Music Reviews

Vyndykator - Heaven Sent from Hell (Unisound, 2003)

Rating: 10/10

Legendary vocalist Bob Mitchell (Attacker, Sleepy Hollow) hath returned to the halls with his absolute strongest release to date. Heaven Sent From Hell is a glorious metal album with all of the power, class and balls of masterpieces like Keeper of the Seven Keys, Battle At Helm's Deep, and, yes, even Number of the Beast. It is all here... memorable riffs, powerhouse vocals (complete with crystal-shattering screams), unrelenting heaviness, great musicianship and even a raging cover of Priests' "Deceiver," which sounds as it might had it been written in 2002 as opposed to 1974. The album opens with "Eternal Rest." The ominous tones and narration set the mood ala "Woe to you, O Earth and Sea..." before metallic bursts progress into the drum-lead frenzy that introduces "Bloodstained Gallows," a track that declares "WE ARE FUCKING METAL!!" with all the subtlety of a sledgehammer to the groin.

The band is spectacular. Rather than showboating their talents with technical wankery, the members of Vyndykator prove themselves first and foremost as songwriters... an art sadly lost on the majority of modern metal bands. Tunes like the aforementioned "Bloodstained Gallows," plus "Rot in the Chamber," "Tapping the Vain," and "Mister Murder" are instant classics, each an anthem that will have you singing along at the top of your lungs after just a few listens. Even on the instrumental, "Flight of the Wombat," it is not about showcasing their chops (though the band certainly does), it is still about the song, and "Flight of the Wombat" sticks in the brain as much as the rest of the album, particularly Steve Ratchen's bass solo near the song's close.

Mitchell's signature screams set the blood raging throughout Heaven Sent From Hell. The man displays the breadth of his range, alternating between clean high notes, throat-shredding screams, and fierce roars with ease, never sounding like anyone other than Bob Mitchell. Vocalists like this don't come along often in metal, and it is even more rare that someone is in the game as long as Mitchell has been and still sounds as good now, if not better, than he did 20 years ago.

Heaven Sent From Hell has earned Vyndykator an immediate and permanent slot in the annals of metal history. Here's to the birth of a new metal legend! - Al Kikuras

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Brodequin - Instruments of Torture (reissue) (Unmatched Brutality, 2003)

Rating: 8/10

Brodequin is so ridiculously brutal that the music is almost as much "trance" as it is death metal. There is nothing to distinguish one song from the next, save a second of silence or the occasional sample. It is just "thrash, blast, thrash, blast, GUUURGLE GUURGLE GUURGLE" and I fucking LOVE it. The album flies by every time I put it on and I can just as easily fall asleep to it as crank it while I vacuum.

This is a re-release of Brodequin's debut. For those who already have the album, if you are a hardcore fan, it is still worth the purchase as it has two bonus tracks. For those of you familiar with Brodequin's last release, the equally ludicrous and delightful Festival of Death, you can expect much of the same here, though the production is much more chaotic. While it would be accurate to say the production on Festival... is "better," I prefer the dirtier sound on Instruments of Torture as I think it fits the material perfectly. Plus, having the ride cymbal in the left channel only... genius!

If you are new to death metal and thought it was "just a bunch of noise," but decided to finally give it a chance, don't start here. If you are a jaded death metal fan looking for the logical extremes of brutality, Brodequin is the way to go as it doesn't get much more barbaric and nasty than this.  - Al Kikuras

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Frightmare - Midnight Murder Mania  (Razorback Records, 2003)

Rating: 8.5/10

First order of business, I have to praise Razorback Records for always sending out full copies of albums for review. I am talking the inlay card, the booklet, the jewel case, the whole deal, and the bar code isn't even punched (probably because there isn't one). While sometimes I don't mind getting just a CD (or worse, a CDR) and a cardboard sleeve, that is only when an album sucks. There hasn't been a Razorback release yet that has sucked, so every time I see a package from them, I am happy.

Frightmare is no exception to the rule. From the opening track, "Cropsy," (which I assume is about the little-known Bill Cropsy urban legend), to the closing bonus track (a cover of the Misfits' "Devilock" from one of the greatest albums of all time, Earth A.D.), Midnight Murder Mania is a slasher-metal party raging at full tilt. The music, the lyrical content, the vocals, the samples... this is the musical equivalent of one of those unrated "run around and kill people with your tits out" exhibition flicks, except there are no actual tits involved.

I love bands like Frightmare, Lord Gore, and Ghoul, who approach death metal with tongue planted firmly in cheek. Much like the B-level horror movies they adore, the cheese is a must and a little goes a long way. Frightmare (along with Ghoul and Lord Gore) have all the chops of dead-serious death metal bands, however. They take the gore metal sound and smack it in the face with the groove and hooks of old school thrash, capping it off with a potent dose of Carcass-ish chaos. Hell, it would be a Razorback Records release if Carcass wasn't involved somehow.

If you are familiar with and fan of Impaled, Exhumed, or just about any of the bands on Razorback's roster, you'll love Midnight Murder Mania. If you aren't familiar with this particular brand of gore metal, this is as good a place to start as any. - Al Kikuras

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General Surgery/The County Medical Examiners - split  - (Razorback, 2003)

Rating: 8.5/10

The two bands and one label most responsible for keeping Carcass rotting have joined forces to release a tribute of epic proportions. Do I even need to review this one? If you like classic Carcass, you will love this. It is like Reek of Putrefaction with better production.

General Surgery, the original Carcass emulators, have returned sounding more like Carcass than ever, the songs resplendent with vomitous vocals (courtesy of Grant McWilliams, who manages to sound like Walker, Owen, and Steer all by himself), squealing buzzsaw guitars, and the standard medical textbook lyrics.

Then, just when you thought a band couldn't sound any more like Carcass, The County Medical Examiners take over the festivities with an intro that is essentially the opening to "Reek of Putrefaction" (the song) off Symphonies of Sickness with just a few notes changed. Well, at least they have the integrity to directly lift from their heroes (and cite them as such in the liner notes). This is as close to being a Carcass cover band as possible without actually playing their songs. TCME are following in Carcass' footsteps so closely that the material on here is just about an equal progression from their Fugues and Medicolegal Medleys debut as was Carcass' between Reek and Symphonies. I just hope they have the good sense to not take things all the way to Swansong.

Folks, this is about as close to the genuine article as you can get. While part of me says I shouldn't praise this disc as it is so by-the-numbers, I can't help but love it, and can safely say that any hardcore Carcass fan will as well. - Al Kikuras

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Human Mincer - Embryonized (Xtreem Music, 2003)

Rating: 8/10

With a name as subtle as diarrhea, Human Mincer play just what you would expect: goregrind to the rotten core, and the do it well. This is a very wet, viscious-sounding album that pulls no punches and holds no surprises. Human Mincer are completely lacking in originality, but that doesn't make their vile delivery any less potent or repugnant. The vocals jump from deep gurgling to Deliverance-styled "Don't he got a purty mouth" pig squeals and just about every death metal roar in between. The band is tight, there is ample double bass and excessive blast beats. Slow, crushing grooves are effectively alternated with speed grinding to provide a constantly entertaining listen. Though I am mortified by the fact that the label decided to include only three full-length songs on the promo (the rest of the tracks just abruptly cut off while in full swing) "in order to avoid advanced MP3 bootlegging through internet," the material is of the nature that I feel fairly confident that three full-length songs are more than enough to do a fair review. I have my doubts that the cybergeeks are going to be slamming Kazaa to download MP3s to avoid having to buy Human Mincer's debut, I suppose it is Xtreem Music's prerogative to mince tracks this way, it is my prerogative to piss and moan about it. I just hope this isn't a trend that catches on, and as I have received a few promos from Xtreem since that weren't mutilated, things are looking good. - Al Kikuras

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Kult ov Azazel - Oculus Infernum (Arctic Records, 2003)

Rating: 9/10

Kult ov Azazel floored me with their debut album, Triumph of Fire. Seldom before had I heard music of such violent intensity and technical proficiency. It was, and remains, one of USBM's finest moments.

Oculus Infernum very much lives up to the standard set by Triumph of Fire, which is impressive, but the album doesn't impact me the way the first album did. This is due to no fault with Oculus Infernum. It is a spectacular album in every way great arrangements, tight playing, frenzied vocals... I have not a single complaint, but the debut was such a fucking monster that, in its wake, Oculus Infernum does not have the same potency. I think the difference may be the overall mood. While Triumph of Fire seemed an exercise in violence (calling to thrash metal in some ways, ala Massacra and the like), Oculus Infernum seems to be more rooted in hatred and evil. Essentially, a more "BLACK METAL" album (though Triumph of Fire was undeniably such), that despite its purity, should appeal to fans of death metal as well because it is such a relentless, manic body of music.

There are two vocalists on Oculus Infernum as opposed to one on Triumph of Fire. While very similar in sound, one (either Xul or Xaphan, they didn't specify who sings what) has a more decrepit, sick sound. The other comes off as a maniacal lunatic, seething with fury. The delivery on "Invoking the Infernal Majesty," the slowest number on the album, is especially impassioned. "The Oracle of Annihilation Eradicating Sanctimonious Existence" features some of the fastest and most incessant double bass I have ever heard. Unbelievable! The mix is excellent. The guitars have a very full, well-balanced sound and the bass is audible throughout the entire album. The packaging is as impressive as the music. The type and graphics inside make the booklet resemble a tome of occult passages that very much fits the overall mood of the album.

Kult ov Azazel have further solidified their position as one of the finest bands active in the US Black Metal scene. Their dedication to quality and detail is evident in the music, which sounds as chaotic as the most raw and nasty of black metal, and is actually all the more frightening because it not out of control, but seems as if any second it might spiral into utter chaos. They have found a great balance between technical playing and the rawness that is a trademark of the black metal genre, and tread the path between the two perfectly, resulting in a distinct sound that sets them apart from their contemporaries, which has become an increasingly difficult task with the over-saturation of black metal releases and bands of late. - Al Kikuras

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Malevolent Creation - The Will to Kill (Arctic Music, 2003)

Rating: 6/10

It's a decent grindcore album, but not much as far as a Malevolent Creation album goes. The playing is fine. Everything is as it should be: fast, heavy, brutal, but aside from the chorus in the title track, nothing on The Will to Kill sticks. The album just blows by. Maybe it is the one-dimensional vocals of Kyle Symonds (who's work with Hate Plow, Phil Fasciana's other band, I do enjoy) or maybe the boys just had a bad year. From some new blood it would be okay to release an album this nondescript, but for a verteran act like Malevolent Creation, who can and have done so much better, The Will to Kill is a disappointment. - Al Kikuras

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Pandemia - Personal Demon (Lost Disciple, 2003)

Rating: 8.5/10

I wasn't overly impressed by Pandemia's debut release, Spreading the Message. While an adequate death metal album, it was just that and no more... adequate. It's been three years between their albums, and the years have been very good to Pandemia. Personal Demon is a much more rewarding listen. Pandemia have struck a perfect balance between brutality and melody, and manage to incorporate elements of thrash without sounding like At The Gates, which is quite refreshing. They seem to have refined their writing style as the songs flow and there are no throwaway parts. "The Right Path" is an especially lean and powerful track, with varied tempos, an interesting arrangement, and great solo work. The next song, "Devious Omen," is built around a similar main riff as "The Right Path," but rather than sounding redundant, it serves to provide continuity between the songs. Other than the bass being a bit buried in the mix, the production is perfect. The guitars are full, the drums are crisp, the vocals layered perfectly over the music.

The vocals are undeniably death metal, an enraged growl of a mid-low register with the occasional scream. Very far from guttural, they remind me a bit of Brett Hoffman's work with Malevolent Creation. I'd like to hear more of the deeper register used on "Demonic Time," but that's far from a complaint, it's more like asking for bacon AND meatballs on your pizza. Why not have both?

Personal Demon is a huge improvement over Spreading the Message. With this kind of progress between the first and second album, the third Pandemia release should be a real monster. I just hope we don't have to wait another three years for it. - Al Kikuras

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Pentagram - Turn To Stone (Peaceville, 2003)

Rating: 8/10

Pentagram define what it is to be a cult band. I won't go into the band's entire history right here, but the point is, they've been around almost as long as Black Sabbath, and within certain parts of the metal scene, particularly doom metal, they have been almost as influential.  For those of you who haven't heard it, Pentagram play old(est) school heavy rock n' roll based doom metal. Although they use Satanic imagery, their lyrics, like Black Sabbath's often seem to be precautionary tales.  Needless to say, a new album from them is a real treat. If you dig on that old school heavy metal feel, with a bong in one hand and the horn sign in the other, this is where it's at. The only criticism I can make, is that as good as it is, it still isn't as good as their simply essential early material (which can be found on First Daze Here).  My favorites on the album are remakes of their older songs - that is to say, at the albums best, it merely recalls what Pentagram once were.  If you're already a Pentagram fan, this is definitely worth picking up.  If you're not, but this sounds like something that's up your alley, get First Daze Here first! - Abraxas

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Shrine of Scars - Deathbed For a Weakening Spirit (Self Released, 2002)

Rating: 8/10

2002 was a rather tame year as far as music goes, but this band probably shocked me the most. A Death Metal band from California that doesn't sound like Deeds of Flesh, OR Suffocation. This band who appears to be made up of somewhat young guys really impressed me with this Demo CD as they show some major talent.

It's really hard to lump this into any specific style of Death Metal as it has touches of hyper-blasting style, some groove/slam, and some mid-paced parts, so I suppose the term Death Metal will have to do. The best part of this demo has to be the bands ability to surprise you.  They have a slight slowdown, you expect a massive breakdown or groove and then...blasting. When they do throw in some slam riffs its clearly not just to get pits going, everything sounds like it has a purpose in the flow and structure of each song.  It is clear everyone in this band knows what they are doing as far as song writing goes as this is easily one of the catchiest demos by a new band in almost a year, but it doesn't become so catchy that it sounds too accessible. The production is raw and dirty, what you would typically expect from a demo. I'd love to hear what these guys could do with more time spent in a studio, and maybe a bigger budget to record as they show quite a bit of promise on this.

I don't know how much this demo costs as I didn't pay one cent for it... ah, I love the perks of this job... but anyhow, check their website out and download the 2 songs they have on there because at the very least it is worth a download. - Rick

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Soilwork - Figure Number Five (Nuclear Blast, 2003)

Rating: 9/10

Soilwork do not disappoint. That's really all there is to say. This is another slab for enjoyable, interesting, and diverse metal. Over their 5 albums, Soilwork has expanded musically and is one of the few bands truly not afraid to experiment with different ideas and sounds. They will flow effortlessly from style to style, with elements of Gothenburg style, Death Metal, Black Metal, and Classic Heavy Metal.

Figure Number Five is has a slower, heavier style of music then their past albums. It also has a more commercial sound. However, Soilwork are able to experiment with a commercial sound without sound…for lack of a better work "commercial". With the return of Headbanger's Ball on Mtv and Uranium on Fuse, I would think that Soilwork would be primed for some substantial airplay in America. I don't know if it will happen, but I hope so. I think people will really pick up on their style and skill.

If you're a fan of the older Soilwork albums, Figure Number Five will not disappoint. Not as technically awe inspiring as The Chainheart Machine and A Predator's Portrait, but definitely a nice trip. - Piston Rod

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Sunn O))) - White 1 (Southern Lord, 2003)

Rating: 9.5/10

"Play your gloom axe Stephen O'Malley/Sub bass clinging to the walls of the valley/Sub bass filling each last ditch and comb/Greg Anderson, purvey a sonic doom" Thus intones Julian Cope over the first and longest of the three tracks on this album, "My Wall" This is something new for Sunn, and I dare say, it is brilliant.  Whether or not you will grasp the brilliance of what is occurring is another issue altogether, but I assure you, this is brilliant. Whereas Flight of the Behemoth was something like being sucked into a black hole, this is like staring unflinchingly into the Sun it burns your eyes out of their sockets. No less intense than their previous works, in fact, perhaps it is more so, but it is far less claustrophobic of a listen.  Differences? Vocals of some sort on every track, for starters, giving it some notion of a (gasp) human feel.  On "My Wall", these appear in the form of an epic poem recited by cult figure, Julian Cope. At first I wasn't sure what to make of the poem, but with a few listens it quickly grew on me.  It borders on cheesy at points, and yet it is incredibly powerful, with an over the top delivery that would best be described as an invocation.  "The Gates of Ballard" begins with some clean vocals of the talented and beautiful Runhild Gammelsaeter of Thorr's Hammer fame, and then another surprise comes in - programmed drums courtesy of Joe Preston (of Earth and Melvins fame). Finally, the last track, "A Shaving of the Horn that Speared You" has more vocals of Runhild's, this time throughout the entire extent of the track, albeit done in a very minimal way - breathing and growling that you almost don't notice is there.  Throughout the whole album, there is still the drone, that beautiful, powerful, trance-inducing thing that I feel vibrating through my body and my car and my mind, and that many people may not be willing to recognize as music. This is a landmark album in the realm of drone doom, and I do not give it a 10/10 only because I can feel that there is still room for Sunn to go up … say perhaps when White 2 is released at the end of 2003, including a track featuring the legendary Atilla Csihar on vocals. If you're going to play this album, play it loud.  Don't just listen to it, feel it. - Abraxas

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The Blood Divine - Rise Pantheon Dreams (Peaceville, 2003)

Rating: 1/10

Oh dear. This is, emmm, uhh… what's the word? Ah, bad, this is bad.  I ought to try to give every cd an objective listen, but this is just impossible with this album. Things going through my head as it played were "Man, this is shit!" and "Who the fuck listens to this stuff?", "Let's hope the next song is better... fuck, it isn't!" This is over-dramatic rock with bad vocals, bordering on bad metal at points, with organs and keyboards- kind of goth-like at points. It just doesn't do it for me.  Maybe someone might like it. I'm always blown away by what shit people will listen to. I suppose I've heard worse stuff.  But I try not to make a habit of it. - Abraxas

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The Haunted - One Kill Wonder (Earache, 2003)

Rating: 8.7/10

The Haunted give their listeners something sorely missed in this day and a... good thrash metal played for the love of thrash metal. One Kill Wonnder has a sound that will remind you thrash gods Slayer without sounding like a band trying to be Slayer. This record is full awesome riffing and drumming which will make you cream your pants remembering the great days gone by, however also knowing that there is hope for the future of thrash with a band like The Haunted around. One Kill Wonder will pound you into the ground and take no prisoners. It's stripped to the bone, and raw as hell. - Piston Rod

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Torn - Violent Ecstasy (Severe Music, 2002)

Rating: 9/10

One look at the cd cover and I was expecting some horrible DIY Death/Grind but instead I was met by incredibly technical fast brutal death metal.  Granted this isn't the fastest band in the world, but its damn impressive.  Is this album worth your money? Well, read on and find out.

Torn is a band from Finland, but unlike their fellow countrymen Amorphis, Torn are no bullshit brutal death metal. Take the Florida style of Death Metal, but make it even more frenzied and technical, and make the vocals a bit deeper (not Demilich deep..but deep) and you have Torn, an incredibly impressive band that literally came out of the middle of nowhere.

As far as the guitar riffs go this is really well written and played.  There are plenty of leads riffs here but none of them give you the feeling like they are trying to show off.  The drummer is impressive in his own right as well, as his blasts are consistent and his fills really work well.  I think the only issue I have with this album is while its heavy, I feel extremely heavy parts work best when theres some more mellow parts as well. Something makes the brutal parts sound even better then, but this is merely my way of nitpicking. Essentially this doesn't take away from the album, it just makes it a bit different.  It's not unlike a Marduk disc in the sense that theres 2 speeds. There is fast, and then faster.

Production wise, I have no problem at all with this album. Everything is clear, and nothing is too loud in the mix. Hats off to the producer of this album, because I am extremely picky about the way I like my metal to sound, and I couldn't ask for an album that's more pleasing to the ears.

In the end you have 8 songs of brutal technical death metal that's both complex and VERY well played. I'm expecting big things from this band in the future, I see a lot of promise. Let's hope they get to the point where they can do an American tour because this would be interesting to see live. Finland's main claim to fame in the world of Death Metal still might be Amorphis' "The Karelian Isthmus", or even Demilich's classic yet overlooked "Nespithe", but Torn is now going to be the 3rd think I think of when Finland comes to mind. - Rick

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Usurper - Twilight Dominion (Earache, 2003)

Rating: 8/10

The prodigal songs of Celtic Frost return. Actually, as the years have gone on and albums floated by, Usurper have sounded less and less like Celtic Frost (though the influence is still an obvious one) and more and more like their own metal entity. While the frequent use of "UUUGHH!" is an undeniable Frost-ism, Usurper have developed an easily identifiable sound that is their own.

On Twilight Dominion, Usurper have found the perfect balance between old school metal and modern death. They don't sound retro, but the music has, as Pentacle puts it, "...that ancient feeling" (and, yes, "it still rules!"). Comprised of 11 tracks, the album is almost an hour in length, but never seems overlong. It flies by and at its close, I have actually just hit the "play" button again. Not many metal albums can reach those lengths without getting at least a little tiresome. Usurper aren't concerned with being the fastest, the heaviest, ultra-technical or overtly evil and malevolent. They like to drink and pound on their instruments, and just happen to be very good at both. The end result is a collection of consistently catchy and heavy songs that should appeal to a wide spectrum of music fans, from metal heads to other metal heads. - Al Kikuras

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Vital Remains - Dechristianize (Olympic, 2003)

Rating: 8.5/10

The question with the new Vital Remains is not "Is it a good Vital Remains album?" The question is: "Is it a good DEICIDE album."

Yes, I know that is entirely unfair, but when you have a guest vocalist as (in)famous as Glen Benton on your album, you know that Deicide fans are going to buy the disc based on his name alone, and the comparisons are the price you pay.

So, the verdict: Dechristianize is better than anything Deicide have released since Serpents of the Light, if not Once Upon the Cross. To be fair to the two Vital Remains members (who, to their credit, have been in the game as long as Benton), all the Deicide hooey aside, this is a fine death metal album showcasing technical playing far beyond anything Deicide have done to date. In fact, the album is much more frenzied than anything Vital Remains have released as well. I am happy to say that Benton sounds scary again! While his voice still has its distinct sound, Dechristianize doesn't sound like a Deicide album as I had expected it to. Dave Suzuki's drum performance is particularly impressive and inhumanly fast. While the songs aren't particularly catchy, what Dechristianize lacks in hooks it more than makes up for in chops. Sit back and marvel at the epic-length tracks, at the sheer endurance required to keep the frenzied pace ("Entwined by Vengeance" clocks in at just over ten minutes) and the relentless brutality that is spewed forth in the hour plus that makes up Dechristianize. Vital Remains have upped the bar for other death metal acts to reach for, and have given the death metal genre a much-needed kick in the ass. - Al Kikuras

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