ANCIENT RITES
Fatherland
(Mascot)

Ancient Rites are good at coming up with cool, memorable riffs that don’t tread on anyone else’s style.  There is a mixture of 80s style raging thrash riffage, mixed with some classic Maiden-esque moments.  Unlike most of the modern Maiden-influenced acts, however, Ancient Rites focus more on the atmospheric riffs rather than the melodic harmonies or blazing leads.  There is plenty of speed and double-bass drumming on offer, too, and the band don’t sound dated at all.  Gunther’s vocals are another of the band’s strengths, offering a good variety from dark to grim to clean.

Fatherland is not an immediate album.  It takes a few listens to really get a grip on some of the subtle textures and differentiate the songs easily.  The production could be improved just a touch, with a little more low-end in the mix, but overall, Fatherland is a strong album and important release for Ancient Rites.  It admirably demonstrates a band maturing, finding their own sound, and delivering a hell of a metal record in the process.
[Daniel Hinds]

BAL-SAGOTH
Battle Magic
(Cacophonous)

As the album opens, you are greeted with a wonderfully grand, almost pompous, flurry of keyboards, with an emphasis on horn patches.  Right away, you can tell something is different about these guys - the melodies are striking, but are also uplifting rather than the usual dark atmosphere bands try to evoke.  With "Naked Steel (The Warrior's Saga)," the band bring the guitars, drums, bass and vocals, but the keyboards are still the main component of the music.  Bal-Sagoth play some pretty fast and intense material, but the mood seems to be more jubilant than evil.  The effect is similar to what a lot of the Viking metal bands do, but the sound is distinctly British.  It is a nice change of pace and the band pull it off remarkably well.

Two things help to make Battle Magic well wroth getting.  One, the band are very adept at developing long, involved pieces of music that rely heavily on layered keyboards, speedy riffs and intricate arrangements.  Secondly, they develop some great, catchy melodies in the process, giving the music an enchanted, cinematic quality.  The (pitch-shifted?) vocal narratives that pop up throughout the various tracks give the proceedings a slightly cheesy feel, but don't ruin the album by any means.  The production is fine, the artwork is OTT in a very FRPG kind of way and the songs themselves demand repeated listenings.
[Daniel Hinds]

BOW WOW WOW
Wild in the U.S.A.
(Cleopatra)

I think they should have opened with a remix of "I Want Candy," and then placed the rest of them at the end of the album.  What I really wanted to hear were the live songs.  They are very raw sounding.  Not like the great production they had on the 80s.  It adds energy to a lot of songs like "Baby, Oh No!," "See Jungle," "I Want Candy," and "Do You Want to Hold Me."

The tracks that sound the oddest are the tracks with mostly drums and vocals--the tribal songs.  My favorite song, "Louis Quartorze," being amongst these.  The mix just sounds odd.  They don't blend together the way they should and her voice seems to be mixed really loud.

Overall, it works pretty good as a live album, especially considering they were splicing two shows together:  The Bluebird theatre (Denver, CO) and The Drama Club (Santa Fe, NM).  And I was informed of some good news from BWW's management.  The gang is busy in the studio recording a CD full of new material.
[Victor Mejia]

THE CREATURES
Anima Animus
(Instinct)

Anima Animus is a definite must have for anyone who adores Siouxsie or even mildly admires the "good old days" of goth (you remember those, before things got ugly and commercial, there was a time when everything was right in our dark little world and she was our voice).
[A. Nocturna]

CRYHAVOC
Sweetbriers
(Spinefarm)

Treading ground similar to recent Sentenced, Cryhavoc add some gruffer vocals and slightly more complex arrangements.  Still, the focus is on making classy, catchy songs that don't overstay their welcome and Cryhavoc have succeeded in spades.  The thing that really gives the band their sound is their ability to come up with some unusual riffs that are infectious as hell, most notably on "Pagans Uprise" and "Come With Me."  The songs are mostly mid-tempo throughout the album, but they are different enough to keep your attention intact for the whole eight songs.

I've seen some mentions of the word 'goth' in relation to Cryhavoc, but I just don't see it myself.  Fans of modern, melodic post-death metal acts such as In Flames and Sentenced should definitely get ahold of Sweetbriers.  Someone needs to release this in the US or get better distribution for Spinefarm, as I had to go through a German mail-order company to finally get my copy.  Word is the band is nearly done with album number two, so look for that one this summer as well.
[Daniel Hinds]

DIMMU BORGIR
Spiritual Black Dimensions
(Nuclear Blast)

Spiritual Black Dimensions is the next logical step from there, losing even more of Dimmu's unique and classy style in favor of a more homogeneous sound, where it is difficult to distinguish one song from another.  The band seem to have taken the criticisms lodged against them as "sell-outs" or whatever too seriously, as it sounds like they are trying too hard to be harder and faster than before.  The keyboards, which were the real highlight of Enthrone.., are more subdued this time around, too.

On the plus side, there are some excellent leads on this album, almost always ending up as the highlight of each song.  Also, the band do break out of the monotony a few times, such as the more classic thrash break toward the end of "United In Unhallowed Grace."  Vocalist Simen Hestnaes (of Borknagar fame) also guests, delivering some nicely textured clean vocals amidst the chaos.

I don't want to rag on Spiritual.. too much, as it's not a bad album; it is merely disappointing.  If you liked Enthrone.. and the new tracks from the Godless Savage Garden EP last year, chances are you will enjoy most of this album as well.  It is more of the same, with very few surprises.  Each band must move in the direction they feel comfortable and Dimmu Borgir seem to be happy with their chosen path.  I just find my relative enjoyment of it tempered with a sense of loss of "what could have been."
[Daniel Hinds]

EINHERJER
Odin Owns ye All
(Century Black)

The most obvious change is the loss of vocalist Rune Bjelland, whose gruff charm gave Einherjer a good deal of its appeal.  Newcomer Ragnar, while not a bad singer, just hasn't properly fit into the band yet.  This, however, may have more to do with my other big problem with Odin Owns ye All - the god-awful production!  Everything is mixed so dry, especially the drums, it ruins any kind of flow in the music.  It's the kind of production that people like Alex Periales were giving thrash bands in the early 90s that helped kill that genre.  The vocals are the one thing that seem to get any kind of treatment and it only helps to further segregate the various sounds present.

Much criticism has been leveled at the keyboards and chanted choruses (check out "Clash of the Elder" for good examples of both), but these are actually two of my favorite elements on this disc.  They give the band back some of the personality that Andy La Rocque sucked out with his mixing board.  The song "Remember Tokk" is interesting as well, with its infusion of more classic rock/metal elements.

Some of the past greatness still shines through and I would hate to think that the line-up changes Einherjer has undergone have crippled the band beyond repair.  With a different producer and different vocalist, the band could still reclaim their former glory and be worthy of the Viking heritage they praise in their lyrics.  Odin Owns ye All, however, is a disappointment and you would be better off picking up any of their previous works in its place.
[Daniel Hinds]

EINSTÜRZENDE NEUBAUTEN
Ende Neu
(Nothing)

Having given up on them after the dreadfully dull Tabula Rasa, I was quite surprised and pleased to hear Ende Neu.  Sure, there are a few tracks that fall into that overly-minimal and laiback mode that plagued Tabula Rasa (“Stella Maris,” “Die Explosion Im Festispielhaus” and the god-awful “The Garden” are the main ones), but the majority of the work here is injected with a newfound energy and creativity.

“Was Ist Ist” starts things off with a bang, featuring a kind of dated (but very suitable) production and some great chanted choruses.  The real achievement of this album, however, comes on track #5, “NNNAAAMMM.”  It is an eleven-minute piece of work that starts with a simple vocal mantra that is repeated endlessly, but slowly built upon with each iteration.  The result is strangely infectious and the band know just when to break out for a completely different mid-section, before bringing it all back together at the end.  The title track is also worth mentioning, featuring some of the most interesting sounds on the album.

I can’t completely recommend Ende Neu, as it does drag at a couple points, but the good songs are very good and it is good to hear a band this far into their career able to pull together elements from their roots all the way up to present-day and make a decent album out of it.
[Daniel Hinds]

ELECTRIC BIRD NOISE
Unleashing The Inner Robot
(Artfag)

Driven by two guitars, bass, synths and a drum machine, this South Carolina trio have put together fairly impressive collection of instrumental tunes.  Hitting hard right off the mark, "Number Four" has some nice, quirky rhythms and riffs that put me in mind of King Crimson without any obvious reference.  "Lazy Tumbleweeds" shows an even more impressive side to the band, full of atmosphere and feeling.  Nothing as trite as a normal rock song ever intrudes into the proceeds on Unleashing.., yet the band do indeed rock when they want to.  Personally, I prefer the more sedate tracks, where Brian McKenzie really gets a chance to express himself on the guitar.  There is a lot to be said for some of the more upbeat numbers, too, like "Number Three," where the melodies flow and undulate around a central theme without become boring.

This album may not appeal to a mass audience, but it should do well to make some prog-rockers happy and maybe surprise some of the other more experimental readers out there, too.  The production is low-budget, but very clean and full-sounding.

I must say, it sure is nice to hear that someone is using synths, loops and programmed beats to make something other than crappy electronica for once…  More info at: http://members.aol.com/ebnoise/home.html
[Daniel Hinds]

EMPEROR
IX Equilibrium
(Century Media)

Not beating around the bush with any lengthy intros, "Curse You All Men" gets things moving pretty quickly, with the band's trademark hyper double-bass drumming, lightning quick riffing and of course Ihsahn's distinctive vocal shriek.  They keyboards are still there, too, but for the most part, they are used in a more subtle manner than on previous records.  Overall, the style on IX Equilibrium isn't too different from Anthems.., though the playing is a bit more distinct (thanks to an awesome production job) and there is more variety in the tempo department.  It's not an all-out speed-fest like last time around, although there is certainly no lack of speed here either.

Emperor's ability to write intricate yet interesting songs hasn't faded one bit.  Take "Sworn" for example.  It is only four and a half minutes long, yet it twists and turns through a series of tempos and mind-blowing riffs.  Trym's drumming is brilliant as usual, tempting chaos without ever losing its way.  People can say what they like about Faust, who was certainly skilled as well, but Trym's work on this and Anthems.. is just stunning.  The rest of the band is equally impressive, as Ihsahn delivers his most diverse and solid vocal delivery to date, ranging from clearly sun bits to high pitch shrieks to his trademark grim style.  Samoth provides a number of the tracks with his best leads to date, not to mention the sheer intensity of the rhythm playing throughout.

While the advancement on this disk may seem limited at first, there are some subtle shifts.  Maybe I'm hearing things, but I seem to detect a certain prog element to a few of the songs, as well as a more obvious effort at writing memorable riffs.  On the down side, the really OTT symphonic elements that the band does so well are toned down this time around.

Emperor are walking that dangerous line between credibility and success.  While some of the elitist black metal folks abandoned them when Faust was imprisoned, they have managed to hang onto their underground and "true" black metal status in a way that belies their increasing popularity around the world.  How much further they can go before getting written off the way bands like Slayer and Kreator have in the past, I don't know, but IX Equilibrium should help put off that inevitable day a bit longer.  The band have found their sound and are now exploring and expanding it.  While many have claimed black metal is creatively dead, Emperor manage to prove those critics wrong and present the world with yet another must-have album.
[Daniel Hinds]

GAMMA RAY
Power Plant
(Noise)

The band's commitment to the metal cause goes without saying, as "Anywhere in the Galaxy" starts off with a mellow, Maiden-esque intro before ripping into full-throttle riff-a-rama.  Each successive track follows in a similar manner, though I must compliment Gamma Ray for making an effort to really give the songs more individuality this time around.

There are some interesting references to other bands on Power Plant, too.  "Short As Hell," for example, sounds like a good version of some of the tracks on Metallica's black album - to the point where I wonder if they aren't taking the piss out of the Bay Area 'thrashers' with it.  The surprise cover of Pet Shop Boys' "It's a Sin" is another success, displaying some eerie similarities to the classic Helloween song "I Want Out."  In case anyone doubted Gamma Ray's faith to the cause, however, they follow it up immediately with "Heavy Metal Universe," which gives Manowar a run for their money in terms of praising the cause of Heavy Metal.  "Wings of Destiny" even takes on a bit of a prog edge, reminding me of the first Dream Theatre record.  "Hand of Fate" leads us through some old-Priest-like verses and into a giant, majestic chorus, before "Armageddon" closes down the proceedings with some beautiful, high-speed riffing - the epitome of what makes Gamma Ray so good.

The musicianship is top-notch (as you would expect) and Kai's singing is about the best I have heard from him yet.  The production on Power Plant is also probably the best I have heard on a Gamma Ray disc, giving the songs real punch.

In the end, though, it is the songs themselves that rule the day and Gamma Ray deliver the goods and then some.  The lyrics are nothing ground-breaking, but the music is excellent.  Power Plant is the perfect blend of power, melody, heaviness and speed.
[Daniel Hinds]

IN THE WOODS...
Strange In Stereo
(Misanthropy)

Much like The Gathering, Yearning, Amorphis and to a certain extent Tiamat, In The Woods... have looked to the past for inspiration, specifically the 70s.  Elements of artists such as Pink Floyd and Tangerine Dream pop up throughout Strange in Stereo, giving the band a definite psychedelic feel.  Don't worry, though, as the band refrain from falling into one big space-out jam session, incorporating other sounds from folk to goth to doom metal and carefully craft the songs to build and develop their own personality.  Both the clean male and female vocals are emotional and fit the band's sound to a tee (how often does THAT happen?).

In The Woods... are not an easy band to get into - hell, I've listened to this disc a dozen times and I only now feel like I am starting to get it.  The band trades in atmosphere, texture and feeling rather than catchy choruses or flashy musicianship.  It is a recipe for relative obscurity, sadly, but also for some really die-hard fans and a moving listening experience for those with some patience and an open mind.
[Daniel Hinds]

INDUNGEON
Machinegunnery of Doom
(Full Moon Productions)

Indungeon have unleashed a nice, headbanging assault of hateful war metal that owes more to Sodom than anyone else, esp. Mournlord’s raspy vocal attack.  The one thing that surprised me was the amount of melody contained within the tracks of Machinegunnery of Doom, such as the harmonic riffs of “522 666.”  Formed by members of the bands Mithotyn and Thy Primordial, it is no surprise perhaps that such elements would be present, but it is a nice touch and helps to further establish the band’s unique sound. The bass playing stands out really well, too, which is also a bit unusual for this type of music.

The production is simple and raw, but very fitting – not unlike the production on some of the older Kreator discs.  Don’t expect too much variety from song to song or any nice and catchy choruses, but do be prepared for ten tracks of ripping thrash (plus a cover of Bathory’s“Die In Fire”), laden with battle-weary vocals and a surprising amount of technicality at time.  A strong debut that, frankly, outshines the various members’ “real” bands.
[Daniel Hinds]

KMFDM
Adios
(TVT/Wax Trax!)

The title track is one of the more KMFDM sort of tracks.  The chorus is a series of good-byes in several languages and ends with "and down the drain."  A lyric quite symbolic of the self-loathing that has marked KMFDM lyrics over the years.  "D.I.Y" is probably the song most representative of the old KMFDM--at least in the way that the lyrics are sung.  There are orchestra swells in the music that give it a distinct feel.

The song "Today" reminds me of New Order.  Both in the programming and the way that the vocals are sung.  "R.U.OK?" is in a similar techno vein and is what I think the last album should have probably sounded like.

The songs featuring Nina Hagen are both worth mentioning as is the two Ogre tracks.  Nina takes the vocals on "Witness" and gives it that Nina Hagen touch.  She just sings back-ups on "Bereit," the final song with all German lyrics and En Esch does the leads.  The first Ogre track, "That's All," features a classic KMFDM chorus, while the verses he sings are to a very Puppy-like vocal rhythm. The other track sounds like Cevin Key's programming. "Full Worm Garden" sounds much like a Tear Garden song.

The remaining tracks are average, but much better than the majority of the tracks on the last CD.  I don't see why they are making this a last album, if the final two albums are not very KMFDM-like.  Where are they planning on going from here?
[Victor Mejia]

MOTORHEAD
Everything Louder Than Everyone Else
(CMC International)

Like KISS, Motorhead managed to breakthrough with an excitement in it’s live recordings that they were never quite able to capture in the studio.  This led to an overproduced attempt to relive the glory of that album in 1988 with No Sleep At All.   A slew of bootlegs and semi-official live albums are also available from Motorhead, but none have come close to achieving the greatness of the original Hammersmith opus.

Copping the old Deep Purple adage for a title, Motorhead has appropriately named their new double live album Everything Louder Than Everyone Else.  Recorded in Hamburg, Germany in 1998, the band has put together 25 songs that span their career, but still lean heavily on the “classic” albums from the late 70s and early 80s.

Iron Fist, The Chase Is Better Than The Catch, Capricorn, Overkill, and Ace of Spades blend with more contemporary Motorhead numbers like Born To Raise Hell, Orgasmatron, and Killed By Death in a raw and raspy chug-a-lug that satisfies to the last drop.   What the album lacks compared to the awesome power of No Sleep ‘Til Hammersmith, it makes up for in quantity of material on offer.

Motorhead in 1999 is like watching a crocodile rip the guts from a baby gazelle.  Despite several personnel and label changes, the band has survived over 20 years of evolution in the music business.  A living dinosaur, they defy extinction by lurking dangerously in the murky tributaries of underground metal around the world.
[Ted Hinds]

MY LIFE WITH THE THRILL KILL KULT
13 Above the Night
(Rykodisc)

"The Velvet Edge" kicks things off with a much darker groove than anything from the previous disc, also bringing back the rampant sampling that made the band's first two albums so classic.  "Dirty Little Secret" is one of the album's lighter moments, sounding like a good version of some of the loungier tracks from Sexplosion!  "Dimentia 66" is a complete throwback to the early days, while "Final Blindness" is an energetic club track that, while it doesn't sound like typical TKK in any way, succeeds as one of the album's best.  "Blue Buddha," which I seem to remember being the main single off this album when it was originally released, is more laid-back and is considerably more pleasing to my ears now than when it first came out.

Despite the general improvement and quality of the above-mentioned tracks, there are still a number of filler cuts here, too, making 13 Above the Night something of a mixed bag.  It sounds like the band were still experimenting with different styles and it wasn't until the follow-up Hit 'n' Run Holiday (also seeing a Ryko re-issue) and its successor A Crime For All Seasons that things really clicked.  Still, there are some good songs to be had and the album is certainly worth checking into for fans of the band, old and new alike.
[Daniel Hinds]

MY LIFE WITH THE THRILL KILL KULT
Sexplosion!
(Ryko)

The change from the dark, gothic-tinged industrialism of the first two albums is jarring to say the least, but honestly the biggest problem with Sexplosion! is the rather mundane song-writing.  Opener “The International Sin Set” is a good example, featuring some cool vocals and horns, but lacking enough variety or punch to really sustain its near-six minute length. “Leathersex” is better, but the album then proceeds to get stuck in neutral for the rest of the CD, with only the house-y “Princess of the Queens” and the sleaze-rocker “Sex on Wheels” breaking the monotony.

This is a newly re-issued version by Rykodisc, featuring a cool case, nice booklet and three bonus tracks, so if you want this album, this is the version to get.  While “Sex on Wheels” almost makes this CD worth purchasing, the keyword there is ‘almost’…
[Daniel Hinds]

OPETH
My Arms, Your Hearse
(Century Black)

Guitarist Mikael Åkerfeldt delivers the gruff, deathly vocals that are a big part of my problem with Opeth.  Some people just should not attempt this style of singing (i.e. Amorphis' old singer) and Mikael is another sad example.  The clean vocals that come in from time to time are fine and help give the music more of a progressive feel, but the death rasps need to go.

The other major failing with Opeth, in my eyes, is what I believe a lot of people (including the band themselves) find the most attractive about their music:  its complexity.  Each song goes through enough twists and turns to make the likes of Watchtower and Dream Theater dizzy.  This is great and I have love when bands can pull off intricate, epic metal tracks (Mercyful Fate, Voivod, et al), but Opeth just don't have the knack for it.  The songs aren't songs, they are more collections of riffs stuck together.  The threads that held together such classic metal songs as "Satan's Fall" and "Ride the Lightning" are just plain absent.  The contrast from light and acoustic to brutally heavy and back again is repeated song after song.  Trying to recognize a song or differentiate it from the previous one are ultimately pointless tasks, as all cover basically the same ground.

I don't want to get too down on Opeth, though, as these sins are more a matter of taste than anything and they just rub me the wrong way.  Also, the various parts of each song are usually pretty cool, making Opeth the perfect band for compilations.  I applaud the band for trying (and achieving) something unique in such a crowded field as metal is these days, but I think they still have a ways to go to perfect the style.  Great album title, though.
[Daniel Hinds]

PISSING RAZORS
Cast Down the Plague
(Noise)

Where Pissing Razors outdo their competition is their energy.  While bands like Pantera seem happy to trudge through dull, Sabbath-gone-wrong territory, Pissing Razors know how to crank the speed up when they need to.  Sure, they falter at times (such as “Survival of Time” and “Forever”), but by and large, they do a good job at coming up with heavy, choppy riffs, reasonably complex arrangements and some pretty damn fine drumming.  The vocals do end up grating a bit on my nerves after a while, as they need just a little more range, but then again, I’m not a huge fan of this style to begin with, so it’s not too surprising.  Trying to distinguish one song from another is a challenge, but instead you end up picking up on certain riffs here and there that stick in your mind.

If you are in the market for some ultra-tight, 90s-style hardcore/metal played with conviction (and no small amount of anger), I don’t think you could do any better than the new Pissing Razors.
[Daniel Hinds]

PUYA
Fundamental
(MCA)

“Oasis” is a great opening track, mixing all the Puya elements, and even includes an awesome speed break in the middle that leads into a ripping solo – definitely not something their peers are likely to try anytime soon (sadly).  I wish the band had incorporated more speedy riffs like this elsewhere on the album.  “Fake” hits hard, while the title track shows the Latin influences creeping through more.  “Montate” demonstrates the band’s skill at writing pretty intricate songs without losing the flow.  The band throw in some odd time signatures, strange chords and offbeat arrangements, but they do it without being really obvious like many prog rockers.

While the second half of the album doesn’t quite live up to the standards set at the beginning, it’s not bad either.  I am not at all a fan of the modern ‘metal’ style that has been spawned by the likes of Sepultura and Korn, so I am very happy to hear bands like Puya and System of a Down taking that style to a new level that is actually enjoyable.
[Daniel Hinds]

RIOT
Restless Breed
(Metal Blade)

Originally released in 1982, Restless Breed was the debut of new vocalist Rhett Forrester, replacing original singer Guy Speranza.  Rhett was the perfect replacement, as he had a completely different style and a considerably more versatile voice.  Equally adept at singing the more emotional tracks (like "When I Was Young" and the title cut) and ripping it up on the more rockin' ones ("Loanshark" and "Violent Crimes"), he went on to do some excellent solo work and an album with Jack Starr before being tragically murdered in the early 90s.

One thing that strikes me about Riot is how ahead of the times they were, a fact that no doubt contributed to their relative obscurity.  Building on a hard rock foundation, the New York City quintet covered everything from power ballads ("Showdown") to raging proto-speed-metal ("Loanshark" and "Violent Crimes") and made it all sound so natural.  Each song is so well thought-out and crafted, even the less immediate tracks like "Over To You" and "Dream Away" eventually work their way into your brain and become essential parts of the album.  Mark Reale's lead work is as brilliant here as usual, with exemplary performances all around.

Fans of latter-day Riot who haven't heard this material before may be a bit surprised, but should still be able to appreciate the quality of the music.  This album, along with Fire Down Under, are in my mine essential parts of any true heavy metal collection and maybe these re-issues will help the band get some of the credit they didn't get back in the 80s.
[Daniel Hinds]

SINNER
The Nature of Evil
(Nuclear Blast)

“Devil’s River” is a great mid-tempo opener with a memorable riff, a great Purple-esque keyboard solo and very fluid leads to boot.  “A Question of Honor” is next and is a good example of where Sinner go wrong, extending a reasonably okay rocker into a 7+ minute monster that ends up being just too bulky for its own good.  Even here, though, the band pull out a great speedy riff halfway through that makes it worth hearing.  “Justice From Hell” is one of the album’s best, treading similar ground to Mat’s other band, Primal Fear.  The band must also be congratulated for their choice of covers, closing the album off with a faithful rendition of Thin Lizzy’s great ballad, “The Sun Goes Down.”

Mat has really perfected the raw, heavy production, placing this release on equal footing as the Primal Fear debut for sheer heaviness and class.  While his singing certainly isn’t in the same league as Ralf Scheepers, it has a rough charm and he can pull off the mellow parts fairly convincingly, too.  While I didn’t find every moment of every track to be riveting, there is more than enough worthwhile metal on offer here to recommend this.  One final comment, though – the cover art is truly horrendous, bringing to mind memories of certain cheesy 80s metal releases.  Hopefully, this oversight won’t deter people from checking out this otherwise fine opus of German power metal.
[Daniel Hinds]

SKYCLAD
Vintage Whine
(Massacre)

After the flurry of horns that heralds the start of the album, the title track kicks in and you know right away it is Skyclad.  The heavy riffs, the swaying violin, the infectious vocal lines and Martin Walkyier's genius lyrics are all present and accounted for.  "On With Their Heads!" injects some speed into the proceedings and features more of Martin's sly humor that he is so adept at sneaking into his writing.  "The Silver Cloud's Dark Lining" continues the power drive, reminding me a bit (musically) of "The Naked I" from the last album, albeit much heavier.

"A Well Beside the River" gives the band a chance to show off their skill at unique song arrangements, with one of the heaviest riffs on the album.  In sharp contrast, "No Strings Attached" features some very joyous acoustic work and a light-hearted feel, despite the rather morose lyrics.  "Bury Me" returns to the more energy-driven approach, with a very folk feel to the rhythm.

Vintage Whine may seem at first like it lacks the usual progression each new Skyclad record brings, as it does hark back to a lot of the material from their past six albums and even some of the speed from the first two.  The new elements are fairly subtle and don't reveal themselves right away.  "Cancer of the Heart" is probably the best example, as well as being one of the album's best songs.  Starting with a fairly simple bass-line, the song builds and twists around that same theme for most of its length, as opposed to the usual convoluted arrangements the band does so well.  "No Strings Attached" follows this style as well.  Martin's vocals are also developed a bit more this time out, too, as he covers a multitude of different styles, from clean to shouting to soft, even having an almost goth touch on "Cancer of the Heart" (goth as in Sundown, that is).

Lyrically, Martin has not lost his touch.  "No Strings Attached' is a beautiful example of his excellent use of metaphor, while "Vintage Whine" features some excellent alliteration and wordplay.  The darkest, most negative songs are the relationship ones, in particular "Bury Me" and "Little Miss Take."  The album ends on a more upbeat note, however, as "Something To Cling To" offers more hope than you would expect from a Skyclad tune, before Georgina Biddle finishes it with a short but sweet piano solo.

I have raved about every Skyclad album that has come my way and I must once again urge you to check out their latest work.  How these guys can write, record and tour for 9 albums in nine years is beyond me, but the most amazing things is the quality hasn't slipped a bit over that time.  If anything, it has gotten better in some ways, such as the arrangements and production.  Vintage Whine is a great summation of everything the band has achieved this past decade, with pointers toward the future.  I'd love to hear the horn from the intro incorporated into some of the songs on the next album, but whatever they do, I can guarantee it will be worth hearing.
[Daniel Hinds]

SLEEP CHAMBER
Sentinel Serenade
(Cleopatra)

The first two songs on the CD are terribly produced including one of Sleep Chamber's money songs, "Kiss the Whip."  It features Mr. SC himself, John Zewizz, speaking the lyrics over a steady low beat, with other voices join him for the chorus.  The next song, I don't like, but it is a cover tune of a Stones song, so maybe that has something to do with it.

The production then suddenly improves and "No Ones Heart Beats Harder" and "The Light Pours Out ov Me" shine with the clearer production.  The latter having more of a gothic sign...I think it's because the song actually relies on guitar to push the melody.  "Babes ov Babylon" is a lot of fun, with the sample, "It's dripping down my legs" being chopped up in varies forms to color up the proceedings.

Many of the remainder of the songs, even with the good production, remain hard to listen to just because of how low-tech they are.  This will appeal to people into darker electronic compositions.  The darkness is smothered in gallons of Fetish and Sex syrup.  Cool, but not for the meak of heart.
[Victor Mejia]

SOLITUDE AETURNUS
Adagio
(Olympic/Slipdisc)

One thing that might throw you at first is the lack of reference points.  Usually, when a band comes along with the ‘doom metal’ tag, you can immediately recognize elements from Sabbath, Candlemass, or Paradise Lost.  Solitude Aeturnus have charted their own path, however, and there are no easily discernible influences apparent.  The riffs are heavy and often slow or mid-paced, with some nice thick, double-bass drumming backing it up.  Vocalist Robert Lowe has a clear singing style, a good range and plenty of power when he needs it.  The guitar-work is nicely done and very fluid, with leads that add to the songs without detracting attention from the mighty riffs.  Lyrically, Solitude follow the familiar themes of cosmic spirituality and inner turmoil, but do it with a good deal of style (ex. “Pray to your hands for salvation/Bend your cross to fit your ways” from the song “Believe”).

On the down side, not every song on Adagio is a winner.  “Never” is a little too slow and sparse for its own good and “Insanity’s Circles” is just kind of blah.  However, “Days of Prayer,” “Idis,” “Spiral Descent” and “Mental Pictures” more than make up for any filler material.  The bonus cover of Sabbath’s epic “Heaven and Hell” at the end is a nice touch, too, staying true to the original but still giving it that Solitude touch.

A nice, solid production job rounds out the album, making it possibly the band’s best so far.  Solitude are still somewhat underrated, especially in the US, but hopefully, with new interest in doom metal spreading and some decent distribution, they will finally get their due.
[Daniel Hinds]

SOULBURN
Feeding On Angels
(Century Media)

This album reminds me a lot of the recent Pentacle disc, mainly because of Wannes' raw, deathy vocal attack and the crunchy, Frost-influenced arrangements.  Soulburn carve out their own niche, though, based on riffs of sheer brutality (check out "Hymn of the Forsaken" and the bridge of the title track for some bludgeoning examples).  Some of the songs get a tad tedious at times, but they usually pull an expected time-change out of their hats in time to keep you from getting bored.

Feeding On Angels isn't one of those albums that demands close attention and repeated listenings to 'get.'  You won't come away from it humming the melodies or marveling at the musical expertise.  The riffing is simple, the lyrics are evil and vocals are brutal.  It is death metal the way it should be done:  intense, a good mix of slow, medium and fast tempos and not overly technical.  This isn't an album I would listen to every day, but it's a nice distraction once in a while and provides a good counterpoint to all the technical-death outfits and symphonic black metal fru-fru bands of the moment.  Be sure to play loudly on a system with a good bass response to get the proper effect.
[Daniel Hinds]

SPAHN RANCH
Beat Noir
[Cleopatra]

The next few songs that follow are all worthy of some praise.  "Remnants" has a great vocal line that treads water in an ocean of thin electronics and weak programming.  If nothing else, the production on this disc does help to save it. "Rationale" is a better song, but the electronics do not blend with Athan's voice.  The mix is sub par and this song reminds me of a Metropolis era Sister Machine Gun through some muddy speakers.  "The Warmth of the Silence" closes the series of acceptable tracks with its cheesy electronics.  If Athan's vocals wouldn't be so buried at the beginning, this would be a much better song.

What follows, ruins the album for me.  "Ride Like Lightning Crash Like Thunder" is some of that monotonous drum&bass bullshit.  What it is doing on a CD from a once great industrial duo is beyond me.  What follows is another terrible track, with too much bass that hums in a way that makes me nauseous. Later on the CD, "Test My Reaction" falls under this extreme bass thing. What is there deal with low ends?  It tends to kill their music.

"The Conversation" would be the best track on the CD if it weren't for some miserable production.  At least, Athan is the star once again.  Without his vocals, this would be an atrocious CD.  "Well Charged" is well written, but it tends to swing more towards trance techno.  I think I have figured it out:  Matt Green is aiming to put Spahn Ranch on Hypnotic rather than Cleo.  And the CD starts as it begins. "An Exit" (what an original name for a closing track) features wonderful vocals and programming that just doesn't meet the same level of greatness.

I believe Athan should set out and form another band...maybe a goth band, where is vocals might go well with the music and not hinder them.  And Matt should just venture on his own and start some crappy techno project and then we can all be happy.
[Victor Mejia]

STATIC-X
Wisconsin Death Trip
(Warner Bros.)

“Push It” kicks off in fine rockin’ style and the vocals immediately give credence to the Rob Zombie comparisons, though with far more versatility and a definite hardcore vibe not unlike recent Sepultura.  There is a definite West Coast groove throughout Wisconsin Death Trip, yet I find it much more tolerable than is usually the case.  There is a certain metal feel to some of the riffs (“Bled For Days”), but too often it gets beaten into submission by sheer repetition (“Bled For Days” again).

The one thing that I keep hoping for throughout this disc (and this is the case with so many of this genre these days, including the creators themselves, Ministry) is a little injection of speed now and then. Static-X do better than most, but there are still plenty of songs that just drag their feet, as you just sit there waiting for them to end.  A little more variety in the riff department during each song wouldn’t hurt either.

Overall, there is nothing groundbreaking going on here, but Static-X have put together a pretty solid slab of industrial-rock that should definitely appeal to the fans of White Zombie, 16 Volt, Rorschach Test and the like.  Good, bottom-heavy production and reasonably convincing performances help round out a surprisingly good major label debut – certainly a rarity in these times.
[Daniel Hinds]

STRIFE
Truth Through Defiance
(Victory)

Strife are a hardcore band, make no mistake about it.  And, unlike some of the recent hardcore bands I’ve heard, they are more than happy to mix up the tempo, moving from slow, grinding numbers to high-speed bursts of fury.  “All From the Past” is a great example, as the band are all over the place, making for one of the more complex hardcore songs I’ve heard in a while.  Rick Rodney’s vocals are loud and abrasive, bordering on lunatic at times, which means they are a perfect match for the band’s energetic sound.

At no point is the production on Truth Through Defiance brilliant, but neither is it ever bad, which is pretty impressive considering the tracks are from a number of different recording sessions.  While I did find my attention wandering a bit towards the end, I was impressed by Strife’s conviction, not to mention their positive attitude and straight-edge lyrical approach.  Strife really capture the heavy, in-your-face East Coast sound and present it with perhaps a bit more energy than some of their peers.
[Daniel Hinds]

SWORDMASTER
Deathraider EP
(Osmose)

“Death Rider 2000” rips out of the gates with the usual lack of subtlety, crushing everything in its path.  Take the best elements from classic Kreator and Destruction, mix it with some death and modern thrash metal, and you have got Swordmaster’s potent recipe. “Firefall of the Fireball” is next, embracing an even faster tempo and more complex arrangements.  “Necronaut Psychout” shows the band experimenting with a slightly more restrained approach, involving some more rock ‘n’ roll elements, though Whiplasher’s vocals are as harsh as ever and the riffing is still razor-sharp.  “Iron Corpse” blasts through next, a short but relentless assault of speed and brutality, followed by the lone cover on the disc, Roky Erickson’s ‘classic’ (I guess..) “Stand For the Fire Demon,” featuring some truly tortured vocals.

Deathraider is another rock-solid release from this thrash powerhouse and should definitely please fans of the band’s previous releases.  Anyone still waiting to experience Swordmaster’s charm, this is a good and cheap way to get started.  If you can, find the LP version, as it has two bonus tracks not on the CD.
[Daniel Hinds]

THERION
Vovin
(Nuclear Blast)

The album starts off on a regal note, with the symphonic intro to "The Rise of Sodom and Gomorrah."  Eventually, the drums and guitar kick in and set the pace for the rest of the album.  Right away, I was impressed with the lavish production, made all the more impressive by the operatic vocals that come in soon afterward.  There is a definite middle-eastern feel to some of the melodies, a theme that recurs throughout Vovin.  "Birth of Venus Illegitima" follows with a slightly more laid-back approach and very memorable chorus.  The contrast between the bass and tenor male voices and the alto and soprano female vocals is beautifully done, as is the lead guitar work.  "Wine of Aluqam" shows a faster, more melodic-power metal approach, even breaking into a near Helloween gallop at the bridge.  The use of orchestral instrumentation on this track is particularly effective. Ralf Scheepers guests on vocals for the storming speed metal assault of "The Wild Hunt," definitely one of the album's highlights.  "The Opening" is also worth mentioning, with its dramatic symphonic theme, though it mainly serves as a lead-in to "Morning Star."

The rest of the disc, while not as impressive as these tracks, is still very solid and listenable.  The power and depth of Therion's music is difficult to describe - you really need to hear it through a set of good speakers or headphones.  Many have fused the different styles that Therion do on Vovin, but no one has done it in such a dramatic or professional manner before.  I particularly like the fact that the band hasn't lost it's metal edge; they've just refined it a bit.  The band's development from death metal to their current sound has been systematic, though I think they will have a very difficult time topping themselves with the next one.
[Daniel Hinds] 

[various artists]
Built For Speed: A Motörhead Tribute
(Victory)

After a slightly overlong intro, Blood For Blood rip into a smashing rendition of “Ace of Spades.”  Guitars distorted all to hell, some variations in tempo and the band’s obvious ‘fuck you’ attitude all combine to make this a great cover.  Groovie Ghoulies picked “R.A.M.O.N.E.S.” and, well, it sounds like the Ramones. Integrity bulldoze their way through a faithful rendition of “Orgasmatron,” while Dropkick Murphy’s offer a cracking version of “Rock ‘n’ Roll.”  Skarhead’s “Sweet Revenge” maintains a metallic edge, while taking the vocals well into the realm of hardcore.  Unfortunately, a poor production and mix detract from the overall effect. Electric Frankenstein are truly frightening, as vocalist Steve really nails Lemmy’s style and inflection.  An excellent version of one of Motörhead ’s best, "We Are the Road Crew."

Chrome Locust chose well with “Metropolis” and pull it off pretty well, including some nice lead work. Zeke’s “I’ll Be Your Sister” is quite faithful, while Fahrenheit 451 do their best to punkify "No Class.”  The result is mostly successful, though the lead vocals are a bit weak.  Terra Firma provide by far the most bizarre interpretation on Built For Speed, mixing some really jazzy drums and guitars with deep, Doors-esque vocals.  The song in question is “Bomber,” but it is barely recognizable after Terra Firma finish with it.  The result is pretty damn cool, though.  Speedealer end the disc with a gritty, energetic version of “Motörhead ,” a most fitting conclusion.

I’ve heard that a metalized Motörhead  tribute is also in the works, but they will have to really work to out-class this one.
[Daniel Hinds]

[various artists]
A Consortium of Sonic Emanations – Vol. 1
(Interdimensional Industries)

Interdimensional Industries is a fairly new electro label out of Canada and this sampler features quite a wide variety of styles.  Cryptomnesia start things off with a somewhat trancey piece of electronica that mysteriously morphs about halfway through into a more upbeat, EBM-ish style.  It is a bit lengthy, but I do like the transition and they way they bring it all together at the end.  DJ Perilous with Phreak is next, offering a less interesting slice of standard techno/dance.  Paradise Syndrome come up a bit short with their atmospheric take on things, sounding like Delerium stripped down to the bare essentials. Son of Zira are next, showing a more experimental side to the compilation and pull it off quite well.  The song twists and turns through a number of changes, including a false ending before wrapping things up on a more subtle note.  Katastrophen Tourista take the experimental edge considerably further, blending some disturbing frequencies with occasional rhythmic noises, buzzes and scrapes.  It’s an interesting sound and well done, but the song does begin to implode by the 8-minute mark. Ruins seem to cover surprisingly similar territory, but utilize far more rhythm and structure in the process.  releveleR do a really good job taking a simple framework and slowly building upon it, ending up with an impressive tower of sound that screams ‘industrial!’ without any of the current genre cliches.  Distraub bring the dance element back in and up the tempo a bit, incorporating some d ‘n’ b splashes, too. 4 Tracks of Pure Genius is a misnomer if I ever heard one, doing very little to tie the various chaotic elements together into anything resembling a song.  Cryptomnesia return us to trance land, featuring some (gasp!) vocals, and close disc 1 on a positive note.

Sadly, releveleR don’t repeat their disc 1 triumph, as they start of disc 2 with a fairly lackluster cut that takes too long to get started and, once it does, seems to just drag itself along.  Ruins offer a more retro-EBM track this time, putting me in the mind of classic pre-Headhunter 242 material.  4 Tracks of Pure Genius return again with a much more structured piece that, with good production, could actually be quite devastating.  It’s noisy, has a catchy rhythm and employs some nice change-ups, but the recording and mix just kill it.  releveleR return yet again, apparently in hopes of making up for the opening song, and do indeed fare better this time, though they still suffer from a little too much repetition. Katastrophen Tourista, in lieu of trying to make our ears bleed again, offer a very minimal atmospheric piece instead.  The keyword here is ‘minimal,’ to the point where you’ve just got to wonder ‘why bother?’ Cryptomnesia do their best to try and recapture the glory of disc 1, employing a much harder sound than evidenced previously, with pleasing results.  Negative Format provide the first song on the whole compilation that really harks back to the electro-industrial sound that we all know and love, featuring a strong beat, distorted vocals, plenty of samples and a driving synth-line. Cryptomnesia follow with a slightly more offbeat version of EBM, with some of the best vocals on the album.  Incorrect Mechanical Alignment (award for worst name on the comp!) sound like the have some potential, with clean vocals and a reasonably catchy arrangement, but the recording is demo quality at best.  releveleR build another trance-y song, though one that features some highly-distorted guitar samples, while Ruins closes up disc 2 with a slow and mellow piece that is simultaneously pretty and disturbing.  The subdued vocals only add to the effect, ending the comp. on a good (though far from happy) note.

Going into this collection with little or no knowledge of any of the artists, I was pleasantly surprised by the diversity in styles and the quality of some of the acts, most notably Cryptomnesia, Negative Format, Ruins and releveleR.  Some of the tracks tended too much toward the current trends of instrumental electronica repetition, but the good ones balance things out quite nicely.  A good cross-section of styles for the electronic music fan and a healthy introduction to a new label, this set is worth looking into.
[Daniel Hinds]

VNV NATION
Praise the Fallen
(TVT/Wax Trax!)

There big "gimmick" is trying to combine classical elements with electronic music. They do it early on the CD on two of the better tracks like "Joy" and "Procession," but soon after that, this album becomes what most EBM songs or albums become: boring.  This is simply from the amount of repetition in the music.  It just has a tendency to wear someone down.  The fact that many of the songs are incredibly long doesn't aid with this impression.

The best traditional EBM song is "Voice" with its straightforward fast techno with a strong regular beat at the core.  The gruff vocals give it more of that classic feel, while the synth line that runs through it manages to keep my interest.

Midway through the CD, it takes a step for the worst.  Although, I like "Forsaken" for its ambient change of pace, it sets up the next few songs. "Ascension" is a cross between good modern techno (whatever the hell that is) and that trance shit that the Pepsi Generation seems to love.

The two remainding good techno songs are "Honour" and "Burnout."  The first sounds like a smoother more techno Skinny Puppy and it just becomes boring EBM when the vocals kick in.  "Burnout" has good old fashioned industrial drums with only samples as vocals in the song.  "Solitary" is actually okay, although it reminds me of a very beat-laden New Order.

The CD ends with two instrumentals, but the better being the closing track, "Schweigeminute."  It reminds me of some of the orchestration in This Mortal Coil.  A nice way to close out the CD.

So, I'm torn on this.  I like parts a lot and there are other parts that I can't deal with.  I will use it more for background music than anything else.  I think it's worth checking out though...especially in this day and age of Haujobb, etc.
[Victor Mejia]

WORLD STRANGER
Beyond Belief EP
(Vulture)

Musically, the band aren’t content sitting still, either.  Based on modern hardcore, World Stranger tend to shift gears fairly often, throwing in some mellow bits here and there, along with some more groove-oriented riffs ala Prong and Apollyon Sun (“Beyond Belief”). The first few tracks are definitely the best, but the band sustain a consistent sound throughout the EP.

While World Stranger is certainly nothing revolutionary, they do hold their own and inject enough uniqueness via the rapped vocals and intricate arrangements to deserve some attention, esp. from fans of the genre.
[Daniel Hinds]