Music Reviews

Incantation - Blasphemy (Necropolis, 2002)

Rating: 9/10

The revolving door of Incantation continues... vocalist/guitarst Mike Saez (formerly of the great NYDM band Deathrune) was downgraded from a full-time member to "Session Vocalist" by the time Blasphemy went to press. Throughout the myriad of members that have been in the band, Incantation have always delivered a consistent performance both in the studio and on stage.

As a little sidebar here (point of interest), over the numerous times I have seen Incantation live touring in support of an album, the only time the touring lineup  included all of the same members that were on the album they were supporting was when they toured with Morbid Angel after the release of Diabolical Conquest. By the time of the tour, Daniel Corchado had switched from bass/vocals to guitar/vocals and Rob Yench (guitarist of Morpheus Descends) had joined the band on bass. That is the closest the came. It doesn't stop there, though... I was at the club early to do interviews with Morbid Angel and Vader and Tom Stevens (Nokturnel, Morpheus Descends), a roadie/tech for the tour, handled the vocals on one of the songs they played at soundcheck. Lo and behold, after the tour Daniel left the band and Tom took over on guitar and vocals for a year or so. I think the most drastic lineup change was when they toured with Grave in support of the second album, Mortal Throne of Nazarene. John McEntee was the only remaining member! Duane Morris was on guitar/vocals, Kyle Severn had just joined the band on drums and the bassist they had recruited for the tour backed out before they even hit the road, so they played sans bass. Still a great show and it was at a fucking OTB/Arcade/Bar. Strange...

Anyway, that is more than enough of a tangent. I LOVE Incantation. I love the relentless brutality. The dissonance that makes all of the music sound like a sick, dying beast that is still extremely dangerous, the ridiculously deep vocal delivery... I will never get tired of hearing whomever is the current Incantaion vocalist (currently Vincent Crowley of Acheron fame, by the way), say "This next song is the first song on The Infernal Storm. It's called, BLLLLLUUUUURRRRGGGGHHH!!" I think the riffs are spectacular. McEntee is without a doubt one of my favorite composers in death metal. The music is both full-on brutal and eerie at the same time, a dichotomy that most bands cannot achieve without sacrificing one for the other. Blasphemy is a very consistent release. Tracks like "Rotting With Your Christ" and "His Weak Hand" (perhaps my favorite on the album) are monuments to the greatness of death metal, as is "Uprising Heresy," a mournful dirge as only McEntee and Incantation can write 'em. And even though they were afflicted by the "long annoying empty space before a bonus track" plague that is sweeping the metal underground (I am going to find the cocksucker that started this trend and take a dump in his lap for him), at least they had the good sense to make the space easy to skip. You can just hit the FWD button and you are taken right to the creepy outro, which is actually worth hearing. So, no, folks... besides that bonus track thing, there is nothing new on Blasphemy that we haven't heard from Incantation before, just more of the goods we have come to expect, and while I often scorn bands that don't progress markedly from album to album, Incantation are the exception. The formula works so well I would want to hear nothing else from them and while they have gotten more technical and musically proficient as the years have gone on, they never strayed from their signature sound, and as long as they stay the path I can safely say that I will always be a rabid Incantation fan. - Al Kikuras

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Dim Mak - Intercepting Fist (Olympic, 2002)

Rating: 8.5/10

Heaps of praise were lavished on Dim Mak when their debut album, Enter the Dragon, was released in 1999 but frankly I didn't see what all the hype was about. I could appreciate the frantic nature and heaviness of the music, but the main thing that turned me off was the vocal delivery of Scott Ruth. He sounded more hardcore than metal, and the venom that made his vocals in Ripping Corpse so impressive was sorely lacking.

I was very happy when I first put on Intercepting Fist and discovered he sounds more like a rabid wolverine than a hardcore tough guy these days. While he won't be winning any awards for giving an imaginative, or even slightly varied performance, there is no denying the effectiveness and sheer emotive power of his primarily monotone roar. The band is very impressive, balancing odd timing and unpredictable arrangements with solid songwriting to produce material that is deceitfully catchy and hard to categorize. Not quite death metal, not quite thrash, and definitely not hardcore (though there are some elements of it), Dim Mak's hybrid of genres brings Meshuggah (and, it probably goes without saying but I am going to say it anway, Ripping Corpse) to mind. The kung fu theme is once again prevalent through the album and is a refreshing change from the typical morbid lyrical content most bands employ. Intercepting Fist should appeal to anyone with an appreciation for heavy, aggressive music, from fans of Pantera to latter-day Carcass and the aforementioned Meshuggah and the former members of Ripping Corpse in Dim Mak can rest easy knowing that they have lived up to the legacy of their heralded former band in creating an interesting and inventive piece of music. - Al Kikuras

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Dusk - mourning... resurrect (Lost Disciple, 2002)

Rating: 8.5/10

I generally am not a big doom fan. For the most part, Candlemass are the exception. I can appreciate slow, heavy music, but what I can't stand is a vocalist that sings like he as a eggplant stuffed up his ass. Off-key bellowing, melodramatic moans... it makes me sick to my stomach, like if I had an eggplant stuffed up MY ass. However, there is/was a faction of doom bands that go for throaty death metal-style vocals that just about make me shit that eggplant right out into my pants. Among them: Evoken, Winter, Disembowelment, and now Dusk. Mourning... Resurrect is a collection of the now-defunct WI band's recorded works, and they are a glorious tribute to all doom metal can and should be. All of the ugliness, all of the sombre moods and none of the goth-drama-crap that ruins many an otherwise able doom metal band. Dusk even manage to incorporate melodic keyboard interludes without sounding like depressed wood fairies. The key is a thick, oppressive guitar sound and those vocals from the depths of hell. There are some downright spine-chilling moments on this release, like the closing of the crushing "Element of Symmetry." Pounding double bass, chugging guitar and some poor fucker's screams of agony combine to a symphony of agony the likes of which are rarely heard, and it all rounds out with a sample of Pinhead (Hellraiser) whispering... "the sweet suffering." Perfection incarnate!

Any and all doom fans should pick up this collection from absolute masters of the form. Any bands aspiring to join the doom legions should listen for inspiration and even as a blueprint of how to go about it. Hell, there are a bunch of Carcass-clones out there gaining notoriety. Dusk deserve the same kind of idolization. - Al Kikuras

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Elektrik Mistress - s/t (Echo Relations, 2002)

Rating: 3/10

Once upon a time there was a band called the Melvins.  They played a unique brand of sludged out rock n' roll that influenced everyone from Burning Witch to Nirvana. Over time bands have come out of the woodwork with the intentions of cloning what the Melvens perfect over more than a dozen records.  This seems to be the mission of Elektrik Mistress, and they fail miserably. - Big Juan

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Engine - Superholic (Metal Blade, 2002)

Rating: 7/10

What do you get when you put together a super-group featuring members of Fates Warning, Armored Saint and Agent Steele?  Probably not what you would expect. Fates singer Ray Alder's side group, Engine, clearly are intent on throwing their hat into the nu-metal ring populated by the likes of Korn, Disturbed, and System of A Down.  Ray sounds pissed, growling through tunes like "Losing Ground" and "Mine". Still, his range and melodic delivery are still evident in the material standing high above all of the Eddie Veder sound-a-likes.  "I Know", for example, is heavy, but has a strong melodic chorus.  Bernie Versailles provides a brutal guitar sound driving the tunes of Superholic into your brain like a railroad spike. "1 A.M." provides a nice acoustic/vocal interlude and "Home" and "Save Me" are reminiscent of Fates.  The cover of "Fascination Street" is an adequate metalized version of the Cure song. It's ok, but not something that I need to hear more than once. The only other criticism I have is that the nu-metal formula starts wearing thin after several songs. I'm not a fan of the current radio-oriented metal that this album seems to aspire to, but I'd rather put Engine on than the Godsmacks and Stainds clogging the airwaves. - John Gee Warrior

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Enter My Silence - Remotecontrolled Scythe (Mercenary Musik/World War III, 2002) 

Rating: 5/10

This is super-melodic death metal in the vein of In Flames.  Or at least it reminds me of what I've heard by In Flames. The thing is, I never really got into In Flames. And so, it should come as no surprise that when a band sounds like In Flames, only less original, it impresses me even less.  For those of you who like In Flames, you might be able to note a lot of differences between the two. And you might really like this release.  If not, I'd suggest you stay away.  It's not painful to listen to. Just somewhat tedious. The vocals start off pretty good.  They're fairly brutal.  But they don't change.  At all. And for that matter, in my mind, brutal death vocals don't match that well with somewhat happy sounding melodic music.  This CD isn't horrible by any means, but with so much good music out there, I can't foresee myself listening to this again. - Abraxas

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Hate - Cain's Way (WWIII, 2002)

Rating: 7/10

Hate's first release reminded me mightily of Deicide. Not the Deicide of days past, but where Deicide should have progressed rather than going stale. Now, with their second release, they remind me less of Decide and more of Sinister during their finest hour: the landmark Diabolical Summoning album. In direction, Hate are very very close to Sinister. Unfortunately the production is not nearly as full and the songwriting not as developed. That is not to slight Hate's abilities, however. I consider Diabolical Summoning to be one of the greatest death metal albums of all time and, in comparison, very few albums hold up to it. Cain's Way is a strong release that fans of the aforementioned bands will undoubtedly appreciate, but the downside is that, despite their strengths as musicians, Hate bring nothing new to the fold, not even a distinct sound. Having heard their debut release, Unholy Dead Trinity, numerous times and being relatively familiar with it, if someone had played Cain's Way for me without telling me what band it was, if I had guessed it was the new Hate album it would have been by luck alone. If someone had played me track 5 first, "Through Hate to Eternity," I might have said "Holy shit! Is this the new Deicide? It sounds really good!" The track reminds me very much of "Creatures of Habit" from Deicide's Serpents of the Light album, particularly the vocals during the chorus.

If you are looking for a potent dose of death metal and don't necessarily want anything that sticks to the ribs, Cain's Way will most definitely satisfy your appetite, but if you are looking for an album with a distinct sound, look elsewhere. - Al Kikuras

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Hate Eternal - King of All Kings (Earache, 2002)

Rating: 8.5/10

Wow. Hate Eternal have surprised me; what i thought was a band driven by simple metal anger has turned the rage up quite a bit and added some more ingenuity into their guitar and rhythm structures. Derek Roddy's drumming is a huge weapon in this album's execution, and the vocals have definitely risen above "Conquering the Throne."

The opening noise intro leads into a blur of frenzied shredding and screaming that is the title track. The verses and choruses meld seamlessly yet are so very distinct in their moods that one must wonder if Erik Rutan is not the Trey Azagthoth that could have been. Albeit there are solos, and some catchy ones at that, they never take the spotlight, they serve as an interlude between lunatic growls and fevered screams.

The album overall shows a versatility that indicates a serious maturity musically. Granted it is mostly blasting, the rhythms slow down at times and show some grace in their oddness. This is seriously angry death metal.

One thing that Hate Eternal bring to the listener that is seriously lacking in many metal bands nowadays is sincerity. They could be showing off (all members seasoned metal veterans), they could try and get ultra-moody and score a semi-hit, but they choose to take the path of fury. The way metal should be. This album is a classic if simply for the emotion conveyed. - Rectrix

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Impaled - Mondo Medicale (Necropolis, 2002)

Rating: 8.5/10

In my review of Impaled's debut release, The Dead Shall Dead Remain, I praised the band's musical abilities but expressed slight disappointment with the songwriting. While there was no denying their playing prowess, the songs failed to stick to my ribs. I am pleased to report that, on Mondo Medicale, Impaled have produced a much more memorable splatter platter of the Carcass-influenced goregrind we have come to expect from these boys. They have no shame in robbing the grave of their UK mentors, even naming the guitar solos. Luckily for we death metal fanatics, this time out they did a much more thorough job pilfering the corpse. On some tracks, like the spectacular "Choke On It," the riffs are what sticks in my head. On others, like the bowel droppingly-heavy "The Worms Crawl In," it is the infectious refrain. Whatever the specific symptom of the nasty disease that is Mondo Medicale, it is catchy. It is vile. It has nasty side effects including (but not limited to) vomiting, diarrhea, anal discharge and uncontrollable thrashing, and it may just well be fatal, but I can tell you, dying has never been this much fun...  - Al Kikuras

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In Extremo - Sünder Ohne Zügel (Metal Blade, 2001)

Rating: 5/10

Upon inserting In Extremo into my CD player, I was expecting a nice minstrel to come popping out of my speakers to dance me a tune and sing to me in German.  But no, no instead I got Rammstein, without electronics. Not that this is necessarily bad, but it's much different from any of the other In Extremo records I've heard.  I noticed that from the very beginning, even looking at the package, there were no crazy German guys with curly up fairy shoes, no visible horns or anything. Just a woman with snakes on her.

But as I listened I was relieved to hear some familiar things on this record.  For one, the vocals haven't changed.  Still the same old raspy, nearly melodic (but not quite) vocals that chant off great songs for us. Still the crazy little bag-pipe soundings horns that they built whistling up great little counter melodies in the background.

When I finished listening, I wasn't really that impressed though.  It didn't strike me like Weckt die Toten did, it didn't have the same effect. In fact, I don't think I would've cared if half the songs weren't on the record at all.  The guitar parts are too simplistic, but unlike Rammstein they can't get away with it by having interesting keyboard parts in the back, and the vocals are never melodic enough to draw enough attention to them.

I wanted so hard to like this album, but I think it just didn't live up to the In Extremo of the past. - Jim Bob the Enforcer

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In Thy Dreams - Highest Beauty (Century Media, 2002)

Rating: 6/10

Last update, I reviewed an album by Diabolical called Synergy. When I listened to it, I thought it was really quite interesting, good thrash influenced Swedish Death. I then read a review ragging on it for sounding tired, and I was confused.  So I got In Thy Dreams, popped it in and listened to it.  Now I realise what they meant by tired. Since hearing this album I've since heard a couple more that sounded like tired, under produced, hastily slopped together Swedish Death.

The band is good, mind you, it's just the sound that's tired.  These guys actually have some pretty good ideas and they're able to articulate them rather well. But the underproduced guitar sound makes it tough to really get a grasp on what they're doing. The vocalist sounds like In Flames half the time and relatively guttural the other half, but he doesn't really bother switching it up much.

It's pretty tight, and if you're still discovering Swedish Death, this is a good album. But if you've been listening to it for a while, you'll probably feel that it's tired, as well.

I think Joe Headcrash is right, we need a 50 foot Eddie the 'Ed shooting fire out of it's eyes in Madison Square Garden again, because metal is starting to sound a bit tired. - Jim Bob the Enforcer

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Incision - Beneath the Folds of Flesh (Wicked World, 2002)

Rating: 6/10

I had extremely high hopes for this band when I first heard of them. I wasn't sure what to expect exactly but I was hoping for something different.  Incision are pretty much standard brutal death metal. Nothing too exciting, nothing worth doing back flips over really.

Production wise this is solid. Its very low-end and extremely heavy, making for a somewhat enjoyable listen. Its just you can take a piece of crap and wrap a bow around it but you still have a piece of crap.  That's the case with this cd, average riffs make for average albums regardless of how great the sound is on the cd.  The drumming on this is; you guessed it! Average.. I really gave this album a shot and I figured since it was on Wicked World it would be good.  With Hate Eternal, Garden of Shadows and December Wolves they had a good track record but this just doesn't hold a candle to any of those prior releases.

I guess some people might like this I just had such high hopes for this release.  In the end you have an ok cd, but as I said earlier nothing too special. I doubt I'd ever listen to it again but I would consider giving their first cd a listen, or their next cd.  Not every release by every band is perfect and this is proof of that. - Rick

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Intervalle Bizarre/Malignancy - split CD (Shindy Productions, 2002)

Rating: 8/10

What a buffet of brutal death metal vocal styles! Intervale Bizarre vocalist Strapak, alone, sounds like all three members of the classic Carcass lineup incarnated into one body. He's got the deep roar, the mid-level standard growl, the pig belches and the screech all down flat. Intervalle Bizarre are a surprisingly inventive band. I fully expected straightforward grind/death metal, and while the delivery is certainly that as far as the dynamics go, they are very talented musicians. The arrangements are full of tempo changes and odd breaks which make for a very rewarding listen. The sound is very clean and even which allows the technical aspects of the playing to shine through.

Malignancy kicks in at track 6 with a much muddier but no less appropriate sound. Malignancy, likewise, features some intricate riffing, but are no where near as technical as Intervalle Bizarre, but are a far cry from the simplistic barbarism that is a trademark of drummer Roger Beaujard's other act, Mortician (in which he plays guitar). The vocals are one-dimensional, very similar to the stylings of Mortician's Will Rahmer, though not quite as inhuman. The vocas are not especially prominent in the mix, layered in like another instrument rather than the typical lead vocal recording, where they are very pronounced over the music.

Both bands are fine examples of two different styles of grinding death metal, and the split is proof that, even when a genre is taken to its extreme, there are still further distinctions in style to be made. In this case they complement each other well, making for a CD very worthy of purchase for any fans of grinding death metal. - Al Kikuras

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Keep of Kalessin - Agnen: a journey through the dark (WWIII, 2002)

Rating: 9/10

At first listen, I was not incredibly impressed with KoK's Agnen. It seemed to be standard black metal fare, but after repeat listens the album's claws sunk in and their blend of harsh black metal and subtle melody grew on me. From what I understand (and usually what I understand isn't a whole lot), Angen was originally released in 1999 and is now receiving proper US distribution from WWIII Records. As this is just a promo in a cardboard sleeve (how I hate cardboard sleeves...), I can't comment on the packaging so those who already have the album will have to wing it and decide on their own if this is worth re-purchasing. But to those new to KoK I can firmly say that if you are a fan of aggressive black metal without the pomp and theatrics, Agnen is a worthy purchase. The band is at its best on tracks like "Pain Humanised," "Orb of Man," and "Dryland," displaying stellar technical chops and some decidedly thashy moments (particularly on "Dryland"). "Towards I Roam" is another exemplary song, laden with double bass, melodic bass runs, and a deeper register of vocals than the majority of the album. Keep of Kalessin are adept at incorporating melody into their high-speed black metal attack without sounding like Iron Maiden in corpse paint. Even when melodies are at the fore, the music is still grating and violent and that is their primary strength. Some clean vocals are employed, but only for a few brief measures. Just enough to work, not enough to make me want to puke as many pissmoaning clean vocals do. Angen is an excellent album that is excessively heavy throughout and should appeal to those who generally are not fans of black metal as well as purists as the sheer extremity of it all is something any metal fan will appreciate. - Al Kikuras

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Kotipelto - Waiting for the Dawn (Century Media, 2002)

Rating: 8/10

You can't go too wrong when you get Michael Romeo involved in a project, especially when that project is that of Stratovarious's front man, Timo Kotipelto. Actually, I've never been a huge fan of Stratvarious's vocals, and I think that Sonata Arctica pulls it off much better, but I have to kudos to the guy here. He really topped it off with this album.

Waiting for the Dawn is a dynamic modern power metal album that combines the talent of many current power metal masters. Two members from Stratovarious help out, as well as members of Symphony X, Children of Bodom (not power metal but excellent still the same), Helloween, Sonata Arctica, Warmen, and HIM.  The result is a fairly excellent album in the lines of the above bands. The guitar work truly stands out on this album, even though it's Kotipelto's solo album and I should be raving about the vocals.  The guitar work here is truly wonderful.  Romeo (Symphony X), Grapow (ex-Helloween) and Virganen (Warmen) really helped contribute to make this album fun to listen to. 

The vocals are also excellent. In fact, I think they're better than anything Kotipelto's done with Stratovarius and his voice is not nearly as operatic on this recording. But the lyrics are not very good.  As he takes you back to Egypt (with excellent cover art by Derek Riggs) you here all about the Sun God, the Vizier and all sorts of things. But the lyrics are far too conversational and modern and not cryptic enough to really seem poetic.  All in all, however, this album really is very good and worth your cash.  One of the songs already broke the Top 5 on the Finnish pop charts, how can you go wrong? - Jim Bob the Enforcer

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V/A - A Tribute to Mayhem: Originators of Northern Darkness (Dwell, 2002)

Rating: 3/10

A tribute to De Mysteriis Dom Sathanas is more like it.  This album is just anouther attempt by Dwell to make some cash off of an already popular band.  I am so sick of tribute albums I could puke.

The bands are here for this one, Immortal, Vader, Emperor, Limbonic Art, Carpathian Forest, Gorgoroth--you have a super group of excellent black and death metal acts doing a tribute to one of the greatest albums of all time. But here's the problem with it.  Everyone pretty much did their best Atilla impression.  So, with the exception of Vader, every single song sounds exactly like the album.

Now here's an argument about the name "Originators of Northern Darkness." Bathory was doing this long before Mayhem was, and Mayhem's early material wasn't really that strong. Which is why this is a tribute to De Mysteriis Dom Sathanas, because only Absu had the balls to cover something that wasn't on that album.

Not only that, no one covers Chainsaw Gutsfuck, and that was the best damn song they ever wrote.  So eat it. - Jim Bob the Enforcer

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V/A - The Metal Years (SpitFire, 2002)

Rating: 4/10

I'm really disappointed with this compilation. I was hoping it was going to be SO much better than it was. So I'll explain why.

I started with the Power Metal disc. I looked at the back and was a little shocked, I saw no Blind Guardian, no Manowar, no Sonata Arctica, no Stratovarius, not even Helloween. But there's In Flames? What? In Flames isn't power metal, they may be ripping off Iron Maiden and adding heavier vocals, but they're not Power Metal.  So then I listened to it, and I was appalled. They picked probably the worst song by every band on there that I could think of.  Iced Earth - Jack?  What about The Hunter! Hammerfall, Steel Meets Steel? What cheesy shit!  Nevermore - The Politics of Ecstasy, this has got to be the worst song they ever wrote.  And why is Dark Tranquillity on here?

Discouraged by this, I went on to the Progressive Metal CD.  Oh! There was Stratovarius.  OK, but there was still no Sonata Arctica, still no Blind Guardian, still no Children of Bodom, and damnit, still no Manowar! This CD was better, but then I was confused, how is it that Iced Earth made it both on the power metal and the progressive metal? It was OK though, there was some Crimson Glory, some Opeth, some Jag Panzer (aren't THESE guys power metal???) and some Yngwie Malmsteen to make fun of.

Feeling a little bit better I went on to the Gothic/Doom Metal this was the best disc of all of them. Moonspell, Theatre of Tragedy, Tiamat, My Dying Bride, Tristania, The Sins of Thy Beloved, Anathem, yeah.  This was a pretty good CD, but I still think they kind of fucked around when it came to the songs they chose.

But I hate comps.  I really do, someone is just trying to make money off of songs already released on other records and on other record labels!  They're just trying to rape you of your hard earned dollar. And if it was for newcomers, I would never recommend these CDs to someone who knows nothing about metal, they'd never touch a metal CD again!

Shame on you Spitfire records! Shame on you! - Jim Bob the Enforcer

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Nocturnal Rites - Shadowland (Century Media, 2002)

Rating: 5/10

By-the-numbers Euro power metal. If you can't get enough of it, then Nocturnal Rites is for you. Fast double bass drums, keyboards, sing-a-long choruses, Yngwie solos, etc. Shadowlands certainly presents a skilled band doing this style of music well, but it all seems a bit hollow and emotionless to me. This CD reminds me of 80's radio friendly arena rock like Journey, only heavier. Nocturnal Rites, however, is probably too heavy for the fans of that kind of music, and too light-weight for me to scream along with on the car stereo. - John Gee Warrior

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Pest - Ara (Ketzer Records, 2002)

Rating: 8/10

I was surprised by this one. Ara starts with an ethereal guitar intro, very soothing and pretty. What comes seething out of the speakers two and half minutes later is the antithesis of all that is pleasing to the ear. Pest take the horrendous guitar sound of Graveland's Following the Voice of Blood and slop it up with grim black metal and elements of raw death metal. The end result is incredibly ugly and absolutely glorious. One of the most interesting elements of the album is that moments of extreme beauty are interspersed throughout the vile glory that makes up their metallic numbers. For example, track four, "der baum," is a very well-executed piano piece that leads into an eerie droning before exploding into "im angeischt der schwarzen sonne." In that nature, Ara is surprisingly well-balanced. The heavier music is so primitive that you'd expect their delivery and execution to be one-dimensional, but the album is well balanced and the contrast is all the more prominent as a result. "an ende des weges" has some surprising moments, somewhat progressive, but without sacrificing the raw elements. Ara is a prime example of a well-thought out and executed black metal album. None of the annoying crap that comes with any genre that is oversaturated. Just the pure, uncut venom. - Al Kikuras

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