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Music Reviews |
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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.
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Spotlight Album:
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aka ”An album that really kicked our asses!”
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Discordance Axis - The Inalienable Dreamness
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This Edition’s Reviews:
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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.
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Iced Earth, Impaled, Intense Hammer Rage, Iron Fire, Jungle Rot, King Diamond and Black Rose, Kreator, Krieg, Kult Ov Azazel, Lacuna Coil, Marduk, Martyr, Nifelheim, Octinomos, Raging Slab, Regurgitate, Sisthema, Skinless, Skyclad, Soilwork, The J.J. Paradise Players Club, Thornspawn, Virgin Steele, Zyklon
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Discordance Axis - The Inalienable Dreamless (HydraHead Records, 2001)
Rating: 10/10
Did you ever stumble a cross a cd so
perfect it can play over and over without getting the slightest bit boring?
For me there aren't many of those, an elite few totalling no more than 6. Well after hearing this I've changed that number to 7. NJ's own Discordance Axis are a band that as of late have been receiving a lot of attention, and with a cd of this quality it's no wonder why. I've heard some of the earlier material and while this might not be as good as it, it still is better than most other music coming out these days. DA combine low growls and high screams along with the brilliant and ungodly fast drumming of Dave Witte (Ex-Human Remains), and some of the craziest riffs ever packed into 24 minutes of Grindcore. Often when people think of grindcore they think of political lyrics, or meaningless lyrics, but Discordance Axis shatter all stereotypes, and deliver some of the most thought provoking lyrics I've had the luck to read. I don't know what else there is to say about Discordance Axis other than if you like any grindcore buy this, and you will not regret it. It's just a shame as they get noticed they are splitting up, but it's never too late to get into a band. If you can find any DA material buy it, it won't disappoint. - Rick
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Iced Earth - Horror Show (Century Media, 2001)
Rating: 7/10
 I haven't really been into an Iced Earth album since I got a promo cassette of their second one, Night of the Stormrider, from
Century Media back in '92. This new vocalist... Matthew Barlow, I just don't like him very much. I do realize that he's not really the "new" vocalist as he's been with
the band since their third album (this being the sixth) but since I don't like him, he'll always be the "new guy" to me. I know people WORSHIP him, but he just sounds
way too melodramatic to me. Track #4 on this new album, "Ghost of Freedom," is exactly what I don't like about him. A forced vibrato and moaning vocals. "Dragon's Child" is
another prime example. I could see the guy fronting Depeche Mode with vocals like that. I saw Iced Earth live a few years back and he actually impressed me with his range and high
notes, but I don't think he displays it all on the albums. The opening note of "Wolf" is excellent, but is the exception rather than the rule when it comes to his vocal performance.
Songs like "Dragon's Child" are what I don't really like about the band. Mid-paced, plodding numbers that are not remotely exciting. There are songs on this album that I think kill... the
three opening tracks "Wolf," "Damien," and "Jack" are all excellent. Especially "Wolf" - it is VERY fast and heavy with a
good dose of melody. Unfortunately, that is what I find with all Iced Earth albums since Night of the Stormrider... a few songs I really like and then so much dead weight that I don't want to
wade through it to get to the good stuff. The band is rounded out by underground metal stalwarts Steve DiGiorgio (Sadus, Death, etc.) on bass and Richard Christy (Burning Inside,
Death, Control Denied, Acheron, The Bare-Assed Carnal Knight, etc.) on drums, but their opportunities to shine are limited by much of the mediocre material on Horror Show.
In my opinion, Iced Earth went from a once-inspired band to a metal institution that, like AC/DC, is producing albums that really don't showcase anything new... relying on tried and true
methods and songwriting that they know their fans will appreciate. That's fine, as they certainly are not selling out, but at the same time they aren't really progressing and
someone like me, who didn't really care for their stuff to begin with, won't find a new appreciation for the band. - Al Kikuras
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Impaled - Choice Cuts (Necropolis/Death Vomit, 2001)
Rating: 7/10
 A death metal band that specialize in sickening gore imagery. Nothing new but it would be unfair not to mention the album
cover. Definitely a contender for one of the most stomach turning graphics I’ve ever seen. It definitely caught me off guard. No surprises musically. With influences drawn from Impetigo, Carcass and Exhumed
(Impaled includes ex-Exhumed members) you can expect mid-paced to fast metal with sick and twisted lyrics. Deep vocals and plenty of guitar shredding. Good package from a
very promising act but not essential. - Master Shockwave
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Intense Hammer Rage - Avagoyamugs (Razorback Records, 2001)
Rating: 9/10
 Our good friends at Razorback Records hit one out of the park with Intense Hammer Rage. This is a repulsive slab of grinding
death metal that is everything the last Abscess album should have been and almost was. Intense Hammer Rage do it all with a very sick sense of humor that has already gotten them in some trouble with the
censors. From what I read, the Australian government raided their house and confiscated CDs and all other kinds of crap because Avagoyamugs contains delightful little ditties such as
"The Art of Fucking Kids (Pedophile In Practice)," "Any Old Snuff Film Starring Your Kid As The Corpse" and "To Men Who Masturbate Over Dying Children." Yes, ladies and gents, they
sing about very, VERY bad things. You want nasty? Read the lyrics to "Choking On A Chocolate Log." And, no, they do not mean a Clark Bar. The music is just as foul as the lyrical
content - a big wall of distorted, down-tuned guitars and bass, cut with blasting drums and a triple vocal attack ala Carcass' Reek of Putrefaction. Avagoyamugs is the audio equivalent of
diarrhea, which Webster's defines as "A morbidly frequent and profuse discharge of loose or fluid evacuations from the intestines."
Folks, I couldn't put it any better. - Al Kikuras
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Iron Fire - On the Edge (Sanctary, 2001)
Rating: 3/10
 This could well rank as the most annoying vocal performance I have heard in the past decade. I hope vocalist Martin Steene doesn't read this, because I don't want to
hurt his feelings, but the guy has about as much balls as a Girl Scout. I'd try to find something good to say about his vocals, but I just don't have the capability to bullshit
right now. Martin and the limp wrist from Virgin Steele should get together and do an album of Barbara Streisand covers. Actually, scratch that, I don't think they could pull it off. Hell,
what do you expect from a guy who cites Sebastian Bach as one of his primary vocal influences?
The music is, for the most part, standard neo-power metal
with the occasional heavier moment. An extremely over-used sample from Hellraiser ("We'll tear your soul apart") leads off "Prince of Agony," ranking as perhaps the most grossly
inappropriate uses of a sample of all time. Pinhead's chilling threat has no place in a song, let alone an album, this flitty. Someone out there must like and buy this stuff, as Virgin
Steele are a very revered band and apparently enough folks liked Iron Fire in the past for a deep-pocketed label like Sanctuary to sign them. My sympathies go out to the promo
person who has to push this dreck under the guise of actually liking it. I say cock rock is dead... let it rest in peace. - Al Kikuras
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Jungle Rot - Dead and Buried (Olympic, 2001)
Rating: 8/10
 Comes off as a hell of a lot more interesting than labelmates Divine Empire's last pud, as Jungle Rot concentrate less on
speed-for-speed's sake and just being "brutal" and pen decent songs. While you won't be humming any of the 13 tracks on Dead and Buried to yourself next time you're on the can, they do manage to keep
your attention for the album's entirety and whet the appetite to see these boys live, as the pits must be monsters. Very ballsy, groove-laden riffs and very guttural vocals that are
peppered with high-pitched scream and appealingly indecipherable. Again, as is tradition with Jungle Rot, you'll not hear a single blast beat.
This is brainless brutality, folks. Well crafted, though certainly not a challenging listen, but one that any death metal fan would be remiss to pass on. - Al Kikuras
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King Diamond and Black Rose - 20 Years Ago, A Night of Rehearsal (Metal Blade, 2001)
Rating: 3/10
 From a historical perspective, there is relevance to this release, but musically -
let's just say I am surprised King let Metal Blade release it. This reminds me of that Morbid Angel bootleg that was floating around a few years go, with pictures of the band decked out like Satanic glam
metal warriors and music that sounded like it was played by Satanic glam metal warriors.
There are some moments on here that don't sound entirely removed from the later glory of Mercyful Fate and King
Diamond, like some musical sections in track 2, "Holy Mountain," and the falsetto in "Crazy Tonight." But the music, and vocals, just are not menacing in the slightest which is, in
my opinion, the strongest aspect of King's great works (and what is lacking from his more recent releases). For the most part, King sounds like a guy that can kind of sing and the band
like a band that can kind of play. The music is, for the most part, straight up hard rock. Not particularly dark or heavy, and not particularly fun to listen to.
In short, 20 Years Ago, A Night of Rehearsal is a release that only true DIE HARD fans of King Diamond might want to consider picking up but, I think that even die hards will listen to
this album once just out of curiosity and never put it on again. - Al Kikuras
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Kreator - 1985-1987 Past Life Trauma (Noise Records, 2001)
Rating: 10/10
 While some labels are busy gathering Kreator tributes, nothing beats the real thing. Kreator were/are one of the most
influencial thrash metal bands in the past two decades. Their German stylings are still very obvious today in much of the black and death metal scenes. Noise records has
assembled one hell of a collection of the most essential Kreator tracks. And while most metal heads will surely have their personal Kreator favorites, this is a great
way to get introduced to the band. Covering only 1985-1992 you get all the classics like "Extreme Agression," "Flag of
Hate," "Pleasure to Kill," and "Tormentor." This is just an excellent introduction to Kreator and a great collection overall. - Master Shockwave
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Krieg - The Church (Cicatrix/Red Stream, 2001)
Rating 9/10
 The Church is everything black metal should be raw, under-produced, an absolute chore
to listen to for the un-initiated ear. Lord Imperial is certainly not trying to win any new fans over with this 5-song MCD. If anything, he seems to be striving to push his detractors even farther away. 4 of the 5
songs on this release are what was originally released as the Forgotten Secrets demo, with the 5th song, "To Wander the Stars," another version of the second track
which, ironically, is from the original release of The Church demo. The first four songs feature Duane Timlin from Sarcophagus on drums. Like on Judas Iscariot's recent gem,
the Dethroned, Conquered and Forgotten EP, Duane kicks the material up in intensity with his lightning fast precision playing. Unlike Dethroned, Conquered and Forgotten, however, the
material on The Church is no more polished or accessible than previous efforts from Krieg. The aforementioned 5th track features Teloc Coraxo of the mighty Bloodstorm turning in a
less-impressive performance that actually serves to make the song even more raw.
Imperial holds true to the anti-aesthetics established on Krieg's debut album, Rise of the Imperial Hordes, delving even deeper into the recesses of the black metal genre to churn
out some truly putrid music. This EP is chaos embodied with no concern for production values, pretentiousness or pomp. Hails to Krieg for keeping underground black metal firmly
rooted in the filth in which it belongs. - Al Kikuras
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Kult ov Azazel - Triumph of Fire (Arctic/Pavement, 2001)
Rating: 9.5/10
 Black metal is anything but a rare commodity these days, so it is inspiring when a band stands out as Kult ov Azazel
do. Their strength lies in the musicianship and discriminating ear. There are no throwaway parts and no speed-for-speed's sake blasting. Kult ov Azazel have a gift for arrangement. They never overplay a part
and switch things up frequently, the end result being an album that is intense throughout all 11 songs without ever getting redundant. Rather, each song is a triumph. Kult ov Azazel
have taken black metal to its highest level of evolution without branching over into experimental areas.
If all black metal was played with this level of refinement, not
only would the overall caliber of music in the genre be much higher, but about 80% of the material written over the past decade would have been left on the cutting room floor and an
equal percentage of bands wouldn't have made it past their first practice. Kult ov Azazel have set a new standard for black metal bands to strive for, reaching a new pinnacle of the
genre with Triumph of Fire that will be no easy feat for another band to surpass. - Al Kikuras
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Lacuna Coil - Unleashed Memories (Century Media, 2001)
Rating: 7.5
 Having found myself deeply enamored with
the release of 99’s In a Reverie full length, I had since fell in love with this Italian quintet’s beautifully melancholic sound. The lush and richly layered melodies occasionally had me
recalling some of the earliest work by Holland’s The Gathering (preferably Mandylion and/or Nighttime Birds era). Having said that I’d anxiously been awaiting the band’s next
opus all the while imagining the much talked about “progression” being tossed and dropped about in media circles. Well.. okay, but come on now! Progression isn’t
always such a nasty word. I mean just take a look at bands like Amorphis, Death, Carcass (okaay, okay.. minus Swan Song but that’s as far as I go bending backward for you
folks!), and In Flames (oh lord.. now I just know I’m asking for a NYDM beatdown for this one). Evidently enough this where a band such as Lacuna Coil comes to mind. Of course,
the $99,000,000 question that remains to be answered is, “Well, just how well timed and effective is it?” Hmm.. to be honest I’d say about in percentage terms, 78.5% of it just to give you a rough idea.
Musically, however the band isn’t doing anything that’s completely original or at least “groundbreaking to say the least though it’s safe to say that whatever elements
employed are indeed successful. For instance both the first two songs “Heir of a Dying Day” and “To Live is to Die” ultimately recall some of the more atmospherically doomier
segments of again, The Gathering’s significant breakthrough release, Mandylion. You could evidently detect it in the hanging, sagging guitar lines which are sparingly used to
accent front woman Cristina Scabbia’s melancholic warble. Yet it exhibits a potency strong enough to provoke one’s mind to drift away and imagine a breathtaking portrait of
neo-romanticism. In between the riffs tend occasionally trail off in the distance only to give way to spacious, heavy bass pulsing segments of epic-like grandeur. It is here where the
vocals tend to take on a much more angelic tone (often recalling an uncanny Natalie Merchant impression).
The song “Purify” begins with an 80’s inspired lush, ballady guitar line (recalling Tears For Fears, a stalwart of the 80’s if I do say so myself) that ultimately segues into fuzzy, grunge
induced riffs all the while Scabbia croons like a sensual song bird. And surprisingly it’s here where the band’s simplicity really works to their advantage as opposed to writing and
juxtaposing a number of arpeggiated synth melodies and effects to the point of it becoming overly excessive masturbation. However, that’s not to say the band doesn’t
exhibit any signs of such tendencies for the track after that entitled “Senzafine” (which is completely sung in the band’s native language Italian) is perhaps one of the more complex
songs on the disc and thankfully the only one. It’s here where the synth effects pushed way up to the fore but are for the most utilized merely to heighten the song’s ambient vibe.
Come to think of it, it just might only be me but the quirky, prog-rock feel that keys tend to induce on this one particular track seem awfully reminiscent of a Goblin movie soundtrack
but then again considering that both bands call the same country home, it might just be a significant influence on Lacuna’s already eclectic sound. Basically I could go on and on
dissecting the CD seeing that it’s one hell of a daring adventure this band has taken on but with the lack of space permitting I’ll just let you seek out the disc and hear for yourself.
Now the gripes.. well, basically there’s a few of them though thankfully the positives barely outweigh the negatives. For one, the addition of male vocalist Andrea Ferro is perhaps one
of the band’s biggest setbacks. What immediately becomes obvious from the get go is the embarrassingly funny heavy accent he possesses which sadly inhibits any opportunity to
annunciate properly. He tends to stumble upon and mush certain words in the English language that when sung in a gruff, raspy manner have him sounding like one of the worst
gimmicks often heard in bands like Moonspell. Secondly, his vocals are much too abrasive to be recorded in music that has much more to do with entrancing the soul than disturbing
it. And of course there are some of the poorly chosen vocal phrasings utilized by Cristina herself. It seems that whereas on past efforts like In a Reverie and the self titled debut where
she seemed much more forcefully defiant and assertive here she’s become a bit more wispy and lofty. At times she tends to spurt out her words in outbursts of short breaths that have
coming across as a heavy suffer of asthma which can be heard on certain segments of “Cold Heritage” and “A Current Obsession.” Then there’s the occasional minute and a half
flooding of “Oooohs!” and “Aaahhs!” that tend to pointlessly drag on and on leaving the listener no other option but to hit the fast forward button on the CD deck. It’s during such
moments where you begin to wonder whether or not the band got entangled in a deadlock somewhere along the way and decided to increase the material’s longevity by adding filler
material. Otherwise the disc overall is a well rounded documentation of a band’s extreme devotion to fine artistry and I’m guaranteeing a much deserved longevity. - Rob Aloi
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Marduk - La Grande Danse Macabre (Century Media, 2001)
Rating: 5/10
 What an utterly unremarkable album. Marduk turned some folks off with their last opus, Panzer Division Marduk. I liked it,
myself. It was Marduk's sound taken to its absolute extreme - as the band had promised, it was intense and fast from start to finish to the point that it was almost ridiculous. On Nightwing, Marduk stretched
their, errr... wings a bit into slower passages. While the speed was still there, it was not the predominating characteristic of the music and the end result was a very well-balanced album
that held the attention from start to finish. On Heaven Shall Burn (we are going in reverse chronological order, here), the jewel in Marduk's crown as far as I am concerned, Marduk's
ability to combine a warped sense of melody with the ugliness of black metal without compromising any of the extremity resulted in an aggressive, yet eerie album that remains one of black metal's finest moments.
On La Grande Danse Macabre, it sounds to me as if Marduk are attempting to re-create what they achieved with Nightwing, but the problem is the material simply is not as
strong. After no less than 10 listens, there is not more than a few brief moments that at all stick in my mind. The rest of the album just drags on by. All the elements of a good Marduk
album are there. They just don't combine to an effective end. Marduk are treading familiar waters and while that works for some bands if the songwriting is there, in the case of La
Grande Danse Macabre the water is just lukewarm. - Al Kikuras
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Martyr - Warp Zone (Warfare Records, 2000)
Rating: 10/10
 Warp Zone is an absolutely stellar metal album from the first seconds to the last. Heavy, aggressive, and musically superb,
Martyr reside somewhere between countrymen Obliveon and Gorguts on the technical metal scale. Not as "out" as Gorguts' last two releases, and a bit more daring than Obliveon, Warp Zone is perfectly
crafted with just the right balance of speed, groove, odd timing, melody and brutality. This is an endlessly entertaining release that, if there is any justice in the world (and we know
there is not), should catapult Martyr to the top of the metal heap. But, as it seems there is a curse on most Canadian bands that sees to it that they go virtually ignored throughout
the rest of the world (see the aforementioned Obliveon, as well as Razor, Sacrifice, DBC, etc.), Martyr probably will not receive the international accolades, respect and fame they
deserve. One can only hope they keep churning out albums as amazing as Warp Zone for the small niche of us that are avidly listening with a sense of pride in our hearts that there
are metal brethren out there capable of producing music this visionary and inspirational. - Al Kikuras
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Nifelheim - Servants of Darkness (Black Sun, 2001)
Rating: 8.5/10
 Nifelheim are masters of perfectly capturing the feel of early works from seminal death/thrash metal bands such as Sodom
and Kreator and updating it with modern chops and musicianship. While many bands currently on the market attempt to do so, most fail as they wind up just sounding like a complete shtick act. Not in this case,
though. Despite the Hellhammer-ish getup, complete with pseudonyms like "Hellbutcher" and "Devastator," just like Bobby Peru, Nifelheim "mean business when it comes to
fuckin!" While you get the distinct feeling that much of the over the top lyrics and visuals (makeup, spikes, etc.) is tongue-in-cheek, Nifelheim are nasty enough to pull it off
without being ridiculous. It is just as enjoyable if you take them completely seriously. The production is dirty, the playing is excellent as are the riffs... all of the elements of a great
metal album and that is just what Servants of Darkness turns out to be. - Al Kikuras
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Octinomos - Fuckhole Armageddon (Baphomet, 2001)
Rating: 8/10
 Over the course of three records and a demo the one man project known as Octinomos has gone from nearly
unlistenable to absolutely pulverizing. In fact the most remarkable aspect of thsi project is that everything is written and recorded by F. Soderlund of Puissance fame.
Octinomos produce ripping black metal that will appeal to fans of Setherial, early Marduk and Battlelust. Seven songs of sheer brutality that also make excellent use of dynamics
rather than relying on pure speed. Interesting-- though hokey-- liner notes as well. - Master Shockwave
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Raging Slab - The Dealer (Tee Pee Records, 2001)
Rating: 7/10
 Anyone who watched MTV's Headbangers Ball circa 1992 should remember that
Raging Slab were the bluesy band who had Gary Coleman in their video. Fast forward nine years, and Raging Slab is still kicking, though sadly without the help of the Different Strokes cast. Do you dig the
feeling of bands like Led Zeppelin, Blue Cheer and Black Sabbath? Raging Slab tends to touch on all these bands an evoke a very old school rock n' roll feel. Out of the
Sixteen tracks Raging Slab gives us, not all are keepers. But standouts like "Sir Lord Ford" and "I Saw The Light" are just classic rock n' roll. - Master Shockwave
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Regurgitate - Carnivorous Erection (Relapse, 2001)
Rating: 9/10
 Lyrically, Regurgitate are on the Meat Shits level of intellect nil, but fun. Musically they
are worlds beyond, playing some of the tightest grind I've heard in years with puked vocals of varied registers. 38 songs in 33 minutesand song titles like "Choked in Shit,"
"Drenched in Cattleblood" and "Stinking Genital Warts" should give you an idea of the kind of ditties the boys in Regurgitate are writing. The
material is varied enough in tempo and feel to keep things from blurring into one big wall of sound. The short song lengths also help. Many grind bands forego the catchy riff and
groove for all-out grinding speed and non-stop blast beats, but Regurgitate have managed to combine the absolute extremes of grindcore intensity with the songwriting of the
finest death metal to a very impressive end, and that is what sets them apart most of their contemporaries. Picture Impetigo (my all-time favorite grind band of this ilk) if they
were four times the musicians they were. Carnivorous Erection is a great grind album with a dark, twisted sense of humor that is entertaining all the way through. That, alone, is
a feat these days and an accomplishment for which Regurgitate deserve accolades. Great cover art, too. - Al Kikuras
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Sisthema - The Fourth Tranquility (Sanctuary, 2001)
Rating: 7/10
 Very solid musicianship is displayed throughout The Fourth Tranquility, but these fellas are to Meshuggah what Luddite Clone
is to The Dillinger Escape Plan - the skim milk version of a much more delicious and satisfying whole. Sisthema don't play with timing as consistently (or effectively) as Meshuggah, but they certainly strive to
re-create their Swedish counterpart's accomplishments on the phenomenal Chaosphere. Right down to the use of those weird atonal chords to create a droning atmosphere. So,
though, Sisthema have the execution down, what they are doing has already been done (and done better) recently. They borrow too heavily rather than creating their own sound. They
have the skills to do great things but need to strike off on their own path in order to use those skills to their maximum potential. One thing I must mention, however, is that I have
always wanted to write and play a part just like the last 30 seconds of the song "Voodoo Machine I."
Hilarious band photos inside the CD booklet, and the individual I am assuming to be the vocalist looks like he could be in the Village People. This is angry music to listen to, but it is hard to
pull off the "menacing" thing convincingly when there is a photo of the band like this floating around:
- Al Kikuras
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Skinless - Foreshadowing Our Demise (Relapse, 2001)
Rating: 9/10
 The New York Death Metal scene experienced a serious growth spurt a few years back, with countless bands emulating
Suffocation and Pyrexia and the like. As with all trends, it festered, burst and now the infection is starting to clear. The host body has back healed and stronger, with the
better of the bands that survived the flush still prolific.
Skinless are such a band, though since they have been around since '92, that they are even part of the growth spurt as
opposed to one of the originators could be argued. Skinless break no new ground on Foreshadowing Our Demise, the band's second release, and as such the question must be
asked: "Do we really need another NYDM album?" The answer is no, but then one must also ask "Do we WANT another NYDM album?" In the case of Foreshadowing Our Demise, the
answer is a resounding YES. Not only are Skinless an atypical-sounding NYDM act, they are musically a notch above many of their contemporaries. The vocals, though typically
deep and brutal, do not have the "cupped-mic" sound that is par for the course for many NYDM bands. Musically, the band is very tight and proficient with ample changes to keep the
arrangements interesting. Samples are interspersed between the songs, each with a touch of humor that also pervades the band's lyrics, with songs like "Tug of War Intestines" and "Pool
of Stool," the latter of which sports some of the most entertaining Death Metal lyrics mine eyes have read in ages ("I slipped and fell into a manhole, I discovered I was knee deep
in doo-doo. A wave of turds swept me away, floating away with the poop and pee... how can anyone stand the smell, a two hundred megaton fart bomb from hell..."). As the band
itself proclaims in the liner notes, "In a world of ultimate brutality it is important to maintain a sense of humor. [Some} lyrics... represent frivolous humor. They serve as a reminder
not to take anything too seriously."
And that is Skinless' primary strength. The tongue-in-(between)-cheek(s) nature of their material. And while they may not take themselves too seriously, they do
take their music very seriously and the end result is an entertaining, utterly unpretentious album of Death Metal that is heavy beyond compare. - Al Kikuras
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Skyclad - Folkémon (Nuclear Blast, 2000)
Rating: 9.23/10
 Not knowing much about Skyclad, I must say I was very pleasantly pleased to get this CD. It seemed like it might be a lot of fun, and it is. Fun being something that in my
opinion has been missing from metal music for a while. Being cheesy for the sake of cheese, and not taking yourselves too seriously. Well, Skyclad are that in spades.
Just by the album's name alone, Folkémon, you should realize what their humor is like. Just about poking fun and having fun with many of today's lifestyles. However, like many other
tongue-in-cheek bands, Skyclad doesn't sacrifice musical quality for the joke. Vocalist Martin Walkyier (of the 80's band Sabbat) has a very strong voice, and uses it to keep the
music fresh and interesting all the way through the album. The rest of the band grinds their way through rock/metal tunes flowing with classic rock/blues guitar riffs and renaissance
sounding flute elements that add to the fantasy feel of the album. The songs are diverse enough that you won't find yourself looking at your watch wondering if your cd player
keeps skipping or if they just can't write songs that sound different from one another.
Basically, Skyclad do something that many other metal bands in this day and age don't, they come up with something
original. It may not appeal to everyone, it's not exactly what I will throw into the cd player or car stereo a lot, but it's an album that I will give high praise to, because of it's originality,
and commitment to quality. - Piston Rod
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Soilwork - Predator's Portrait (Nuclear Blast, 2001)
Rating: 10/10
 I have an interesting history with this band. I
reviewed their first CD, Steelbath Suicide, and wrote how I liked it, but was disappointed that such and obviously talented band like this should have to so closely copy At The Gates style and sound.
Well, one of the band members emailed me and thanked me for my honest review. I was glad that he read it, but figured it was all lip-service. Well, they must have been taking notes because their second
album, Chainheart Machine, really blew me out of the water, and contained many of the elements that I wrote about in my review, namely have more diverse ideas, trying different vocal styles, etc.
Chainheart Machine really was a powerhouse of extreme metal. Now Predator's Portrait just kicks it up a notch. carrying heavy, catchy, and technical metal to another level.
With more classic metal elements infused with the mayhem, and making sure to keep the element of high class technology present, this is a wonderful piece of metal carnage.
Just like its predecessors, Predator's Portrait creates an overall atmosphere. It's not an album that will off much with respect to variety, but it's not intended to. It's intended to
create a full throttle from beginning to end explosion on the senses, and that's what it delivers. Enough of my dribble, go out and get this album now. - Piston Rod
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The J.J. Paradise Players Club - S/T (Tee Pee Records, 2001)
Rating: 2/10
 Holy shit, man! Did you fucking see that?!?!?! The Undertaker just rode out on his motorcycle to that gay Limp Bizkit song
and kicked the living shit out of everyone! For an old guy, he still kicks ass. I like how he wears sleeveless shirts now so that you can see all of his tattoos. I heard that Paul
Booth did some of his work. Man, if I had a big pile of cash laying around, I would have Paul Booth do some cool shit like that on me! Oh, is this cd still playing? It sounds like a drunken
Nebula rehearsal... very poor. - Daniel Lawson
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Thornspawn - Empress to the Realms of Blasphemy (Necropolis, 2001)
Rating: 8/10
 Man, what a clusterfuck this one was. I get a new Necropolis package with the Thornspawn EP included. I look at the CD
itself and think, "That looks a lot like the CD for Blood of the Holy, Taint Thy Steel" (Thornspawn's full-length album, released a year or so ago). I pop the disc in and, sure
enough, the debut's opener and title track "Blood of the Holy, Taint Thy Steel" comes blaring out. I was a bit confused, but after hounding the hell out of Necropolis'
promo person and then actually reading the promo sheet that came with the EP I found that this was "due to an error at [Necropolis'] manufacturing plant" and that we should listen to
tracks 4, 8 & 9 to hear the EP. Now, the problem here is that the promos for Blood of the Holy had the exact same tracks on it, and since the promo had just the cover and no tray card
listing the tracks, and the CD had ten total tracks but only lyrics for 7, that they included lyrics for some of the songs and didn't for others. So, the bottom line here is I have already
heard, and reviewed, all of these songs. I am not so self-important to think that everyone has read my review of Thornspawn's debut, so I will recap here. Thornspawn are
from the very raw, stripped-down school of black metal, actually bordering on death metal at times. No frills, no keyboards... just pounding fury, and damn convincing at that.
Melanie from Necropolis was kind enough to send me the consumer version of the EP, pressed with the three proper songs in a jewel case and everything. What is included here
that was not on the bungled promo discs is another version of the title track, billed as the "unreleased version '98" which isn't entirely accurate because here it is, right in front of me,
released. It is pretty much filler.. the same song with a more raw recording.
So, with the cat out of the bag we all know that these songs were recorded at the same time as the debut and, as such
and as to be expected, they do not show a progression of any sorts, rather just more of what we have come to know and appreciate Thornspawn for. If you had the proper release
of Blood of the Holy, Taint Thy Steel and ate it up, pick up Empress to the Realms of Blasphemy for another serving. - Al Kikuras
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Virgin Steele - The House of Antreus, Act II (Noise, 2001)
Rating: 2/10
 What a shame. An otherwise adequate power metal release killed by an absolutely terrible vocalist. This is perhaps the weakest
vocal performance I have heard in my life. This guy makes Joachim Kearns from Hammerfall sound like David Vincent (Morbid Angel) in his prime. We are talking ZERO balls, here, folks. His falsetto is as weak as a
wet sponge. The inspired vocal moments are so few and far between they are hardly worth mentioning and on the whole the vocals are so bad they make me want to shit myself. I
don't mean to obsess on one thing, but holy fuck. Even if the band was absolutely exemplary every aspect of their performance, it wouldn't make this album any more
listenable. Gay gay gay. Less balls than a hockey game. - Al Kikuras
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Zyklon - World Ov Worms (Candlelight, 2001)
Rating: 7/10
 Reminiscent of labelmates Myrkskog's excellent Deathmachine and Emperor's IX Equilibrium. The album's opening is uncannily
similar to that of Emperor's last opus, complete with lightning fast riffing and an uncharacteristic (of black/death metal) high note and the production is also of the same ilk. Not surprising, considering Emperor
founding member Zamoth (apparently Samoth has been bitten by the pseudonym bug) and the band's current drummer, Trym, are on guitar/bass and drums, respectively.
And hey, wouldn't you know it? Rounded out the band (also on guitars and bass) is Destructhor, also a member of (ta daaaa...) Myrkskog!! Vocal duties are handled by Daemon
from Limbionic Art. All lyrics were written by (ta da...) former Emperor drummer and current convict Bard Faust Eithun.
This is a very intense album from start to finish. The music is a
cross between black metal and death metal (I think the line between the two genres is becoming more and more fragile with every passing moment) with a vocal performance that,
likewise, melds the screams of black metal with a deep death metal growl. The musicianship is exemplary, the songs are very well-written and the production is pristine. This is a fine
slab of what the band's bio pegs as, simply, "Extreme Metal... a hybrid of extreme forms of music."
So why just a 7 rating (which is certainly not poor, but is not
top of the scale either)? Well, I have to question the reasoning behind this release when any of the 8 songs on World Ov Worms could very well fit on the latest releases from both of
the aforementioned bands and not sound even slightly out of place. There is a techno-ish moment at the end of track 3 (and my favorite on the album), "Chaos Deathcult" that you
probably would not hear on an Emperor or Myrskog album, but it is less incorporated into the song itself than just an outro of sorts tagged on to the track's close. Perhaps the
members of Zyklon could not stop writing and had a surplus of material? My gripe, albeit a small one, is that (in my opinion) a side-project from members of already established
bands should explore areas not already covered by said bands. Otherwise, what really is the point of forming another band under a different name? Especially in the case of Zyklon,
since the bio proclaims that this "is... a full-time band, not just a 'side-project.' " They are going to tour and everything!
Actually, I do have another gripe. What is with all these band
press shots with members pointing guns at the camera? It seems that once the black metal guys decide to take off the makeup and drop the swords and axes, they immediately pick
up a Glock and pair of sunglasses. They've gone from looking like warrior ghouls in some b-movie to mafia hitmen in some b-movie. I can't wait for the band press photo of some
long-haired Swede brandishing a computer keyboard like some evil hacker. It's just a matter of time, people. Mark my words. - Al Kikuras
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