Music Reviews

Rebaelliun - Annihilation (Hammerheart, 2001)

Rating: 9/10

In my opinion, Krisiun have just about perfected this style of ultra-fast and precise death metal on their newest splatter, Ageless Venomous. With Annihilation, Rebaelliun have cemented their position as the top contenders for the throne. Ridiculous, machine-like playing is abound on this release. Brazil seems to breed inhuman drummers, and Sandro Moreira is no exception. There is a strong dose of Morbid Angel in Rebaelliun's sound, particularly the vocals and guitar. There is some obscene lead work... just listen to the solo that closes out the opening title track. Rebaelliun differ somewhat from their aforementioned countrymen in that their music is more dynamic, with slower passages peppered throughout. The end result is an album that, though not original, is distinct and in this time where death metal bands are a dime a dozen, carving out a distinct sound is quite an accomplishment.  - Al Kikuras

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Sanatorium - Internal Womb Cannibalism (Forensick Music, 2001)

Rating: 8.5/10

Now THIS I did not expect! Sanatorium's debut album, Arrival of the Forgotten Ones, had an organic feel to it - incorporating clean guitar passages and dark melodies while still remaining incredibly brutal. Internal Womb Cannibalism finds the band abandoning the sound of their debut for a new ultra-guttural direction, ala Disgorge, Lividity, and Fleshgrind. Just looking at the song titles from either release, the change is evident. Compare "Race of the Dimension Unknown" and "Necrologue Written In Forest" off Arrival... to "Intravenous Ejaculation," "Dead Virgin Whore" and "That Cunt's Name is Heather" off the new one. Blast beats are abundant, the vocals are of the "mic down the throat" variety that I am very fond of and the music is laden with pulled harmonics and on-the-dime stop and go riffing. The end result is a much more brutal, yet considerably less eerie listen. If one was to compare the albums in terms of horror films,  Arrival of the Forgotten ones is more akin to creepy flicks like "The Exorcist" and "The Changeling," while Internal Womb Cannibalism falls into the gore and violence category of films like "Cannibal Holocaust" and "The Burning Moon."

Sanatorium certainly sound like they have been at this style since day one. They can hold their own against any of the aforementioned bands. The production on Internal Womb Cannibalism is much fuller and heavier than on the debut, which is more fitting to this material. While I love this album, and find myself listening to it regularly, I must admit that I prefer the direction Sanatorium took on their debut as they had a more distinct sound - there was no act I could really compare them to. While part of me will mourn the loss of that band, I also happily welcome new masters to the realm of ultra-brutal death metal as I am confident Sanatorium will consistently deliver the goods.  - Al Kikuras

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Sathanas - Thy Dark Heavens (Blackmetal.com, 2001)

Rating: 8.5/10

Sathanas walk the fine line between black metal and death metal, fusing both genres with a slight twist of Voivod-ish quirkiness to produce a very satisfying listen on Thy Dark Heavens, this US act's third full length release. The vocals alernate between the genres as well - a deep DM growl is employed as well as a higher-register black metal snarl. While Sathanas don't always color inside the lines of their chosen genres, their experimentation is not so extreme that purists will be turned off. This is an album that just about anyone into brutal music should be able to greatly appreciate, and those who looking for a band with a unique sound and adventurous side will find Thy Dark Heavens to be equally rewarding. It is hatefilled, brutal, heavy, aggressive... everything a good death/black metal album should be and more. If that's not your cup of tea, then what the hell are you doing here reading this in the first place? - Al Kikuras

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Serberus - Our Dying Grace (Self-released, 2001)

Rating: 9/10

This is a smoking EP courtesy of four fellas that, much to my surprise, hail from Boulder, CO here in the US of A. The music has a distinctively European feel to it, probably due to the fact that 2 years or so ago, melodic death/black metal of this caliber seemed to only come from across the open sea. Though the strength of the US scene has improved dramatically in recent times, especially the USBM scene (of which Serberus could be considered a part though their membership is not exclusive to the genre), in my cooked little brain when I hear it this blistering I immediately think Scandinavia or somewhere comparable.

Serberus are an exemplary extreme metal band. The recipe for metallic success here is a strong sense of melody and catchy songwriting. Now melody in death and black metal is something that usually turns me off as it tends to diminish the brutality of the music (the brutality being what I love about the genres to begin with), but with Serberus the melody never gets to be invasive as it is tempered with relentless heaviness. The music is incredibly refined and tight, as if each note was obsessed over to perfection. No, Serberus aren't breaking down any barriers of extreme music here, but even though other bands have played and are playing music of this style, few are doing it this well. There are 4 original songs on Our Dying Grace with nary a dull moment, and a blistering cover of the Destruction classic "Curse the Gods."

There is also a multimedia section of the disc that must be mentioned, featuring band info, a bio that I couldn't get to load, and some live videos which are the gems of the extras. They are pro-shot and the sound is phenomenal. The band can very obviously hang in a live situation, sounding as thick and tight as they do in the studio. The stage is adorned with HUGE inverted crosses, which is always a plus. Watching this video I saw that both guitar players were sharing the vocal duties, though they don't sound remarkably different from one another. I looked more closely at the inlay booklet to discover that they did so on the EP as well. - Al Kikuras

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Severed Savior - s/t (Self-released, 2000)

Rating: 7.5/10

Competent yet relatively non-distinct death metal that calls to mind the likes of Deicide, Broken Hope and Driven to Conquer-era Internal Bleeding. It may not be original, but damn, it delivers the goods. Severed Savior can certainly hold their own against both of the aforementioned bands and, had they only beaten either act to the chase, they might well be at the top of the death metal heap right now. I fear that with the oversaturation of death metal bands, Severed Savior might slip through the cracks, but hopefully enough fanatics will catch wind of this particular rotting corpse and they'll get a shot at a financed full-length, as this EP really fills that pounding guttural death metal craving that grabs me 3 or 4 hundred times a day. Titles like "Fecalpheliac," "Bury the Whore" and "Puddle of Gore" give you an idea of the kind of ditties these tuneful songbirds pen, and if sensitive love songs like "Molesting the Dead" are your cup of tea, seek this release out as you shan't be disappointed. - Al Kikuras

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Six Feet Under - Total Carnage (Metal Blade, 2001)

Rating: 8/10

HAHAHA!! On the first line of the album's opener, "Impulse to Destroy," Chris Barnes sounds like Eddie Murphy's Buckwheat doing death metal. I have listened to this one line over an over at least two dozen times since first getting this album. Classic!

Comic relief aside, Total Carnage is an excellent return to form for Mr. Barnes. I haven't cared for any of his post-Cannibal SFU work (as I've said before, it sounded like leftover lukewarm Obituary tracks with Barnes at the mic, which was logical), though the last album, Maximum Violence, was a BIG step in the right direction. Total Carnage sounds like a less-technical, more groove-oriented version of The Bleeding. Barnes doesn't enunciate quite as much has he did on the aforementioned Cannibal Corpse masterpiece (thus the Buckwheat impression), but the music is as brutal as any Cannibal album (with the exception of the ludicrous Butchered At Birth).

Some of the tunes on Total Carnage are real gems: "The Day The Dead Walked" is a prime death metal track (and the video included on the CD for this song is spectacular). "One Bullet Left," featuring Ice T, sounds better than any death metal/rap hybrid has a right to. "The Murderers" is another killer (ahem). Some of the songs are a bit flat - "Snakes," for example, but on the whole, Total Carnage is proof positive that Barnes still has the old demons inside him, and it is good to hear him exorcising them once again. - Al Kikuras

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Sigh - Imaginary Sonicscape (Century Media, 2001)

Rating: 9/10

Sigh are very love 'em or hate 'em band in the metal scene.  Their campy and experimental nature can be a turn off to those in search of utter brutality, but their constant homages to classic thrash metal makes some metal lovers that much more interested. "Imaginary Sonicscape" is Sigh's first proper U.S. release through Century Media records. It's also perhaps their most daring record to date.  Opener "Corpsecry-Angelcry" is an extremely upbeat number with some serious NWOBHM leanings.  At times it's actually very similar to the opening title track of 1997's "Hail Horror Hail" record.  From there Sigh decides to let their love of all things '70s shine bright. "Scarlet Dream" could be described as Celtic Frost meets Zappa.  In fact that may also be a fitting description for the Moog filled "Sunset Song" and the beautifully savage "Ecstatic Transformation."  A track-by-track breakdown of this record may be the most effective way to offer it a proper review. But in the interst of conserving space on your browser for the next Dave Cummings feature I'll try to summarize.  This is the most adverturous record Century Media has ever released.  It's genre-defying, while not coming across as overly pretentious.  That's imporant. Sigh have almost become the Mr. Bungle of the extreme metal world. However, where Mr. Bungle have found themselves experimenting less with each release, Sigh always tend to throw something else in the mix.  Even some lounge parts. Jack Tripper would be proud. - Big Juan

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Corona Borealis - s/t (Hammerheart, 2001)

Rating: 9/10

This came as a shock. Looking at the cover, I expected another dreary, pompous symphonic/gothic pseudo-black metal album. Rather, I was very pleasantly surprised to discover that this is an album of folk/medieval music. Corona Borealis is the project of Kristian Nordreide, the individual responsible for the folk-based performances on albums from the band AETERNUS. Here, Kristian is stepping out on his own and mixing elements of traditional Celtic-sounding folk music with medieval music with no regard for authenticity beyond relying solely on acoustic instruments. The end result is a very well done instrumental body of music clocking in at just over 45 minutes for 16 songs, with no terrible clean vocals to muck it up. Instrumentation includes bagpipes, flutes, Celtic and medieval harps, the lyre, the hurdy-gurdy, percussion, Jew's harp, acoustic guitar and more. Hard-headed metal fans should steer clear as there is not a single lick of metal on this album, but anyone with an open mind that enjoys strong melody and acoustic instrumentation should seek this album out.  - Al Kikuras

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Weltmacht - The Call to Battle (Elegy Records, 2001)

Rating: 9/10

As is to be expected from a lineup consisting of Akhenaten (Judas Iscariot, Sarcophagus) on guitar, bass, and keyboards, Lord Imperial (Krieg) on vocals, and Cryptic Winter (having worked with all three bands) on drums, The Call to Battle is an exemplary work of totalitarian black metal of the highest order. The album's ominous intro, "Ancient Hatred," leads into the mid-paced "To the Triumph of Evil," a grim track that would sit well on Judas Iscariot's Of Great Eternity. "Drenched in Subhuman Blood" follows, keeping the same marching pace until just shy of two minutes of the song when the fist blast-beat of the album hits, and Lord Imperial begins shrieking in the signature high register that makes his vocal performances so distinct. Most of The Call to Battle maintains this mid-paced tempo, abandoning it for only a few brief blasts. The title track features the album's fastest playing and the most frequent use of blast beats, with a grand total of two 30-second passages. On the Burzum-esuqe song "Ashes," Lord Imperial turns in a vocal performance that sounds so close to Varg Vikernes that I think even a seasoned Burzum fan would have a hard time telling the difference. The brief tracks "Funeral March" and "The Spirit of Intolerance" break away from the album's standard; the former a 45-second keyboard dirge and the latter, surprisingly, a minimalist trance-ish track consisting of a simple electronic drum beat that is effective in its brief duration. The album closes with a short 'outro,' "Blood of the Ancients," which is a medieval-sounding piece featuring a synth flute sound, acoustic guitar and percussion.

Welmacht's strength lies in their embracement of the most basic elements of black metal. There are no frills, no pomp... just ugly, cold and hate-filled music that will be manna from hell for purists and the bane of fair weather black metal fans. The USBM scene has never been stronger and Weltmacht are yet another example of the best the US legions have to offer. - Al Kikuras

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Withered Earth - Into the Deepest Wounds (Olympic, 2001)

Ratings: 9.5/10

It is refreshing to hear a death metal band with a distinctive sound. Withered Earth combine the most brutal of death metal, frantic stop-and-go grind dynamics and a slight hardcore tinge to produce a schizophrenic blend of music. Typically, when elements of hardcore are applied to death metal I find the music about as pleasing as a kick to the crotch, but Withered Earth manage to pull it off with flying colors. At the core, Into the Deepest Wounds consists of exceedingly brutal death metal, which I think is the saving grace that makes the myriad of influences palatable... they never lose hold of their roots. Adam Bonacci's vocal performance is one of the strongest anchors - the man has an impressive range and absolutely ferocious roar that says, with all the subtlety of a big black mambo dildo with balls, "THIS IS DEATH METAL, MOTHERFUCKER!" and death metal it is, just not your typical barbaric breed. Withered Earth experiment with odd timing, quick jarring changes and almost funk-inspired rhythms, but never let go of that death metal aesthetic. The end result is a challenging and rewarding album that, along with releases like Gorguts' Obscura, will serve to keep death metal vital. - Al Kikuras

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The Reign of Terror - Sacred Ground (LMP, 2001)

Rating: 5/10

It is good to see another release from LMP, the kind folks that landed the likes of Rhapsody in my PO Box, but unfortunately The Reign of Terror do not kick even a fraction of the ass that Rhasody does. The guitar work on this album kills. Guitarist Joe Stump is obviously a borderline virtuoso, but (and I know I have used this analogy before) him playing this kind of stuff is like a master chef making Saltines. Tracks like "The Unknown" are so cock-rock that any shredding the guy does is immediately nullified. Just listen to the instrumetnal "Pagunini's Purgatory," and just about every freakin' solo on this album for that matter. The guy has chops beyond chops, but they go to waste. "Hellbound" is the one track that shows some sack, and even so it is still hanging on by a thread. Listen to that opening passage! The guitar work is insane, but where are the balls? Where is the aggression? I'll tell you where. - Al Kikuras

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Yattering - Human's Pain (Renegade, 2001)

Rating: 7/10

Yattering and Withered Earth, also reviewed in this edition, have much in common. Both are, at core, very brutal death metal bands but neither adheres strictly to the limitations of the genre. Elements of hardcore are interspersed, as is experimentation with some odd timing and grooves, but what makes both bands work is that they never lose sight of the basic elements of death metal - that brutality and ugliness I keep harping on in my reviews. I think Withered Earth are slightly more successful in their execution as Yattering stretch their wings into some areas that don't really work, like the Korn-ish moaned nu-metal vocals on the mercifully short track "Lost Within," but on the whole the material on Human's Pain is solid and convincing, though not especially memorable. Most of the album just blasts by. I understand this is actually their first album re-released. I'd be interested to hear newer material as with refinement in the songwriting department, Yattering could produce something remarkable. They certainly have the abilities. Of interest are the bonus tracks, including a cover of Slayer's "Dittohead." Odd choice to cover a later Slayer track. It is well-executed, though either vocalist Svierscz doesn't know all the words or his Polish accent is so thick he's having a lot of trouble with the pronunciation. Also, he could just be Polish. There are some terrible pants in this band, too. What is with the guy in the shredded jeans? He looks like he was attacked by Pirahnas. - Al Kikuras

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Soils of Fate - Sandstorm (Retribute Records, 2000)

Rating: 8.5/10

Ultra-heavy and brutal death metal from the UK with inhumanly fast drumming. I have checked the liner notes 3 times just because I couldn't believe my fucking ears. This is a REAL PERSON playing, not Mortician's drum machine. Drummer Jocke certainly belongs in the big leagues. He's not a technical wizard or a remarkably stylistic drummer, but he has the speed to bury most of his peers on both the snare blasts and double bass. You simply must hear him to believe him. The rest of the band could be playing a fucking shoebox and a kazoo for all I care and Sandstorm would still be worth listening to for the drum acrobatics alone. Luckily, that is no the case, however and guitarist Mange and bassist/vocal beast Henke are more than competent in their own rights. In fact, Henke has one of the deepest death metal voices I have heard in my life, and is a competent bassist as well, not always shadowing the guitars as many death metal bassists tend to do. Speaking of guitars, Mange does a fine job grinding and ripping pinched harmonics. Throw it all together in a blender and the end result is slamming death metal ala Internal Bleeding and Dying Fetus, but with a drummer that will blast you right off the fucking toilet. - Al Kikuras

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Stone in Egypt - s/t (Cold Blood Industries, 2000)

Rating: 5/10

The title of this band leaves very little to the imagination. VERY LITTLE. They’re a stoner rock band.  They sound like Kyuss, the Obsessed, and early Soundgarden. Exactly like those bands actually.  If you like any of them and feel the need for something new this might just be your thing.  What else can I say?  A band with such an unimaginative name doesn’t deserve too detailed of a review. - Big Juan

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Throneaeon - Neither of Gods (Hammerheart, 2001)

Rating: 7/10

Another band reminding us of what Deicide might have been, Throneaon are also another act that is very good at what they do, but what they are doing has been done before time and time again. Neither of Gods sounds like a cross between Deicide's Once Upon the Cross and Vader's Litany. There is not much to say beyond that. If you have heard both bands/releases, you have heard Throneaeon. They are a competent death metal band that is obviously enthusiastic about what they do. The songs aren't catchy. Nothing in these 12 tracks sticks in my mind for more than a moment, but it takes care of the brutal death metal fix quite well. - Al Kikuras

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Ton - Plague (Seething Records, 2000)

Rating: 8.5/10

I have heard a lot about Ton over the years, but must admit that this is the first time I have actually heard them and I am quite surprised. I expected standard NY-style death metal (yes, I do realize they are from Ohio, but the NYDM sound is not a geographic distinction only), but am thrilled to discover that Ton's sound is not the standard fare. While Ton share many characteristics with the masters like Internal Bleeding, Suffocation and Pyrexia, they do have a distinct sound. Not original, mind you, but to write them off as "just another bad" as I half expected to do would be wrong. The songwriting on Plague is very strong. My favorite track, "13-13-89," showcases the band's musical proficiency with rhythmic workouts interspersed between overly brutal barbaric death metal that will have fans of the aforementioned bands drooling at the mouth. It's not that Ton are revolutionary or strikingly original... they are just so fucking good at what they do, and that is pen and perform sick death metal with a triple vocal attack that keeps things from getting even remotely monotonous as much death metal of this style tends to do. The production is also key to Ton's success, as it is clean yet ugly... an almost viscous sound that represents each instrument well.

It took me far too long to review this release, and to Ton and Seething Records I apologize. I simply had so many CDs to get to that this one was shuffled into the wrong pile. I am kicking myself, not because I have kept them waiting so long, but because I could have been listening to this album the whole freakin' time. - Al Kikuras

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War - We Are...Total War (Necropolis, 2001)

Rating: 7/10

War is finally back with Necropolis Records, and both of their MCD's are finally seeing proper release. Total War, the band's debut MCD, as well as the We Are War MCD released in one package, not a bad deal. I remember when Total War caused a big controversy because of the song I Am Elite, with the lyrics "Niggers and kikes, stay away.", which sadly got them more well known then their song writing ability.  For this period in time in black metal its really cool to hear brutality in this genre, rather then polished production with keyboards and female vocals. Now for a contrast...the We Are War tracks while brutal just aren't as good as the debut tracks.  Somewhere along the line this release got screwed up, I'm not sure how it happened, even Blackmoon admits it saying "We are War is not a 100% representation of War, rather more of a cool experiment we did at the time."  I might not agree totally, but he is partially correct, it doesn't represent properly what War is all about.Well anyways, a new lineup is being assembled and a new album will be released soon enough, maybe it will have the raw blistering style featured on Total War. Fans of fast war styled black metal (Marduk, In Battle, Setherial, etc...) should check this out.  - Rick

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Internal Bleeding - Alien Breed (Olympic, 2001)

Rating: 8.5/10

Of all IB’s albums, I must say I prefer the earlier ones most. There is just something about the barbaric approach of the first release that gets me in the gut. It is like a huge bear, its body too big for its brain, lumbering out of control on a rampage of destruction. Internal Bleeding had all the rage and anger, but they hadn't quite developed the chops yet to harness that energy into a cohesive whole. The end result was death metal of the ugliest caliber that was formulaic, but worked because of that formula. Blasting, groove part, mid-paced passage... you were never thrown for a loop, but you could count on that groove that sets your head bobbing and would throw any pit into an absolute fury, tempered by blasting so fast and reckless that it pretty much doesn't matter what the guitars and bass are doing underneath it. With each subsequent release, Internal Bleeding improved as musicians and as a result, that mindless approach was tempered by the conscience that comes with musical growth. The band reached a peak with Driven To Conquer... a great death metal release with a much more refined sound than on both Voracious Contempt and The Extinction of Benevolence. While Driven To Conquer was, without a doubt, IB's best album to date, it was not my favorite to listen to.

Why the history? Alien Breed is an IB historical archive of sorts, stretching back to 1991. It features each of the band's demo releases, including the now infamous One Dollar Demo which is an absolute gem of NYDM that IB deserve to be in the annals of brutal music for all eternity for pressing on to CD. The same progression I mentioned above can be heard on each of the demo releases included here. Yes, folks, there were days more gloriously ugly than those over which Voracious Contempt was recorded! My only gripe is that I wish the demos had been included in chronoligical order so the progression can be more readily heard. I do understand the reasoning behind the reverse chronology, however, as I am sure the band wants to put their best musical foot forward.

Also included is a new track (and the title track) "Alien Breed," with new vocalist Mike Lotito and bassist Jay Carbone. "Alien Breed" is a very strong song that, again, shows a progression from the last release. While not radically different form their earlier material, there are elements to "Alien Breed" that will set it apart from earlier songs for seasoned listeners. The vocals are more varied, there is a deeper sense of melody and the fantastic opening/closing riff is a new sound for IB that has opened the door for a lot of interesting possibilities. I am looking forward to the new album, Hatefuel, as the injection of these new elements could well make up for the barbarism that I miss from earlier releases. - Al Kikuras

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Korovakill - Waterhells (Red Stream, 2001)

Rating: 9/10

After the Bethelehem discs and RSR's involvement with Necrophagia's unfortunate return I lost my faith in what I once considered to be a great label, but signing a band this good restores some of that.  This album has a unique blend of operatic vocals (male and female), deep growls, screams and some very unusual musical arrangements.  At times they remind me of Arcturus, more specifically, La Masquerade Infernale mixed with touches of Aspera Hiems Simfonia. There might be similarities, but in no way is this band derivative of Arcturus, merely influenced by as is clearly evident in this album. If you listen to Arcturus, Korova or any bands that stretch the boundaries of metal, opera and avant-garde in one song pick this disc up.  Only those with an open minded need apply. This album might not be for everyone, but I think it's good to finally see another band in the vein of Arcturus. - Rick

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Kalmah - Swamplord (Century Media, 2001)

Rating: 6.5/10

Well, it is certainly well done, but Kalmah's brand of Gothernberg-styled At The Gates metal has already been done, not only by At The Gates, but Soilwork, Children of Bodom, Gardenian and a banana boatload of others. Whereas At The Gates didn't use keyboards, Kalmah do (albeit sparringly), but keyboards do not a distinct sound make. They are fine musicians and pen competent songs, but Swamplord is unfortunately just another drop of water in an already overfull bucket. If melodic, thrashy death metal ala the aforementioned bands is your passion, then you will most definitely love Kalmah, but I am looking for something a bit less "flavor of the moment." - Al Kikuras

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Pain - Rebirth (Renegade, 2001)

Rating: 5/10

Let it be known I am a big Hypocrisy fan, but this album just isn't something of the great quality Peter Tagtgren usually writes.  I wasn't expecting anything brutal on this, or anything remotely metal. I saw the Pain performance at Meltdown III, and to be honest it was great. I just don't understand how a live set can sound better then the studio recording. The production hinders this a bit, sounding as if all the instruments are just all blended together, nothing is clear at all, even the vocals. Live, Pain had an amazing sound, everything was clear and loud enough, on this cd the sound is just extremely flat. Great idea with good intentions on Peter's behalf, just not executed properly.  If you like industrial then maybe give this a shot, otherwise you might be better off not hearing this. - Rick

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