Music Reviews

The Hidden Hand – Mother *Teacher*Destroyer (Southern Lord, 2004)
 
Rating: 9/10
 
The Hidden Hand’s second full length is unmistakably Wino. If you’ve followed the legendary guitarist through his time with SAINT VITUS, PLACE OF SKULLS, THE OBSESSED, and SPIRIT CARAVAN you probably know his guitar playing when you hear it. I’ve not heard the debut full length from the Hidden Hand, but this record is significantly darker than any of the material that came out of SPIRIT CARAVAN, his previous outfit. In fact this record marks a very new plane for Wino and the rest of THE HIDDEN HAND. To simply write this record off as “doom” or “stoner rock” would be short changing the incredibly well written compositions contained within. Songs like “the Crossing” and “Desensitized” carry the Wino spirit we’ve known for decades while showing that the man can evolve without compromising.
Extra points for acknowledging the robber baron of the US Congress with closing track “The Deprogramming of Tom Delay”
 - Big Juan

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Japanische Kampfhorspiele - Fertigmensch (Bastardized Recordings, 2003)
 
Rating:  8/10
 
First off, that name is ridiculously hard to type so from henceforth I shall refer to them as JK.  JK from Germany play a unique style of grind that while is filled with the usual punk influences, it also sounds pretty metal at times.  I'm not sure what to think of this band lyrically as everything is in German but good music is good music right?
 
I really enjoyed this album, it has that special something I look for in grindcore releases, originality.  So many bands could just rip off TERRORIZER'S World Downfall and people would eat it up but this is really fresh sounding, I haven't heard anything blending punk into it this well in a long time.  The vocals go from shouts to growls to high shrieks, the riffs are catchy, and the drumming is really good. Odd length at 6 tracks and 20 minutes, I'd like to hear a real full length from them. - Rick

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Malevolent Creation - Conquering South America (Arctic, 2004)

Rating: 8/10

I am a big fan of live albums, especially among death metal bands. I like to hear if they can pull the challenging material off live and how the energy carries in the live situation. There is a good mix of new and old material, and vocalist Kyle Symonds does a good job on the older tunes. The crowd is rabid, the band is even MORE rabid. This was an evidently insane night captured with crystal clean and powerful sound and the album serves well as a testament to MALEVOLENT CREATION's abilities as musicians, and the strength of the majority of their catalog. While I was disappointed by the last studio release of theirs I heard (The Will to Kill), based on Conquering South America, I am going to do my best to see them live as they are an impressive band in concert, and I may also go back and check out the albums I missed (Envenomed and Warkult) because these fuckers are raging these days. - Al Kikuras

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Massmurder - Slaughtered For Snuff (Unmatched Brutality, 2004)

Rating: 8/10

Something tells me Massmurder are a big hit with the ladies. With songs like "Soaked in Semen" and "Corpse Copulation," how could they not be? Slaughtered For Snuff is, as the title would imply, an ultra-brutal, anti-PC death metal record. As I once heard someone yell at a BLACK WITCHERY concert, "Infinite blast beats rule!" MASSMURDER would agree as rarely does the snare beating stop. The vocals are deep and muffled. The guitar work is frenzied. The lyrics depraved. No surprises on Slaughtered For Snuff, but the goods are most definitely delivered with an axe to the back of the skull. 

While I have heard a slew of albums of this style lately, and often the bands are a dime a dozen, there are two things that set MASSMURDER a few inches above the rest. First, the guitar sound. Often with this style, when everyone is a'blastin', you get the "wall of noise" effect where, shit, the guy could be playing guitar with his dick and you couldn't tell the difference. On Slaughtered For Snuff, the dry and crisp guitar sound keeps everything audible throughout, allowing the listener to appreciate how busy and insane some of the guitar work is. Secondly, the length of the album. Clocking in at just under 22 minutes, it is the perfect length. Any longer and it would get monotonous. Where it sits right now, they come in and kill and are gone before the body gets cold.

So, if you're a fan of DEEDS OF FLESH, BRODEQUIN, COCK AND BALL TORTURE, MORTAL DECAY or any of the bands on the Unmatched Brutality/Unique Leader roster, Slaughtered For Snuff will sit comfortably in your collection. If you appreciate the style but find it to be too overwhelming and/or characterless, then MASSMURDER may be a good place for you begin developing an appreciation. - Al Kikuras

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Nyia – Head Held High (Candlelight Records, 2004)
 
Rating: 7.5/10
 
Man, these guys are pissed. NYIA are an uncompromising unit that seems like a sonic gamble for Candlelight who I’ve never noticed to release something so solidly cemented in hardcore.  That’s not to say that NYIA will conjure up images of MINOR THREAT.  On the contrary, NYIA are one of the few bands who are able to walk the tightrope between extreme metal and hardcore and sound no less brutal for it.  These guys don’t rely on overused At the Gates riffs like most of the American hardcore scene does. Instead you’ll find the technical prowess of DEATH crossed with the mosh pit fury of HATEBREED in a very successful way. This is an extremely impressive debut release, and any band this angry who choose the song title “Bad Daddy” clearly has collective issues that will only lead to equally disturbing music in the future. - Big Juan

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Occult - Elegy for the Weak (Candlelight Records, 2004)
 
Rating:  8/10
 
Candlelight is very wise.  Lately most of the best albums I'm hearing are coming from them, and nearly all of them are worth listening to.  OCCULT continue this recent streak with a fine dose of blackened thrash metal that is sure to please fans of this style of extreme metal.
 
For those of you who think this name is familiar, there is a good reason.  Rachel who is now doing vocals in SINISTER started out in OCCULT a while back.  This is their first album since Rachel left the band and I have to say this is everything it should be, they are showing they can exist without their previous singer and I think are perhaps better now than before.
 
I hear a lot of KREATOR influence in the riffs, but not in the "oh this sounds like a recycled riff from Pleasure to Kill" sort of way, just the aggression behind the playing matches the mighty bands in the genre in my opinion.  The drumming is quite consistent, the bass is a bit low but at a tolerable volume I suppose and the vocals are jut venomous. I haven't heard vocals this original in a while, I really like the sound.  Angry, pissed off, aggressive but audible.  You can understand many of the lyrics without following along to a lyric sheet.
 
The bottom line here is, if you like thrash this album is for you. I'm not the biggest fan and even I really found myself getting into this. I recommend it highly, this one will be in rotation for my music listening for a few weeks at least, perhaps longer. - Rick

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Satanic Warmaster – …Of the Night (No Colours, 2004)
 
Rating: 8.5/10
 
I’ve always gone back and forth with this band.  I found their first record somewhat underwhelming (though I’ve grown quite fond if it recently) and was more passionate about the subsequent EP (Black Katharsis) but still not sold.  Their last full length was a step in the right direction, with songs that were well crafted and memorable. However, this two song EP engaged me immediately like none of their previous output. Divided into two songs, each of which is about 10 minutes long, this release doesn’t show SATANIC WARMASTER breaking any new ground but absolutely shows an undeniable progress in making their obvious influences work like a well oiled machine.
This EP along with the recent collaborative effort with CLANDESTINE BLAZE shows SATANIC WARMASTER’s ability to plot out dark, brooding black metal with little or no place for filler. As an aside for vinyl junkies, this record is also available as a 10” EP which features a slightly different version of track two. Highly recommended. - Big Juan

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Six Feet Under - Graveyard Classics 2 (Metal Blade, 2004)

Rating: 7.5/10

Surprised me a little, this one did. Graveyard Classics 2 consists of... ready for it? A death metal version of AC/DC's entire Back in Black album! I am a fan of the original, shit... who isn't? SIX FEET UNDER do an admirable job of the transformation, though it isn't too much of a stretch. They do the songs mostly straightforward, beefing them up a big here and there with obviously, the vocals being the major difference (though one really can't say if Chris Barnes or Brian Johnson has the better singing voice). SIX FEET UNDER fans will like this because it's SIX FEET UNDER. AC/DC fans will appreciate the novelty. If you're not a fan of either, this certainly won't change anything. - Al Kikuras

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Swarm of the Lotus - When White Becomes Black (At A Loss, 2004)
 
Rating: 8/10
 
SOTL are a band I’ve been hearing a lot about lately and am glad to finally have the chance to experience them myself. Definitely not your conventional hardcore band, SOTL have firm roots in the hardcore scene but their ears open to many other genres of influence. Fans of ISIS, NEUROSIS, PELICAN and most of the bands on the current Hydrahead roster are bound to find something they like in these guys. Paying equal attention to well crafted mosh bridges and inventive experimentation, these guys walk a fine line of sonic experience.  I would not hesitate to throw out a term like “forward thinking hardcore” after listening to this record. 

Interestingly, and similar to some of their aforementioned peers, SWARM OF THE LOTUS seem to be able to tie their entire record together with a common thread where each song builds into the next.  Listening to the record on random makes for a much different experience than giving the disc a straightforward whirl. Overall my introduction to this act has been very positive, and while SOTL are a bit heavier than their peers, they’re no less creative. - Big Juan

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Thor and Mick Hoffman - Beastwoman and the Center of the Earth (A Rock Odyssey) (Abacus Recordings, 2004)

Rating: 1/10 & 9/10 = 4.5/10

I thought that Al Kikuras was being facetious when he told me that this record was like a B Movie, except music. He wasn't kidding. I shouldn't have laughed when he said that.

This record is unique in that it's made up of two separate writers interchanging songs, to create a sort of manic feeling.  The Mick Hoffman material has a very dated 70s sound to it (as does the THOR stuff, but we'll get to that in a minute). However, the way it's produced, the sounds he uses and his almost soothing voice make it kind of cool in sort of a retro record way.  His lyrics are interesting, and I really like his material.

The THOR material is stupid. I can't justify it.  It ranges between what sounds like a 14 year old writing guitar parts on one string and what sounds like a bad imitation of cheerleaders screaming "P-A-N-T-H-E-R-S" "GO PANTHERS!" C'mon! What is this?  A 1980s cartoon?  At least try to take yourself a little seriously.

The actual "Odyssey" part of this all eludes me. Apparently this is a record about a beast woman going into the center of the world and fighting stuff.  It's all tied in with some sort of Asgardian theme, but I'm not sure exactly how. Frankly, this was very ill-conceived.  Maybe if it had more creative deaths like "Fright Night" with Linda Blair I'd give it a higher rating, but I seriously don't what else to say. - Jim Bob The Enforcer

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Total Devastation - Roadmap of Pain (Arctic Music Group, 2003)

Rating: 4/10

I knew right away just looking at this record what it was going to be. I don't think that's a very good sign.  When you can look at the "decaying" looking letters and say to yourself, "Oh, metalcore." Things aren't going to go well. 

I was pretty much right. Somewhere between HATEBREED and SLIPKNOT, TOTAL DEVASTATION stumbled on industrial and added a keyboard.  But what I dislike about this style is just the downright simplicity.  In most places, it's far more core and far less metal, and I just don't dig that.

TOTAL DEVASTATION isn't a total loss, however. They show that they are able to vary from the formula some, using blasting, creative use of keyboards and some subtle melody, (as well as some feel changes that are highly effective) these guys do some alright stuff.  The breakdowns get pretty cool in some places, reminding me of the better industrial moments I can think of.

Moshcore kids will love this record for heavy beats and chunky guitar work. They'll dig the near death metal moments that they have, even if they never really do reach the pinnacle of a "real death metal band." They do it all with authority, but it just gets too repetitive for me to really get into. - Jim Bob The Enforcer

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Vinterriket - Landschaften ewiger Einsamkeit (Ketzer, 2004)

Rating: 7/10

Not exciting music by any stretch of the imagination, VINTERRIKET features almost 70 minutes of synth soundscapes that would work as background music during a deep-muscle massage, or to lull you to sleep if you've had too much caffeine.
I have heard synth-based music, like PUISSANCE's Mother of Disease, that is rousing and gets the blood boiling, as well as BURZUM's post-imprisonment synth-based releases that use repetition to build memorable passages and melodies, but Landschaften ewiger Einsamkeit is, does neither. It just kind of slides by as you listen to it, never really grabbing the attention lest you actually stop what you are doing and listen. Not bad by any stretch of the imagination, but unremarkable, and it is that aspect of it that gives the album its purpose... it soothes and creates a singular, melancholy and desolate mood that is effective even if one-dimensional. - Al Kikuras

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Wintersun - S/T (Nuclear Blast, 2004)

Rating: 9/10

When I found out that Jari was quitting ENSIFERUM (out of necessity) to go on and put out this solo record called WINTERSUN, I was shattered!  ENSIFERUM is one of the best new viking metal bands to come out of the woodwork in a long, long time. As the vocalist, he had a sound that defined the band.

Little did I know how incredible this WINTERSUN record would be.  The first release of Jari's solo career is smoking hot. While it sounds a lot like ENSIFERUM, with the thrashy near black metal sound. However, WINTERSUN lacks a lot of the very folky elements that ENSIFERUM has, and replaces them with a neo-Baroque guitar styling that is nearly unbeatable.

WINTERSUN is fast, in your face, and superbly technical! The guitar work is solid, melodic and has soloing that rivals, or maybe even bests, CHILDREN OF BODOM. Jari does everything, so his writing sense, his guitar playing skills and the ease with which this album flows amazes me.  Even though it's superbly technical, fast and blasty at times, it also slows down to do more subdued metal pieces which litter this record.  While I'm not as fond of those, I'm impressed with Jari's obviously superior knowledge of music, as he lays together some of the most lush chord progressions I've ever heard in metal.

All in all this is one of the best releases of 2004 without a doubt!  If you like technical metal, this is for you. Even if you don't, you should sit and listen to it in awe of a writer by which all other metal writers should be judged.  If nothing else, this record seals the deal as to why ENSIFERUM should have put their tour on hold for this guy. - Jim Bob The Enforcer

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Impious - Hellucinate (Metal Blade, 2004)

Rating: 8.5/10

What a fucking album! I wasn't quite sure what to expect from Impious. I assumed brutal death metal for some reason, and while the material on Hellucinate certainly is brutal, it is also so much more. Impious combine the "new" thrash sound with the best of the old school, meaning Hellucinate isn't your typical, run-of-the-mill nu-thrash album. It is fucking RAUNCHY, leaning heavily on death metal and some black metal, the end result being an album with all the ferocity and chaos of classic thrash combined with the technical proficiency of the current big players. There are some very catchy moments, and some less memorable, but nothing is weak. All is ferocious. Impious stand out not for doing anything radically different from their contemporaries, but rather for doing what others may be doing much better than the average band. Hellucinate is an album that I think will grow more rewarding with time and I intend to dedicate some serious listening time. - Al Kikuras

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Wolverine - Cold Light of Monday (Earache/Elitest, 2004)

Rating: 6/10

WOLVERINE are apparently an acclaimed band from Sweden.  I, unfortunately, don't really read reviews, so I'm not sure how acclaimed any band is. In all honesty, I think reviewers are full of shit (as are record company PR types)!  They probably don't even listen to the records...  oh wait. 

Well, anyway.  After listening to this record (no really! I did!) I decided that only ANATHEMA does this morose post-metal rock with any convincing quality.   One of the major reasons I wasn't very impressed with this record is that I don't find the vocalist to be emotionally effective at all.  He still has a very obviously "metal" voice at a lot of places that just doesn't fit this sort of PINK FLOYD meets ANATHEMA sound (which I think many who are critical of this sound would just argue is PINK FLOYD's sound). At times, when you get into the really emotionally climactic parts of the music it sounds like a bad Dickinson wannabe takes over where someone with a smoother, more beautiful voice would evoke that necessary emotion.

While the music isn't bad, I didn't find it to be compelling.  While there are certainly some interesting guitar ideas, which mix nicely throughout the tracks, it's just not enough to hold it together.  The choruses aren't convincing, and the guitar work doesn't draw you in like it needs to in order to sell this sort of thing.

While I respect the lyrical attempt at a concept record about "abuse and redemption," I think a lot of bands have forgotten that poetry is the base of lyrical quality, not story. If you can tell a story based on substanative motifs, more power to you, but to approach a subject as tragic as abuse with all the subtlety of RHAPSODY just isn't going to cut it (even the Dark King Akron would be disappointed).

All around this album isn't bad. The musical direction is interesting, and I enjoy the more atmospheric aspects of this album. But it's not great.  I think that this band could probably do much better than this.  They sound talented, but probably got bogged down under the weight of trying to write a concept album, and not just writing 11 songs that rule.

Capiche!? - Jim Bob The Enforcer

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