Crimson Moon - To Embrace The Vampyric Blood (Abyss Productions, '97)

Rating: 8/10
Tracks: The Dirge of The Apocalypse, Kingdom of Shadows, Praise Be The Blood of The Serpent, Carpe Noctem, The Storm Bringer, Sender of Nocturnal Visions, To Offer Thy Crimson Sacrament, The Eye Of The Draconis, Outro: Embraced

Never thought it could get this cold in California. Crimson Moon bring forth very atmospheric black metal with a strong conceptual basis in, yes, vampirism. The first thing that comes to mind in the heads of the average metal fan in this case is Cradle of Filth. In the mind of the more extreme, Marduk (ala the second half of Nightwing). Crimson Moon lies more in the Cradle of Filth camp, although they aren't of the same musical caliber or is their material as grandiose. There are moments of outright mayhem herein, but the assault is not nearly as consistent as Marduk. Crimson Moon are also fans of the deep, dramatic "narration" voice that CoF use from time to time. Keyboards are also laced throughout, and although heavily used, they are tasteful enough that they don't annoy or dredge the material in cheese.

There comes a charm with the roughness that accompanies unpolished material. A sense of "underground." In extreme cases, this can mar the overall presentation (Ulver's Madrigal of the Night comes to mind), but it does not here. The primary weakness with To Embrace The Vampyric Blood, rather, is the use a drum machine. I know it is worlds easier to record as opposed to real drums, but it lacks. You can tell... a drum machine just doesn't pack the wallop of the real thing, and unless you have an actual drummer behind the programming, chances are the parts will be somewhat boring. That seems to be the case here. The drum parts aren't bad, persay, just not very imaginative. Luckily the material is interesting enough to transcend the limitations of the programming.

The ideas here are straightforward, but executed with conviction, and that is what lends the album it's weight and impact. A good example of US black metal done well. - Al Kikuras

Death - The Sound of Perseverance (Nuclear Blast America, '98)

Rating: 10/10
Tracks: Scavenger of Human Sorrow, Bite The Pain, Spirit Crusher, Story To Tell, Flesh and the Power It Holds, Voice of the Soul, To Forgive, A Moment of Clarity, Painkiller

Death have remained prolific in the extreme metal genre for over 11 years, since 1987's Scream Bloody Gore helped forge the death metal genre. Whereas in the early days, Death 's notoriety was a result primarily of their over-the-top approach and vile lyrics, disturbing cover art... they took the sense of darkness and twisted evil that Venom brought forth and actually set it to well-played music. Chaotic because it was meant to be, not because their musicianship was negligible.

Somehow, Chuck has always managed to find top-notch musicians to fill the shoes of those left behind. On Symbolic, Mr. Gene Hoglan left perhaps the biggest pair of shoes to be filled to date, both literally and as a figure of speech. Can Chuck do it?? Could he top the songwriting and the musicianship on Symbolic? I had my doubts, but I am happy to say that I was a fool. An absolute fool. He has done so and more...

I am not going to say Richary Christy is a better drummer than Gene Hoglan, or Sean Reifert (of Cynic, who played on Death 's Human), but he plays as well within the confines of the material herein. Chuck has perfectly captured the aggression and brutality of Death 's earliest releases with the precision and skill of Individual Thought Patterns, Symbolic and Human. Not in the sense of Spiritual Healing, which was a step in the process, but rather The Sound of Perseverance is a step beyond, talking all the finest points of previous efforts and melding them to perfection.

The production is much dirtier than Symbolic, with a much less processed sound overall. The material is, likewise, a bit angrier... more raw. Not a total return, but, much like the latest Morbid Angel record, The Sound of Perseverance is a return to the hungrier sound of Leprosy and Scream Bloody Gore while still retaining the stellar musiciaship developed since the days of "Mutilation" and "Evil Dead." The very "metal" feel that Symbolic sported is still here and more prevalent than ever, confirmed by the inclusion of a raging cover of Judas Priest's "Painkiller." Sure, Chuck does not have Halford's voice, but he does belt out the high notes with surprising conviction.

This is the metal album of the year thus far, and may very well be the the album of next year, and the year beyond. This is going to be a tough one to top, and chances are we will have to wait until the next Death album before someone does. - Al Kikuras

The Dillinger Escape Plan - Under The Running Board (Relapse, '98)

Rating: 9/10
Tracks: he Mullet Burden, Sandbox Magician, Abe The Cop

These boys have done a fine job picking up where Human Remains left off. There are distinctions... the vocals are higher (and a little more hardcore-tinged), the production is different and there is less of a "death metal" overtone, but the similarities are too close to ignore. I can't really chalk it up to mimicry, though... I think that, rather, it was just that Human Remains began to explore new areas of brutal music that were previously uncharted. When there are only a few bands playing in a style (Gorguts among them, especially on Obscura), the natural reaction of the listener is going to be to assume that any later explorers are following in the footsteps of their predecessors, which they are to an extent... but, then, we'd still be calling Immortal a Bathory ripoff and would be saying that Malevolent Creation are biting Morbid Angel.

In this case, however, the taking of the reigns is definitely warrantied and I don't think anyone is going to complain. Human Remains left too soon and too little. The arrangements on Under The Running Board are intense. Timing fluctuates constantly, the parts are mindboggling and it is all very well done and put together and never sounds forced or unnatural. The primary gripe... the CD is a measley 8 minutes, but all 8 are something to behold, and it will take the average lunkead 4 or 5 listens for this stuff to sink in, so you're getting your money's worth for $5. - Al Kikuras

Evil Divine - Feathers Have Fallen (self-released, '98)

Rating: 8.5/10
Track List: Evil Divine Intro, Achtung, Bitch of the Devil, Apocalyptic Prophecy, The Journey, And The Angels Fell, Last Class Soul, Blood, Revenge, Broken Love, Crying Cain

A young band playing vicious, brutal blackened death metal. Although the image and vocals, for the most part, scream (no pun intended) black metal, the music finds its roots more in death in my opinion. There is groove here that most black metal bands do not even brush up against.

Vocalist Demonica gives an impressive performance, switching from a black metal scream to a DEEP death metal roar in the blink of an eye. The musicianship is strong, especially considering the relative young age of the members. The production could be stronger, primarily the guitar/bass sound... at times it just is not heavy enough. The lacking is especially evident in places like the second part of the song "Blood," about 20 or so seconds in where the guitar is muted to provide that "chugging" feel. The rest of the track is excellent, however. The keyboards are well used here.

The track "Last Class Soul" (listed as "As The Angels Fell" on the disc due to a factory error) starts off, well... terribly in my opinion. The female vocals/keyboards twinned in the first part give me chills, but luckily the rest of the song steps away from it and even when the part is repeated it is much less annoying. The song following, "Last Class Soul," provides some of the disc's heaviest moments and more than pulls their ass out of the fire.

"Achtung" rages, as does "Revenge," showcasing the band at their blasting best. "Bitch of the Devil" also sports the speed. In all, Evil Divine is a young band well onto their way of shaping up into a leading outfit that should outlast the thinning of the black metal scene that is already taking place. There are some weaker moments on the disc, but they are far outshined by its strengths. I shudder to think of how they will sound in a year. Frightening things are in their future. In the mean time, Feathers Have Fallen is a fairly scary excursion into the darker realms of metal that delivers after the initial and repeat listenings. - Al Kikuras

Incantation - "Diabolical Conquest" (Relapse, '98)

Rating: 9/10
Tracks: Impending Diabolical Conquest, Desecration (of the Heavenly Graceful), Disciples of Blasphemous Reprisal, Unheavenly Skies, United in Repugnance, Shados of the Ancient Empire, Ethereal Misery, Unto Infinite Twilight/Majesty of Infernal Damnation

At long last, Incantation have perfected their craft. They were good, even excellent, before. A band that, at first listen, sounded like total chaos... bordering on noise, but as the ear and mind become accustomed to the wall of sound they put forth, Incantation's music opens like a... well, a flower, as inappropriate as the metaphor might be. A flower that, when it blossoms, does not issue forth a smell pleasing to the nose or colors pleasing to the eye, but rather bleeds forth a seeping ocean of darkness and despair, of horror and terror.

It was with Mortal Throne of Nazarene that I first caught on, and going back, Onward to Golgotha and the Deliverance of Horrific Prophecies 7" made a lot more sense to me. The Relapse re-release of Mortal Throne, entitled Upon The Throne of Nazarene, took what was unleashed on the original release a step further. Although I know the band wouldn't agree (or, what is left of it... John McEntee being the only member remaining from those recording sessions), I have to go with Relapse on this one. The rough mixes had something the final product did not. Incantation's 1996 3-song demo (which I was lucky enough to get a copy of) took things to a whole new level of depravity and mayhem. Although the production was much less atmospheric and ethereal than both versions of the last LP, the songwriting was definitely well beyond anything McEntee and assorted cronies had churned out before.

Next up we were treated to two versions of The Forsaken Mourning of Angelic Anguish. First, the Repulse release, then the band found their way back to Relapse, to everyone's surprise. The songwriting was as strong as on the demo, but the production was better. The title track to the EP was actually found on the 3 song released the year before. Steps forward... constant steps forward until the mighty Elegy Records released Tribute to the Goat. A live recording (live in the studio) with original vocalist Craig Pillard, Tribute to the Goat is a brutal stomping through classic tunes and some newer cuts that is for the initiate only. More for fun than a contribution to the development of Incantation's sound and fury.

Why the history? More of a eulogy, actually, because Incantation have laid everything they have done previous to rest with Diabolical Conquest. Granted, the new full-length starts off with what was the second song on the 3-song demo, "Impending Diabolical Conquest," but when I heard the original I had no idea that something this monumental was to come out of it. They've gone and wiped the slate clean. The material is haunting. The production perfect (for Incantation, mind you), and although Daniel Corchado has since joined the ever-growing army of "former Incantation members," to his credit he smoked Duane Morris (never appeared on a recording, but fronted the band on the Mortal Throne tour and for a period after) and even Craig Pillard. There is a sense of despondency thoughout the 8 tracks that does not let up for a single second. The brutality is so disgusting and reletless that , after a time, it becomes a thing of beauty. You will be hard-pressed to find a more complete piece of death metal than this. These are ideas that have truly come to their fruition and have, at along last, been fullly realized. My only hope is that McEntee manages to solidify a lineup that can maintain, and even surpass if such a thing is possible, the level of intensity put forth here. - Al Kikuras

Nile - Amongst the Catacombs of Nephren-Ka(Relapse, '98)

Rating: 9/10
Tracks: Smashing the Antiu, Barra Edinazzu, Kudurru Maqlu, Serpent Headed Mask, Ramses Bringer of War, Stones of Sorrow, Die Rache Krieg Lied der Assyriche, The Howling of the Jinn, Pestilence and Iniquity, Opening of the Mouth, Beneath Eternal Oceans of Sand.

What can I say about Nile that hasn't already been splayed across the pages of every metal rag worth a damn? They have breathed new life into a quickly stagnating genre, incorporating elements of traditional Egyptian rhythms into death metal without sacrificing a speck of heaviness or brutality.

The influence is its strongest on tracks such as "Die Rache Krieg Lied der Assyriche" (which also appeared in a slightly different version on Ramses: Bringer of War) and the intro to "Stones of Sorrow." "Opening of the Mouth" displays the Egyptian funk as well.

Rhythmically, Amongst the Catacombs of Nephren-Ka is insane. I think that, moreso than anything else, lends the album the magnificence it displays, as the instruments embark on a frantic interplay that does not let up. Nile actually manage to make it though a full-length album of death metal without ever once giving over to cliche.

There is a future, after all. Strange that it was found in the past. - Al Kikuras

Judas Iscariot - Of Great Eternity (Elegy, '98)

Rating: 9/10
Tracks: The Heavens Drop With Human Gore, I Filled With Woes the Passing Wind, Then Mourns the Wanderer, For the Last Judgement Draweth Nigh, Calls to Heaven for Human Blood, Our Sons Shall Rule the Empire of the Sea

If I may quote Michael Ford of Valefor, "Grimmmm!"

Where Dark Funeral and Marduk attack with blast and speed and ferocity, Judas Iscariot goes for the soul rather than the jugular, sharing more with earlier Burzum releases and Darkthrone's Panzerfaust and Total Death than their more barbaric bretheren.

The production, the songwriting, the overall feel... all convey Akenhaten's hatred quite effectively. No new ground broken, but familar ground is tread well here with a conviction that most US black metal bands lack. Where many can blast with the best of them, they, for the most part, fail to capture the coldness, the despair and despondency of the Nordic/Swedish veterans. Not all that surprising... what is there to be depressed about when you live in California or Maine or Ohio? Of Great Eternity avoids the pitfalls of most US black metal, however, and comes off convincingly.

Vocally, Akhenaten brings Immortal's Abbath to mind, as well as Nocturno Culto of the aforementioned Darkthrone. As the sole musician, he is adept at each, although I would say the drums are least his forte. The playing is very befitting the material, however, but it is a little TOO straightforward for my tastes. A strong Burzum influence is definite in the music, sans the long synth pieces. Just pure metal herein!! A very strong stake for the US black metal scene and one of its better offerings. - Al Kikuras

Warhead - Raping of Angels (Elegy, '98)

Rating: 9/10
Tracks: Black Dawn, The Raping of Angels, Carnal Mutilations, Voices of the Devil, Seven Nights, The Sodomizing, Mass Grave

Niiiiiiice stuff! Raw death/black that hints back to the olden times of Destruction, Sodom, etc... you know the names. Not retro, nothing sounds dated here. I have found that, to be honest, what does lack going back and listening to the classics like Possessed and their ilk is the drumming. Not to slag the masters, but most of them couldn't hold a candle to the boys behind the kits nowadays. Although not a technical monster, Warhead's Chris Demydenko is solid, and fast, never lapsing into boring patterns or pointless bashing. I love the drum recording! The recording on the whole album, for that matter. It has a very live feel to it. The vocals are primarily higher-pitched black metal screams, but there is a fair amount of a gruff death metal growl as well. The music also wavers somewhere inbetween, death metal dominating, but I would say the production would me more fitting for a black metal band. There are somewhat melodic clean guitar parts and a strong use of harmonies reminiscent of Maiden in the arrangements that work quite well. The music is straightforward, but effective. In a period where so many are filtering down their stuff with keyboards, female vocals, and overabundant atmospherics it is good to hear a band that just sets out to tear you a new ass. What Warhead brings to the genre that so many others lack is strong songwriting skills. The songs are catchy, the parts memorable, and that is very refreshing. - Al Kikuras

Cryptopsy - Whisper Supremacy (Century Media, '98)

Rating: 9/10
Tracks: Emaciate; Cold hate ,warm blood; Loathe; White worms; Flame to the surface; Depths you've fallen; Faceless unknown; Serpent's coil

I know what you are thinking. Did they do it? Did Cryptopsy enlist someone that could keep up with the legendary Lord Worm? I am happy to say... yes!! Mike DiSalvo's voice is not as distinctive as Lord Worm's, but it is equally as intense and his annunciation is much cleaner. That settled, let's move on to the music.

Cryptopsy truly have unleashed a beast of epic proportions on Whisper Supremacy. It is what you've come to expect from these Canadian boys. Fast, tight, heavy... a blurring whirlwind of manic riffs and frantic drumming. The songwriting is stronger than ever. It was a difficult task to move ahead from None So Vile, which many consider to be the pinnacle of grind/death. On Whisper Supremacy, Cryptopsy have done so with anything BUT a whisper, and rather a deep, resounding roar!!! They've wiped the slate clean, boys and girls... smashed it to bits!

In an attempt to more accurately describe the new Cryptopsy, I have put together a short list of analogies:

"The new Cryptopsy album is like..."

• a bear blind with syphillus on a rampage in a maternity ward.
• an avalanche with accuracy.
• getting hit in the groin with a sledge hammer.
• having massive, buring diarrhea for a month straight and having to wipe your ass with sand paper.
• 4 hours straight of "Small Wonder." Without commercials.
• having your testicles raked across a cheese grater.
• getting your ass kicked by Mr. T
• getting kicked in the spot by a horse.
• someone driving one of those new VW Bugs right up your ass at 75 mph

Jungle Rot - Slaughter the Weak (Pavement Music '98)

Rating: 8.5/10
Tracks: Left For Dead, Gore Bag, Infectious, Demigorgon, Consumed In Darkness, Murder One, Butchering Death, World of Hate, Deadly Force, Darkness Foretold

Well, shit. The band name and the titles of the songs say it all, don't they? Jungle Rot embody the most barbaric elements of the death metal genre in a mesh of groove, slam and absolutely no blast beats! The songs are catchy, the lyrics relatively straightforward and over-the-top, the vocals deep (reminiscent of Johnny Hedlund of Unleashed), the music crushing. This is some absolutely no-bullshit straight up DEATH METAL. Nothing more, nothing less, and it is great to hear! Jungle Rot tear through the tunes herein like a grizzly bear on crack. Unstoppable, ferocious and deadly.

Sure, Jungle Rot presents nothing revolutionary on Slaughter the Weak, but who cares?? Get the fuck out of their way or enjoy being pulverised! - Al Kikuras

Sentenced - Down(Century Media, '98)

Rating: 4/10
Tracks: Kaamos, Farewell, Dead Leaves, For The Love I Bear, One With Misery, The Suicider, The Rain Comes Falling Down, Grave Sweet Grave, Burn, Drown Together, Let Go (The Last Chapter), Mourn

Sentenced have been around for a long time. Their 1994 album Amok was a very progressive, heavy, and well crafted piece of metal. It was damn good (I thought it sucked, but North From Here, their first album, rules!! - Al Kikuras). 1996 saw the debut of a less heavy, but more melodic Sentenced with the release of Down. The only problem with this album was the new lead singer Ville Laihiala. This album was dubbed "the album that Metallica should have put out," and here within lies my problem with Ville. He is basically a James Hetfield clone. He tries so hard to sound like James that I got sick listening to the album. Iced Earth as well as a few other bands went in this direction trying to cash in on Metallica's suckiness. It's a shame too, because Sentenced are a very talented band. I just lost interest after Down.

Enter Frozen, the band's new release. Now Sentenced have sunk to an all time low. Ville has been able to broaden his singing boundaries so that he doesn't completely sound like James anymore, but that doesn't matter. Sentenced have become so boring and mechanical in their playing that I don't even want to call them heavy metal anymore. Let's call them progressive metal, because that genre is full of pussy bands like Sentenced. When I listen to this album I don't get that "Ahh, metal!!" feel that I get when I listen to Strapping Young Lad, Manowar, or Vader. The feeling that these guys don't care about boundaries, rules, or fads. The felling that true heavy fucking metal isn't about playing it safe, but blowing the fucking doors off the wall. Frozen makes me feel like I've got to remember not to run with scissors in my hand. Fuck, this sucks.

The music isn't badly written or performed, but Sentenced have fallen into the trap that many progressive metal bands fall into, they have traded their balls and all of their power for hooks. I feel like this is a band that is trying too hard to be accepted into the "American metal scene." It's a shame too, because like their label-mates, Iced Earth, they had so much potential to really kick some ass in the metal genre. Why is it that bands feel they can't be heavy and still be good? Why do they feel that to pen a cathy song you also have to soften your sound? Why? - Piston Rod

Theatre Of Tragedy - Aegis(Century Black, '98)

Rating: 5/10
Tracks: Cassandra, Lorelei, Angelique, Aoede, Siren, Venus, Poppaea, Bacchante

Have you ever heard the band My Dying Bride? Well so have Theatre Of Tragedy. The only difference is that Theatre have added a woman singer to break up the monotony of the slow male drawl that permitted most of the doom metal genre. It's a good idea, but it's also a TERRIBLE idea. The male singer's slow low voice is acceptable considering that it's the norm, but the female singer makes the music seem like bad Japanese porn music. It just doesn't work at all.

The music does have the standard doom metal/gothic feel that this genre demands, but I still for the life of me can't figure out why this music is supposed to be enjoyable. This music reminds me of old people fucking, slow and careful not to break anything. I can get into the stylist and atmospheric pursuits of the music, but get bored due to the fact that the overall album lacks creativity and above all, diversity. This is a big fault I see in most of the death metal bands out there too, but at least the death metal bands want to rip your head off, not try to loll you to sleep.

If you are a fan of My Dying Bride and doom metal give this a shot, but I wouldn't expect anyone that has been a little wary of doom metal to be won over by this album or band. Theatre Of Tragedy is trying to do more things with the doom metal genre, but I'm not excited. I guess I just like the good old power riffs and blast beats too much. - Piston Rod

Pulkas - Greed(Earache Records, '98)

Rating: 6/10
Tracks: Loaded, Rubber Room, Drown, Hippy Fascist, Betrayal, Control, This Is It, Rebirth, Flesh, Eh?, Close To The Enemy

If variety is the spice of life, then Pulkas is red hot. The reason I say this is because they produce a sound that is very non-traditional. Their pounding guitars and back-breaking percussion creates a groove that is very similar to that of Tool. This band can stop on a dime and they continuously display that level of tightness throughout the entire album. You really get the feeling that Martin Bourne (guitars), Jules McBride (bass) and Rob Lewis (drums) have spent a lot of time perfecting their playing. Luke Lloyd belts out vocals that could be categorized somewhere between the genre of The Sex Pistols and Biohazard. The softer lyrics are sung with a slight British accent while the more aggressive vocals are performed in a more traditional American hardcore style. This is certainly a unique approach that could be considered by some to be a breath of fresh air. This album comes off as a mixture of 1970's punk and 1990's metal (at least what's left of it). I wouldn't be surprised to see a combination of pogoing and moshing at one of their live performances (hopefully the two groups of people would kill each other so the rest of the crowd could enjoy the show). While this is by no means one of my favorite albums, (I believe it is more or less an acquired taste) I would definitely recommend it to anyone willing to give a listen to something different. All in all, this is a good album to add to your collection. And remember, if you can't be an athlete, be an athletic supporter. - Blast Master

Daemos - Daemos (self-released, '98)

Rating: 7/10
Tracks: On The Rocks, Two Deaths, My Dying God

This is an impressive, but unoriginal demo. The packaging is impressive and my anticipation was high as I started listening to the CD. As musicians they have skills, and potential. As I was listening to this demo I was reminded of many different bands, but unfortunately not one of them was the band Daemos.

The first track, "On The Rocks," has a standard Metallica/Pantera metal crunch sound to it. I have two main problems with this song. The problem I have with this song is that the lead singer cant seem to decide if he are trying to be a Metallica rip-off or Rob Zombie lite. His voice fluctuates between the two without ever finding it's niche. The song also loses points because this.

In "Two Deaths" we have another identity crisis. Are they Fear Factory or Metallica? They drummer is sure trying to be FF or Demolition Hammer, but the music still leans towards Metallica. This song is better than "On The Rocks," but the lead singer still kills it.

"My Dying God" answers all questions, they are trying to be Metallica. Metallica riffs, Metallica vocals, etc. All I can say is that luckily they are trying to be old Metallica and not the new shit.

Daemos is not a bad band, and because this is only a demo I can't be as judgmental as I might be if this were a seasoned band. If Daemos has any hope at staying power, they need to find their own sound, their own style. I would also suggest getting a new vocalist; either a high vocalist like Rob Halford, or a viciously harsh screamer like Chuck from Death. - Piston Rod

For more info, check out the Daemos web site.

The Haunted - The Haunted(Earache Records, '98)

Rating: 8/10
Tracks: Hate Song, Chasm, Invein, Undead, Choke Hold, Three Times, Bullet Hole, Now You Know, Shattered, Soul Fracture, Blood Rust, Forensick 1 & 2

Sam the Eagle once said, "At times like this, I'm proud to be an American". I couldn't agree more. Let's all take a moment and thank our lucky stars that we exist in a place where metal is still alive. Sure, know they're not from America, but who cares?? If I were to use one word to describe The Haunted, it would be ENERGY. These guys could teach a class on aggression. Life Of Agony and Metallica, please enroll as soon as possible. The groove of this album is pleasantly reminiscent of Fear Factory's Demanufacture. The heavy percussion coupled with the speed of the guitars and the explosive vocals creates a sound that most metal-lovers would undoubtedly agree to have gone the way of the dinosaur. I assure you, my friends, that metal is alive and well inside this 4.75" disc. Every track on this album leaves you full of piss and vinegar. If this album is any indication of what their live show is like, I wouldn't be surprised to leave the hall with an unraveled testicle and a stranger's tooth embedded in my forehead. Of course you will never see this band at the MTV Video Music Awards or hear their violent yet auspicious display of power on your local pop music station, but I find this to be acceptable, especially since no band that goes commercial (with the exception of Pantera) can ever stay true to the metal faith. So if you like your metal hard and fast, (and I know you do) then be sure to pick up a copy of The Haunted's self-titled debut. I guarantee that after one listening, you will be more worn out than a one-legged man in an ass-kicking contest. - Blast Master

Skepticism - Lead and Aether (Red Stream, '98)

Tracks: The Organium, The March and the Stream, The Falls, Forge, Edges, Aether

Skepticism slowly erode your will to live with their new release Lead and Aether. Progressing on with their funeral-doom sound and further exploring the possibilities of mournfulness set to music. This album is a completely life draining doom metal orchestration. It seems to slowly march on for an eternity, but in actuality lasting only forty-seven minutes. The metal orchestrations are played at the frozen pace of a glacier. If you are not familiar with this band, I suggest you prepare yourself for quite an experience. Not in any way do they play typical doom metal at all.

Skepticism are an extremely unique Finnish band whos' style is both original and skillfully played. Musically, they utilize a combination of slow, sustained guitar notes, highly distinguishable drumming, and low growls all composed in a very original way. Further, the very pronounced pipe organs will draw the listener into Skepticism's menacing and depressing sound. The drummer, who uses timpani drums and the probably the largest cymbals possible- performs his parts almost like the percussion section of an orchestra. The lyrics are quite abstract and beautiful as well. Lead and Aether, six tracks in total and released in a stylish digipak by Red Stream. - Review courtesy of weedcore.com

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