Music Reviews

Manowar - Warriors of the World (Metal Blade, 2002)

Rating: 10/10

Six fucking years, the album had BETTER be a 10 out of 10! The Kings of Metal have returned to rally the faithful and scorn their enemies! There is a lot on this album to absorb... it is not a typical Manowar release, and I am sure that some fans will be disappointed by the new sounds and the band's long time detractors will find more reasons to dismiss the masterpiece that is Warriors of the World.

I will break the album down song by song as it is a release that deserves that much scrutiny and I don't feel I can fairly sum the album up. The only way to tackle this beast is piece by piece.

"Call To Arms" is an absolute metallic anthem, in line with Manowar classics like "Hail and Kill," "Manowar," "Kings of Metal" and "Kill With Power." This is an absolute classic in the making. Heavy, catchy... Manowar at their best!

"The Fight for Freedom." I didn't know what to think of this one at first. Very accessible, almost poppy at times but with repeat listens it just sunk in to my mind and now I love it. The hooks and sentiment of the song threw me off at first, but it is completely metal, a battle song to gather the forces and send them off to war. You'll be singing it by the third listen, word for word.

"Nessun Dorma." The first big surprise. The famous tenor aria from Puccini's "Turandot" opera. It is a straight opera piece. Eric Adams displays an impressive range and delivery and finishes it off with a brilliant metallic scream. It is metal because it isn't metal... only Manowar would have the balls to pull this off!

"Valhalla." A short instrumental/symphonic passage to set up the next track...

"Swords in the Wind." A slow but heavy number. Great lyrics... great melody. Heavy without being at all brutal or ugly.

"An American Trilogy." Big surprise #2. A medley of patriotic songs as performed by Elvis towards the end of his career. I am sure fans that have been turned off by the last few Manowar albums will consider this another nail in the coffin, but again, the balls it takes to put this on a metal album... we're talking big 'ol brass balls and that is what Manowar is all about!

"The March." This is the one track that I think drags on a bit. A symphonic piece, and a rousing one at that, but I think it would have sat better later in the album. It is considered to be the lead in to the next track:

"Warriors of the World United." The first single from the album and at one listen you immediately know why. I saw Manowar perform this at the 2002 NJ Metalfest before I had heard the studio version and as soon as the main riff came in it just sounded RIGHT. Almost familiar... like the song was always there, just waiting to be written. By the second time the chorus came around the whole crowd was singing along. It is THAT infectious. Not a fast song, but incredibly heavy.

"Hand of Doom." This is where the album gets dangerous. "Hand of Doom" is fast. Heavy. Frightening. This is Manowar at full tilt, blowing the roof off, laying all in their path to waste. Scott Columbus has never sounded better! You think it can't get much heaver than this, until...

"House of Death" tears from the speakers. Evil, spiteful... some of Eric's most frightening vocals to date. "House of Death" is an all-out brutal metallic assault... INTO THE FIRE OF HELL I WILL BURN AND DIE!!! DIE!!! DIIIIIEEE!!! INTO THE HOUSE OF DEATH!!! DIE!!! DIEEE!!! INTO THE FIRES OF HEEELLLL!! "House of Death" leaves you a bloody pulp, battered and torn, then...

"Fight Until We Die" finishes you off like a battle axe to the skull. Another smashing, pummeling number that reaffirms Manowar's dedication to the cause of metal! Get the fuck out of the way or get crushed in the onslaught.

Not a Manowar fan? Warriors of the World won't make you one. If you are a Manowar fan and don't like this album, then you may never have been a fan at all, because Warriors of the World embodies everything we love about the band. Great and catchy songs, huge production, and an absolute refusal to compromise. When people hear Manowar and shake their heads, thinking it is ridiculous, I explain to them that I love Manowar because they are ridiculous. They represent the undying warrior spirit... sticking to your beliefs in the face of whatever opposition you may meet, and crushing that opposition without mercy. Of course, at the core, it is about metal, but the message behind it extends to all aspects of life and applies to anyone and everyone forging their own path, refusing to compromise their ideals no matter what reward or punishment is promised. Manowar's music is not just a listening experience. It rouses the spirit and inspires the mind. I pity those who don't "get it" as they are missing a hell of an experience. - Al Kikuras

Back to the top.
 

Abominant - Upon Black Horizons (Death Gasm, 2002)

Rating: 9.5/10

The glory of Abominant... I am convinced that metal will always have a safe haven as long as these Kentucky boys continue to churn out albums. Upon Black Horizons takes last year's excellent Ungodly album and even further improves on the sound and quality of material. Abominant have perfectly blended the finest elements of death metal and catchier thrash and power metal to a cohesive whole without sacrificing the basic elements of any of the three genres. Death metal fans won't listen to Upon Black Horizons and think "What is this power metal crap?" and power metal fans won't be left saying "It'd be good if the guy wasn't vomiting into the mic." Abominant are heavy enough. The songs are catchy enough. The vocalist screams and growls enough. The riffs are fucking MONSTROUS, the leads are fantastic. Upon Black Horizons is not a great death metal album. It is not a great thrash album. It is not a great power metal album... it is all these things. It is a great METAL album that transcends the limits of any tag you might want to peg the band with thanks to Abominant's masterful incorporation of all the great things in metal into one album. I can't imagine any metalhead worth his or her salt not pissing the floor in delight over Upon Black Horizons, but then I though everyone would piss the floor in anger when Entombed released Hollowman, so what the hell do I know? - Al Kikuras

Back to the top.
 

Agmen - Damnation (Breath of Night/Merciless, 2002)

Rating: 8.5/10

Bringing the criminally unknown US band Warhead to mind, Agmen combine the rawness of black metal with the melody and hooks of classic thrash and speed metal to forge an infectious release that is surprisingly listenable without abandoning the elements of the black metal genre that make it the grating mess it is to the uninitiated ear. I know little about this band, having never heard of them before receiving the promo, but it sounds to me like they are not black metal purists like their labelmates Armagedda, as Damnation is a much more varied and memorable (though only slightly more enjoyable) release. It is highly unlikely that Damnation will spring Agmen to the forefront of the black metal genre, though the material is certainly strong enough that it could. Those that are turned off by the minimalist approach of albums like Transylvanian Hunger and The Cold Earth Slept Below will embrace Damnation as readily as those that love the albums for the same reasons others scorn them. Agmen have the potential to appeal to a very broad audience, though due to the Breath of Night's refusal thus far to cater to the general metal public they probably will never rise above a very moderate level of popularity, which is probably just fine with them as few go into the black metal genre with dollar signs in their eyes and even fewer come out with any money in their pockets. - Al Kikuras

Back to the top.
 

Andromeda - Extension of the Wish (Century Media, 2001)

Rating: 8/10

Andromeda is doing something I like to hear, progressive metal! With a feel along the lines of Symphony X (minus keyboards) with guitar work these guys have some incredible riffs, great soloing, interesting drum work, and even the bassist is good! The vocalist is the weak link, he can't sing.  What's this?  He's trying to sing, and he can't. He has no ear for melody.  I couldn't believe this, I listen to this incredible music in which you could do SO much with the vocals and you have this monotone schmuck singing over it! What is it with shitty vocals lately? They just seem to be popping up everywhere.  My advice to you is, if you can look past the vocals for this incredibly progressive music made by this talented group of musicians, please do!  They're good, and this is no joke. But I say that whoever had the idea to get this vocalist in there, shouldn't be allowed to produce a record ever again! Bad label! Bad! - Jim Bob the Enforcer

Back to the top.
 

Angel Dust - Of Human Bondage (Century Media, 2002)

Rating: 9/10

Of Human Bondage is my first encounter with Angel Dust, and I am quite impressed. Combining melodic, anthemic songwriting with a keyboard driven thrash metal style, Angel Dust delivers a sound all their own.  From the description on my promo copy, this album represents a change in direction for the group, going for more thrash under the influence of new guitarist, Ritchie Wilkison. This is certainly evident in the opening title track, an anthemic thrashing monster.  Inhuman keeps up the pace, with keyboard player, Steven Banx really asserting himself; Banx adds a lot of cool riffs and texture to this material.  Ditto Unreal Soul.  Forever, is my favorite of the lot, combining all the elements that make this band special:  thrashing guitars, melodic vocals by Dirk Thurisch, cool synth lines, and solid rhythm by bassist Frank Banx and drummer Dirk Asmuth.  Unite is a powerful track; I get the impression that Angel Dust would be a great live band, and I could see this one blasting out as the show opener. Call this Arena thrash!

Highly recommended, from the cover painting of a hooded angel, seemingly awaiting execution, to the last song on the CD, a cover of Seal's Killer.  - John Gee Warrior

Back to the top.
 

Armagedda - The Final War Approaching (Breath of Night/Merciless, 2002)

Rating: 8/10

Grim, folks. That is the word that comes to mind when spinning Armagedda's debut disc. The Final War Approaching is solid proof that there still is rewarding music to be produced within the confines of straightforward black metal. Armagedda borrow from the Darkthrone school of black metal. In fact, anyone that was disappointed with Darkthrone's post-Total Death/Goat Lord releases will be very pleased with The Final War Approaching, as it captures the same misanthropic spirit that makes albums like Under a Funeral Moon and A Blaze in the Northern Sky the gems that they are. The music is simple, it is ugly, it is everything true black metal should be. Gather, ye black metal hordes... there is a new beacon to which we can gather and pay homage to the darkness... - Al Kikuras

Back to the top.
 

Astral - Filicetum Lanare (World War III, 2001)

Rating ?/10

I have no idea what to say about this record.  It went between black metal and house. Between opera and pop. How does one explain this? How does one justify this?  And how does one admit that they actually LIKED this? Unlike some of the OTHER records I got to review, I listened to this one more than twice.  And it has worked its way into my personal collection, but I have absolutely NO clue what to tell you.  I guess it's based off of black metal, but the drum machine isn't that good and it's hard to take seriously sometimes. It's all in latin, which gives it a very ambient feel at times, which I like and it's full of interesting ideas. If you like extremely experimental black metal and Depeche Mode you might like this album. I'm still deciding whether me liking it is just a phase or not. - Jim Bob the Enforcer

Back to the top.
 

Bane of Existence - self-titled EP (baneofexistence.com)

Rating: 6/10

Bane of Existence from Mass. are pretty unknown to me and for a band that doesn't seem to have existed that long, this isnt a bad disc. Taking elements from such mainstream bands as Cannibal Corpse, and some Dying Fetus influence, they play a style that's not very original, but still manage to make something that isn't bad. 

I have a few major problems with this release though, my first complaint is the drum sound. Low, staticy, buried in the mix under the guitar, which doesn't make for a great album off the bat. Also the vocals are somewhat buried, once again, due to the guitar. The biggest problem is that the riffs aren't anything groundbreaking or spectacular so you end up with medicore riffs burying every other element of the release.

This band shows a lot of promise with this release.  Sometimes the difference between a cd being good and bad can be the production, mixing and mastering. At times theres moments of well done death metal, and if they can re-arrange some of these parts and get proper production,
this would be a great release.  

With any luck they will get the proper care in a studio they deserve and release something as intense as this that is easier on the ears.  A good effort from a band who might go places if they put their material in the right hands at a studio. - Rick

Back to the top.
 

Bewitched - Somewhere Beyond the Mist (Conquistador Records, 2002)

Rating: 6/10

Well, this one starts off good. Opener "Sons of Satan" is a tasty black metal track akin to later-day Hecate Enthroned (which is actually very good stuff), but then we are slapped in the balls with track two, "Stargazer," which features some dismal clean vocals. Who told these black metal guys they could sing?? When the vocals alternate back to the raspy screech things are tolerable again, but ugh, those clean vocals are like a turd in your soup. They just ruin everything. Ditto for the clean vocals on "Merciful Faith." While it is somewhat clever that the vocalist is imitating King Diamond on the track, he is doing so very poorly. The lesson here is that a little bit of clever doesn't cancel out a whole lot of suck. - Al Kikuras

Back to the top.
 

Biolich - Guttural Blasting Precision (demo) (Mammoth Grinder Productions, 2001)

Rating 10/10

It’s really hard to believe something this good that I haven't heard of until recently exists in New York.  After the fall of the Long Island DM scene I was sure no good bands would show up anymore but thankfully I was very very wrong. 

Biolich redefine what NY/LI Death Metal should be. Taking bizarre heavy riffs, blending with very dynamic blasting drumming with some of the most hideously deranged vocals I've ever heard, they manage to shatter any stereotypes that come to mind when you think LIDM. These guys don't slam, they play crushingly heavy riffs that are more than a repetetive chug. The drummer really shines on this recording, with one of the most controlled blasts around. I think this is one of the few demos I've heard in recent years where nothing really stands out over any part of the music, everything is equally well done, and it all sounds very professional.

This demo is obscenely heavy and dark, and the most positive quality about this demo is probably that it isn't raw and poorly produced. The production is very clean and rivals Incantation's first demo for the best demo sound ever, making it a highly approachable recording. Contact these guys and get this demo, I don't think you will regret it. - Rick

Back to the top.
 

Blind Guardian - Night at the Opera (Century Media, 2002)

Rating 7/10

One of the most anticipated CDs of the year in Power Metal, Blind Guardian has become hailed as one of the best power metal bands ever!  They presold gold in Spain, and it was even RELEASED in the US (with the single making the top 200)!  And considering how great their last release (Nightfall in Middle-Earth) was, why SHOULDN'T this be the most anticipated release of the year? I'll tell you why... Over production.  As horrible as it sounds folks, Blind Guardian got too much rope, and although the effort is tremendous and the music is great, it can only be swallowed in small bits as it was vastly overproduced.  This is one of the saddest things you can do to an album, one of the saddest things you can do to a band as incredibly talented as Blind Guardian. It lost 3 points due to over production, that should tell you something. But beyond this, the album is incredible.  Musically, it is some of the most well thought out and advanced metal released to this day. Taking after its namesake with its vast power and choral compositions, it is truly a masterpiece in a couple of places. The song “The Battlefield” being the most notable. When I first listened to this song I thought "Huh, you could river dance to this..." but after a while it grew on me and now I listen to that song first when I put the CD in and right before I take it out.  And one Joe Headcrash (hellfrost.com) says that he thinks it's the greatest power metal song ever written. I dare say, he's almost right. - Jim Bob the Enforcer

Back to the top.
 

Bloodlet - Three Humid Nights in the Cypress Trees (Victory Records, 2002)

Rating: 9/10

Knowing how far you can push the limits is difficult these days. With the focus of extreme music falling more than ever on going that extra mile, a simple yet powerful hardcore record can be one of the greatest ways to end the day.

Bloodlet aren't your average hardcore band either. Kicking around Florida since the early nineties, these lads were adding a metal flavor to their sound before most of the current Relapse records staff finished high school.  They became known as a hardcore band who were always pushing the boundaries of the often stale genre.  Their peers were likeminded acts named Neurosis, Deadguy, Groundwork and Unbroken.

Following a four year hiatus, this monster of a band return with their simplest record ever, but also their most memorable. With the help of studio mastermind Steve Albini the 'Let pound through twelve tracks of non-filler hardcore.  Tracks like "I have such a hard time making new friends" and "Learn to FlyDescent" leave you feeling violated and uneasy with their moshy riffs, trademark Aldini-bass sound, and an excellent shift between clean and shouted vocals. 

It's really hard to put the mood of Bloodlet into words. They are chaotic and apocalyptic, much like mid-period Neurosis, but nowhere near as organic sounding.  Their stripped down approach proves that, less is more. If you're looking for a slightly challenging and rewarding listen, go get this record! - Big Juan

Back to the top.
 

Bludgeon - Crucify the Priest (Metal Blade, 2002)

Rating: 7.5/10

Bludgeon have the dual honor of being the first band signed to Manowar's Magic Circle Music label and the first band, besides Manowar, to be produced by the mighty Joey DeMaio. When we interviewed Eric Adams in 2000, he talked about a Chicago band that they were considering signing. I assumed that the band would be straight-up power metal. My first indication that such was not the case was the album title: Crucify the Priest, and the accompanying graphic cover art. Sure enough, this is about as power metal as I am black. Fans of Jungle Rot, Bolt Thrower, Gutted and the like, slap on those diapers because you are going to shit your pants when you hear this one. Though not as one-dimensional as the aforementioned bands, Bludgeon do stick pretty close to the straight-up, no frills death metal delivery that each of the three acts has become infamous for. They do share the love of the "riff," however, and as such the focus is more on the song and less on blastbeat marathons, guitar acrobatics or double-bass endurance displays. There are some downright catchy moments on Crucify the Priest (such as the title track), one or two surprises ("Bound") and not a single moment that isn't balls-to-the-wall brutal, so if you know what you like in death metal, and what you like is the straight-up, genuine, Grade-A article, then Bludgeon have got the deathsteak for you. - Al Kikuras

Back to the top.
 

Bolt Thrower - Honour, Valour, Pride (Metal Blade, 2002)

Rating: 8.5/10

Bolt Thrower. Not exactly the poster children for progression, but you have to admire them for their consistency. Fans of the band are guaranteed to never be disappointed with a new Bolt Thrower release and folks that never quite "got it" are sure to keep right on not getting it. Honour, Valour, Pride is the first Bolt Thrower album not to feature long time vocalist Karl Willets, but you would hardly know it. When I heard Dave Ingram, formerly of Benediction, was his replacement I was not surprised in even the slightest. In fact, when I heard Willets left, Ingram was the first person that came to mind as a replacement and, sure enough... in he stepped.

If you've heard Bolt Thrower before, you know what to expect. Solid, heavy, mid-paced death metal grinders about war and terror. If you haven't, go crawl back into whatever fuzzy hole you crawled out of. Honour, Valour, Pride may present nothing new, but then wouldn't we be disappointed if it did? - Al Kikuras

Back to the top.
 

Brick Bath - I Won't Live The Lie (Crash/Pavement Records, 2002)

Rating: 5.0

Brick bath deliver straight-ahead thrash combined with those now ubiquitous Alice In Chains influences, coming off as sort of a thrash/heavier Godsmack. Musicians, Eric Meyer on guitar, Scott Babbel on drums, and Pete Stone on bass deliver the fourteen tracks on I Won't Live The Lie with skill, locking into fast and grooving rhythmic exercises.  Babbel plays with syncopated speed and dexterity, reminding me of Slayer in their more grooving phase of Diabolus In Musica .  Meyer does a great job of producing and engineering this album, which is crisp and heavy. 

I found the one-dimensional shouted punk vocals of Joseph McCaw to be a drawback.  McCaw comes off as sort of an un-dynamic Phil Ansalmo. The songwriting also, though not attrocious, is just not anything I haven't heard a million times before.  All of the tracks seem to melt together with those same shouted vocals on top.  The lyrics, though dark and angry, fail to give me chills like the aforementioned Slayer. 

All of the elements are here for a top notch metal album:  heaviness, precission, and anger, but it just doesn't get my blood boiling. Brick Bath come off as a toothless pitbull - big and mean with no bite. - John Gee Warrior

Back to the top.
 

Brodequin - Festival of Death (Unmatched Brutality, 2002)

Rating:  7/10

This album is Brodequin's followup to the insane debut Instruments of Torture. This time around it seems as if they went a bit slower, and heavier, rather then a 30 minute blast beat. Compared to Instruments this cd is not bad, on its own it is better, but the first cd set the bar very high for this album.  In some ways it fails miserably compared to the first album.  

The production is the most noticeable problem here, as the snare tends to drown out EVERYTHING during the extremely fast parts.  Also, the vocals are very low in the mix, even when doing mid-paced parts.  However, the largest problem is the guitar, it tends to only show when the drumming stops.  As far as the drumming goes here, its fast and pretty tight but not as dynamic as it was on Instruments of Torture. 

Now for the positive points, the guitar tone when clear sounds quite a bit like Cryptopsy-None So Vile; ALWAYS a plus.  The lyrics are in the same style as Instruments, telling a story of grisly horror as the innocent are slaughtered and dismembered. Although the drumming isn't quite as fast as it was on the debut CD, the blasting sounds more controlled now. As far as the vocals are concerned, they are as disgusting as ever, but just not very clear.  

When it comes down to it this isn't a terrible album, but what ever chance it had of being great is clearly hindered by this production. In the end you have a hard hitting pummeling brutal death metal that is extremely hard to listen to, but if you can put up with bad production, give this a shot. - Rick

Back to the top.
 

Buckshot Facelift/Galamoth - split tape (Mammoth Grinder Productions, 2001)

Ratings: BS FL - 8/10, Galamoth - 7/10

Buckshot Facelift is some pretty distorted, raw and fast noisy grind. I wouldn't call it total noise, as it does have some structure, and is pretty well arranged.  The drum programming is well done, as it isn't too quick of a beat and not only that, its not just a doublebass ride or blast all the way through, it seems like some though actually went into the drum programming.  Vocally, this is really sewage sounding with some very burpy and gurgly sounds coming from vocalist/programmer Will's throat.  As far as the riffs go its not too chaotic, but its not exactly clean either.  In the end you have a very raw dirty side on this tape from a project I'd like to hear more from, as these 10 somewhat short tracks aren't enough.

Galamoth is less conventional than BS FL's side on this tape, as their music is done at a much slower pace, with almost sludgy parts. Their recording is extremely rough on the ears, it makes Reek of Putrefaction sound like Peter Tagtgren produced it.  A lot of times this project reminds me of Catasexual Urge Motivation(RIP) but noisier, slower and with better vocals.  Very long effort(63 tracks!) which makes me wonder why no one attached their name to this project, there's no contact info, names, song titles, or anything. 

Overall, this is a pretty good release with bands that show quite a bit of promise.  I'd definitely love to hear more from one or both of these bands, as I can see them getting better and better with time. - Rick

Back to the top.
 

Cannibal Corpse - Gore Obsessed (Metal Blade, 2002)

Rating: 8.5/10

As is the case with any extreme metal band that achieves a certain degree of commercial success, Cannibal Corpse have gained their share of detractors over the past few years. Complaints range from the band has stagnated (see Deicide), to they have lost the edge of earlier recordings (see Morbid Angel) to they have just plain sold out because they sold more than 5,000 copies of their latest album. While in some cases (Deicide), the criticism is warranted, in others (Morbid Angel), they most definitely are not. What is actually happening is fans of the band used to feel like part of an elite because they were proponents of a relatively obscure metal act. Once the band becomes popular and the very people that used to say "Morbid WHO??" when the name was mentioned now know of or, GASP!!, actually OWN an album from the band, the appeal is lessened and the fair weather fans fall by the wayside to herald the next "underground" sensation, also on the doomed track to success (Decapitated may be next on the list, methinks).

I have heard all three of the above gripes when it comes to Cannibal Corpse. While I appreciated their first 3 releases, it wasn't until the Bleeding that I really became a rabid fan of the band. The Bleeding perfectly combined the primitive brutality of previous releases with refined, catchy songwriting and, most surprisingly, a decipherable vocal performance by Chris Barnes. You could actually understand what the guy was saying, and what he was saying mattered. Within a few weeks and countless listens the album was ingrained in my memory, word for word, riff for riff. Inevitably, when I or any of my friends like something, it is taken away from us (The Tick, The Family Guy, good sandwiches at Chris' Country Deli, the local Fuddruckers) so it was fate that led to Barnes leaving Cannibal Corpse and George "Corpsegrinder" Fisher stepping in to fill his shoes, a task that he has yet to completely do on an album (though he certainly does live). Vile was a bitter disappointment for me. Though they were still brutal and still heavy, the catchiness was gone. Gallery of Suicide, likewise, was a letdown. I was impressed with Bloodthirst because of the sheer technicality, but with a few exceptions the songwriting was not there. Gore Obsessed is a big move in the right direction. "Savage Butchery," "Hatchet to the Head," "Dormant Bodies Bursting," and "Mutilation of the Cadaver" all have some great moments, particularly in the choruses. I think the drawback is that you cannot understand a single word Corpsegrinder spews out during the verses. He is a GREAT death metal vocalist, with one of the deepest and most convincing growls in the genre, and his ability to scream is unparalleled, but aside from the choruses, none of the vocal lines stick. That aside, however, Gore Obsessed is a very good death metal album that is well above par when compared to 99% of the albums being released these days. The musicianship is exemplary. The production is pristine. Some are undoubtedly going to chew into Cannibal Corpse for doing nothing new, but I'll bet if they did something new, those same fools would accuse them of abandoning their roots. Besides, what the hell do you want to hear on a Cannibal Corpse album?? Funk? A deeeeejay? Black metal? Jazz fusion breakdowns? No, you want blast beats. You want double bass. You want squealing guitars and grinding bass. You want speed, you want ugliness, you want brutality, you want blood, you want all guts and eyeballs ready to jump and grab, and on Gore Obsessed you have got it in buckets. - Al Kikuras

Back to the top.
 

Carpathian Forest - Strange Old Brew (WWII/Mercenary, 2002)

Rating: 8.5/10

Carpathian Forest are one of the few remaining bands in the original Norwegian scene who play their style of Black Metal with cryptic minimalism. Their sound is unquestionalby their own, while being definitively Black Metal.  Though the band has made obvious sound improvements that come from years of playing together, they still manage to capture the essence of Black Metal to record, while many of their peers strive for experimentation or have simply reached stagnation. 

"Strange Old Brew" picks up right where 1998's "Black Shining Leather" left off. The first half of the record is noticeably faster in tempo than the songs on the later portion. Songs like "Bloodcleansing" and "Mask of the Slave" show that CF have improved upon their technical ability, but can still spook the fuck out of us.

As the record progresses to the later tracks, a noticeable, but not negative, slower tempo is introduced.  These tracks are as atmospheric as they are evil, with a cover of the theme from "Nekromantikk" topping it all off. A great release from one of the most original band in the scene. I should also point out that "House of the Whipcord" has to be the first Black Metal song ever to use a saxophone.  Brutal. - Master Shockwave

Back to the top.