Music Reviews

Sceptic - Unbeliever's Script (Candlelight/Karmageddon, 2004)

Rating: 9.5/10

Lordy, this is refreshing. With Chuck Schuldiner's passing and the members of Cynic and Atheist doing who-knows-what these days, I was wondering if I would ever hear an inventive, technical, passionate death metal album again. Along come Sceptic and not only do I get what I hoped for, they ladle a little black metal over it for good measure. Unbeliever's Script is an EXCELLENT release featuring top-notch musicianship, great songwriting, fierce vocals that, blessedly, do not sound like Tomas Lindberg (as great as he is, I am sick to the grave of his imitators). Everything on this album screams of class and talent. The riffs are strong and catchy, the vocals are memorable, and the performances on the part of every musician are exemplary. How often do you hear a bass solo in music this heavy since Roger Patterson died and Shawn Malone decided to play proto-smooth metal? And, yes, I know Jacek took bass solos on Pungent Stench's For God Your Soul..., but he wasn't nearly this good.

Fans of latter day Death and the aforementioned Cynic and Atheist will be sitting in a puddle of their own drool after listening to Unbeliever's Script for the first time. This is quality release by a spectacular group of musicians that I hope have a long and prolific career ahead of them.  - Al Kikuras

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Kutabare - Finger Food Fetish For The Morbidly Abnormal (Razorback, 2004)

Rating: 7/10

Razorback continue to spread the plague of gore metal with Australian exports Kutabare who, incidentally, feature Damon Bloodstorm of Bestial Warlust fame on vocals. BW were and are one of the most impressive bands ever to come from "down under," so it is unavoidable that one (at least, this one) compares Kutabare to Damon's last act and in the shadow of the mighty Bestial Warlust, Finger Food Fetish For The Morbidly Abnormal is slightly disappointing.

Kutabare are at their best when they are sludgingly slow, especially on "Rime Of The Ancient Marinated Corpse" (my vote for song title of the year). They do blast and rage with the best of them as well, but don't have the same appeal as other Razorback Hive members like Lord Gore, Ghoul, Machetazo and so on. While the album tile along with tracks like "Dildo of Death" and "Frotage [sic] the Fromage" make it evident that Kutabare do have a sense of humor, it does not come through in the music and the end result is a bit lackluster.  If you are a Razorback fanatic like me and just want everything the label releases, or haven't had your fill of downtuned, nasty goregrind like Gut and Disgorge (Mex), by all means add Finger Food Fetish For The Morbidly Abnormal to the corpse pile. It stinks as bad as the rest of the dead bodies. - Al Kikuras

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Nargaroth - Geliebte des Regens (No Colours, 2003)

Rating: 8.5/10

I read a lot about this album before I really listened to it, which, as a reviewer, I usually try not to do. Most of what I read was negative and focused on how long and repetitive the songs are. While I certainly can't argue the fact, that is exactly what I like about Geliebte des Regens. No, Kanwulf is not a musical genius for having the balls to play essentially the same riff for 17 minutes (in two separate songs, no less), but I have to hand it to him, it is effective. Talk about giving a guitar part time to sink in! Some black metal sets the blood boiling, some makes you want to sit in a dark room with a razor blade and a bottle of bad whiskey. Then there is Geliebte des Regens, which is actually kind of... relaxing. That's a new one for the genre. Because the opening 17-minute track, “Manchmal Wenn Sie Schläft,” is so repetitive, when "Wenn Regen Liebt" comes crashing out of the speakers at a less moderate timbre, it sounds like something off Reign in Blood until it settles into a similarly turtle-like pace. And as if one wasn't enough, “Manchmal Wenn Sie Schläft” is reprised in its entirety with slightly different arrangement. So, like a big, slow sandwich, there you have Nargaroth's Geliebte des Regens - an album that, as all albums that have some merit, is sure to piss off as many people as it pleases. - Al Kikuras

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Ravenous - Blood Delirium (Red Stream, 2004)

Rating: 8/10

Miss Autopsy? Don't we all? The last two Abscess albums, Tormented and Through the Cracks of Death, filled a good portion of the void left when Autopsy was laid to rest with Shitfun in 1995. Apparently, Chris Reifert isn't done raping the corpse, however, as Ravenous' Blood Delirium (my first introduction to the band), is more of the same as Autopsy and Abscess: unpolished, delightfully messy death metal that sounds like it was leaked out of the asshole of some putrid, bloated corpse left in the sun too long. If it was anybody but Reifert, Corrales and Bower on the boat's crew, they'd practically owe royalties to the originators, but if anyone has the right to revisit the g(l)ory days of death metal, it is the originators, themselves. With Killjoy at the vocal helm (sounding as much like Reifert on Mental Funeral as his old, demented self) and Danny Lilker providing the subsonic rumblings, the whole feel of Blood Delirium is that it was as much fun for these fiends to make as it is for us to listen to, and fun it is from start to finish. Enjoy while there is still some flesh on the bone...- Al Kikuras

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Scepter - Fucking Metal Motherfuckers (Merciless, 2003)

Rating: 7/10

A fan of Cianide and Usurper?  Scepter are the final member of the unholy triumvirate of Chicago metal. Brothers in Celtic Frost, beer and blasphemy, if you are familiar with one, you know what to expect from the others. Had Celtic Frost not ventured into more experimental areas on To Mega Therion and then the mighty Into The Pandemonium and didn't take themselves half as serious as they did, Fucking Metal Motherfuckers might have been a few albums down the wire in their discography. Scepter aren't here to make a bold statement or push the envelope of heavy music. They are here to drink, rock, and smash a few fucking heads in, and they do so on Fucking Metal Motherfuckers. - Al Kikuras

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Stratovarius - Elements Pt. 2 (Nuclear Blast, 2003)

Rating: 7/10

For those of you who are aware of the Stratovarius sound, you should not be disappointed in this release. That is quite a general statement for such a complex release.  Stratovarius has been in existence for at least 20 years as one of Finland’s reigning metal luminaries. As a fan of this band I knew what I should expect from a new Staratovarius release.  I was in for spectacular musicianship and top-knock production, melodic guitar work from Timo Tolkki, soaring vocal melodies and dominating chorus hooks from Timo Kotipelto. As one should also expect plenty of orchestration on top of both heavy burning metal as well as the much-too-often sappy power ballad (s) that I would gladly trade in for another heavy track. Track 2 “ I walk to my own song” is a catchy chorus that you may find humming to yourself after just a few listens. The song is hauntingly fitting considering the singer; Timo Kotipelto has recently walked away from the Stratovarius fold with plenty of his own songs and has been replaced with a female lead singer. Elements Pt. 2 is a solid offering that marks the end of another chapter in the ever-evolving existence of Stratovarius. - Carl Christianson

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Tarot - Suffer Our Pleasures (Spinefarm Records, 2004)

Rating: 7/10  

Marco Hietala is working overtime. For some people one band is more than enough.  For this guy when he isn’t fronting the band Tarot, he is touring, recording, and contributing his creativity to other notable bands such as Sinergy and Nightwish. Tarot has been in existence since 1986; but there have been many gaps in between their six releases for obvious reasons. If it were not for the modern production of this record, the throwback power metal stylings would have a listener believe that it was still metal circa 86-87, with few musical exceptions.  That is not to say anything bad; it is a solid release delivered with an aggressive Dio-esque vocal inflection. There are plenty of hooks and catchy choruses. This is a release for those of you with leanings toward Iced Earth.  The diversity is more in Marco than what is offered here on this release. From Nightwish to Tarot to Sinergy, this guy participates in a diversified list of bands, all really unique and different in and of themselves. - Carl Christianson

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The Dying Light - Survival Guide to the Apocalypse (Hypercube Productions, 2003)

Rating: 8.5/10

The Dying Light play a powerful blend of speed and death metal that sounds like it could have been released in the late '80s alongside Reign in Blood.  But like the aforementioned classic, The Dying Light's debut LP doesn't sound the least bit dated being listened to in 2003. But don't try to pigeonhole TDL as some kind of retro project either because they bring enough of their own style and flavor to the game, which allows them to stand tall amongst the imitators. So if a serving of street metal madness concocted by five well-seasoned veterans of bands like Cattlepress, Ripping Corpse, Hemlock and Ceremonium sounds appetizing, then this is for you! - Big Juan

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V/A - Thrash or Be Thrashed (Blackfish, 2003)

Rating: 8.5/10

Thrash. My all-time favorite kind of music. Blackfish have put together a hell of a tribute to the genre, with a variety of metal bands covering masters of the genre like Slayer, Testament, Megadeth, Annihilator, Nuclear Assault, Sacred Reich, Death Angel and more.

It is very obvious Blackfish's heart is in the right place. This is a great release, with pictures of original flyers inside, excellent liner notes, photos, and spectacular cover art by the one and only Ed Repka (who has done cover art for EvilDead, Toxik and many many others). December's cover of Death Angel's "Seemingly Endless Time" is a highlight. Carnun Rising does a rousing death metal rendition of "South of Heaven." Some acts, like Barcode and Unite, do a fine job musically, but the one-dimensional metalcore vocals don't even begin to convey the emotive power of the original tracks by Megadeth and Metallica, respectively. England's Assert do an admirable job of covering Motorhead's "Ace of Spades." The vocalist sounds almost exactly like Lemmy and they up the tempo just enough to give the track an almost punkish energy. Phallicide, also from the UK, give Annihilator's "W.T.Y.D." a death and black metal overhaul and while nothing will approach the original in terms of tightness and clarity, the new spin is very eneteraining to hear. It is good to hear Razor and Vio-lence given their due as well. On the whole, while some of the acts are hit and some are miss, none are without merit.

What I'd like to be different is the selection of tracks. We've got three Megadeth tunes, two Slayer, and two Overkill (one being a medley), and one Metallica out of 19 total. We probably could have done without the Megadeth, Slayer, Testament and Metallica covers altogether considering how many tribute albums to each of those bands have already been released. It's good to hear Overkill, but with the abundance of thrash metal bands, they could have limited it to one cover per band. I'd rather hear interpretations of some of the non-household name thrash bands like Coroner, Forced Entry, Powermad, Forbidden, Dark Angel... you get the idea.

While Thrash or Be Thrashed should by no means be a starting point for someone new to the genre, it is a very fun listen for those of us already familiar with the original recordings and a good addition to the collection of any thrash fanatic such as myself. - Al Kikuras

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Torture Killer - For Maggots to Devour (Candlelight/Karmageddon, 2004)

Rating: 6.5/10

Now this I didn't expect. Having heard the name Torture Killer over and over and read about the band, I didn't expect them to sound like Six Feet Under, but they do. Though, it is quite possible Torture Killer were at the game before SFU came into vogue, in which case SFU sound like Torture Killer. I really don't know. But the comparison is valid regardless. It is the better SFU, mind you (True Carnage-era). Vocally the stuff is very Chris Barnes-ish and most of the music is grooving, mid-paced death metal. There are some moments when they stretch into a bit more brutal territory, but that is the short and long of it, folks. If you are a fan of Six Feet Under and Obituary-type death metal, Torture Killer will really whet your whistle. If not, steer clear. - Al Kikuras

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Unearthly Trance - Season Of Seance, Science Of Silence (The Music Cartel, 2003)

Rating: 9/10

UT's debut full length might be best described as a conceptual listen. But it also might not. In this day of Matrix-esque metaphysics the rage is to put all your own interpretations into other artists output. But in the case of Season Of Seance, Science Of Silence it's not a bad idea at all. In fact, if you close your eyes while listening to these six songs, you might imagine this as a journey through the worst day of your life, culminating in extreme betrayal (closing track "The Aftermath was Morbid"). Musically UT brings many influences to the table. But along with that they bring a sense of urgency and originality that makes them almost incomparable to any other bands currently populating the doom scene. Vokillist Rion Lipinsky is no slouch on the guitar, coming up with some of the most creative riffs I've heard since "Sabotage." Add vocals that alternate between morbid screams and desperate wails, extreme low end bass and one of the most powerful drummers currently polluting the NY scene. Bro, you're looking at over 40 minutes of extreme misery. Enjoy. - Big Juan

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Unholy Ghost - Torrential Reign (Olympic, 2004)

Rating: 8.5/10

What we have here is a death metal semi-super group consisting of former members of Diabolic, Pessimist and Exmortis. If you are familiar with any of the three, you will have a good idea of what to expect here: traditional death metal. No surprises. No frills. Just solid, fast, heavy Floridian death metal ala Morbid Angel, Monstrosity and (of course) Diabolic. On Torrential Reign, Unholy Ghost push the envelope right to the point of tearing when it comes to speed and intensity. The material is so frantic that it is dizzying, but unlike the last Krisiun release, it does not come off as "speed for speed's sake." There are hooks in the music that set Torrential Reign apart from the myriad of death metal releases on the market and, as such this is a rewarding listen that doesn't get overlong as many platters of this type tend to do.

We don't have 4 veterans here looking to set a new standard or define a new sound. The members of Unholy Ghost have set out to do one thing: destroy, and they do it well. You know what to expect. If it sounds like it is up your alley, pick this bugger up. - Al Kikuras

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Vehemence - Helping the World to See (Metal Blade, 2004)

Rating: 8.5/10

I was wowed by Vehemence's debut album, God Was Created, and the live performance they churned out at the NJ stop of 2002's Summer of Blasphemy tour. Technical and emotive... that was (and remains) the combination that sets Vehemence apart from so many. It is rare that a band can be consistently brutal but still convey emotion beyond "KILL KILL KILL."

On Helping the World to See, Vehemence incorporate elements of black metal and considerably more melody than on their debut, but heaviness is still first and foremost. They don't blast and grind as much as they did on God Was Created, yet let loose the hounds often enough to show that Vehemence still remember where they came from. It'd be my guess that these fellas grew up listening to the entire gamut of extreme music, from thrash to power to death metal and more, as you can hear inklings of each in the cohesive whole. Purists may be scared off, but fuck 'em.

While the thought of At The Gates, Cannibal Corpse and Iron Maiden having a menage e'trois/orgy should make just about everyone a little sick, Vehemence could be the glorious child of such an unholy union if the little bastard managed to take good elements from each parent and run with 'em. God Was Created should have started a hell of a buzz, and Helping the World to See should see that buzz increased to a roar, but since the first album was criminally underrated and virtually ignored, hopefully Vehemence's sophomore effort will garner them the accolades they deserve. It is rare that an album is this well put-together. The music is refined, creative and clean. The vocals are multi-dimensional, ranging from a deep growl to Lindberg-ish caterwauls with a few stops along the way (blessedly never straying into the dismal clean territory that so many feel they need to incorporate to be "diverse"). Helping the World to See requires a few listens for the strength of Vehemence's craft to set in, but it is well worth the effort. - Al Kikuras

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Verminous - Impious Sacrilege (Xtreem, 2003)

Rating: 8.5/10

Combining the chain saw buzz of early Swedish death metal like Entombed and Dismember, the whirlwind of Blasphemy and Conqueror, and the venom of Angel Corpse and Morbid Angel, Verminous have released a slab of pure metallic delight with Impious Sacrilege. Chaos is harnessed and Verminous ride the beast, barely hanging on to the reigns, and in the process producing some of the most satisfyingly filthy death metal I have heard in recent memory. The bass-heavy production is perfect for the material, sounding almost as if Impious Sacrilege was recorded live in the studio and, as a listener, you have a first hand seat watching the band blast through these 9 vile abortions. The music is relentless. No melodic passages (save the intro), no weak moments, nothing but the genuine article. There is just enough groove, just enough blast, just enough double bass. The song writing is excellent, with varied arrangements that keep the material from ever getting boring.  now. Verminous take all of the finest elements of death metal's various sub-genres and blend them into one frightening whole. Anyone and everyone into death metal should seek this album out as very few bands in the over-saturated scene are doing it this well right now and you probably won't hear another album this good from a relatively new band for another 10 years. - Al Kikuras

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Virgin Black - Elegant… and Dying (The End Records, 2003)

Rating: 6/10
 
There is a myriad of instrumentation that takes place on this CD – you have your usual Guitar, bass, drums and smooth and rough vocals however those standard instruments are entwined with flute, cello, keyboards, and an occasional choir for an interesting effect.

Elegant…And Dying is the second release from this Australian band and has been described in part as “a potent and impassioned piece of dark art” It has also been described as being filled with “Choirs, orchestral arrangements and weeping, doom laden, with sometimes vicious guitars.” When I think of “Vicious guitars” I doubt the players in Virgin Black would ever come to mind (read: Never), but I understand what is trying to be said about the musical drama that is unfolding on this release. “Drawing the listener into the darkest of maddened depths.” This IS a very dark record, but not exactly the kind of record you would drive to, it is more of a mood setting record that you may wish to listen to with headphones before you engage in self-mutilation by candlelight.
 
This style of music is interesting, but not completely what I like to listen to- there were a few moments like tracks 4 & 5 where I had felt a little Katatonia and Opeth-esque moods taking place.  There were also vocal parts that were very black metal (a la Dani from Filth) but injected just well enough that it doesn’t make you wanna press the STOP button. The overall vocal approach is a weeping choir-like mood and those of you that are adventurous enough to try something that off the beaten path... Be my guest.   - Carl Christianson

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Warlust - Trenchwar (Regimental Records, 2003)

Rating: 7/10

Bombastically assaulting black metal is the name of the game here, along with mucho combat references. For the imagery, think Marduk's Panzer Division Marduk mixed with the focus on the center point of the treble, and therefore sounding, vocally and musically, as pulverizing as possible. That was the best opening sentence I've ever put together. I'm starting to think I'm actually good at this stuff! Oh yeah, back to the music. These guys are definitely pissed off and play very Scandinavian-style but throw in enough of their own ideals that make it work really well. If you like the BM furious, fast and heavy, this will surely appeal to you.  The vocals may be too high pitched for some, but the band's use of well placed hilarious samples more than make this worth your while. - Big Juan

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WTN - Rotting In Pestilence (Razorback, 2004)

Rating: 8.5/10

Seeing the Razorback Records logo on the back of WTN's Rotting In Pestilence, I expected a big Carcass influence and was not disappointed, but was absolutely thrilled to hear none other than the mighty IMPETIGO kicking around in the demented world of chaos that is WTN's sound. It takes balls to open a death metal album up with an instrumental. A "gutsy" move (pun intended) that Carcass pulled off on Reek of Putrefaction. WTN have managed to do so with the title track to Rotting In Pestilence, which is an even more impressive feat as it is about three times as long as Carcass' "Genital Grinder."

Rotting In Pestilence is 48 minutes of non-stop fun, taking the wall-of-sound of early Carcass, the decrepit sickness of Autopsy, and the tongue-in-cheek nastiness of Impetigo and churning them in the old meat grinder to make a death metal burger of unparalleled deliciousness.
 
Ahhh, Razorback records... you know all of the guiltiest pleasures of the death metal world and strive to continue providing them to us. From the Carcass-worship of The County Medical Examiners to the depraved lunacy of Lord Gore, the Autopsy-adoration of Mausoleum to the thrashing insanity of Ghoul... just when I think you've bled the body dry, you drop the noisome odor of WTN right into my lap! I thank you from the bottom of my shriveled, blackened heart... this may be the smelliest corpse of all. - Al Kikuras

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