Music Reviews

Abominant - Ungodly (Deathgasm, 2001)

Rating: 9/10

I was worried Abominant would fall victim to the defunct-label syndrome that afflicts many bands when Wild Rags went AWOL last year, but I am pleased to see that they are still carrying on strong, now signed to the mighty Deathgasm Records. Judging by the 8 songs that make up Ungodly, the boys have not missed a beat. I find the material on this release a bit thrashier than their Wild Rags outing, The Way After. The old-school metal influences that Abominant so proudly wear on their sleeve are even more evident, particularly on songs like "The Fallen;" a slower melodic number with a good mix of clean vocals and a mighty metal screech. This formula is not the standard for Abominant, but rather the exception. The majority of the material on here is of the uglier style. Abominant's strength is in their ability to write great songs, another carry over from the classic metal days. Whereas so many bands trying to capture the fire of old Kreator, Sodom and the like end up sounding nostalgic rather than vital, Abominant deftly avoid this snare. Ungodly is, if you'll pardon the pun, a godly slab of metal played by guys that obviously eat, breathe and shit the stuff. This is the real deal, ladies. Pick it up, slap it on and start banging! - Al Kikuras

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Aeon - Dark Order (Necropolis, 2001)

Rating: 8/10

It seems that the general consensus in the metal underground is that Deicide have fallen off the wagon, wallowing in stagnant waters so deep that they have become a mockery of themselves. I have not heard the newest Deicide release, In Torment In Hell, but if it is anything like the banal Insineratehymn (and from what I have read in reviews, it is) I have no need to hear the album as I have heard it already and it is about as exciting as watching old people fuck.

Sweden's Aeon have, with Dark Order, released the next step in Deicide's career had they not grown stale. This is very brutal, technical, evil-sounding death metal that would have made sense as the follow-up to Legion. Reportedly, Dark Order is the band's 2000 demo, but the sound is completely professional. Everything that made Deicide great when they were great is here, save one element... catchy songs. Aeon don't have the hooks down, but they most definitely have the chops. Whereas Deicide went on to rely too much on choruses and predictable song structures, Aeon have embraced Legion's brutal technicality and taken it to its absolute extreme. So those who mourn the loss of Deicide's vitality can find a potent replacement in Aeon, and any death metal fan (even those who never cared for Deicide) will find Dark Order to be a rewarding listen. - Al Kikuras

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Amorphis - Am Universum (Relapse, 2001)

Rating: 8/10

Amorphis is one of those bands that seems to reinvent themselves with each new album. It all began as death metal, then they introduced atmosphere, slowed down, and they have left their death metal roots behind and are now playing a style that can only be compared to some of The Cure's darkest and heaviest moments, with vocals that are suprisingly good, and seem to add quite a bit to the mood of this disc.  1999's Tuonela showed signs of progressing towards this sound, as all of their previous discs seem to do on at least one song, so it isn't shocking to hear them change, it's shocking to hear how great of an album they have recorded. With almost as many lineup changes as Incantation, a change in style is no suprise and in this case should be warmly embraced. Refreshingly different, a big departure from their past work and one of Relapses' best of the year. - Rick

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Ancient Rites - Dim Carcosa (Hammerheart, 2001)

Rating: So terrible numbers don't do justice.

How can a concept album be this boring?  Necromicon's Sightveiler, the pinnacle of concept albums is as great as this is bad. Ancient Rites attempt to tell the listener a story on this album, but with small print damn near impossible to read for the lyrics/story you can't possibly follow.  I wish I could tell you what the story to this album is but I can't for the life of me read more then 2 lines without getting a headsplitting migraine, extremely poor printing job. Musically speaking... this album is far from stellar.  I don't know what to say other than please don't buy this album. - Rick

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Avantasia - The Metal Opera (Century Media, 2001)

Rating: 9/10

Edguy's Tobias Sammet has undertaken an enormous project here. He has composed, as the title would suggest, a metal opera featuring different prominent metal vocalists from bands such as Angra, Stratovarius, Gamma Ray, Virgin Steele and others playing the various characters. A huge undertaking and one that I am VERY pleased to report he has pulled off quite well. This is modern power metal of the highest quality. As for the story, hell if I know what it is about aside from being a medieval fantasy-type epic. I wish a libretto had been included with the promo as I would like to read the story as listening as well as confirm which vocalist is singing what lines and when.

On the opening song "Reach Out For the Light," Sammet's vocals are very reminiscent of Bruce Dickinson at times and Michael Kiske others. The song is total Helloween to the point that it would sit well on Keeper of the Seven Keys Part II and, yes, it is THAT good. Listen to the vocal passage that closes out the song. If I did not know this was Avantasia and someone played that for me, I would swear on my eyes that it was a classic Helloween track that I somehow had not heard yet.

Most of the vocal performances are quite strong, while others, such as on the track "Serpents in Paradise," lack particularly in the higher registers. Unless my ears deceive me, that is David DeFeis from Virgin Steele admittedly sounding a lot better than he did on any Virgin Steele album I have heard, but I still think his high vocals are weak. In fact, that is the case with most of the vocalists on here. Not the higher register thing, but I am not a fan of Angra, Stratovarius, Virgin Steele, etc., but I like each vocalists’ work on this album.

Musically, every moment on The Metal Opera is exemplary. Sammet is obviously a major writing talent and had the good taste to choose musicians that could do his compositions justice, including Markus Grosskopf (Helloween) on bass, the awesome Alex Holzwarth (Rhapsody) on drums, Henjo Richter (Helloween, Gamma Ray) on guitar and more. The music is refined and catchy, with no filler or weak moments.

The Metal Opera is one of the best modern power metal albums I have heard since Lost Horizon's Awakening the World. It gives me hope that there are still some timeless albums in today's musicians. With Avantasia, Tobias Sammet has solidified his place in the annals of metal history for all time. - Al Kikuras

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Bloodthorn - Under The Reign of Terror (Red Stream, 2001)

Rating: 8.5/10

Ahhh, how deliciously appropriate that Bloodthorn's Under The Reign of Terror is the album to cleans my palate after listening to the power metal drivel of the band The Reign of Terror. Bloodthorn are like the Bolt Thrower of black metal. This is dense, atmospheric stuff that grinds along like a tank on a pathway of destruction. This is most definitely a potent strain of war metal, with marching rhythms, multi-layered vocals, relentless pounding drums and guitars and some surprisingly refined solo work. Bloodthorn's vocals are of a higher register than Bolt Thrower's. I'm not talking Immortal-ish Popeye vocals, but more of a mid-range. There are deeper vocals used, but they do not dominate.

Any and all death metal and black metal fans (purists aside, as both genres are tackled here) will find Under the Reign of Terror to be a rewarding listen. While I have a promo in a cardboard sleeve, I understand the official release has a 16 page booklet with a story. Even without such extras, this is an album worth purchasing, so unless that booklet is filled with naked photos of Robin Leach, this is an album you should most definitely acquire. - Al Kikuras

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Catastrophic - The Cleansing (Metal Blade, 2001)

Rating: 1/10

Here is some extremely unconvincing hardcore from former members of Obituary and Pyrexia.  Stringing the more tired aspects of late Obituary with the most painful elements of later-Pyrexia, Catastrophic do little to leave a lasting impression here. When they try to sound political it’s just laughable. When they try to throw in death metal riffs it sounds rather forced. This record made me really respect Al Sharpton. - Big Juan

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Destroyer 666 - Phoenix Rising (Renegade Records, 2001)

Rating: 8.5/10

The days of D666 playing second chair to the legacy of Bestial Warlust may well be over, folks. Phoenix Rising finds the band harnessing the out-of-control sound that made BW's Blood and Valour the masterpiece it is, trading the delightful sloppiness for clean musical performances as tight as a 12 year-old. Since D666 never quite matched the intensity of Bestial Warlust, this is a welcome change. The title's meaning is all the more poignant as the album represents a rebirth of sorts. Hardcore fans of D666's original sound as well as that of Bestial Warlust might be disappointed buy this more streamlined approach, however, as it is a considerable change in style. Worry not. This is still ultra-violent material. The opening track, "Rise of the Predator," is, by my recollection, the fastest D666 has released thus far. The second song, "The Last Revelation," smacks of classic Destroyer with its mid paced tempo. "I Am The Wargod" displays more dynamics and a taste for the grandiose than I ever thought D666 were capable of achieving. This is truly a masterpiece of a song and, in my opinion, the best on the album. Clocking in at over 7 minutes long, the passages are varied from the epic to speedier riffing and actual vocal hooks!

Whenever a band changes their style, they are sure to alienate old fans as they gain some new ones. I think that Phoenix Rising retains enough of the aesthetics of classic D666 to keep the old fans happy as well as open up their audience to those that might have found Violence is Prince of this World and Unchain the Wolves too disjointed and chaotic. Whatever the case may be, D666 have kept things brutal and metal enough that there can be no question as to their integrity. - Al Kikuras

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Diabolic - Subterraneal Magnitude (Conquest Music, 2001)

Rating: 9/10

Diabolic are giving new meaning to the word "prolific." Their second full-length, Subterraneal Magnitude hits the streets in the US on Nov. 6th. Their third full-length, Vengeance Ascending, will be released October 30th on Olympic. Confusing, I know. Not only are they releasing two albums in one week on two different labels, but the third one is coming out before the second. Look for an explanation in an upcoming interview with the band.

Subterraneal Magnitude finds Diabolic pretty much sticking with the same format they laid down on their debut, Supreme Evil, but upping the intensity a notch. This is death metal in its purest form: deep vocals, occasional earsplitting screams, abundant blast beats and double bass, an ethereal guitar sound - all the elements are here. The music is incredibly dense and full sounding, especially considering this is a three-piece band. Diabolic borrow much from Morbid Angel in arrangements, vocals, and solos, but do bring their own stamp of identity to the sound. Those who feel that the last Morbid Angel album was too mellow (I am not among them) will find Subterraneal Magnitude to be just the fix they need.

Diabolic's appeal does not lay in originality or inventiveness, but rather brute force and conviction. They are just so fucking good at what they do that it is impossible not to get swept up in their obvious enthusiasm and absolute love of death metal. The genre is alive and well and has a bright future ahead of it in Diabolic's hands. I think we can bet the farm that these guys will never stray from the path they are currently on, and as long as they are on that path we can look forward to album after album of absolute death metal perfection.- Al Kikuras

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Dumah - The Silence and Stillness of Death (Self-released, 2001)

Rating: 9/10

Once in a rare while the underground births a band with the ability to transcend genres of extreme music and mold a sound all their own. Dumah are such a band. While, at core, this is undeniably death metal, Dumah have incorporated elements of just about all extreme genres, from power to black to gothic and more, into their craft without regard for the boundaries of any one sound. So many bands shy away from incorporating such a vast myriad of influences with the fear of alienating themselves from hardcore fans of each style because they aren't "black metal enough," or are "too gothic" or "too brutal." Dumah deftly avoid this trap. On The Silence and Stillness of Death, death metal growls sit alongside baritone crooning; Maiden-ish melodies alongside bass-heavy death metal chugging; blast beats alongside a military march. The end result is not a death metal, not black metal, not power metal - or a hybrid of any variety of genres. Rather, The Silence and Stillness of Death is, simply, EXTREME METAL that, for all intents and purposes, should appeal to fans of any of the aforementioned genres provided they keep an open mind. Dumah's first offering sets the stage for very great things in the future, and a bright hope for the underground that a band may, at last, bring the finest elements from all of metal's various mutations to a cohesive whole in one body of music.  - Al Kikuras

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Enthroned - Armoured Bestial Hell (Blackend, 2001)

Rating: 8/10

Armoured Bestial Hell gives Panzer Division Marduk a run for its money when it comes to intensity. The material on ABH is more vaired, however. Double bass is used and it is not all speed... the slow intro to "The Face of Death" is especially effective. Enthroned put on a barbaric display of black metal chops. Nothing flashy, nothing technical, no experimentation - just mindless violence that is glorious in its bloodlust. If you are a fan of previous Enthroned releases, or just destructive black metal in general, Armoured Bestial Hell would be a worthy purchase.  - Al Kikuras

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Evil Incarnate - Blackest Hymns of God's Disgrace (Deathgasm, 2001)

Rating: 9/10

I was pretty fond of Evil Incarnate's last release, Blood of the Saints. A collection of the band's demos, it showed a lot of promise that has now most certainly come to fruition on Blackest Hymns of God's Disgrace. Evil Incarnate have honed their craft into a cruel, sharp blade that they wield as a weapon in their war with humanity. This is some of the dirtiest, most evil-sounding death metal I have heard in ages. Every song is putridly vile and dripping with spite and hatred for all that is holy in the world. Evil Incarnate are like a plague set to take Christians everywhere to the grave in a slow, excruciatingly torturous death. Technical ability and musical showcasing is not the focus here. Rather, Evil Incarnate opt to write straighforward, pounding death metal songs that are effective in their direct approach. Evil Incarnate have more in common with Possessed than the likes of Morbid Angel or Deicide. There is something primitive about their music that gets the blood boiling. Mike Eisenhauer's vocals are distinct, residing between the venomous delivery of Pete Helmkamp and the power of Ross Dolan. - Al Kikuras

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Exmortem - Berzerker Legions (Hammerheart, 2001)

Rating: 9/10

When I first received this disc, I was EXTREMELY excited. I saw the logo, mistook it for EXMORTIS, the now-legendary death metal band active in the late 80s, and thought that somehow some new EXMORTIS music had found its way into my hands. Closer inspection revealed the band to be EXMORTEM and the excitement faded, at least until I listened to the disc a few times.

When I first get albums, I give them a perfunctory listen just to get an idea of what the band sounds like. I later go back and listen in depth in preparation for the review. My initial impression of EXMORTEM was not an overly positive one. Berzerker Legions came off initially as standard, by-the-numbers death metal, which, in all fairness, it is to an extent. But, after spinning this disc a few times, the hooks sunk in. Berzerker Legions has a very surreal feel to it. I think it is largely due to the vocals. Listening with headphones, it sounds like they have a slight touch of the vocal effect David Vincent used on "Where the Slime Live," though it could be that vocalist Simon just has an inordinately sick set of pipes.  Exmortem walk the fine line between the all-out blasting attack of bands like Krisiun (who, to this day, I still find boring) and more songwriting-oriented acts, ala Cannibal Corpse on The Bleeding. The end result is an act that, finally, have harnessed all that raw power in a format that holds the interest all the way through. - Al Kikuras

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Eyehategod - 10 Years of Abuse (and still broke) (Century Media, 2001)

Rating: 8/10

Eyehategod have been cranking out their unique doom/sludge/Sabbath-influenced metal hybrid for over a decade now.  They've spawned countless imitators, produced four full lengths and an infinite number of EPs, and even managed to break up and reunite. This release celebrates Eyehategod's first decade of insanity by combining their four song demo from 1990, a live radio performance from 1994 and a European show from 2000. The demo component will likely seem almost unlistenable to anyone not a diehard EHG fan, as the recording quality leaves a lot to be desired. All four songs were re-recorded and eventually appeared on the bands debut "In the Name of Suffering."  For the complete fan, it's a definite treat to have the original versions of these tunes. Both live shows are also top notch.  Pulled from the midpoint of their career (1994) as well as last year's "Confederacy of Ruined Lives" tour, these tracks give the listener an idea of just how brutal and torturous an EHG show can be.  Finally, one of the most unique points in Eyehategod's existence is that they can sandwich songs from their demo in between songs from their latest recordings without losing any continuity. Ten years and still going strong. - Big Juan

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God Dethroned - The Ravenous (Metal Blade, 2001)

Rating: 8/10

With their fourth proper full length, God Dethroned have clearly evolved into a threatening metal entity. Showing signs of development with each of their previous Metal Blade release, the band seem to have sound that utopia between the melodic and the skullcrushingly heavy that many bands spend years trying to attain. Instantly noticeable to these ears is God Dethroned seem to have moved to a unique plain with their sound. Their influences are still obvious, but the whole is clearer than the parts. Them guitars are unmistakably Swedish, but Tony Lareno (ex-Angel Corpse) adds an entire new dimension with his precise and powerful drum attack. The crystal clear production also does wonders. Opener "Swallow the Spikes" comes in blazing but gives way to a well-textured guitar lead midway. While God Dethroned are hardly the first to throw in melody with their mayhem they sure are pretty good at it. Other pure scorchers like "Via Vampiria" allow the Serpent King to lash his tongue at all through his effectively sinister vocals. But even when God Dethroned allows their love of melody to consume them ("The Iconoclast Deathride") they still seem to come out on top. This record may appeal to many different audiences. Fans of In Flames will really dig the melody and precision. Fans of Hate Eternal, Nile and Angel Corpse will be more than happy with Tony’s killer drumming. Fans of N’Sync will weep with joy at the sight of bassist Beef. We all win. - Big Juan

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Kamelot - Karma (Noise, 2001)

Rating: 5/10

I so badly want to be a Kamelot fan, but I just can't do it. Metal that falls in this lukewarm realm of almost heavy just turns me off. And the vocalist, Kane... I couldn't stand the guy when he was in the band Conception (they sent me their record - remember records?? - when I was running the print version of Unchain back in '91) and while his voice is a lot better now, I still don't like it. He just doesn't have enough balls. You want to hear metal vocalists with balls?? Listen to Eric Adams. Eric AK in his prime. The guy from Lost Horizon with the real long name... there ARE people out there doing it right, and while Kane is not a bad vocalist, he just does absolutely nothing to excite me. It is like eating a bread sandwich. It isn't bad, but what the hell is the point?

Kamelot certainly believe in metal and obviously live and breathe the stuff, but it is too middle of the road for me to find it exciting. It has been done, it has been done better. I know there are Kamelot fanatics out there, and I can safely say that they will love Karma, but I ain't one of them. - Al Kikuras

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Khanate - s/t (Southern Lord, 2001)

Rating: 8.5/10

Listening to Khanate I'm reminded of the words of one of the nineties most prolific poets, 2Pac. "Die slow, muthafucka." Mr. Shakur couldn't have described Khanate's debut full length any more accurately. Khanate could easily be described as a doom band, which wouldn't be a bad description, it just may limiting for them.  While the four piece unite to bring a very doom-rich sound to the masses, each member has enough experience and history to bring soemthing unique to the table. Be it Alan Dubin's piercing vocals torture, Steven O' Malley's plodding guitar, James Plotkin's trudging bass and trademark production or Tim Wyskida's solid percussion work, Khanate is unrelentless in their aural assault.  There are really no clear comparisons to make to Khanate.  They are a perfect fit for the Southern Lord roster, but don't show hints of stagnation where other bands on the label threaten to.  In other words, Khanate may be bringing doom metal to the next level.  Closing tack "No Joy" may be the best example of this progression as it leaves the listener miserable, depressed, annhilated and in total anticipation of where this band will go next. Khanate are the doom of the future. - Big Juan

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Krisiun - Ageless Venomous (Century Media, 2001)

Rating: 9.5/10

I haven't been a big fan of Krisiun thus far. While I could appreciate their "strap your balls to your leg" non-stop speed and pounding work ethic, beyond the pounding there was nothing. The chops were there, the ability was there, but the songs were not. I am happy to report that on Ageless Venomous they have put me in my place. While there's no "Comfortably Numb" on the album, the riffs are much more memorable than on previous efforts. The material flows. The songs have a solid structure rather than seeming collections of parts that don't equal up to a cohesive whole. The production is pristine... the drum recording is absolutely perfect, never mushing into a big wall of sound as so many high-speed death metal releases tend to do. This may well be the fastest drum performance ever laid to disc. Listen to the double bass in the beginning of the title track... just ridiculous!  Hell, drummer Max Kolesne keeps that insane pace for almost the entire song! He has, in my mind, just been elevated to the status of "DRUM GOD." When it comes to speed and endurance, I don't think anyone surpasses his performance on this album. In fact, just about everyone in Krisiun is approaching "God" status based in the instrumental track "Diableros" alone.

One of the finest and most relentless death metal albums I have heard in years. Those already fans of Krisuin will find themselves frothing at the mouth over Ageless Venomous, and anyone that wasn't a fan before hearing this album will certainly be one after. - Al Kikuras

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Mangled - Most Painful Ways (Hammerheart, 2001)

Rating: 7/10

Very straightforward death metal ala Vader and Sinister. Most Painful Ways doesn't have the ridiculous over-the-top feel that makes Vader's latest, Litany, the pleasure it is to listen to, nor the dark edge of Sinister's finest work, the mighty Diabolical Summoning. Mangled are not innovators, but it is obvious that innovation is not their goal. Rather, they are striving to write and release solid death metal, which they have certainly done with Most Painful Ways. While there really is nothing I can criticize about this release, there really is nothing to set off a fireworks display about either. Simply put: this is brutal death metal, with a deep-ended guitar and bass sound and deep growled vocals peppered with the occasional scream. If that does it for you, Most Painful Ways would be a worthwhile purchase. If you're looking for more adventurous sounds, then steer clear.  - Al Kikuras

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Monstrosity - Enslaving the Masses (Conquest, 2001)

Rating: 8.5/10

This is a serious treat for Monstrosity fans. A two CD set of material - one live disc and one with rare studio recordings and remixes.

Disc one, "Crave the Blood," features 12 tracks, including remixed songs from Imperial Doom, songs from the Slaves & Masters demo (which I am lucky enough to own a original copy of) and the Horror Infinity demo. Of the first disc, it is the Horror Infinity material that impresses me most. The production is raw and powerful and the band just sounds so hungry. George "Corpsegrinder" Fisher is in rare form on these tracks, sounding the absolute best I have heard him (though I am sure many would disagree). The Slaves and Masters demo is a primal slab of death metal. The production is a bit thin, but the material is fine beyond compare. The Imperial Doom tracks aren't that radically different from the originals. As stated in the liner notes, the band felt the drums were too loud in the final mix of the release. Things are of a more even keel on this mix, but I don't know if anyone outside of the band really would notice that much of a difference. The original sounds fine to me.

As for disc two, well, I just love good live albums. Note: I said "good." Deicide's Where Satan Lives or When Satan Lives or whatever it is does not qualify. It sounds like the studio album set to a concert crowd soundtrack. With a band like Deicide, there really is no point to a live disc as they have minimal crowd-band interaction and sound pretty much dead on to the albums in the live setting. With Monstrosity, the live album format is much more valid for a few reasons. First, there is an exchange between the crowd and band. Second, we are treated to current vocalist Jason Avery's take on tracks originally recorded with Corpsegrinder and, finally, the band sounds live. Not like a studio album with cheering behind it... it sounds like you are actually at the show, and that I think is the best thing about good live albums, and what every band recording one should strive for... re-creating the feel of being there. Zappa's Live at the Filmore East and the You Can't Do That On Stage Anymore series are prime examples. Monstrosity are an exemplary live act - tight, heavy and inventive enough to keep things interesting to the more discriminating ear.

In summation (can you tell I just got off two weeks of jury duty?), Enslaving the Masses is a great purchase for Monstrosity fans as well as newcomers looking to check the band out for the first time. - Al Kikuras

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Open Grave - The Heavens Cry Black Tears EP/Demo (Self-Released, 2001)

Rating: 8/10

Here we have a short, delightfully ugly foray into the most decrepit corners of USBM. Open Grave's overall sound is absolutely repugnant. The guitar sound should be left 6 feet under the earth where it belongs. Open Grave are definitely embracing the minimalist approach to black metal and working it very well. Vocalist GOD VOMIT's performance ranges from a cracking high screech to clean moanings and a deep death metal growl. When his voice cracks it makes the hairs on the back of my neck stand up with disgust, like someone raking their nails along a chalkboard. This is straightforward hatred. No surprises, just dark and carcinogenic music that will be unpleasing to the uninitiated ear, but manna from hell to those of us looking for a potent dose of raw black metal that doesn't give a whit for melody and accessibility. Another strong offering from from the US that will serve to further the scene rather than support the notion that USBM doesn't hold a candle to its European counterparts.  - Al Kikuras

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