Music Reviews

Abhorrence - Evoking The Abomination (Evil Vengeance Records, 2000)

Rating: 8.5/10

This is most definitely one of those CDs that does everything it can to dispel the "You can't judge a book by its cover" myth. The artwork looks just like the band sounds... dark, evil, menacing and aggressive. Abhorrence are countrymates with the much-praised Krisiun, and the two are very similar in sound. Hell, the drummer is even wearing a Krisiun shirt in his band pic. I think Evoking The Abomination is a much more entertaining listen Krisiun's latest, Conquerors Of Armageddon, however. The latter was, to my ears, an unremarkable slab of death metal. Too straightforward for its own good.  Once you got past the speed, what is there? Not a whole lot. While Krisiun certainly have the playing down, I think their songwriting is lacking. None of the material sticks and I get the feeling that they are playing fast for the wrong reasons: 1) for lack of anything else to do and 2) because they can.

Anyway, this is not a Krisun review. Abhorrence is the band under scrutiny here, and while they can hold their own against Krisiun in the speed and intensity department, the material proves to be a much more interesting listen to mine ears. It gets a little monotonous around the seventh song, but the opening to track 8, the album's closer "Triumph in Blasphemy," comes on strong and grabs the attention once again. The vocals are pretty one-dimensional, but very appealing. The recording is full and somewhat dirty sounding in a very cool way. Death metal is still alive and well and Abhorrence are testimony to the fact. - Al Kikuras

Belfegor - The Kingdom of Galacial Palaces (WWIII, 2001)

Rating: 8.5/10

Taking the eerie quality of Immortal's Diabolical Fullmoon Mysticism and smashing it head on into the musical chops of later Immortal releases like At The Heart of Winter and Damned in Black, Poland's Belfegor have brewed up a ver potent concoction of death-ridden black metal. The cover art to The Kingdom of Galacial Palaces even calls to At The Heart of Winter, though the lack of intensity that turned so many off to that disc is nowhere to be found. Belfegor seldom let the listener catch his breath on these 12 tracks. After a 20-second prototypical black metal whispy intro, they come out at full fucking tilt and do not let up at all. The downside is that, at approx. 46 minutes, The Kingdom of Galacial Palaces gets to be a bit overlong but you can listen to the album for a solid 30 minutes from any point and it will keep you entertained. While Belfegor are far from the minimalistic style of Transylvanian Hunger and Nattens Madrigal, black metal purists that hate the pomp of symphonic gothic black metal will feel vindicated with each spin of this disc, as it is nothing but pure uncut venom and hatred. - Al Kikuras

Burnt By The Sun - s/t (Relapse, 2001)

Rating: 7/10

I've been a bit fed up with the slew of Dillinger Escape Plan v 2.0 bands that have been coming out on Relapse lately. Hell, I don't even know if there are all that many, but I've heard a few and that's enough. Burnt By The Sun are definitely of that ilk, but I like them more than the average bandwagon ticketholder as they are decidedly more death metal than hardcore. Still, beyond that there is little new here. Same mathematic metal that sounds more to me like great musicians wanking than writing especially interesting material since this has been done to death lately. Got to give them credit for bringing something a little new to the party though. - Al Kikuras

Cabal - Midian (Red Stream, 2001)

Rating: 8.5/10

The music is excellent. Quality thrash with death metal overtones. Vocally, the most interesting moments are the death-metal like choruses on the title tracks. Otherwise this is Killjoy's least-impressive vocal work that I have heard to date, but that is not to say it is bad. We all just know the man is capable of much more sickening sounds than the toned-down delivery on Midian. The closest comparison I can think of is Carl Fulli (from the now-defunct Epidemic). The production is excellent. Very full and dark. Had Midian been released when it was first recorded, it would have caught some serious attention. They certainly don't sound like a "short-lived" band, but rather like veterans, and as the bio brags, could have held their own against Dark Angel, Testament and other heavies of the era. In the current scene, with so many bands blending thrash and death metal once again, Cabal does not sound slightly dated or forced as many of the contemporary bands attempting this stuff do. - Al Kikuras

V/A - Requiems of Revulsion: A Tribute to Carcass (Death Vomit Record, 2001)

Rating: 8/10

Usually a tribute spells disaster. The keyword is "usually", however in this case Necropolis Records actually delivers a fitting tribute to a legendary band. While some people may not have enjoyed Swansong, or Heartwork there is no denying the impact their earlier material had on grindcore, goregrind, and brutal death metal. This tribute focuses on the early days with only 1 song from Necroticism, the rest from Reek of Putrefaction, as well as Symphonies of Sickness.  Most of this tribute is at least average with a few exceptions. I could have done without Vulgar Pigeons butchering of "Corporeal Jigsore Quandary", as well as Disgorge(mex's) attempt at covering "Hepatic Tissue Fermentation". Most of the other tracks are done very well though, like Haemorrhage - "Pyosisified", Exhumed - "Exhume to Consume", and also Regurgitate - "Psychopathologist".  The standout tracks here though are Pig Destroyer-"Genital Grinder/Regurgitation of Giblets", Avulsed's carbon copy (but heavier) cover of "Embryonic Necropsy and Devourment", and Impaled's killer rendition of "Carneous Cacoffiny".  When it's all said and done the good outweigh the average/bad and the end result is a tribute that is fitting for the Gods that Carcass were.  If you liked anything from Symphonies of Sickness, or Reek of Putrefaction this is for you, but if you only heard Swansong and Heartwork avoid this. - Rick

Chamber Metal: Neo-Classical Metal Guitar - Various Artists (Dwell Records, 2001)

Rating: 8.5/10

The first song "Sarabande..." / Fading Away by Joshua Craig Podolsky is quite boring. I wasn't crazy about it. Standard guitar god jerking off. Clash With Devil and To Escape For Life by Milos "Dodo" Dolezal are both wonderful: Majestic soaring guitar riffs and enjoyable melodies. Definitely the star of this whole collection. If more power metal bands could do this the world would be a better place. Very cool. Gutzy Rose by Honza Kirk Behunek has a nice crunch to it. Leige Lord type ideas. I like this one a lot. Paste's Whipped Cream is cock sucking fag crap. Alcatrazz type shit. Boring! Broken Helm by Jura J Topor is next. A lot going on. Very fast playing, switching up to more heart felt power ballad stuff, and then back again. Not bad, but not great. Jumper Lace by Roman Krokus Kriz is exactly what you would think this album would deliver. I'm not crazy about this one. Yeah very epic-like, but not really living up to what it is trying to do. Presto by Roman Krokus Kriz has a fresh feel to it. Classic Van Halen riffs with interesting use of distortion and white noise.

I'd say that for sure the best two songs on the album are Clash With Devil and To Escape For Life by Milos "Dodo" Dolezal. The worst is "Sarabande..." / Fading Away by Joshua Craig Podolsky. Honza Kirk Behunek split his songs with Gutzy Rose being very cool and Universe being a lame duck.

Overall and interesting idea for an album. I'd for sure like to hear more from some of these guys, and no more from others. I think that when guys like this just come out and jerk-off with their guitars it leaves a bad taste in my mouth. Egos getting in the way of great music.  All in all however, this is a cool album to throw on and just chill out to. - Piston Rod

Church of Misery - Master of Brutality (Southern Lord, 2001)

Rating: 8/10

As Unchain the Underground's doom fanatic, I am constantly blessed with quality doom releases from the Southern Lord label. Greg Anderson (CEO of Southern Lord...LOL) has assembed quite a roster. Church of Misery are another fine addition in the war against your hearing.  C.O.M. are pretty straight forward honestly.  Sabbath influenced dirges that are well written and center around the serial killer theme. The record even opens with an eerie John Wayne Gacy sample.  Highly recommended. - Master Shockwave

Dark Funeral - In The Sign... (Necropolis, 2001)

Rating: 5/10

I was just discussing this EP with one of our reviewers and he told me it is Dark Funeral's first release re-issued. Well, let's hear it for progress. I've never really wet my pants over this band (I am known to wet my pants over both pizza and good hamburgers though), but they didn’t strike me as being this by-the-numbers on the last two albums.

The EP's opener, "Open The Gates," is the one track that stands out, and that is only due to the semi-catchy chorus that utilizes some deep death metal-type vocals (as catchy as it gets for this kind of black metal, anyway). I am convinced that the music and vocals of the verses could be interchanged and no one would really notice. Not that the riffs are exactly the same, they just aren't slightly remarkable. Same drum beat, same tempo. Track 5, "Equimanthorn," is a standout, cranking at top speed from the first moments to the last, as is the EP's closer, "Call From The Grave," which sticks to a slower chugging speed. As for the rest of the tunes... not bad stuff by a long shot, but I've heard it a million times before, don't need to hear it again. - Al Kikuras

Defiled - Ugliness Revealed (Necropolis/Deathvomit, 200)

Rating: 7/10

Japan’s Defiled aren’t really new on the metal scene but Ugliness Revealed is their first proper US release. Defiled aren’t rewriting the book on death metal either, but this recording is a unique death metal endeavor simply because the bass guitar is quite audible in the mix. But make no mistake about it. Defiled are some angry motherfuckers and they’re coming for your ass. They plan to gut you and hang your spine in their window. Obviously after a candlelight dinner. - Master Shockwave

Diabolique - The Green Goddess (Necropolis, 2001)

Rating: 1/10

I hate crap like this. If I wanted to hear Morrisey do metal, I'd shoot myself because I'd be a big fucking pussy, but then I'd probably be too much of a puss to do it so I'd probably just sit home and listen to Diabolique piss and moan all day and night until someone came along and (hopefully) put me out of my misery. Pretentious, melancholy crap with a singer that sounds like a lame David Byrne. My sympathies to the PR person that has to pretend to like this. Necropolis... what were you thinking releasing such vile fluff?? - Al Kikuras

Diecast - Day Of Reckoning (Now Or Never Records, 2001)

Rating: 6/10

Most death metal bands would beg for production values like this. The guitar tone is as thick as an Italian girl's moustache, and the drum sound threatens to cave your head in. Unfortunately, there isnt much content to back up the slick studio trickery.

I feel like I've heard this album a million times before. It follows the simple hardcore blueprint of slamriff, doublebass part, slamriff, slamriff, doublebass part. But what really pisses me off is the singer. His clean (emo) vocals are outstanding, yet sparingly used. When he is in Phil Anselmo mode, however, he only succeeds in sounding like an extremely pissed eigth-grader. Had he the testicular fortitude to go a bit lower in his hardcore delivery; and found a way to work in the clean stuff a little more, I would have actually liked this. - Daniel Lawson

Dies Irae - Immolated (Metal Blade, 2001)

Rating: 7/10

Immolated is a very enjoyable, yet unremarkable release. Featuring Doc (drums) and Mauser (guitar) from Vader, Dies Irae's debut release, not surprisingly, sounds very much like Vader's last release, the excellent Litany.The vocals are less remarkable, largely due to the lack of annunciation, but still incredibly similar to Peter from Vader's in style and sound.

The music is fast, heavy and brutal, just like on Litany. There really is little that distinguishes this album from Litany, so again, I find myself asking what the purpose is of a side project if the material could just as easily be released by the main band. Immolated is a strong death metal record that fans of Litany, like myself, will enjoy immensely but I can't help but wonder what the point of it all is. Especially since both Doc and Mauser wrote all the material - it could just as easily been a Vader album. I know the reasoning for the separate band/release... Vader's latest is still relatively hot off the presses, so from a marketing standpoint the timing is not right to release another Vader album, but I'll bet if you put these two discs on shuffle in a CD player, if you weren't already familiar with each release you wouldn't be able to tell which song is from which band/album. Great death metal, but I can't give it higher than a 7 because it's a new name with no new music. - Al Kikuras

Dissection - The Past Is Alive (The Early Mischief) (Necropolis, 2001)

Rating: 8.5/10

I never really "got" Dissection. I know people absolutely worship their Storm of the Light's Bane album. Hell, one of our staff writers, and I will not say who (Master Shockwave), can't even listen to the album anymore because it reminds him of his ex-girlfriend. It just never did it for me. It was too melodic and polished for my tastes.

The Past Is Alive is much more my flavor. As these are essentially demo recordings, the overall sound is much more raw and appealing and a lot of the material has a more death metal feel than the aforementioned proper release, particularly the version of "Feathers Fell" included here. The Past Is Alive includes songs from the 1991 7" release, Into Infinite Obscurity, the '92 Somberlain promo, the 1990 demo The Grief Prophecy and rehearsal tracks from both Dissection and the pre-Dissection band, Satanized.

Needless to say, Dissection worshippers should absolutely pick this up, and folks like me that for one reason or another (primarily because I am a dumbass, I am sure) weren't thrilled by Dissection's later material might want to check it out as well. I, for one, am going to grab Storm of the Light's Bane and give it another chance for the umpteenth time and hope it sinks in once and for all, because I really like everything I hear on The Past Is Alive. - Al Kikuras

Extreme Noise Terror - Being and Nothing (Candlelight, 2000)

Rating: 8.5/10

At times, on Being and Nothing, Extreme Noise Terror sounds like Terrorizer with better production, which isn't entirely surprising considering they come from the same era of early grindcore. Being and Nothing has an updated sound - you can tell ENT employed their death metal sensibilities, mixing the two genres, which keeps things from blurring into a big wall of monotony as a number of grindcore releases tend to do. But, it is an adherence to the grindcore basics at the core that gives Being and Nothing its real appeal - an emphasis on blast beats and speed, plus dual vocals (one high, one low), each with a relatively monotone delivery that is appealing in its predictability. The thing I love about this kind of grindcore is that it can approach an almost trance-like quality. The pounding and relentless brutality becomes, ironically, soothing. I can fall asleep to albums like this just as easily as crank it in the middle of the day to jar myself out of that 2 o'clock "been on the computer too long" haze.

The performance is pristine on the part of all members. The guitar playing is meticulously clean, which is not always the case in grindcore. The drum recording is very crisp - drummer Zac O'Neil most definitely does not need to bury his performance behind a wall of low fidelity to cover up flaws in his playing as apparently, none exist. An impressive release that, despite numerous lineup changes, more than lives up to the Extreme Noise Terror legend. Acts that cite ENT as an early influence can add Being and Nothing to their list of "god" albums right along with Holcaust in Your Head and Phonophobia as it certainly holds its own against any of the band's previous works. - Al Kikuras

Fog - Through the Eyes of Night... (WWIII, 2001)

Rating: 8.5/10

Apparently this is NOT the same Fog that released which I pawned off on one of our staff writers, Rick because I thought it was dismally lame (Rick agreed - click here for his review). I am glad I tossed it in to make sure before passing it on to Daniel Lawson, our resident doom fan and staff writer, not only because I dig this album, but because Daniel might have been disappointed, as Fog play very over-the-top and ugly black metal that am really enjoying at this very moment.

The promo sheet features artwork (Christ's floating decapitated head) that is a lot more striking and controversial than the actual release. Flipping this mofo over, I see in the notes that Fog features ex-members of Morpheus Descends, a now-defunct NY band from my area. Though no where on the annoying cardboard promo sleeve or the promo sheet is the lineup listed, one of the fellas in the promo pic looks kind of like Andy, a nice fella that used to play bass for Morpheus Descends and ran a sweet distro out of Rock Fantasy, a record store in Middletown, NY that has been less-and-less worth going to every day since Andy and current Incantation bassist (and former Morpheus Descends guitarist) packed up their distro and moved it out of the shop. I'd like to mention that one of the other band members looks a whole lot like Courtney Gains (best known for his depiction of the beauty-pageant winning Malachi in Children of the Corn).

L to R: Nice Andy, someone else, the guy who looks like Courtney Gains, someone else.

Anyway, I digress. Fog play very dense black metal that reminds me a bit of Skyforger from Latvia's amazing Kauja Pie Saules album (http://www.unchain.com/current/music_reviews2.html#tent h a band I have been meaning to interview for ages - if anyone knows what they are up to now, let me know). Though much less folk-influenced and sporting a more cohesive sound, Fog, like Skyforger, use melody well without sacrificing the ugliness that is an earmark of black metal and the thing I love most about the genre. Any and all black metal fans would do well to pick up Through the Eyes of Night as it is a prime example of USBM done with class that doesn't wear thin after repeat listenings. It is bands like Fog that are going to survive the flushing the oversaturated black metal genre is beginning to go through, and as evidenced by the quality of material on Through the Eyes of Night, they have earned their stay. - Al Kikuras

Gandalf - Rock Hell (Earache, 2001)

Rating: 7/10

Chunka-chunka-chunka, bang your head and make a metal face. This is some damn good dirty, in your face deathrock. Sunlight Studio type production with badass bellbottomed riffs make Rock Hell a cd that makes you want to go get into bar fights.

There is one distracting element, however. While for 90% of the album, the vocals are whiskey drenched thrashy growls, occasionally Gandalf tries to incorporate some 2 and three part harmonies that result in a sound akin to In Flames doing a bad ELO cover. Other than that minor irritant, this album farts in the face of most others attempting this type of ballsy crossover metal. -Daniel Lawson

Gorguts - From Wisdom To Hate (Olympic, 2001)

Rating: 8.5/10

This is a difficult album for me to review. Gorguts' last release, Obscura, is one of my favorite albums of all time (you can see my glowing review here). I've listened to From Wisdom To Hate countless times. Mulled over it. Thought about it while on the can. I will continue to listen to it frequently, I am sure, but I've come to the conclusion that while on its own merits, From Wisdom To Hate is a remarkable album, when held up against Obscura it pales.

From Wisdom To Hate is anything but typical - there are odd grooves and timing throughout, but the total abandonment of the confines of the death metal that was displayed on Obscura is sorely missing here. Those who hated Obscura because it was too far removed from the genre's conventions will warm to From Wisdom To Hate, as it is a much more streamlined album. It sounds like it could have come out between Erosion of Sanity and Obscura, though the production is not as dense or dark as either release. The dual vocals on Obscura are gone along with guitarist Steeve, replaced by Daniel Mongrain of Canada's awesome Martyr.  Much of the underground was in upheaval over Obscura (I was one of the few that cherished it) and I am sure those that were will rejoice at Gorguts' latest effort, but I can't help but think it is a step back in direct response to the mixed reaction the last album received - a step in the wrong direction, in my opinion. - Al Kikuras

Hate - Holy Dead Trinity (WWIII, 2001)

Rating: 8.5/10

Holy Dead Trinity is the kind of album Deicide should be releasing now, not the re-hashed, tired Insineratehymn. Hate play extremely fast and heavy Satanic death metal with deep vocals. No surprises, just solid death metal the way it should be played. The style is reminiscent of the new Vader as well as Decapitated. The 19-second track "The Kill" is death metal perfection embodied. One great riff, played four times with the drums keeping the same time, then a Lombardo-ish drum fill leads into the same riff cranked for the next 12 seconds with the drums blasting underneath at lightning speeds. THAT is how it is done, ladies and gentlemen. This is an album that will have underground fanatics drooling at the mouth and every non-initiate wetting the bed.

WWIII records has had a VERY strong first showing with their debut releases: Hate, Belfegor and Fog. Hopefully they'll keep the ball rolling as we could use a label that doesn't put out any crap. It'd be nice if they could finance a tour and bring Hate and Belfegor over from Poland to team up with their US labelmates to do a tour. It'd be a hell of a package. No pun intended.

(Something to listen for: track 7, "World Has To Die," opens up just like Morbid Angel's "Chapel of Ghouls," with the same riff repeating about two and a half minutes in.) - Al Kikuras

Himinbjorg - Third (Red Stream, 2001) 

Rating: 9.5/10

Pressing play gently releases hypnotic acoustic guitars, and you know that you're in for something special here. Himinbjorg has crafted a numbingly beatiful aural landscape of doomy metal that has me wondering why I've never heard of these guys before.

The epic feeling songs on Third pummel the senses and emotions with a minimalistic yet oppressive approach that sees the band sometimes staying in a riff long enough to border on redundancy (ala Agalloch), only to pull out at the last second and sludge off in another, equally downtrodden direction.

Singer/guitar/keyboardist Mathrien deftly alternates between a low, deathmetal wail and a mournful clean voice; both of which change the tone of the song, and direct its feeling.

The only minor complaint I have with this cd is that it did not come with lyrics. Music of this emotional magnitude should have the words that match it available. - Daniel Lawson

Mortician - Domain of Death (Relapse, 2001)

Rating 8.5/10

A baffling album, this one. I cannot pinpoint WHAT is different about Domain of Death when it is held up to other Mortician releases, but there is something. With the exception of Mortal Massacre (due largely to the live tracks), each Mortician release previous lost my interest after a few spins. The novelty wore off and I never really got the urge to listen to them again. The non-stop battering of the drum machine and the ultra-low end production resulted in the tracks being relatively nondescript from one another, or from any other Mortician song on any other album, for that matter. But, there is something about Domain of Death that keeps me coming back for more. It is not a radically, or even remotely, different album from Chainsaw Dismemberment or Hacked Up for Barbecue... it is just a BETTER one. Motrician have made a more conscientious effort to write memorable riffs this time out rather than just focusing on pure brutality. Don't think for even a second that brutality has been compromised to do so, however... this is still the Mortician we have come to know and love, but it is time to take them a little more seriously as they have officially broken out of the "novelty act" status with Domain of Death. - Al Kikuras

Napalm Death - Enemy of the Music Business (Spitfire, 2001)

Rating 8.0

Having given up on this band years ago, I had admittedly contemplated the worst way before this  even made it’s way into my CD deck. I mean, just what else is there to expect from a band that’s practically spent the last 4 years emulating the likes of Fear Factory and Machine Head. With release the of 96’s Diatribes full length, the band’s much more polished, streamlined sound saw this once influental grindcore act taking its final plunge into the depths of aggro-inspired, mallmetal madness. Of course, as if that wasn’t bad enough, the string of atrocities that later followed (97’s Inside the Torn Apart and 99’s Words From the Exit Wound) were more than enough to hammer the final nail in the coffin.

However, it seems the recent bitter divorce between the band and it’s former slaveowners..err, I mean record label proved to be the much needed step taken for Napalm’s newest offering is one angry bitchslap to the senses. Yes indeed folks, it seems Napalm have finally regrown some nads and milked every ounce of that good ol’ testosterone in putting out it’s most angriest effort to date. Well, before I mislead any of our faithful readers let me honestly state for the record that this is by no means a definitive “grindcore” album. So if you’re expecting Scum part two then I honestly recommend you immediately clicking the “x” over at the top right hand corner and surf on over to Relapse’s on-line catalog for the 200 or so additions of the latest Agathocles 7”s. Though to basically sum it all up in a nutshell, the band does retain it’s signature grinding blasts but are on this occasion utulized very sparingly. Instead there’s more of a deep emphasis on groove throughout. In fact the song “Next on the List” serves as just one of the examples that could’ve easily mistaken one into believing it’s a heavier, guttural Biohazard. With it’s grinding hooks and heavily bass-oriented grooves, the song almost is enough to inspire one to dance as opposed to ramming into a concrete wall at 50 mph. Coupled with the extreme dissonance in guitars and possibly the most schizophrenically violent vocals to date, the song continues to move in a nervously upbeat pace not unlike what you might have heard from songs like “Hung” and “Plague Rages” off of 94’s Fear, Emptiness, Despair. Surprisingly, however it seems to work very well for these guys since they have the perfect drummer as the means to aspire to. Whether it’s the machine gun rolls-in-mid blast attack segments of “Constitutional Hell,” or the precisely-timed clashes of cymbal interplay on “Can’t Play, Won’t Pay,” sticksman Danny Herrera not only shows he’s come along way all these years but also exhibits just the right enough discipline in preventing himself from going too way over the top or getting too flashy. Hence it probably explain for the segue from Possessed-inspired hyper thrash insanity to simple upbeat, garage punky tempos on the track, “Necessary Evil.” My only main concern or gripe about this particular album is the flawlessly squeaky clean, digitalized production which at times reminds me of the Colin Richardson era. So it’s like sometimes I feel as if I’m hearing 91’s “Utopia Banished” being rewrited for like the 20th time. It adds sterility to riffs which might I add are mixed barely loud and layered enough for the guitars to seem as though they were used merely to serve as a discordant backdrop (something akin to what you’d hear on most undergound Black Metal releases). Otherwise, I’d have to say that this is convincingly THE biggest thorn in the side to corporate mainstrealism thus far. Hmm.. “Enemies of the Music Business” indeed! - Envenomed

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