Music Reviews

Sigrblot - Blodsband (Blood Religion Manifest) (Nordiska Forlaget, 2003)

Rating: 10/10

Picture the grandiose atmospherics of Puissance, the grim vileness of Darkthone and the sheer intensity and power of Angel Corpse and you have the bastard son of all three... Sweden's Sigrblot. They have released Blodsband (Blood Religion Manifest), a fierce album of unparalleled proportions. Whereas many of their black metal contemporaries seek to obliterate the listener through sheer barbarity and intensity, Sigrblot strike like a finely tuned military force surgical, refined and merciless. There is no fat to trim from these 48 minutes; Sigrblot have honed their craft to a sharp and deadly edge. It is obvious that the compositions were obsessed and tweaked to the point of perfection. Balance is the true strength on Blodsband. Keyboards and samples are used throughout, but never overshadow the guitars, drums, and vocals which, as the core instruments of metal and black metal in particular, should always be the primary focus in my opinion.

Blodsband is one of those rare albums where every element - the vocals, lyrics, music, atmospherics, samples, artwork, lyrics - work towards the same end. Each instrument, every note, has purpose. It is almost as if Sigrblot are answering a higher calling by writing the music herein. While the phrase "touched by the hand of God" certainly is far from appropriate, the sentiment applies - this is so good as to almost be inhuman. Music so complete it seems as if it was waiting to be written and the members of Sigrblot were simply the instruments to convey these sounds.

Blodsband (Blood Religion Manifest) is one of those albums like Immortal's Pure Holocaust, Mayhem's De Mysteriis Dom Sathanas, Slayer's Reign in Blood that people will still be listening to and talking about decades down the line. A timeless, spectacular album as extreme in thought as sound. - Al Kikuras

Back to the top.
 

1349 - Beyond the Apocalypse (Candlelight/Karmageddon, 2004)

Rating: 8.5/10

It is turning out to be quite a year for Candlelight. The new Cadaver, Dismember, and now 1349. I have been hearing about this curiously-named act for a few months now and am pleasantly surprised now that I have actually heard them. Beyond the Apocalypse is a fine example of dissonant, hyperspeed black metal that is extremely ferocious. "Internal Winter" is an especially impressive ditty, with great guitar playing and a frenzied pace that sounds like any minute, the entire fucking thing might blow out of control and break down into utter chaos. Just when you think it is about to (about 6:45 in) the guitars go from shredding to drawn out chords with the drums maintaining an insane blast beat for a solo break that is perfectly placed. The album's closer, "The Blade," is a decidedly slower track, droning like a funeral dirge, making the skin crawl with its ominous sound effects and dismal mood. Great, great work.

1349 are most definitely experts, folks, and you can hear it on every second of Beyond the Apocalypse. 1349 have taken the darkness of old Immortal and Emperor (back when black metal was still frightening) and slammed it face first into the mechanical prowess of acts like Zyklon to produce a refreshingly terrifying album that will spend a lot of time in the regular listening rotation of any seasoned, and even jaded, black metal fan. Well done. - Al Kikuras

Back to the top.
 

Acheron - Rebirth: Metamorphosing into Godhood (Black Lotus Records/The End, 2003)

Rating: 9/10

I hate it when I shell out my ever-dwindling money to buy an album, only to have a pristine promo copy, complete with tray card, cover and the whole shebang (The End Records rules!) show up a few days later. In this case, however, the new Acheron is an album so good, it might actually be worth having two copies of. I have always been a fan of Acheron's style and sound: they are the antithesis of the ultra-guttural death metal bands that are fast and brutal for the sake of being fast and brutal alone. With Acheron, song writing never takes second seat to speed or mindless brutality and that is what sets them above the vast majority of death metal bands. The album's first full-blown song, "Church of One", is about as fast as they get, but Acheron do so without losing the chilling, resoundingly evil atmosphere that is so distinctly "Acheron" while even at their most barbaric. Keyboards are used sparingly and very effectively, as are melodic female vocals, but neither retracts from the music for even a moment. In my experience, melodic female vocals in death metal usually fit in about as well as a Hasidic Jew at a Graveland show (it was the female vocals that tarnished Eulogy's otherwise spectacular and legendary The Essence EP), but Acheron have managed to use and not abuse. Michael Estes' lead work is excellent. Vincent Crowley's vocals are distinctive and his delivery is clean. The bass is audible throughout the recording and is rarely buried by the guitar sound, always maintaining a presence beneath. Kyle Severn's drum performance displays finesse that you never would have guessed he had based on his work with Incantation (another band that I am a devoted fan of).

I have always been a fan of Acheron's style and sound and enjoyed each of their previous releases, but it is on this album that they have really come to form and released the best work of their long career. From the great cover art (compare it to the new Cannibal Corpse for a surprise, makes you wonder if CC are Acheron fans), to the beautifully vile layout, to the spectacular songs and the lyrics that are actually worth reading (another rarity in a lot of death metal), Rebirth is strong in every single aspect. A master work from the masters of Satanic death metal.

I was disappointed to hear the recent news that guitarist Michael Estes left the Acheron camp. It is my hope that Crowley and Severn bring someone in that can preserve the spectacular chemistry that enabled them to create Rebirth. - Al Kikuras

Back to the top.
 

Area 54 - Beckoning of the End (Self Released, 2003)

Rating: 9/10

It’s been 3 years since the release of the very excellent album “No Visible Scars” from brand new British metallers Area 54. It’s apparently been a pretty interesting 3 years, being dropped by their label, but also touring with B L A Z E and Saxon, not to mention headlining (excessive) amounts of their own gigs all over the UK. These ups and downs, however, didn’t stop them from some major successes, mainly getting voted best Unsigned Band in Kerrang! Magazine, getting signed and releasing a brand new album.

Having been impressed with No Visible Scars, I was excited to get the new record, knowing that it’d been in the making.  Obviously, I had rather high expectations, as No Visible Scars was an excellent metal record that progressively got better and better with every listen.

I was not let down.

This self produced record has several things going for it just from the get-go. Dynamics, something most bands lack these days, are all over the record. Area 54 are a classic style metal band, that’s for sure, but they mix it up between heavy and acoustic, and they even delve into death metal territory with vocals by former At The Gates front man Tomas Lindberg.  They do all of this without getting lost in any one “sound.”  It is apparent they all have a strong grip on the vision of these songs, and they produce them flawlessly.

The guitars on this record are FABULOUS, I cannot say enough about how good they sound. Excellent tone, together with excellent ability make for some breath taking solos and some of the heaviest rhythm guitar you’ll hear on any record released these days.  Unlike many modern metal bands, the low end is right up to par with the guitars as well, the mistress of the low-end does a good job of keeping up,  keeping heavy and melding together landscapes of dynamic spiraling heavy metal.

Thirdly, the production is phenomenal. When I inquired about the production job, I was pleasantly surprised to find out that Area 54 had produced it. No one else was, apparently, involved. The production is very clean, so to hear that this is a band effort was exciting considering the quality. Things that easily get lost in most production (such as bass drums, and a melding of the guitars) definitely were there. Everything was in its place, and everything was immaculately done.

These three things add up to make one of the best albums I’ve heard in a long while. A band with ranges between Gothenberg sound and Megadeth rhythm while producing incredible melodic solos, can’t really go wrong these days. It’s no wonder they were picked up again, even having been dropped.

The only drawback to the record is the vocals. A definite “love him or hate him” kind of vocalist, Lakis’ melodies are strong, but the vocals (which are strongly reminiscent of Axl Rose) don’t have the tonal quality that I like.  Honestly, however, this is easily over looked when the rest of the record is viewed in perspective. There aren’t many bands who claw their way to the top these days, but Area 54, if they keep producing strong records like this, might just do it. - Jim Bob the Enforcer

Back to the top.
 

Blind Guardian – Live (Century Media, 2003)

Rating: 9/10

After having been inundated by so many mediocre live albums over the years, I've not come to expect much from them.  In fact, there are very few live albums that I've found interesting at all, or even intriguing.  However, after hearing that Blind Guardian was releasing a live record I just had to check it out. How could a band like Blind Guardian even perform live considering all the tracks that they use, the choirs, harmony pedals, etc. How is this even possible?

Well, as anyone who has heard the album knows, Blind Guardian not only perform their material live with as much flourish (thought not nearly as many tracks) as they do in they do in the studio but in some aspects, this recording is better than any of their studio records! There are two major reasons for this development.  Firstly, it's interesting to hear what the band thinks are the most important aspects of the song, which harmonies they choose to play and whether they still make the songs as potent (they do, in most cases).  Secondly, there's a crowd involved.

The crowd is so awesome it deserves its own paragraph! I've never heard such an enthusiastic and vocally talented crowd (it might be many crowds as well). Their performance on the Bard's Song makes the record for me! I was so amazed when I first heard it I played it about 3 times over and over again!  They sing every word on the record and every melody! It really makes this record so much better than it would have been otherwise.

Of course, there are other reasons that this record is great.  Though missing a few of my favorite tracks off of A Night At The Opera (including Battlefield and Wait for an Answer), they play a good cross section of stuff from all their records.  The tracks, consisting of classics like Born in a Mourning Hall, Valhalla, Lord of the Rings and Mirror, Mirror are great to hear stripped down! Though you can hear the backing tapes slightly, you can mostly only hear Hansi's main vocals which makes it worth listening to! Why listen to a live record if it's going to be the exact same as the studio records?

So yet another fantastic release from a fantastic band!  I'm docking it a point because they didn't play Battlefield on the A Night at the Opera tour, I mean.. C'mon. That's the best damn song on the album!- Jim Bob the Enforcer

Back to the top.
 

Cannibal Corpse - The Wretched Spawn (Metal Blade, 2004)

Rating: 8.5/10

There is a reason they are the biggest death metal band in the world and it is not the same reason why the current big pop music icons are as popular as they are. No one in Cannibal Corpse wears belly shirts and has big tits (at least, not in promo photos). George Fisher didn't make out with Glen Benton at the Milwaukee Metalfest in front of a throng of metal press. They don't dress up in costumes, they didn't make a sexually suggestive video. To put it as plainly as I possibly can: Cannibal Corpse are a fucking GREAT death metal band. They are veterans. The 16 years under their belt can be heard in every song, every note, every beat of The Wretched Spawn. While some prefer the glorious slop of Butchered At Birth (which I do love), it is the precise brutality of albums like The Bleeding, Bloodthirst, and Gore Obsessed that I think are Cannibal Corpse's brightest moments.

You know what to expect from the Corpse at this point, and The Wretched Spawn delivers it in buckets. Album opener "Severed Head Stoning" is one minute and forty-six seconds of death metal perfection. The riffs, the blasts, the groove, Corpsegrinder's rabid vocals, and some of the most demented lyrics of the band's career all crammed into under two minutes. If someone asks you "what is death metal," speak no word. Just slap this sucker on and watch them be beaten to a bloody pulp by the true masters of the genre.  The Wretched Spawn is solid from start to finish, with curve balls like "Festering in the Crypt" (one of slowest yet heaviest songs the band has yet penned), the schizophrenic title track, and the thrash-infused "They Deserve To Die" standing out from the more typical, but no less effective, numbers like "Psychotic Precision" and "Cyanide Assassin."

If you aren't a Cannibal Corpse fan, The Wretched Spawn won't change that. If you are, you can rest assured that our boys are still delivering the goods like no one else can. It is rare that a band achieves success without sacrificing one iota of integrity or intensity, but Cannibal Corpse have done so, and The Wretched Spawn is proof positive that all of their success is very much deserved. - Al Kikuras

Back to the top.
 

Deeds of Flesh - Reduced to Ashes (Unique Leader, 2003)

Rating: 8/10

I can say that probably a solid 30% of the promos that cross my desk strive to reach the heights that Deeds of Flesh have and continue to reach with Reduced to Ashes. The formula here is as you have come to expect: insanely deep and guttural vocals, impeccably clean musicianship, and just enough technical twists to make it obvious that Deeds aren't just about blind rage and speed. These guys can actually PLAY and use those chops to maintain the relentlessness without falling into the mud of self-parody that some "beyond brutal" bands of this ilk muck around in haplessly. The most positive proof of such is the aptly titled "The Endurance," a 12-minute workout of epic proportions that proves there are still limits to push when the "how brutal can you get" question has finally been answered. The members of Deeds of Flesh are machines, and sound like it - the music is so inhuman that my enjoyment in hearing it comes not from the songs being memorable (they're not), but rather from just wanting to marvel at the chops on display and how insanely over-the-top the end product is when these three musicians interplay. Their 10 years of experience are put to good use on Reduced to Ashes, as in the sea of technical death metal bands, Deeds of Flesh still stand a head above the rest. - Al Kikuras

Back to the top.
 

Deicide - Scars of the Crucifix (Earache, 2004)

Rating: 8.5/10

"THE BLASPHEMY IS BACK," or so the headline across the back of the Scars of the Crucifix promo would lead you to believe. As luck has it, the Earache promo team ain't just whistling Dixie. With Scars of the Crucifix, Deicide have beat the odds and proven that it is possible for a band to make a full comeback after two dismal albums of stale ideas and stagnant songs. When I read in interviews given while Scars was still in the formative stages that Deicide had the life sucked out of them by their contract with Roadrunner records and released the by-the-numbers snorefests Insineratehymn and In Torment, In Hell out of desperation, I had my doubts that their first post-Roadrunner platter would be the return to form the band promised.  The opening title track has, I am happy to report, crushed those doubts. Scars of the Crucifix finds Deicide sounding the hungriest they have since Legion and, while none of the songs are as catchy as anthems like "Sacrificial Suicide," "Satan Spawn" or "Dead By Dawn," it is obvious Deicide are no longer just treading water; they are going for the jugular and tearing it out completely. That, however, is the album's one shortcoming. It seems Deicide were so eager to tear shit up that they sacrificed the hooks that made their albums so infinitely listenable. I have listened to Scars of the Crucifix countless times thus far. In all its rage, it has yet to get even remotely tiresome, but I don't find myself singing along as I do to Legion, the debut, Once Upon the Cross, or even Serpents of the Light.

That one shortcoming aside, Scars of the Crucifix is still more than I expected and just about all I hoped it would be.  The guitar team of the brothers Hoffman is also in fine form, with their distinctive soloing styles standing out from one another (Brian is of the early Slayer "screeching solo from hell" school, while Eric pays more attention to things like melody. Steve Asheim packs 40 minutes of drum performance into under a half hour. Yes, the man is that good and the album is that short. While I was impressed by Glen Benton's work on Vital Remains' Dechristianize last year, he sounds even more monstrously nefarious here. In all, Scars of the Crucifix, as the promo hype promises, "is Deicide at their gruesome best."

Disenchanted fans, gather round and bask in the fires of hell, as the once-fallen kings have returned to rule the Satanic death metal underworld.  - Al Kikuras

Back to the top.
 

Diabolic - Infinity Through Purification (Olympic, 2003)
Krisiun - Works of Carnage (Century Media, 2003)
Monstrosity - Rise to Power (Conquest, 2003)

Ratings:
7/10 (Diabolic)
6.5/10 (Krisiun)
8/10 (Monstrosity)

Man, October of 2003. What a month for death metal! New releases by three of the most fierce acts in the history of the genre! And how lame am I that it took me until April of '04 to actually review them all?

I think it is appropriate that these three releases be reviewed in one fell swoop as they are each from bands noted for being some of the most intense currently vying for the throne. So how do they stack up against one another?

Let's kick it off with Diabolic. Infinity Through Purification starts about as strong as an album can with the raging, "From The Astral Plane... Entwined With Infinity." From there it loses a little steam. Stalwarts of the old style of Floridian death metal, Diabolic do just what you expect them to do no more, no less, and they do it well. Chances are if you are reading this review in the first place, you are familiar with what Diabolic sound like. If you don't, think a less catchy Morbid Angel, ala the Covenant era (which is a hell of a good era). If you don't know what Morbid Angel sound like, well, back to the loch with you, Nessie. While I appreciate Infinity Through Purification for its, well, purity and Diabolic's unyielding dedication to the traditonal death metal sound, the album doesn't grab me. In fact, the last Diablolic release that really tore the ass out of me was Subterraneal Magnitude (2001), but I can safely say that Diabolic have never released a bad album, and Infinity Through Purification is a strong if somewhat unremarkable release.

We move along to Krisiun's Works of Carnage. There is no denying the impressive technical abilities, speed, and endurance of the musicians. Each is pretty much as proficient at his instrument as one can get when it comes to death metal and in that sense alone, I can appreciate Works of Carnage. I listen to it less as a collection of songs and more as a collection of parts. There is not much here that is remotely memorable. The performances are so inhuman as to sound mechanical, and there is merit in that, but when I hear the cover of Venom's "In League With Satan" that Krisiun included on the album of a band that is more-or-less at the opposite end of the spectrum (sloppy and anti-musical), it sticks out like a big, glowing, golden thumb as it is infinitely more catchy than anything else on the album, even after they Krisiun-ed it up.

Now, on to Monstrosity. Like Diabolic, they adhere to the traditional death metal sound, but do not sound like a band the here and now doing so... they sound like the real deal, probably because they are. Formed in 1990 (less than a year after the bible of this style of death metal, Morbid Angel's Altars of Madness, was released), Monstrosity are veterans and, for those of you living under a rock of crappy radio and MTV, spawned current Cannibal Corpse vocalist, George "Corpsegrinder" Fisher. I've always been a fan of current vocalist Jason Avery's work (dating back to Eulogy and through Monstrosity's In Dark Purity) and his performance in Rise To Power is no exception. This album sounds as legit as Malevolent Creation's excellent Retribution and listening to one after the other, even the seasoned death metal fan unfamiliar with both releases probably wouldn't be able to guess which is the most recent release (though the production on Rise To Power packs more punch). I say this not to imply that Monstrosity sound dated, but rather that like Altars of Madness and Retribution, Rise To Power is an album so solid that twelve years from now I will probably still be listening to it just like I am still listening to the aforementioned albums. - Al Kikuras

Back to the top.
 

Dismember - Where Ironcrosses Grow (Candlelight/Karmageddon, 2004)

Rating: 9/10

Damn, it is good to hear some downright menacing Swedish death metal again! So many once-great acts have fallen from grace. Unleashed's last slab was a slab of crap. While I did like the last Entombed record, it was for different reasons than I liked Left Hand Path, Crawl and Clandestine. The problem with the last Entombed record was that, while it was heavy and had a good groove, it just didn't sound EVIL anymore. That is what was so great about the first days of Norwegian black metal, Swedish death metal and, if you want to go REALLY far back, stuff like early Mercyful Fate and Venom... it was heavy not only in music, but also in atmosphere. It sounded as if it was not of this world, but rather horrified screams from some dark abyss that somehow found tune. Think about the magic of the otherworldly roar that opens the song (and album) Left Hand Path before those infamous buzzsaw guitars come tearing out of the speakers. Similarly, the intro to Dismember's own Like An Everflowing Stream, which leads into a guitar part that is one half melody and one half murder. Or Therion's oft-overlooked debut (and best release, hands down) Of Darkness, which oozes into the air with sludgy guitars trampling all over a droning keyboard part that is so perfect because it is just quiet enough that you almost don't even notice it, but its presence is enough to pervade the passage with an unsettling eeriness.

But I wax on about the old days too much. Where Ironcrosses Grow is worth talking about with almost as much fervor. It is a grating, ugly record and I, for one, am very excited to hear Dismember keeping the old blade sharp and homicidal. While certainly not nearly as raw as the Dismembered or Reborn in Blasphemy demos, or the debut, Where Ironcrosses Grow has enough of the old grit to keep aging dogs like me happy. There is groove, there is speed, there are rabid vocals, there is atmosphere, and there are even a few surprises (eg, the Maiden-ish melody in “Tragedy of the Faithful).

Swedish death metal is alive and well with Dismember. Raise your glass and toast one of the originators for still keeping the fires raging... we have certainly missed the burn. - Al Kikuras

Back to the top.
 

Dusk - The Shadowsoul (Regimental Records, 2004)

Rating: 9/10

Hungary. Must be a hell of a dark, dismal country for a band like Dusk to release a piece of music as downright lugubrious as The Shadowsoul. The opening melodic guitar passage, "Innerself," is no indication of the wretchedness that is to follow, but within the first 20 seconds of the song "Dusk," you know you are in for a cold, suicide-inducing ride. Not since Bethlehem's S.U.I.Z.I.D. have I heard screams this tortured. The Shadowsoull's strength is that it is grandiose despite the minimalist arrangements. While I can't believe I am about to make this comparison, The Shadowsoul reminds me of Johnny Cash's great American III: Solitary Man album in that there are times where sparse instrumentation sounds like a 60-piece orchestra heralding the end of the world.

Regimental Records has a very strong release on their hands that serves as a fine example of how dismal black metal is done. This is the soundtrack you should be slitting your wrist to. It is that bleak, that depressing... the lament of a defeated man on his last breath... the cruel blade with which he is carving his legacy into the flesh of a world that will hardly note his passing but for the scar he leaves behind. - Al Kikuras

Back to the top.
 

Ephel Duath - The Painter's Palette (Earache, 2003)

Rating: 7.5/10

Why a band would spend this much time creating music so wildly different and unpredictable when compared to the masses and then let the singer scream and sing like your prototypical nu-metal wannabe Mike Patton boner (no one will ever be Mike Patton besides the man, himself) is far far beyond me. That is not to say the vocals don't have their occasional high points, but on the whole, the bouncing back and forth between the monotone high-pitched scream and the melancholy crooning makes me want to puke in my soup. The band is spectacular... calling up Mr. Bungle, Atheist, Cynic and the like in their schizophrenic, jazz-infused metallic bashing. Oh, how I just wish they had put someone else at the vocal helm. I can only hope someone fucks someone else’s girlfriend and a drastic lineup change ensues. - Al Kikuras

Back to the top.
 

Falconer - The Sceptre Of Deception (Metal Blade, 2003)

Rating: 7/10

The third Falconer release is a must for those who’s tastes lie somewhere in the realm of Iced Earth, Hammerfall, as well as Primal Fear power metal, but with more epic lyrics and concepts. More specifically the Matt “My-range-is-great-but-I-almost-seem-to-channel-Paul-Stanley-when-I-sing-higher” Barlow of Iced Earth. There are plenty of epic tracks on this conceptual record. The concept is left up to the listener to decipher if they choose to delve deeper into the storyline. The band’s web site describes the album’s story as “A concept record about the band’s Motherland - a story about Greed, Corruption, and Betrayal”. Sounds like a day at the office for me, and that is usually before lunch.  The riffs herein are not super technical, but do not need to be since the lyrics, melody, and overall themes carry you from song to song. Although it is a concept record, there are plenty of songs that stand on their own such as the title track “The Sceptre Of Deception”, an 8 Minute tale. Track 2: “The Trail Of Flames”, which contains a great opening riff. Plenty of electric and acoustic guitar interplay throughout this release that often create different soundscapes for each track, rather than becoming a predictable, one-dimensional outing. There is plenty of melody, plenty of crunch, and an abundance of machine gun drumming, all of which is distinctively Falconer. - Carl Christianson

Back to the top.
 

Fogzard - Extreme Atheism (Flood the Earth, 2004)

Rating: 8.5/10

It's not every day you get a promo with a bio sheet that is smeared in real blood. You've got to give them points for the enthusiasm, but man, I don't want to touch someone else's blood, especially in this day and age. The statement is made, but practically... well, the promotional value of such a stunt is far outweighed by my own personal health concerns.

That said, on to the music. What we have here is raw black metal that very much reminds me of Immortal's Diabolical Fullmoon Mysticism. The vocals, in particular, are reminiscent of Immortal, but moreso the Battles In the North "Popeye" sound. The production is low-fi, but effective. There are atmospheric keyboards layered in some of the songs and on the occasional interlude, but the music far from qualifies as gothic or symphonic. This is the ugly, grimy, filthy black metal stuff you hear about. First Dusk, now Fogzard... it seems there are other French legions intent on following the path set by their forefathers, Mutiilation. Like Dusk, Fogzard do an admirable job dragging that particular corpse even further into the dark woods. While I just have a CDR of this and cannot comment on the packaging, if it is adequate, Extreme Atheism (clocking in at almost 42 minutes in length) will be well worth the $10 purchasing price. Just don't go licking and re-using the envelope they send it in, who knows what bodily fluids it might be covered with. - Al Kikuras

Back to the top.
 

Gnostic - Evoking The Demon (Ordealis, 2004)

Rating: 8/10

Brutal war/black metal. I love the production (or, more appropriately, lack of production). Sounds like it was recorded live on a 4 track in somebody's garage. Dirty, raw and powerful, and while that may turn off some potential fans, in my opinion it contributes to the pandemonium. There are times on Evoking The Demon where Gnostic are approaching trainwreck levels of Mayhem, but just when you think they are going to go over the edge, they pull back and it becomes immediately evident that this is not like the old Sodom records where things are gloriously sloppy because Ventor wasn't much of a time keeper...  these maniacs are controlling the chaos. Fans of Thornspawn, Conqueror, Black Witchery, and Angel Corpse will find much to like here and the bonus live video, though not included on the promo, will sweeten the deal a hell of a lot, I am sure. - Al Kikuras

Back to the top.
 

Gorerotted - Only Tools and Corpses (Metal Blade, 2004)

Rating: 8.5/10

This was a surprise. I would expect the likes of Gorerotted to be more at home on Razorback Records than Metal Blade... though, to Metal Blade's credit, they DO have Cannibal Corpse on the roster, but then who wouldn't want to be home to one of the top-selling death metal bands of all time?

Anyway, I bring up Razorback as Gorerotted are very much of the tongue-in-rotted cheek Carcass school of campy gore metal. Much like Razorback's own Lord Gore and Ghoul, Gorerotted are more amusing than frightening, and that is half their appeal. From the silly photo on the back of the album, to songs like "Can't Fit Her Limbs In The Fridge," it is obvious that Gorerotted are in it for fun and to shock and don't proclaim to be deviant psychopaths. Bands that don't take themselves all that seriously are so damn likeable! Not to say that Gorerotted don't deserve to be taken seriously... the music is as brutal and nasty as any of their peers. Gorerotted bring stronger songwriting and memorable hooks to the mortician's slab, making Only Tools and Corpses a delight of an album to listen to. Varied vocals, from the Sanatorium pigfucking subharmonics to a low-register death growl to a nasal screech laden with attitude keep pace with the schizophrenic music underneath, and the end result is an absolute blast. Gore hounds, you have a new gem here to add to the collection. - Al Kikuras

Back to the top.
 

Gothic Knights - Up From The Ashes (Self-released, 2004)

Rating: 7/10

From the very first track, I could not shake, as hard as I tried- to get Mike Vescera and many Obsession connotations out of my head. In my early metal days I spent entirely too much time listening and trying to learn guitar parts from the Obsession records “Scared For Life” and “Methods Of Madness”. More time than I should admit. That being said, and while trying not to take too much away from this Brooklyn-based power metal outfit; the release itself is solid and often catchy. You will not find this band straying far from 80s style power metal aesthetics- what they do- they do well. All is well I should say until the listener gets to the final track “Hungry Like A Wolf”. Now I am all for modernizing an older classic and offering the listeners a new take on an old standard (God knows we have heard entirely too many Black Sabbath and Motorhead covers by now) and choosing a Duran Duran song could be seen as an adventurous possibility. However in my opinion, the original would still possess a stronger bite (pardon the pun) than Gothic Knight’s version. All of the work that the band achieved as a serious metal band was lost on me once the open riff emanated out of my car stereo. All of the street credibility that they may have achieved could be voided with this cover. How about considering an Obsession cover song? - Carl Christianson

Back to the top.
 

Gruesome Stuff Relish - Last Men in Gore (Motosierra, 2003)

Rating: 8/10

Fresh from the Razorback Records camp (where they still reside), Gruesome Stuff Relish have released this collection of songs, new and old, on their own label, and a glorious collection it is. Imagine Carcass and Impetigo spend a weekend holed up in a seedy motel with a bottle of bourbon, a box of BSDM pornos and a box of cheap condoms. Gruesome Stuff Relish would be the "not-so happy accident" to launch from the womb 9 months later. If you have yet to hear GSR's delightful Razorback release Teenage Giallo Grind, pick it up. If it tickles your ivories as much as it did mine, go right out and buy Last Men in Gore because they party doesn't have to stop just yet. - Al Kikuras

Back to the top.
 

Graveland - The Fire of Awakening (No Colours, 2003)

Rating: 6.5/10

Graveland's Following the Voice of Blood probably has the worst guitar sound ever recorded on purpose. That was part of its charm, however, and while the guitar sound has vastly improved over the years, The Fire of Awakening still doesn't sound like Darken is striving for anything resembling clarity in his recordings. The up side is that The Fire of Awakening has an almost Spector-ish "wall of sound" quality that touches on the hypnotic at times. The music is very straightforward and simple, never conveying more than a singular emotion throughout the 5 tracks. This album is almost a conglomeration of each Graveland release thus far, which is its downfall. It is not as raw and nasty as the material on In The Glare of Burning Churches, nor as grandiose as Immortal Pride. It is a middle-of-the road Graveland release that could do with a bit more extremity (aside from that of the lyrical nature, of course). That said, it is not a bad release by a long stretch. If you are familiar with Graveland's material and want to hear more of the same nature, The Fire of Awakening will do the trick, but like a McDonald's hamburger, it fills the hole but isn't all that exciting. - Al Kikuras

Back to the top.
 

Inveracity - Circle of Perversion (Unmatched Brutality, 2003)

Rating: 7.5/10

I've heard my fair share of guttural death metal albums over the past months, not a small number of them courtesy of the folks at Unmatched Brutality Records. I find myself scratching my enormous head after hearing what has to be literally dozens of albums of this nature, wondering if it is just me or are they all starting to sound alike? What is it that makes a band decide to pursue this so heavily-trodden musical path? While some acts, like Brodequin (who, incidentally, run Unmatched Brutality) push the genre to its (il)logical extremes of speed and ridiculousness on albums like their last full length, the amazingly brutal Festival of Death, acts like Inveracity don't go quite as far, but far enough, to obliterate any chance of someone not already familiar with and fond of this style showing any interest in the album. It is almost as if these bands are dooming themselves by sending another shark into the pool with an already depleted stock of prey.

My point? Hell, I don't know. It is late and, despite what I wrote above, I do find myself liking and listening to Circle of Perversion much more than I expected after the first spin. I think it is probably because not only do they know how to blast, they know how NOT to blast. It is not all about speed and technical chops. Inveracity may not be the same level of musicians as, say, Deeds of Flesh, but there are times when a simple, chugging riff (such as the lumbering monster 22 seconds in to "Blood of Impurity") can be twice as effective as an armada of technical, hyperspeed guitar parts. Lyrically, this is some of the sickest stuff since Intense Hammer Rage. Not an album to share with your wife/girlfriend/mother/local law enforcement official. While no new ground is broken in terms of virtuosity, speed, or heaviness, Inveracity have put together a listenable death metal album that deftly avoids many of the trappings that their contemporaries fall prey to by being as much death metal as grind, though vocally they have more in common with the likes of Disgorge and Vile than Cannibal Corpse or Deicide. Circle of Perversion is recommended to fans of the style as well as death metal fans looking for something a little more extreme.  - Al Kikuras

Back to the top.