Music Reviews

Exodus – Shovel Headed Kill Machine (Nuclear Blast, 2005)

Rating: 9.5/10

Legendary Bay Area Thrashers EXODUS set the standard for future and new-age Thrash Metal releases with 2004's Tempo Of The Damned, which saw the band achieve a height that many considered unbeatable. Tempo Of The Damned was possibly the best comeback metal album of all-time, and many were left wondering what EXODUS had left. 60% of the line-up from Tempo Of The Damned departed from the band systematically, leaving it up to both lead/rhythm guitarist Gary Holt and bassist Jack Gibson to keep the backbone of the best return in metal intact. As a result, Gary Holt has unleashed the album that he has ALWAYS wanted to release: a thrash metal opus full of piss, vinegar and sheer hatred. Obviously, Shovel Headed Kill Machine is one ugly motherfucker.

The album opens up in a very aggressive and downright grinding manner with "Raze", which ushers in new vocalist Rob Dukes' nasty vocal styling to the EXODUS fold. One will find that Rob Dukes' vocal style is a perfect mixture of former EXODUS vocalists Steve Souza and the late Paul Baloff. "Raze" is a perfect way to open up an album like Shovel Headed Kill Machine. "Deathamphetamine" opens with a bass riff, briefly turns into a mid-tempo track and then Gary Holt chugs out fast riffing that is purely sick and demonic-like. Mid-way through the song, Holt debuts the new dual guitar solo team that makes up EXODUS with new guitarist Lee Altus. "Deathamphetamine" ends up as the longest track on the album, clocking in at eight minutes and thirty seconds of pure sick thrash metal, with walls of guitar work. "Karma's Messenger" can be perceived as the best song that SEPULTURA (Beneath The Remains or Arise-era) never wrote , except Gary Holt does a better guitar solo. "Shudder To Think" is a track directed towards someone with personal problems, and is quite similar tempo and musically to "Sealed With A Fist" (off Tempo Of The Damned).  "Shudder To Think" features an excellent guitar solo from Gary Holt, as well.  "I Am Abomination" is as good as any old-school EXODUS song, and again features the lead guitar duo of Holt and Altus midway through the song.

The title "Altered Boy" is straight forward with the subject matter, as Gary Holt speaks in great disdain for the corrupt priests in the Catholic Church, and is a mid-tempo track with great dual guitar solos. "Going Going Gone" and "Now Thy Death Day Come" are both solid and heavy tracks, but the most brutal tracks on the album are the last two.  ". 44 Magnum Opus" is the biggest highlight of the album, as the tempo never dies down and Paul Bostaph's hard-hitting style makes the track a complete keeper. There's no better way to close Shovel Headed Kill Machine than the title track, which almost clocks in at three minutes, and is a straight forward thrash death machine. "Shovel Headed Kill Machine" is a very fast track, and closes the door on a metal masterpiece.

In the end, Gary Holt and co. crafts an EXODUS album that resides on its own pedestal within EXODUS' discography.  It's nowhere near a Tempo Of The Damned 2, but it's a damn good follow-up. Those who loved Tempo Of The Damned may find Shovel Headed Kill Machine a bit too grinding and raw, but what do you expect from an album with the title Shovel Headed Kill Machine? Jack Gibson's bass work is as audible as ever, Gary Holt's lead guitar work is better than ever, Rob Dukes makes Steve Souza look like a teenager in a local band, Lee Altus is the perfect replacement for Rick Hunolt, and former TESTAMENT/SLAYER drummer Paul Bostaph definitely locks the door on the possibility of the departed Tom Hunting ever returning to the band. Additionally, Matt Harvey, Steev Esquivel (SKINLAB) and Chuck Billy (TESTAMENT) handled backing vocals. This is a strong effort from EXODUS, and Gary Holt made very wise choices in spots previously left void. Shovel Headed Kill Machine is the album that Metal needed in 2005, and is only second to NEVERMORE's This Godless Endeavor. - Dave Larmore. - Dave Larmore

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Abeyance – Experience Is The Words That Are Written (Crash Music, 2005)

Rating: 7.5/10

Word Of The Day, kids: "Abeyance." (uh-BAY-uhnts) noun, "temporary cessation; suspension.  Also, a somewhat innovative New York metalcore band with some death-metal tendencies in the vocal department."   Okay, so I added the second part of that definition just for this review, but it's my review to write, so deal with it. ABEYANCE is a pretty standard metalcore band to me. You've got your genre-typical angular riffs, presented here with death growl vocals and a multitude of tempo and thematic changes that keep the songs from ever truly congealing.  The melodic metal riff that crops up early in "Another God Fails" is the first time the band grooves, even after one entire song has elapsed. That bit lasts for a minute before falling back into a slow staccato riff, and then an even slower staccato riff, and then a clean breakdown, and none of it ever repeats.  So, using this song microcosmically to represent the entire record, my review begins: ABEYANCE has too many ideas, most of them good, and all of them flitting by the listener so quickly that it's nearly impossible to grab on to any one before it's gone.  To be fair, this ephemerality of riff is probably the desired effect, and it's been used to great effect by bands as varied as MR. BUNGLE and GORGUTS--neither of which I would directly compare to what's heard here, and that's because ABEYANCE isn't quite in the league of either of those ground-breaking units. Not to stifle their creativity, but I think ABEYANCE would be better suited to simplify, taking some of these parts and fleshing them out into songs of their own. Experience Is The Words That Are Written is by no means a bad listen­just that there's too much going on for my tastes and nothing to really grab on to before the whole thing shifts again and is gone forever… – JW
 - JW

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Adramelech – Terror Of Thousand Faces (Xtreem Music, 2005)

Rating: 8/10

Named after a demon bearing the interesting titles of "Chancellor of Hell" and "Keeper Of The Wardrobe Of The Demon King," ADRAMELECH are a Finnish band of death metallers in the tradition of MORBID ANGEL and other Floridian favorites.   These guys kick it old-school, with great riffs and raw growled vocals that aren't digitally manipulated­hell, you can even understand the words sometimes. (With the band having been around since 1991, I suppose they were a part of that old school, actually, and just overlooked by most people, myself included, for all these years.)  Despite 14 years of activity, this record is only the band's third release, so I guess they're on the BOSTON/DEF LEPPARD plan of sporadic recording.  Terror Of Thousand Faces takes me back to when I was first getting into death metal, way back in the day, listening to Blessed Are The Sick and MALEVOLENT CREATION's The Ten Commandments.  Ah, those were the days… No rent checks, no car insurance, no beer belly… Nothing but kick-ass metal to spend my time and money on… 
 
Highlights on the record are "Halls Of Human Tragedy," with its alternating thrash-styled riffs and tremolo-picked speed parts, and "Suicide, Terrorize," where drummer Jarko Rantanen breaks out the double-kick assault of classic death metal.  "Slain In The Grace Of Thy Name" slows everything down with an OBITUARY-slow doom riff. There really isn't a bad track on this record, kiddos.  Very cool. - JW

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Animosity - Embrace (Black Market Activities, 2005)

Rating: 8/10

For a band not even in their 20s, Bay area's definitive new age extreme Death Metal band ANIMOSITY have crafted an album that gives other bands in the underground Metal scene a run for their money. Even though this is ANIMOSITY's second record, this band sounds like they've been in the metal scene for more than the 5 years that they actually have. Considering that the members of ANIMOSTY grew up in the hardcore scene, it's amazing to consider the transition from that scene to simply the extremist of technical Death Metal. Though the vocals leave much to be desired at times, the instrumental work is amazing.

The album opens up with "Thieves", a track that starts off with a good 20-second sampling that could depict Hell accurately. Immediately, double bass drumming, sick death metal riffing (switching from mid-tempo to fast and grinding) and vocals that would make ASESINO shake in his boots kick straight in.  "Thieves" is a good way to open up Empires, and the intensity can only move forward with "Commoditism", which clocks in at two minutes and nine seconds and is the shortest track on the album. Despite the lack of longevity, "Commoditism" is an enjoyable track nonetheless. "Holy Shackles" is probably the biggest highlight on the album, with technical guitar work that would make DYING FETUS and the late Chuck Schuldiner (DEATH, CONTROL DENIED) very proud.  In fact, "Holy Shackles" is definitely the best song that DYING FETUS neve r penned. "Holy Shackles" additionally has a very brief guitar solo, which should have been longer. Nonetheless, the extremity and technicality of the music in "Holy Shackles" is enough to compensate for the lack of a guitar solo.  The only thing special about the album's title track is how the track highlights the unbelievable drumming ability of Navene Koperweis, as well as a host to strong riffing by guitar duo Frank Costa and Chase Fraser.

"The Black Page" is as big of a highlight on Empires as "Holy Shackles", as the initial riffing on the track has a SLAYER (God Hates Us All-era) feel to it. "The Black Page" may be the most aggressive track on the entire album, and again, "The Black Page" showcases the ability of Navene Koperweis. "Life Advocate" opens up with a good strong riff, and rips in to a musical tempo that Grindcore legends NAPALM DEATH would want to steal a page or two from. "Manhunt" is an enjoyable and insanely heavy track, but the SOILENT GREEN-like backing vocals ruin it. Listening to "Plutocracy", however, is like someone's face getting smashed with a sledgehammer, then getting pissed on. This dosage of extremity concludes with "Shut It Down", which is led by technical and fast guitar picking, and elevated to a crushing state with drumming that would make the Atomic Clock (Gene Hoglan, STRAPPING YOUNG LAD) himself proud.
 
Empires is an impressive extreme metal offering. Despite the over dosage of the SOILENT GREEN-like backing vocals and the lack of Guitar solos, ANIMOSITY have put out a nearly flawless death metal offering. Fans of DYING FETUS, CARCASS, THE RAVENOUS, THE BLACK DAHLIA MURDER and even LAMB OF GOD should absolutely devour Empires.  If Empires is as extreme as it gets, then other extreme acts better push their limits, because ANIMOSITY has set the standard for extreme music.  ANIMOSITY is a youthful five-piece comprised of Leo Miller (Vocals), Dan Kenny (Bass), Navene Koperweis (Drums) a nd the solid guitar duo of Frank Costa and Chase Fraser. - Dave Larmore

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Balzac – Out of the Grave and Into the Dark (Misfits Records, 2005)

Rating: 9/10

Well folks, here it is: the debut available release in the United States of the Japanese version of THE MISFITS, and it isn't exactly pretty. It's very sad to consider that it takes a Japanese band to release an album that the Fiend Club has wanted from THE MISFITS for several years, but BALZAC are ready to lead the Horror-punk scene with the 22 tracks on Out of the Grave and Into the Dark. While there is no substitute for THE MISFITS, BALZAC is certainly a comedic alternative.

The album opens up with "The Grave-Dreizehn", which matches the album title perfectly. Preceding it in a very aggressive and upfront manner is "Zetsubuo-no-ano-basho-e", which will rip any American's head off with the guitar riffing and lightning fast drumming. Already, the listener will conclude very quickly that he/she will not be able to decipher a fucking thing that vocalist Hirosuke is screaming about, but it sounds awesome either way. "Season of the Dead" is another ripping track… and again, Hirosuke is completely indecipherable, but it's very funny nonetheless! "Inside My Eyes" is very different from "Zetsubuo-no-ano-basho-e" and "Season of the Dead", as the track is rather pop-oriented, yet retains a comedic value nonetheless. "Shi-wo-yubi-sasu" is another heavy hitting track, and Hirosuke easily gives STRAPPING YOUNG LAD's Devin Townsend a good run for his mon ey concerning blunt-force traumatic metal screaming. "The Pain is All Around" starts off with a catchy riff, and again reverts back to a seemingly upbeat pop-oriented atmosphere, similar to "Inside My Eyes". "The Pain is All Around" features a chorus that is definitely inspired by late 90s-era MISFITS, with the "ooo-ooo-ooo" backing vocals.

"Came out of the Grave" sounds fairly similar to the MISFITS' "Hate Breeders", which isn't necessarily a bad thing. "Beyond Evil 308" sounds like a WHITE ZOMBIE b-side that Rob Zombie simply shit out himself in less than 3 minutes, as the track is nothing more than a brief Industrial-horror piece. "Art of Dying" is a very short track that vastly resembles the MISFITS' "We Bite"; it is a no-brainer that BALZAC completely owes their musical style to the MISFITS. "The World Without End/The Pain is Not Around (Reprise)" is an upbeat track with more of a 50s Rock N' Roll vibe to it, but the listener still will not be able to understand what Hirosuke is yelling about. "I'm Losing You" starts off with space-like sampling, but then launches into a noisy hardcore track that would mold together with the sampling that STRAPPING YOUNG LAD use on their records. BALZAC have included a 2004 rendition of "Beware of Darkness", wh ich opens up with a woman begging for her life, until her throat is slit.  Immediately after her throat is slit, the "woahh!" screaming, fast drumming and punk guitar work launches full-throttle. "Beware of Darkness" is definitely a highlight on the album, along with "Zetsubuo-no-ano-basho-e", "Season of the Dead" and "The World Without End/The Pain is Not Around (Reprise)". "I Know" is straightforward hardcore directly from the start, and lets up only in the chorus with a pop influence; the only thing that butchers the pop-influence is Hirosuke yelling about whatever it is he feels like. "I Know" can be skipped and nothing will really be missed.

"Gimme Some Truth" is an alright track, and "Beyond Evil 308" returns twice in two brief Industrial-horror pieces, only "Beyond Evil 308 Pt. 2" has music incorporated into it. "D.a.r.k." starts off with tension and release, and then leads way to slow nasty riffing. "D.a.r.k." features Hirosuke singing with effects in his voice all the way through, and the song varies between tension and release, slow nasty riffing and even a bass solo throughout. "Blood Inside ‘68" is perhaps the only decipherable piece on Out of the Grave and Into the Dark, and remains a mid-tempo punk track. "Gyakusatsu-no-mukougawa" actually sounds like a BLACK FLAG throwaway track, while "XXXxxx" is a brief but fast and upbeat track. The music on "I Can't Stand It Anymore" is pretty appropriate to the track's title, and "Gami-no-hikari-e" concludes the album in a surprisingly slow manner.

Overall, this is a great album from BALZAC. The listener can't help but laugh at times, but there are certainly some headbanger tracks (i.e. "Beware of Darkness", "Season of the Dead") on Out of the Grave and Into the Dark. The album will obviously appeal to fiends of the MISFITS, as well as fans of old school punk, along the lines of BLACK FLAG and DEAD KENNEDYS. The album cover stands out amongst others in the record store, as it features a person wearing a paper bag to conceal his/her face and head, and the person is holding a knife.  Additionally, each member of BALZAC is seemingly paying homage to death metal legends BRUJERIA in their individual face shots, as each member conceals their mouths and noses with black bandanas; the only difference is a Japanese symbol plastered on the bandana. Out of the Grave and Into the Dark additionally comes with a bonus DVD consi sting of three music videos, a short horror movie entitled "Marchen aus dem Horrowald", a five-song live set from Tokyo, and five audio selections not available on the album. Furthermore, the booklet itself is a picture galore, and the inside tray is a mock-up of THE BEATLES' Sgt. Pepper's Marching Band… only BALZAC-style. BALZAC consists of Hirosuke (Vocals), Atsushi (Guitar), Akio (Bass) and Takayuki (Drums). Thank you, Jerry Only! - Dave Larmore

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Behold… The Arctopus – Nano-Nucleonic Cyborg Summoning (Vothoc, 2005)

Rating: 9/10

The best label to place on BEHOLD… THE ARCTOPUS' music would be the same label that one would place on DYSRHYTHMIA: Progressive Instrumental Jazz-Metal.  As bizarre as the label sounds, it's absolutely true! BEHOLD… THE ARCTOPUS are basically a much faster and more hyperactive version of DYSRHYTHMIA, so BEHOLD… THE ARCTOPUS will undoubtedly appeal to fans of DYSRHYTHMIA.

The sophomore EP from BEHOLD… THE ARCTOPUS clocks in at 17 minutes and 35 seconds, and three tracks prove to not be enough, because the listener will want to hear more from BEHOLD… THE ARCTOPUS once the album concludes. The musicianship and progression is unbelievable, yet at the same time indescribable, because the music simply needs to be heard in order to induce an accurate portrayal. The album opens up with the very hyperactive "Exospacial Psionic Aura", followed by the slow Doom-ish-then jammy "Estrogen/Pathogen Exchange Program", and concluded by the upbeat and fast "Sensory Amusia".

In the end, the listener should feel fulfilled yet disappointed, because the listener will definitely want to hear more BEHOLD… THE ARCTOPUS.  The only flaw with their sophomore EP is the same exact flaw as their debut EP, in that it is simply too short. Furthermore, BEHOLD… THE ARCTOPUS should have combined the material for both EPs, slapped on a few additional songs and unleashed a full-length debut album.

BEHOLD… THE ARCTOPUS is a Progressive Instrumental Jazz-Metal trio consisting of Mike Lerner (Guitar), Charlie Zeleny (Drums) and DYSRHYTHMIA bassist Colin Marston (Warr Guitar). - Dave Larmore

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Bolt Thrower - Those Once Loyal (Metal Blade, 2005)

Rating: 9/10

A funny thing happened to me with regards to BOLT THROWER. I have always been somewhat of a fan, and appreciated and owned most of their discography, but found that Realm of Chaos was the only album I returned to on a regular basis. This went on for years. Yes, I have Warmaster. Yes, I have The IVth Crusade. Yes, I have In Battle There Is No Law, but it was just Realm of Chaos. Realm of Chaos and, occasionally, Realm of Chaos again.

Then it happened. I got Honour, Valour, Pride and suddenly... BOLT THROWER clicked. I started cranking Mercenary in my car. Falling asleep to In Battle... on the discman (I always sleep to death or black metal, for the record). I love Honour, Valour, Pride in spite of and because it is Dave Ingram at the helm. Yes, Realm of Chaos is still in the regular rotation, but to loosely quote Office Space, "I celebrate the guy's entire catalog."

So, when I sat down in my car, the latest stack of packages from record labels in my lap, keeping with tradition I selected one, in this case a package from Metal Blade, and cracked it open to find a new CD to listen to while I ran my chores about town (bank, gas station, sandwich, etc.) and I literally clapped my hands and bounced in my seat with heterosexual glee when I saw Those Once Loyal inside. I slammed that fucker into the CD player, cranking the volume as it loaded. A simple droning passage grew, to be taken over by feedback, and then BOOM... like the report of a tank blast, the first seconds of "At First Light" came exploding out of the speakers. The glory! The might! The unstoppable tank that is BOLT THROWER is in prime form, sounding as good, if not better, than they ever have. With full, bass-heavy production, there is no stopping this war machine. Karl Willets is a welcome return to the fold (though I am very fond of Ingram's work). The song writing is some of the best of the band's long history, with catchy riffs and choruses, and what we know of BOLT THROWER remains true: there are no surprises here, but like a great burger joint you've been going to for decades, you may know what to expect going in, but that doesn't make it any less enjoyable. BOLT THROWER fans that thought they slipped on any albums released since the early days will have nothing to complain about with Those Once Loyal, and the folks that never got BOLT THROWER still won't, but for we, the fans, this is an album that delivers just what you want it to. - Al Kikuras

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Brick Bath – American Currency (Crash Music, 2005) 

Rating: 8.5/10

San Diego thrash revivalists BRICK BATH evoke the spirit of the glory days of 80s thrash, crossed with the stylistic linchpins of modern metalcore.  Vocalist Cody Hubbard shreds his larynx like vintage Anselmo and then turns around and croons like classic Burton C. Bell, and guitarist Eric Meyer lives up to his days in the criminally underrated DARK ANGEL by cranking out a never-ending supply of mosh-worthy riffs. (DARK ANGEL fans expecting that level of technicality will be disappointed­this is metalcore, after all.) This whole record stomps from start to finish, and you can imagine a mosh pit going nuts to every song as they go by.
 
American Currency is comparable to any of the new A-list thrashers like LAMB OF GOD or THE HAUNTED. Songs like "Bleed With Me" and "Victim Again" have that hint of actual groove that so many kids these days just don't seem to get. BRICK BATH has come a long way from their first record, which by all accounts was out-and-out PANTERA worship.  This record still has that noticeable EXHORDER / PANTERA influence, but most of Meyer's riffs are different than any of the unique atonal masterworks that the late great Dimebag was known for, and that difference to me is the separating factor.  These guys are definitely ones to watch. - JW

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Crypticus - Dedicated to the Impure (Razorback, 2005)

Rating: 8/10

A Razorback Records release with... keyboards?? Yes, it has happened, but before you go thinking CRYPTICUS is a pompous black metal band, think again! What this one-man project does is still VERY Razorback, but different enough to stand on its own as a worthy addition to their powerhouse roster.

Dedicated to the Impure takes the tried and true formula of thrashy death metal, slams it face-first into grindcore and hints of MORTICIAN-like gurgle and barbarism, boils it in doom, then slathers moody keyboard passages throughout. The big fat brain behind CRYPTICUS, Patrick E. Bruss, is a major talent that can not only pull off playing all of this, but has a great ear for what works and what does not, writing songs that are varied in feel and show a myriad of influences, sounding more like the work of a composite of minds. If you are a fan of the Razorback Hive, you'll be pleased with CRYPTICUS, and any fan of just general death metal will find much to appreciate here. - Al Kikuras

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Dark Funeral - Attera Totus Sanctus (Candlelight, 2005)

Rating: 9/10

DARK FUNERAL is, to my recollection, one of the first black metal bands I heard where I said, "Is that it?" When I first stumbled on A Blaze in the Northern Sky in the used bin at a local metal shop what has to be almost 13 years ago now and began my foray into the first grand movement of what we now know as black metal, each subsequent release I sought out sent my head spinning, and for the next few years, the times were exciting. New albums, like the debut from HADES (ALMIGHTY) and the long-lauded but seldom seen De Mysteriis Dom Sathanas branched off into new areas. When I first heard the buzz about DARK FUNERAL and picked up The Secrets of the Black Arts, having heard them heralded as new champions of the genre just when it started to get stagnant, I was disappointed. While they had the means to deliver the goods, I had heard it before and nothing really made them stand apart from the masses of bands flooding the scene. I lazily followed their career, picking up an EP there, an album there and spinning them a few times, but never having one grab me enough that I could tell you where it is in my maze of CD towers without spending 10 minutes searching for it (some system I have).

That's changed, people.

Plainly put, Attera Totus Sanctus is completely kicking my ass, and the first thing that grabbed me was the impassioned vocal performance of Emperor Magus Caligula. The man sounds absolutely rabid... manic... disturbed. Musically, DARK FUNERAL are tight, fast, and heavy. This is not low-fi black metal by any stretch of the imagination. Attera Totus Sanctus is well-written and balanced, not relying on repetition as many black metal albums tend to do, but it still clings to that carcinogenic atmosphere that made black metal so great to begin with. In a time when there are faceless black metal bands releasing dull album after dull album, DARK FUNERAL have stepped up to the plate and knocked one clear the fuck out of the park with Attera Totus Sanctus. This is one that I can guarantee I will be able to find within seconds... in my CD player on regular rotation. - Al Kikuras

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Darkest Hate Warfront - Satanik Annihilation Kommando (Ketzer, 2005)

Rating: 9/10

Nasty, nasty stuff here. DARKEST HATE WARFRONT remind me very much of pugilists like CONQUEROR, BLASPHEMY, ANGEL CORPSE, BLACK WITCHERY and the like, but where a band like CONQUEROR is chaotic and borderline sloppy (though gloriously so), DARKEST HATE WARFRONT is a skin-tight war machine. Fast, heavy, clean, vicious, and varied enough that it never feels overlong. DHW slow down just often enough and for just long enough to allow the listener to catch his or her breath before returning to the blast. Black metal and war metal fans would do well to pick this one up as it most certainly will not disappoint, and at 28 minutes is just long enough to make me think of it as the war metal Reign in Blood. - Al Kikuras

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Defleshed – Reclaim The Beat (Candlelight, 2005)
 
Rating: 8.5/10
 
Another classic-styled European metal band long ignored by most of America, Sweden's DEFLESHED was formed fifteen years ago and still plays like it, with all the chaotic precision and aggression of early KREATOR. Vocalist/bassist Gustaf Jorde has the Petrozza sneer down pat, and guitarist Lars Lofven and drummer Mathias Modin careen along, the band always sounding on the brink of explosion but yet always holding tightly together.  To keep things current and fresh, DEFLESHED also adds elements of the NWOSHM scene, mostly courtesy of their songwriting chops, but with a little help from Modin's hyperactive blastbeating and Jorde's occasional foray into a more traditional black-metal screech.  Songs like "Bulldozed (Back To Basics)" and the title cut remind me of classic SODOM updated for the new millennium.  Fans of subtlety and variety may not appreciate this record, but damn, it's a good ride from start to finish, never once stopping or even slowing down the pace.  Also, for extra special bonus points, there's a blitzkrieg cover of MOTLEY CRUE's "Red Hot."  Reclaim The Beat is highly recommended for all fans of classic Euro-thrash. ‘Nuff said… - JW

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Demons & Wizards – Touched By The Crimson King (SPV, 2005)

Rating: 7.5/10

It appears as though it will another year or two until Jon Schaffer delivers another ICED EARTH album.  However, there is always the ICED EARTH meets dungeons and dragons project, DEMONS & WIZARDS, a cohesive unit with vocalist Hansi Kursch (BLIND GUARDIAN). With Touched By The Crimson King, DEMON & WIZARDS' sophomore effort, Jon Schaffer is single-handedly keeping Power Metal alive with a thrash injection.

The album immediately opens up with a fast-tempo track in "Crimson King", which starts off with Schaffer's signature chugga-chugga Guitar riffing and classical-like anthems. "Crimson King" then proceeds with even more Schaffer-style riffing, the typical power metal chorus, eventually devolves into an acoustic breakdown and a reversion to Schaffer's riffing. "Beneath These Waves" is a mid-tempo song, and comes off as a filler track. "Terror Train", however, is without question the biggest highlight on Touched By The Crimson King. "Terror Train" remains at a fast tempo, Hansi Kursch unleashes a power metal vocal performance of a lifetime, and Jon Schaffer riffs like a complete mad. "Terror Train" could have easily been an ICED EARTH song, so IE fans will love "Terror Train". "Terror Train" is brilliantly followed up with "Seize The Day", which is a slow acoustic-based song. Again, "Seize The Day" could have easily been an ICED EARTH track, and the only thing that identifies "Seize The Day" as a DEMONS & WIZARDS track is the vocal performance of Hansi Kursch. Most notable regarding "Seize The Day" is the lead guitar work of power metal riff master Jon Schaffer.  "Seize The Day" is followed by "The Gunslinger", which fools the listener into thinking that it's another ballad, yet turns completely into a Jon Schaffer riff fest and sees Kursch switching between the high power metal vocal chords and an almost KING DIAMOND-like growl-style.

The last half of the album starts with "Love's Tragedy Asunder", which is a definitive DEMONS & power ballad. The track switches back and forth between slow and acoustic, then mid-tempo electric riffing and power metal screaming. "Wicked Witch" is merely a collaboration of Hansi Kursch's vocal work and Jon Schaffer's acoustic guitar work. Finally, pure fast-tempo riffing returns with "Dorian", which eventually sees a slow breakdown. Nonetheless, "Dorian" is another big highlight on Touched By The Crimson King. "Down Where I Am" is another acoustic ballad, as though Touched By The Crimson King doesn't already have enough ballads. "Down Where I A m" isn't a bad track, but the ballads outweighing the heavy songs gets very old very quickly.  Touched By The Crimson King is concluded by a LED ZEPPELIN cover of "Immigrant Song", which is well done.

In the end, DEMONS & WIZARDS provides some true metal gems on Touched By The Crimson King.  However, the endless number of ballads hurt this album and may bore the listener quickly. The tracks "Crimson King", "Terror Train" and "The Gunslinger" are highly recommended for listening. Along with the mastery Power Metal vocal work of Hansi Kursh (BLIND GUARDIAN) and the Guitar work of Jon Schaffer (ICED EARTH), bassist Rubin Drake and drummer Bobby Jarzombek (ICED EARTH, HALFORD) completes the sophomore effort from DEMONS & WIZARDS. - Dave Larmore

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Disgorge – Parallels Of Infinite Torture (Crash Music, 2005)

Rating: 7.5/10

For clarity's sake, I'll say up front that this is the US-based DISGORGE, and not the Mexico-based goregrind unit of the same name. This DISGORGE churns out some putrid death metal along the lines of BRODEQUIN or GUTROT­hyperspeed blastbeats, endless blurred riffing, and demented gurgled vocals.  Each song is virtually indistinguishable, a nearly never-ending barrage of brutal squeals and grunts and drums, and overall the record is exhausting because of it.  (To be fair, I'm quite willing to bet that's the desired effect.)  Parallels Of Infinite Torture isn't a relaxing record, not one to throw on with a cold one in hand, and kick back with the old lady for a night of fun.  No, this is a record for coming home after a bad day, drinking whiskey, and wanting something to punch (preferably not your old lady, if you know what's good for you). For my tastes, the record could use a little more variety, which is why the score isn't higher, but it's a job well done, and if you're a fan of impenetrable and pummeling death metal, then definitely give this a spin. - JW

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Entwine – DiEversity (Magick Records, 2005) 

Rating: 8.5/10
 
I'll admit that, at first, I looked at this disc and saw that the record label was called Magick Records, and then I saw that the band consists of six scrawny Scandinavians (including the requisite goth chick), and I immediately assumed it was going to be goofy Tolkein-inspired fantasy crap metal.  (Kind of like the UNSHINE album I reviewed last time which still lingers in the places in my psyche where nightmares reside.)  So I was a little surprised when ENTWINE turned out to be more along the lines of a better H.I.M. or latter-day AMORPHIS­gothic metal with a strong melodic sensibilities, good songs with tendencies towards the industrial and progressive, and very little of the typical hallmarks of extremity.  Vocalist Mika Taurianien can actually sing and sing well, and songs like "Someone To Blame" and "Still Remains" have catchy choruses that you'll be guiltily singing to yourself all day long. Even the ballad, "Frozen By The Sun," kept me interested, with the lifting chorus and string touches.  Overall, DiEversity is a solid record­the production is top-notch (done here by Anssi Kippo and the band); the guitars are thick and tight; the synthesizers and industrial touches flesh out the sound perfectly. Admittedly, the Finnish scene seems to be teeming with goth-metal bands, but with H.I.M. finally getting some interest here in the US, the time may be right for a band like ENTWINE, so here's hoping these boys (and girl) from Finland find some success as well. Normally, I hate this shit, but I found myself digging this one… – JW

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