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Considering Dwell has released a tribute to every fucking act imaginable, I always wondered then they'd throw a Morbid
Angel tribute our way. Well here we are.
Surprisingly, the sound quality of the concert footage in S.O.D.'s full length semi-rockumentary/concert video feature isn't
all that great. If I had recorded it myself with a camcorder and it came out like that, I'd be impressed, but considering this was taped for a full-length feature, the fact that at times it
sounds like I recorded it myself with a camcorder isn't all that impressive. The visual quality for most of the life stuff is pristine & pro-shot, but the
music seems to overload the mics, like it is just too loud for the equipment, and the resulting sound is a bit muffled. There is lots of good candid behind-the-scenes footage and
interviews and I think they play just about their entire catalog of songs throughout, plus some M.O.D. tunes. It's no Hell On Stage Part I (Manowar), but Kill Yourself, the Movie is a fun
way to spend two hours with loads of good music and a lot of good laughs. Get a pizza, some hot sauce,a case of beer and Kill Yourself (the movie), and you've got yourself a full evening. - 
This is CNN.... I mean, this is Stuck Mojo. I am not a big fan of politics in my metal, especially when it comes in the form of
preachy spoken word intros, extolling the virtues (!?!) of Louis Farrakhan. Besides that, Stuck Mojo appears to have attempted to go for a more radio friendly sound that comes off as an angrier
Korn/Limp Bizkit type of band. I KNOW that Stuck Mojo have been doing this style longer then the aforementioned groups, but they used to be more pissed off sounding. Now its too easy to envision 15 year olds in big
pants jumping up and down to this cd. The only good thing about this disc is the track "Raise the deadman". They should scrap the rest of this album and release this song as a cd
single. All 4 of my points for this cd went towards this song. - 
FUCK YEA!!! This Monster Magnet side project kicks out the jams like it's 1975. Perhaps the best '70s retro-rock I've yet
to hear. These motherfuckas serve up some dirty rock n' roll and make no bones about it. These guys love them some Motorhead, Sabbath and Nugent records. "Forty Five" may even become
my new drinking song. Some jazz parts even get thrown into the mess for good measure. If you're looking for cat scratch fever all over again, pick up this fucker. - 
Swedish death/black metal is the name of the game here. These guys are hardly writing the
book on the style... but their contribution seems relevant nonetheless. God Dethroned meets In Flames is a good point of reference. The sounds work. The drumming
is fast at times, mid-paced at other, but always keeps the songs flowing. The vocals go from typical Swedish screams to death metal growls. And the leads are
total Iron Maiden worship. Like I said, this is not anything groundbreaking, but if you're looking for some new Swedish metal this is perfect. I can't see myself really sticking to any
one song in particular, but none of them get on my nerves either. - 
If Theatre of Tragedy insists on calling this garbage 'musique', then I shall be forced to call it crapue. After a painful listen to
this experiment in aural nonsense (that included a BONUS TRACK?!?!?! pleeease let it end!), I gave this cd to one of my goth friends. Two days later I found it stuck between the doors to my
apartment. When I called her for an explanation, she said that she had never hated a cd so much in her life. I asked her why she didnt just throw the damn
thing out? Why return it to me? "Because", she said, "I didn't even want to risk having my garbage man thinking that I would own an album THIS bad." If you liked TOT's earlier stuff
as I did, then go buy Within Temptation, or Autumn Tears. But if you like prancing around in a black leotard to awful pseudo-industrial garbage, by all means, buy this cd. - 
Warhorse are a truly special band. Having witnessed their live assault recently, and now being blessed with
their new full length, it's plain to see that these guys are doom monsters. Taking equal influence from Sabbath, Hawkwind, Burning Witch and Winter, Warhorse churn out the soundtrack to your worst
acid trip. Opener "Dusk" could almost pass for emo-rock with it's melodic acoustic guitar passage. But with track two("Doom's Bride) the pain begins. Savage
riffing and pounding drums, come together in one powerful momement, beautifully complimented by space, psychedelic guitar. True is doom. And true is Warhorse. Recommended
for anyone looking for some of the most painful music around today. - 
Ahhh, grindcore. For some reason, it rarely fails to entertain me. I think it is the short songs and fast changes. I know I
rag on bands for not doing anything new like the bitch I am, but when it comes to grindcore bands I am usually having too good of a time to notice that they aren't bringing anything new to the plate. 
Many many years ago, when I was running the print version of Unchain the Underground (what was that, almost 12
years now??), I received a neon green sampler cassette from a band called Skitzo. I liked it enough that when I received an email from Skitzo main-man and puke factory, Lance Ozanix, warning
me that a promo CD was en route to my P.O. box, appropriately a little green light lit up in the back of my mind. 
Wow. Three vomit-related reviews in a
row! Whereas Skitzo’s Got Sick is thrash and Demonic Orgy’s Sport Vomiting is a brutal mess, Vomitory’s Revelation Nausea is well-produced death metal akin to Broken Hope’s later albums and, more
notably, Vader’s latest release, the awesome Litany. Vomitory aren’t quite the songwriters Vader are, but they just about hold their own against the Poles in the heaviness
deparment. I am still waiting for the track that knocks me on my ass the way Litany’s opener, “Wings,” did and although Vomitory haven’t quite done it, they’ve come pretty close
with “Beneath the Soil.” The vocals, while appealing in their ultra-deep register, are pretty par for the course as far as death metal goes. Very little variation in pitch and minimal
annunciation makes for unmemorable vocal lines, but the sheer heaviness and brutality of the entire vocal-music package just about makes up for it. I expected Vomitory to
play a more repulsive brand of death metal, more like Impetigo than the aforementioned Vader... the primary difference being more of a focus on sounding disgusting than
musical chops, which are undeniably top-notch in Vomitory’s case. The drum work is particularly impressive, with drummer Tobias Gusstafson turning in one of those machine-like “how
the fuck does he play so fast for so long” performances. So, while I think they would benefit from a more varied vocal performance (and the vocals being higher in the mix, as they
are a bit buried) that does not prevent me from enjoying Revelation Nausea thoroughly. - 
I expected to be crushed when I first listened to Necronom. Not crushed in a good way, like (as Chuck from Death
likes to say) “this crushes, man!” but crushed as in let down. First off, the cover art is awesome. I thought “there is no way it is going to live up to that cover
art.” I am real happy to say that I was wrong. Exordium is a short (approx. 17.5 minutes) 3-song ep of passionate, symphonic-yet-brutal death metal. The keyboards are a bit heavier than I usually
like, but in this case, they work well because the guitar work on the album is flashy enough that it is not drowned out by the keys. Necronom mastermind (and impressive
one-man-band) Christopher Howard Lincoln creates a dense atmosphere, allowing guitar and keyboards to define the melody alternately and, sometimes, simultaneously - building
upon one another to a singular dark, melancholic, yet brutal end. Atmosphere weighs heavy on these three tracks. While Lincoln’s death metal voice is convincing, his clean vocals are
a bit touchy-feely. Thankfully, they are not very heavily employed. A drum machine is used and used well for the most part, but occasionally the feel and sound of a real
drummer is sorely missed, like at approximately 2:40-3:00 of song #2, “The Ashes of Empire,” right before the guitar solo as well as the beginning of song #3, “Thistles in Winter.”
When the drums are isolated a bit, that “each and every hit sounds the same” quality that I feel is the major flaw of a drum machine sticks out like a sore thumb. The fills are also a
bit stiff as a result, especially considering the emotional weight of the music. 
What we have here is the re-release of a classic metal demo from NJ’s Sleepy
Hollow, released by King Fowley’s Old Metal Records. New cover art, liner notes that were never included with the original and a different track order, but all the music is the same, and what glorious
metal it is. For you history buffs (all two of you), I originally reviewed the Sleepy Hollow demo in Unchain the Underground #2 (the print version) in 1990. I praised it then, and listening to it again
now (the glory of vinyl!) I can heap equal praise on it now, 11 years later. It has truly withstood the test of time. 
Ahhh, the cassette demo. Photocopied cover, a Maxell tape with a plain old
label sticker on the top. It brings me back! I didn’t know people still released these. In the CD and CDR age, it seemed everyone and their mothers were releasing CDs!
I didn't think it got much worse then Diabolous in Musica, boy was I wrong! The
only thing worse is bands attempting to recapture the intensity Slayer once had. With the exception of Incantation's bone crushing cover of Hell Awaits, Abigor covering Crionics, and Cephalic Carnage's
bizarre remake of Jesus Saves... this is an expensive coaster. Avoid unless you are a fan of bands rehashing tired played out songs, then by all means pick this up. - 
This is how a tribute should be done! From Krabathor's great rendition of The Four
Horsemen, Solarisis' unique cover of Nothing Else Matters, and Blasphemy Divine's doing my personal favourite Metallica tune Welcome Home/Sanatarium..the song selection on this is outstanding, so are the
bands chosen on it. Some other bands featured are: Mystifier, Noctuary, From the Depths, Dabolic, Abominant and Coffin Texts, all of whom do great covers of one of the most
original bands ever (Pre-Black Album, of course.) Any fans of older metallica that listen to extreme metal need this tribute, best one Dwell has released in quite a while. - 
Wow! Quite a few songs here... 51 total
on two CDs. Featuring unreleased tracks from Dying Fetus, Neurosis, Amorphis, Burnt by the Sun, Pig Destroyer, Agoraphobic Nosebleed, Vile and others as well as album tracks from such
current well-known bands as Incantation, Cephalic Carnage, Origin, The Dillinger Escape Plan, Deceased, Benumb, Nile, Exhumed, Mortician and many others, this compilation offers
you a good ammount of variety for your buck (8 bucks, to be exact). It also has many classic bands like Human Remains, Exit 13, Anal Cunt, Disembowelment, General Surgery,
Phobia... the list just goes on and on. This is probably the best compilation to come out in years, and it's perfect for those who are new to metal, or who want to re-live the past
10 years of a label who has unquestionably released some of the most important albums in this decade. Pick this up. -  |
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Primal Fear - Nuclear Fire (Nuclear Blast, 2001) Rating: 8.7/10
On their second effort, Jaws of Death, Primal Fear Showed a lot of growth. Moving beyond their fears, and becoming more aggressive and taking more chances. However I think the fear that they would get labeled as a Judas Priest clone was still keeping them from making the album that would place them with the best of the current metal bands. Perhaps Ralf just couldn't really do the Halford like singing that takes the music three notches higher, and makes the album a classic. I thought that until I heard Ralf do a cover of Judas Priest's song Exciter on a Judas Priest tribute album. Not only can Ralf do Halford, he should do Halford, or at least study what made Halford the best metal singer ever, and take that knowledge back to his own music. Ralf's singing voice isn't that good, it's his high notes, and power singing that makes him great. Well, now we get to this album, Nuclear Fire. Like I said earlier, Primal Fear are slowly improving, and this is an improvement over Jaws Of Death, but there is still something missing. A lot of the "singing" is gone (thank god), and it's mostly high vocals and power, and the band is really kicking out some good tunes. I guess it's the fact that I expect more out of them the way a parent expects more out of their smart child. When the dumb child gets a B that's great, but a B just wont cut it for someone that should be getting A's. Understand. Well, this album is a B+, but that just isn't good enough young man. - Piston Rod |
Primal Fear are a band that is slowly getting better. They started out with much hype and anticipation, and came
out at about half-mast. On their self-titled debut the band seemed to be holding back, and a little timid, but still very impressive. They had the chops to play with the big boys, and Ralf Sheepers had
the pipes to hit the high notes, but something was missing, they weren't kicking our asses. |
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