HADES
$avior $elf
Aeternus | Entorturement | Blind Guardian | Grip Inc. | Hecate Enthroned | Krabathor | Mystic Circle | Noctuary | Post Mortem | Prophanity | The Crown | U.P. (Unleashed Power) | Nokturnal Mortum | Thornspawn
Aeternus | Entorturement | Blind Guardian | Grip Inc. | Hecate Enthroned | Krabathor | Mystic Circle | Noctuary | Post Mortem | Prophanity | The Crown | U.P. (Unleashed Power) | Nokturnal Mortum | Thornspawn
Rating: 10/10
Tracks: $avior $elf, Decline & Fall of the American Empire, Our Father, Active Contrition, To Know One, In The Words of the Profit, The Agnostic, Y2K, End of the Bargain, Fall, The Atheist
They are BACK!! One of the most criminally underrated metal bands of all time have stepped up to the plate with a slab of metal that will knock your nuts around your neck. I was skeptical, sure. Could you blame me? One of my all-time favorite bands comes back full force after a far-too-long absence. It sounds WAY too good to be true, and way too good to be good!!
$avior $elf is an impassioned, hungry, stunning album of pure metal played as only seasoned veterans can. Hades are obviously from the era where it was not about how "brutal" you were, or how "heavy" you were, but rather simply about how good your songs are. The much simpler times, eh? Miss them? Pop this sucker on and revel in all the things that made metal so great in the first place!!
The true accomplishment here is Hades managed to come back without sounding like a "comeback" band. Come on now... we all know that new Exciter album doesn't compare to Violence and Force, right? Well, Hades didn't skip a beat, despite the fact that the breakup was a hearty one and some members had decided to step away from music altogether for a few years.
The album opens with the title track, the opening passage of which, ironically, reminds me of the beginning of "Opintionate," the first song of the second Hades album If At First You Don't Succeed. Like the aforementioned track, "$avior $elf" is a burner... fast, tight, heavy and relentless. The rollercoaster just hit the peak and when rocketing down that first hill. From the opening riff, you know you are in for a solid bashing!! A few glorious seconds into the meat of the song, Alan Tecchio's vocals come wailing in, blowing away any doubts you might have had that his voice might have gone the way of Erik A.K.'s (Flotsam and Jetsam), where he simply does not have the power and higer register of early days. Alan really shines on this track and throughout the album, sounding as good, if not better, than he did oh so many years ago during the original incarnation of the band.
"$avior $elf" leads into "The Decline & Fall of the American Empire," another speedy number that features spoken word over a fast groove that culminates into an all-out frenzy, which sports some of the highest vocal notes my poor deprived ears have heard in ages. Just listen to the last refrain... this is the stuff dreams are made of!
There is a wide variety of material in the 11 tracks that comprise $avior $elf. "Active Contrition" is a powerhouse of a song, with some of the catchiest hooks on the album. "In The Words of the Profit" is a work in heaviness and could serve as the textbook example of adept songwriting in absolutely every aspect of the phrase. "Y2K" is perhaps the heaviest, most barbaric song Hades have laid to wax, with an almost death-metal vocal line peppering the refrain. "To Know One" and "End of the Bargain" provide some much-appreciated respite from the heaviness that dominates the rest of the album, although each song is "heavy" in a certain sense, they are not by the traditional "metal" definition of the term.
There is a running concept of salvation through the songs on $avior $elf, and Tecchio tackles the lyrical tasks with flair and the songwriting is such that, intentional or not, the material also seems to have a dark string running through it all. This sounds like an ALBUM, not just a collection of songs in random order. As the primary songwriter, Dan Lorenzo's riffs have seldom been heavier or tastier, even taking the Non-Fiction material into consideration. Ed Furhman's solos are strong and memorable, not just pointless wanking or showmanship. Ed also did some writing, penning "To Know One" and two instrumental guitar tracks "The Atheist" and "The Agnostic" (I can't help but think "Tears of Orpheus"), as well as contributing to both "The Decline and Fall..." and "End of the Bargain." Scott LePage (who played guitar on the first Hades album) proves to be an adpet bassist. Not as flashy as Jimmy Schulman (who played on the first two releases), Scott takes a more reserved approach to the instrument, providing a strong, locked-in rhythm section with drummer Dave Lecinsky, the only "new" member of the band who comes into the fold like a tank on the warpath, delivering an absolutely destructive, crushing performance behind the kit.
$avior $elf never comes off as a throwback to the earlier days of the band, which is perhaps the most impressive thing about it. Hades are "back," yeah, but it doesn't sound like they never left. This is NOT the album that would have come after If At First You Don't Succeed had they not broken up. It also does not sound like the next logical step after the posthumous release Exist To Resist. To travel pick up where they had left off would have been to ignore the valuable experience, growth and influence that the10 years since If At First... and the 4 since Exist To Resist have evidently provided. Hades have released an album for NOW, rather than for THEN, and while some may slag 'em for not sounding like the earlier albums, I, for one, applaud them for having the integrity to move on and not stagnate as so many "comeback" acts disappointingly have, and for releasing what may well be the finest album of their collective careers to date. - Al Kikuras
Aeternus - And So The Night Became (Pavement, '99)
Rating: 9/10
Tracks: There's No Wine Like The Bloods Crimson, As I March, Warrior Of The Crescent Moon, Blodsverging, When The Crows Shadow Falls, Ild Dans, And So The Night Became, Fyrndchcimen
Aeternus are not your average Black Metal band. In fact they incorporate elements of Doom Metal, Heavy Metal, and Viking Metal into their unique brand of blackness. The album starts off with a very gothic feeling introduction. There is a doom metal voice and very dark sounding atmosphere. Then the drummer shows us his stuff with a drum march that really lets you know that this will not be your average everyday black metal album. The marching drums help to increase the anticipation to the rest of the album. It also helps to get the old blood pumping. Then the music pushes through and takes center stage.
The big difference with Aeternus that really separates them from the pack of black metal bands is the drummer. With the exception of Gene Hoglan's foray into the black metal field with Old Man's Child, I usually get the impression with black metal that the drummer is thought of only as background atmosphere. In Aeternus, the drum parts are wonderfully thought out and executed to make the music all the more interesting. In fact I think the drumming is the best part of And So The Night Became.
The singing is a mixture between standard black metal banshee-type screaming and more inventive doom metal growls. This helps to give the music levels of depth. A lot of black metal, in my opinion, is only skin deep with talent and ideas. One band (Emperor, Darkthrone) does something good, and the rest of the field falls in line. I usually get bored with the whole genre pretty quick, but not with Aeternus. There is some real fire burning here. Something alive that gives the while album a fresh feel. The same feeling of freshness I got while listening to Strapping Young Lad for the first time; talent mixed with fresh ideas and hunger.
The whole album is basically a soundscape. There is a feeling of impending doom, with a ray of hope underneath. A feeling that a warrior might have inside his head right before a battle which he knows he will lose. He knows that death is imminent, but he will still fight his best, and perhaps the gods will see his effort and allow him the victory. The is the marching drums behind the music the whole time that really gives the album a feeling of battle.
Aeternus have basically fixed the main problems I've had with doom metal and black metal. I've felt that doom metal is often too slow, and doesn't have the aggression that it should have, while I've felt that black metal is too pigeonholed stylistically and should be opened up to different musical ideas. Aeternus has melded the aggression of black metal with the depth of doom metal. In my opinion a great coupling. - Piston Rod
Entorturement - Descend Into Deprivation (Self-Released, '98)
Rating: 8/10
Tracks: Forsaken for Perseverance, Defilement of Innocence, Temptation Beneath Contempt, Time Reveals All, Reality Check
A prime example of NY death metal; Entorturement fit the bill and then some... the drums grind, there is groove, the vocals sound like they are coming from the absolute bowels of the earth. I must admit, I have a weak spot for this stuff. I love both Internal Bleeding albums, I think Malamor rule the world... I love groove, especially when coupled with brutality as well as it is in the case of the previosuly mentioned bands, as well as newcomers Entorturement.
Entorturement play the much-loved and equally scorned slam-death metal that sends the infamous NY pits churning at full fucking tilt. The production, although not incredible by any stretch of the imagination, fits the music as did the sound on IB's Vorcacious Contempt. Internal Bleeding are, without a doubt, the band that comes to mind most readily when I spin Entorturement's disc, and I'll be damned if these boys aren't big fans of their fellow statesmen. Even down to the songtitles and production... similarities are abound. Not to say there isn't relevance to what Entorturement are doing here... the songs are good, the bands is tight, the vocals are brutal. There isn't much imagination displayed on the 31 minutes or so here (a large portion of which is silence at the end of the last track before a brief "hidden" snippet), besides the rap-death track "Reality Check," which I could do without, but aptitude is certainly abound and samples from CB4 are just excellent to hear. I am glad someone is giving that underrated masterpiece of filmaking the credit and praise it deserves...
In all, a strong debut effort from a band that will, undoubtedly, grow into more of a monster than the lumbering beast they already are. Next time, crisper and more balanced production would be welcomed with open arms by this reviewer, but until then this is a very enjoyable disc that I am finding myself listening to quite a bit. - Al Kikuras
Blind Guardian - Nightfall In Middle Earth (Century Media, '99)
Rating: 9/10
Tracks: War Of Wrath , Into The Storm , Lammoth, Nightfall, The Minstrel, The Curse Of Feanor, Captured, Blood Tears, Mirror Mirror, Face The Truth, Noldor (Dead Winter Reigns), Battle Of Sudden Flame, Time Stands Still (At The Iron Hill), The Dark Elf, Thorn, The Eldar, Nom The Wise, When Sorrow Sang, Out On The Water, The Steadfast, A Dark Passage, Final Chapter (Thus Ends...)
When Al gave me this CD he said to me, "Piston, I think I have what you've been looking for." He couldn't have been more correct. This is melodic power metal in the best sense. A concept album based on the late great J. R. R. Tolkien's masterpiece The Silmarillion. The Silmarillion is the story of the creation of middle earth, but the gods. Nightfall In Middle Earth follows one of the great battles that took place during that time. It is an epic battle in the grandest sense of the word. Blind Guardian is able to capture the feelings, the power, and the excitement of the whole story.
I have wanted to hear Blind Guardian for a long time. I have heard many great things about them, and I must say that I am more than pleased. The music is very straight ahead. They are not going to wow you with fancy fingerwork, or technical brilliance, but they will keep you entertained with catchy riffs and interesting lyrics. They have the high vocals that I'm looking for in great power metal. They are not super high though. That's all right though, Hansi Kursch uses his voice well, and does put a lot of emotion into each note he sings. He reminds me a lot of David Wayne, the lead singer of Metal Church. A style of singing that hasn't been overly copied, and nice to hear once and a while.
The story is nicely told, with spoken word pieces placed occasionally throughout the album that really gives the album the feel that it is being told by a traveling storyteller in some tavern in some fantasy land. The music has many different feels to it. It can at once be heavy and speedy, but then break into an extremely ambient and operatic part. There are many layers to this very well crafted music. The song "Blood Tears" shows this aspect of the music very well. It moves and changes many times throughout the song; very powerful and emotionally charged.
If you are a fan of Rhapsody, Rage, Iron Maiden, Grave Digger, Jag Panzer, or Iced Earth, then you should take a chance on Nightfall In Middle Earth. Blind Guardian have been around since 1989 and are bringing the metal community some very well crafted melodic, power, progressive metal. These guys aren't a wimpy progressive band like Dream Theater, they are a kick ass, take no prisoners, make no excuses pure metal band. If you haven't heard Blind Guardian yet, then all I gotta say is, "What are you waiting for?" - Piston Rod
Grip Inc. - Solidify (Metal Blade, '99)
Rating: 7/10
Tracks: Isolation, Amped, Lockdown, Griefless, Foresight, Human?, Vindicate, Stresscase, Challenge, Verrater (Betrayer), Bug Juice
My experience with Grip Inc. so far had been one of disappointment. While all of the pieces were in place for a great heavy band, the end result was less than the sum of its parts, as is the case with many "supergroups." When Solidify turned up, I was less than enthused.
After many listens, I am pleased to say that Grip Inc. are finally on their way to living up to their potential. The title Solidify is appropriate, as on this record all of the pieces are starting to come together in to a cohesive whole. Before, the main thing I would listen to on a Grip Inc. album was the incredible drumming of Dave Lombardo, but now I am enjoying the songs themselves.
From opener "Isolation" I knew that things were looking up, but it wasn't until "Griefless" that I was blown away but the extended solo, featuring some complicated intertwining of the guitars and drums. This is what these guys are capable of! "Vindicate" is also mindblowing with its interesting time variations, reminding me a bit of Meshuggah. Closer "Bug Juice" is a duet between the guitars and drums with a Spanish flavor, a bit "show-offy" but still a fun listen.
My old reservations about Grip Inc. aren't totally obsolete yet, sadly. "Foresight" lacks any direction, stumbling on and on without any real sense of what kind of song it wants to be. The slow paced psuedo-ballad "Human?" is overlong, and frankly bored the snot out of me. Clearly their is more "solidification" to go before Grip Inc. makes the leap from good to great.
Despite the drawbacks, Solidify is a huge step up, and hopefully this will continue. Recommended for fans of Grip Inc., as well as those who up until now have dismissed them as all hype. - MarkOff5
Hecate Enthroned - Dark Requiems and Unsilent Massacre (Metal Blade, '99)
Rating: 8/10
Tracks: (Intro) In Nomine Satanas, The Pagan Swords of Legend, Centuries of Wolfen Hunger, Forever In Ebony Drowning, Upon the Kingdom Throne, For Thee In Sinful Obscurity, Dark Requiems and Unsilent Massacre, In Sorrow Bequeathed, The Scarlet Forsaken, Ancient Graveless Dawn
I was disappointed with Hecate Enthroned's Upon Promethean Shores. It came off as too much of a, although I hate to use the term, "Cradle of Filth clone" for my tastes. I am happy to say that Dark Requiems and Unsilent Massacre find Hecate Enthroned treading into much uglier, more aggressive waters. Although Jon's vocals still smell of Dani's higher register scream, there is a rawness to the music and production that CoF haven't had since The Principle of Evil Made Flesh.
The music herein is somewhat baffling. Despite the fact that all the elements of the tamer side of black metal are here... heavy use of keyboards, gothic vocal passages... the music absolutely RAGES with speed and aggression. Hecate Enthroned have managed to combine the raw elements that really comprise what makes black metal so damn enjoyable for me with the craftsmanship of the more melodic black metal breed, bringing 10 tracks to fruition without a clunker in the group.
The description thus far is glowing, eh? So, why the loss of two points? There is little variety from song to song and, to my ears at least, not a memorable moment throughout the 42+ minutes that make up the disc. Largely, this can be chalked up to the vocal performance. Jon's screams, although painful, remain in the same high register for the entire disc, with the exception of the occasional dramatic narration and deep growl, the latter so buried in the mix when used that it is hardly noticeable. The songwriting isn't varied at all from track to track, although the musicianship is top notch. The keyboards are tasteful, the drums are very fast and steady. I like the production, although I feel it contributes, in part, to the monotony of the material. The guitars are not up front enough and, overall, it could use a little more low end, but there is an eeriness to it that I really enjoy.
I like it. If it stuck with me, I'd probably love it and listen to it a lot more, but as is I might throw this one when my eyes light upon it in the collection, but I doubt I will go looking for it at any point. - Al Kikuras
Krabathor - Orthodox (Pavement, '99)
Rating: 9/10
Tracks: Orthodox, Liquid, Shit Comes Brown, To Red Ones, Tales Of Your History, Touch The Sun, Body As A Cover, Parasites, About Death
- Orthodox (Pavement, '99)
31 minutes of absolutely ravenous death metal. The sound is THICK, heavy, bass-laden. Krabathor comes out like a rabid pitbull and just tears shit up from the opening moments of the title track to the slower chugging of "About Death," the album's closing piece. These tuneful songbirds take the listener to the brink and back, capturing all the chaos of a gang muscled mongoloids on PCP wailing at each other in an enclosed room with baseball bats and a strobe light at full tilt. This would be the perfect soundtrack for the pay-per view broadcast of such a glorious event.
The music? The vocals bring the above-detailed pitbull to mind. The guitars sound like a harnessed chainsaw, the bass is very prominent in the mix, which provides for a very thick, well-balanced sound. The drummer comes out and goes swinging. Someone get that man a donut...
I can't help but think this is where Sepultura should have progressed to rather than straying into the less-brutal realms they are currently wandering in. Orthodox is a testament to all that is great about and, nowadays, frequently lacking from death metal. Krabathor come off a bit like Nile without the Egyptian influence. They are hungry, pissed, and more than ready to beat you to a fucking pulp! - Al Kikuras
Mystic Circle - Drachenblut (Pavement, '99)
Rating: 8.5/10
Tracks: Ancient Words, Sword Of Might, Dragonslayer, King Of The Nibelungenhord, Isenstein, Shadows Over Worms, Hagen Von Tronje, Blood From The Xanjen's King, Rheingold
I like this a lot more than I expected. Mystic Circle have all the elements that could comprise a CoF coat-tail-commuter, but deftly avoid the snares that would place them in that unfortunate bracket. I think their embracing of the uglier aesthetics of the black metal genre can be credited. It is the ugliness, the aggression, and the hatred that attracts me to black metal in the first place, and despite the heavy use of keyboards and melody, Mystic Circle manage to keep the venom brimming.
The vocals are reminiscent of Legion (Marduk), especially his work on Nightwing. The material on Drachenblut actually reminds me of some of the slower numbers on the aforementioned Marduk masterpiece, although there are some elements here that you won't find on any of the Marduk albums to date... namely the dramatic narrations that are abound on each Cradle of Filth release as well as the occasional female voice and, as previously mentioned, heavy use of keyboards. Luckily, the keys are tastefully used. Rather than drowning out the guitars, they actually play second seat and enhance the music, not define it.
The tempo is primarily mid-paced. There is the occasional blasting section, but it never approaches Marduk or Immortal speed. Things never quite reach that "blur" stage. The emphasis here is on building a mood and telling a story lyrically and musically, and Mystic Circle manage to narrate quite a tale through their songwriting. The music is very well-arranged and tasteful, which I think serves to set them a breast above much of their kin. This is not a release for the black metal purist... if you hate CoF, you most likely will be less than fond of Mystic Circle, but to the average metal fan with a discerning ear, I can safely say Drachenblut is worth picking up, as you'll be taken on a 50 minute musical journey that validates the more commercial elements of black metal by re-injecting the vain of spite that made this cacophony so damn appealing in the first place... - Al Kikuras
Noctuary - For Salvation (Lost Disciple, '98)
Rating: 9/10
Tracks: Funeral Ceremony, For Salvation, Forever Shrouded Within This World, Sorrow In Winter Darkness, Eternal Nightmare, The Once Forgotten Past, Lost in Illusions, Consumed By Fear, Black Bleeding Soul, Cast Into The Brooding Shadow, Journey to the Lost Kingdom
We have an interesting mix here. Noctuary have blended the rawest of black metal with the craftsmanship of classic metal bands like Iron Maiden on their debut release to produce a very aggressive breed of the two subgenres. Whereas many black metal bands (which is what Noctuary inherently are) sacrifice catchiness for extremity, Noctuary manage to combine the two without any loss of the latter.
The lead work is excellent. Rather than just playing for the sake of speed and chaos, guitarist Joseph Van Fossen describes melodies and develops them with a keen ear and tasteful voice, producing memorable passages that really enhance the songs as a whole. So many solos in metal are there almost out of obligation. "This is the guitar solo. Thanks for listening." You actually WANT to listen to this guy's playing. Check out his work on the title track for a prime example.
Session drummer Rob Alaniz (RISE) does an adequate, rather than exceptional, job which I think holds the material back a bit. While he certainly has the speed and skills to really push the material to the heights it has the potential to release, his performance is a bit too straightforward to really allow it all to open up.
Were black metal vocals the best choice for the accompaniment of this music? I am not sure. I am a big fan of the genre, and Joseph does a fine job, but to be honest I think the music deserves a more versatile range. Perhaps some lower growls as heard in "Sorrow In Winter Darkness," as opposed to remaining in the higher pitch for the vast majority of the album. The vocals are painful and would perfectly enhance black metal that conveys a singular emotion, like Darkthrone's Transylvanian Hunger, but I think the material here deserves a bit more as it presents a wider range of moods and sounds. While we are getting criticisms out of the way, the production could use a little more low-end. It is also a bit dry, and the overall atmosphere lacks a bit as a result, but the material is so strong that your appreciation is dulled only slightly.
In all, a very strong debut album that stands besides Warhead's Raping of Angels as a prime example of how black metal can stray from the uglier aesthetics set forth by masters like Darkthrone and Marduk, yet still retain the core that is indicative of the genre... a strong sense of spite and venomous contempt for the "divine light" that bands like Noctuary have set out to destroy. - Al Kikuras
Post Mortem - Repulsion (Pavement, '99)
Rating: 2/10
Tracks: Epitomize, Clockwork Black, Gutterballs, Bleeding, Beyond The Bounds, Witches Burn, Over The Line, Heiligenschein, Sin City, Inside The Clockwork, Better Beware, Dreadful Sins, Black Trinity, Sick & Twisted, Follow The Hypocrite, Epitath
I'd be lying if I said I liked this. And why would I want to lie?? Although Pavement are for some reason billing these Krauts as a death metal band, I just don't hear it. They sound more like a second-rate rock/metal band to me. The vocals border on death metal from time to time, but on the whole they come off as a weak attempt at the death n' roll genre that I don't care for all that much even when it is done well, which it certainly is not here. The songwriting and musicianship are sub-par and the whole disc comes off as sounding uninspired and boring as hell.
When I first saw the ad for this album, I was a bit excited. I thought it might be the same Post Mortem that released the excellent Ring Around My Rectum and Seasoned No-Salt Makes My Beef Stew Taste Like My Beef Stew 7 inches as well as the Festival of Fun LP (followed by a dismal showing on Coroner's Report.... BORING!!). I was, at least, curious as to what territories they might have moved on to, but no... I was doubly disappointed. This is a different band altogether and a bad one at that.
Sorry! I can only recommend this one to narcoleptics, because they won't be awake long enough for it to bore the shit out of them. - Al Kikuras
Prophanity - Stronger Than Steel (Metal Blade, '99)
Rating: 8/10
Tracks: Armed to the Teeth, Walking Through Fire, Beast of the North, Fate of the Gods, The Battleroar, ...To Hangatyr, Towards the Sinister Realms, Awating Your Valkyrie's Arrival, Swedish Steel (The Metalist)
From the opening caophony, to the second to last track on Stronger Than Steel, Prophanity churn out some competent, tight, well-written, melodic, old-school-flavored black metal. Enough adjectives for you? Hell, why not sum it all up on one sentence? If only my conscience would let me get away with writing reviews that short... I'd get a lot more sleep at night.
Anyway, I like the production a lot. Clean, but it has a very "live" sound to it that works well. Not raw, really, but like seeing a band live that has great sound. Prophanity take the attitude of classic thrash and mesh it with black metal. The melodies of a classic metal band like Maiden (I know the reference has been used time and time again, but is there one more appropriate?) slam head first into God Dethroned to produce 8 strong tracks. I say 8, even though there are 9 on the album... the 9th, "Swedish Steel (The Metalist)" is just what the title indicates... a leap into the retro metal sound currently being embraced by bands such as Hammerfall and Sacred Steel. I think it is a far leap from the rest of the album and it is a shame they ended the disc on such a low note.
The vocals are standard black metal fare, but are spewed with conviction and a bit more attitude than the average corpse paint-smeared bloke. The drums give more attention to double bass than blast, which I think really lends the album it's old-school feel, but fear not, there are blasts abound and they are more than competent. Tasteful guitar melodies and harmonies weave in and out of quick riffing. The band is tight and the bass nicely doubles the riffs, providing a bottom end to a very mid-range guitar sound. In all, a very strong effort from these Swedes that fails to break new ground but convinces nonetheless.
Oh, and one more thing... I am all for looking "metal," but if you weigh a buck 'o five wet and have all the muscular development of a 5 year old, you might want to keep your shirt on during photo shoots... you just wind up looking ridiculous! - Al Kikuras
The Crown - Hell Is Here(Metal Blade, '99)
Rating: 9/10
Tracks: The Poison, At The End, 1999 (Revolution 666), Dying of the Heart, Electric Night, Black Lightning, The Devil and the Darkness, Give You Hell, Body and Soul, Mysterion, Death By My Side
I have heard this album slagged as being retro garbage and have also been told that the previous release was worlds better. Don't matter to me. I dig this album. Yeah, there are retro elements, but they are the good ones! This is the stuff I miss about the old school. That "fuck you" attitude. Metal vs. the establishment!!!! The music, however, is definitely up to date with the modern mavens as far as proficience. The drums are fast as a bird when the blast is called for. The vocals laden with attitude to the point of bordering on obnoxiousness. Guitars are blazing... it is ridiculous, but irresistably METAL. And the solos? Total old school wanking!
Picture it: Slaughter of the Soul-era At The Gates meets Possessed on a dark night and old Entombed comes along to break up the fight... you have The Crown if you add some of the mighty Manowar's attitude to the mix. "The Devil and the Darkness" displays The Crown at their most blindingly fast... this is sick stuff! We're talking Marduk-fast here, people. Not as menacing as the Swedish Black Metal Kings, but just about as speedy. "1999 - Revolution 666" bring the old-school catchiness to the front line, as does "Body and Soul."
Yeah, I guess this could be considered retro, but what is retro? Catchy tunes with a nasty attitude. It is when retro also adapts the more primitive musical abilities of the days former (although not all the past masters were inferior to the modern torch-bearers) that it becomes all-but irrelevant (Desektraer comes to mind). The Crown take the finest elements of the old school and forge them with the things that make the modern movement so great; speed, heaviness, superior sound/production and top-knotch musicianship. My fist is in the air!! - Al Kikuras
U.P. - Mindfailure (Amarok Records, '97)
Rating: 8/10
Tracks: Gateway, Etude, What They Don't Know, Mindfailure, Thou Shalt Live, Cataclysm, Nefarious, Section Terminal
U.P., formerly Unleashed Power, is overall a technical, thrash, old-school style heavy metal band, that hails from primarily Germany. They now consist of four members. Ken Jacobsen (guitarist and songwriter), Brian T. Chaffee (vocals), Jorg Michael (drums), and Tony Spagone (bass) complete the line-up on Mindfailure. Since then vocalist Len Jarrell and bassist John Balistreri have joined the U.P. crew. After much turmoil between '94-'96, the album Mindfailure was written and recorded, then released in early '97.
Mindfailure has a very simplistic sound, consisting merely of dirty Anthrax-style distorted guitar, a clean semi-twangy bass, strong drumming, and a vocal style belonging halfways into the power metal category, as well as the thrash metal category. The group is seemingly very tight while plowing through different, complex time-signatures, but still keep the same meter. Almost always is the guitar following the exact pattern the drums are playing. The lead guitar work on the album is what impressed me the most. More often then not, an Eddie Van Halen-like style is evident with fret-tapping and hammer-ons and pull-offs. The drums are mostly just to keep tempo, without standing out much at all. The vocals fluxuate between a Phil Anselmo (Pantera) distorted singing style to a Eric A. K. (Flotsam and Jetsam) higher singing style, which is done quite well, minus a couple of parts that seem to clash musically with what the guitar is doing. Unfortunately, the bass isn't heard all too well in the production, so exactly what it is doing is difficult to depict. When it is easily heard, it does just fine with keep a stronger rhythm, while still remaining musical.
This album is a good display of what technical thrash metal should be. Combining the technicality of progressive metal with the simplicity of a thrashier style is exactly what U.P. is all about. Keep an eye out for the next EP called Absorbed. - Caine
Nokturnal Mortum - To The Gates Of Blashpemous Fire (The End Records, '99)
Rating: 10/10
Tracks: Bestial Summoning, To The Gates Of Blashpemous Fire, On The Moonlight Path, The Hands Of Chaos, Under The Banners Of The Horned Kniaz, The 13th Asbath Celebration, Cheremosh, The Forgotten Ages Of Victories
After their classic Goat Horns album of last year, I thought that I knew what to expect from the next Nokturnal Mortum album, and it could never live up to the first one. I was wrong on both counts.
The six man demonic symphony from the frozen wastes of the Ukraine have returned with a vengeance. The mid-paced symphonic black metal approach of Goat Horns has metamorphisized in to a full speed, nuclear powered killing machine. The folk and Celtic influences that were so apparent in the last album are still there, but are less apparent, woven in to the blood drenched tapestry of extreme black/war metal.
From opener "Bestial Summoning," I was totally surprised, thinking this must be a different band! After a few moments, it was clear from the technical skill and brilliant songwriting that this was Nokturnal Mortum, but a with a totally different plan of attack. Instead of the midpace I was expecting, blastbeats pushed the music along at a frantic and insane pace. The dual keyboards are pushed back in the mix, working their magic this time on an almost subliminal level. The awesome guitar work from Goat Horns is made even more incredible by the unbelievable speed that they are now playing.
With such a strong start, I expected things to slow down a bit. This is not the case, as the speed continues and the music just keeps getting better and better. The crescendo is reached at "The 13th Asbath Celebration," featuring a majestic chorus and shredding solo work. "Cheremosh" slows things down; it is an instrumental which showcases the melodic folk aspect of the band, the kind of thing that I expected after Goat Horns. Closer "The Forgotten Ages Of Victories" continues in this vein, incorporating vocals this time, accompanied by the sounds of battle.
It is strange for a band to get more extreme as time goes on. Usually the process goes in the opposite direction, and older fans pine away for the days before their favorite band "wimped out." Nokturnal Mortum fly in the face of convention, getting more extreme as well as improving their musical skills and songwriting talents. The vocals on To The Gates... are even better than before, perfect for the music: high but not whiny, with enough range to convey emotion but not straying in to sappy clean vocals. The use of dual keys and guitars could be a monumental task for a less talented band, but here they are used expertly, interacting with each other in such a way that new gems are discovered with every listen.
Over the last year, I have been deluged with mediocre to poor extreme black metal albums, most doing little more than rehashing the glory of Mayhem and Immortal. Because of this, I had basically lost my taste for it. It is a tribute to Nokturnal Mortum that they could get me interested in this style again. It is so rare to find a band that can play this fast, stay musically tight, keep the music engaging, distinguish the songs from each other, and keep the intensity level high for 50 minutes without boring the listener. They've done it! They've surprised me by the new style, and by releasing an album even better than their last one. Add in the striking black and white packaging, and you literally cannot go wrong with this album. This is THE best extreme black metal album I've ever heard, and I'm sure it will be one of the best overall metal albums of the year. Buy it now! - Scott
Thornspawn - Consecration of Evil Flesh (demo, '98 - Thornspawn Web Site)
Rating: 8/10
Tracks: Consecration of Evil Flesh, Dominions of Darkness, Everlasting Seige of Necrosoldiers, Ancient Path, Licking the Virgin Mary's Cunt, Thrones of Suspiria
Grand melodic overtures. Beautiful, harmonious synth. Enchanting three part guitar harmonies. Erotic female opera vocals. Triumphant compositions in memory of long lost vampire love. You'll find none of that garbage here. What you will find is blasphemy, hatred, and chaos. The first thing you will notice about Consecration of Evil Flesh is the cover art. Obviously a wood engraving by Gustave Dore. The inlay displays four framed pictures of Lord Necron and Co. in full war armor and corpsepaint, in true black metal fashion. There are no printed lyrics, so I have no idea what he is saying. I can only hope it defiles Jesus in every way possible. There are six songs total and some of the tunes that stand out are "Dominions of Darkness," "Ancient Path," and "Thrones of Suspiria." The demo starts out muddy, but luckily the songs become more distinguishable as it progresses. The music is very feirce and quite barbaric, and contains an almost old school punk quality to it. This is meat and potatoes black metal in the mid-late 80's/early 90's style: the way it was meant to be. Like fellow Texans, ABSU, the vocal duties are performed by the drummer, which should make for an interesting live show. Overall, if you like your black metal with tons of spikes, corpsepaint, loud guitars, screeching vocals and "fuck you" attitude, THORNSPAWN may spark your interest. - Pazuzu
Be sure to check out the Thornspawn interview on Unchain the Underground
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