|
|
 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Music Reviews |
|
|
|
All reviews are on a scale of 1-10. For the jackasses, one is the lowest and ten is the highest. We base our scores roughly on US school grades. A
6 (60%) is passing. Anything below that pretty much sucks. An average album is around a 7 (70%). For an explanation of our review policy as well as info on how to submit materials for review, click here.
|
|
|
|
Spotlight Album:
|
|
|
|
aka ”An album that really kicked our asses!”
|
|
|
 |
|
|
|
Macabre - Dahmer
|
|
|
This Edition’s Reviews:
|
|
|
|
Click on the artist’s name to be taken to the review. Scroll up or down to view the rest of the reviews, or to return to the top.
|
|
|
|
Killing Machine, King Diamond, Lamb of God, Mayhem, Nocturnal
Rites, October 31, Serpent Obscene, Today Is The Day, TT Quick, Usurper, Voivod, Wizards of Gore, Blackstorm, White Skull, Kamelot, Nevermore, Hammerfall, Reign of Erebus, Pissing Razors
|
|
|
|
|
Macabre – Dahmer (Olympic/Decomposed Records, 2000)
Rating: 10/10
Not even on Christmas Day have I waited with such anticipation as I did for this album to be released. Twenty-six (yes, boys and girls, the man said twenty-six) songs of murder and mayhem centered around one
man…Jeffrey Dahmer. Getting my much-awaited copy at a rare Macabre appearance in the wonderful town of NYC, my excitement was inexplicable. Mere words could not convey the amount of raw emotion I felt
that evening. A live appearance AND a new release: SOMEONE BRING ME A CHANGE OF UNDERWEAR!!!
Although I am a huge fan of Macabre, I was more than a bit skeptical that they could come up with 26 songs about one person without losing momentum, or coming off half-assed. What was I thinking?! Just as
many of Macabre’s targets, I plead temporary insanity. In the true spirit of Macabre, DAHMER was as fast, focused and brutal as any previous release (anyone else thinking Sinister Slaughter?) The proof
lies in the pudding: in just 13 days (Lucky 13?) Dahmer was completely recorded and mixed, bringing forth the next chapter of Macabre’s murderous rampage. Whether it’s an original song or a parody
(Jeffrey Dahmer & The Chocolate Factory, Dahmer’s Dead), this amazing trio never lets up with it’s savage assault of poor Jeffrey Dahmer. Corporate Death’s chilling vocals are as haunting as ever.
They still send shivers up my spine. And what can I say about Dennis the Menace (Look out Mr. Wilson!!!) on skins? I’m surprised this guy doesn’t spontaneously combust! Rounding out this triad of
horror is bassist Nefarious, backing up Corporate Death with low, guttural vocals that will have you sending out for a priest to perform an exorcism on your stereo. This unauthorized biography of Jeffrey
Dahmer’s life is not for the faint of heart. DAHMER will chop, eat, shit and flush you down the toilet without hesitation. Look out world, ‘cause DAHMER is back!!! ‘Nuff said. - Archangel (Archie)
|
|
|
|
Killing Machine - s/t (Candlelight, 2000)
Rating: 2/10
 This definitely is not at all what I expected.
One of Candlelight's recent releases was the excellent MYRSKROG album "Deathmachine." Similarities in name and cover art led me to expect Killing Machine to be of a similar vein:
brutal death/black metal with industrial overtones. How wrong I was. Rather, Killing Machine play pompous cock rock. Do we really need another band like this? No. Might
there be some 34 year old washed out ex-KIX groupie that will wet her pants over this band? Yes. Do I fall in that group? Well, in some ways, but I still don't like this album. It's been
done, and been done better, and even when done best it wasn't too good. - Al Kikuras
|
|
|
|
King Diamond - House of God (Metal Blade, 2000)
Rating: 5/10
 I wanted to like this album. I really, REALLY did.
Not since Mikkey Dee left the fold has King
Diamond (the band) been the same. When The Eye came out, I was disappointed. It just didn't (doesn't) have the juice of the first four albums. Now, looking back after listening to
subsequent albums, I feel much better about The Eye. What that tells me is not that The Eye is a better album than I thought it was, but that each album
since has been much crappier than I thought/let myself believe.
I went on a King Diamond kick yesterday. I listened to Abigail, then Them, then Conspiracy and rounded it off with (Mercyful Fate's)
Don't Break The Oath, one after the other. It was glorious, but also mildly depressing. It really hit me how piss poor all of King's new stuff
is in comparison to the classics. New Mercyful Fate stuff, too. Now, I don't mean to completely tear King a new one. Live, he is still phenomenal and the albums, themselves, are not all that bad... but
as I said, "in comparison to the classics," they pale immensely. There are a few moments on the albums, such as "Heads on the Wall" off The Graveyard (my favorite of the
post-Dee/post-Conspiracy releases).
House of God is, sadly, no exception. I have listened to this sucker no less than 8 times and am still waiting for a single hook to sink in, a
single vocal phrase to linger in my mind. Granted, King's vocals sound more inspired than they have on the last King Diamond album, Voodoo, as well as on the last however many Mercyful Fate albums
came out since Don't Break, but the songwriting just is not there. Sadly, my favorite new thing I have heard from King Diamond over the past several years is the song "Necronemesis" on Usurper's new
album of the same name on which he delivered a stunning guest vocal performance.
I still have faith... I think King Diamond is going to pull another
classic out of the brimstone, I am just wondering how long I will have to wait. Maybe if he stopped releasing an album from both Mercyful Fate and King Diamond in the same year just about every year the
quality of both would increase. - Al Kikuras
|
|
|
|
Lamb of God - New American Gospel (Metal Blade/Prosthetic, 2000)
Rating: 8/10
 Lamb of God garnered quite an underground buzz as the less congenially-named BURN THE
PRIEST. A name change and a longtime-coming record contract bring New American Gospel to light and now the rest of the world gets to decide if the buzz is warranted.
Lamb of God play a sludgy metalcore/thrash that sounds distinctly Southern, ala Exhorder, Pantera, and EYEHATEGOD. This is heavy, grooving, raw and solid.
The vocal delivery gets a bit monotnous as you cannot understand a single word vocalist D. Randall Blythe says, but he certainly keeps it intense throughout with a mid-range screech/roar with occasional
variations in tone. I've found that in music of this ilk, where it is not about all-out brutality and is more about songwriting, it helps if the vocals are decipherable as the hooks sink in a bit deeper, as opposed
to a band like Mortician where it really doesn't matter what the fuck the guy is saying, it is just about the barbarism of it all. I suppose that is much the same reason why EYEHATEGOD never did it for me -
I could only pick out 1 out of every 10 words the guy was saying.
While Lamb of God is not really my cup of soup, I can appreciate what they are doing and can see how tons of other folks out there
would eat this up. So, yes - the buzz they garnered is well-deserved not for doing anything remarkably new, but for doing what they do (and what others before them have done) so well. - Al Kikuras
|
|
|
|
Mayhem - Mediolanum Capta Est (Dwell Records, 2000)
Rating: 8/10
 A strange breed, I am. I am one of the new Mayhem fans that actually likes Maniac's work
on Deathcrush and on Wolf's Lair Abyss, but I am NOT a big fan of the new Mayhem album, Grand Declaration of War. I can appreciate the playing on it, a number of the tracks just
aren't ugly enough for me. I feel the same basic way about 666 International, the Dodheimsgard album everyone has hailed as god, and the latest Satyricon opus. While I
can appreciate the fact that they are doing new things in black metal, I think they have lost their focus as it is sounding less and less like black metal as they progress. I am definitely a full-on
supporter of musical evolution, but what I find these acts are doing is not really all that new, just new to this genre. Okay, so the piano solo with the lightning blast beat under it on 666 International is a
big 'ol, glaring exception... but I'll be straight up, fully expecting and prepared for the flames that are going to be thrown my way as a result. The first thing that came to my mind when listening to the
three aforementioned albums was that it sounded like they were borrowing from (gasp) Marilyn Manson, especially in the vocal department and mechanical guitar sound on 666 International. I wasn't impressed.
Mediolanum Capta Est finds the new Mayhem at their peak in the live situation before the urge to stretch their musical wings and sail into more pompous skies. It is good to hear old tracks like "Freezing
Moon" and "Chainsaw Gutsfuck" sounding this tight. No, Maniac does not quite do Atilla's performance on the original De Mysterris Dom
Sathanas recording justice. His voice is not nearly as creepy and the end result sounds slightly more "user-friendly." Newer tracks like "Fall
of Seraphs" are insane, however, and come across well live, especially in the drum department. Hellhammer is the true star of this release, as it showcases his performance high in the mix and shows
what he is really capable of outside of the studio.
If you are a fan of the "post-Euronymous" Mayhem, you will definitely appreciate Mediolanum Capta Est. If not, and you think everything
Maniac touches turns to doodie and that the band have no right to continue on with the Mayhem name, steer clear as this is not the album that is going to bring you around. It'll probably just piss you
off.The Mayhem-curious should certainly start with De Mysteriis Dom Sathanas, but if the Atilla's vocals on that album fail to grow on you as they did me and you are just looking for more straightforward
versions of the tunes, this may be a good place to start. Perhaps it will serve as the foot in the door that will enable you to go back with a deeper appreciation for Mayhem's earlier work. - Al Kikuras
|
|
|
|
Nocturnal Rites - Afterlife (Century Media, 2000)
Rating: 10/10
 I have always admired Sweden. For a long time
CANDLEMASS were the undisputed kings of Swede Metal! But now we have among us the true heirs to that very throne and that band is NOCTURNAL RITES. Their latest offering "Afterlife"
is an outstanding piece of work. Far superior to their previous offering, in my opinion. The six piece band bring to the table a solid set of true Metal at its very best. Century Media hit the nail
on the head by signing these bad boys. This group has all the key elements of what a Metal band should be and that is, besides excellent songwriting, they have a great rhythm section in bassist
Nils Erikson and drummer Owe Lingvall, shredding guitar twins Fredrik Mannberg and Nils Norberg, the keyboard wizardry of Mattias Bernhaardsson adds depth and dimension to their in your face
approach adding a brooding effect to several of the albums tracks. Finally we have vocalist Jonny Lindkvist who does a superb job without trying to go over the top. Excellent range and perfect diction
are the key elements to his craft which he executes to perfection. Standout tracks, for me, are "Afterlife", a perfect opener, "Wake Up
Dead" which soars without restrictions, this is one on Jonny's best vocal performances. "The Sinners Cross" is great, period!! My other
favorites are "Sacrifice" and "Hellenium". The production and artwork on this album deserve praise as well. Overall, top to bottom, this
album is one of the best releases of 2000 this a great album that is MUST have for fans of Melodic Power Metal. It goes without saying
that NOCTURNAL RITES are the reigning kings of Swedish born and
bred Heavy Metal!!!!!!! - Bob Mitchell
|
|
|
|
October 31 - Meet Thy Maker (Metal Blade, 2000)
Rating: 9.5/10
 Tradition is the very foundation in which our music is based upon. This album is further proof of that fact. O31 have really outdone
themselves with their latest release. This collection of madness kicks off in grand style with the title track "Meet Thy Maker" which combines elements of power, doom and
melodic overtones. "Just An Illusion" is reminiscent to the early Savatge days with haunting keyboards and soaring riffs. Other
standout tracks are "For There Is War", "The Verdict", the epic "Far From Danger Now (Parts 1and 2)" and how could I forget "Power and
The Glory", an incredible SAXON remake! Top to bottom this is a great Heavy Metal album. The packaging is just as attractive with great artwork by Arthur Hamer along with action photos of the band
and thought provoking lyrics.
Of course no review would be complete without giving full credit to the boys who worked very hard on putting this album together. Not
since the great Dan Beehler of EXCITER has there been a better drummer/lead vocalist in one King Fowley. It must also be noted that "MTM" was produced by the maniacal skin basher himself whom, by
the way, plays keyboards as well (what an acrobat). Rounding out the line-up is the guitar team of Brian Williams and Kevin Lewis along with bassist Jim Hunter. This could be the breakthrough album for the
band. The beauty of it all is that it was done the old fashioned way and that is with heart, soul and aggression. All in the name of tradition!! Metal Forever! - Bob Mitchell
|
|
|
|
Serpent Obscene - s/t (Necropolis, 2000)
Rating: 6/10
 Much like Sweden’s Carnal Forge, Serpent
Obscene plays the kind of frenetically paced thrash metal that's obnoxiously grating to the ears as it is chaotically ill-structured. Though whereas the former tends to add enough
catchy melodies and deeply rooted hooks to the frying pan to spice things up a bit, unfortunately Serpent Obscene's sound is so straightforwardly boring it makes the new Venom album seem like a milestone in
comparison. The problem with this, I feel, lies mainly with the drums which are perhaps the most sloppily played since Abbadon's embarrassing display of caveman hysterics on Welcome to Hell. At
times, you can hear how incongruently apart they are from the guitars that it often takes away from whatever credibility (or at least whatever little of it remains) established in the songwriting.
Secondly, the constipated monotone in the singer's vocals tend to leave a lot to be desired as well. If you thought Crowbar's Kirk Windstein was hysterically atrocious, think again. Even worse, there
are certain points where the vocals make me recall some of the worst phrasings ever to be carried out by the infamously diabolical Cronos (most notably on the choruses to "Evil Rites" where the word
"evil" is often overemphasized).
Though surprisingly enough, there does exist some moments that warrant a sense of promise.The guitars, although very fuzzed out
and distorted in that punky sort of fashion, are extremely thick and impenetrable in sound. In fact, there are times where it seems as if some of the best unused riffs leftover from Sodom's Persecution
Mania were used to give songs like "Sadistic Abuse" and "Rapid Fire" that balls to the wall old school feel. But sadly, that's just about the
only redeeming quality to be found. However in all fairness, I wouldn't go as far as to say that this record is a total letdown for it certainly has its moments where ideas successfully utulized to their best
advantage. Then again with the songs all being so relatively short (the average track being a mere 2 minutes two long), there's not enough room to experiment and play around, let alone breathe. Thus
I've come to the conclusion that the guys in Serpent Obscene simply wrote this record just to prove to us how "metal" they truly are, nothing more. - Envenomed
|
|
|
|
Today Is The Day - Live 'Til you Die (Relapse, 2000)
 Rating: 7/10
A live Today is the Day recording is long overdue. Steve Austin's pet project have always thrived on their live show, so this disc almost felt like a necessity. The outcome is
mostly positive here. The record captures the intensity of a live TITD show sans any visual effects.Also, a fair variety of their back catalog is present here so fans of every
era in TITD's sound should find something they enjoy. My only complaint? The live version of "Temple of the Morning Star" should not have been included. This haunting acoustic track served as one
of the most powerful TITD tracks i'd ever heard, but in it's love form sounds like a poorly recorded demo. A must buy for any TITD fan otherwise. - Master Shockwave
|
|
|
|
TT Quick - Ink (Ocean Records, 2000)
Rating: 10/10
 This is the fifth release by the legendary
quartet. What?! You didn't know that there were others!!?? Well, as wrestling star The Road Dogg would say "Your ass better call somebodyyyyyyyyyyyyyyy!!" Let me fill you in.
TT Quick hail from New Jersey which is the breeding ground for some of the greatest bands and performers in the history of show business. I'll give you a for instance: OVERLORDE,
WHIPLASH and OVERKILL all come from Jersey. At any rate, enough of the history I'll get right down to it. Ink is an incredible array of sheer power and anger. This is the heaviest offering from the QUICK
boys thus far. In the past they have released such classics as "Metal Of Honor", "Sloppy Seconds" and the explosive self titled debut EP.
But none compare to Ink. Tracks such as "The Water Song", "Whippin' Time" and the title track are all filled with aggression and
intensity which, in my estimation, is quite a departure from the hard rock style that has made them world reknowned. The band, which consists of Mark Tornillo (vocalist), Dave DiPietro (guitarist), Walt
Fortune (bassist) and "Erock" Ferro (drums), are in rare form on this great album. The songwriting, for the first time, is a true band
collaboration which is quite distinctive throughout this entire offering. Ink could very well be the groundbreaker for them. I've been a fan for many years and its great to have them back. They were once
billed as "The Most Famous Unknown Band in the World". Well I highly recommend that this moniker gets changed. So just to make sure, I encourage all of you to get yourself some Ink so that we can all
honor TT Quick as "The Heaviest Band To Ever Come Out of New Jersey"!!! - Bob Mitchell
|
|
|
|
Usurper - Necronemesis (Necropolis, 2000)
Rating: 8.5/10
 Critics: Gurus of contemporary journalism to
some... pretentious know-it-all, thumb-up-the-ass dickheads to others. Hmm.. either way it's hard to decide when you consider that 85% of the literate world usually
depends on 'em in finding some of the latest in 'balls to the wall BROOtality!' Yet if you're like me where you couldn't give a flying fuck about silly catch phrases that read like the front of a
14 year old's tattered notebook or a college professor's essay on music theory 101, then perhaps you'd care for something a little more simple which is where Chicago's Usurper
comes in. Since it's very inception back in '93, there hasn't been a band that's fallen prey to as much negative criticism as these guys. Often referred to as the band riding heavily on the coattails of Celtic
Frost, it appears that very few really understand what the band is all about. And the ones that don't.. well, sadly they'll probably never will either. Ahh fuck 'em! And judging from their third (and might I
add impressive) third full length album, Necronemesis, it appears these four iron clad warriors are saying the same thing, only louder.
Though still retaining that classic old school 80's feel, the band have
ultimately worked in enough sensibilities to keep things as fresh and exciting thanks to the splendid production job of Nomad Studios (the place where Mercyful Fate recorded it's last three or so albums).
Gone is the raw and unpolished sound that was last year's 'Skeletal Season' opus but thankfully the band still manages to work up a couple of unsettling creaks and shudders here and there. There's an
even more noticeable difference in the guitars and drums this time around which is definitely a big improvement. Though I enjoyed 'Skeletal Season' immensely (and still do) what hampered it a bit
however was the unusually odd tones used to make the guitars sound extremely grungy and distorted to the point where you really couldn't decipher or even distinguish the riffs from each other thus
resulting in a good, but frustratingly not great album. This time around however, the band correctly decided to go with a more chunkier and heavily layered guitar sound just to give it the much
needed kick it thoroughly needs. And while the old school influences are remarkably apparent, there still exists a unique feral-like nature all its own. It's like the unsettling outcome you'd get after mixing up
a boiling cauldron filled with the icy cold Nordic blood of Bathory, the charred, decaying remnants of early Slayer, and the venom of early Dark Angel.
The first song, 'Incubus Breed' kicks in with an ominous riff that recalls the opening to Slayer's 'Chemical Warfare' but only slower while the calculating, tension inducing pace at the beginning of '1666
AD' utulizes the same feeling as some of Seasons in the Abyss' slower material (think 'Dead Skin Mask,' for example). Of course, I probably should comment on King Diamond's guest performance on
the title track but I'd rather let readers experience it firsthand. However, I will say that his performance is surprisingly even better than what he's done on the last two or three MF outings (perhaps
due to various studio effects and whatnot). Basically, I could go on and on about this but overall Necronemesis definitely stands alone as one of this year's most promising Metal releases. Hey, screw the
recent mediocre attempt that was Destruction's reunion. This is the true art of Metal! Uuuuggghh!! - Envenomed
|
|
|
|
Voivod - Lives (Metal Blade, 2000)
Rating: 7/10
 This is a live album that is actually hurt by the fact that the band is TOO good live.
Voivod are fully capable of re-creating the dense sound of their albums in the live situation, a talent that did not depart with 50% of the original lineup. The "new" Voivod
power trio is obviously an immense live presence, as evidenced by Voivod Lives. Unfortunately, my first (and thus far only) chance to discover this in person was
squashed a few years back when I traveled into NYC alone late on a weeknight to see Voivod and Deceased live at The Downtime, a small but nice club on 30th Street. A historical night it was to be... but, it
was not to be. Apparently Voivod could not get across the border into the US because they either 1) were stoned, 2) were caught trying to bring marijuana across the border or 3) both of the
aforementioned. Like they couldn't have waited to get to NYC to smoke and/or buy pot. Bastards. Anyway, as the story goes, Voivod did not play and instead we were treated to a glorious evening of
Deceased, broken up into two sets, the second of which was played to a grand total of about 8 headbangers (me included) going nuts. Deceased played like they were at Madison Square Garden though
and, while I was bitterly disappointed that I did not get to see Voivod, I went home satisfied.
So, long rambling tangents aside, as I was saying, Voivod manage to
sound like the album in the live situation, and in the case of Voivod Lives, it is a downfall rather than an asset. As Voivod were playing in support of the Negatron album when this disc was recorded, 60% of
the regular tracks here are off that album. The problem is, as I said, they sound pretty much just like the album, so there is not much of a point to it all. What I would have really liked to have heard is the
new lineup's take on old songs, and we are treated to a few tasty renditions of "Tribal Convictions," "Nuclear War," "Ravenous Medicine"
and set staple, "Voivod." The Venom cover, "In League With Satan," would be enjoyable if I wasn't thinking "They could be playing
'Tornado' instead!" the whole time I was listening to it.
Two bonus tracks are included - "The Prow," which really is a nice
bonus as it surprisingly features the original Angel Rat lineup (the one Voivod album I have yet to be able to appreciate) and the excellent "Forlorn," off the follow up to Negatron, Phobos. Again,
another case where I would rather hear the new band's take on a classic track, but it is a great song.
So, my appetite is whet. Now let's have a much more comprehensive
(and retrospective) live Voivod release, featuring not only the new band playing the new and old stuff, but the old band playing the old stuff. I'll bet my third testicle that there are some quality live
recordings in the band's (or labels') archives. - Al Kikuras
|
|
|
|
Wizards of Gore - A Tribute to Impetigo (Razorback Records, 2000)
Rating: 9/10
 The tribute album has become a severely
mutated beast. The name, itself - "tribute" album - hardly applies anymore. What was once a monument to a band that, for one reason or another, was no longer with us has
become little more than a promotional tool for underground bands. That is not to say all tribute albums are without value... some present incredible performances by quality
acts, but when the act being paid tribute to is still actively releasing material and performing the same songs that bands are covering on the tribute albums, you have to question the
whole "tribute" factor. That is not to say that the bands on, say, a Slayer tribute were not influenced by Slayer. Hell, what metal band wasn't in one form or another? But, really, what is the point when
the band is still prolific and still playing the same freaking songs the bands are covering, themselves?
The point is this: relatively unknown bands use the tribute album as
an opportunity to get themselves heard by a much wider audience, as any Slayer (or Metallica, or AC/DC, or Morbid Angel, or MARILYN MANSON) fanatic will pick up the tribute album. The labels see it as a
doorway to more sales. Is either party wrong in their motivations? No. But what I say is call a spade a spade. Let's call the "tributes" to Iron Maiden and Led Zeppelin what they are... COVER albums, not
"tribute" albums. The tribute album is a sacred thing, and is no better evidenced than by Wizards of Gore, a tribute to the kings of goregrind, Impetigo. You know this album was pieced together out of
pure love for the band. This album will not be a hot seller at Tower Records. It won't attract much attention among the popular metal press. No one is cashing in on this album. That is not to say that
far-underground bands like Morbid Savouring or Demisor won't be exposed to a new audience... I am sure they will, but it is obvious that from the kind folks at Razorback Records to every musician that
played on this album that Wizards of Gore is an intense labor of love. There are no ulterior motives. These are people that are fans of Impetigo and all rightfully feel that the band's life span was far too
short. A tribute, in this case, is fitting and a fitting tribute is just what everyone involved delivers.
Some of the performances on Wizards of Gore come close to
catching the original magic of Impetigo. Some acts bring their own sound to the fold entirely, and a few (very few) turn the original works into what sounds like standard death metal tunes. Rather than
go through band by band and dissect the approach each one takes and the relative merits and weaknesses, I will save myself and you, the reader, a lot of time by just saying that any fan of Impetigo
would do well to pick up Wizards of Gore. There is not a single performance with out merit, and some are downright phenomenal. Impetigo deserve a tribute, and all Impetigo fans deserve to own this album. - Al Kikuras
|
|
|
|
Blackstorm - As Black As Thy Candles Burn (Darque Records, 2000)
Rating: 9/10
 When I saw the cover for this cd, I said to myself, "ah shit... this can't possibly be any
good". A girl in a black cape, some candles and a table with some tarot cards on it. What a shock I was in for! This is some remarkable atmospheric black metal. Beautiful
keyboards and tight guitar playing are held together with an array of vocal stylings, ranging from eerie whispers, to death inspired growls with some above average clean moans
as well. Only six songs long, what this cd lacks in quantity, it more than makes up for in quality. Overall, the sound is tight and aggressive, but what sets this band apart are the Opeth tinged
interludes that use subtle multi-layered guitars and tear inducing piano melodies to break things up. Opening with the title track, the most traditional black metal sounding song on the disc, you're then
taken on an emotional and sinister listening journey that wraps up nicely with the melancholy instrumental closer, 'the flame of autumn skies'. Produced by James Murphy, (Obituary, Death, Konkhra,
Testament, Disincarnate, Grand Funk Railroad, etc...) the guitars are naturally thick and venomous. And the drum work, while not stunning, is dialed in nicely and doesn't get in the way of the overall
mood this cd creates. SO don't judge a cd by its cover, just go buy this! - Daniel Lawson
|
|
|
|
White Skull - Public Glory, Secret Agony (Breaker/Nuclear Blast, 2000)
Rating: 10/10
 Now this review is one I will truly enjoy! Italy has produced some of the greatest
entertainers in the History of show biz. For instance, if you're a fan of movies we have such greats as Robert De Niro, Al Pacino, Joe Pesci, Marlon Brando and Director Martin
Scorcese. In the sports world we have Joe Di Maggio, boxer Jake La Motta and wrestling champion Bruno Sammartino. How can we forget the legendary RAT PACK which was
lead by the greatest Italian ever in one Frank Sinatra. For you fans of the "darkside" perhaps underworld figures like Al Capone and John
Gotti fall in your favor. After all you can't have the good without the bad, right? Now with all that said, Heavy Metal and the world it lives in, is also shared by the Italian people. Ronnie James Dio, Jon
Oliva of SAVATAGE, Tony Portaro of WHIPLASH, Dan Lorenzo of HADES and bands like WYVERN immediately come to mind. Well now we have a new addition to this illustrious list and that band is WHITE
SKULL. Their latest offering is
nothing short of incredible! The album just explodes from start to finish. My favorites are"High Treason", "The Roman Empire" and
"Greedy Rome" is power metal at it's very best. "In Caesar We Trust" and, more specifically, "The Field of Peace" slows the pace just a bit without losing any of the bands power.
The line-up consists of guitarists Tony "Mad" Fonto and B.B. Nick Savio, rhytym section Fabio Pozzato on bass and Alex Mantiero on drums and finally on vocals we have Frederica De Boni, an amazingly
accomplished vocalist whose vocal style reminds me of the great Ms. Lee Aaron, and if may say so, her beauty matches her talent most perfectly. Great musicianship and superb songwriting is
showcased for this entire album! I find this to be a concept album which is further evidence of the time and sacrifice spent to make this album happen. The results of hard work and dedication prevail
throughout this entire offering. WHITE SKULL have a style all their own. This too is a must have album, which to me, is one of the best releases of 2000 as well. Ms. De Boni is the very woman all of you
young female singers should be listening to, that is , if any of you REALLY want to learn how to sing with emotion, conviction and passion without all that yodelling and howling that our contemporary
female vocalist have come accustomed to these days.
In summation, WHITE SKULL's latest album is everything a metal album should be and more. Ah yes, it's a great day to be an Italian. Ciao! - Bob Mitchell
|
|
|
|
Kamelot - The Expedition (Noise Records, 2000)
Rating: 9/10
 Although certain Floridians have trouble voting, they certainly know how to produce
some of the greatest bands in our industry. KAMELOT is definitely one of those bands! This live album chronicles the bands tour of Europe which took place earlier this year.
More specifically, their stops in Germany and Greece are now a piece of recorded Metal History. I must say that I am not familiar with this band at all so this is one hell of an
introduction! Highlights for me include "Millennium", "The Fourth Legacy", "Call Of The Sea" and all three of those rare bonus tracks
just shine to perfection especially "We Three Kings". I just know Jon Oliva would be proud if he heard this great remake of the Christmas
classic. Their music is quite reminiscent of other Prog-Metal giants like early FATES WARNING, early QUEENSRYCHE and present day SAVATAGE.
This band blends classical influences with a sheer heaviness that makes them unique, in a sense. How about the band? Well we have guitarist Thom Youngblood, bassist Glenn Barry, drummer Casey Grillo,
Gunter Werno is credited as "Guest Keyboards" and finally we have on lead vocals Khan. What a voice! His vocal talents and demeanor remind me of Tony Martin (he sang for Black Sabbath kids). The
packaging is extraordinary. Packed with great shots of the boys in concert, shots their fans going absolutely wild along with lyrics and some of the best artwork I've seen in quite some time. If you're not
familiar with KAMELOT, get this album and get it now! It's a great 'musicians' album and headbangers will appreciate their heaviness as I certainly do! As I said before, it's the perfect introduction to the
perfect band! - Bob Mitchell
|
|
|
Nevermore - Dead Heart In A Dead World (Century Media, 2000)
Rating: 8.5/10
 I am faced with a journalistic moral predicament in writing this review. When a band releases a phenomenal album, they
immediately set themselves up to be judged against that album; it serving as a pedestal up against which all other albums are placed for the rest of their careers. Not fair, I know.
The band did not do it to themselves... it is we, the critics (and fans), that are guilty ones.
In my opinion, Nevermore released one of the finest metal albums of
all time - Dreaming Neon Black. This is where the above aberration in critical logic comes into play. Against 99% of the other albums released since Dreaming Neon Black, Dead Heart In A Dead World
would probably stack up at the top of the heap, but it is a less-monumental piece of work than Nevermore's previous album. All of the songs are good, and some are even better than anything on
Dreaming Neon Black. The album's opener, "Narcosynthesis," is perhaps Nevermore's finest moment to date. Heavy, with great hooks, this song embodies all of the things that are great about metal.
What Dead Heart lacks that made Dreaming Neon Black so perfect is the unifying theme running throughout the music. Whereas Dreaming was a concept album, with a chronological story line that dictated
each song, each word, each note fall exactly where and how it did, Dead Heart does not. While this certainly is not a mere collection of songs, as the album does flow, the sense of the epic that propelled
Dreaming Neon Black to such lofty heights is missing. Also, there are some less-inspired moments on Dead Heart In A Dead World, such as
"Evolution 169." Killers like "We Disintegrate" more than make up for them, however. "The Heart Collector" is a bit overlong, but is
followed by "Engines of Hate" and the Simon & Garfunkel cover "The Sound of Silence," both of which are excellent. "The Sound of
Silence" is especially impressive, as they took the original and rewrote it into a severe metal workout, working off the same progression rather than just doing a straight-up metalized cover. If
you just had it on in the background and did not really pay attention to the lyrics, you might not even realize what song it was, but once you do know, the arrangement starts to make sense and sound oddly
familiar. I have to question the placement of some of the tunes, particularly tracks 9 and 10, "Insignificant" and " Believe in Nothing,"
respectively. While each is a good song in its own right, both are mid-paced "power-balladesque" cuts that, when back to back, seem
to drag a bit. Moving "The Sound of Silence" in between them would have served to break up the two (believe it or not, any trace of a
"ballad" from the song is long gone in this version), it also would have made the album seem formulaic, as if "Insignificant" (track 9) was
switched with "The Sound" (track 8), the flow from song 4 on would pretty much have been faster song - slower song - faster song - slower song, etc. It's a hell of a corner Nevermore painted
themselves into there - damned if they do, damned if they don't.
On another note, not of tremendous consequence, is the departure of former Fobidden (and now Nevermore, too) guitarist, Tim Calvert. I
chalked much of my love for Dreaming to the presence to his playing, as I am a HUGE fan of Forbidden's first two albums and miss their style immensely. Not that Nevermore picked up where Forbidden left
off (I refuse to accept the fact that anything after Twisted Into Form was released under the Forbidden name), but elements of Forbidden could be heard in Nevermore's music. Jeff Loomis has
certainly done a more than adequate job of picking up whatever slack Calvert may have left, but that tinge of Forbidden is missed by my ears.
So, all said in done, a very good album that fans of previous
Nevermore work should love and an album that I am being a bit too hard on because of my affinity for Nevermore's last release. - Al Kikuras
|
|
|
Hammerfall - Renegade (Nuclear Blast, 2000)
Rating: 3/10
 I feel a bit feminine after hearing this cd. Every lame heavy metal cliche is filled here and then some. The production is the only
good quality of this glorified coaster, but even that doesn't save me from the horrendous music on this. This is so unoriginal it hurts to listen to, it sounds like Manowar, Iron Maiden, and Iced Earth riffs
all rolled into one cheesy ball of power metal, and Warrel Dane the vocalist is not. Just don't listen to this or you will grow to hate power metal. - Rick
|
|
|
|
Reign of Erebus - Of Blackest Magick (Blackend, 2000)
 Rating: 2/10
I can sum this album up in one word, lame. However one word hardly does something this atrocious justice. They even have the
lame early 90's corpsepaint and somehow manage to bore you throughout the entire disc. There's nothing new here, folks just listen to Emperor-In the Nightside Eclipse...you know, the cd Reign of Erebus
ripped off and tried to copy. - Rick
|
|
|
|
Pissing Razors - Fields of Disbelief (Noise Records, 2000)
Rating: 1/10
 Ok this is like coal chamber but worse then the aforementioned band. Fans of this band need only apply. If you are looking for a
good metal hardcore crossover go for old ProPain or Judge, hell even the CroMags. This sounds like a lame attempt to be like those bands, as theres not one creative
note of music on this entire cd. Don't buy this, or even listen to it, as it would be $15 down the drain and 50 minutes of your life you could never have back. - Rick
|
|
|
|
Back to the top.
|
|
|
© 2000 Unchain the Underground
Contact us via email
|
|
|
