, but which lacks
spirit, emotion and ability to enthral the listener. Personally, I
also tend to miss the lead female vocalists from _Vovin_, while
_Deggial_'s orchestral novelties hardly make a huge difference and
even tend to subtract somewhat from its consistency at times. The
guitar work is generally either rather unremarkable or unattractively
retro-ish (more so than before) and once again not very important in
their music. However, time that makes a difference: _Deggial_ tends
to lack power and does not balance this failing with remarkable
atmosphere or rapturous symphonies most of the time. Things are
almost always quite laid back, with just a few exceptions, and the
music tends to lack an impressive depth despite the multitude of nice
arrangements and passages on each track; it is also somewhat less
memorable and consistent than before, in my opinion. But all this, of
course, only when compared to its superb predecessors, for the
musical quality herein contained must nevertheless be strongly
emphasized. Overall, however, _Deggial_ is just unable to provoke any
real reaction in me other than the recognisement that this is an
extremely well done, but ultimately somewhat unexciting album and
quite a bit of a disappointment.
Thorium - _Ocean of Blasphemy_ (Diehard, February 2000)
by: Paul Schwarz (8 out of 10)
Thorium's musical approach, expressed as a metaphor for a method of
murder, is undoubtedly the executioner's axe. Simple, violent, to the
point and unpretentious: _Ocean of Blasphemy_ is all these things and
little more. It gets the job done, for the most part, with a minimum
of fuss. This Michael H. Anderson (Withering Surface) spearheaded
band (for they do not regard it as a "project") takes a big bite from
Deicide's musical pie while noting and applying the melodically
defined hammer of traditional Swedish death metal. Megatons of double
bass, in-your-face-and-brutal vocals and guitars that thrash and
pound in equal measure lead the assault from your stereo to your ear
drum with devastating precision. Apart from "Dawn of Flames", which
is a bit less one-dimensional, Thorium deliver an atom bomb of death
metal mayhem straight to your face. Recorded, bizarrely enough, at
former black metal stable Grieghallen, and then mixed by the rather
more death metal credible Jacob Hansen (Illdisposed), production,
somewhat surprisingly, provides no respire from _Ocean of
Blasphemy_'s unrelenting impact. With their basic assault on the
senses, it is quite fair to say that Thorium aren't doing anything
for death metal's progression, but they're more than adequately
continuing its legacy of brutality, and with distinctly more style
and worthiness than the procrastinating likes of Mortician.
Thy Primordial - _At the World of Untrodden Wonder_
by: Alvin Wee (9 out of 10) (Pulverised Records, 1999)
Two years after their quietly stunning debut on Singapore's
Pulverised Records, Thy Primordial strike back rather breathtakingly
with the same line-up and label, the only difference being the studio
upgrade (Tomas Skogsberg's Sunlight Studios). While bands like
Satyricon and Emperor are progressing radically, Thy Primordial have
stuck to their guns, churning out another ten tracks of furious,
manic Swedish mayhem. While there isn't much progression between the
two albums, this proverbial rut isn't exactly a bad one to be stuck
in, especially not when the intro riff to "Once on Fortune's Throne"
digs its hooks into you. As tracks like "Amongst the Chosen Lost"
show, these warriors not only kick some serious holocaust metal ass,
they possess an astute ear for melody as well, melding Marduk-style
incisiveness with supreme melodies a la Dawn. Exit Ihsahn-pitch
shrieks and obscure production; enter Isidor's new-found mid-range
and Sunlight Studios' acclaimed crunchiness. Fanatics might mourn the
marginal loss of atmosphere since the debut, but the trade-off isn't
a bad one considering the gut-ripping brutality and aggression on
this album. Racing through the album for the twentieth or so time, it
hits me that greater things are happening on the latter tracks: the
pace slows somewhat, clear singing makes a somewhat coy appearance,
and the riffs actually start sounding technical. By this time, any
black-hearted soul would have been blown away by the deft rhythm
changes and blistering leads on "To Ruin and Decay" and "My Beloved
Darkness". And tell me you wouldn't do a double-take on that quirky
stop-time shift 2:50 into the latter track! By the end of the album,
I'm thoroughly convinced that Thy Primordial are the greatest thing
to happen to melodic, guitar-based black metal since Algaion. Put
simply, _AtWoUW_ is killer, and to die-hards like me, it simply
slaughters!
Contact: Pulverised Records, P.O. Box 109, Yishun Central,
S(917604), Singapore
mailto:ashes@pacific.net.sg
Tourniquet - _Microscopic View of a Telescopic Realm_
by: Adrian Bromley (2 out of 10) (Metal Blade, February 2000)
Some might look at this review and think I gave this Christian band a
low rating just for the hell of it. Am I right? Well, that is not the
case. I could care less what God this band worships or what ideals
they follow. I could give two shits about lyrics telling me why I am
going to Hell, blah, blah, blah! I just think the music sucks, plain
and simple. With a really boring groove permeating throughout,
Tourniquet follow the same blueprint of ideas that so many bands
(better bands at that) have done. There is nothing to it and it just
seems like another reason for some hot-headed asshole to mouth off
about religion. With song titles like "Erratic Palpitations of the
Human Spirit", "Martyr's Pose" and "Immunity Vector", I easily grew
tired of what Tourniquet was pumping into my ears long before the
disc came to a close. Thank God it came to an end.
Trelldom - _Til et Annet_ (Hammerheart Records, 1999)
by: Alvin Wee (8 out of 10)
I really enjoyed Trelldom's obscure debut _Til Evighet_ -- dark,
atmospheric and gut-wrenchingly cold. Which is what I expected of
their second outing, this time on Dutch Hammerheart Records. Opener
"Vender Meg Mot Ett Kommende" certainly didn't disappoint, a blizzard
of furious early-'90s black metal. A fist in the face of today's
flower-sniffing wimps, so to speak. Gaahl's throat once again appears
in fine form, his familiarly guttural rasps sending a chill through
our blackened hearts. Only two minutes through the second track are
any lapses hinted at: the torrid vocals suddenly break into clear,
semi-melodic tones only to soar maliciously back (a la Gorgoroth
days) into harsh screams. Breathtaking, but barely a minute later,
the same is repeated, and (horror of horrors!) the twisted singing is
continued for a whole verse! One can only be thankful that whatever
moved Gaahl to include such ghastly throat molestation on not just
one song, but nearly half the album, has not marred the band
musically. That's not the end of vocal eccentricities; for some
reason or other, the torrid screeches on the first three tracks are
soon abandoned in favour of a distorted, almost inhuman roar. I've
always preferred the passion and hatred of "pure human" screams.
Granted, the coldness is gripping, but the lack of subtlety and range
in the electronics almost ruins the entire presentation. Still, a
firmly-rooted troop like Trelldom don't miss a step in delivering one
of the most traditional albums this year; their cold, ghastly dirges
(with hints of folk in the crushing riffs) are bound to please the
old guard who so eagerly lapped up their debut, and might teach
disco-lovers Dodheimsgard a thing or two about sticking with
tradition.
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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. Email 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 email).
Scoring: ***** -- A flawless demo
**** -- Great piece of work
*** -- Good effort
** -- A major overhaul is in order
* -- A career change is advisable
Dark Orchestra - _Can't Stop Vomiting Demo_ (3-track demo)
by: Adrian Bromley (****-)
Okay, first off: lame name for a demo. But I'm glad I didn't go ahead
and pre-judge this release by its album title. I initially thought
this would be a three-song release from a bunch of drunk fuck-ups who
have nothing better to do than record some bad guitar riffs and beer
belches. Not the case here with the sinister metal assault from Dark
Orchestra, a cross between vintage riff-mongering Slayer and other
'80s speed metal heavyweights. Fuck, throw in some death metal
influence (though growls are non-existent) and a tad bit of melody
and you've got an assorted pot of goodies that somehow mould into
Dark Orchestra. At just 15 minutes, Dark Orchestra break down your
door, fuck you around, drink your beer, smash your turntable and get
out the back door before you even know what hit you. An intriguing
release.
Contact: http://www.darkorchestra.com
Dauntless - _Inhumankind_ (4-track MP3 demo)
by: Paul Schwarz (****-)
Coming raging out of Finland, Dauntless have succeeded where so many
others have failed in their bridging of the gap between the
catchiness of both the baggy-pants metal crowd (Machine Head to Korn,
et al.) and Gothenburg's melody mongers. Hammering through, at almost
grindcore levels of intensity, with a thrashy, central musical theme,
Dauntless nonetheless groove and scale their fretboards with skill
and precision reminding fleetingly of their fellow countrymen
Children of Bodom. For a demo level recording, _Inhumankind_ is both
pleasingly clear when reproducing the various threads of melody and
surprisingly powerful when thrusting big meaty riffs into one's face.
With a few of their proverbial nuts tightened up just that bit more,
Dauntless will be a well-oiled machine ready to do its work alongside
extreme metal's big guns. Very promising.
Contact: Santeri Salmi, Rukoushuoneentie 3, 00730 Helsinki, Finland
mailto:ssalmi@sci.fi
http://dauntless.gameshock.com
Deride - _Demo 99_ (3-track MP3 demo)
by: Pedro Azevedo (***--)
Deride's list of musical influences consists of Pantera, Deftones,
Sepultura, Fear Factory and Faith No More, which should give you a
pretty accurate idea of what these three tracks are about. The
playing is tight, the production is adequate and the vocals are both
varied and competent -- still, some of the harsher vocal styles could
have been better, while the clean vocals are reasonably well
performed. However, some of their influences tend to shine through
too much, which subtracts from both the originality and interest of
the music. If these Norwegians can manage to filter their influences
better in the future and find a more consistent style of their own,
they certainly seem to have enough musicianship to make something
more interesting. As it is, these tracks are still reasonably
enjoyable, besides well played, and could be worth downloading,
especially for fans of the aforementioned bands. In any case, you
won't have to pay anything to download them in MP3 format (44 kHz,
128 kb/s); just follow the link below.
Contact: mailto:deride@c2i.net
http://home.c2i.net/deride/
Forest of Shadows - _Dysfori Feeri_ (2-track MP3 demo)
by: Pedro Azevedo (****-)
Here's something you probably wouldn't expect after I told you Forest
of Shadows are from Gothenburg, Sweden: they play doom/death metal.
The band also uses keyboards, acoustic guitar and a violin in their
music, which, while hardly a novelty, is nevertheless potentially
worthwhile if the band has enough skill. And they do. As a matter of
fact, I think they are a band to watch out for in the doom scene in a
not very distant future, judging by the two songs featured on this
twenty minute long demo CD. The music is usually slow and dirgeful
(but not monotonously so), well performed and decently produced. They
remind me vaguely of the Portuguese Desire [CoC #17, CoC #30], who
also use the contrast between painfully slow sections and somewhat
faster ones. Forest of Shadows aren't quite as slow as Desire,
however, but also aim for a rather majestic sound themselves. The
violin sections expectably bring to mind My Dying Bride; early
Anathema and Katatonia are other influences. Forest of Shadows still
generally avoid sounding a lot like either of the aforementioned
bands, though. While not incredibly complex or goundbreakingly
innovative, this is still well done, quite enjoyable and definitely
very promising. This demo is available for gratuitous download as 44
kHz, 128 kb/s MP3 files.
Contact: mailto:forest_of_shadows@home.se
http://www.darkmetal.com/forestofshadows/
Fragments of Motion - _Fragments of Motion_ (3-track demo)
by: Adrian Bromley (**---)
While looking into this band's available info, the band refers to its
music as "ambient tragic metal". Well, that is a start. With just
three songs to work from, FoM do their damnedest to incorporate as
much evil-sounding keyboards, bombastic drumming and gritty,
black-ish metal growls that they can muster up. A little too much at
times, as the music's violent momentum turns into a loose selection
of ideas that crumble to the floor. Weak build-up to what could have
been quite promising -- and evil sounding.
Contact: 1741 Damascus Rd. Enterprise, Alabama 36330, USA
mailto:Propagnesiaaa@hotmail.com
Impaled - _From Here to Colostomy_ + 1
by: Paul Schwarz (****-) (4-track demo + compilation track)
As they themselves proclaim it, this is "Total Swedish death
metal!!"; unusual for a band plucked from the sun soaked realms of
Oakland, CA. What is more unusual about Impaled is that despite their
proclaimed allegiance to a very narrowly defined genre, they are not
just a poor imitation of its best bands. Admittedly, as the band rip
their way through the likes of "From Here to Colostomy", "Fecal
Rites" or "Immaculate Defecation" (no prizes for guessing this band's
lyrical obsessions), they echo strongly the finest hours of Dismember
or Entombed, but Impaled are actually so damn good at it that they
succeed in delivering a crushing set of Swedish death metal stormers
which are worth their own salt despite their lack of original ideas.
There is way too much Swedish death metal about these days, but for
my ears there is still a lack of great Swedish death metal; Impaled
are helping shift this balance and I am cheering them all the way.
The compilation track here showcases a sharper production than the
demo tracks, and hopefully with the band's second, _The Dead Shall
Dead Remain_, album out soon on Necropolis Records their production
will be even further improved, for this is where the band lose some
of their impact.
Contact: Impaled, P.O. Box 16071, Oakland, CA 94610, USA
mailto:yoursitesucks@impaled.net
http://www.impaled.net
Imperator - _Gods Among Men_ (4-track demo)
by: Pedro Azevedo (**---)
Imperator themselves say that they hope to record a new demo soon
"which will basically be much faster and have much more double bass
drumming". That sounds promising enough, because the main problem
with this half-hour long demo CD of theirs is the rather poor and
powerless drumming. With some strong, fast drumming driving their
thick, heavily distorted guitars, things could certainly become much
more interesting in the future. Their crushing, at times somewhat
Morbid Angel-esque guitar work can also use some improvement and
become tighter, but reasonable songwriting ideas and playing can be
found on this demo already. Imperator tend to write long songs, which
can be a very good characteristic, but the eleven minute long closing
track "Plagued Lands" is rather excessive considering its contents.
Still, with more work and a talented drummer behind them, Imperator's
next demo could be quite interesting.
Contact: Imperator, 96 Murray Road, Rugby, Warwickshire,
England, U.K., CV21 3JR
mailto:imperator@imperator.fsnet.co.uk
http://www.imperator.fsnet.co.uk
Platform Black - _Terra Firma Decay_ (5-track MP3 demo)
by: Pedro Azevedo (****-)
This demo, which is available free of charge for download in 44 kHz,
128 kb/s MP3 format, consists of some powerful, dynamic and catchy
death metal from the USA. The songs are usually quite effective, as
well as very competently performed and produced. "Ascension" and
"Adrenaline Slip" are both among the most enjoyable demo-stage death
metal I've heard in quite a while, although they do lack the dark
atmosphere of bands like Incantation. Platform Black have a different
purpose in mind for their music, and they deliver their mixture of
aggression and catchiness very well. The other three tracks are not
as great as the aforementioned two, but are nevertheless quite good
and entertaining. Just one final remark: the two minute long silence
in the end of "Distance" implies approximately two more megabytes to
download for nothing, which is hardly a great idea.
Contact: mailto:bwc01@comp.uark.edu
http://www.mp3.com/platformblack/
Shellyz Raven - _Desolation_ (9-track MP3 demo)
by: Pedro Azevedo (***--)
Pure gothic music does not attract me, but even though some gothic
influences are clear in Shellyz Raven's music, the band was generally
able to select and use them well enough for me to find _Desolation_
reasonably interesting overall and some parts of it quite enjoyable.
Jenny Hval's vocals certainly help: she occasionally, though not very
often, reminds me of The Gathering's Anneke van Giersbergen, and
although she's not -that- good, her vocals are quite competent. The
use of a drum machine doesn't really help the band, but generally it
doesn't hurt them, either. _Desolation_ has an excessively electronic
overtone for my taste sometimes, but fortunately this doesn't happen
often enough to become a huge problem. The music is generally
melancholic, though some annoying keyboard effects occasionally
subtract from the atmosphere, but Shellyz Raven do achieve some very
good moments during songs like "Heavenly Inferno", "Frost", "Falling"
and "Monochroma". The problem is that usually one minute I may be
enjoying the music, the next minute wondering what happened to the
song. Still, the whole _Desolation_ demo (nine tracks, more than 50
minutes) is available for free download at the band's website in MP3
format -- encoded at a frequency of 44 kHz, as usual, but with a bit
rate of 160 kb/s instead of the usual 128 kb/s, ensuring higher
quality sound. Also available are lyrics and some very nice,
professional-looking high-resolution artwork. Their website also
behaved quite well when I downloaded _Desolation_, guaranteeing a
constantly good transfer rate. This is an excellent example that
should definitely be followed by serious unsigned bands in the future
whenever possible, in my opinion -- 3 out of 5 for the music, but 5
out of 5 for the distribution attitude.
Contact: mailto:mail@shellyzraven.com
http://www.shellyzraven.com
Unevil Hopes - _As the Light Crushed the Darkness_ (8-track demo)
by: Adrian Bromley (*----)
No offence to our Russian metal brotherhood, but if this is the style
of music making headway over there, then you guys really need to go
buy some Dimmu Borgir and Hypocrisy records from the black market.
Deep, deep, deep within a very sedated and supposedly improvisational
piano tirade, Unevil Hopes (a one-man project) slowly walks us
through some of the most boring musical arrangements I have ever
heard. Not only is the atmosphere achingly boring, but the growls are
so B-movie-like that all you can do is laugh. To be honest, I
couldn't wait till this was over. The demo asks to give this three or
four listens before passing judgement on it. Thanks for the
punishment, dude! This stinks. Echh!
Contact: St. Petersberg 1900 Marata st. home n.28 flat n.4, Russia
mailto:unevil@eudoramail.com
http://www.angelfire.com/in2/unevilhopes/index.html
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/\ _`\ /\ \ /\ \__ __
\ \ \/\_\\ \ \___ __ ___\ \ ,_\/\_\ ___
\ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\
\ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/
\ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\
\/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/
____ __
/\ _`\ /\ \__
\ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____
\ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\
\ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\
\ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/
\/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/
F O R M U L A S F A T A L T O G O R G O R O T H
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Morbid Angel, Gorgoroth, God Dethroned,
Amon Amarth, Krisiun and Occult
at the Hafenbahn, Offenbach, Germany
December 12, 1999
by: Matthias Noll
Yet another killer package touring Germany. I'm not quite sure
if it's a sign of the decline of metal over here that only such
monstrous packages are touring. Some time ago such a line-up would
haven been good enough for a handful of festival-style gigs with a
really huge crowd and nowadays they tour in 600 to 800 capacity
venues. Well, I won't complain.
Occult from the Netherlands do have an eye-catching couple of
vocalists. A giant male, responsible for the rasping, and a good
looking female doing the death metal grunts. Unfortunately that was
the only remarkable thing about them. Their boring death/thrash
turned out to be completely obsolete. Krisiun were a lot better but
nowhere close to really being a top notch death metal outfit. Their
set had some convincing moments, but in general most of their songs
seemed too long to hold one's attention from start to finish. Somehow
I do have the feeling that their upcoming album might be killer, but
in Offenbach they were far from delivering apocalyptic revelations.
Amon Amarth's new album, _The Avenger_ [CoC #44], has been
constantly growing on me and their show turned out to be not only
good but excellent. Lead by their titanic singer, the Norsemen
created one of those magic, larger-than-life moments in
time. All
songs sounded way better than on record and unfolded anthemic
qualities that only partially come across when putting on _The
Avenger_ or _Once Sent From the Golden Hall_ [CoC #29]. Sort of a
cross between the teethgrinding power of death metal and the majesty
of immortal metal anthems like Manowar's "Battle Hymn". Throughout
such gems like "Victorious March" and "Bleed for Ancient Gods", I
virtually left the Hafenbahn and found myself on a dragon ship on a
mission of murder and pillaging. The crowd reacted more than
enthusiastically and I have to say that Amon Amarth have been one of
the most impressive bands coming out of Scandinavia I've seen so far.
Excellent!
Dutch death/thrashers God Dethroned definitely had a hard time
playing after Amon Amarth. Even if their playing was excellent, the
sound decent and the setlist featured only the best songs off _Bloody
Blasphemy_ [CoC #41] (they played only one older song), they never
managed to create the spark that sets an audience afire and makes
them move and not just stand there and watch. One would think that
song material like "Boiling Blood" and "Under the Golden Wings of
Death" do guarantee frantic headbanging at least in the front rows,
but live shows have their own rules. Still, I recommend the Dutch
four-piece to everyone who likes his death metal with strong Slayer
influences. I only hope they ditch their Satanic image before it gets
ridiculous. If you describe yourself as the future assassin of the
pope, etc., you should at least look a little bit evil.
Gorgoroth were the ones that were really going to suffer from
the six band line-up. Surprisingly they had the whole stage, the big
drum kit, nearly all the lights and a good sound. Musically I was
even more surprised. The band seems to have taken a new direction:
nearly all songs they played were in the mid-tempo range and never
did I get the feeling of listening to a high speed train passing by,
like in my first CoC submission, which also featured Gorgoroth [CoC
#34]. Nevertheless, I found this to be very enjoyable because the
music still sounded "true" and raw thanks to the hacksaw guitar work
and the blood chilling screeching of their vocalist. Most of the
audience very soon got tired and loudly started to express their
preference for death metal and a severe dislike for corpse-painted
black metallers. It started with someone calling for Morbid Angel and
two songs later several people were yelling "faggots" and
"kindergarten" towards the unholy Norwegians. Satan didn't really
care and without any kind of hellish support the band turned out not
to be professional enough to continue. In the middle of the fifth or
sixth song they stopped and left the stage never to be seen again. I
for one liked their set but I have to agree with the guy standing
next to me: fucking pussies.
Morbid Angel then lived up to most, if not all, expectations.
First of all, drummer Pete Sandoval has to get mentioned. He
delivered another fine example of unbelievable drum work. The guitar
tandem Azagthoth/Rutan ruled (of course), be it rhythm or solo work
in combination with constant headbanging. The only problem I
personally had was with accepting Steve Tucker in his role as Dave
Vincent's replacement. Tucker has the looks, the attitude and the
right skills on his instrument, but his voice is so damn average. I
wouldn't be able to recognize the guy on a tape with ten
run-of-the-mill death metal vocalists performing unknown material.
This somehow spoiled a gig for me which would otherwise have been
perfect. The band executed a setlist with songs like "Chapel of
Ghouls", "Abominations", "Rapture" and "Dominate" to name just a few,
and the audience finally got what everybody was waiting for: a lesson
in supreme technical death metal.
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U N T I E D B R O N Z E C H A I N S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Satyricon, Behemoth and Hecate Enthroned
at the Hafenbahn, Offenbach, Germany
January 7, 2000
by: Matthias Noll
My first show in the new millennium and fortunately a more than
promising start. Due to non-existing promotion, a rather small
audience (about 300 people) had gathered to watch this event. For
Hecate Enthroned this meant that they had to play in front of the 150
who showed up to see all three bands. Frankly, those who came later
did not miss a thing. Personally, I had rather high hopes, because I
had come to a point where I thought a band which receives as much
bashing as Hecate does must at least have some appeal. Unfortunately,
the band was totally lame in every category. Their small amount of
stage acting left the impression that, with the exception of singer
Dean, all bandmembers would have preferred not to move at all or stay
in the backstage area. Now and then the guitarists seemed to remember
that there was an audience watching and started to headbang for a
couple of seconds only to freeze again shortly after. Musically it
wasn't the 100% Cradle of Filth rip-off I had been afraid to
encounter. Still, a fair amount of similarities clearly showed,
especially in their older material. Besides these similarities in
style, the two bands don't have much in common -- I didn't hear one
convincing song, just 30 minutes of death/black metal cliche
material, sewn together like an alpha version of Frankenstein.
Fortunately, Behemoth considerably raised the quality level.
Even if the three-piece wasn't able to reproduce the cold, industrial
feeling and the tightness (especially the guitar work was sloppy) of
their excellent _Satanica_ album [CoC #43], they nevertheless left a
very good impression. "Decade of Oepion", "Lam", "From the Pagan
Wastelands" and my favorite, the closing track "Chant for Exhaton
2000", were all played with the necessary dedication and aggression;
the stage acting was alright and when the fire-spitting Polish
warriors left the stage they had won another victory on their Pagan
crusade.
The guy behind the mixing desk plugged in another thick cable
and somehow I knew that things were starting to get serious now.
Satyricon entered the stage and their line-up consisted of six
musicians. A female keyboardist, two guitarists, Emperor bass player
Tyr and, last but not least, Satyr and Frost. All band members wore
traditional corpse-paint with the exception of Satyr, in his _Rebel
Extravaganza_ [CoC #43] cover look. The opener "Prime Evil
Renaissance" slammed into the crowd like a high-speed racing car and
the whole place was going berserk. Satyricon delivered one of the
best black metal shows I ever was lucky enough to witness.
Musicianship, sound, setlist -- everything close to perfection. On
top of that, Satyr proved to be a charismatic frontman, confident
enough to use his normal voice when talking to the crowd. From my
point of view, the setlist was flawless: "Filthgrinder", "Havoc
Vulture", "The Scorn Torrent", "The Dawn of a New Age", "Kvite Krists
Dod" and a couple of others. The biggest surprise came shortly before
the band left the stage for the first time. Satyr got himself a
guitar and with three axemen the band stunned the place with an
unbelievable version of "Blessed From Below" from the _Intermezzo II_
EP [CoC #42]. Pretty unusual for a black metal show, Satyricon played
for about 90 minutes and came back for a couple of encores. "Tied in
Bronze Chains", a neckbreaking version of "Mother North" and finally
the Slayer cover "Raining Blood" ended the set. It's going to be hard
for most bands to top this experience and I'm happy to say that after
the Marduk disappointment [CoC #45] Satyricon succeeded in restoring
my faith in black metal live performances.
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L O N D O N ' S B R I D G E S A R E B U R N I N G
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Arch Enemy (supporting Cradle of Filth)
at the Astoria, London, England
December 18, 1999
by: Paul Schwarz
One day before the gig, I got the chance to talk to Mike Amott
in person down at Century Media's offices in London. As he is a
former member of Carcass (my personal favourite extreme metal band
ever), and his current band have released one of my favourite albums
of this year [CoC #41], I jumped at the chance to meet the man in
person. Included is a short Q&A which provides some updates on Arch
Enemy [for a more in-depth interview, see CoC #41], and speculation
on how their first ever UK gig would go. A review of the show follows
the interview.
CoC: So this is the first time you've been in London?
Mike Amott: Yeah, with Arch Enemy. Yeah, it is. We were really
excited about it when we found out. We got the offer as
special guest to Cradle of Filth, it's great.
CoC: Were you surprised?
MA: Both yes and no... our drummer Daniel [Erlandson], his brother
[Adrian] is playing for Cradle now, so I guess maybe that has
something to do with it. But it is great, it was a great
opportunity to come to England; not many bands of our style get
to come over here. Not many tours actually make it, they tend to
stay in Europe. So this is like a one-off, and it's cool.
CoC: But you'd like to come back if the response is good and what
have you?
MA: Yeah, it would be great.
CoC: In terms of sort of the fan base, where do you think/feel is
really good for the band? Where do you get the best crowd
responses and all that?
MA: Our biggest market without any shadow of a doubt is Japan. We are
the biggest extreme metal band in Japan.
CoC: That's pretty considerable.
MA: Well, yeah, it's a different situation over there than it is in
the rest of the world. We're kind of more established there, so
that's good. But South America, we did that at the beginning of
the year and that was really good. Good fun. Germany is great.
CoC: And the Dynamo thing went well.
MA: Yeah, that was cool. I mean, it is all kind of spread out, we're
not really popular anywhere, apart from Japan. We sell a few
records here and there, you know, what we're trying to do with
the _Burning Bridges_ album is kind of raise our profile
throughout Europe, because before that we'd only focused on
Japan, really. So, I think we've succeeded to some degree: more
people seem to get into that last album.
CoC: I'd say _Burning Bridges_ was the best thing you've done.
MA: Well, yeah, it was for us as well, and I'm still quite happy with
that album. We've already started writing stuff for the next
album. We recorded a live album in Japan as well. So, we're going
to mix that pretty soon. I don't know if that will come out here,
it's probably not that much in demand. The demand is there,
definitely, but maybe not here, we're not that established,
really, you put a live album out anywhere here and [nothing].
CoC: Yeah, there's always a contingent who listen to them and a
contingent who object. <laughs> I don't know, they're enjoyable,
especially with bands who do early albums (not really your case)
which aren't very well produced: it provides an opportunity to
re-do your own work.
MA: Yeah, that's true. A few extreme metal bands do them. Vader did
one.
CoC: They did a _Live in Japan_ [CoC #36], but it got released
everywhere. But the thing that always happens with Vader is that
you start with _De Profundis_ [CoC #17] being released in Poland
in '95, Europe in '96 and America in '97. Everytime there is
enough demand that eventually they domestically release
everything. I don't know why they didn't just do it originally.
In terms of playing with Cradle of Filth, who are really big, do
you find it surprising that, apart from the connection with the
drummers, while they're a -big- black metal band...
MA: -The- biggest.
CoC: ...you're in the sort of death metal / heavy metal vein. So, do
you think it is going to be kind of difficult to convince the
audience?
MA: Yeah, I think, not saying anything bad about Cradle of Filth, but
from what I understand, a large part of their appeal with their
fans is the image, it is a big part of the whole thing: it is not
just music. We don't really have that, it is just music, really.
CoC: And of course Cradle of Filth are quite trendy at the moment, so
there will probably be a lot of people there who haven't even
been exposed to _Heartwork_-era Carcass [one of Mike's former
bands --Paul].
MA: Yeah, but we're really looking forward to it. We're just going to
have to go out there and be as good as we can be. It's going to
be fun. <laughs> I mean, you know, if fifty people in there
really thought it was a great gig and go out and buy the CD,
that's great. I always take the attitude that if you're not the
biggest band in the world, you at least act like one: we're going
to go out there and kick ass.
CoC: You have a good stage presence, Charlee's always fun to watch.
MA: He's not in the band anymore.
CoC: Oh no. When did he leave?
MA: We kicked him out.
CoC: When did you kick him out?
MA: Two weeks ago, we've got a brand new guy. He's going to do this
show and the American/Canadian thing in January and then we'll
see what happens.
We shall indeed, but for now I can give you the verdict on Arch
Enemy's first UK performance, and it is -certainly- positive. Though
it was somewhat obvious that the band had been given no time for a
sound check and, as expected, the Cradle of Filth-based audience
didn't exactly give Arch Enemy much of a chance, Arch Enemy still
pulled off a great performance. Letting rip with the double kick drum
thud of "The Immortal", the band pounded through a _Burning Bridges_
heavy set consisting of some of that album's best moments ("Dead
Inside", "Angelclaw"), and filled in the gaps with a choice few
_Stigmata_ [CoC #32] cuts. Charlee D'Angelo's replacement played his
part well, while Johan Liiva was a focal point on stage with his hand
extending stage movements and gaping giving the experience character.
The brothers Amott were as metal as you could ever wish for, even
playing the occasional solo or lead leaning on each other in that
oh-so metal fashion. Unfortunately, no songs from the _Black Earth_
debut were brought out to give the crowd a kicking this evening, but
all the same Arch Enemy were a positively vindicating injection of
head-down death metal destruction and heavy metal melodic
manipulation. If they could get a longer set and slightly better deal
with sound check arrangements backstage, I predict that Arch Enemy
would absolutely slay. In any case, if they're coming to a town near
you, do not pass up the chance to see them in their full blazing
glory.
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Here is where things get ugly. Writer's Wrath gives our writers a
chance to voice their own opinions about certain hot topics in the
scene today. Check out this column for the most obscene and
controversial ramblings this side of the National Enquirer.
A S I C K P O R T R A I T O F E X T R E M E M E T A L
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
by: Pedro Azevedo
Thursday, February 3rd of the year 2000. A few minutes past
10pm, Portuguese television station SIC began showing a less than
half hour long program about the "music of the devil", the "extreme
sounds" which arrived to Portugal "nearly ten years ago". For a
number of reasons accumulated throughout SIC's existence during the
nineties, I personally find their journalistic credibility very poor.
The TV equivalent to British tabloids? Maybe. They can certainly
exploit certain subjects in a somewhat similar way too often, and
their program about extreme metal, beneath a thin "investigation
journalism" coating, was just an attempt to exploit the subject in
such a way that the masses would want to watch.
August 1999 saw the vocalist of a Portuguese death metal band
called Agonizing Terror interrupt his vacations with his wife and go
home to stab his parents to death for no apparent reason. This made
several front pages as being a "Satanic ritual" in which other
members of the band had allegedly participated as well, but
unfortunately for the media it seems to have turned out to be none of
that. It was just a crime like countless others every day.
Nevertheless, the band's music and lyrics were brought into the case
and there was plenty of talk in the media for a few days regarding
death and black metal's aggressive nature. There were even a few hazy
references to the Norwegian church burnings that happened a few years
ago.
SIC picked up the case back then. They tried, but failed to get
anything but negative answers to the question "Could their music have
caused this homicide?", which was repeatedly asked to members of
bands, a well-known radio show host and a sociologist, among others.
Now they decided to bring the subject back, for no apparent
reason. This time it was more of a report than an attempt at
inquisition, but still always seeming to intend to expose something
potentially dangerous that had invaded our country and the poor minds
of our unprotected youngsters, who should instead be spending their
time watching SIC's highly interesting and educative programs. Excuse
the sarcasm.
Besides a few short, very low-quality distorted parts of
rehearsals and concerts, a few seconds of the latest Moonspell video
clip and some very distant background sounds, music was never the
subject. The show only dealt with the ideas behind the music. Those
who were interviewed were usually given the "you can explain your
ideas for half an hour if you wish, we'll cut it down to ten second
blocks anyway" treatment. Among these were members (usually
vocalists) of Marduk, Firstborn Evil, Decayed, Grog, Holocausto
Canibal and Genocide.
Marduk seem to have been chosen to replace Cradle of Filth as
the most extreme black metal band known to society thanks to their
recent performance in the Hard Club [CoC #45]. Their live
anti-Christian words and gestures were repeatedly shown, most of
which were examples of several of black metal's worst cliches. The
Decayed vocalist meticulously explained many other extremely basic
and poor black metal cliches, especially with a remarkably bad quote
from their lyrics. But isn't black metal supposed to be about
misanthropy instead of inviting TV cameras over to your bedroom?
The Grog vocalist shared a story he used for his death/grind
lyrics about a guy who engages in necrophilic activities with his
dead and buried mother. This was complemented by Holocausto Canibal
presenting some examples of their early Carcass-like Portuguese song
titles. Again, showing such poor cliches instead of something more
intelligent induces the formation of a distorted, mediocre image of
what extreme metal is about. On the other hand, death/grind act
Genocide [CoC #44] tried to explain that their lyrics are about
criticizing what they think is wrong in society and that their name
refers to the genocides that repeatedly happen in society's history
(and not something that they want to see happening). However, saying
that their lyrics are also concerned with environmental problems is
unlikely to be taken seriously.
Moonspell's Fernando Ribeiro did us all the favour of stating
that anyone without any knowledge of music or talent whatsoever can
form a successful black metal band. He should have saved that comment
for the day when Moonspell's music has some real quality again, since
_Wolfheart_ remains their best effort for reasons the band apparently
fails to grasp. I expected much better comments from Ribeiro. It's
almost funny to see Moonspell still being related to black metal,
though. In the meantime, Anton LaVey and the Norwegian church
burnings are briefly mentioned and the Marduk, Decayed and Moonspell
vocalists talk about Satanism and explain some reasons why they
dislike Christianity.
Firstborn Evil's vocalist was the one responsible for most of
the good quotes -- ironically the same person who back in October had
stated that "the only real difference between death and black metal
is in the lyrics" (even though he fronts a black metal band). First
he talked about his lyrical subjects, which are fortunately above
black metal's lowest cliches. Then he mentioned that he thinks people
who are prone to being influenced can be influenced by countless
things besides music and also talked about prejudice against metal in
general and against those who listen to it.
The author stated that the reason why people listen to extreme
metal is that they "need to show their rebellion, shock the world and
transgress" -- "Let's see if you'll be shocked by the transgressions
you're about to watch" was the host's answer as the show began.
Excellent professional SIC(k) journalism. In their opinion, "Death
and black metal fans all want the same: speed, raspy vocals and the
more aggression the better." But nothing like talented extreme music
(or even music at all), apparently, according to them.
Most of us should be used to all the prejudice against the
"noise" we listen to and the "sick" subjects behind it by now. We
know better than that. However, the fact that they are trying to harm
something they don't understand (and never will with narrow-minded
programs like this one) and trying to "expose" it through
misinformation and unrepresentative examples instead of leaving it
alone is something I find highly infuriating.
Amidst all this, of course not even one decent bit of extreme
metal was clearly heard during those nearly 30 minutes. Some things
will never change.
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W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Best Albums of 1999
Overall CoC Writers' Top 10
~~~~~~~~~~~~~~~~~~~~~~~~~~~
[Based on each of the writers' personal top 10]
1. Summoning - _Stronghold_
2. Hypocrisy - _Hypocrisy_
3. Immortal - _At the Heart of Winter_
4. Nevermore - _Dreaming Neon Black_
5. Morgion - _Solinari_
6. Immolation - _Failures for Gods_
7. Satyricon - _Rebel Extravaganza_
8. Amon Amarth - _The Avenger_
=. In Flames - _Colony_
10. My Dying Bride - _The Light at the End of the World_
Gino's Top 10
1. Morgion - _Solinari_
2. Hypocrisy - _Hypocrisy_
3. Amon Amarth - _The Avenger_
4. Hypocrisy - _Hypocrisy Destroys Wacken_
5. Epoch of Unlight - _What Will Be Has Been_
6. Tchort - _The Heavens Are Showing the Glory of..._
7. Brutal Truth - _Goodbye Cruel World!_
8. Orange Goblin - _Time Travelling Blues_
9. Napalm Death - _Words From the Exit Wound_
10. Dimmu Borgir - _Spiritual Black Dimensions_
Adrian's Top 10
1. Dillinger Escape Plan - _Calculating Infinity_
2. Today Is the Day - _In the Eyes of God_
3. Nevermore - _Dreaming Neon Black_
4. Vision of Disorder - _For the Bleeders_
5. In Flames - _Colony_
6. Six Feet Under - _Maximum Violence_
7. EverEve - _Regret_
8. Turmoil - _The Process of..._
9. Karma to Burn - _Wild, Wonderful, Purgatory_
10. Coalesce - _012: Revolution Is Just Listening_
Brian's Top 10
1. Theory in Practice _The Armageddon Theories_
2. Fiurach _Chaospawner_
3. Acid Death _Pieces of Mankind_
4. Aeternus _Shadows of Old_
5. Madder Mortem _Mercury_
6. Bloodthorn _Onwards Into Battle_
7. Agalloch _Pale Folklore_
8. Sculptured _Apollo Ends_
9. Lorde of All Desires _The Scent of Malevolence_
10. God _Sublime_
Alain's Top 10
1. Dimmu Borgir - _Spiritual Black Dimensions_
2. Zimmer's Hole - _Bound by Fire_ (1998)
3. Monstrosity - _In Dark Purity_
4. Immolation - _Failures for Gods_
5. Dream Theater - _Metropolis pt 2: Scenes From a Memory_
6. Nevermore - _Dreaming Neon Black_
7. Flotsam & Jetsam - _Unnatural Selection_
8. Grip Inc. - _Solidify_
9. Pessimist - _Blood for the Gods_
X. Deeds of Flesh - _Path of the Weakening_
Adam's Top 10
1. Type O Negative - _World Coming Down_
2. Summoning - _Stronghold_
3. Marduk - _Panzer Division Marduk_
4. My Dying Bride - _The Light at the End of the World_
5. Rammstein - _Live Aus Berlin_
6. Satyricon - _Rebel Extravaganza_
7. Darkthrone - _Ravishing Grimness_
8. Sephiroth - _Cathedron_
9. Immortal - _At the Heart of Winter_
10. Setherial - _Hell Eternal_
Pedro's Top 10
1. Summoning - _Stronghold_
2. Sun of the Sleepless - _Poems to the Wretches' Hearts_
3. Dark Tranquillity - _Projector_
4. Unholy - _Gracefallen_
5. My Dying Bride - _The Light at the End of the World_
6. Hypocrisy - _Hypocrisy_
7. Anathema - _Judgement_
8. Satyricon - _Rebel Extravaganza_
9. Behemoth - _Satanica_
10. Emperor - _IX Equilibrium_
Paul's Top 10
1. Immolation - _Failures for Gods_
2. Angel Corpse - _The Inexorable_
3. Gordian Knot - _Gordian Knot_
4. Arch Enemy - _Burning Bridges_
5. Opeth - _Still Life_
6. Satyricon - _Rebel Extravaganza_
7. Today Is the Day - _In the Eyes of God_
8. Solus - _Universal Bloodshed_
9. Immortal - _At the Heart of Winter_
10. Dillinger Escape Plan - _Calculating Infinity_
Aaron's Top 10
1. Vital Remains - Dawn of the Apocalypse_
2. Hypocrisy - _Hypocrisy_
3. In Flames - _Colony_
4. Summoning - _Stronghold_
5. Neurosis - _Times of Grace_
6. Mortiis - _The Stargate_
7. Tulus - _Evil 1999_
8. Necrophagia - _Black Blood Vomitorium_
9. Control Denied - _The Fragile Art of Existence_
10. Fleshgrind - _Destined for Defilement_
David's Top 10
1. Darkane - _Rusted Angel_
2. Morgion - _Solinari_
3. Soilwork - _Chainheart Machine_
4. Immortal - _At the Heart of Winter_
5. Sins of Omission - _The Creation_
6. Iced Earth - _Alive in Athens_
7. Marduk - _Panzer Division Marduk_
8. The Kovenant - _Animatronic_
9. Hypocrisy - _Hypocrisy_
10. Nightwish - _Oceanborn_
Alex's Top 10
1. Zao - _Liberate Te Ex Inferis_
2. Emperor - _IX Equilibrium_
3. P.O.D. - _The Fundamental Elements of Southtown_
4. Amorphis - _Tuonela_
5. Neurosis - _Times of Grace_
6. Immortal - _At the Heart of Winter_
7. Extol - _Mesmerized_
8. Bal-Sagoth - _The Power Cosmic_
9. Overkill - _Necroshine_
10. Feast Eternal - _Prisoner of Flesh_
Matthias' Top 10
1. Gardenian - _Soulburner_
2. Nevermore - _Dreaming Neon Black_
3. Immortal - _At the Heart of Winter_
4. Unida - _Coping With the Urban Coyote_
5. Amon Amarth - _The Avenger_
6. Skinlab - _Disembody: The New Flesh_
7. Opeth - _Still Life_
8. Cradle of Filth - _From the Cradle to Enslave_
9. Satyricon - _Rebel Extravaganza_
10. Cannibal Corpse - _Bloodthirst_
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Fax: (416) 693-5240 Voice: (416) 693-9517
e-mail: gino@ChroniclesOfChaos.com
----
Our European Office can be reached at:
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Urb. Souto n.20
4500-117 Anta, PORTUGAL
e-mail: pedro@ChroniclesOfChaos.com
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DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a FREE monthly magazine electronically
distributed worldwide via the Internet. Seemingly endless interviews,
album reviews and concert reviews encompass the pages of Chronicles
of Chaos. Chronicles of Chaos stringently emphasizes all varieties of
chaotic music ranging from black and death metal to electronic/noise
to dark, doom and ambient forms. Chronicles of Chaos is dedicated
to the underground and as such we feature demo reviews from all indie
bands who send us material, as well as interviews with a select
number of independent acts. Join our mailing list to receive a free
copy of Chronicles of Chaos every month.
HOW TO SUBSCRIBE
~~~~~~~~~~~~~~~~
You may subscribe to Chronicles of Chaos at any time by sending an
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in the subject line of the message.
You may unsubscribe from Chronicles of Chaos at any time by sending a
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AUTOMATIC FILESERVER
~~~~~~~~~~~~~~~~~~~~
All back issues and various other CoC related files are available for
automatic retrieval through our e-mail fileserver. All you have to do
is send a message to <mailto:BackIssues@ChroniclesOfChaos.com>. The
'Subject:' field of your message should contain the issue number that
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End Chronicles of Chaos, Issue #46
All contents copyright 2000 by individual creators of included work.
All opinions expressed herein are those of the individuals expressing
them, and do not necessarily reflect the views of anyone else.
From ginof@shelluser.net Thu Mar 9 11:19:09 2000
Received: from shelluser.net (IDENT:root@shelluser.net [209.47.184.206])
by locust.etext.org (8.9.3/8.9.3) with ESMTP id LAA26403
for <ftp@etext.org>; Thu, 9 Mar 2000 11:19:04 -0500 (EST)
Received: from shelluser.net (IDENT:ginof@shelluser.net [209.47.184.206])
by shelluser.net (8.9.3/8.8.7) with ESMTP id LAA13728
for <ftp@etext.org>; Thu, 9 Mar 2000 11:20:08 -0500
Date: Thu, 9 Mar 2000 11:20:08 -0500 (EST)
From: Gino Filicetti <ginof@shelluser.net>
To: ftp@etext.org
Subject: please replace
Message-ID: <Pine.LNX.4.21.0003091119220.13712-200000@shelluser.net>
MIME-Version: 1.0
Content-Type: MULTIPART/MIXED; BOUNDARY="802279096-503832497-952618808=:13712"
Status: RO
This message is in MIME format. The first part should be readable text,
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Send mail to mime@docserver.cac.washington.edu for more info.
--802279096-503832497-952618808=:13712
Content-Type: TEXT/PLAIN; charset=US-ASCII
Hey guys,
could you please replace /pub/Zines/ChroniclesOfChaos/coc046.txt with
the attached file?
thanks, lemme know when its done.
-> Gino Filicetti -- gino@filicetti.net
"...everything was alright. He had won the victory
over himself. He loved Big Brother." -- George Orwell
--802279096-503832497-952618808=:13712
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Content-Transfer-Encoding: BASE64
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