Music Reviews

Firewind – Forged By Fire (Magick Records, 2005)

Rating: 10/10

If there was a need for a Power Metal masterpiece in 2005, FIREWIND crafted it. The Greek metallers' third effort, Forged By Fire, is a Power Metal masterpiece for both 2005 and a masterpiece period. Guitar virtuoso Gus G. (ex-DREAM EVIL) is keeping the art of innovative and exciting guitar shredding alive with Forged By Fire, and the album is one of the few that are flawless. With passionate singing, exceptional keyboard work, a good rhythm section, and guitar shredding that doesn't let up for a minute, FIREWIND are a force to be reckoned with in Power Metal… and Heavy Metal, period.

The album opens up with "Kill To Live", and those new to FIREWIND can already compare the vocal styling of Chity Somapala to what Rob Halford (JUDAS PRIEST, FIGHT) would sound like if he were heterosexual, and view Gus G. as the closest thing to Randy Rhoads (QUIET RIOT) as there ever will be again. Right as "Kill To Live" opens up, Gus G. bends the notes like a mad man, and charges right into the chugga-chugga metal riffing that is perfectly carried by Chity's breathe-of-fresh-air vocal performance. Next is "Beware The Beast", which is yet another great straightforward power metal track, led by a good walking riff and carried with a theatrical chorus (Chity yelling "Beware the Beast!"), and a spectacular guitar solo by Gus G. "Tyranny" opens up with a guitar doodle, which is perfectly backed with the strong rhythm combo of the bass and drums. "Tyranny" in particular has an almost Pop-like feel to it in the chorus exceptionally, and the track will definitely appeal to fans of 80s Metal. "Forgotten Memory", on the other hand, opens up very fast and sets the standard for chugga-chugga style of riffing.  In fact, the guitar riffing on "Forgotten Memory" is so good that the listener would think that it's a Jeff Loomis (NEVERMORE) riff. Additionally, Chity almost sounds like Warrel Dane with much more Bass in his voice at times, and "Forgotten Memory" has a DREAM THEATER-like chorus to it.  Additionally, there's a great dual guitar solo with Death Metal legend James Murphy (DISINCARNATE), who is nearly upstaged by Gus G.'s passionate guitar solo that would make Zakk Wylde (BLACK LABEL SOCIETY) himself blink twice. The mood on Forged By Fire mellows a little with "Hate World Hero", which is one of the ballads in music that isn't boring. The open chord structure is very similar to BLACKFOOT, followed by a brilliant acoustic arrangement. Eventually, this song devolves into a mixture between DREAM THEATER and STEEL DRAGON.  Once again, Gus G. proves that he's one of the best guitar players in heavy metal today when he whips out a solo in the middle of it all like it's nothing! Towards the end of the song, G. returns with a good solo doodle and the song fades with Gus G. doing a guitar solo.

The last half of the album starts off with an exceptional combo of guitar riffing and drumming in "Escape From Tomorrow", and the pattern of the song variates from chugga-chugga riffing to a DREAM THEATER-like mode. The chorus is great vocally and riffing-wise, and Gus G. provides the listener with yet another great guitar solo. As if the listener didn't have enough guitar solos thus far, "Feast of the Savages" is one big Guitar solo masturbation clinic along with Marty Friedman (ex-CACOPHONY).  Other than the lead guitar masturbation, the backing music is operatic yet heavy, contains mid-tempo riffing in the middle of the song, and the drum work is exceptional. Additionally, anyone who says that the lead guitar solo went away from music for a while hasn't been listening to the rig ht music! Next is a hook-in-the-jaw guitar riff in "Burn In Hell" that would make Adrian Smith (IRON MAIDEN) and Jeff Loomis (NEVERMORE) smile. Additionally, "Burn In Hell" is definitely Chity's highlight vocal performance-wise, and the drum work by Stian Kristoffersen is very noteworthy. As if he wasn't doing a good enough job thus far, Gus G. pushes his guitar playing ability another mile further with a solo that will grab the listener by the testicles. "Perished In Flames", however, is drastically different from the other songs heard thus far. The track starts with a drumbeat, and then leads way into a Bass riff (!), followed by the beginning of the actual song… that is surprisingly slow in tempo! Bass player Petros Christo definitely has the opportunity to shine on "Perished In Flames", and Gus G. limits his self-indulgence on this one. Towards the end of the song, the drumming gets fast and aggressive, and Chity works in a good fading scream effect at the very end of the song. The album closes with "Land of Eternity", another ballad that starts off with chords very METALLICA ("One")-like, and then drifts into passionate acoustic playing. In some parts of the song, there are backing vocals that are Orchestra-like, and the song contains a powerful chorus.  "Land of Eternity" definitely has a 80s Metal feel to it, and contains a mind-blowing guitar solo.

This is, without a doubt, a flawless album. There is absolutely nothing on the album that shouldn't have been there, because all of it is incredible. Additionally, Gus G. solidifies himself as a shredding force not to be treaded upon by others, because he was easily hanging with James Murphy (DISINCARNATE) and Marty Friedman (ex-CACOPHONY)! Forged By Fire is a pure masterpiece, is definitely one of the top 10 metal albums of 2005, and only good things can come down FIREWIND's path now. FIREWIND is the brainchild of Guitar virtuoso Gus G., and features Chity Somapala (Vocals), Bob Katsionis (Keyboards), Petros Christo (Bass) and Stian Kristoffersen. - Dave Larmore

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Minsk – Out Of A Center Which Is Neither Dead Nor Alive (At A Loss, 2005)

Rating: 9/10
 
Lately I've really been getting into what I call the "art-doom" scene­ISIS, NEUROSIS, PELICAN, OVERMARS, etc.  Illinois' MINSK fit neatly into that niche, with a mixture of ISIS' crushing atmospherics, some hints of the symphonic, and the primitive, tribal overtones of groups like DEAD CAN DANCE or DEEP FOREST.  Six songs in over sixty minutes…  No song shorter than 8 minutes…  And yet it's not boring in the least bit… Tim Mead's agonized vocalizing sits back in the mix, functioning less as a centerpiece than another instrument.  VENOMOUS CONCEPT / LAIR OF THE MINOTAUR studio ace Sanford Parker's production is perfect, giving every sound either space to breathe or the power to squash the listener entirely or both at once.  (Parker was apparently so impressed with MINSK that, during the recording process, he joined the band as a full-fledged member.)  Parker and Mead also provide effects and synth flourishes that add a spacey atmosphere to the proceedings.
 
This is doom metal at its finest, if you ask me­no endless copycatting of BLACK SABBATH (although I love SABBATH as much as the next guy); no gothic moping about; nothing but the sounds of agony and spite rolling over one another on their twin paths of complete destruction.  Out Of A Center Which Is Neither Dead Nor Alive simply crushes­there's nothing else to say. - JW

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Paths of Possession - Promises in Blood (Metal Blade, 2005)

Rating: 8.5/10

I was curious about this one from the first. George "Corpsegrinder" Fisher of CANNIBAL CORPSE and MONSTROSITY fame singing over what is reportedly "a solid mix of traditional heavy metal with influences of melodic Swedish death metal." Not a bad call on categorizing this beast. Fisher still sounds like Fisher, but there are moments on Promises in Blood that sound like nothing the man has roared over before. There are, unsurprisingly, elements of CANNIBAL CORPSE and MONSTROSITY to be heard throughout, but on tracks like the opener, "Darklands," there are melodic passages that'd be about as likely to be found on a CANNIBAL album as tits on a bull. While it would seem more likely to have a more traditional metal screamer warbling over them, instead you get Fisher's distinctive screams and I'll be dog-goned if it don't work like a charm. PATHS OF POSSESSION is being tagged as a melodic death metal band, but where they differ greatly from the slew of other acts bearing that tag is in the balls department. Sure, there is melody, but this is also heavy as a wet diaper with a big 'ol doodie brick in it (and I mean that in the good way). PATHS OF POSSESSION have remembered what so many melodic death metal bands forget: melody alone doesn't cut it. If death metal ain't brutal, it ain't shit (and I mean that in the bad way, double negative aside). - Al Kikuras

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Pro-Pain – Prophets of Doom (Candlelight, 2005)

Rating: 8/10

PRO-PAIN are possibly the most underrated band on the planet, and their anger towards the unfortunate circumstance is perfectly represented by the follow-up of 2004's Fistful of Hate, Prophets of Doom. Prophets of Doom is a great slab of pissed off political-driven hardcore/metal, and another sign of growth for PRO-PAIN.  Founder/vocalist/bassist Gary Meskil sounds as great and vocally punishing as ever, and are ready for the underground community to take notice once again.

The political war-opposing agenda opens up with "Neocon", a hard-hitting track that is a swing back to the Foul Taste Of Freedom days. "UnAmerican", possibly the highlight and a potential single from the album, begins with slow riffing and then turns into a complete hardcore slamfest. In fact, just listening to this track will gets a listener pissed off and ready to slam someone's head into concrete, as Meskil's vocal performance and the hardcore instrumentation is top-of-the-line! A bonus incentive to "UnAmerican" is a brief guitar solo.  "Hate Marches On" begins with acoustic guitar work, and then goes into a pure metal riff similar to BLACK SABBATH's "Children Of The Grave". Meskil's raw aggression that was possessed in the Foul Taste Of Freedom Days is up at the forefront of th e track, and he even samples the death metal style in the chorus! Additionally, "Hate Marches On" has good lead guitar work, and is the best representation of PRO-PAIN's musical evolution. "One World Ain't Enough" may deceive the listener first, with it's seemingly industrial-like drum beat, but shoots straight into a mid-tempo hardcore standard. Additionally, a notable aspect regarding "One World Ain't Enough" is Meskil's bass sound. "Getting Over" represents the march of the Prophets themselves, as the rhythm section and guitar riffing is very solid and heavy.

The track "Operation Blood for Oil" obviously puts its subject matter to the forefront, and is not only a mid-tempo track for PRO-PAIN, but the most politically driven track. "Torn" opens up with a doom-ish riff that New Orlean's own CROWBAR would be very proud of. In fact, "Torn" could have easily been a CROWBAR track! "Death Toll Rises", similar to "Operation Blood for Oil", places its subject matter to the forefront, and is another partially mid-tempo track for PRO-PAIN.  You can definitely decipher just how much Meskil opposes the war based on his vocal performance, and "Death Toll Rises" is another example of PRO-PAIN's musical progression. "The Prisoner", yet again, is a track that could have easily been a CROWBAR track, just much faster following the opening riff. The album closes the exact same way as it opened up with the fast and mid shifting tempo track "Days of Shame". 

Prophets of Doom may very well be PRO-PAIN's best album. Prophets of Doom is a musical growth for PRO-PAIN, yet retains the raw aggression evident on classic albums like Foul Taste Of Freedom and The Truth Hurts. PRO-PAIN will definitely appeal to fans of ENTOMBED and CROWBAR, as PRO-PAIN can be perceived merely as what would happen if CROWBAR issued a pure hardcore album... and in turn took a political subject route. Prophets of Doom is nothing less than solid, heavy, and highly recommended, especially for fans that loved the style of 2004's Fistful of Hate. Prophets of Doom is comprised of Gary Meskil (Vocals/Bass), JC Dwyer (Drums) and the Guitar duo of Tom Klimchuck and Eric Klinger. - Dave Larmore

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Prostitute Disfigurement – Embalmed Madness (Unmatched Brutality, 2005)

Rating: 8.5/10

Not unlike Smuckers, with a name like PROSTITUTE DISFIGUREMENT, it's got to be good.  And, for the most part, it is.  These Dutch sickos specialize in voracious, unrelenting gory death metal, with mechanical drumming, disgusting gurgled vocals, and machine-precise riffing. Embalmed Madness is a reissue of the band's 2001 debut, with the added bonus of their demo (recorded under the name DISFIGURE).  (Since this recording, a live drummer has been added, so subsequent recordings aren't quite as mechanical.)  Vocalist Niels favors the low froggy style typical of gore metal, a la MORTICIAN, whose influence pervades this recording, popping up again in the electronic drums and the endless array of splatter-film samples. Periodically, Niels breaks out with a Jeff Walker-esque bark for a line or two here or there, and I found myself wishing the band had explored that vocal style more, as the gurgling gets repetitive after awhile. But alas, those moments of direct CARCASS influence are fleeting…  (I read an interview with the band once wherein guitarist Roel stated that there were no effects used on the vocals, and if that's the case, then I'm duly impressed because it certainly sounds filtered and pitchshifted.)  I'm not as familiar with PD as I should be, but my understanding is that they've come a long way since this recording, and in a way, I should hope so, because as entertaining as this is, I can't imagine making a career of it or needing more than one album's worth. Embalmed Madness is a fine start for an underground gore band, and a great place for PROSTITUTE DISFIGUREMENT fans to pick up where it all began. - JW

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Roadrunner United – The All-Star Sessions (Roadrunner, 2005)

Rating: 8/10

The famous ROADRUNNER UNITED project was hyped as "the biggest event in metal this year" by label Roadrunner Records, and while the nay-sayers can say what they will about certain participant's bands involved in the collaboration, Roadrunner were right; this 18-track collection is a collection of some of the biggest and most influential names in the genre of Heavy Metal, and this has never been done by a heavy metal label before. While there are some tracks I could do without, this is a solid release paying homage to the 25 years that Roadrunner Records has been around, and this gives the artists of today a chance to serve up a taste of old school metal with yesterday's kings.  The project consisted of four producers and central: Joey Jordison (SLIPKNOT, MURDERDOLLS), Dino Cazares (ASESINO), Robert Flynn (MACHINE HEAD) and Matthew K. Heafy (TRIVIUM).  Producers were assigned to ensemble their own team of musicians that have played on a Roadrunner Records-released album, and all of them (in exception for Joey Jordison, who contributed five tracks) contributed four songs each.  The album was evened out to 18 tracks by a brief 2 minute-24 second collaboration of Mikael Akerfeldt (Vocals, OPETH) and Josh Silver (Keyboards/Backing Vocals, TYPE O NEGATIVE) entitled "Roads", which is simply an atmospheric track with simply vocals and keyboards.

Robert Flynn opened the album with the crushing and fast-paced "The Dagger", which was the first track leaked on Roadrunner's website.  "The Dagger" could have easily been a new MACHINE HEAD track on their forthcoming album, and features Howard Jones (KILLSWITCH ENGAGE) on lead vocals, Robert Flynn on backing vocals (which are better than the lead vocals) and an excellent guitar solo by virtuoso Jeff Waters (ANNIHILATOR). Next up was the collaboration with Max Cavalera (SOULFLY) on "Independent (Voice of the Voiceless)," which Flynn comments on the bonus DVD as a song he intended to be "the best song SEPULTURA never wrote." In actuality, this is the best song that SOULFLY never wrote, but definitely should have written for their recently released Dark Ages album. Once again, "Independent (Voice of the Voiceless)" features the magnificent lead guitar work of Jeff Waters (ANNIHILATOR). Nonetheless, "Independent (Voice of the Voiceless)" is as equally strong as "The Dagger". Next is "The Rich Man" is a very surreal and emotion-grabbing track that discusses the war in Iraq though a soldier's eyes, and could pass as a "Rooster" (ALICE IN CHAINS) part 2, minus any lead guitar work.  "The Rich Man" features the varied vocal work of Corey Taylor (SLIPKNOT, STONE SOUR), and Robert Flynn contributes some keyboards. Flynn then concludes his offering to the project with "Army of the Sun", featuring Tim Williams (BLOODSIMPLE) on vocals. Unfortunately, there isn't much substance to this track, and nothing sticks out about it.  "Army of the Sun" is certainly one of the tracks that I could have done without.  Nonetheless, out of four songs, Robert Flynn delivers three memorable and great songs to the project. 

Dino Cazares then contributed his artistry with four fairly diverse tracks, with all four resembling his past and present endeavors. First is "The Enemy", which opens up with acoustic guitar picking by Andreas Kisser (SEPULTURA), and then rips into a fast-tempo combination of sick guitar riffing and drum work, which ends up providing a solid track mixing death metal with CHIMAIRA. "The Enemy" could have easily been an ASESINO track, but the vocal duties were gracefully given to Mark Hunter (CHIMAIRA). Andreas Kisser once again returns in the middle of the song with a short "Wah-wah" Guitar solo. Next is the only single off The All-Star Sessions thus far, "The End", which is a melodic piece that could easily be found on radio nationwide. Honestly, "The End" is not as wicked of a track as it sounds, as the vocal work of Matthew K. Heafy (TRIVIUM) is perfect. The chorus is very catchy, Logan Mader (ex-MACHINE HEAD) provides guitar harmonics previous to the chorus, and the chorus features Dino utilizing chord progressions. Then there's the flat-out sick "Baptized In The Redemption", which as well could have easily been an ASESINO track. In fact, the vocal work of Dez Fafara (DEVILDRIVER) is quite similar to MALDITO X's (ASESINO), Andreas Kisser returns again to provide a "Wah-wah" guitar solo. Dino concludes his contribution to ROADRUNNER UNITED with "No Mas Control", which is only good for a listen or two, to be honest. The vocals are performed by Cristian Machado (ILL NINO), but the track isn't very noteworthy.  Similar to Flynn, Dino Cazares delivers three solid and enjoyable tracks that are worth multiple listens.

Then there is Matthew K. Heafy, who at 18 years old is questionably the future of heavy metal music. Heafy is a great songwriter who can write in any style, and his contributions to ROADRUNNER UNITED prove this.  His first contribution is "In The Fire", which is the absolute best song that KING DIAMOND never wrote, who contributes his high-pitched and creepy vocal work to the track. Most notably, this track shows off the dual lead and rhythm guitar work of Matthew K. Heafy and Cory Beaulieu (TRIVIUM), who both deliver absolutely stunning trade-off solos in the middle of the song that even KING DIAMOND was floored by!  Heafy and Beaulieu is possibly the best lead guitar trade-off combo since Dave Mustaine and Marty Friedman. Then there's the Black Metal opus "Dawn Of A Golden Age", and the track's sole flaw is the vocal work of Dani Filth (CRADLE OF FILTH), because Filth hurts an enjoyable track bad. Otherwise, along with Heafy's guitar work, Mike Smith's (SUFFOCATION) blast-beat drumming is out of this world. "Blood and Flames" is a mixture of melody and solid old school metal riffing.  In fact, "Blood and Flames" could have easily been a BRUCE DICKINSON track, as some of the riffing sounds like a direct influence by Adrian Smith (IRON MAIDEN) and acclaimed-producer/guitarist Roy Z (HALFORD). Jesse David Leach (SEEMLESS) mixes a BRUCE DICKINSON-style of vocal work with a growling style from his former band, KILLSWITCH ENGAGE.  Heafy signs off with "I Don't Want To Be A Superhero", which could have been a track on one of the MISFITS records from the late 90s. The track features the very underrated vocal work of ex-MISFITS singer Michale Graves (GOTHAM ROAD ), and is a great way for Heafy to conclude his contribution to The All-Stars Sessions.  Out of four tracks, almost all of them are solid, but Dani Filth's terrible vocal style prevents Heafy from having a flawless contribution.

Last is the drum legend of tomorrow, Joey Jordison, who proves that he as well is a diverse songwriter. "Annihilation By The Hands Of God" is Jordison's first contribution, featuring the vocal work of Glen Benton (DEICIDE, VITAL REMAINS), and is a mixture of DEICIDE and SLIPKNOT from the Iowa album. A notable appearance on the track is a solo by James Murphy (DISINCARNATE) and the fretless Bass work of Steve Digiorgio (SEBASTIAN BACH, SADUS). Next is simply an upbeat rock n' roll track featuring Keith Caputo (LIFE OF AGONY) on vocals and piano, and features a solo and harmony guitar work by James Root (SLIPKNOT, STONE SOUR). "No Way Out" is a bit of a progressive rock/stoner/grunge track, and at often times a bit goofy, featuring the vocal work of Daryl Palumbo (GLASSJAW). The next track is possibly the most solid and old school metal track on the entire album, "Consti tution Down", which is a fist-pumping pure heavy metal song.  Aside from the fretless Bass work of Steve Digiorgio (SEBASTIAN BACH, SADUS), the intro guitar solo from James Murphy (DISINCARNATE), and the track off guitar solos from Andy La Rocque (KING DIAMOND) and Rob Barrett (MALEVOLENT CREATION), this track is special in that the man whose vocal-style was ripped-off from one Phil Anselmo (SUPERJOINT RITUAL) a good 25 years ago appears on the track.  That's right, the vocalist in discussion is none other than Kyle Thomas (EXHORDER), who possesses one of the best throats in all of metal. Kyle reverts back and forth throughout this track from a JUDAS PRIEST vocal style to the classic EXHORDER style, which was later unfortunately branded as the 90's era PANTERA vocal style. Kyle Thomas proves that he can still deliver the goods, and a new EXHORDER album is very needed.  Joey has the pleasure of concluding the album period with "Enemy of the State", which is unfortunately the biggest stinker on the disc. The track doesn't go anywhere in particular, and features a poor vocal performance by Peter Steele (TYPE O NEGATIVE).

With all things considered, this is a landmark heavy metal album. Additionally, this is the perfect album for someone who wants to get into more of Roadrunner's catalogue, by experiencing what each of the musicians have to offer. The album features 55 musicians from 42 different bands, but I didn't name everyone that played on every track because Roadrunner isn't paying me a fucking dime for this write up!  The All-Stars Sessions includes a bonus hour-long documentary DVD on the recording and the process of the project with each team captain. The All-Stars Session is well worth purchasing, and is highly recommended. - Dave Larmore

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Saint Vitus - Live (Southern Lord, 2005)

Rating: 7.7/10

Southern Lord at last re-releases the 1990 Live album, which was a live gig from November 10th, 1989 from the essential line-up of Doom legends SAINT VITUS. The show occurred at Circus Gammelsdorf and catches SAINT VITUS at their very best. For those who are uninformed regarding SAINT VITUS' sound, think of a perfect scientific mutation that causes the styles of BLACK SABBATH and MOTORHEAD to intertwine together.

To the average music fan, SAINT VITUS may come off as repetitive and boring, so this live opus is definitely recommended solely for the die-hard fan of SAINT VITUS and/or the doom scene in general.  11 SAINT VITUS classics are captured in SAINT VITUS' arguably best setting: live. Tracks including "Living Backwards", "Born Too Late", "Mind-Food", "White Stallions", "Mystic Lady" and "Clear Windowpane" are well worth listening to. As a bonus incentive, there is even a drum solo during "Clear Windowpane" that would make both Bill Ward and the late John Bonham proud.

Again, there's not too much one could say regarding criticism on this live opus, because this is merely for the die-hard SAINT VITUS and doom fan. SAINT VITUS is the type of band a listener will either love or hate, as there is rarely an in-between. Scott "Wino" Weinrich (Vocals,THE HIDDEN HAND/THE OBSESSED), Dave Chandler (Guitar, DEBRIS INC.), Mark Adams (Bass) and Armando Acosta (Drums) comprised the classic SAINT VITUS line-up on the date of this recording. Live is highly recommended for the die-hard SAINT VITUS fan, and this reissue comes with a special 32-page booklet as a bonus incentive to a lost classic. - Dave Larmore

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Scum - Gospels for the Sick (Candlelight, 2005)

Rating: 7/10

SCUM have quite a buzz going of late, primarily because of the extreme music luminaries involved in the project, so talked-about that I don't think I need to recap here. I've heard complaint that with a line up of this calibre, the music should be much more adventurous and challenging, but that's not what SCUM is about. It is about playing nasty, crusty punk ala CRYPTIC SLAUGHTER and, the biggest influence I hear, THE ACCUSED, though not as thrashy. In that respect, Gospels for the Sick is a success, as this sounds like the genuine article, but for my money, I'd prefer to throw on Stream of Consciousness or More Fun Than An Open Casket Funeral from the aforementioned bands as they are catchy in a way that Gospels for the Sick is not. That said, there are some inspiring moments on the album, like the opening to "Truth Won’t be Sold," when black metal rears its ugly head through the crust, and Nocturno Culto sounds grittier than ever guesting on "The Perfect Mistake."

For the new bloods, this album is a good gateway to check out some absolute classics, and is a fitting tribute to those days for those of us that were there when it happened, but in my book, Gospels for the Sick won't sit among those classics as timeless, rather just make me wax nostalgic and think, "those were the days." - Al Kikuras

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Sigh – Gallows Gallery (Baphomet, 2005) http://www.redstream.org/

Rating: 9.5/10

SIGH, the experimental classical old school metal attack from Japan strikes again with their sixth album, Gallows Gallery. The brief center of controversy behind Gallows Gallery is that it was labeled as politically incorrect by prior record label Century Media, as the album discusses secret sonic weapon techniques utilized during World War II here and there. As a result, band leader Mirai Kawashima (NECROPHAGIA) went to Baphomet records and liberated this "politically incorrect" piece of art.

The album opens up in a very heavy yet classical and experimental manner, with "Pale Monument", which possesses a bit of a catchy chorus and strong riffing. Mirai's organ solo, as well as the guitar solos from Shinichi and Paul Groundwell (THINE), are well worth waiting for and fit the approach that SIGH takes on this record. Already, a fan of SIGH can indicate that the band is experiencing musical growth, especially when considering their Death Metal and Black Metal origins. Next is the yet-again catchy "In A Drowse", which opens up with the saxophone work of YAKUZA's Bruce Lamont, and again features the skilled guitar and organ solo work of Mirai and Shinichi. Additionally, "In A Drowse" features a guitar solo at the end courtesy of DARK TRANQUILITY's Niklas Sundin. Thus far, this record has a classic metal feel to it, only with a dark yet upbeat twist. "The Enlighte nment Day" is very much a jam, as it yet again showing off the lead guitar licks and chops of Shinichi, and drummer Junichi shows exactly what he's got. "Confession To Be Buried" is possibly the best song that CRADLE OF FILTH never wrote, because CRADLE OF FILTH fucking sucks, and Dani Filth comes equipped with a complete lack of tolerable vocals whatsoever. "Confession To Be Buried" obviously starts off fairly dark and dreary, but then leads way mid-through to good old school metal riffing.  In addition, FIREWIND's Gus G. lends his lead guitar skills in the middle of the track to make "Confession To Be Buried" that much better. "The Tranquilizer Song" is a very pleasant musical piece consisting of Mirai handling the organ, minimoog, Fender Rhodes, theremin, tabla, glockenspiel, sampling… and even a sitar!  Other than the multi-instrumented Mirai, drummer Junichi provides the brush snare, when appropriate. One would wonder why SIGH hasn't put out an album full of Christmas carols yet!

The last half of the album takes off in a heavy fashion with "Midnight Sun", but right away lends way to an upbeat, almost pop-like feel, and only features the lead guitar shredding of Shinichi n the last 30 seconds of "Midnight Sun."  "Silver Universe" unfortunately comes off as a filler track on the album, but the dual lead guitar soloing of Shinichi and Gus. G (FIREWIND) saves the song towards the end. Additionally, the narration by Killjoy (NECROPHAGIA) at the very end solidifies "Silver Universe" as a track to pay attention to. "Gavotte Grim" is nothing more and nothing less than a very experimental and melancholic track, and is the perfect prelude to the album closer, "Messiahplan." Immediately, "Messiahplan" opens up with the lead guitar solo assistance of THE RED CHORD's Gunface, and maintains the upbeat Metal style o f SIGH. The track closes with dual lead guitar work by Gunface (THE RED CHORD) and Shinichi, and features almost inhuman drum work by Junichi.  The album closes in a mysterious manner with the untitled track 10, which begins with silence and then carries through with a demented sound resembling either chimes and/or very high notes from an organ. As a bonus incentive, SIGH throws on a David Harrow mix of "The Tranquilizer Song", but the original mix is just fine. David Harrow unfortunately butchers the song with seemingly Hip-Hop like sampling, so it isn't necessary to even bother listening to Harrow's mix.

Overall, SIGH has unleashed quite the distinctive yet heavy slab of art. Any fan of SIGH will enjoy Gallows Gallery, as well as an experimental fan of metal. Apparently, Gallows Gallery is so heavy of a slab of art that Mirai was hospitalized during the crafting of this masterpiece, as he allegedly suffered migraine headaches, unexplainable dizziness and was deathly pale; whether the aforementioned symptoms are fact or a ploy for good press, Gallows Gallery stands on its own. Along with the previously mentioned special guests on the record, SIGH consists of bandleader and NECROPHAGIA keyboardist Mirai Kawashima (Vocals, various instruments), Shinichi Ishikawa (Guitar), Satoshi Fujinami (Bass) and Junichi Harashima (Drums). - Dave Larmore

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Suzikiton – Service Repair Handbook (Crucial Blast, 2005) 

Rating: 7/10

The stoner-rock equivalent of instrumental art-metallers PELICAN, SUZIKITON give you a vocal-free romp through the Southern-fried, beer-swilling grooves of bands like ALABAMA THUNDERPUSSY, with whom they share past and present members. Instrumental rock is damn near impossible to keep interesting, and SUZIKITON attempts a more classic-rock riff-heavy style, versus PELICAN's soundtrack-to-the-apocalypse atmospherics and nuance. The biggest problem with Service Repair Handbook is quite simply that it sounds like an ALABAMA THUNDERPUSSY record with the vocal tracks missing. Every song has a great array of guitar riffs, particularly in "VIII" and "Aquachimp," but spread over the course of a whole album, the whole proverbial shebang gets old. There aren't even any really interesting solos or other parts for each musician to shine, just riff after riff after motherfucking riff…  All in all, Service Repair Handbook is well-played, and full of good ideas, but due to the lack of actual songs and focus, it's still for the stoner-rock fanatic (or the ALABAMA THUNDERPUSSY karaoke enthusiast) only. - JW

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The Nutley Brass – Fiend Club Lounge (Misfits Records, 2005)

Rating: 3/10

This is the comedy album of the year. Even though the chances of a new album that doesn't cover lame songs from the 50s from the MISFITS is slim to none, I suppose surviving member Jerry Only can keep milking the band's legacy in one way or the other. The latest? THE NUTLEY BRASS, a band that has previously completed a lounge tribute to THE RAMONES, meets the MISFITS with Fiend Club Lounge. Fiend Club Lounge is an instrumental lounge music rendition of 11 classic MISFITS tunes, and its only purpose is for shits and giggles every now and then.

The album opens up with none other than "Last Caress". Within the first five seconds of hearing the Lounge rendition of the hateful punk opus that raped your mother and killed your baby, Glenn Danzig has probably chunked this CD out of the window and not thought another thing about it. Then again, neither will the listener.  Next is "Astro Zombies", which is a snore fest. The rendition (or rather mutation) of "Where Eagles Dare" and "Some Kinda Hate" are probably the most humorous renditions this album has to offer. "Hybrid Moments" is an embarrassment, while "Hate Breeders" is downright funny compared to the MISFITS version!

"Teenagers From Mars" is too goofy and lame for its own good, and the listener would have never been able to guess that "Attitude" was/is a MISFITS song.  In fact, the Lounge rendition of "Attitude" is completely unrecognizable, and sounds more like a CHEECH & CHONG track slated for their next film. "Angelfuck" starts off with a Bong (!), and then THE NUTLEY BRASS tend to embarrass themselves… as if they didn't already embarrass themselves enough with taking on this project initially. "Skulls" isn't even worth a listen, and the album finally closes with a rendition of "Die, Die My Darling", which is probably the highlight of this album… and this album doesn't even have a highlight!

Fiend Club Lounge clocks in at 23-minutes and 15-seconds, so anyone who wants to listen to the album won't have to suffer for too long. Perhaps the most humorous thing about this album is that it comes with a square drink coaster that depicts the album cover. Quite frankly, the inclusion of the square drink coaster wasn't necessary, because the CD itself will probably serve as a drink coaster a lot sooner than the included drink coaster. - Dave Larmore

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Thrones - Day Late, Dollar Short (Southern Lord, 2005)

Rating: 7.6/10

Joe Preston's (HIGH ON FIRE) solo project unleashes the band's first offering in five years with Day Late, Dollar Short. The offering is a 19-track compilation of hard to find tracks from 7", cassettes, demos, compilations and collaborations with other bands. Featuring an album cover depicting a child holding a rabbit and an insert with details regarding each track, the one hour and 18 minute Day Late, Dollar Short is an album that appeals solely to the underground Doom/Stoner fan that is open to peculiar experimentation and sampling.

The album opens up in a very doom-ish and dreary manner with "The Suckling", which sounds like misery was recorded onto an A-Track. In fact, "The Suckling" is so miserable that a dictionary definition doesn't properly define misery… but "The Suckling" does!  "Young Savage", on the other hand, is a unique take on ULTRAVOX and features the drum work of Scott Plouf. "Algol" is purely an ambient and meditation track, as Preston sums it up perfectly, "Therapy can help." "Reddleman" sounds like an old bulldozer crashing through an old abandoned home, with organs and clean vocal work here and there. "Senex", on the other hand, sounds like the best song that TOOL never wrote, and is obviously Bass-driven. "Silvery Colorado" is a unique and spooky take on an apparently traditional opus. "Coal Sack" is a dark and industrial-like track that could (and should) have easily been on t he House of 1,000 Corpses soundtrack, while "Bumpity – Epicus Doomicus" is nothing more than a pleasant yet melancholic orchestration track that was previously unreleased. The listener will get a brief giggle out of "Piano Handjob", concerning both the title of the track and the mild self-indulgence of Preston a Yamaha QXI sequencer. "Simon Legree" is actually a fast yet short instrumental track, while "Easter Woman" is a peculiar instrumental that was originally composed by the RESIDENTS.

"Valley of the Thrones" opens up with a creepy spoken word by a female, proceeds to masturbate with sampling and effects, and then drifts in to an almost homicidal circus-like offering of drone/doom. Additionally, "Valley of the Thrones" was apparently a remix for SOME VELVET SIDEWALK. "Oracle" is a brief RUSH cover, followed by a cover of Preston's second favorite Blue Oyster Cult song, "Black Blade". "Obolus" is a very slow song with what seems to be a Church-like choir singing very quietly, while "David's Lib" is a humorous remix for MOCKET. "A Quick One" is another previously unreleased track and is quite humorous, as it is seemingly another demented Church choir-like track, only with fuzzy guitar riffing and solid drumming. "The Walk" is, quite frankly, a directionless and boring ambience song… and could have been a SUNN O))) B-Side.  The compilation closes with "Nostros Algos", which is another previously unreleased track and a good slow-tempo stoner jam.

In the end, Day Late, Dollar Short is a compilation that would rank as the most distinct and original album in any music fan's collection. Once again, Day Late, Dollar Short will mainly appeal to the pure underground stoner/doom fan, but is worth a listen for anyone who is in need for something very different and impossible to duplicate. Again, THRONES is the solo project of HIGH ON FIRE's Joe Preston, and features Preston handling vocals, guitar, bass, drums and synthesizer. - Dave Larmore

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Twilight - s/t (Southern Lord, 2005)

Rating: 9/10

XASTHUR. LEVIATHAN. NACHMYSTIUM. KRIEG.

Ask any hardcore black metal fan what comes to mind when he/she hears those four bands mentioned in one breath and the answer will almost definitely be TWILIGHT. It is no secret by now that this album is a team effort from some of black metal's most revered and reviled champions. What is on the minds of most now is if the album lives up to the expectations many had for such a meeting of powers. In my book, the answer is yes.

The opening of the first track, "Woe is the Contagion," knocked me on my ass. Droning guitars over blasting drums, grinding bass... this was a sound I had not heard before. A new level of distorted sickness, reminding me of NUCLEAR DEATH in its disregard for convention. While nothing else on the album approached that level of insanity, what became immediately clear is that although TWILIGHT's debut is not a shockingly innovative release, the members are throwing convention out the window, and clearly not trying to live up to anyone's expectations. Perfect example is the second song, "Exact Agony, Take Life," which is a stark contrast to the opener in its VON-like simplistic opening. Elements of each member's individual project can be heard in TWILIGHT, and the final product is a prime black metal offering that incorporates noise, sludge, dissonance, and a general depressing nastiness to create an album that is a rewarding listen. I am eager to hear where TWILIGHT goes next. - Al Kikuras

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