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Chronicles of Chaos Issue 075
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CHRONICLES OF CHAOS e-Zine, July 5, 2004, Issue #75
http://www.ChroniclesOfChaos.com
Co-Editor / Founder: Gino Filicetti
Co-Editor / Contributor: Pedro Azevedo
Contributor: Adrian Bromley
Contributor: Brian Meloon
Contributor: Paul Schwarz
Contributor: Aaron McKay
Contributor: David Rocher
Contributor: Matthias Noll
Contributor: Alvin Wee
Contributor: Chris Flaaten
Contributor: Quentin Kalis
Contributor: Xander Hoose
Contributor: Adam Lineker
Contributor: Adrian Magers
Contributor: James Montague
Contributor: Jackie Smit
Spiritual Guidance: Alain M. Gaudrault
The individual writers can be reached by e-mail at
firstname.lastname@ChroniclesOfChaos.com.
(e.g. Gino.Filicetti@ChroniclesOfChaos.com).
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #75 Contents, 7/5/2004
----------------------------
* Albums
-- Atrophia Red Sun - _Twisted Logic_
-- Atrox - _Orgasm_
-- Borknagar - _Epic_
-- Cadaver - _Necrosis_
-- Daemonlord - _Of War & Hate_
-- Demonoid - _Riders of the Apocalypse_
-- Divinity Destroyed - _Eden in Ashes_
-- Drudkh - _Autumn Aurora_
-- Elenium - _For Giving - For Getting_
-- Gholgoth - _Somnus Mortis Imago_
-- Hate Forest - _Battlefields_
-- Inhumate - _Life_
-- Inner Shrine - _Samaya_
-- Jungle Rot - _Fueled by Hate_
-- Ministry - _Houses of the Mole_
-- Monstrosity - _Rise to Power_
-- Perditor - _In Signo Suo_
-- Sadistik Exekution - _FUKK II_
-- Scent of Flesh - _Valor of Hatred_
-- Secrets of the Moon - _Carved in Stigmata Wounds_
-- Slipknot - _Vol. 3: The Subliminal Verses_
-- St Madness - _We Make Evil Fun_
-- Sun of the Sleepless / Nachtmahr - _Split_
-- Sunn O))) - _The Libations of Samhain_
-- The Fallout Project - _Architecture Breeds Rust_
-- The Vision Bleak - _The Deathship Has a New Captain_
-- Twelve Tribes - _The Rebirth of Tragedy_
* Demos
-- Atrophy - _Dédales_
-- Civil Unrest - _Civil Unrest_
-- Corrupted Mutation - _The Exordium_
-- Necrocannibal - _Splatter Gore_
-- Vorago - _Lobos de Guerra_
-- World of Shit - _World of Shit_
* Gigs
-- Four Times Still Not Enough
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_, _, __, _,_ _, _ _,
/ \ | |_) | | |\/| (_
|~| | , |_) | | | | , )
~ ~ ~~~ ~ `~' ~ ~ ~
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!
Atrophia Red Sun - _Twisted Logic_ (Empire, 2003)
by: Brian Meloon (7 out of 10)
This is the second full-length release from Poland's Atrophia Red
Sun. I'm not familiar with their previous offering, but this album
features a novel brand of thrash augmented by spacy keyboards. Their
music has a frantic or anxious vibe, as it's tight and punchy but not
really very aggressive. They have a vaguely computerized sound, but
this comes mostly from the keys; unlike other "cyber" bands such as
Obliveon, the guitars and drums don't have a processed feel. The
songs flow pretty well, with the band eschewing standard verse-chorus
structures in favor of a more flexible approach. The playing is
competent, though not particularly challenging, and the production is
quite good. Vocals are usually a raspy shout, with some other styles
as well, such as a lower, almost-spoken growl, some processed vox,
and some clean vocals (which need some work). The keyboards are a
dominant part of their sound. At times they have a new-agey feel,
which provides an interesting contrast with the thrash underneath,
and produces some of the disc's best moments. At other times the keys
sound cheesy and cheapen the atmosphere, such as when they steal the
"X-Files" theme (in the title track). Despite this they do offer an
innovative sound, and those looking for something original to satisfy
their cybermetal needs should track this down.
Contact: http://ars.rockmetal.art.pl
Atrox - _Orgasm_ (Code666, 2003)
by: Brian Meloon (6 out of 10)
Norway's "schizometallers" Atrox have returned with their fourth
album. This time around they've taken their brand of jazzy,
progressive, avantgarde metal in a heavier direction: picture Dream
Theater playing Meshuggah and you have a general idea of what they
sound like. There are still some elements of their older style
present, but in general the album is more straightforward and less
experimental. This applies not only to the music but also to Atrox's
most unique feature: Monika's vocals. Of course, there are still a
few moments where she shrieks, squeals, or whines like a little girl,
but she sings like a normal person for most of the album. This is an
improvement in my eyes, as her singing really ruined some otherwise
good parts of their previous discs for me. But fear not, for this
duty is now aptly performed by the male backup vocalist, whose
off-key caterwauling ruins the (luckily) few parts where he sings.
Other than these moments though, nothing on this album really stands
out to me as very good or very bad. Production and playing are
competent but not exceptional, and most of the songs just have an
uninspired feeling to them. Ultimately, their move to a more
straightforward style is unfortunate, since it makes the band much
less original.
Contact: http://www.atrox-web.com
Borknagar - _Epic_ (Century Media, 2004)
by: Jackie Smit (7 out of 10)
It would come as no surprise to me if Oystein G. Brun wasn't at least
slightly miffed at the dismissive reception afforded his band
following the departure of Simen Hestnaes in 2000. For however
talented a frontman Hestnaes was, one could hardly argue that his
successor, Vintersorg, did any less an impressive job on 2001's
_Empiricism_, an album which on all counts served up some of the
most challenging and atmospheric work in Borknagar's impressive
discography -- yet not all that many people seemed to care.
Strangely, given the band's penchant for experimentation, _Epic_
picks up exactly where its predecessor left off, despite the
impression given off by the cleverly veiled reference to Emperor on
album opener "Future Reminiscence". Initially the choice to play it
safe does work well, and scattered across the early stages of the
record are some truly memorable moments that are easily as strong as
anything Borknagar have ever recorded. As the album progresses
however, more an d more filler starts to creep into songs and
gradually proceedings begin advancing headlong into mediocrity. At
the heart of this is a problem that is almost emphatic to Borknagar's
signature style: much like they did on 1998's _The Archaic Course_,
the band, in an attempt to come up with songs that are distinct and
original, end up being almost too clever for their own good and as a
result the material becomes soulless and dull. But, as we saw with
the follow-up to said album, one can never count Borknagar down, and
hopefully next time round we'll see a similar return to form.
Contact: http://www.borknagar.com
Cadaver - _Necrosis_ (Candlelight Records, 2004)
by: Jackie Smit (6 out of 10)
That Cadaver appear to have jettisoned the majority of their talent
along with their briefly used three letter acronym (the band released
their previous record under the moniker of Cadaver Inc, for those
that don't know) is all but set in stone from the moment that the
ironically titled "Necro as Fuck" gets proceedings off to an
underwhelming start. Gone is the cold, industrial production that
lent 2001's _Discipline_ its misanthropic zest. Distinctly toned down
is the manic blacker-than-black riffage of the album's predecessors.
Hell, even Apollyon's demonic shriek seems to have lost a fair amount
of its hellish impact. Rather than focusing on what the band are able
to do extremely well, _Necrosis_ is a laboured attempt at capturing a
vintage sound that at this point in time does not come naturally to
the band. The album isn't without its merits, though: tucked away in
the latter half of its duration are a select few hidden gems, most
notably the Gorgoroth-esque "Awakening", but even these pale in
comparison to anything that the band served up previously. Given
the regression in quality and songwriting that's displayed here,
_Necrosis_ comes across more as a collection of early demos than a
band's fourth full-length effort. Necro as fuck? Hardly.
Contact: http://www.cadaverinc.com
Daemonlord - _Of War & Hate_ (Independent, 2004)
by: Jackie Smit (8 out of 10)
Whoever said that good old-fashioned black metal is turning into a
lost art? Perpetually mainstream-baiting hogwash like Cradle of Filth
may have "transcended" (in their own words) the genre, but with bands
like Graveland and Hate Forest consistently releasing quality slabs
of musical misanthropia, black metal looks set to burn its torch for
a long time to come. Perhaps even more promising is the sizeable
number of quality unsigned acts currently doing the rounds in the
underground, and aside from perhaps Sweden's Benighted, Daemonlord
are one of the finest such examples I have come across thus far. An
impressive union of the kind of cold, mechanical riffing that has
made Anaal Nathrakh one of extreme metal's best kept secrets and the
melodic but aggressive tonalities of Dissection, _Of War & Hate_ is
a collection that succeeds more often than it flounders. More
puritanical listeners may be tempted to sneer at the use of samples
from mainstream movies like "Robocop", but trac ks like "Pure Sorrow
& Hate" and "In the Middle of Infinity" are gems cast out of pure,
glorious darkness.
Contact: http://www.daemonlord.com
Demonoid - _Riders of the Apocalypse_ (Nuclear Blast, 2004)
by: Jackie Smit (9 out of 10)
It is astonishing on a number of levels that the core membership of
Therion were able to record an album of such blistering impact so
soon after releasing what easily ranks as one of the defining moments
of their career. On the surface, Demonoid might seem like just
another pet-project in the vein of Bloodbath and Chaosbreed -- paying
tribute to early masters of extremity in a nostalgic, rather than
innovative manner. But, while Demonoid certainly do have a lot in
common with those bands, their sound owes as much to Morbid Angel as
it does to the earliest Therion albums. Make no mistake: symphonic
metal it most definitely is not. Former Soilwork / current Chimaira
drummer, Rickard Evensand, hammers out an impressively technical and
speedy collection of beats to underpin the hellish extremity served
up by his bandmates, while it is an absolute pleasure to once again
hear Christofer Johnsson employ his rarely used skill as a bona fide
death growler. But even with death metal ve ry much being the order
of the day, it is the strand of experimentation that lends this album
its overwhelmingly dark atmosphere and distinctive charm. Again, this
is a long way away from the grandiose orchestras and choirs of
Therion, and instead rears its head in the occasional and subtle use
of synths. Elsewhere, the clean intro on "14th Century Plague" and
the baritone chorus on "The Evocation" further the album's sinister
ambience to jaw-dropping levels. Indeed, with all the attention
currently headed in Therion's immediate direction, one can only hope,
based on the masterful songwriting displayed here, that Demonoid will
not be relegated to a mere one-off exercise.
Contact: http://www.nuclearblast.de
Divinity Destroyed - _Eden in Ashes_ (Independent, 2003)
by: Brian Meloon (7 out of 10)
Divinity Destroyed hail from Tom's River, NJ, and play a pretty
standard style of progressive metal, though they do add some death
metal vocals, which gives them a somewhat original sound. They remind
me a little bit of Twilight Kingdom -- mostly because of the clean
vocals -- and of course, Dream Theater, but I don't often get the
feeling that I've heard their music before. Their riffs aren't very
technical, but they do a pretty good job of dressing them up to keep
things interesting. For example, the way the drums in "Threnody" get
progressively more complex is a nice subtle touch. They also go for a
more complex sound at times, such as the intricate layered section in
"Sweet Heresy". I'm not so fond of the few happy-sounding melodies
that they used, but then again I never like happy music, so that
might just be me. The playing is a little rough around the edges, but
is generally competent. There are a few places where they're not as
tight as they could be, but these are mostly minor issues. The vocals
are split roughly evenly between death metal growls and clean
singing. Generally, the vocals are well done, but some of the backing
vocals are off key. The production is decent, though not of the
highest quality: although all of the instruments are clearly audible,
it has a rough quality that makes it sound unprofessional. In
general, this is a promising offering, though they certainly have
plenty of room for improvement. I'd like to see them polish
their sound and work on more elaborate compositions. With these
improvements, they could be a force to reckon with in the progressive
metal scene.
Contact: http://www.divinitydestroyed.com
Drudkh - _Autumn Aurora_ (Supernal Music, 2004)
by: Pedro Azevedo (9 out of 10)
Last year's _Forgotten Legends_ was a major hit with a significant
part of the CoC staff (myself included), so it was with considerable
eagerness that I first listened to _Autumn Aurora_. That was the
wrong state of mind to enjoy Drudkh, however -- you really need to
sit back, dim the lights, relax and just let the music sink in. It is
only when one finds the time to do so and step away from daily life
for a while that _Autumn Aurora_ (much like its predecessor) unveils
its full potential, as the music has a natural feel to it; it doesn't
seem rushed, instead flowing as if it followed the moon like an aural
tide. This is music that can take your mind to some vast ancient
forest or an imposing cliff beside a turbulent ocean. On occasion,
slight similarities to the guitar style of another extraordinary band
(although from a very different geographic origin) can be heard, as
some of "Sunwheel" brings to my mind memories of Primordial. And
while this time around Drudkh ventured into previously uncharted
territory by adding a guitar solo to "Wind of the Night Forests" and
some keyboard work to their very own kind of pensive black metal, the
atmosphere remains intact and the style virtually the same. _Autumn
Aurora_ is an album that demands to be experienced; there is a great
deal of hidden beauty and tranquillity to be found in its music if
one knows how to look.
Contact: http://www.supernalmusic.com
Elenium - _For Giving - For Getting_ (Rage of Achilles, 2003)
by: Brian Meloon (7 out of 10)
This is the debut full-length album from Finland's Elenium. Their
style is best described as melodic death metal with progressive
touches. Their death metal side is based on mid-paced riffs that are
heavy but straightforward and not terribly original. The keyboards
are relied upon to provide the progressive elements, though some
progressive touches do work their way into the guitars as well. They
also do quite a bit of keyboard-doubling of guitar lines and include
numerous keyboard and guitar solos, most of which are quite flashy
(think '80s guitar spankoff). They also branch out at times, such as
the Havayothesque "Impostor". The main vocals are growled, though
there is a heavy use of clean vocals. The growled vocals are pretty
decent, but the clean vocals could use some work. His voice isn't as
strong as it should be and he's out of tune at some points. There is
some real potential here, as when the progressive and death metal
elements blend together well, they provide some excellent moments.
Unfortunately, these are mostly just moments, and none of the tracks
stand out to me as excellent. Fans of melodic deathprog should enjoy
it, even though it is a rather hit-or-miss affair.
Contact: http://www.eleniumband.com
Gholgoth - _Somnus Mortis Imago_ (Ordealis Records, 2003)
by: Quentin Kalis (6 out of 10)
Yet another band performing a hybrid of black and death metal!
Gholgoth successfully incorporate the technicality of death metal and
the speed and atmosphere of black metal with considerable ease.
However, although the melding of styles is impeccably done, Gholgoth
are seeking to occupy increasingly contended ground, and offer
insufficient new ideas to fend off the competition. This album is
largely saved from insipid mediocrity by the use of varied vocals --
ranging from a dissonant black metal shriek to a death metal growl --
and some fairly technical and notable guitar work. This is not a
terrible album per se; it is simply the kind of album that will be
enjoyed and listened to upon purchase, but will be all but forgotten
several months later.
Hate Forest - _Battlefields_ (Supernal Music, 2004)
by: Pedro Azevedo (8 out of 10)
Following up last year's impressive _Purity_ with _Battlefields_,
Ukrainians Hate Forest have tweaked their approach somewhat: the
sound is less trebly, the fast sections are less frequent, and
the droning feel of its predecessor has become more prevalent.
Furthermore, an increase in militaristic and ethnic elements has also
occurred. The latter is caused mostly by the Ukrainian folk singing
between tracks -- which I began to skip right after the first listen.
As a result of the above, _Battlefields_ is considerably less intense
than _Purity_, opting instead for a more ponderous approach. The
black metal guitar sound is still complemented mostly by death
vocals; however, the main reason why it is hard to classify
_Battlefields_ as black metal is that the compositions tend to stay
away of what one might expect from said genre. There is a lot of
quietly memorable material imbued in _Battlefields_, and its doomy,
sombre nature works in its favour -- much like it did for _Purity_ in
spite of the different approach. The militaristic cadence of some of
the percussion and riffing becomes somewhat excessive at times,
however, and overall I tend to find _Purity_ a slightly better
proposition. Also, if you take away the folk chanting, all you have
left is three ten minute tracks, which may be a deterrent to some.
There is still plenty of merit in _Battlefields_ though, and its
unrelentingly dark soundscapes are greatly helped by some excellent
riffs, their bleakness complemented by the death vocals (which is
especially true of the superb final track). In fact, overall
_Battlefields_ proves to be a worthy follow- up to _Purity_ for the
most part; shame about the excessive militaristic leanings.
Contact: http://www.supernalmusic.com
Inhumate - _Life_ (Independent, 2004)
by: Jackie Smit (8.5 out of 10)
My flatmate's quip that Inhumate play "gay-pride grind" ("In you,
mate") is about as ridiculous as the fact that this French outfit
have already produced their fourth full-length effort and are yet to
sign along the dotted line at the foot-end of a record contract.
Considering that we're talking about a genre where just about
everyone with a penchant for kicking up a racket at ludicrous speeds
seems to get picked up by a label, it is indeed curious that anyone
would overlook a band who could come up with the likes of "Destiny?",
"No Answer" and "Rage". Eschewing the psychedelic voyeurism of
Cephalic Carnage and the disjointed cacophony of Brutal Truth,
Inhumate play _Scum_-style grind like their lives depended on it. And
perhaps almost as impressive as their technical prowess is Didier
Houbre's recording, which easily outdoes anything I have heard in the
genre since _Need to Control_. Of course, seeing as how this is
grindcore, you'd be foolish to be expecting too much in the way of
surprises, but if sixteen tracks of straightforward chaos and
insanity is what you're after, then _Life_ is an album you do not
want to be without.
Contact: http://www.inhumate.maxximum.org
Inner Shrine - _Samaya_ (Dragonheart, 2004)
by: Pedro Azevedo (4 out of 10)
Generic intro aside, one is likely to find Inner Shrine's sound
somewhat unusual. The music is composed of mostly rhythmic guitar
work (actual leads only appear sporadically), relatively upfront
bass, varied keyboards, a drum machine, and operatic female vocals a
la Therion that conduct the melody most of the time (except for a
male- sung track towards the end). The artificial drumming provides
an early setback for getting into _Samaya_, as it is very easily
noticeable and rather monotonous. Still, proceeding with the album,
the band's intention of imbuing _Samaya_ with a medieval atmosphere
soon becomes clear in-between the female-led power metal tunes. The
simplistic nature of the vast majority of the guitar work on the
album, the relatively generic keyboard work and the bland production
mean there isn't much to grip the listener's attention unless the
lead vocals and the atmospheric breaks can save the day. Ultimately,
that will depend heavily on the listener's taste: the vocals are
quite good, though not truly outstanding if compared to some other
artists, while the medieval atmospherics will likely prove to be a
source of interest for some and a reason to fast-forward for others.
_Samaya_ does have some points of interest, and it's not terrible as
far as power metal goes, but it is still far from soaring and
captivating enough as a whole. Inner Shrine have a reasonable base to
build from, but a lot of work is still required to come up with a
release that will stand out in today's metal market.
Contact: dragonheart@audioglobe.it
Jungle Rot - _Fueled by Hate_ (Olympic / Century Media, 2004)
by: Aaron McKay (8 out of 10)
It is never a bad day when a new Jungle Rot effort finds its way to
my mailbox. Twelve more cuts of unregulated aggression in a purely
candid style. As if set to an egg-timer, it never takes more than a
heartbeat for this four-piece from Chicago to go straight to the
fuckin' point. Where most of the tracks hover between the two to
three minute range, _Fueled by Hate_ ratchets-up the hostility, not
to mention the tightly infectious riffs. Not a band known for
straying far from the known quantity of their style, even on this
effort, these guys have an impressive ability to deny sounding
"reused" or "recycled". Throaty, but understandable vocals have long
been a trademark Dave Matrise all throughout the nine years JR
has been shoveling forth their particular brand of underground
demolition. As if this outfit was pushing the limits, _Fueled by
Hate_ develops the essence of what makes a track memorable with most,
if not all, the cuts found on this release. Not yet having gathered
enough momentum to overthrow 2001's _Dead and Buried_ as my "most
spun" JR album, _FbH_ holds promise. About the best thing going for
Jungle Rot is their versatility. Referring mostly to musical style,
their capacity to be a welcome addition to any bill is almost without
question. Be it Sodom, In Flames, or the Beastie Boys, Jungle Rot
is destination unto themselves. _FbH_ is indeed most certainly
a stereotypical Jungle Rot offering, but at the same time a
quintessential piece of gripping attitude and extreme tightness. Due
to hit the streets June 29, 2004 -- let the riffs roll!
Contact: http://www.junglerot.net
Ministry - _Houses of the Mole_ (Sanctuary, 2004)
by: Xander Hoose (8.5 out of 10)
Barely a year after the somewhat disappointing _Animositisomina_, Al
Jourgensen again tries to regain the glory and fame of what was once
the powerful Ministry. Having lost his friend and drummer Paul
Barker, _Animositisomina_ was a farewell to the experimental and
laid-back sounds that Ministry had been pursuing on _Filth Pig_
and _Dark Side of the Spoon_, and a much-awaited return to the
straightforward aggression of the early days. Unfortunately, the
album didn't deliver what it was supposed to, because the tension was
lacking. The songs were aggressive, but sounded too outdated.
For _Houses of the Mole_, Alan seems to have actually listened to
what his fans wanted. From the majestic opening sound of "No 'W'" to
the last hidden track of the album, we find Ministry in excellent
form. The sound is once again completely guitar-based, up-tempo and
laden with hyperfast tense drum patterns. Another element that has
found its return to the album is the use of samples: mostly excerpts
from television shows or George W Bush speeches, it is obvious that
Alan is trying to point out the rights and wrongs of society for us.
Intriguing is that almost every song on the album starts with a W,
except opener "No 'W'" -- which is a clear reference to Al's aversion
against Bush. "Warp City" and "WTV" are definitely the fastest songs
Ministry has done in over twelve years, the latter referring to
"TV#2" of _Psalm 69_. The only downtempo song on the album is the
closer "Worm", again another Ministry tradition. And as if that
wasn't enough, we are treated to two bonus track s. #23 (Psalm 23) is
an alternate outtake, and #69 (another tradition) named "Walrus" is a
weird distorted sample.
_Houses of the Mole_ sees the much anticipated return of Ministry to
a scene from which it had long been driven away by newer bands; I can
gladly say that Ministry is once again fighting for its crown
position as one of the most extreme industrial bands, and I can only
hope Alan will stay on the right path this time around.
Monstrosity - _Rise to Power_ (Conquest Music, 2003)
by: Brian Meloon (6 out of 10)
Monstrosity's latest studio offering is on the surface similar to
their previous death metal opus _In Dark Purity_, but I found it
rather uninspired. Their style remains largely unchanged: it's still
a riff-heavy brand of death metal featuring both power chord-based
riffs and individual note lines, harmonized guitar parts, growled
vocals, fast double bass drumming and blast beats. However, in
comparison to _In Dark Purity_, this album has a more brutal
production, with the guitars losing their sharp edge and taking a
more blunt tone. They occasionally step outside this style, such
as the Death-ish instrumental "The Fall of Eden" and the Marty
Friedman-inspired guitar solos, but for the most part the album is
consistent in style.
The playing is tight, competent and occasionally pretty technical,
while the guitar solos are just average. The vocals are neither
particularly interesting nor original, but they don't really detract
from the music. Unfortunately, the songs are just average. The riffs
are pretty predictable and the song structures don't do anything to
help make them interesting. None of the songs are very memorable and
in the end, they offer nothing new to the genre. One final
disappointment is the album's closer, "Shadow of Obliteration", which
ends with over six minutes of guitar screams and bombs -- similar to
those at the end of Cacophony's "Speed Metal Symphony" -- followed by
over two minutes of a repeated sample that sounds something like a
car alarm. It's a pointless display of wankery that epitomizes the
album's lack of vision.
Ultimately, this is a competent release but nothing special. I really
can't think of any reason that a death metal fan would hate it, but
on the other hand I can't think of any reason why said fan wouldn't
already have ten albums just like it.
Contact: Monstrosity P.O. Box 1343 Englewood, Florida 34295-1343
Perditor - _In Signo Suo_ (Ordealis Records, 2003)
by: Quentin Kalis (7.5 out of 10)
Perditor are a Dutch band performing straightforward and
uncompromising black/war metal. It must be said that the production
is a tad too crisp and the guitar sound a little bit too clean for
what they are presumably attempting to achieve, but this a minor
quibble. No-nonsense aggression is the sole raison d'être of this
band; but fortunately they recognise the need to punctuate the
charging belligerence with an occasional change of pace, or relieve
the accumulated tension by means of a well placed solo. Although this
EP is unlikely to become a classic or a cult release, it is a solid
release that has entrenched Perditor firmly in the extreme metal
world.
Sadistik Exekution - _FUKK II_ (Osmose Productions, 2004)
by: James Montague (5 out of 10)
In 1994, Darkthrone described themselves as "the most hated band in
the world". They had no business making such a claim, given that
Sadistik Exekution had already been around for eight years. Search
for reviews on the Internet and you will find no shortage of people
slating them off as the worst load of shit ever to emanate from a
stereo system. I, too, have gone on the record comparing _K.A.O.S._
(1997) to "a bollocks stew" (hmm, interesting -- must've been short
on vocabulary that day). In time I grew to appreciate that album for
the mental maelstrom that it is, though it's hard to say whether I
actually liked it. In fact, I'm not sure if I've ever enjoyed a
Sadistik Exekution album; but I find it impossible to tear myself
away from them.
For those who don't know these Aussie sickos, they proclaim to be the
most extreme death metal band in the world. And they are -- no
contest. When they step on the accelerator, they produce blast beats
and razor-sharp speed riffs that few would even try to emulate. The
lead guitar work of Rev. Kriss Hades is phenomenal, his solos
piercing the heavens with their imperial majesty and opening the door
for his fellow demon Rok, the spastic vocalist who froths at the
mouth in rabid fervour. Rok pretty much sums up what this band is all
about: he sounds like a wild dog who has been chained to the studio
floor and yet throws himself at the producers, each attack more
frenzied than the last. The lyrics match the mood of the music
perfectly: he hates other bands ("We are the most fukked up metal
band in the world -- you are all... fukking... SHIT") and his
listeners ("I bet you all worship the devil, don't ya, ya fukking
kunts! Ya dirty fukking kunts!") as much as he hates his own ban d
(at the end of the song "Shit", he yells, "that was FUKKING SHIT!" --
obscenities are a dime a dozen on this baby).
For those who -do- know these Aussie sickos -- well, you've probably
figured it out by now. _FUKK II_ is even more violent and deranged
than _FUKK_, and if you liked/hated them then, you'll love/despise
them now. Sure, they do try a more controlled, mid-tempo approach to
songwriting on "Arkhon the Graverobber", the album's standout track,
and they do break things up with a disturbing seven-minute collage of
guitar noise and vocal desperation entitled "The Electric Chair". But
for the most part, the berzerker approach prevails.
Ultimately, I don't particularly enjoy _FUKK II_, because memorable
songwriting is compromised in favour of absolute mind-warping
extremity. But hell, it's hard not to appreciate the genuinely
stunning musicianship and no-holds-barred approach to audio
destruction. For the masochistic listener, there is nothing like the
battery that Sadistik Exekution yearns to inflict upon your wretched
fukking life.
Contact: http://fade.to/sadx/
Scent of Flesh - _Valor of Hatred_ (Firebox, 2004)
by: Pedro Azevedo (6 out of 10)
_Valor of Hatred_ is a rather unusual release in the relatively short
history of Firebox Records: this is straightforward brutal death
metal, whereas the vast majority of their releases so far had at
least a considerable doom metal component. It is a competent album as
far as its genre is concerned, with plenty of steady, hard-hitting
blast beats and breaks, busy riffing and standard death grunts. Scent
of Flesh are a very competent act, but when you're playing such a
tired genre you really need to be something special, which at the
moment they're not. This is an album you can play, enjoy for its
metallic energy, but end up remembering nary a riff: it's fun, but
generic and forgettable. The album simply lacks strong stand-out
tracks, with "Descent to Dark Clarity" virtually the only real
candidate. Ultimately _Valor of Hatred_ is pretty much doomed to
obscurity, in spite of being a fun album to play a couple of times,
having some eye-catching cover art and boasting a song called
"Suicidal Cannibalism".
Contact: http://www.firebox.fi
Secrets of the Moon - _Carved in Stigmata Wounds_
by: Pedro Azevedo (8 out of 10) (Lupus Lounge, 2004)
Secrets of the Moon come across as polished and occasionally weird
while keeping some metallic venom -- something plenty of people seem
interested in achieving these days. They also incorporate some
slightly old-school thrashy elements and an audible bass sound,
departing from a black metal base with little care for genre
integrity. They display accomplished musicianship and string together
some damn good flowing guitar leads, though they also fall prey to
some less interesting passages interspersed with the others. _Carved
in Stigmata Wounds_ is neither revolutionary nor amazing, but it
doesn't sound derivative, and it is definitely very competent and
energetic. The band also know how to work some variation into their
sound, which certainly works in their favour: the fast sections with
serpentine guitar work help forget some excessively long tepid
passages where the album contrastingly lacks said variation. Overall
the album is very good, simultaneously a bit technical, entertaining
and dark, with a few excellent riffs ("Cosmogenesis", "Evolution
Valour Admission" and the title track, for instance) and able
drumming to top it off -- but then at 72 minutes in length, the songs
also tend to be rather long-winded. A bit more conciseness and
consistency in the future, please, but for the time being _Carved in
Stigmata Wounds_ is a very worthy effort.
Contact: http://www.lupuslounge.com
Slipknot - _Vol. 3: The Subliminal Verses_ (Roadrunner, 2004)
by: Xander Hoose (9 out of 10)
There's no doubt that Slipknot has been heavily overhyped. Their
second album _Iowa_ was one of the most anticipated releases of that
year, sold exceptionally well, but couldn't deliver all the promises
that Slipknot had made to their loyal following. What happened after
_Iowa_ was unclear to most; some said Slipknot disbanded, others just
assumed the band was on hiatus. Secretly, the third album was being
assembled.
_Vol. 3: The Subliminal Verses_ is the most mature Slipknot album to
date. More than before we find Slipknot exploring the extremes of the
nu-metal realm by incorporating influences from a wide variety of
musical styles. The military percussion on "The Blister Exists", the
catchy groove of "Duality", melodic SOAD-influences on "Opium of the
People", a bit of gothic in "Vermillion"... borrowing heavily on
different styles is something Slipknot gets away with with ease. The
binding factors are easy to point out: aggro-tense vocals, stuttering
percussion and grinding guitars provide the backdrop to the Slipknot
sound. The lyrics still boil with rage and aggression, but they drip
with genuineness -- which is highly appreciated in a world where
bands are just trying to be as extreme possible for the sake of
extremity.
With all the obvious flirts with hardcore and death metal, calling
Slipknot a typical nu-metal band would definitely do them injustice.
_Vol 3_ has definitely grown into an extreme album and Slipknot has
proven to be more than a overhyped pack of musicians.
Contact: http://www.slipknot.com
St Madness - _We Make Evil Fun_ (Nasty Prick Records, 2004)
by: Jackie Smit (5 out of 10)
Whenever a band's core lyrical departure point centres around comedic
themes, they invariably always end up treading the thin line between
affectionate parody and outright farce. Case in point is Arizona's St
Madness, whose absurd metallic jibes range from the mildly amusing
("No Mercy", "Sexual Abuse") to the downright stupid ("You Are
My Food", "Evil Elvis"). Stylistically, _We Make Evil Fun_ is
unashamedly adolescent heavy metal -- well played and solidly
produced. But even with the odd killer riff thrown into the mix, St
Madness' brand of humour is frequently not as witty as it so
desperately wants to be, and every so often it seems to take itself a
little too seriously to illicit anything other than brief, passing
curiosity.
Contact: http://www.stmadness.com
Sun of the Sleepless / Nachtmahr - _Split_ (Lupus Lounge, 2004)
by: Pedro Azevedo (8.5 out of 10)
A few years ago, Sun of the Sleepless impressed me tremendously with
the _Poems to the Wretches' Hearts_ EP -- a brief work, relatively
simple in its _Transilvanian Hunger_ revivalism, yet virtually
flawless for what it aimed to achieve. I have since only heard a
stunning remix in a Prophecy Productions promotional compilation, as
Schwadorf's (of Empyrium fame) solo project stayed in relative
obscurity. Year 2004, Sun of the Sleepless return with a split
release on Prophecy's new black metal sub-label Lupus Lounge. The
other half of this split is provided by a band previously unknown to
me: old- school black metallers Nachtmahr.
The first six tracks belong to Sun of the Sleepless and vary greatly
in nature; they are mostly unreleased or recaptured from more obscure
recordings (such as the aforementioned compilation song, the superb
"Spring '99"). SotS open with "A Wolf in Sheep's Skin Clad", a fine
example of cold black metal with an ear for melody akin to, say,
Ulver. This time around the vocals are processed and distorted rather
than "natural" sounding, but it fits well in the overall sound.
Second track "Romanze zur Nacht" is a slower affair with a distinct
lead guitar line driving the song and a clear doom feel. While
lacking quite the impact of the _Poems to the Wretches' Hearts_ EP,
these tracks would not have felt out of place there. SotS then move
on to cover Burzum's "Dunkelheit", an interesting prospect given
their profile as purveyors of quality black metal coldness with a
doomy edge. The well-suited cover is pulled off in style, the
original reworked in a subtle manner over more than seven minutes.
"Neunter November" is the sort of track any band in the genre knows
is going to draw some heavy flak, with its repetitive speech sample,
trip hop background beat and electronic sound effects. Had it been
one minute long, it might have been an interesting interlude; at
three minutes in length it is excessive and ultimately redundant.
Electronics are also heavily employed in the cover of Darkthrone's
"Tausend Kalte Winter", but this time to much better effect: this
vastly different reinterpretation features an outstanding background
atmosphere, vague guitar and piano-like sounds, more of the heavily
distorted vocals, and an ominous beat. A daring and accomplished six
minute cover, considering the changes SotS made and the nature of the
original author. Finally, the magnificent "Spring '99", itself a
remix of a Sun of the Sleepless song, closes proceedings in great
fashion: ambient electronics are mixed with an amazing sense of
bittersweet, agonizing tension. Aside from the redundant fourth
track, the Sun of the Sleepless part of the split is another
excellent chapter in the band's short history.
Following up such a start could never be easy for Nachtmahr, but
their Darkthrone-inspired style is not entirely out of place here --
and while they stick strictly to old-school formulas, adopting only a
more professional production, these Germans churn out three fine
examples of the genre. Those who enjoyed the Sun of the Sleepless EP,
_Poems to the Wretches' Hearts_, are well advised to give the
Nachtmahr side of this split a good chance: the cold melodies, simple
drumming, raspy vocals and occasional acoustics may not be of quite
the same level as SotS, but they remain very worthwhile. Hoping for a
Sun of the Sleepless full-length may be no more than wishful
thinking, but in the absence of that I'll be looking forward to a
Nachtmahr album instead -- the two are different, but interest me for
similar reasons. Overall, this split is definitely worth owning --
mostly for Sun of the Sleepless, clearly, but Nachtmahr are quite
good and their style fits well, so this split is far from just an
overpriced EP with some filler tacked onto the end.
Contact: http://www.lupuslounge.com
Sunn O))) - _The Libations of Samhain_ (Bastet, 2004)
by: Xander Hoose (6 out of 10)
For those familiar with Sunn O))): _The Libations of Samhain_ is a
live recording from earlier this year. This full-length album
consists of two tracks ("The Libations of Samhain" and "Sunn O))) vs
Diggers", an interview) and clocks in at over 65 minutes. For those
not familiar with Sunn O))), let me explain what they are about in a
few simple words: slow and painful ambient. Using silence as a
weapon; distortion as a musical cloak; noise as a pure feeling.
It is with a bit of regret that I must say that the feeling I get
from Sunn O)))'s albums is not reproduced by this live recording. The
range of frequencies used seems to have shrunk; the noisescapes sound
less impressive; and as a result, there is an overall feeling of
dissatisfaction left after listening to _The Libations of Samhain_.
The interview is nice if you are interested what's behind the music,
but doesn't do much for me either. _The Libations of Samhain_ is
still great to bug my neighbors though; for that -- and the effort --
I still rate it a 6 out of 10, but most people will be better off
trying to find the two _White_ albums.
Contact: http://www.ideologic.org
The Fallout Project - _Architecture Breeds Rust_
by: Brian Meloon (7 out of 10) (Dare to Care, 2003)
Quebec City's The Fallout Project are a hardcore band in the style of
early Neurosis, but perhaps a little more melodic. Their music is a
roughly even mix of heavier and lighter sections, with the latter
having some similarities to the alternative / math rock genre. The
two styles complement each other quite well. Most of their music is
slow- to-mid paced and more grating than heavy. The songs have some
very strange structures, such as the three-and-a-half minute quiet
section in the middle of the ten-minute "An Open Wound Bleeding
Loose". This ultimately leads to my main complaint with this disc:
it's not memorable at all. While the music is good to very good, it
isn't organized well enough, and the songs don't stick with me for
any length of time. I feel that better song structures could help
make their music more effective. But as it is, this is a reasonably
good offering, and should appeal to fans of older Neurosis, as well
as bands like Eyes of Fire, Mindrot and Alchemist.
Contact: http://www.daretocarerecords.com/falloutbio.shtml
The Vision Bleak - _The Deathship Has a New Captain_
by: Pedro Azevedo (7 out of 10) (Prophecy Productions, 2004)
"Supreme horror death rock" from Schwadorf -- the mastermind behind
Empyrium (which has unfortunately been laid to rest) and Sun of the
Sleepless -- and his associate Konstanz, _The Deathship Has a New
Captain_ is an album meant to honour authors such as Max Schreck,
John Carpenter, Friedrich Murnau and George Romero, among others. The
songs tend to remind me of a more gothic version of Dead Silent
Slumber, a project I hadn't even thought about in ages before
listening to this. The Vision Bleak is quite different though, with
more of a rock vibe and gothic vocals -- even a Type O Negative
influence -- as well as operatic elements. Their sound is based upon
some pretty hard-hitting guitar chords, with keyboard orchestration
to complement them and pave the way for the theatrical vocals. The
arrangements are very well done, but the horror here isn't meant to
be presented in a truly dark kind of way: most of the choruses and
overall sound are relatively light-hearted, not exactly going into
Necrophagia territory sound- wise. Indeed, for a horror-based album,
_The Deathship Has a New Captain_ is rather bouncy and merry for my
taste, much as its sound and performance cannot be faulted. To
further dampen my enjoyment of the album, the songwriting is much too
chorus-based for my liking, and the male vocals also fail to convince
me. Ultimately, the album is very well done and will be a fun disc
for those who enjoy a bit of gothic rock and like their horror light;
darker souls need to look elsewhere.
Contact: http://www.the-vision-bleak.de
Twelve Tribes - _The Rebirth of Tragedy_ (Roadrunner, 2004)
by: Xander Hoose (7.5 out of 10)
Judging by the large number of bands suddenly mixing Swedish death
with hardcore, I guess I can safely say this style is the next big
thing now that black metal has gone underground again. Unfortunately,
like ever before, labels seem to be prone to signing any band
knocking on their door as long as they fit the genre -- quality is
too often disregarded. Thankfully, Twelve Tribes don't fall into that
category. A little more relaxed than genremates Killswitch Engage, on
_The Rebirth of Tragedy_ they provide a good example of how different
aggressive styles can be blended into ten good songs. Even though the
process doesn't always work out as well as you would hope, there is a
lot to be said for _TRoT_: just check out the groove at the end of
"Baboon Music", the insane riffs in "Venus Complex" and "Godshaped
War", or the nu-metal-ish "Chroma". The things that work against the
album are the (sporadic) clean vocal and rap-parts (especially in
"Luma") and its running time -- 45 min utes is a bit long considering
some of the songs sound a lot similar. Nonetheless, _The Rebirth of
Tragedy_ is a great album that is heartily recommended to fans of
Chimaira and Killswitch Engage.
Contact: http://www.twelvetribesmusic.com
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Scoring: 5 out of 5 -- A flawless demo
4 out of 5 -- Great piece of work
3 out of 5 -- Good effort
2 out of 5 -- A major overhaul is in order
1 out of 5 -- A career change is advisable
Atrophy - _Dédales_
by: Brian Meloon (4 out of 5)
Not to be confused with the late '80s thrash band of the same name,
this Atrophy is from France, and this is their second demo. Their
style is pretty brutal death metal with progressive riffs and jazzy
guitar solos. Mostly they remind me of their countrymates Admortem,
but Atrophy's music is a little more advanced. They also remind me at
times of Gorguts and Lethargy, and they add a couple jazzy solos that
sound like they might be from Pestilence's _Spheres_. They use
several riff styles, including standard death metal riffs, angular
and quirky individual note lines and harmonized melodic riffs. They
mix up the styles quite a bit, but I don't really feel much flow in
the songs. Also, there really isn't too much in the way of dynamics,
so some parts seem a bit repetitive. The vocals are low and guttural
and fit the music, but don't really add much character to it. The
playing is very good: technical, but not overly so. The production is
a little raw -- which at times gives the music an atonal, completely
percussive sound -- but it's adequate for a demo. Overall, this is a
promising offering, and if they keep improving as they have been,
their next offering will be very impressive. My hope is that they'll
continue to expand their songwriting skills and expand the jazzy
elements of their music, as this is still a fertile area for
exploration. Fans of jazzy and technical death metal should check
them out and keep an eye on them for the future.
(Both of Atrophy's demos are available for download at the URL
provided.)
Contact: http://atrophy.free.fr
Civil Unrest - _Civil Unrest_
by: Aaron McKay (3.5 out of 5)
It is evident that this quintet takes their chosen craft seriously;
in the case of Civil Unrest, that spells out some finely tuned
offerings. With an underutilized Epoch of Unlight vocal approach,
this Oceanside, California five-piece work in a nice complement of
some spoken lyrics on occasion that accent the overall guttural and
strained serpentine style. Frequent, but not abused, change-ups are
worked into the generally heavy temperament of Civil Unrest's honed
sound. Throughout the nearly twenty minutes on the band's five tracks
offered on this demo, the direct, yet enraged attitude exhibited
here drive home the full impact purposefully and without remorse.
Professional and well suited for their calling, Civil Unrest seems to
have amassed a solid following in the Golden State; they now seek to
broaden that reach. Not extreme, but provoking, these guys have miles
to travel in order to separate themselves from the forgettable heard
of today's scene. Their potential is appare nt. A well-suited
adjustment might prove helpful to highlight the dual vocal attack.
The understated musical intervals, for effect, might be another area
to consider forcing to the forefront as it complements the tone quite
well and has the added benefit of making the larger atmosphere of
brutality that much more devastating. Combined with what sounds like
strong production on this demo, Civil Unrest can claim to carry forth
the metal banner with pride.
Contact: http://www.civilunrest1.com
Corrupted Mutation - _The Exordium_
by: Pedro Azevedo (3 out of 5)
One in a series of demos released on CD-R by Portuguese label
Dungeons Records, Corrupted Mutation play a kind of blackened metal
with melodic leanings, occasionally bringing to mind the very early
work of Dark Tranquillity, and do it reasonably well for a demo.
Taking into consideration that this is only a duo, with one member
responsible for vocals and lyrics and the other for all instruments
(the drumming sounds artificial, by the way), then a bit more
appreciation starts to develop for this demo. The production is
adequate, and while the playing is not always tight, Corrupted
Mutation still string together a few good passages into what turns
out to be a rather decent demo -- never mind an atrocious passage
or two, like the (probably intentional) beginning and end of
instrumental "Disarmonic Agony". There is still plenty of work to be
done here, but some promise can be found in what Corrupted Mutation
have achieved so far.
Contact: http://www.dungeonsrecords.cjb.net
Necrocannibal - _Splatter Gore_
by: Pedro Azevedo (1 out of 5)
Ten tracks crammed into eleven minutes of gore-drenched grindcore,
the release suffers from a terrible sounding drum machine that could
make Mortician (who they also cover) sound reasonably good, and also
a nearly non-existing guitar sound on most tracks (the production
varies). All you have left is a flurry of artificial hyperspeed drum
beats accompanied by generic grunts, with no riffs or rhythmic
elements to speak of, and a few obligatory film samples. Grindcore
can certainly be simplistic, but there's a lot more to it than this
-- being a one-man band cannot excuse everything.
Contact: http://www.dungeonsrecords.cjb.net
Vorago - _Lobos de Guerra_
by: Pedro Azevedo (3.5 out of 5)
Raw Lusitanian black metal may not mean much to the metal world, but
Vorago show a firm belief: they actually go so far as to write all
their involved lyrics in Portuguese, and the theme running throughout
them is unmistakable. The music has a loose, chaotic feel to the
guitar work that is not uncommon in this type of black metal, as the
simple guitar lines are repeated and interwoven in each song, and at
times there is a little bit of Blut Aus Nord in Vorago's guitar
playing and vocals. Possibly the best characteristic this demo
possesses stems from the considerable atmosphere around the music,
reflecting the work that has been put into the lyrics, which is done
quite well considering this is only a demo ("Negro Amanhecer", for
instance). The main subject here is raw black metal with an epic edge
to it, however, and in that area _Lobos de Guerra_ ("Wolves of War")
suffers from a largely inadequate artificial rhythm section; it's not
terrible by demo standards, but a good human drummer would have made
a great difference. Overall this is an interesting demo in spite of
some shortcomings, and it seems likely that given the means to
progress Vorago may forge an interesting path for their future.
Contact: http://www.dungeonsrecords.cjb.net
World of Shit - _World of Shit_
by: Aaron McKay (2.5 out of 5)
When Chronicles of Chaos was contacted by World of Shit about
reviewing their demo, an assumption was made that there was current
material to peddle. As things turn out, the only date found on
this self-titled effort is one from the recording of these five
tracks found here: September of 2002. Having said that, this duo
is an interesting outfit. Eric (guitars and additional vocals)
resides in Chicago, while Mat (drums and vocals) hangs his hat in
Berlin, Germany; I'm guessing rehearsals must be a real bitch!
Including their name, World of Shit makes it their sole ambition
to get straight to the point, seemingly without the use of a
bass guitar. The songs on this demo are direct and filled with
forceful blast beats and intense riffing, with appropriate solos to
complement the hasty feel. "Servant", track five, is probably the
best representation of WoS's potential. "Servant" feeds on a Hate
Eternal ambiance with severe riff-packed ability. The CD inlay states
World of Shit reu nite about every two years to "shit out a demo";
defecation also seems to be a high priority to these guys. Polishing
(if you can use that world when referencing a band named World of
Shit) the hard to decipherer lines between the instrumentation, where
the guitars blur into the percussion frequently, and underscoring the
gruff vocals would sure make a difference in the studio next time
around. The twelve minutes offered here aren't tough to stomach, just
less-than-electrifying. As a passing thought, couldn't you just see
WoS a hitting the road with Cattle Decapitation, Dying Fetus and
maybe A.C.? Imagine reading that on the civic center marquee... Live
in concert, the Peachypalooza tour!
Contact: worldofsh_t@hotmail.com
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F O U R T I M E S S T I L L N O T E N O U G H
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Anthrax and Hatebreed @ The London Astoria, 14 June 2004
by: Jackie Smit
Unhelpful door attendants and a brief but annoying quarrel over the
guestlist results in my missing the first act on tonight's bill,
Bullet For My Valentine, and while I can't claim to be familiar with
them in the slightest, all reports indicate that they played an
extremely well received set.
By the time I make my way to the floor area of a packed London
Astoria, Hatebreed's road crew have just about finished setting up
the band's gear, and a tangible air of excitement has gripped at
least a part of the audience, who start chanting impatiently for the
New York quartet to come out and get down to the business at hand.
It's quite a strange pairing if you ask me, putting hardcore's new
favourite poster children on the same bill as the thrash veterans.
Still, considering that Hatebreed have been doing their best to
immerse themselves in the metal scene as much as possible of late,
taking extreme acts Hate Eternal and Cephalic Carnage on the road
with them, it's probably not that far-fetched an idea.
There is a visible division between the older and I dare say less
raucous Anthrax crowd, and Hatebreed's more exuberant and physically
intense followers however, and this is made abundantly clear by the
opening of a sizeable circle pit at the start of Hatebreed's set --
populated by a mere fifteen or so punters, who proceed to throw
windmill-punches at all and sundry, as the band begins their assault.
Now, I could probably go on at length about my hatred for hardcore
dancing, and tonight -- as ever -- is no exception; a select
few nearly ruining the evening of everyone around them through
sheer inconsideration and stupidity. Thankfully though, Hatebreed's
performance is solid as they come and certainly interesting enough to
draw my attention away from this display of base-level humanity. Even
though the band do grow slightly monotonous after twenty-five minutes
or so, the likes of "Live for This", "Beholder of Justice", "Facing
What Consumes You", "Perseverance" and "Hollow G round" have never
sounded more menacing and aggressive.
"I Will Be Heard" signals the end of Hatebreed's set and sees the
hardcore fans quickly disperse to make way for a throng of Anthrax
supporters who pile their way toward the stage in anticipation of
tonight's main event. It has to be said that whatever for criticism
has been leveled at these guys in the past -- whether warranted or
unwarranted -- they still retain an undeniable presence and charisma
which, at least in my book, make them one of the few truly unmissable
acts in metal. Judging by the deafening roar that greets the opening
strains of "What Doesn't Die", at least 3000 others share my opinion,
and as Scott Ian, John Bush and the rest of the boys take to the
stage, they are clearly in their element right from the off.
Performing with more energy and passion than most of their peers
could hope to muster in a lifetime, they run through a veritable list
of classics, from "State of Euphoria" to "Caught in a Mosh" to
"Only". And while their album counterparts may have started showing
their age some time ago, there aren't many songs in any genre of
music that can match the sort of intensity that e
manates from songs
like "Death Rider", "Madhouse" and "Got the Time" tonight. Curiously
though, despite the airing of rarely performed favourites like "Keep
It in the Family", it is the double-headed grand finale of "Bring the
Noise" and (not so surprisingly) an impromptu cover of "Whiplash"
that garners the most enthusiasm from tonight's decidedly old-school
crowd.
Ultimately tonight's performance is a triumph all round. It may be
the fourth time that Anthrax have been in the capital in just over
two years, but London clearly can't seem to get enough of them --
which for a band that was all but pronounced deceased around the turn
of the century by virtually everyone in the media, marks a truly
astonishing rebirth.
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W H A T W E H A V E C R A N K E D ! ! !
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Pedro's Top 5
1. Farmakon - _A Warm Glimpse_
2. Drudkh - _Autumn Aurora_
3. Mayhem - _Chimera_
4. Sun of the Sleepless / Nachtmahr - _Split_
5. Hate Forest - _Battlefields_
Brian's Top 5
1. Spastic Ink - _Ink Compatible_
2. PsyOpus - _Ideas of Reference_
3. Strangle Fuck - _Demo_
4. Drudkh - _Autumn Aurora_
5. Between the Buried and Me - _The Silent Circus_
Aaron's Top 5
1. Jungle Rot - _Fueled by Hate_
2. Borknagar - _Epic_
3. The Forsaken - _Traces of the Past_
4. Black Label Society - _The Blessed Hellride_
5. Carnal Forge - _Aren't You Dead Yet?_
Quentin's Top 5
1. Ulver - _A Quick Fix of Melancholy_
2. Falkenbach - _Ok Nesna Tysvar TY_
3. Mayhem - _Chimera_
4. Akercocke - _Choronzon_
5. Woodtemple - _The Call From Pagan Woods_
Jackie's Top 5
1. Akercocke - _Choronzon_
2. Graveland - _The Fire of Awakening_
3. The Misfits - _Static Age_
4. Suffocation - _Pierced From Within_
5. Gorgoroth - _Twilight of the Idols_
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Web Site: http://www.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.
HOW TO SUBSCRIBE
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You may subscribe to Chronicles of Chaos at any time by sending an
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End Chronicles of Chaos, Issue #75
All contents copyright (c) 1995-2004 by individual creators of
included work. All rights reserved.
All opinions expressed herein are those of the individuals
expressing them, and do not necessarily reflect the views of anyone
else.
