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AUGUST 2006
Pink
Southern Lord
 What can I say about the mighty Boris that hasn’t already been said? Pink has the feel of an indie band finally doing their major label release. What I mean by that is, that Pink is kinda a sampler of the different styles that Boris is capable of producing. It is probably their most accessible record, and it kicks some major ass. I should note that I’m reviewing the Southern Lord version of this release. Musically it’s the same, but the packaging is a bit different than the original Japanese pressing. I must say that I didn’t really love the artwork as much as the original, but the 3 sheets of acid that come with Southern Lord’s version are a nice treat. Haven’t tried any of it yet, but I do think this is definitely more trippy than it is stoner rock.
On to the music. As I said, this record does display a few different styles, but they all work together to make a somewhat unified theme. That theme is HEAVY as shit. The first track, “Farewell”, is more of a My Bloody Valentine/Jesu track, and it is a great ambient intro to the record as a whole. I remember seeing Kevin Shields from MBV doing a 20 minute solo on one note that cleared the entire club, and that’s what “Farewell” reminded me of. Very melodic, but totally heavy, sick noise to boot. What more could you ask for. The second and third tracks, “Pink” and “Woman on the Screen” get more into the riff heavy madness that we all love about Boris. “Nothing Special” and “Pseudo-Bread” get more into some speed metal/Motorhead type noise that is somewhat weak, but still kicks some feedbackin’ ass. “Blackout” is a killer dirge, that really had me thinking about Godflesh, which certainly isn’t a bad thing. The last track, “Just Abandoned Myself”, is just a killer noisefest that clocks in at about 18 minutes, the last 10 minutes or so just being two chords and a bunch of noise. Absolutely great stuff.
There aren’t too many records that really have blown my mind upon first listen, but I would have to include Pink on that list. I think there are enough genres on here to satisfy most everyone. A superb record.
A -Mark Small
The Stench of Redemption
Earache
I will admit up front that I became bored with Deicide after their first two releases. It seemed to me that the band was stuck in a rut and I just didn't care for what they were doing. After hearing about the departure of founding members and guitarists Eric and Brian Hoffman following their last album (their first for Earache after a long tenure with Roadrunner), I was interested to see if maybe it was the kick in the ass needed to wake the band up. Apparently it was, as Deicide shows on The Stench of Redemption.
Starting with the title track, you can tell that new guitarists Jack Owen and Ralph Santolla are adding some new life to the Deicide sound. After an initial onslaught of tight riffs and head-snapping blast beats backed up with Glen Benton's superb dual vocal attack, we are treated to an almost 2 minute instrumental break with slick harmonized solos, followed up with a trade-off solo, showcasing both six-stringer's immense talent. “Death to Jesus” follows and showcases some more of drummer Steve Asheim's ultra-fast blast beats (I don't remember Deicide blasting this fast in the past), and more amazing guitar work by the afore mentioned duo. Asheim's song writing is what you would expect from him if you know Deicide - memorable break-neck speed riffs interlaced with melodic bits and it seems he left plenty of room for solos this time around as well.
“Homage for Satan” has one of those memorable riffs repeated throughout the song, sandwiched between lots of melodic bits and Benton's possessed vocals. The final track, “Not of This Earth”, includes one of the best riffs on the record and has a decidedly Slayer-like feel to it. It's tough to pick a favorite here, as the whole disc is pretty strong, but “The Lord's Sedition” and “Walk with the Devil in Dreams You Behold” would probably be at the top, the former for it's sheer intensity and the latter for the amazing solo work.
B+ -Goz
Smoke and Mirrors
Small Stone
 I had the distinct pleasure of seeing these guys live twice this spring, and let me just say, they are awe-inspiring. Dixie Witch have been around for quite awhile, and touring the whole time. They are probably one of the best live bands I’ve ever seen. No matter what kind of music you’re into, their hard work really shows and they totally slay. That being said, the question becomes, how do you capture that ferocity on tape? That became the challenge for Joel Hamilton and Tony Maimone at Studio G in Brooklyn. I must say, they did a terrific job in creating the best Dixie Witch record to date.
If you’re not familiar with these guys, it’s hard-rocking, blues-based, southern rock at it’s best. With substantial volume being the key ingredient, they take massive amp stacks and run them full out to create a huge wall of blistering riffs and empty PBR cans in their wake. The first track, “Set the Speed”, is a perfect example. Guitarist Clayton Mills really set the mood right from the beginning here, with a killer groovy riff that really begs you to drink-some-beer and bang-some-heads. Lyrically, the general theme is life on the road (you sing about what you know, I guess) and vocals are shared between drummer Trinidad Leal and bassist Curt Christenson. Two very different styles, but both work pretty well. Trinidad is definitely the stronger vocalist, but Curt’s vocals have a cool Motorhead feeling to them.
Besides the opener, “Ballinger Cross” is another standout track. A jaw-dropping live song that translates really well on this record. Starting with a heavy dirge riff that moves into a cool melodic bridge, then back into full-on dirge. “What you Want” highlights some cool slide work by Clayton and “Last Call” is a cool instrumental with Tony on the B3 organ. Musicianship on this record is really top-of-the-line without sacrificing the song. Everything seems to fit into place.
These guys score a perfect 10 when it comes down to authenticity and tenacity. If you’re into blues-based rock done the right way, this album is a must have. And, if I may reiterate, GET OFF YOUR ASS AND SEE THEM LIVE!
B+ -Mark Small
A Matter of Life and Death
Sanctuary
The legendary Iron Maiden unleashes the eagerly awaited follow up to 2003's Dance of Death with the 70+ minute A Matter of Life and Death. Long songs are the norm here, although none of them ever seem to drag (quite the opposite, actually). There are lots of intricate riffs and melodies, layers of harmonizing, and of course plenty of guitar solos. The production is superb, as expected, allowing each individual’s skills to shine through and be heard clearly.
AMOLAD kicks off with "Different World", the shortest and most radio friendly track on the album. Full of melody and catchy vocal lines, this track gets the album going on a strong note. Bruce Dickinson’s vocals really shine on the next track, “These Colours Don’t Run”. A moody song about war, this showcases all of the bands talent, from the minute long intro, to the screaming guitar leads, and the memorable and powerful chorus. “Brighter Than a Thousand Suns” is a powerhouse, with a huge riff that might be as powerful as the H-Bombs the song is about.
“The Longest Day” is another epic song about war, this time covering D-Day. Some of the best musicianship on the album shows during this song. Just after the mid-way point, there is a harmonized part where all three guitarists – Dave Murray, Adrian Smith and Janick Gers – are joined by bassist Steve Harris (who also had a major part in writing all the songs here) for a moment that I can only imagine will be a standout during their upcoming tour to support this release. Spark up your lighters for “Out of the Shadows”, a fairly quiet, acoustic-ish song with great vocals by Bruce once again. The following three tracks – “Reincarnation of Benjamin Breeg”, “For the Greater Good of God”, and “Lord of Light” – continue to showcase all that Maiden has to offer; great musical talent, killer vocals, and thoughtful lyrics.
Just when you thought the album couldn’t get any better, “The Legacy” comes along to close it out. After opening with a gentle classical acoustic guitar intro joined by a wall of distorted riffing at about the 3 minute mark, it progresses to a trademark Maiden gallop mid-song, and finishes up with a catchy harmony and back to the acoustic bit again.
A Matter of Life and Death shows that Iron Maiden still has the chops that made (and still make) them one of the most influential metal bands ever. After the 70+ minutes here, I am left wanting more new Maiden already.
A -Goz
Anything For The Devil
Corporate Punishment
 Crunching guitars, raging vocals, melodic hooks and solid programmed synthetic tension lurking beneath the surface define the 5 track Anything For The Devil EP from Rikets. Industrialized tunes with a hard rock edge are a dime a dozen right now, but lifted up by some verbal shredding by Scott Rose, who can balance melody with rant and rage theatrics well, and balanced on a very solid and understated electronic edge that doesn’t undercut the guitar/drum beatdown, Anything For The Devil produces a solid foot thumper for those looking for sing and scream along tunes.
Opening strong with “Useless” and “Hollywood”, the tone is set for fans of Static-X too rock out to the raging vocals and melodic hooks and in the early section of the album the strengths of Rikets are on display in top form. Pounding away until they hit the mid-point with “Blister”, a track that sounds a bit more like Linkin Park and radio-worthy industrial rock. It is a good radio song that cuts the edge off the earlier tracks without shaving away intensity to good effect. While the trend continues through “Bitter Words”, the disc closes on the groovy pound out of the title track.
If the discographies of Static-X and Linkin Park were to attempt to gangbang Saliva’s songwriting then you would have a sick and disturbed little lovechild...with RIKETS!
B- -David Zuzelo
Christ Illusion
American
 Slayer. In the grand scheme of Metal, they are the BEST band there is and ever will be. NOTHING will touch Reign In Blood – it is the album that defines the genre, though it’s to Slayer’s creative detriment that they will always have this standard to live up to.
So here we have a five year lapse between albums and the return of the almighty Lombardo. This 20 year Slayer fan can only imagine how close they can come to recapturing that evil essence from 1986. Perhaps this pressure weighed too heavily on the band member’s minds as well because Christ Illusion simply falls flat.
Tom’s vocals are the strongest they’ve sounded in many, many moons and Dave’s drumming is, like always, perfection. But Slayer lives and dies by the riff and, sadly, Kerry and Jeff have let us down as the overall musical construction sounds slapdash. Granted it’s far more polished and professional than the majority of the CDs that crawl into my PO Box, but, welp, here’s that forever Reign-ing comparison again.
The album opens with “Flesh Storm” which sounds way too much like a throwaway track lifted from Seasons In The Abyss. “Catalyst” introduces us to an awkwardly high-pitched wanky riff that is used yet again, only more effectively, on “Jihad”. “Skeleton Christ” chugs along with some interesting flavors and “Cult” is the hit single, but none of it is overly memorable.
Unlike virtually their entire back catalog, it’s not the first but the last tune on the album that’s the most potent. “Supremist” has it all: anger-spewed vocals fueled by pain-filled lyrics, neck-wrenching guitar solos, pummeling double bass (verging on blast beats at times), a well-placed mosh part, and a mystifying fade-out ending. Similarly to the band’s last three releases however, one standout and three or four decent songs does not a classic album make.
It’s the Slayer sound through and through, though it is disappointing that they couldn’t have kicked it up a few notches for old time’s sake.
C+ -Mike Baronas
The Beauty and The Beer
AFM
Tankard has been pouring its German Pilsner brand of thrash for almost 25 years, and if you thought they rocked back in the `80's, chances are you haven't missed a thing. Like contemporaries Destruction and Sodom, you know exactly what you're gonna get well in advance of pressing the 'play' button.
Band leader and singer Gerre still croons his alcohol-fueled lyrics (I cannot believe his liver isn't pickled by now if he honestly still practices what he preaches) and the band churns out catchy riffs on “Ice-olation”, “Rockstars No. 1”, and “Dirty Digger”. The production is top notch too. Really not sure how else to describe this album other than to give the band props for staying true to their roots. I remember buying The Morning After back in the day and they truly haven't changed the formula at all.
Tankard haven't skunked on us yet...just fermented a bit.
B- -Mike Baronas
Fang Bang
Rykodisc
 At first glance one might think Wednesday 13 is just another Marilyn Manson wannabe, but he’s much more fun. His new release (and first for Rykodisc) Fang Bang is a shock/horror inspired collection of new songs that can only be described as a punk-metal inspired Alice Cooper (current era).
Sounding like a cross between Alice and Marilyn, Wednesday’s tongue-in-cheek song lyrics have some classic lines. “Morgue Than Words”, a little ditty about telling someone who has died in a car accident how much you loved them: “You had such beautiful eyes, now they’re covered in flies”. “My Home Sweet Homicide” describes marital bliss with lines like, “I’m so love sick/sick of you...I guess I’ll see you in hell, but I’m sure you would ruin that too...you’ll be the death of me/baby you’re my home sweet homicide...and the best thing about our future is knowing that I’m going to die!”.
Wednesday tackles the topic of necrophilia while cross-dressing in “Happily Ever Cadaver” and even adds an ode to to the Friday the 13th series with “Till Death Do Us Party”. He never gets too serious and constantly rides right on the edge of being offensive. The production is great and the playing is inspired. All of the songs sound as if they'll translate great live and will have the audience shouting right along. Word has it that Wednesday 13 has a lot of surprises in store for the Fang Bang stage show, so it sounds as if the album is only the beginning of the party!
A -Matt Smith
JULY 2006
Ashes Against the Grain
The End
Portland, Oregon’s Agalloch shine on their third full-length release, Ashes Against the Grain. Agalloch’s music is tough to categorize, as they combine doom, folk, rock, and black metal to form their unique and eclectic sound. Don Anderson and John Haughm layer on thick slabs of guitars, while Chris Green and Jason William Walton keep the beats on drums and bass. Don’s vocals range from growling to more approachable “clean” singing – check out “Not Unlike the Waves” where both styles play perfectly off each other.
The disc opens with “Limbs”, a near 10-minute affair that starts off with a huge, almost rock-anthem riff that grabs your attention and won’t let it go. A brief quiet piano break comes in, followed by monster riffs once again. About the midway point Don’s vocals are introduced for the first time, presenting his black metal style perfectly. A very well-composed track, that sets a melancholy mood for the beginning of the album.
“Falling Snow” has an opening riff that turns the pensiveness of the opener around with its bright happiness. Don also shows his clean vocal style briefly on this track. A short instrumental sets us up for “Fire Above, Ice Below”, a dreary, 10.5 minute epic that I found quite mesmerizing. The aforementioned “Not Unlike the Waves” is next, and in my eyes is the standout track of the album. It seamlessly incorporates heavy riffs, folksy acoustic bits, clean vocals, well-placed guitar solos, and blood curdling screams into a flawless package.
The disc wraps up with the trilogy “Our Fortress is Burning…”. The first two parts are a well integrated, rock-riff infused monster that drags you in, finally coming to a head with some of the heaviest bits on the disc, and a tortured screaming that leads you to believe the band has just laid everything they have out onto this recording. The third part of the trilogy is a droning, feedback-laden noisefest that gives you a chance to come down after hearing the masterpiece that is Ashes Against the Grain.
A -Goz
In Memory of Quorthon Box Set
Black Mark
The world of metal was robbed of one of its true visionaries on June 7, 2004 when Thomas “Quorthon” Forsberg left this planet to sing the “Song to Hail Up High”. His father, and founder of Black Mark Records, Borje “Boss” Forsberg made it his mission to honor his son’s creative genius and culled together this incredible box set.
Spanning Bathory’s entire career, as well as songs from Quorthon’s solo offerings and rare & unreleased tracks, the music contained on these 3 CDs (the orange on orange printed song titles of which are almost impossible to read) give an even more intimate look at the man behind the mystique than the Jubileum compilations did – sure there’s some overlap like “Enter The Eternal Fire”, “War”, “A Fine Day To Die”, etc., but classics will be classics and are staples of Bathory lore. Also included are varied cover tunes by Kiss, Motorhead, Black Sabbath, The Sex Pistols & The Beatles for a more personal touch.
The box set includes a slick CD-sized booklet of song lyrics, album art, photos, band history & anecdotes of the Bathory legend, as well as personal letters written by Quorthon prior to his untimely passing. But the real jewel in this treasure chest is the DVD, featuring a music video for “One Road To Asa Bay” which is an amazing glimpse into what Bathory would look like playing live as a three-piece. This is followed by an MTV Europe Hammerheart-era interview along with a 37 minute collection of home video shot during the promotional tour for the same essential album.
The Memory box is a loving tribute from “Father To Son”.
Furthermore, anyone who still challenges the fact that Bathory perfected Black Metal and gave birth to Viking/Norse Metal after absorbing this pristine package is simply full of shit!
A -Mike Baronas
Live Fast, Die Young...And Leave A Flesh-Eating Corpse!
Razorback
The song titles and lyrics contain plenty of campy humor and an obvious love for low-budget horror, but the over-campy cover art/packaging and title of this album belie a solid slab of Carcass, Repulsion and Autopsy worship.
The creators (a two-person collaboration) boast "100% old school madness" in the credits, and they aren't kidding. Herein are 23 tracks which, with only one clocking in at over 2:40 – including any obscure horror movie intro at the front of a given track – don't waste any time getting to the point, with plenty of two-tier vocal assaults, furious (yet strangely catchy) riffing, and blast beats galore. The overall musical experience is kind of like if Carcass' Reek of Putrefaction had received a production along the lines of 2003's Haemorrhage/Impaled Dementia Rex split...dirty and claustrophobic.
The biggest shortcoming is in the lyric department. While the songs fly by, and there are plenty of funny gags and I can tell these guys know horror 500%+ better than I do, the pervasive use of couplets in the rhyme schemes (admittedly only noticeable when reading, not listening) does kind of wear itself out.
All in all, a good album.
B -Mark Fields
Monotheist
Century Media
It’s been well over a decade since the Metal community has heard from influential Swiss pioneers Celtic Frost. Sure there have been glimpses of resuscitation in the form of tribute CDs, a novel entitled Are You Morbid? by band leader Tom G. (Warrior) Fischer, as well as his vocal contribution to Dave Grohl’s PROBOT project, but as a “Frostie” going on 20 years now, I must admit that the future of new music by my favorite band looked bleak.
Enter Monotheist – a work of art so beautifully potent that it may well knock the Metal genre to its knees.
Imagine tearing your heart from your chest and wringing every last drop of being onto a compact disc. This is Monotheist. Fischer and bassist Martin Ain have bared their souls, and reformulated that catharsis into the best album of Celtic Frost’s existence.
While comparing this masterwork to past albums would be doing it an injustice, it must be noted that the band has perfected the experimental intricacies introduced on 1987’s Into The Pandemonium (on “Drown In Ashes”) while maintaining the sledge-hammering tones of 1984’s Morbid Tales (on “Progeny”). Any semblance to 1989’s misguided glam debacle Cold Lake is, thankfully, non apparent. Fischer’s vocals are determined, Ain’s bass playing is precise and prominent, and new drummer Franco Sesa is a perfect fit for the varied material.
The overall subject matter points more in the direction of a concept album (read: spiritual experience) than a mere collection of songs. It’s dark and ethereal, with a musical flow that conjures many emotional states. From a gorgeous duet (“Obscured”), to seething noise (“Totengott”), to the oppressive 14+ minute “Synagoga Satanae” that segues into a tear-jerking classical outro entitled “Winter (Requiem, Chapter Three: Finale)”, no mood is left unevoked.
My only qualm with Monotheist is how the almighty Frost intends on topping it.
A+ -Mike Baronas
The God That Never Was
Candlelight
With Dismember, you pretty much know what you’re going to get (aside from 1995’s Massive Killing Capacity, which slid towards more of a rock sound, a la Entombed) – that is, heavy, pummeling riffs, punishing vocals, and some killer guitar leads. On their 7th full-length release, Dismember goes a step further, incorporating a little more melody and old-school metal feel into the music.
The title track opens the disc with a mighty kick to the gut, showcasing old-school death metal that Dismember first showed on their amazing 1991 debut Like an Ever Flowing Stream. From there, it delves into a slightly more melodic “Shadows of the Mutilated”, complete with harmonized guitar riffs (a theme that carries on throughout much of the album) and some sweet soloing. “Autopsy” has a sound that reminds me of the band of the same name. The instrumental track, “Phantoms (of the Oath)” is a masterful song, with heavy riffage mixed in with some great melodic solos, guitarists trading harmonies, and dare I say a bit of an Iron Maiden feel to it at times.
“Where No Ghost is Holy” brings the album to a close with a bang, leaving you wanting more than the 35 minutes that is presented here. Production is top notch, with the trademark bass heavy and buzzsaw-like guitar sound creating a cacophonous symphony of sound that demonstrates Dismember is still a force to be reckoned with.
B -Goz
Epic Tales of Vengeance
Say It In Blood
 Jim Durkin’s status in the thrash world may not be iconic, but at least would give the guitarist some ink-worthy approval due to his involvement with such thrash landmarks as Darkness Descends or Leave Scars. Post-Dark Angel-Jim has assembled a few lineups for his new act Dreams of Damnation, the latest 6 song EP, including a deep female larynx in the form of screamer Loana de Valencia.
The game plan doesn’t differ much from his musical past, primal raw riffs blend with caustic vocals and the drumming moves between highway cruising to drag race snare/double bass slam. At 27 minutes + change, the group leave me wanting more, which I suppose can be a better deal than dragging the proceedings out to a filler-length format that seems to be the norm in compact disc times. Lyrically I can also count on the fact that any of Jim Durkin’s groups produce lyrics which not only match the violent/savage music but also force me to consult my dictionary to be sure I understand the content – in this instance ‘hybridize’ from “New Flesh” wins that award.
Those of you who long for thrash circa 1985-1987 before the silly Headbangers Ball video action infiltrated the scene will want Epic Tales Of Vengeance, and I could see this as a good gateway disc for the newcomers to comb the used bins for all the old Bay Area/ California scene starters.
B -Matt Coe
When In Sodom
Threeman
When In Sodom, a five-song EP released on 6-6-06 (when their full-length Serpent Saints was originally scheduled to be released), is the first release post long-time guitarist Uffe Cederland.
The title track opens things up, with Alex Hellid’s slow plodding riff and LG Petrov’s gruff vocals being backed up with the heavy beats of drummer Peter Starjnwind and bassist Nico Elgstrand. The song is a bit repetitive, but it’s a decent kick-off to the EP. “Carnage” follows, and the opening riff has the trademark Entombed buzz-saw guitar sound that we all should know and love. Monster riffage, super heavy bass, solid drumming make this is a standout track that could almost fit onto classics Left Hand Path or Clandestine – it’s really that good!
“Thou Shalt Kill” and “Heresy” are decent tracks with more crushing guitar riffs, but it’s tough to follow up a track like “Carnage”. “Amen” is a quiet track with mostly acoustic guitar, bass, and distorted spoken words – I could’ve done without this one personally.
Let’s hope that Serpent Saints contains more stuff like “Carnage”, and that the band doesn’t go back to the rock stylings of Same Difference.
B -Goz
Bringing Back the Bloodshed
Razorback
How can I NOT praise a band that worships the gore films I grew up loving as well? A toothy grin immediately crossed my face as I was transported back to my teens when “Intro” launched into the distinct Vestron Video title card music that graced oh so many great horror films of the `80’s.
Slicing and dicing through homages to cult slashers such as Sleepaway Camp, The Mutilator, Driller Killer, Humongous & Friday the 13th Part 2, the catchy, grinding riffs matched with unprocessed classic Carcass-esque vocals – while far from innovative – will make any speed freak salivate. The album’s title track snubs the PG13 and remake cash-in trends, asking the eternal question as to why films aren’t simply made to horrify any longer. A cover of Laaz Rockit’s “Leatherface” from the soundtrack to the third installment of TCM rounds out this tasty musical blood clot.
Frightfully fun!
B+ -Mike Baronas
The Passion of the Antichrist
Necro-Tone
They had me sold on the album title alone, but Gein and the Graverobbers put their music where their mouths are…literally. If you're thinking they ramble on about satanic topics you'd be wrong – they don't sing at all. They're an all-instrumental (aside from various movie samples) horror-surf rock band.
From the opening intro track "Invocation" into "The Hungry Grave," these ghouls will have you headbanging while covered in stage blood, sacrificial dagger in hand! Like their other CDs, Passion… has a true surf reverb sound production and this is by far they're most professional sounding recording to date. Having seen them live 2 or 3 times, they're definitely one of my favorite bands live, as they dress the part in zombified make-up.
If you're looking for a hip way to play beach blanket bingo, then pick up The Passion of the Antichrist before "HE" arrives and makes you listen to it!
A+ -Matt Smith
As Rapture Comes
Century Media
Grave’s seventh full length release, As Rapture Comes, showcases the band in fine form. Opening the disc is the monstrously brutal “Burn”, which is an unrelenting attack on your senses. The guitar sound on this disc is completely ripping, with heaps of distortion creating that classic ‘Swedish sound’ to the dueling guitars of Ola Lindgren (who also provides the guttural vocals) and Jonas Torndal.
“Through Eternity” follows, and it allows drummer Jensa Paulsson to show his stuff, with some nifty double-bass work and some nice blast beats as well. Of course, Fredda Isaksson keeps the low-end in check with his massive bass playing. “By Demons Bred” starts off with a nice slow melodic riff, then kicks into high gear with a killer trade-off guitar solo in the middle. Grave even cover the Alice in Chains tune “Them Bones” here heavier than AIC could ever imagine.
Closing out the album is the title track, which pretty much has everything in it – fast parts, slow parts, melodic riffs, screaming solos – and is the perfect way to end a great disc.
B+ -Goz
Lethal Legacy
Spineazor
Mastery is a four-piece, instrumental thrash-metal band from Toronto. According to their bio, they were searching for a vocalist, but never found the right match and decided to forge ahead without one. Consisting of Markus Amellini and Jeff Dormer on guitar (with Dormer taking the numerous leads), and a rhythm section of Anthony Ristouski on bass and Kevan Roy on drums, Mastery showcases their musical talents right from the start.
After a brief into piece, “Power Race” smacks you in the face with a Slayer-like riff, leading right into the first of many great guitar solos. Rapid fire riffs one after the other, insane drumming (from a monster kit – check their website for pictures of it), and solid bass all keep together in a mighty tight package. The title track has a really catchy riff to open the track, which is reprised throughout the song, and has a real nice change of pace breakdown in the middle of the song. “Nevermore” ends this all too short sampling of music the same way it began – never giving up on the power, and showing that the musicians in Mastery can shred with the best of them.
When I read their bio before listing to the disc, I thought it might be hard to keep my interest in the songs without any vocals, but they manage to keep it interesting with their masterful playing and good songwriting skills. The main drawback to Lethal Legacy is that the production is a bit lacking, mainly on the drums as they sound a bit hollow or distant. Granted, they are nowhere near as bad as the drums on St. Anger, but they could certainly be better.
B -Goz
A Light In The Dark
SPV
I gave up on Metal Church when Mike Howe joined the fold. David Wayne’s blistering vocals were, and always be, Metal Church’s foundation. Anything else is like Paul Rogers trying to sing for Queen – absurd.
Why then, you ask, am I qualified – or would even want – to review A Light In The Dark? Read on…
While I give them credit for fighting the good fight for over 20 years now, Vanderhoof and Co. haven’t progressed musically whatsoever. Uninteresting and unmemorable riffs make songs such as “Blinded By Life”, “Beyond All Reason” and “Caught Up” sound interchangeable. What’s worse is that they have their least competent vocalist now at the helm. This hired gun – Ronny Munroe, who first appeared on the band’s last CD Weight of the World – tries way too hard to be Rob Halford without the ability to hit any of the notes. But, painfully, the worst was yet to come.
Billed as a ‘tribute’ to the late, great vocalist, the band had the raging gonads to re-record the 1986 classic “Watch the Children Pray”. Wayne is undoubtedly rolling over in his grave as it is an out-and-out massacre! There’s no kinder way of describing it other than it’s the fecal icing on an already foul cake.
F -Mike Baronas
Symbols of Failure
Neurotic
Pscroptic’s third release, Symbols of Failure, is a frenetically paced, riff-laden, super technical mix of death metal with a hint of grindcore. Here, the Australian quartet whips through 9 songs of pure intensity, not slowing for a moment the whole time. New singer Jason Peppiatt shows that he can growl, gargle, scream and belch with the best of them, while drummer David Haley keeps the pace with incredible double-bass, blazing blast beats, superb cymbal smashing and numerous time changes. Guitarist Joe Haley riffs non-stop, keeping up with his brothers pace without even a second thought. Cameron Grants bass playing is good, although it’s mixed quite low on the disc, so it’s hard to discern it a lot of the time.
“Alpha Breed” kicks of the disc with a kick you in the teeth attack of drums, riffs, and even a brief hint of Obituary-like vocals. Lots of interesting time changes and complex guitar work will keep you interested as it almost seamlessly transitions in to “Missionaries of a Future to Come”, which brings more of the same intensity. Moving on a bit “Epoch of the Gods” has a more straight forward death metal feel to it, but has its share of technical bits to keep it in line with the rest of the album. “Cleansing a Misguided Path” ends the disc in wonderful fashion, with some killer machine-gun riffs midway through, and ends up leaving you wanting more as it fades out to the end.
This certainly isn’t your typical death metal disc here. In fact, I didn’t really like it too much upon first listen, but something kept me coming back to listen to it. The more I heard, the more I appreciated how great Symbols of Failure really is.
B+ -Goz
Now, Dyabolical
Century Media
Satyricon’s long awaited new release, Now, Diabolical, kicks right off with the title track. A medium paced rhythm starts it off, soon joined by a crushing and catchy guitar riff that carries throughout the song. The chorus is a rousing chant “Now, Diabolical!” and I can easily picture a whole crowd of fans chanting along and pumping their fists into the sky.
Next up is “K.I.N.G.”, which opens with another great riff that will stick in your head for a while. Great vocals and another memorable chorus make this one very memorable. “The Pentagram Burns” slows things down a bit, but it certainly isn’t plodding along, and still presents some nice hooks and interesting parts. “The Rite of Our Cross” might be the closest Satyricon comes to a 'typical' black metal song, with the blast beat drums and rapid riffing, but even it is far from typical. As a testament to the diversity of the music here, there is a tuba and maybe a trumpet on “To The Mountains”, which fit well into the song.
Satyr, who handles vocals and all instruments for the band, uses a cleaner style than your typical black metal singer does – it’s still quite raspy (with occasion dark whispering), but is actually quite understandable at the same time. Percussionist Frost holds down the beats quite solidly, throwing in a nice fill here and there. Produced by Satyr, the sound on this disc is top-notch. Heavy, layered guitars, pounding drums, and vocals which are clear and up front in the mix help make the great music here even better.
Satyricon is definitely not a typical black metal band – they meld in touches of melodic death metal, and maybe even some good old rock n’ roll. Catchy riffs, memorable vocal lines, and chant-along choruses make this stand corpse-painted-head and spike-wearing-shoulders above the rest.
A- -Goz
Pitch Black Progress
Nuclear Blast
Symmetric In Design – the debut album from this Swedish quintet – hit my cranium from all sides with its stellar blend of deep guttural death vocals and clean Dan Swano-like melodies, guitar solos that Allan Holdsworth would bow to in a jazz-like frenzy, and a style that Soilwork-mavens lap up. I loved this group so much that I went combing the internet mail order companies to pick up other bands that these members also have going such as Altered Aeon, Incapacity, and Unmoored.
Releasing the follow up a mere 14 months after such a strong impression could be difficult, as my expectations would be quite high. Pitch Black Progress’ 11 tracks subscribe to an often heard philosophy in the metal interview realm when asking a member about their latest material for comparison’s sake- the heavier material gets a little heavier and the melodic parts gain even more melody. Drummer Henrik Ohlsson tackles heady lyrical scope judging solely on titles like “The Kaleidoscopic God” and “Oscillation Point” while his drumming progressively pummels as Steve Flynn and Sean Reinart once did in the death genre.
My favorite tracks include the inhumanly low growls from Christian Alvestam that carry the doomier title track followed up by the hyper blast kinetic explosion that moves the Fear Factory-like “Calculate The Apocalypse”. Overall though I’m slightly disappointed as I felt the songwriting and memorable factor was two steps ahead on the debut album, while with Pitch Black Progress the musician crowd may be wowed more than any other particular fan base.
In relation to most metal product, Scar Symmetry soar well above the scene stealers, bandwagon jumpers and kids who think that hardcore beats over distorted guitar chords = metal in 2006. I only lament at the fact that a little more time could have taken a slightly above average second album into classic status.
B- -Matt Coe
Jaggernaut
Tortuga
It’s amazing, really, how long these guys have been around. Being from the general Boston area, I’ve been lucky enough to see Scissorfight play live probably close to 20 times now. This is a live band, first and foremost, and capturing their signature sound on disc has proven to be a difficult task. With that said, though, Jaggernaut is their best offering in the last 5 years.
If you don’t know Scissorfight, they’re best described as the official soundtrack to a nightmarish acid trip while lost in the back woods of New Hampshire. In fact, many of their songs are about those very topics, though not necessarily at the same time. Jaggernaut is a solid kick in the ass from these New Hampshire/Boston smart-asses, and is a vast improvement from their last offering, Mantrapping for Sport and Profit. The great thing about Scissorfight is that you always know what you’re going to get—it’s all about New Hampshire back woods horrors, telling the “man” where to stick it, fighting, drinking, and living free or dying. It’s been a successful formula for them, and finally…after all these years, they’re getting noticed.
Jaggernaut, for many, will provide an entry point into the legend of Scissorfight, and that’s not a bad thing. Songs like “Dynamite”, “The Dredge”, and “Backwoods” (with tongue firmly in cheek), would all fit on any prior classic ‘fight record. The secret to Scissorfight’s sound lies somewhere between Jay’s huge boogie guitar sound, and Jarvis’ massive, growling bass attack (actually, without Jarvis, these guys wouldn’t be nearly as heavy). Over the years, they’ve incorporated a bit more of a cartoonish “redneck” vibe, and the one clunker on Jaggernaut is culmination of this flirtation, “Appalachian Chain”, complete with a goofy banjo picking lead off. Other than this throwaway track, Jaggernaut delivers the goods in classic, unrelenting Scissorfight manner.
B -Chuck Ferreira
s/t
Bombworks
Here is a nice surprise: a seemless amalgam of various crushing styles of heavy music. It's difficult to liken The Soul's Unrest to any single metallic subgenre, although this 7-song/26-minute offering comprised of the band's 2 demos contains plenty to sink your teeth into: crushing, disjointed mid-paced and fast riffs (technical but strangely memorable), savage, surly, decipherable vocals, occasional blast beats and judicious use of shifting dynamics and time signatures.
Chops-heavy, progressive elements abound – in this case, strangely, adding to the overall pummeling nature of the music. Although TSU is not straight-up thrash, I'll mention that two recognizable moments of influence I can cite after a number of listens are some Destruction-isms in "Thunderbolt" (maybe even close to Morgoth's “Body Count”) and the following track, "Though I Fall" – though this is not a complaint. Sonics are surprisingly full for "demo" recordings, which really helps push this release over the top. The overall guitar sound is warm and not unlike a thicker Destruction.
It's great listen; and if there is any justice in the world, this band will receive some recognition. I can't wait to hear the newer material the band says it's been writing; hopefully a full-length is not far behind this.
B+ -Mark Fields
Age of Winters
Kemado
There are all kinds of terms being thrown around these days to describe this record. The “stoner” tag will always be applied because The Sword are clear descendants of the mighty Black Sabbath filtered through stoner stalwarts, Sleep. I’ve even heard terms like “Viking Rock”, “Hessian Rock”, and the less imaginative “retro-metal” moniker. What IS true about this record, though, is that it’s actually a breath of fresh air in today’s metal scene which seems to actually de-emphasize the power of the riff.
The Sword are all about the riff—big, dense, heavy riffs that would make Tony Iommi proud. Who cares if they sound like they drank a gallon of bong water while listening to their Electric Wizard and Sleep albums in the basement of their mom’s house while lying down on the orange shag carpet? If we’re going to argue about what is authentic/original and what isn’t, we might as well throw away everything recorded after Sabbath recorded Masters of Reality. Huge, massive, menacing (yet very catchy) Sabbath-inspired riffs and full, gigantic drums is what they build their sound around, and I don’t have a problem with that, and neither should you.
This is really nothing to argue about. Instead, I’d rather focus on the ferocity of The Sword’s debut record; it’s chock full of mid-tempo pieces that churn along like a Sherman tank about to crush a mountain of bricks, like the satisfying “Barael’s Blade” (thus the “viking rock” tag), and the pummeling “Freya”. These guys even speed things up a bit with the chuggy “Iron Swan”—it’s one of those moments when a band that isn’t necessarily designed for speed decides to kick it up a notch. I liken it to 1950s-era Cadillac Eldorado with a full tank of gas, screaming down the highway—fenders and chrome rattling about, nearly out of control, but managing to keep it all together. It’s frightening and awe inspiring all at once.
This is a great album and it deserves every bit of accolade being thrown its way. I’m going to go out on a limb and say that this is going to be the best metal record of 2006 (sorry Mike, I know…I know…Monotheist!). So, put your Viking helmet on…torch a village…whatever. Just make sure you bring your Sword.
A+ -Chuck Ferreira
Book of Sand
Kemado
Tarantula A.D. is one of those bands the defies classification. One minute they're metal (think Melvins/Tool style metal) the next minute they're breaking off into a Zorn-inspired horror soundtrack vibe.
Mixing metal guitars with violins, violas, flutes, piano and various other instruments with very few vocals makes for a well rounded sound that will have you getting pummeled one moment and lulled to sleep the next. I got turned on to these guys by seeing them live and have been a fan ever since!
Book of Sand is an album to get if you're sick of the same old-same old.
A -Matt Smith
Metal Black
Sanctuary
With apologies to my friend Mike ‘Mykvs’ Hickey, this just plain SUUUUUUUUUCKS! It’s the complete and total opposite of what similarly influential classic metal band Celtic Frost created for its comeback release.
This is brainless in every sense of the word, right down to the ‘inverted’ album title. Woe be unto the youth who mistakenly purchase this drek when intending to pick up the band’s credible musical history circa 1982.
F -Mike Baronas
Katorz
The End
As with every new Voivod album, I look forward to hearing it with extreme anticipation as they have always been one of my favorite bands, though this anticipation was marred with sadness.
Katorz is the album they were working on when guitarist 'Piggy' (Denis D'Amour for the not so hardcore fans) died last year from cancer. The band finished up the recordings by using the tracks Piggy laid down on his home computer prior to his death and it sounds very solid given the circumstances. It makes me think they must have had most of the songs worked out beforehand.
The sound is undeniably Voivod and includes some of the best riffs since the Dimension Hatross / Nothingface days. It's a logical step after their last self-titled disc – the first with Jason Newsted (aka 'Jasonic') – and he plays a large role in the sound here like Blacky did back in the day.
The songs are metaphorically critical of the state of the Iraqi War right from the first track "Getaway", a song that sounds like it's about getting our troops out. Other obvious Bush/Iraq-heavy commentary tracks are "Dognation" and "Odds & Frauds", and there definitely seems to be an anti-Bush concept running within most of the lyrics. This may seem overplayed in today’s musical climate, but in my opinion there can never be enough, and Voivod gives it all a fresh twist.
Throughout the album are little acoustic guitar pieces that are very refreshing to hear on a Voivod album showcasing Piggy's versatility as a guitar player (not that we didn't already know that).
Although this album is one of their best in years, it depresses me to think that it will be the last album of new Voivod tracks we'll hear, at least with new Piggy riffs. And right now I can't picture them carrying on without one of the most unique (and underrated) guitarists in rock. Piggy may be gone but his riffing will ring throughout "The Multiverse" forever.
A -Matt Smith
s/t
Tee Pee
Every review of this album is required to say that this band features J Mascis on drums. Indie-Rock guitar god, J, has put aside his jazzmasters and marshalls and dusted off his drums for this project, and I couldn’t be happier. J has been trying for years to put together a band that returns to the fuzzed out land of yesteryear, and I think this time he succeeded. For this one, J teams up with Kyle Thomas (guitar/vocals) and Asa Irons (guitar) from the avant-garde folk band Feathers, and longtime friend Dave Sweetapple (bass). The album was recorded in J’s basement studio along with producer extraordinaire John Agnello (Son Volt, Buffalo Tom, Jawbox).
I’ve always been a fan of current recordings that really capture the sound and feeling of 40 years ago, and this record is a great example. This thing definitely sounds like it was recorded in 1969, and the artwork reflects that too. So, now that we’ve set the scene, how about the songs? No fooling around here. Right from the first song, “Seer”, it’s killer fuzz riffs galore, complete with wah’ed out solos, and big Bohnam drums. The lyrics are pretty standard stuff; magick, wizards, and dark wooded areas. The pace is pretty slow and doomy, except on “Black Saint” where they speed it up a little, and it kicks some serious ass. “Isadora” starts out kinda like Feathers, than gradually building, and kicks in with more big riffs. Vocals are folky and take a bit to get used to, but definitely work with the music for a cool vibe.
There’s nothing too innovative about this album, but it is a great listen. If you’re a fan of early Sabbath and Pentagram, this as a must have. If you’re a speed metal fan, this probably isn’t for you. Overall, a great debut. Highly recommended.
B+ -Mark Small
Don’t Fear the Reaper
Century Media
I have to admit, when this promo disc was first handed to me, I was a bit amused. I mean, how many bands out there have the word “witch” in their title these days anyway? There’s Witch (a superb band, by the way - see Mark Small’s review of their debut record above), Witchcraft, and, of course, Witchery. Once I got past the title of the disc (more cowbell anyone?), I settled in and found myself really enjoying this one.
I wasn’t really all too familiar with this band, but apparently this is a very successful side project for a bunch of guys in bands Arch Enemy, The Haunted, and Opeth. Witchery create a sort of interesting mix of throwback thrash and death metal…and they do it well. The thrash elements, while definitely retro, don’t sound re-hashed and tired—on the contrary, it’s rather fresh sounding. The songs are arranged well and expertly played. While it could use a bit more bottom end (and this is clearly more of a production criticism), the guitars chug along at machine-gun like pace at times.
The stand out tracks for me include the percussion-laden instrumental opener, “Disturbing the Beast”, which leads right into the pummeling thrash of “Stigmatized”. The disc is off to a great start and continues on for a while in this manner, until you come across the weakest track on the disc, “Ashes”. It’s like a dumb, black metal/death metal frat-party chant, all grunts and growls and such. “Plague Rider” brings it all back into perspective with some incredibly satisfying double thrash guitar riffing followed by a classic thrash double-bass whipping. From here on out, the disc follows this very successful formula.
While the vocals can sometimes border ever so slightly on the goofy “cookie monster” death style, Don’t Fear the Reaper (I NEED more cowbell) really does pack a solid wallop.
B -Chuck Ferreira
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