_______ __ __ __ ___ | _ | |--.----.-----.-----|__.----| .-----.-----. .-----.' _| |. 1___| | _| _ | | | __| | -__|__ --| | _ | _| |. |___|__|__|__| |_____|__|__|__|____|__|_____|_____| |_____|__| |: 1 | |::.. . | `-------' _______ __ | _ | |--.---.-.-----.-----. |. 1___| | _ | _ |__ --| |. |___|__|__|___._|_____|_____| |: 1 | |::.. . | `-------' Eighth Anniversary Issue ~~~~~~~~~~~~~~~~~~~~~~~~ CHRONICLES OF CHAOS e-Zine, Wednesday, September 4, 2003, Issue #65 http://www.ChroniclesOfChaos.com Co-Editor / Founder: Gino Filicetti Co-Editor / Contributor: Pedro Azevedo Contributor: Adrian Bromley Contributor: Brian Meloon Contributor: Paul Schwarz Contributor: Aaron McKay Contributor: David Rocher Contributor: Matthias Noll Contributor: Alvin Wee Contributor: Chris Flaaten Contributor: Quentin Kalis Contributor: Xander Hoose Contributor: Adam Lineker Contributor: Adrian Magers Contributor: James Montague Contributor: Jackie Smit Spiritual Guidance: Alain M. Gaudrault The individual writers can be reached by e-mail at firstname.lastname@ChroniclesOfChaos.com. (e.g. Gino.Filicetti@ChroniclesOfChaos.com). >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< Issue #65 Contents, 9/4/2003 ---------------------------- * Chats -- Dimmu Borgir: The Death Cult Beckons -- Pro-Pain: As Big as the Rolling Stones? -- Madder Mortem: A Dream Come True -- Old Man's Child: Striking Out Down the Defiant Path -- Melechesh: Just to Hear What He Sphynx * Albums -- Arch Enemy - _Anthems of Rebellion_ -- Black Label Society - _The Blessed Hellride_ -- Bloodhammer - _Abbedissan Saatanalliset Houreet_ -- Cenotaph - _Pseudo Verminal Cadaverium_ -- Chains of Flesh - _[Untitled]_ -- Chaosbreed - _Unleashed Carnage_ -- Dew-Scented - _Impact_ -- Dissection - _Live Legacy_ -- Endzweck - _A Farewell to Arms_ -- Exhumed - _Anatomy Is Destiny_ -- Flagellator - _Channeling the Acheron_ -- HavocHate - _This Violent Earth_ -- Houwitser - _Damage Assessment_ -- Impaler - _Old School Ghouls_ -- Inhume - _In for the Kill_ -- Kilfast - _Tragedy Essential_ -- M.O.D. - _The Rebel You Love to Hate_ -- Melechesh - _Sphynx_ -- Misery Index - _Retaliate_ -- Naiad - _Hardcore Emotion_ -- NDE - _End of Trust_ -- Nightfall - _I Am Jesus_ -- Primal Dawn - _The Euthanasia Programme_ -- Pro-Pain - _Run for Cover_ -- Sabbat - _Svart Eld_ -- Sabbat / Gorgon - _Rain of Terror_ / _A Fool in Love_ -- Setherial - _From the Ancient Ruins_ -- Single Bullet Theory - _Route 666_ -- Superjoint Ritual - _A Lethal Dose of American Hatred_ -- Terror Organ - _The Stalag Symphony_ -- Thirtyone Dies - _Filthy Taste_ -- Total Devastation - _Roadmap of Pain_ -- Type O Negative - _Life Is Killing Me_ -- Ulfsdalir - _Grimnir_ -- Various - _Barbaric Onslaught (Australian Metal Attack)_ -- Warblade - _A Crisis in the Grey Space_ * Demos -- Cradle to Grave - _Lifespan Sessions 2003_ -- Deforge - _Freedom Release_ -- Helgor - _Untitled Demo_ -- Solemnus - _A Nightshade Symphony_ -- Spazmosity - _Storm Metal_ -- Warblade - _Release the Angel of Death_ * Classics * Gigs -- Coffee, Canadians and Common Ground: Milwaukee MetalFest XVII -- A Mini Milwaukee: Dying Fetus, Skinless, Divine Empire, Misery Index and Stavross in Cedar Falls, Iowa * Rants =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= In last issue's review of Peaceville's four Darkthrone re-issues, we mentioned we had found a problem with the remastering of _A Blaze in the Northern Sky_. Peaceville has since acknowledged that the first pressing of _A Blaze in the Northern Sky_ does suffer from a background noise caused by a manufacturing problem. Peaceville asked us to print a brief note stating that anyone who has purchased a faulty disc should either exchange it for a good one at the store where they bought it or, in case that's not possible, get in touch with them directly -- so here it is, for the benefit of our readers. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _,_ _, ___ _, / ` |_| /_\ | (_ \ , | | | | | , ) ~ ~ ~ ~ ~ ~ ~ T H E D E A T H C U L T B E C K O N S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Erkekjetter Silenoz from Dimmu Borgir by: Jackie Smit The uber-posh surroundings of London's Hyde Park is hardly a setting where you'd expect to find the members of one of Norway's premier black metal bands hanging out, and I can't help but be somewhat apprehensive as I step off the Tube dressed in a Dying Fetus T-shirt. Certainly my clothing draws a fair amount of attention from the designer-clad trendites that go about their business on the busy high street -- not least from the doorman of The Royal Lancaster Hotel, today's designated meeting place, who looks set to either phone the police or off me himself. However, a brief explanation from the always affable Nuclear Blast PR guru and I am whisked into the front of a swanky bar, where I am introduced to Erkekjetter Silenoz, guitarist extraordinaire and founding member of Dimmu Borgir -- a band needing no introduction, who stand alone amidst the phantasmagoria of black metal acts and who are about to unleash arguably their most accomplished masterpiece on the world. CoC: Silenoz, first and most obviously: how would you describe the difference between _Death Cult Armageddon_ and _Puritanical Euphoric Misanthropia_? Erkekjetter Silenoz: The production is better -- a lot better, actually. The arrangements of the songs are a lot better; at least we think so, anyway. And overall, it just sounds advanced and as though everything has really been taken properly to the next step. CoC: Would you say that it is at all heavier than _PEM_? ES: Yeah, it's definitely heavier. There's a lot more groove and even though there's maybe not as many fast parts, it's a lot more extreme, I think. CoC: And how do you feel the contribution of the Prague Philharmonic Orchestra on this record added to the end result? ES: It added another dimension in the 'weight' of the band, because with this orchestra we were able to use a lot more percussion, as well as a horn section. There were almost fifty people involved this time, compared to the fourteen we used last time round, but we still had to recreate some of the orchestral parts with keyboards because in the end it would sound better that way. CoC: You again used Frederik Nordstrom for the second time running to produce the new record. What was the motivation in the decision to work with him again? ES: Well, it came out pretty decent last time round, I think. We only had three or four days to do the final mixing on _Puritanical Euphoric Misanthropia_, which is actually very crucial in our music, where so much is happening at one time. So we met up with Frederik and he agreed that we should give it another go and give it more time. Also, on the last album we knew what we had done wrong, as he did as well, and this helped the new record come out really strong in the end. CoC: So, would you say that you are 100% satisfied with how _Death Cult Armageddon_ has ended up sounding? ES: Well, at least from my point of view, definitely. I don't think that we could have recorded or mixed the album any differently. Frederik did a fantastic job in getting everything to flow together really well and giving every instrument a lot of room to breathe, which in our music is sometimes very hard. He knew what to improve this time round, so we are definitely more satisfied, which I think will come out on the record when people hear it. CoC: Is there a theme running through _Death Cult Armageddon_? ES: It's not a concept album, but there's definitely an underlying theme. I wrote the lyrics from the perspective that mankind is heading toward its own destruction and we can't blame anyone or anything but ourselves. I also tried to make the lyrics more open and tried using a lot of symbolism, while at the same time attempting to make it more understandable for the younger generation. I mean, at the end of the day, we can't force or persuade people to do something, because we just have one opinion, and it's not our job to tell people what to do. If people agree with something, then that's cool. We're not here to preach to anyone, because that's up to the religious people. CoC: When the new Cradle of Filth record _Damnation and a Day_ came out, a lot of journalists in the press were acting as though their use of an orchestra was something groundbreaking or unique in black metal. Considering that Dimmu Borgir had already done it on _PEM_, how did you react to this? ES: No, we don't care really, because we have always been compared to Cradle of Filth for some reason. I'm sure that they don't know why they're being compared to us either. We both sell a lot of records and we've had the same drummer, but other than that there's nothing I can think of. They have a totally different visual thing to us and they're totally different to us musically as well. The media have ripped the Cradle of Filth and Dimmu Borgir comparisons totally out of context. I think that they're trying to stir up a rivalry between us for some reason, but it's not something we are particularly concerned with. CoC: Still on the topic of Cradle of Filth though -- along with Satyricon, they are now signed to a major label. Do you see this as a possibility for Dimmu Borgir in the future? ES: No, I don't think so. There's no reason for us to do so, since we are the highest priority on Nuclear Blast. They're more independent and they have more knowledge of metal in general. And I'd dare to say that they have a better distribution net than Sony or Epic as far as extreme music is concerned. We have no reason to even think about changing labels, because right now our situation is pretty much perfect. CoC: Ten years ago it would have been unthinkable for a black metal band to sign to a major label. ES: Well, when we were doing the _Spiritual Black Dimensions_ tour in 1999, some representatives from Warner Records met us in Germany. We shook hands and spoke for a while and they seemed interested in some sort of deal, but we basically told them that the situation we had at Nuclear Blast was perfect for us, and there's no point in changing, and I feel the same way today. CoC: With all the changes that Dimmu Borgir have gone through from _For All Tid_ to _Stormblast_ to _Enthrone Darkness Triumphant_ through until _Death Cult Armageddon_, do you feel that Dimmu Borgir can still be looked upon as a black metal band? ES: Definitely, and I think so now more than ever -- at least in musical terms. But it's been ten years since we started and it's been nine years since we released the first album. I don't like to have to use the word, but musicians and people 'evolve' in the time that it takes you to make each album. In that time you hear a lot of new things and you are influenced by a lot of new elements. So, every album for us is a natural progression, even if it doesn't sound that way. We produce the quality of material which we expect from ourselves and we can not look back on or look at our music as objectively as other people. We do what we feel is right at the time and I know a lot of people think that we should continue in a particular style instead. But it's our lives and it's our music and we wouldn't do something we aren't 100% happy to do. We never go into the studio unless we feel ready and we don't give Nuclear Blast a master tape unless we're completely happy with it. Speaking about the progression again -- when you look at the difference between _Enthrone Darkness Triumphant_ and _Stormblast_, the main change was in the sound, because we actually used a lot of material that we had left over. That's also why I don't understand people criticising certain things and saying that everything sounds so much different, because even if the sound has changed over the years, the material is not all that different. CoC: Dimmu Borgir has gone through a lot of line-up changes in the past decade. How do you feel that has affected the band as a whole and how has it impacted on the music? ES: I guess it has kept our sound fresh, because in the past we would always have someone new on every album and that person would put their influence into the writing process. And that also helps the music in progressing from album to album. I think that this is the second time in our history that we have the same line-up from one album to another, which is good, because it helps you work well together if you feel like you have a stable line-up. CoC: So, you feel that the unit you have now is the definitive Dimmu Borgir line-up? ES: Well, I don't want to say like I have said in the past that this is the final line-up, but for sure this line-up works really well in the studio and the writing and the live environments. I would be pretty upset if it were to change, but you have no guarantees. CoC: Dimmu Borgir have always tried to bring a theatrical element tinto he live shows. As your profile heightens, do you see this tbeing aken to the next level of production? ES: Sometimes you feel like less is more, you know? There's just so much you can do short of shredding your money, but at the same time you want to give people a reason to spend money and come to your show and think that it was worthwhile. As long as we can maintain that feeling, we're satisfied. CoC: What do you think of the current state of black metal in 2003? ES: These days the term black metal is so wide, whereas ten years ago, there were only a handful of bands that you could really call that. I mean, now if you walk down the street, some people might tell you that Marilyn Manson is black metal, just because it has the same rebellious attitude that black metal has always had. But I think that black metal should be more intellectual and give people more to think about than Manson does with his music. CoC: Do you think that black metal, the way it is right now, still holds true to the ideals of bands like Mayhem and Darkthrone? ES: I think that's a question for each individual band. We make very much second-generation black metal, but we keep the traditions and ideals of first-generation black metal alive in our music. CoC: But at the same time, you guys were never part of the early '90s burst of Norwegian black metal -- do you feel as though you're considered to be outsiders? ES: Kind of. We have come this far just because of our music, and I don't think you can say that for other bands. I'm really proud that we have been able to get where we are using just music as our weapon. CoC: Well, thanks for your time, Silenoz. Any parting comments from your end? ES: We're going to be touring in Europe as of October -- we'll be in London on the 5th of October. Come and see us! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A S B I G A S T H E R O L L I N G S T O N E S ? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Tom Klimchuck of Pro-Pain by: Aaron McKay You're never too old to learn something. It wasn't long into my forty- five minute talk with Tom, Pro-Pain's lead guitarist, that I re- discovered that truth sometimes is a lot stranger than fiction. Would you believe it if I told you that on the new effort, _Run for Cover_, these hard-hitting veterans cover a song by a band that draws a crowd at least equal to that of the Rolling Stones? It's true; among the Celtic Frost, Agnostic Front, Motorhead and Slayer tracks redone by Pro-Pain (with their one-of-a-kind sound), Tom, Gary Meskil, Eric Klinger, and Eric Matthews offer their listeners some preliminary exposure to a German band called the Bohse Onkelz. You'll never guess what Tom had to say about their (tons of) fans. Let's get this thing rolling and I'll let my articulate interviewee fill us all in... CoC: I've always considered Pro-Pain to be more of a -live- band because of the energy rather than having your best stuff done in the studio... Tom Klimchuck: Yea, I think you're right. I think it comes mostly from the environment. Playing shows is just -so- much more enjoyable than being in the studio. I've been engineering Pro-Pain's stuff in the studio and Eric Klinger is getting involved with that too now, so he and I are a little more comfortable in the studio than Gary. It's such a sterile and uptight environment in the studio. It's much more fun to tear it up on stage. CoC: Is this the first time that you guys went to Pittsburgh to record in Eric's studio? TK: Hum, let's see... Yea, I believe it is. CoC: Was that any different for you guys having things kept so close in the family right down to the recording of the album? TK: I think a lot of the appeal of this record is that we did it really fast. We didn't spend a whole lot of time on it and it was something that was as close to spontaneous as we get in the studio. It was something that we took on as more of a fun project and not get so wrapped up in it. Being as such they are all cover songs, we should have a chance to enjoy them a little bit. I think the recording was done in a matter of a couple of weeks. I think all that captured the amount of fun we had doing this album. CoC: Having members in the band involved in the recording, mixing and engineering, treating the band like a business, do you find that is another opportunity to keep creative control? TK: Oh, yea -- totally. The reason we started doing that back in late 1995 was that we released our first two records using a producer that we were fairly happy with, but, comparatively to other stuff being released at the same time, it was a little more punk/hardcore, where we'd have to go a little more metal in the production aspect of it. Just because there are records like _Vulgar Display of Power_ coming out at the same time and those are some pretty heavy, serious productions -- that is what we were hoping to keep up with. I introduced the idea of taking the money we would have spent on going with another producer for the next album and buying some equipment and doing it ourselves. I had a little bit of experience at engineering at the time, but really, thinking back, I had a lot of balls to bring that up. Then it got handed to me, so then I thought I should figure out how to do this... I think that we are the type of people who'd rather just have ourselves to blame if things don't work out rather than go through the frustration of having someone else screwing your stuff up. CoC: Who shoulders the responsibility for keeping the band on track? TK: As far as the tunes go, the majority is done by Gary; he writes all the lyrics since he's singing them, but Eric and myself contribute in terms of music and we do the recording aspect of it as well. We each count on ourselves for our own instrument. We all police ourselves and have a checks and balances kind if system. It's more of a team effort than anything, but the majority of writing falls to Gary. CoC: Like the music you create, you guys must be tight personally, too, I'd think... TK: Yea, Gary and I have been doing this for closing in on a dozen years now and with the kind of schedule that we've kept you can't help but really know each other -- weather that's for the good or for the bad. We're still together and we seem to be getting the hand of this. I think we're working better together these days than we have in the past and long the way you can't help but become close with one another. CoC: A lot of bands don't enjoy the longevity that you guys have. Having a rigorous touring schedule, do you guys have a favorite venue? Fan base somewhere? TK: Wherever we play, we must attract a certain type of person, so that the people that do come to our shows are Pro-Pain fans. We've never been the flavor of the week; the people coming to our shows have our records and they are familiar with us. All around the world, I see more similarities than differences -- from the Germans to the people in the Czech Republic to places like Croatia. All over the place they seem to be there because they have a similar feel they get from the music. They seem to come as many times as we play, they'll show up! I can't say that we've had a gigantic amount of success, but we've certainly kept it respectable, especially for an independent band these days. CoC: I remember a show I caught Pro-Pain at Jaxx in Alexandria, Virginia with Sacred Reich... TK: I remember that show! CoC: It seems like the crowd, weather they were there for Sacred Reich or not, got caught up in Pro-Pain's energy. TK: It's funny, in that particular venue, we consistently played in front of the same 150 to 200 people every time we played there -- we got to feeling like they had 'em stored in the freezer in the back or something and brought them out for the show. CoC: Taking into mind who I am interviewing here, when I first encountered Pro-Pain way back on _Foul Taste of Freedom_, I guess what drew me in was the Crumbsuckers connection... TK: Right. Oh, yea... As a matter of fact, the first thing that piqued my interest in Pro-Pain, as far as auditioning for the guitar part, - was- I was such a fan of the Crumbsuckers. I heard the similarities right off the bat, although it is quite a leap -- I could still recognize the style of some of the riffs [between the two bands]. There are at least some imbedded characteristics. From the first time I heard it, I was a fan of Pro-Pain. CoC: Getting to the new album, on _Run for Cover_, did you guys have a list of songs you wanted to do? Were there songs that you had that didn't make it on that you wished would have? TK: Yea, actually there was a -huge- list -- probably, all said and done, there was like fifty songs. We all compiled a list of songs that we'd like to do. We would have liked nothing more than to do a Ramones cover, 'cause we're huge Ramones fans, but for Gary to sing the Ramones, it's just not going to sound right. We'd never wanna take something on and not do it justice. The list got narrowed down and hammered down more and more and more. There was a lot of oddball songs floating around -- AC/DC songs, we were talking about doing an Eagles song. There were a lot of different influences that we could have brought to the table, but we just didn't want to sound foolish and we didn't want it to seem like a joke; although people don't realize that our influences may be different than what they may have expected. CoC: Eric Klinger did some vocals on the new one, too, right? TK: We refer to him as the "multi-talented Eric Klinger". Every e-mail I send him, that's how it is addressed. He's a really talented guy. "The Crowd" by Operation Ivy -- to be honest -- I was never much of a fan of that band; I'm not much for the West coast "happy-core" type of music. When I heard his vocals it really came together for me because he really just tore it up on the vocals on that track. CoC: "Terpentin"? TK: Yea, it is a song by a -huge- German band called the Bohse Onkelz. CoC: My first exposure to these guys... TK: Let me clue you into this band. Nobody outside of Germany really knows these guys. -In- Germany, they are the biggest rock band out there. As a matter of fact, they have the opening slot for the Rolling Stones tour. CoC: Damn! TK: Check this out, this is how popular this band is: the Rolling Stones were booked in probably 65,000 to 80,000 seat venues and they were doing only about 20,000 tickets per show. They looked around for support acts and the Bohse Onkelz came up because these guys have a die-hard group of fans, and within about four or five days of them being up on the bill, the ticket sales doubled! They are probably responsible for more tickets than the Stones. This is a band that we went on tour with as special guests on their tour in 1998. It was quite an experience. It would be like what you'd think of touring with Aerosmith -- just the biggest of the big production and everything else. The Bohse Onkelz were nothing but gracious and generous and very kind. I think that we've managed to earn their respect and they have certainly earned ours! When I think of the following these guys have, I've never seen anything like it; not even in movies. Their fans are - the- most fiercely loyal fans than I have ever seen in my life. They know every single word to the two hour and forty five minute set that they play; these people know every word and are singing them at the top of their lungs -- in an outdoor amphitheater, you can barely hear the band. It is really something to see! CoC: Thank you for all your time during this interview, Tom! Please allow me to offer you the last words. TK: A -huge- "thank you" for all the years of support from everyone out there. Rest assured we will be coming back with new material and doing some shows for everyone and we'll see everyone out there! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A D R E A M C O M E T R U E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Agnette Kirkevaag of Madder Mortem by: Aaron McKay and Pedro Azevedo Intro by: Pedro Azevedo ~~~~~~~~~~~~~~~~~~~~~~~ Having recently completed the Madder Mortem experience by watching them live (supporting Opeth), I can now safely state that these Norwegians should be firmly ranked amongst the best bands in their country -- and indeed the metal world. Their music screams the band's inspiration and self-belief at the listener while dwelling in melancholy and brooding anger; its level of uniqueness is considerable, and its execution remarkable. After three full-length albums, Madder Mortem have already unleashed an enviable collection of superb cuts, yet still seem to remain poised for their true masterpiece -- though only time will tell whether they can ever exceed their last couple of efforts. The following is a well deserved interview with the band's vocalist, the talented Agnette Kirkevaag, whose passion for the band's music remains obvious throughout. Interview by: Aaron McKay ~~~~~~~~~~~~~~~~~~~~~~~~~ CoC: To begin with, I noticed "Necropol Lit", _Deadlands_'s first full cut, seems to be particularly unique to the rest of the album -- more power and heavily driven, if you will. Can you elaborate a bit on that? Agnette Kirkevaag: It's a very band-and-groove based song. It was the first track we wrote after the release of _All Flesh Is Grass_, and large parts of the song were jammed into being in the rehearsal room. Playing really groovy and extremely heavy stuff is great fun, so it was a very natural foundation to start building both the song and the album on. From the moment we finished it, it was clear that it would open the album -- it has the slightly arrogant attitude and the driven feeling that we wanted to set the record straight from the beginning. The main riff is much more about brutish power than any kind of finesse, and it's a very, very cool live song as well. CoC: Along those lines, what would you say the opening track, "Enter", accomplishes as the initial sounds the listener is exposed to on _Deadlands_? Is that song a subtle gateway to the intrinsic mood of what Madder has to offer on this release? AK: Eh, yes... You didn't leave much room for an explanation there, hehe. It's meant to make the listener start focussing, and to direct the general mood in the right direction for the rest of the album, sort of a boundary between reality and the deadlands. It also establishes a kind of connection between _Deadlands_ and _All Flesh Is Grass_, since the very first words spoken are a quote from "Breaker of Worlds" from _AFIG_. CoC: Madder Mortem seems to have a tight kinship between its members. If that is indeed so, how does it affect the music the band creates? AK: Yes, that's correct. I've always found it very important to play with friends, and to make the internal ties in the band as strong as possible. I'd rather play with the right person who's not perfect technically, than play with a brilliant musician who personality-wise is the wrong guy. It shines through in the music, but it's difficult to explain or pinpoint. Much of the intensity comes from a whole band diving into the same feeling and going for a common goal. There's also more consideration for the total song than for each instrument on its own. Most important of all, though, is the fact that playing in a band should be fulfilling and fun, and I find it difficult to get to the level of musical ecstasy I prefer without being close to the people I'm working with. And playing and writing your own music and lyrics is pretty intimate and revealing -- I wouldn't let just anybody in on that. CoC: Do you find it more difficult to create the kind of doomy, but unclassifiable symphonic tapestry Madder Mortem weaves than, say, less melodic-laden material sometimes done by other bands? In other words, does this type of music come easy to Madder Mortem, or is it more deliberate than it comes across? AK: This is what we make when we make what is natural to us. I think it would be much harder for us to put any constraint on what we're doing. This far, we've made music purely to satisfy our own tastes, and I believe that's how it's going to be in the future as well. It - is- deliberate, but not in the sense you're thinking. There are hours and hours of work on each little piece, but the goal we're working towards is making it 'right', not forcing the ideas into some preconceived shape. CoC: How would you compare _Deadlands_ to _All Flesh Is Grass_? To 1997's _Misty Sleep_? AK: Hmmm... Where _All Flesh Is Grass_ is head-on aggression and snarling impatience, _Deadlands_ is a deeper and more introspective anger, with an undertow of hopelessness. _AFIG_ is lashing out, it's very impulsive and restless. _Deadlands_ is controlled, patiently building towards a release that never quite comes. _Misty Sleep_ is a decent demo, but it's hard to make up an unbiased opinion about it now. I very much like some of the ideas and songs, though the musicianship is hardly perfect. Three of the songs ("Under Another Moon", "He Who Longed for the Stars" and "Misty Sleep") were re- recorded on our debut full-length _Mercury_, so I'd definitely recommend that version. CoC: Personally, I find Madder Mortem's songs very clean, but very provoking at the same time. Where does the band pull its inspiration form? AK: From ourselves; our personalities and experience and likes/dislikes, and from everything that happens to us. Boring hours in traffic, great parties, interesting and/or annoying people, beautiful summer days, freezing cold winters, good books, soppy romance novels, miserable action movies and the classics, good food and tour food... Everything that happens to you is a part of who you are, and that's my main aspiration in writing music: to put all that I am into it, without reserve. Not everything is concretely useful, but it's a part of what makes you like the tones and words you pick out for your song. And for me, the highest possible level of personal input is essential. Every song needs to be given birth to by an honest heart. (Phew, this got very philosophical, but it's a very central and important theme to me. This is what keeps me awake and running.) CoC: Lyrically, the songs on _Deadlands_ seem unrefined and uninhibited. Are they derived from personal experience or something else altogether? AK: They're very, very personal, but in a very metaphorical style. I think you'd have difficulties connecting the lyrics to plausible happenings in my life, unless, of course, you knew me very well. I take the feeling behind and some of the motivation from an aspect of myself I don't share with anybody else, and then work on the phrasing and wording. I read quite a lot, so I try to get my words to have some literary qualities as well, not just emotional ravings. CoC: How important is artistic freedom (label or otherwise) to the Madder Mortem sound? Is it an imperative? AK: Yes, it's imperative. Our main motto has always been "music without boundaries". Naturally, that should also go for production, lyrics, artwork, etc. One has to accept financial limits, but apart from that: no, no, no. CoC: Vocally, are you classically trained? AK: I've had a couple of classical lessons, but the way my voice sounds can be blamed on singing in a band -- a -lot-. CoC: As a listener, I have to say, I find the lyrics to be as significant as the music itself. I mean, what is communicated appears to be as much a part of Madder Mortem as the guitars, drums and bass. Would you agree? If so, why? AK: It is a very important part, especially for me, but the music is the essential part. As I see it, lyrics are there to emphasize the feelings in the music or the ideas behind it, or to add another aspect to the total picture. Still, the lyrics are a big part of Madder Mortem. Once again, it has something to do with group mentality: a good lyric, one that I find is true and a correct interpretation of the song, will lend quite a lot of extra strength to the vocals, which will be more inspiring for the rest of the band. It can also help suggest expressions for the other members; some words will perhaps want to be underlined by a small drum fill. CoC: Building on that point, it seems like the title track, "Deadlands", comes across as a voyage of self-realization. Is that the case or are the band's songs purposefully left open for interpretation? AK: I mostly leave as much as possible open, both to activate the listener, but also because some of the subject matters are far too private for discussion. Regarding the song "Deadlands", it is more of a story of blind, chaotic destruction and mindless vengeance (since there's absolutely nothing left to lose), and of sorrow and betrayal that is too fundamental to accept and contain. CoC: Changing subject, I understand your tour to Mexico was the first ever outside of Europe. How did the band enjoy that? Were the crowds open to Madder Mortem's style? AK: Well, apart from the fact that due to unlucky circumstances we arrived without any gear or baggage at all approximately two hours before we were due on stage, Mexico was really good. The festival was well organized, and we were treated well. The gig could have been quite a bit better with our own seven-strings instead of borrowed six- strings, but all in all, pretty good. Since it was only one gig, under very strange circumstances, I don't really know, but the Mexicans seemed to be interested. I hope we'll have the possibility to go back there for a longer time and some more gigs. CoC: Speaking of tours, you are on tour with Type O Negative currently, right? AK: Eh, no... we're not, and have never been on tour with Type O. It would probably be fun, but... This misunderstanding may come from the fact that we thought we were going to do a local support gig for them in Oslo, but it got cancelled, since their support band brought their own backline, hehe. CoC: How did it come to be that you found yourselves on tour with Opeth, then? I would think that kind of exposure for Madder Mortem would be second to none! AK: Mikael [Akerfeldt, Opeth vocalist/guitarist] really likes our records, that's the main reason. We got some support from our label, but we put in about 70% of the budget ourselves. It was hard for us financially, but a dream in every other way. If I could have picked freely amongst all bands whom to tour with at that time, I would have wanted to go with Opeth -- so it was very much a dream come true. On top of that, they are very nice and entertaining guys, the conditions of the tour were generally good, and we got to play to a huge amount of people who had probably never heard of us before. Opeth aren't quite as huge in Europe as they are in the US, but I believe it was a good crowd for us to play for. At least Opeth fans won't get scared away if you play a song that's longer than five minutes... CoC: "Resonatine", the last cut of the CD, happens to be my personal favorite. Could you give me some insight into the background of that song? It comes across so powerful, yet desperate in some way... AK: It is very desperate, and I really think we got the point through on that one. Let's say it's about clinging on to hope so long that it becomes a prison. On the musical side, "Resonatine" started off as a whimsical reconstruction of a song from _Misty Sleep_, but quickly grew into a very important step for Madder Mortem. CoC: The cover art for _Deadlands_ is extremely understated in its intensity and vivid nature. A former Madder Mortem band member is responsible for doing that, yes? AK: Yes, that's the guitarist from _Misty Sleep_ and _Mercury_. His name is Christian Ruud, and he's a close friend of ours. Right now he's taking graphic design education, and he does want to do more cover work, so spread the word... Actually, we try to "keep it in the family" as much as possible. For instance, our webmaster is the guitarist from our first demo; one of the models for the _Deadlands_ cover is my former roommate; and my dad did the band photo inside the _All Flesh Is Grass_ cover. Working with friends is more fun, and they care about how they perform and deliver in a way no 'professional' would. In addition, we have very talented friends! (I'm awfully proud of 'em...) CoC: Finally, if you would, please finish this interview with anything you might like to say to the Chronicles of Chaos readers, Agnette. Thank you, too, for all your time in answering these questions for the magazine! AK: Well, I have to say is I hope we'll be able to meet any and all of you on tour some time! I'd also like to encourage everyone who has any kind of opinion on what we do to post a comment in our website guestbook at www.maddermortem.com. We follow it very closely, and it's always very interesting to see what you think. And enjoy music for music's sake! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= S T R I K I N G O U T D O W N T H E D E F I A N T P A T H ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC talks to Galder of Old Man's Child by: Aaron McKay Anyone will tell you, life is a cruel teacher. Why? For starters, it ultimately kills all its pupils. On the other hand, with experience comes wisdom and, as Ralph Waldo Emerson said, "the wise through excess of wisdom is made a fool." Too much of any one thing may be bad, but Old Man's Child seems to have struck the perfect balance. _In Defiance of Existence_ is the sixth effort by founder, vocalist, guitarist, producer and all-around creative influence behind Old Man's Child, Galder. Pulling from extensive understanding of the metal scene, Galder fashions a powerfully dynamic experiment in extreme metal with this album. Furthermore, drawing from his unique insight and talent, _In Defiance of Existence_ caters to even the most discerning black/death metal fan. It is enough to say that there is something to be found on this release for everyone. Now, with a ferocious independence, Old Man's Child again walks a path few dare to venture. First things first, let's take a look at the past that made this band what they are today. "When I was making _The Pagan Prosperity_", Galder begins, "I knew that this form of black metal was completely new and I was a bit concerned how people would react to it just because of that. People certainly had mixed feelings about it; [the album] seemed to be more appreciated in the states, for instance, than in Europe since, at that time, most people were still hanging on to that old school black metal thing. These days everybody seems to be mixing different styles into the music -- heavy, thrash, death, etc. That was exactly what OMC was all about since the beginning." Presently, _In Defiance of Existence_ picks up on the band's whole technique by starting off with such ferocious potency ("Felonies of the Christian Art"). Why did Galder select that song as the opener to the new release? "This is the album where I had the most problems when deciding which songs to put where", comes the metal veteran's reply. "So I suppose that it was more of a coincidence than on purpose, but I also like to start off the albums of with a heavy song." Is there a connection between _In Defiance of Existence_ and _The Pagan Prosperity_, whereas _Ill Natured Spiritual Invasion_ and _Revelation 666 - The Curse of Damnation_ seem to be more intimately related? Galder replies, "Actually, I think that all my albums can be connected in one way or another, but you're right about one thing -- there are many ideas on this album dating back to _The Pagan Prosperity_ days, especially with the acoustic guitars." "The Underworld Domains", track eight from _In Defiance of Existence_, very well could have been taken from _The Pagan Prosperity_. But is that kind of correlation intentional? "Yeah! You're right", Galder jumps in. "That song might as well be on _TPP_, but mainly because it's one of the least black metal songs on the album and has the same direction as many of the songs on _TPP_. I don't think it's done intentionally, though." When it comes to the band, is it totally a group effort? "Everything in OMC goes through me in one way or another", confesses Galder. "I'm very open-minded, so if the other guys have some cool ideas, then, of course, I'm always willing to listen to them. 99% of everything involving the band is done by me, however. This is not something I want it to be like, it's just the way it's been over the years." "Black Seeds on Virgin Soil" uses some rather provocative vocal effects as well as some refreshing, straightforward black metal beats and riffs. ""Black Seeds..." is a song that I would describe personally as 'musically correct'", Galder explains. "With that I mean every riff floats together and there's no misplaced riffs anywhere. That doesn't always mean that it is a good song, but it is something that I try to do in my music." Have the line-up changes strengthened OMC as a whole? "I don't think they have hurt the music in any way, since I'm always looking for the right musicians for each album", he offers, "but, of course, having line-up changes also has its downsides sometimes. Generally it is a good thing for us since it gives the music a fresh input." "Sacrifice of Vengeance" opens in a way unique to an OMC song. It has restrained emphasis in the beginning then opens up into a full-on guitar assault. But is it an entirely fresh approach for OMC? "Hmm, hard to say", Galder reflects. "I wouldn't say so, I guess. If I start a song slow, I feel it is necessary to blast it up a bit so it doesn't lose its aggression -- which is of course the whole idea with this type of music." It seems a certain amount of intrigue lies in Old Man's Child's ability to combine the harsh style of black metal with keyboards and atmospheric nuances, yielding a singular darkness to the band's sound. "I agree", consents OMC's frontman. "I just think it's a combination of the different styles I grew up listening to when I was younger. I have never really stuck in one direction and that is very easy to hear in OMC." Other than the vocals, the drumming seems to be a vital aspect to the band. I ask Galder to elaborate on that, paying particular attention to the involvement of Gene Hoglan, Grimar, Tjodalv and Nick Barker. Galder rings in, "OMC would never work without a high class drummer. I have tried out many different, very good drummers, but not with a very good result. I really don't know why that is, but there must be something in the music that, for some reason, many drummers find hard to play or something... Being a good metal drummer is more than just the ability to play fast on bass drums -- you also need the 'grove', which many drummers lack. And that is definitely a quality that Gene [Hoglan] and Nick [Barker] possess." "In Quest of Enigmatic Dreams" invokes images of Morbid Angel ("Desolate Ways"). What was the idea behind this track? "That was just some ideas I've had in my head for ages, since I was seventeen or something", Galder clarifies. "We have never had the guts to record it since it wasn't "dark" enough, really, so [now] we just decided to record it and see how it sounded. Also we needed one more song to make the album a bit longer, so there you go..." Galder is going into the studio with Dimmu Borgir again soon. What exactly is Galder's participation in that band? How did it come about and what is his unique view of that unmistakable outfit? It might appear that the two bands have enjoyed quite a history together (_Devil's Path_ / _In the Shades of Life_). "Yeah", comes the reply. "We will soon be finished with the album, actually. I have done a lot on the album, but that's the good thing with Dimmu -- everyone has ideas, so making music in this band is far easier than anything I have done in the past." Galder continues, "We did have a strong bond even before I joined the band, growing up together and listening to the same music, etc." Going back a bit, what are Galder's thoughts on Hot Records, around 1994, picking up on and running with the sound that became known as Old Man's Child? "I really don't have much to say about Hot Records", the founder of Old Man's Child explains, "other than that the 'label' was nothing more than a joke! We released two CDs there and even to this point in time, we have not yet seen one penny from those releases. The owner is nowhere to be found, which is probably the best thing for him right now." _In Defiance of Existence_ ends with a great cut, "Life Deprived". Why did the new effort close with that song in particular? "I wanted the album to open hard and close really hard", Galder confesses. "That's the main reason for that choice. I also think that song was the one that separated itself the most from the other songs on _In Defiance of Existence_. I really didn't know where to put it. Those songs always end up last for some reason." Galder's final words for the interview: "Well, first of all thanks tfor he interview; we hope to come over there in the near future to torment your country for a few weeks." =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= J U S T T O H E A R W H A T H E S P H Y N X ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC interviews Moloch of Melechesh by: Aaron McKay If you've never heard the new effort from Melechesh, entitled _Sphynx_, this interview was conducted give you reason to remedy that -- not that you should need it. This effort -smokes- and has everything your enraptured heart could desire. From start to finish, Melechesh makes giant steps forward on this disc to push the envelope of metal as we now know it. Cop a squat and absorb the insight presented here about one of the genre's best kept secrets. CoC: To begin, Moloch, congratulations on _Sphynx_! It is a killer release, for certain. How would you compare it to your other releases? Say, _Djinn_ and possibly the 7" limited release, _The Siege of Lachish_? Moloch: Thanks for everything. To answer your question, _The Siege of Lachish_ started it all in 1996, when we used, for the first time, Middle Eastern rhythmic patterns and melodies with extreme metal on the title track. So everything started there and continued on _As Jerusalem Burns... Al'Intisar_ and then _Djinn_. Compared to the latest, _Sphynx_ is a more in-your- face album, it's heavier and thrashier. All albums are Melechesh albums, and all have the same trademark, the same Mesopotamian metal sound (except for _AJB_ which is more traditional black metal). It's important for us to have our own sound, but at the same time not sound exactly the same twice. That why _Sphynx_ explores other dimensions that were left untouched when we wrote _Djinn_ or earlier material. CoC: Labels like Mesopotamian black metal seem to mean precious little when describing all that is involved with the complicated sound of this band, though; does that label restrict Melechesh, do you think? M: I don't know. We forged the label of Mesopotamian metal to find words to describe our music, but I don't really believe in labels. You can manipulate words as much as you want; the music doesn't necessarily follow. But in the case of Melechesh it does, that's the reason why we stick with the label of Mesopotamian metal, without sticking to the whole labeling thing in general. But you can call it what you want, it's still Melechesh! I believe that with _Sphynx_ we have reached a point where Melechesh has its own sound and trademark, and that's what really matters. The label doesn't restrict Melechesh because both are coextensive: Melechesh is Mesopotamian metal and vice versa; if one changes so does the other. It just represents the whole world the Melechesh spirit dwells in, and there are still many aspects that we need to discover. CoC: Most people already understand the impressive background and origins of Melechesh, so I won't waste your time rehashing it here. That said, the band has come a -long- way since the underground scene in 1993 -- what would you attribute this to? M: I think the fact that this band was built on a will of creating its own sound made us go through these ten years. When you have things to discover and to create you don't get discouraged. On a musical level, you're pushed to continue because you feel that you're getting somewhere, and on a personal level, the music you do is a kind of spiritual fulfillment. Besides all this, it's also the discipline, will and respect that we have as band members towards each other and towards what we do in Melechesh. CoC: As a key member of Melechesh, you seem to contribute a great deal to the band's overall. How does the membership dynamic work within Melechesh? M: Yes, I've been there since the beginning with Ashmedi, and so far everything has gone through the two of us before happening. But it is actually Ashmedi who is the key member of Melechesh, because he came up with the whole idea and he has always been the main composer. He's also managing the whole thing (even if it's something he doesn't particularly appreciate!). But Al'Hazred (bass) and I co-composed some tracks and Proscriptor (from Absu) wrote half of the lyrics on _Sphynx_. We all contribute, because each of us can bring different aspects to the band that can only make it more interesting -- be it musically, lyrically, visually, etc. But, of course, there is always a limit, because a band cannot have its own sound and trademark if it's only a free expression zone for all its members. CoC: Specifically, about the three minute mark on the new release, track three, "Annunaki's Golden Thrones", is a personal favorite on the album. Would you elaborate a bit on that song and the heaviness of that cut found on the track, please? M: That track is the fastest song on the album. We're more of a mid- tempo band, no need to go two thousand miles an hour to be heavy, but in some cases it helps -- and that's when "Annunaki's Golden Thrones" comes in. Conceptually, the song deals with a visual hallucination of the planet Nebiru, where the Annunaki Giants were supposed to come from in Mesopotamian mythology. The planet appears as a cosmic desert, with too much gravity -- a sort of black hole, but made of sand. CoC: Hands down, the -thick- feel of "Apkallu Counsel" is my choice for another of the premier cuts off _Sphynx_! It changes texture, from start to finish, with ease, but never leaves the listener questioning the ultimate direction of the track. What are your thoughts on this song, and do you attribute that to Melechesh's 'no bullshit' approach to metal? M: "Apkallu Counsel" is one of those tracks that was written by us all; it's not your typical song with rock 'n' roll structure, and instead has a very complex progression of riffs and beats. It's like a story -- you pass from one world to another with riffs intertwining with other riffs, lots of breaks and rhythmic changes. All mid-tempo and fucking heavy! Like you say, it's complex, but it keeps your head banging. Lyrically, it deals with the myth of the Seven Sages (called the Apkallu Sages) who were wise men sent by the god Ea to bring seven arts and crafts to mankind. CoC: In my opinion, the band has an incredibly fresh appeal, not only on this album, but your entire back catalog as well. Is this due to the unique composition of the band members, your topics of interest, both, or something else entirely? M: It was the will of the band to create its own sound, find different rhythms, different ways of riffing, etc. Now on some albums you can really hear it, like _Djinn_ and _Sphynx_, and on [other] albums a bit less; that's the case of _As Jerusalem Burns... Al'Intisar_. Because first Breath of Nights Records wanted to re-release our demo, then we decided to re-record the demo and add some other material (everything which was straight to the point black metal with some oriental touches). CoC: Just for a minute, I'd like to explore the lyrics behind _Sphynx_; obviously these are well-researched and in-depth. How would you say they differ from albums past, and what all goes into communicating what exactly Melechesh gets across to the listener? M: Lyrically, we have always dealt with two main subjects: Mesopotamian culture (mythology, history, mysticism...) and the occult. The originality of _Sphynx_ is that all the lyrics are related conceptually. They all deal with the time in Mesopotamian mythology before humanity when the gods created men and brought them civilisation. That's the role of the Annunaki, or the Seven Sages, who it is believed came from another planet and from the sea (which was believed to surround earth) to bring civilization to men. Also there's the "Tablets of Fate", which were believed to contain the destiny of everything that lives -- the whole idea of Destiny introduces the notion of history and the withdrawal of humanity in time. CoC: The two instrumentals on _Sphynx_ happen late on the CD. Some bands use tracks like this to develop an atmosphere, but it doesn't seem to me that is the case on the most recent Melechesh offering. Are they indeed there to create a mood on the album, or is there a more of a grand scheme to their inclusion on the disc? M: They are there to create atmosphere and to plunge the listener deeper into our world. Also it's the space for us to use traditional oriental instruments that we play -- just another way to build the whole Mesopotamian ambiance. CoC: From the onset, Melechesh seems to have a calculated edge to the band's sound that totally enraptures the listener, I believe. Do you think this is accurate, and how does Melechesh seem to consistently 'develop' without losing their core defining approach to metal? M: It's hard, but the whole thing with Melechesh is to keep the extreme metal core. The main guitars will always remain heavy guitars, pounding drums and warm bass supporting everything. But our personal contribution is to bring the "Mesopotamian sounds" in these instruments by introducing new rhythms on drums inspired by Middle Eastern rhythmic patterns, and also on the guitars by finding different ways of riffing, scales, bridges, etc. We're ready to do almost anything in order to recreate the Mesopotamian feeling in our sound, except for one thing: losing the extreme metal core that is the basis of our music. CoC: It seems the cover art on _Sphynx_ (by Mr. Woodall) is indeed a dramatic reflection on the material presented on the enclosed CD. Could you express some of your thoughts on how that came about and its connection to the tracks it represents? M: We contacted Ron Woodall because we wanted someone that could easily express visually what we easily express musically and lyrically. Ron Woodall is a graphic designer in George Lucas' Industrial Light and Magic. He worked in movies such as The Mummy, Star Wars, Jurassic Park; it's his job to create visually what a director sees in his head. So we contacted him, gave him the visions we had of the _Sphynx_, the whole conceptual background, and he delivered the result as you see it on the cover. To cut the whole story short, you see a Mesopotamian sphynx in a cosmic desert atmosphere, with light coming unto him from the sky. This light represents the civilization the gods were supposed to have brought to mankind. So basically, the sphynx is the guardian and symbol of this knowledge brought by the new race of gods that dethroned to old order (the one of the primordial gods: Tiamat, Apsu, Anshar, Kishar, Mummu, etc.). CoC: I understand Ashmedi has an endorsement deal with Vigier Guitars. Can you tell us about that a little bit, please? M: Ashmedi got in touch with Vigier Guitars because he had heard a lot about them. He sent them a promo package, they were interested, and they signed an endorsement deal. Ashmedi uses the Marilyn Guitar. It's a fucking great guitar, extremely light, every note sounds crystal clear. CoC: Please end this with any parting words you might have for the Chronicles of Chaos readers... M: Thanks a lot for the interview! For more information about _Sphynx_, you can check the enhanced CD-ROM section of the CD. For more info about the band, you can check out our site at www.melechesh.com. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _, __, _,_ _, _ _, / \ | |_) | | |\/| (_ |~| | , |_) | | | | , ) ~ ~ ~~~ ~ `~' ~ ~ ~ Scoring: 10 out of 10 -- A masterpiece indeed 9 out of 10 -- Highly recommended 7 out of 10 -- Has some redeeming qualities 5 out of 10 -- You are treading in dangerous waters 3 out of 10 -- Nothing here worth looking into 0 out of 10 -- An atrocious album, avoid at all costs! Arch Enemy - _Anthems of Rebellion_ (Century Media, 2003) by: Jackie Smit (8.5 out of 10) Not to sound mean-spirited, but up to and including 2002's massively acclaimed _Wages of Sin_ effort, Arch Enemy's take on melodic Swedish death metal was one which held very little interest for me. Like many of their contemporaries, I found their style tired and overdone to the point of being redundant; and to be honest, the release of _Anthems of Rebellion_ might well have passed me by had it not been for a surprise package in my mailbox one fateful Tuesday afternoon. Thank goodness for that then, because unlike the stale In Flames-derived licks of yore, this seemingly hastily released record showcases a far more aggressive, vitriolic side to the band from the off. As opening behemoth "Silent Wars" so clearly demonstrates, Arch Enemy have chosen this time round to steer clear of the tired trappings of the past and instead have adopted an approach more deeply rooted in the old-school traditions of Carcass and others of their early nineties ilk. And, with the help of a tremendous instrumental effort and the greatly improved vocals of one Angela Gossow, they manage to pull it off beautifully. Indeed, Angela's rasping snarl sounds more menacing than ever before and, with her now clearly being more confident in her central role in the band, her talent has literarily rocketed from adequate to hugely impressive. Similarly, _Anthems of Rebellion_ also sees Arch Enemy successfully experimenting more than ever with clean vocals and well-implemented, sparse keyboard lines, which add a welcome dash of variety to the proceedings. Unfortunately not all is perfect, and no doubt in an attempt to appeal to younger fans, the lyrics on _Anthems of Rebellion_ seem dumbed down to almost pre- pubescent levels -- witness the ultra-cheese of "Instinct" as a sterling example. This aside though, Arch Enemy have produced perhaps their best record to date, which if anything is sure to proselytise a fair amount of their detractors, while keeping older fans clammering for more. Black Label Society - _The Blessed Hellride_ by: Jackie Smit (7 out of 10) (Spitfire / Eagle Rock, 2003) Whether your opinion of the man and his many painstakingly documented booze-fuelled antics is that of unreserved adulation or nonchalant disdain, let it at least be said of Zakk Wylde that apart from the odd guest-appearance, he has thus far relatively avoided using his day-job as six-stringer for that Osbourne guy to peddle Black Label Society to the masses. Then again, BLS was never meant for the mainstream. As appealing as its southern fried boogie metal could potentially be to the less-enlightened listener, it is a labour of love that was written by Wylde for Wylde -- if you want to join the party, feel free; if not, fuck off. Unsurprisingly then, _The Blessed Hellride_ provides little in the way of intellectual food for thought, and certainly tracks like opener "Stoned & Drunk" aren't meant to provoke any semblance of furious political debate. Even so, there's an undeniable charm to Zakk Wylde and his drunken Hallford-esque rants. Perhaps it's the organic crunch of a track like "Suffering Overdue" -- sounding almost as though Wylde simply picked up his guitar and let the music flow in any direction it chose -- or the soulful acoustic nod to New Orleans sludgers Down of the title track; but in a world of manufactured styles, conveyor belt music and base-level reality TV, there's few things the world needs more than the unapologetic honesty of a band like Black Label Society. Which isn't to say that this is a masterpiece -- far from it: it's often let down by a very lean production, and there are times when at the very least, it sounds as though Zakk is seriously treading water musically. But then again, one is doubtful that perfection was ever the point of this exercise. Bloodhammer - _Abbedissan Saatanalliset Houreet_ by: Matthias Noll (7 out of 10) (Northern Heritage, 2003) I'm not really sure what to make of the "nun fondling some naked man's erected penis" cover of this release but I think it's not substantially inferior to another bunch of corpse painted bad-asses re-enacting the artwork of _Under a Funeral Moon_ or _A Blaze in the Northern Sky_. Musically these Finns have created a ripping album in a style which is not too far away from bands you'd usually find on the Barbarian Wrath label. Bloodhammer are simple and old-school to the core while coming across as genuine; not like yet another bunch of poseurs trying to fight for a seat in the last wagon of the retro train. Imagine a bastard son of early Venom and German speed metal with a grim production and shrieking black metal vocals on top of it and you get the picture. Simplicity is the key to Bloodhammer's music and these guys surely understand that there's an audience which appreciates bands who simply let it rip the old-fashioned way without a care in the world for anything that happened after 1986. While in an overall sense the same could be said about the more thrashy and far less black metallic Flagellator album, Bloodhammer have the advantage of being able to unleash more aggression and simply rock harder, better and in a much more energetic fashion. There's certainly some room for improvements as far as the songwriting goes and the whole album could sound more powerful if the bass was more prominent in the mix, however, despite being unspectacular this is a highly enjoyable, raw slab of metal! Contact: http://www.cfprod.com/nh/ Cenotaph - _Pseudo Verminal Cadaverium_ by: Xander Hoose (4.5 out of 10) (United Guttural Records, 2003) Not to be confused with the Brazilian Cenotaph, this four-piece hails from Turkey, where the death and black scenes seem to be on the rise. With _Pseudo Verminal Cadaverium_ being their third album already, I find it hard to grasp why there is still a demand for it. Cenotaph's style of gore-death is not just uncompromising in its brutality, but unfortunately also in its lack of originality. Though heavily borrowing from early Carcass material and with some slight references to Fleshgrind, there is nothing wrong with _PVC_'s technical capabilities. The vocals are a whole different deal, however: it's not just that they sound uninspiring, at times they sound so horrible it feels like Cenotaph is a parody of other gore bands. I'd rather listen to Carcass or pop my Sickening Gore album in the player than listen to this one again. Contact: http://www.cenotaph.cjb.net Chains of Flesh - _[Untitled]_ (Independent, 2003) by: Xander Hoose (7 out of 10) This US three-piece has been around for a few years, but this still untitled record is their first official album, consisting of six songs and clocking over 24 minutes. Musically, they play a unsurprising yet solid form of mid-tempo death that has a nice flow to it; the incidental use of dual vocals as well as clean vocals create just that little bit extra that this band needs to get noticed. Production is slightly disappointing, as the instruments tend to sound a bit fuzzy -- a clearer sound wouldn't have hurt the music. Not a groundbreaking album, but definitely worth the listen. Contact: http://www.chainsofflesh.com Chaosbreed - _Unleashed Carnage_ (Rising Realm Records, 2003) by: Xander Hoose (6 out of 10) Newcomer Chaosbreed isn't exactly 'new'. On vocals you'll find Taneli Jarva (ex-Sentenced), on guitars Esa Holopainen (Amorphis) and Marko Tarvonen (Moonsorrow, The Wicked). Bass duties are handled by Oppu Laine (ex-Amorphis) and behind the drum-kit you'll find Nalle Österman (ex-Gandalf). An all-star Finnish line-up, leading you to think that nothing could possibly go wrong. Well, not quite. Chaosbreed's _Unleashed Carnage_ is a homage to the Swedish death metal of the late eighties and early nineties when bands like Entombed and Dismember ruled the scene. So we're treated to the Swedish trademark whirring guitars, haunting bass loops, high-pitched solos and growling vocals. Unfortunately, both vocals and production are not up to modern day standards. Dismember, Entombed, Grave -- all these bands have evolved, adapting their music and production to the sign of times and show what a modern studio is capable of doing to their music. With fans of those bands treated to these vast improvements, I can't see there being a big fanbase for Chaosbreed with their outdated sound -- myself, I'd rather play _Left Hand Path_ to get in the mood. Chaosbreed does have a big potential and their members act as solid 'selling points', so hopefully they will be picked up by a label that can provide them with adequate funds for a good studio and producer. By the time that happens, I'd be more than willing to give them another shot. Contact: http://www.chaosbreed.net Dew-Scented - _Impact_ (Nuclear Blast, 2003) by: Jackie Smit (7.5 out of 10) With thrash looking set to inhale its second wind, there are arguably few acts that are more deserving of some belated kudos than Germany's Dew-Scented, if only for persistently sticking to their formula of triplet-led terror like stubborn mules through many a changing musical trend. With the aptly titled "Acts of Rage" spearheading proceedings, this follow-up to 2001's _Inwards_ effort immediately showcases a distinct improvement in several key areas, not least the razor-sharp precision with which the record's eleven tracks are performed. There is also a clear progression in terms of sheer brutality: the dynamic rhythmic attack of "New Found Pain" is devastating, while the almost Anthrax-esque mid-tempo thud of "Soul Poison" is not only impressive, but serves as a slight, though very welcome change from the band's mostly full-speed ahead approach. As much as Dew-Scented try and spice things up however, there are times where listening to _Impact_ tends to become very much like watching a great boxer throwing nothing but straight jabs for an entire match -- very one-dimensional, and on tracks like "Flesh Reborn" unfortunately rather tedious. As such, Dew- Scented still trail behind superior acts like The Haunted, but where the latter have often been referred to as "the new Slayer", _Impact_ at the very least provides a strong case for the Germans to be hailed "the new Testament". Dissection - _Live Legacy_ (Nuclear Blast, 2003) by: Quentin Kalis (8 out of 10) _Live Legacy_ is a legitimate and re-mastered version of the _Frozen in Wacken_ bootleg, recorded at the Wacken festival way back in 1997. It is no coincidence that _LL_ is released shortly before vocalist and guitarist Jon Nodtveidt's release from prison, where he is serving time for murder. A resurrection of the long-dormant Dissection is planned, and this album is clearly intended to stir up interest in Dissection -- who, unlike Burzum, has remained inactive during Nodtveidt's incarceration. For those few who are perhaps new initiates to metal and are unfamiliar with this once promising band, Dissection perform a unique strain of melodic metal -- not quite black, not quite Gothenburg death, but lying somewhere between the two. The seven tracks are taken largely from _Storm of the Light's Bane_, with a couple from _The Somberlain_ thrown in. Notable by its absence is the classic "Night's Blood", which was apparently played but there were some problems during its performance which excluded its inclusion. A pity, as _LL_ feels incomplete without their signature song. The live sound is amazing; apparently the bootleg has predictably bad sound, but the sound here is clear. Nothing more needs to be said; you either like Dissection or you don't. If you do, then this album is an obligatory buy, even if you already have _Frozen in Wacken_. If you never liked Dissection, this won't change your mind. Endzweck - _A Farewell to Arms_ (Out ta Bomb, 2003) by: Xander Hoose (7 out of 10) Japanese hardcore outfit Endzweck has just released _A Farewell to Arms_, its second mini-album. In six songs and a mere sixteen minutes, they prove themselves to be a talented outfit that is skilled in creating very melodic and catchy hardcore songs. Playing mostly with countrymates Envy and San Francisco based Under a Dying Sun, fans of these two bands can blindly buy _AFtA_. Personally, I wouldn't have minded a somewhat fuller production, but I'm absolutely interested in hearing more of their recent material considering that the material on this mini was recorded back in 2001. Contact: http://www.endzweck.jp Exhumed - _Anatomy Is Destiny_ (Relapse Records, 2003) by: Jackie Smit (7.5 out of 10) There are very few bands who can lay claim to influencing a genre as much as English gore-grind grandfathers Carcass. With a seemingly never-ending stream of acts either shamelessly emulating or borrowing heavily from their sound, the many attempts at capturing their essence has continually done little more than confirm their timeless genius. Of course, for every three substandard Carcass imitators, there have at least been some noteworthy and enjoyable efforts -- a fine recent example being Aborted's latest _Goremageddon_ record. Exhumed's latest platter for Relapse Records easily stands shoulder to shoulder with the aforementioned album in providing the listener with an enjoyable reminder that _Necroticism: Descanting the Insalubrious_ was, and forever will be, one of the most important death metal records of all time. With Neil Kernon (evidently on his way to becoming the next Scott Burns of extreme music) at the helm, the Stateside quartet plough through eleven slabs of uncompromisingly brutal and relentless extremity with the dexterity and skill you'd expect from a band more than a decade into their career. "The Matter of Splatter" is absolutely scorching, and its Dying Fetus-type dual vocal attack raises the aggression levels to heights attained by a very select few. "In the Name of Gore" is made conspicuous by its more contemporary feel and outstanding soloing, though at no point is it ever any less vicious than any preceding numbers. Unfortunately, bar these commendable numbers, one would be hard-pressed to recall any other specific highlights or outstanding moments. As good as the album is overall, it bludgeons the listener without leaving much in the way of a lasting or permanent impression. Flagellator - _Channeling the Acheron_ (No Colours Records, 2003) by: Matthias Noll (5.5 out of 10) Featuring the usual black and white artwork with gothic letters, _Channeling the Acheron_ is one of the more recent No Colours releases. While Flagellator do not separate themselves from the black metal pack via their artwork they do so with their music and play a vicious brand of not overly fast to mid-tempo '80s style thrash with an underground attitude and gruff vocals. I can hear some Destruction among the riffing which usually is in the style of the early German scene. Only the raw approach and the very genuine underground feeling they manage to convey marginally sets them apart from the majority of retro acts. There are a couple of killer moments on this album but generally the songwriting is on the weak side, the music sounds a bit too restrained instead of going for all-out violence and destruction and the production is too dry for its own good. This can be fun to listen to if you are in the mood for uncommercial, unpolished, no- frills music. The impact of _Channelling the Archeron_ might radically improve with a higher dose of alcohol in your blood, but sadly the overall value of this release is only average. I bet Flagellator will probably go as much unnoticed in 2003 as it would have rightfully been ignored fifteen years ago. HavocHate - _This Violent Earth_ (Root of All Evil, 2003) by: Adrian Magers (7.5 out of 10) It is indeed a violent earth, and HavocHate seem to take pride in helping keep the world's music that way. New England seems to be the epicenter to the American revitalization of thrash. Early attendees of any of the dates of the recently concluded Motorhead/Anthrax tour were treated to a live set from this up and coming act. The band takes on a sound that draws influence from the likes of Testament, Overkill, Slayer, etc. and makes the thrashy bits collide head-on with groove that Pantera, Pro-Pain, and the like would surely approve of. Speaking of Testament, guitar-god James Murphy lends his hand in producing (and guest guitar), and his stamp of approval is reason enough for metal enthusiasts to stand up and take notice. HavocHate also has a killer guitar tone, a knack for throwing sonic curveballs, well-executed vocals (which take on a semi-traditional speed metal sound; not unlike Overkill, but more mid-ranged and slightly more aggressive) and a good amount of individual talents to help them stand out in the northeast corner of the United States, and the rest of the world. Contact: http://www.havovhate.com Houwitser - _Damage Assessment_ (Osmose Productions, 2003) by: Xander Hoose (7.5 out of 10) Just like Inhume, Houwitser is yet another Dutch band signed to Osmose and releasing their new album just in time for the Christmas season (expected release date is November 2003). Whereas Inhume is more focused on grind, Houwitser can definitely be classified as honest brutal death. The most obvious sign of this is the guitar playing, which is very technical and skilled -- not strange if you consider guitarists Michiel and Alex have had plenty of experience with their previous band Sinister. Vocals are above average considering the competition; the grunts are all pretty intelligible, which is a big plus to me. Unfortunately, even though _Damage Assessment_ is a much better album than its predecessor, it still seems to lack something elemental. Considering it is a very solid album from beginning to end, it just doesn't impress me as much as it should given the premises. Check it out for yourselves -- it surely won't cause you any damage. Contact: http://www.houwitser.com Impaler - _Old School Ghouls_ (Root of All Evil, 2003) by: Adrian Magers (6 out of 10) Two decades of shock rock punk / metal and Satan only knows how many gallons of fake blood, and Impaler give birth to their newest release, squirming and covered in bodily fluids. The band has a lot of history, and witnessed their best publicity coming from Tipper Gore back in the PMRC days. Impaler's sound has a punk backbone, but the vocals, guitar leads and other elements reveal a more metallic sound. There's a raw quality, though the new Impaler (the version that lead vocalist Bill Lindsey compiled back in '96) has benefited from slightly better production values than the original lineup. And besides, this band would sound plain wrong with a slick, glossy studio sound. Overall, Impaler kind of sounds like what GWAR should have early on. However, there's more to them than that. If you like death rock, early thrash crossover, or have a tendency to like bands featuring those who resemble the undead. Contact: http://www.impalershockrock.com Inhume - _In for the Kill_ (Osmose Productions, 2003) by: Xander Hoose (8.5 out of 10) Dutch death-grinders Inhume have found a new home at Osmose and celebrate it by treating us to their brand new album _In for the Kill_, a sixteen song journey into the depths of torture, mania and mayhem. Those familiar with their previous albums don't need any further introduction and only need to be assured that the songs are even more violent and the production has turned up a notch. Those not familiar with the band should feel very ashamed of themselves, and then be on their way to the record store. Why? Tight drumming, a dense bass-guitar layer, and excellent grunting -- guttural, yet reaching highs and lows in frequency. Inhume is still top-notch entertainment for those who've become bored with Cannibal Corpse's umpteenth album yet refuse to sacrifice listening to quality material. Contact: http://www.inhume.nl Kilfast - _Tragedy Essential_ (Epoxy and Duct Tape, 2003) by: Adrian Magers (7 out of 10) "Ladies and gentlemen, boys and girls... Dying time is here." So begins a sample that leads into Kilfast's opening track "Temptation of Fate". Their chosen moniker is definitely indicative to their apparent disdain for subtlety. The band play a mix of death metal and heavy groove metalcore with lyrics ranging from seething hatred of religion to seething hatred of individuals. Definitely good for banging the ol' head, and probably even better for shoving around like-minded others in a live setting. The music is a good balance, taking the low palm- muted ways of bands of hardcore-inspired music, the fury of old-school American death, and the tenacity of thrash metal, and forging the elements into something violent, nasty, and somehow rather catchy. The highlight of this CD is probably "Helpless in Heaven", which follows a total musical curveball in the form of a beautiful piano-based instrumental. The contrast is amazing, and the band should be commended for such a feat. These two tracks alone are worth the price of admission. If you're looking for a band that has a range touching both Deicide and Diecast, or just some kick-ass groove-ridden heavy heavy metal, then Kilfast is for you. Contact: http://www.kilfast.com M.O.D. - _The Rebel You Love to Hate_ (Nuclear Blast, 2003) by: Xander Hoose (4 out of 10) More than six years after M.O.D.'s excellent _Dictated Aggression_, Billy Milano has teamed up with guitar player Joe Affe and drummer Danny Burkhardt to record his new assault _The Rebel You Love to Hate_. The first surprise comes from the tracklist: _TRYLtH_ features thirteen songs, but two of them are two unnecessary remixes and three of them are "radio edits" which are no different from their originals. A letdown, which leaves only eight songs. Those eight songs are lyrically quite tongue-in-cheek, more so than M.O.D.'s latests albums; "Wigga" against white rappers, "De Men of Stein" against Rammstein, and then there's "Rage Against the Mac Machine" and "Ass-Ghanistan". Unfortunately, Milano's sarcasm seems to have declined to mere childish levels -- reading the lyric sheet is an almost embarassing experience. Which leaves the music. _TRYLtH_ is a solid, simple and unsurprising thrash/hardcore album, making especially "Wigga" and "The Rebel You Love to Hate" an enjoyable listen. However, the quality of the album gets progressively worse with each song: "Get Ready" and "Ass-Ghanistan" are absolute lows. _TRYLtH_, even though released seven years later, is much like a leftovers session from _Dictated Aggression_. Don't spend your money on this album unless you're into infantile lyrics, and mister Milano, I hope your next effort will prove you still have the touch. Someone who's managed to write killer albums as _Rhythm of Fear_, _Devolution_ and _Dictated Aggression_ must be able to do better than this. Contact: http://www.nuclearblast.de Melechesh - _Sphynx_ (Osmose, 2003) by: Matthias Noll (8.5 out of 10) Finally, here is another record that incorporates a massive dose of exotic influences as well as a solid a foundation within harsher styles, but which ultimately and refreshingly is the kind of METAL that defies all genre assignations and simply kicks some major ass. Despite the Middle Eastern flair and imagery, this is not about gimmicks and short-lived selling points. Underneath its unique style based on oriental scales, melodies and rhythm patterns, _Sphynx_ carries the torch for the power and the glory of metallic riffing and excellent songwriting skills. These Israelites have certainly come a long way since their very black metallish debut _As Jerusalem Burns_: on _Sphynx_, most traces of black metal have finally disappeared and the raspy vocals provide almost the only evidence of the band's stylistic roots. With the exception of the blistering "Annunaki's Golden Thrones", Melechesh have said farewell to breakneck speed -- and in their case it turns out to be a well chosen change of priorities, because the band's strength and heaviness lies so much more in their ability to create wicked mid-tempo grooves and well- crafted breaks than in all-out blasting Marduk-style. Melechesh have the skill to write riffs and song structures that remain complex without ever becoming technical enough to make you stop headbanging, and this time their material also carries an arcane, early Mercyful Fate quality and feel to it. Both guitarists have tracked down greatly improved guitar work compared to past efforts, with some cool string-bending and unexpected variations adding more tension and variety to otherwise linear and deliberately repetitive passages. Maybe Andy LaRoque (in whose Los Angered studio _Sphynx_ was recorded) has shown Ashmedi and Moloch a musical trick or two. Drummer Proscriptor does not disappoint either, and adds an excellent performance different from the hyper-active style displayed on Absu's _Tara_. His playing is almost restrained here in comparison, but together with bass player Al'Hazred he forms a rock-solid rhythm section -- one where the whole team's joint effort is in the spotlight, rather than just his own amazing technical proficiency. LaRoque's production is professionally clear, loud and heavy, but while it's certainly well done, it still sounds a tiny little bit too compressed in places. I have the strong feeling that even though this is an excellent record, the highlight of Melechesh's career is still to come; therefore, my rating remains a bit on the conservative side of things. For now this is certainly one of the very best metal records we'll get to hear in 2003, and the absolutely stunning artwork on the digipak release is also more than noteworthy. The fact that _Sphynx_ still manages to surprise me after many listening sessions only enhances the impression that this album has massive staying power. Misery Index - _Retaliate_ (Nuclear Blast, 2003) by: Jackie Smit (10 out of 10) However you care to look at it, 2003 has been a dream year for death metal. Not only have we, the rabid fans, been treated to two near- classics in the form of Vital Remains' ferocious _Dechristianize_ and Septic Flesh's esoteric overture _Sumerian Daemons_, but with new releases by Morbid Angel, Zyklon, Deicide and Six Feet Under waiting in the wings, it would appear that the party has just begun. What irony then that amidst all this name-checking and nostalgia-induced expectation, the (possibly) most outstanding death metal record of 2003 would turn out to be the one that has been treated with relatively minimal pre-release hoopla by both the media and industry alike. Of course, if you haven't guessed it by now, the band in question is Misery Index and the album, nay masterpiece, their Nuclear Blast debut _Retaliate_. For those out of the loop, Misery Index is the conception of one Jason Netherton, better known until 2001 as the bassist and one half of the Dying Fetus creative wrecking ball. Starting off as a studio project, their self-released _Overthrow_ effort was nothing short of spectacular: a rapturously received, finely calculated death/thrash blast that left many a satisfied, not to mention deafened, ear in its wake. However, as great as it was, it still hinted all too often at Netherton's alma mater -- understandable considering the contributions of fellow ex-Fetus friends Mike Harrison and Kevin Talley. _Retaliate_ sees Netherton join forces with ex-Severed Head drummer Matt Bayles and former Dying Fetus, M.O.D. and Fear of God guitarist Sparky Voyles, and the result is a giant leap forward -- not only in terms of songwriting, but also in overall impact and brutality. Opting to further eschew the shadow of his past efforts, the new Misery Index material draws from a wide base of grind, hardcore, death metal and a fair amount of punk. Prevalent as well is a keener sense of melody and dynamics than could reasonably have been expected: the intricate structures are sped up or slowed down only when their effects are certain to be embellished, and never, as is the case with several current extreme acts, will a blast beat of groove pattern be utilised extraneously. That said though, the level of aggression on _Retaliate_ is nothing if not intimidating. When Netherton snarls his way through the intelligent and well thought out diatribes of "Demand the Impossible" and "Angst Isst Die Seele", you just know that he means every vitriol- drenched word. The relatively young Bayles in the meantime excels in his role as the band's sticksman, delivering a performance that is easily worthy of a Pete Sandoval or a Gene Hoglan. Quite frankly, there is not a single moment of weakness to be found on this record. It is simply a breathtaking masterclass in extreme music. While I would be the first one to frown at the many tiresome and unfounded comparisons to the mighty _Reign in Blood_ that are haphazardly thrown around these days, _Retaliate_ provides a thirty minute explosion of awe-inspiring viciousness that at the very least equals the impact of the much revered Slayer classic. This is truly a landmark album that will conceivably be discussed, studied and inevitably imitated for years to come. The gauntlet, my friends, has well and truly been thrown down. [Pedro Azevedo: "In _Retaliate_, Misery Index have created one of the most impressive death metal records of recent years. Succinct and coated with a potent production, this half-hour outburst of aggression rarely lets down. At its best, during outstanding tracks such as "Retaliate", "Angst Isst Die Seele" and "Demand the Impossible", _Retaliate_'s faster, vaguely melodic riffs flow amazingly well. While those riffs score higher with me than the slightly slower, chunky ones, the album remains highly enjoyable and technically impressive throughout. _Retaliate_ should be a feast of truly unusual proportions for virtually any death metal fan."] Contact: http://www.misery-index.com Naiad - _Hardcore Emotion_ (Good Life Recordings, 2003) by: Xander Hoose (9 out of 10) It's stunning to realize we're dealing with a Japanese band here. Kyoto's Naiad makes a very American-ized form of hardcore that easily outranks most of its competitors in originality, musicianship and production. Compared mostly to legendary Shai Hulud, the five songs on this MCD are a prime example of how high the standard is nowadays for bands in this genre. Having to mix a straightforward way of expressing your message with effective style breaks in-between as well as during the songs themselves is a hard task; one in which many bands fail miserably. Naiad proves to have the immaculate timing to give it a natural flow, alternating harsh aggression with melodic instrumental relief. I can't wait to see a full-length release of these guys; _Hardcore Emotion_ is an MCD you shouldn't skip this year. Contact: http://naiad01.tripod.co.jp NDE - _End of Trust_ (Crash Music, 2003) by: Jackie Smit (6 out of 10) In light of the massive acclaim that was showered on the last Killswitch Engage effort, it shouldn't surprise the seasoned metalhead to see a veritable plethora of post-hardcore/thrash releases bombard the shelves of their local record store. NDE are perhaps among the better bands to adopt this rather fashionable sound as their own. All the ingredients are present in guises of varying adequacy on _End of Trust_: the dense, pummeling attack of opening track "This World", the surgically precise drumming of "Everybody Dies", the metalcore beat down of "Clonedhead". Yet, as satisfying and impressive as these tracks are, overall one can't escape the creeping feeling of boredom that rears its unrepentant head with increasing regularity as you venture further into proceedings. Perhaps it's due to the distinct lack of diversity with which NDE approach the songwriting process, or possibly a result of their tendency to let every song follow the formulaic mid-tempo-to-slow-chug routine, but in a world where it is becoming increasingly difficult for bands to stand out, NDE certainly have no unique defining qualities that say "look at us". Still, there are far worse ways to kill 40 minutes' silence. Nightfall - _I Am Jesus_ (Black Lotus, 2003) by: Pedro Azevedo (6 out of 10) Back in 1995 I discovered Nightfall's _Athenian Echoes_, at the time a reasonably innovative blackened metal album with symphonic leanings. Not having followed the band's outings closely ever since, I was curious to find out what these Greeks were up to after such a long gap. These days Nightfall play what some might call dark metal -- in the sense that the music remains mostly melodic, chorus based, mid- paced and atmospheric. The album sometimes fleetingly evokes the spirit of such diverse bands as Samael, Tiamat, Rotting Christ and, of course, Nightfall as they all were back in the mid-nineties. _I Am Jesus_ simultaneously tries to sound up to date, though; the Tico-Tico production goes a long way to achieving this, as the Finnish studio provides Nightfall with a clear and strong -- albeit generic -- sound that suits their style very well. Considering that they managed to impress me somewhat back in 1995 they are now a band with a ten year career. I expected Nightfall to be able to provide at least some decent metallic entertainment anno 2003 -- unless something had gone seriously wrong along the way. Ultimately however, _I Am Jesus_ is neither here nor there; it's not some pathetic display of decadence from a band that once showed promise, but it's not the grand realization of some vast potential they might have either. The doomier tracks tend to work better, but the more upbeat ones are a very mixed bag. _I Am Jesus_ remains a competent, albeit rather tame and inoffensive album that brings back some memories of the good old days but never threatens to overshadow them with its own quality. Contact: http://www.nightfallstar.com Primal Dawn - _The Euthanasia Programme_ (Independent, 2003) by: Pedro Azevedo (4 out of 10) This apparently self-released MCD from Ireland's Primal Dawn shows a band still struggling to convey their musical intents in a way that can impress the listener. The lengthy song structures need some trimming, as the riffs are generally not strong enough to carry a track for so long (seven to eight minutes each). This is not to say the music is bad or the riffs wholly uninspired; Primal Dawn do come up with some decent material throughout the disc, only it is never remarkable enough to justify the ambitious track length. Growls and screams are used as the music shifts from death to blackened metal, the sound remaining relatively harsh (though the mediocre production may have something to do with that). The way the lyrics are phrased also needs some work, and overall the band does not come across as a sufficiently tight unit yet. _The Euthanasia Programme_ contains enough decent ideas (mostly on "The Cull") to avoid Primal Dawn being discarded just yet, but it is just another passable demo-like disc thrown amidst countless others while they hone their skills. Contact: http://www.primaldawn.net Pro-Pain - _Run for Cover_ (Spitfire / Eagle Rock, 2003) by: Jackie Smit (5 out of 10) With the veritable shitload of unnecessary and disposable cover albums currently littering record store shelves across the world, the thinking behind metallic hardcore veterans Pro-Pain's decision to throw their take on various classic bands into the fray is definitely something of a head-scratcher. More tangible even, the urge to burst out laughing at the accompanying press kit flyer stating that the record has a "penchant for the unpredictable". What, Slayer and Sepultura never unknowingly loaned these guys a riff or three in the past? And Black Flag and Agnostic Front -- surely they never had much of an influence on the Pro-Pain sound? _Leaders Not Followers_ this most definitely is not then. At the same time though, there's no denying the infectious fist-in-the-air stomp of "Nothing" -- originally a tune by Negative Approach -- or the classy interpretation of the Celtic Frost classic "Circle of the Tyrants", which goes some way toward making up for the near-blasphemous butchery of "South of Heaven". Ultimately, the purpose of this record more than anything is to remind the listener of just how great the originals are, and if it can motivate a few people to look out for a Discharge or Operation Ivy CD the next time they hit their local record store, then I suppose that Pro-Pain deserve at least half a thumbs-up. Sabbat - _Svart Eld_ (Monster Nation Records, 2003) by: James Montague (6 out of 10) Those wacky chaps from Japan's Sabbat are not averse to a gimmick or two -- and _Svart Eld_ may be their dorkiest stunt ever, as they take one of their early songs, "Black Fire" (1984), and sing it in Swedish. Personally I think this is a rubbish idea, as part of Sabbat's appeal is Gezol's, um, unique take on the English language. I expect I am in no small majority when I say I wouldn't know poetic Swedish from hilariously mispronounced Japanese-Swedish, and thus the whole concept is lost on me. Anyway, what you get is a gritty blackened thrash song, not dissimilar to what Slayer was doing around the same time. Gezol's vocals (whose moods must be dictated by Swedish weather patterns, because you never know what you're going to get) are distinctly gruffer and lower in pitch than usual. They're not really up to his usual standard, and I do miss those deranged kamikaze yelps. However, the riffs are classic thrash at its finest, albeit with a slightly flat production. On the B-side, the boys remind us once again that you can't have too many Bathory tributes, as they pay homage to Sweden's finest son with yet another rendition of "Sacrifice". It's not a bad one, but does anyone still care? The sound quality is again quite poor, although unlike the original it at least has an audible bassline. Although _Svart Eld_ is a fairly enjoyable little taster, it's far from the band's best work, and is completely inessential for all but the most rabid of vinyl junkies. Contact: Monster Nation Records, c/o Thomas Hedlund, Fjärdngsstigen 20.s 302 51 Halmstad, Sweden Sabbat / Gorgon - _Rain of Terror_ / _A Fool in Love_ (View Beyond Records, 2003) by: James Montague (4.5 out of 10 (8.5 for Sabbat, 0.5 for Gorgon)) Hard and fast riffs, superbly constructed guitar leads, great Engrish (sic) lyrics spat out in a growl and a warped, throaty singing voice, and terrific arrangement. Sabbat definitely came up trumps on this EP, showing that there is still plenty of quality to be found in their neverending barrage of seven-inch vinyl releases. _Rain of Terror_ is a perfect example of what the band dubs "blacking metal" -- classic '80s thrash sounds with just a touch of black metal modernism to keep it relevant to today's metal scene. It's not quite as old-school as their _Satanasword_ LP, probably more comparable to their early '90s material like _Envenom_. Sadly, the rewards for those Sabbat collectors who seek out their little gem are somewhat undone by the blokes on the B-side. I hate to rubbish Gorgon because they have a wonderful, DIY attitude that does them proud, but boy are they ever terrible! Their music is very tame, sappy NWOBHM that is far too nice for the metal scene, but the vocals are what really takes this into the stratosphere of suckiness. I'm not sure how to define these -- off-key warbling, badly processed Britpop mumbling or dreadful Japanese karaoke would all be fitting descriptions -- but the important thing is that they are intolerable. Only "A Fool in Love" with NWOBHM could fail to recognise the complete lack of musical merit in this song. Sabbat fans should still hunt this EP down, but don't get your hopes up for the Gorgon lads. Contact: vbeyond@atlas.cz Setherial - _From the Ancient Ruins_ (Napalm Records, 2003) by: Quentin Kalis (7 out of 10) Technically, this is not a new Setherial album; it is comprised of a couple of songs from the _Hell Eternal_ recording session plus their demo _A Hail to the Faceless Angels_. These reject songs from _HE_ may have been something special when _HE_ was released back in 1998 -- but that is unlikely; even then there were far too many bands peddling substandard and derivative black metal with the rough edges smoothed out for this to attract anything more then the most cursory interest. The demo tracks are a better prospect, dating from the mid-nineties, and featuring the raw guitars and misanthropic atmosphere characteristic of that era. Even so, they remain demo tracks and nothing more than a promise of greater things to come. Single Bullet Theory - _Route 666_ (Crash Music, 2003) by: Jackie Smit (6.5 out of 10) Continuing the seemingly irrefragable revival of post-hardcore/thrash that looks set to saturate the metallic marketplace in coming months, Single Bullet Theory follow in the footsteps of labelmates NDE in releasing a mildly enjoyable, though often severely flawed record. Whereas Single Bullet Theory can out-riff NDE with their eyes closed, and _Route 666_'s production far outweighs that of the latter's last release, the trouble comes into paradise when Matt DiFabio switches from his menacing roar to the sort of cringe-inducing power metal- tinged vocals that quite frankly would not sound out of place in a spoof-band. Like a turd on the Mona Lisa, these falsetto meanderings serve to cripple the intensity of every track they appear in (which constitutes about 95% of the record's material) and makes the often very juvenile lyrics sound even more laughably ridiculous -- "Spit" being the most notable example. However, when a band sports the talents of ex-Pissing Razors and Seven Witches collaborators, it's fair to assume that a certain level of excellence is evident at least some of the time. The nastiness of "Imperfect Fit" and old-school groove of "Revamp/Rebuild" are just some of the record's better moments. If aggressive hardcore/trash is what you're after however, you'd be advised to take a look at Lamb of God's _As the Palaces Burn_ long before you give Single Bullet Theory anything more than a passing thought. Superjoint Ritual - _A Lethal Dose of American Hatred_ by: Jackie Smit (6.5 out of 10) (Sanctuary, 2003) In touting Superjoint Ritual -- if rumour is to be believed, his sole current musical priority -- as "the most dangerous band on the planet", Phil Anselmo is obviously setting his sights on ascending to some fairly dizzying and intimidating heights. After all, this is a man who provided the pitbull-on-speed snarl to possibly two of the greatest straight-ahead metal albums of all time in the shape of Pantera's _Far Beyond Driven_ and _Vulgar Display of Power_ records. It is perhaps rather odd then, to hear Superjoint Ritual veer even further off the traditional metallic path on their second effort; opting instead to become musical bedfellows with the likes of Amen et al. Not that this is necessarily a bad thing, mind you -- when Phil & Co. manage to make this approach work, it yields some very impressive and enjoyable, if not particularly threatening, results. The big problem is that for every "Dress Like a Target" or "Waiting for the Turning Point" there's a disjointed mess like "Symbol of Nevermore". So, while Superjoint Ritual are obviously capable of hardcore punking it with the best of them, they never seem to reach a satisfying level of consistency in this respect, nor do their attempts at experimentation achieve much more than lowering the intensity levels which the band are seemingly striving so diligently to maintain. Add to this that Phil's vocals at times sound noticeably strained, and for lack of a better term, ageing, and _A Lethal Dose of American Hatred_ unfortunately never quite manages to live up to its tagline. With Pantera now apparently confined to the pages of history, let us hope that Mr. Anselmo has the good sense to keep Pepper Keenan's telephone number handy. Terror Organ - _The Stalag Symphony_ by: Xander Hoose (8 out of 10) (Dragon Flight Recordings, 2003) If _The Stalag Symphony_ is being marketed as "a brand new style of music", don't let it fool you! I recall the glorious days when I annoyed roommates and neighbors with MZ.412's sonic assault, only to find my interest in the black-industrial-ambient style of music fade away over the years. Terror Organ, consisting of ex-Angelcorpse Peter Helmkamp, has rekindled my lust for this music a bit. _The Stalag Symphony_ comes close to actually being described as 'music' because of the bass-riffs interwoven with the electronics, but it is unconventional enough to create a unique atmosphere. Using a rich texture of spoken samples from various sources, as in "Mindlock (Septic Utopia)" and "Nihil Transmission", or using actual vocals ("Strength Is Beauty") only make the individual songs stronger and create a much-needed diversity, keeping the album as a whole interesting. While I doubt this album will find its way to the masses, fans of the harsher Cold Meat Industries bands should make sure to give this one a spin. Contact: http://www.dragonflightrec.org Thirtyone Dies - _Filthy Taste_ (Independent, 2003) by: Pedro Azevedo (3.5 out of 10) This disc spent longer than usual languishing in my review pile, and here's why: Thirtyone Dies have created a record that is neither terribly bad nor in any way terribly exciting. _Filthy Taste_ is one of those albums that can neither be totally shred to pieces nor reviewed with much enthusiasm; it is competently played, but deeply uninspired -- especially if you take into account the competition in today's extreme metal market. These Germans accurately describe their music as death/thrash with a hardcore influence, and the vocals alternate between a death metal growl and a screaming mode, accordingly. Unfortunately, while the hardcore influence is just annoying, none of this really gels into any worthwhile riffs or memorable hooks, and the whole thing would fail to impress me even as a demo given its lack of flair and inspiration. Contact: http://www.31dies.de Total Devastation - _Roadmap of Pain_ (Firebox, 2003) by: Pedro Azevedo (8 out of 10) Quote from the promo sheet: "Intense, aggressive and modern death metal from Finland". True, but somewhat misleading (much like the band name), for Total Devastation possess a few distinguishing attributes that mean they will appeal less to pure death metal fanatics and more to some other types. More specifically, the choruses and rhythms remain far from your typical brutal death metal most of the time, and electronic elements are often used in the songs. The band (which apparently features five brothers from two families among its seven members) succeeds at boosting the listenability of _Roadmap of Pain_ through variety. For example, "I Am God" and "Left Hand of the Devil" are catchy and full of electronic elements, "Struggling From Chokehold" and "Fleshing" are much faster, and "Fragments" very Blood Red Throne-ish (give or take a technoid interlude). Nevertheless, the real highlights are the doomy, atmospheric, almost Dolorian-like "Production Peak" midway through the disc, and the catchy "Prepare to Die", which features a violin. All in all, the album remains enjoyable not only because the band can come up with plenty of good hooks, but also because they sound somewhat different from the norm, and above all keep things varied throughout without ending up with a disjointed album. _Roadmap of Pain_ is a very good debut from Total Devastation, the kind of disc that doesn't impress much at first but tends to win you over after a few spins. Contact: http://www.totaldevastation.org Type O Negative - _Life Is Killing Me_ (Roadrunner, 2003) by: Quentin Kalis (8 out of 10) After the disappointment that was _World Coming Down_ and a money- grabbing "greatest hits" compilation, it seemed that Type O Negative were a band that had reached and surpassed its peak. But fears of their impending demise were premature; _LIKM_ proves that they show no signs of descending into creative paralysis anytime soon. Any fan will agree that their unique brand of self-deprecating humour is an integral part of the Type O experience, and _LIKM_ practically overflows with their black humour (just listen to "I Like Goils") -- a welcome antidote to the overblown grandiosity and posturing that characterizes way too many bands across the metal spectrum. Nor are the mournful dirges missing -- Steele still sounds as suicidal as ever. The trademark downtuned, fuzzy guitars are more aggressive than on their last two albums; however the aggression is melded better into the songs and does not feel like the pastiche of hardcore and goth that defined _Bloody Kisses_. A sitar provides an Eastern feel on several songs and is another nod to one of the band's influences: The Beatles. "Angry Inch" is the obligatory cover -- if you have seen "Hedwig and the Angry Inch" you will know what this song is about! Essentially, this is an album that has taken the best aspects of past Type O Negative releases and builds upon them to create Type O's finest moment since _October Rust_. Ulfsdalir - _Grimnir_ (Christhunt Productions, 2003) by: Matthias Noll (8 out of 10) With Ulfsdalir another German one-man black metal project rears its misanthropic head. Featuring four tracks and an intro, _Grimnir_ could be considered an EP if it wasn't for its length of about 33 minutes. My overall rating, while being good, still is a bit misleading, because half of the material on Grimnir is excellent and easily among the very best black metal I've heard this year, while the other half is decent but fails to impress me as much. The two tracks which fall into the latter category are mainly characterized by a very straightforward, monotonous and only slightly melodic approach which is convincingly grim and aggressive but fails to reach the same level of excellence as the even better material on _Grimnir_. The two remaining long tracks, "Grimnir" and "Inwaldis Soehne", feature more breaks and tempo changes and serve to summon a hair-raising, dirge- like atmosphere of sadness and bitterness which roughly makes a band like Clandestine Blaze minus the Darkthrone influence or the rather epic _Black Katharsis_ EP by Satanic Warmaster come to mind. Excellent melodies, riffs and -- unsurprisingly -- a very raw production which balances grimness and power quite nicely makes this record one of the biggest and most positive underground black metal surprises in 2003 so far. Limited to 666 copies, so you better act quick! Contact: http://www.christhuntproductions.de Various - _Barbaric Onslaught (Australian Metal Attack)_ by: James Montague (8 out of 10) (Decius Productions, 2003) Given the absence of scene legends such as Deströyer 666, Gospel of the Horns and Nazxul, Decius Productions' LP-only presentation isn't exactly what I'd call the perfect introduction to Australian extreme metal. However, for those already familiar with the big names, this compilation does feature some of the up-and-coming bands in the country and would be ideal for those who want to dig deeper. Most importantly, the material is of a consistently high quality. Here's a brief look at each band: = Destruktor - "Unholy Victory Massacre" Probably the ideal choice for an opener, Destruktor absolutely typifies the Australian "war metal" style. Equal parts black, death and thrash metal, this relentless, militaristic onslaught is enough to beat even the most determined listener into the ground. An enjoyable band, in limited doses. (7/10) = Martire - "Puritans" This band had impressed me with their _Lucifer_ 7" EP, and they crank out another devastating piece of suffocating death metal. The song is fast, complicated and mayhemic -- recommended to those who find Morbid Angel too clinical. (8/10) = Portal - "Tempus Fugit" This song has a more muffled sound than the surrounding tracks, causing it to slip by unnoticed when I play the record. However, there is enough here to indicate that their upcoming _Seepia_ LP (also on Decius) will be worth the wait -- especially with a consistent production that the ears can adapt to over the course of an album. These West Australians play blasting death metal passages that are bound together by some atonal guitar leads, creating quite the menacing atmosphere. (7/10) = Atomizer - "When I Die, I Wanna Die Violently" The black-rockin' sons of bitches from Melbourne provide a change of pace after the frenetic opening. Starting off with a very laid back riff and spoken vocals, the intensity gradually builds up as Jason applies his unique rasp to the casually suicidal lyrics. A superb song by a unique band. (9/10) = Urgrund - "On Stones Marked Black" The Queensland black/thrash trio recently put out their first full- length album, and the track contained here indicates that they're going for a less caustic approach nowadays. The riffs are quite rock- oriented, and the rolling bass drums contribute to the catchy feel. In fact, this is not far different from what Atomizer has to offer. If you mourn Carpathian Forest's recent movement towards typical symphonic blandness, this band may satisfy your black 'n' roll needs. (8/10) = Carbon - "Battle at San Gerbir" While the other bands on this compilation do a lot of crossing over between the extreme metal subgenres, Carbon presents a slab of pure black metal. Noisy guitars, distant screams and primitivity abound. While far from groundbreaking, this song does have a strong atmosphere and Carbon will be welcomed by those who yearn for the early days of Darkthrone. (7/10) = Grenade - "Hellsong" The title says it all, really -- this black/thrash is direct and to the point. Low on complexity, high on catchiness and spirit, this can't help but get heads bobbing and feet stamping. Play it loud, and enjoy! (8/10) = Oni - "Incantation Superstition" Brutal death/grind metal to the core -- they even kept alive the habit of using as many words ending in -tion as they could. All the prerequisites are there: strong drumming, loads of technical riff changes and primate grunts with the odd porcine shriek. It's all good fun, but a whole album in this style would get tiresome. (6/10) = Stargazer - "Magikkan" Now this is more my kind of death metal. Stargazer have a somewhat exotic, mid-eastern feel to their music (though not conveyed through sampling like Nile and their copycat brigade). The sound is a bit looser and more open-ended than that of their contemporaries, allowing the listener to totally immerse themselves in the bizarre melodies and punishing beat. Another fine recording by a criminally underrated band. (9/10) = Anarazel - "The Red Rite" I hated the _Devil Hymns_ EP from these guys, so I was expecting a throwaway track. However, this Melbourne-based black metal band really seems to have gotten their act together. The noisy riffs are imperious, and the drumming is deadly. Finally, Anarazel look ready to produce albums of note. (7/10) = Misery's Omen - "To Worship Stone Gods" If you've read my review of the 7" EP whence this track originated, you'll know how much I love this band. Playing bizarre, convoluted and creepy progressive black metal, somewhat comparable to Mortuary Drape or Bethlehem, this South Australian trio demands worldwide attention. (9/10) As you can see, this compilation has the rare distinction of having no weak links -- certainly the first V/A album in my collection to be worthy of such a boast. Eleven bands, eleven songs, all worthy of attention, pressed onto a thick, heavy piece of black vinyl and lovingly presented in a sleeve adorned with wicked, violent artwork. Compilations really don't get any better than this one, so check it out. Contact: http://www.deciusproductions.com Warblade - _A Crisis in the Grey Space_ (Oak Knoll, 2003) by: Adrian Magers (8.5 out of 10) Warblade fucking rules. Obviously there's more to be said about this absolutely stellar melodic death metal act, and personally I could go blue in the face praising them and the raging slab of music featured on their first full-length release _A Crisis in the Grey Space_. But let's face it: that's the bottom line. Roughly they sound similar to a combination of Shadows Fall and At the Gates, but there are a lot of other influences mixed in there as well, and it'd be unfair to try to pigeonhole the band by comparing them to a meeting between any two bands. In their bio Warblade list Iron Maiden, Dark Tranquillity, Vesperian Sorrow, Old Man's Child, Dimmu Borgir, and Children of Bodom as influences. If this sounds even remotely interesting, then do yourself the service of checking this band out. Warblade unquestionably have the potential to take a seat as top players in the U.S. metal scene and I'm ecstatic that I received the honor of hearing these guys on their last demo (_Release the Angel of Death_). So go check them out now, so you can say you were there from the very beginning. You can thank me later. Contact: http://warblade.oak-knoll.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, _, _ _, _, | \ |_ |\/| / \ (_ |_/ | | | \ / , ) ~ ~~~ ~ ~ ~ ~ Scoring: 5 out of 5 -- A flawless demo 4 out of 5 -- Great piece of work 3 out of 5 -- Good effort 2 out of 5 -- A major overhaul is in order 1 out of 5 -- A career change is advisable Cradle to Grave - _Lifespan Sessions 2003_ by: Pedro Azevedo (1.5 out of 5) I am not about to start demanding professional sound quality from demo recordings, but Cradle to Grave's demo sounds like a bunch of very low quality MP3s thrown onto a CD-R. Add to this some mediocre musicianship, and the result comes across as a band jamming rather than recording a demo -- and much as that may have been the purpose of this recording, a good demo this does not make. The music is simultaneously aggressive and rocking, with some angry vocals on top. Through the sloppy sound the music seems loose, but not entirely void of spirit. If the likes of Pantera happen to be your cup of whiskey, you may want to keep an eye out for Cradle to Grave, in case one of these days they put out a stronger effort; otherwise, don't bother. Contact: http://www.cradletograve.ca Deforge - _Freedom Release_ by: Jackie Smit (3.5 out of 5) Deforge hail from Italy and play fairly straightforward, old-school death metal with a strong throwback to late eighties / early nineties releases -- particularly those by the likes of Death, Malevolent Creation and to a lesser extent, Swedish acts like Dismember. If anything has to be said of these guys, it would be that they certainly display a standard of musicianship far surpassing most of the demos that usually land in up at Chronicles of Chaos HQ. However -- and I would hate for this to become a recurring criticism in my demo reviews -- for all their musical talents, Gaetano Ettorre's vocals aren't so much deplorable, as that they don't even remotely suit the band's style. A high-pitched, quasi-black metal shriek, utterly devoid of any power or impact that ends up taking the proverbial piss and vinegar out of tracks like "Vicious Circle" and "Mindless State", and which leads one to believe that were Deforge to consider recruiting a more capable larynx-abuser, they may well hear a corporate knock at the door before long. Contact: http://www.deforgeband.com Helgor - _Untitled Demo_ by: Jackie Smit (1.5 out of 5) Extreme music circa 2003 is a genre splintered into so many numerous sub-strains that to the ignorant outsider it must conceivably look more confusing than ever before. Death, black, thrash, grindcore, doom -- the list goes on and chances are very good that if you're reading this you probably enjoy a varied number of these styles. This in turn leads one to draw the obvious conclusion that people embarking on their own musical forays will inevitably (as has been happening for many years now) combine a wide range of these influences into their work. Trouble is that as much as these schools have in common, they are not necessarily particularly comfortable bedfellows, and unfortunately Holland's Helgor appear unable to bring them into some sort of cohesive structure. The result is a messy and confused recording that will no doubt end up on the large pile of CD-R's I have labeled "Frisbees". While I could certainly overlook the fact this demo sounds as though it were recorded using a low-price dictaphone, for the most part the riffs on offer switch between black, death and grind sequences without seemingly having anything in common. And where Lord Capibara's vocal style is suitably generic death metal, Lord Ibex's "pig suffering from foot and mouth disease" screams are pretty horrendous. The only track remotely approaching anything with potential is the ludicrously titled "Enslaving the Human Goulash", but otherwise this just lives up to the name of the band's previous web address: helgor.virtualdogshit.com. Contact: http://www.helgor.com Solemnus - _A Nightshade Symphony_ by: Adrian Magers (4 out of 5) Solemnus are a musical hodge-podge of various forms of grace and grit in the metal realm. A splendid blend of epic/gothic metal is employed on the group's four song demo, _A Nightshade Symphony_. The disc is twenty-odd minutes of tragic music that manages to be simultaneously atmospheric and catchy. The songs are generally very keyboard-oriented without losing a heavy edge from the guitars. The keys tend to recall a similar style to Dimmu Borgir's, particularly on the Norwegian sextet's early albums. The vocals are most comparable to Theatre of Tragedy, but the melodic male vocals seem inspired by early goth. The highlight of the CD is definitely the two guitar/piano melodies in the middle and end of the title track. Solemnus direct the listener through different moods, communicated by a precise blend of dark melodic metal: from triumphant to sorrowful, everything is full of passion and drama. Owners of _Enthrone Darkness Triumphant_, _Wolfheart_ or _Velvet Darkness They Fear_ should take notice of Solemnus. Contact: http://www.oak-knoll.com Spazmosity - _Storm Metal_ by: Adrian Magers (3 out of 5) The immediate rush of distortion and blast-beating drums that pounces on the listener after Spazmosity's short instrumental seems like a good parallel to the feeling of one's skull being pried opened, lifted, set open and ready for total invasion. Said invasion appears to be heavily influenced by keyboardless melodic black (such as Dissection and the many bands which followed in their icy footsteps) and is full of mid-paced death grooves. The band definitely lean more towards the black side of the two extremities they embrace. One complaint I could throw Spazmosity's way is their tendency to do a lot of predictable tempo changes; however, there are also a lot of pleasant surprises, and the fact they succeed in making their songs flow, rather than sound like patchwork, is admirable. This, the band's third demo of original material, raises wonders of a possible full- length or EP. With a few more techniques and influences thrown in to make the act sound a bit more well-rounded, these guys could possibly push through to the forefront of the Scandinavian black/death scene. Contact: http://www.spazmosity.com Warblade - _Release the Angel of Death_ by: Adrian Magers (4.5 out of 5) The first riff of Warblade's second demo _Relase the Angel of Death_ is a real headbanger. Emerging from a somber and relatively quiet section, the band's dual guitars create a beast made from parts of At the Gates, Megadeth, Dissection, Iron Maiden, and other influential metal acts. One might be quick to label this band as a third-wave Gothenburg death band; though Warblade do draw some obvious influence from their Swedish brethren, there are many other elements that surface on the three songs featured on this release. Blackened thrash, heavy grooves and more than one nod to classic metal are all thrown in the mix to keep the listener on his or her toes. This formula, fuelled by a ton of energy and a burning passion for metal, is quite successful due to the collective power and individual talents of the five men of Warblade. A full length is in the works, and will feature a recently recruited keyboardist / clean vocalist. The metal world should do itself a favor and keep an eye on Warblade. Contact: http://warblade.metalpatrol.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _ _, _, / _ | / _ (_ \ / | \ / , ) ~ ~ ~ ~ C O F F E E , C A N A D I A N S A N D C O M M O N G R O U N D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC attends the 2003 Milwaukee MetalFest by: Aaron McKay In my humble opinion there is nothing common about Canadians or coffee -- both are extraordinary for any number of reasons. One might even argue that large amounts of one needs to be consumed by the other to make the twelve hour trip to Milwaukee from Toronto like some of my brethren. For me, I've always felt the cornerstone of any decent diet -is- a large amount of the "everlasting insomnia in a cup". (Is that safe to give to energizer bunnies?) Water filtered through ground coffee beans sounds simple, but I ask you, is it not a tried and true aid in jump-starting one's day to order make your way to Milwaukee, be it from Iowa or Canada? Maybe that's just my view after taking in way too much of the "nap suppressant" I drink daily. But I digress... Milwaukee -- the city is known for its fests: Italian, German and, of course, Metal. Brandishing proudly my full thermos of Colombian Supreme, Adam, my brother, and I trekked six hours to see my fifth consecutive Milwaukee MetalFest. While this makes me somewhat of a veteran MMF goer, this was Adam's first. What made this year a treat for everyone was the arrival again of the Canadian horde the Friday morning before the long metal fueled weekend. Be this your first, fifth or fifteenth metalfest, American or Canadian -- Milwaukee's annual metalfest provides a damn fine common ground for all fans of metal. Unlike past articles I've read on occasion, you'll note here my refusal to slight the MMF in this piece. The reason for that is simple: where I live in the midwest, there are far too few concerts that frequent the state. For whatever reason, shows avoid Iowa like the Bubonic Plague. The Milwaukee MetalFest brings a vast assortment of metal as close to my home as one can reasonably expect. No useless slack-jawed fodder from me this year; besides the line-up wasn't nearly as bad as I've seen. Again held at the U.S. Cellular Center in downtown Milwaukee, the MMF kicked off Friday July 25th. Having a new-comer to the show in my company this year, my brother and I began with a slow pace and arrived at 6:00 that evening after having done the much talked about Miller brewery tour earlier that day. Of the two nights, Friday was the more relaxed as far as bands I wanted to see. Noting Enslaved again on this year's schedule for Friday, there wasn't much of a chance that I was going to just make an appearance on Saturday and miss seeing these wicked Viking metalers. Biding time to see bands like Enslaved can be difficult, but catching up with old friends not seen since the 2002 MMF and doing some shopping at the increasingly sparse vendors' tables makes it easy to loose track of when and where you are supposed to catch the next band on stage. For at least the second year in a row that I can remember, Jack Koshick, the force behind the fest, decided to go with listing bands and their scheduled times posted strategically around the venue instead of individual paper handouts for the concert goers' quick reference. This is just two ways of going about the same thing, obviously, but for this reviewer, the paper-in-hand method is preferable. Inevitably, people crowded the doorways to scribble down the "when and where" of their favorite bands all the while others trying to squeeze past to move from one room to the next. It's a tight schedule at the MMF -- sometimes a few minutes here and there mean a world of difference. Macabre had a set to die for (pun intended)! It was cut shorter than lead singer/guitarist Corporate Death may have liked, but they did manage one song sung entirely in German (new, I believe) and lots and lots of old favorites including "Zodiac", "Dog Guts", "Vampire of Dusseldorf" and "Albert Was Worse Than Any Fish in The Sea". A tried and true faithful regular at the MMF, Macabre had a crowd present that was nearly second to none. This is a band that's -always- well worth the price of admission; those hanging out at McDahmers or ones coming (thru) Chicago to the Milwaukee MetalFest can't even deny that. If you can't wash the Macabre smell off of ya -- scub a dub dub... Norway's Enslaved again braved the perils of travel that day to grace us with their presence. Their set was to be admired, and (if you are looking for some superior influence) even imitated! Enslaved as always enjoyed a penchant for harmonic resolution in their song-structure, but their presence on stage in the main hall made their (definitive) recordings sound like CDs played on a phonograph. Body Count, Ice-T's foray into metal music, headlined Friday night's events. For more than an hour previous, the rapper turned actor diligently signed autographs with the rest of BC, as they like to be called. I was impressed with Ice-T's attention to his fans, even pausing an extra moment here and there to take a picture if asked by the autograph seeker as he or she passed through the monstrously long line. Body Count, in true metalfest style, went on very late. About 1:00am Saturday morning -- all of us were hungry and tired. The band sounded great, as if the best was saved for last. Lots of antics, complete with hockey masks, swearing enough to make a sailor blush, and thick ass riffs -- Body Count style. Adam and I stayed a few songs longer than the Canadians -- enough to hear Ice-T proclaim, "When they asked me to do the Milwaukee MetalFest, I looked at a map and said to myself, 'Milwaukee. That looks like a good place to meet a KKK Bitch!'" After that, it was back to the hotel. Saturday's agenda promised to be more than twice as full. Saturday saw our arrival back at the venue at 4:30. I came to find out then that one of my all-time favorite bands, the newly revamped Epoch of Unlight, was given (or forced to take) a shitty timeslot much earlier that day. In talking with the band later, I came to learn that while the crowd wasn't nearly as populated as it could have been later in the day, EoU had a pretty good response, all things considered. Also, as an aside, Tino LoSicco, the group's fantastically talented drummer, just hours before leaving for Milwaukee successfully defended and completed his doctoral dissertation -- so it is -Dr.- LoSicco now. Congratulations, Tino! Fleshgrind was set to play in roughly 45 minutes. The schedule had Illinois' favorite sons pigeonholed in a corner on the smaller, less visible of the two stages in the smaller area just outside of the twin stages in the vastly superior main hall. The fans there to see these guys could have cared less, though. The room was packed full with people and despite being plagued by some technical difficulties and Steve Murray's having to borrow a guitar from Skinless, Fleshgrind powered through their set with all the elegance of a dump truck in a nitro plant. All of us stayed put there in the room for NY's Skinless that was set to follow. The room was still packed wall-to-wall to see these guys who are currently one quarter of the Dying Fetus / Skinless / Divine Empire / Index Case tour that made the MMF this year a scheduled stop. Not to be at all confined, the energetic Skinless guys (especially vocalist Sherwood Webber) wildly scampered across the majority of both stages even as Dying Fetus was setting up their equipment. The crowd was obviously into this synchronized mass-assault of all these bands, including Skinless, dominating the smaller stages for more than an hour. Dying Fetus has the ability, I believe, to make even the most atrocious acoustic accommodations sound like their own recording studio. These guys have a brand new album out -- hence the tour they now find themselves a part of, but proper consideration was given during their allotted time for fans of the "weathered variety", like myself. Not a disappointed or overly bored face in the audience could be found during any of Dying Fetus's (all-too-short) set. I can't wait to find out what awaits the attendees on one of their normal tour stops -- I intend to do so on August 9th. Having caught a little of the mace presumably used on the crowd toward the front during DF and knowing I'd see Divine Empire in a couple weeks, our group decided it might be time for some liquid refreshment -- in Milwaukee, that means "Miller Time". Awhile later, I strolled by myself back to the smaller stage area to catch some of Benumb. Pete has one of the most fitting voices for Benumb's style that I've ever heard. In addition to being one helluva nice guy, the show's energy was off the fuckin' charts thanks to Pete! Billy Milano was dancin' around the metalfest for the better part of two days. Believe me when I tell you, there is a candid shot out there of Adrian "The Energizer" Bromley and Billy where they look like identical twin brothers separated at birth. MOD experienced some time slot bouncing typical of the two-day festival, but their performance in the main hall, complete with oodles of pro-American, or at least anti-Afghanistani, rants made us all proud. The mighty Danny Lilker, an MMF icon, joined MOD on stage with much praise from Mr. Milano at the end of their set for a wildly enjoyable rendition of "United Forces". MOD proved Saturday night that they are the Rebel(s) You Love to Hate! Having the opportunity to relive my largely misspent youth through the eyes I remember as a teenager -- seeing Nuclear Assault on stage was a huge draw for me this year. Danny's bass playing was in rare form and John Connelly's voice and guitar abilities tickled the fancy of perfection like I've never heard before. The song selections, mostly from _Survive_ and _Handle With Care_, namely the title track to the first and "Trail of Tears", were done phenomenally, though I might have concentrated on forcing out more _Survive_ songs with a few from _Game Over_ for good measure. That said, here's wishing in a big way I could have heard "You Figure it Out". Having gone far too long without the aid of my caffeinated friend, the last band I witnessed at this year's Milwaukee MetalFest was Vital Remains, but at least it was in the company of friends. Suffocation was scheduled to play next, but our motley group grew modestly weary. Glenn Benton of Deicide fame vocalized the desecration of Vital Remains' (new(er)) sound and ruled the stage like the promise of Revelation. Glenn called this Vital Remains set a "giant rehearsal" for the band. While that may have been the case, VR never sounded better and Tony Lazaro's playing was spectacular as I can unequivocally testify to. They certainly unleashed hell for the final notes of the 2003 Milwaukee MetalFest. As I sit here typing these words and reflecting with a cup o' java, I am convinced more than ever that the Milwaukee MetalFests have been as much about camaraderie as about the music itself. Good times, great folk, metal mayhem and all thanks to our hosts! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= A M I N I M I L W A U K E E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Dying Fetus, Skinless, Divine Empire, Misery Index and Stavross at the Reverb, Cedar Falls, Iowa on August 9th 2003 by: Aaron McKay With a good deal of confidence I'd wager to say few communities in Iowa have ever seen the unabashed onslaught of extreme music like Cedar Falls, Iowa has, held at a venue called the Reverb on August 9th. Truthfully, most concerts generally skip Iowa altogether, so when I came to know this tour was scheduled in such close proximity to me on a weekend, there was absolutely no question where I would be spending my Saturday night. Having been served an appetizer from (most of) these bands at Milwaukee just last month, I was hungry for a larger helping of stage time than what these guys were allotted at the MetalFest. The Reverb is an upstairs bar area with an accommodating stage and plenty of room for the fan-base this tour would draw. People slowly poured through the door during the set by Stavross, the opening act. Stavross kicked things off about 8:25pm with a fairly concentrated set -- due to scheduling concerns, I'd imagine. Noticeably, this band suffered from a generally weaker instrumentation that seemed nearly superseded by the vocals most of the time. In addition, the guitar solos were difficult to segregate from the rest of Stavross's sound. "The Wasteland" and "Last Rites" were a couple of higher points in their set even with the aforementioned issue(s), but "Botchulism", the band's last song for the night, was a real feather in the Stavross cap. Vocals on that song were supplied, at least in part, by the bassist, who also added a tight, heavy-ass bass chop at the onset and conclusion of the song. Misery Index took the stage about 9:20. Most will remember bassist/vocalist Jason Netherton from his former band and current tour mates, Dying Fetus. Humorously, the beginning of the third song, the new title track "Retaliate", was met with a really deep, throaty cry by someone in the audience to the band on stage exclaiming "IOWA!" to the enjoyment of the whole crowd; this happened several times throughout the night, never really losing its comedic appeal. At any rate, Misery Index surprised me by pulling out "My Untold Apocalypse" from their split about a year ago with Commit Suicide on Willow Tip Records; it was a nice touch by the group, who knows how to keep the crowd's interest piqued. They unleashed "Servants of Progress" and "Demand the Impossible", but finished up with a flawless "Manufacturing Greed" from the _Overthrow_ EP. Divine Empire was certainly the 'most improved' sounding band that played that Saturday night over their time at the Milwaukee MetalFest. The stage, time and crowd at the MMF wasn't up to the task of supporting a band like Divine Empire with all that this group might deserve. Being the third on the bill, Divine Empire found a welcoming crowd already in their full concert mindset, and they took total advantage of that stroke of luck! They ripped through monstrous offerings like "Induced Expulsion" and "Out for Blood" from _Redemption_, while working in new tracks like "Aggravated Battery" was almost as enjoyable as reliving classics like "War Torn" (dedicated to Saddam's two dead sons) and "Repulsive" (dedicated to Iowa's corn-fed women) from the 2000 album _Doomed to Inherit_. "The Pain Remains", from the new album, utilizes a clip taken from the movie "The Fifth Element" -- while this was just spoken in concert and not played to the crowd as a sample, it was still every bit as effective and the fans responded accordingly with floor-shaking intensity at the power of the song's delivery. Divine Empire dedicated the new release's title track "Nostradamus" to Vinny from Dying Fetus, as Saturday August 9th was his birthday. Jason Blachowicz, Derik Roddy and J.P. Soars took their leave about 10:30 that night after a truly spectacular set. If you weren't tired yet, Skinless was up next to wear you down in proper style -- and wear us down they did! Pushing 11:00, the theme to '80s hit show "Nightrider" announced the coming of Skinless. A couple of weeks isn't all that long, but it is amazing what you get a hankerin' to hear again; so when "From Sacrifice to Survival", from the album of the same name, was one of the first I heard these New Yorkers play, I feared things might be anticlimactic. Boy, was I wrong! We in the audience were treated to "Tampon Lollipop", "Miscreant" and "Enslavement", among others. During "Tampon Lollipop", some eyeglasses came up missing off the face of a pit dweller -- Sherwood Webber, in the middle of the song and without so much as missing a word of the lyrics, instructs the crowd to help the guy look for his specs; that's fan-oriented metal right there, kiddies. Moving on, whoever heard of a band hitting the stage without proper refreshment in hand? Not me, and apparently not Sherwood either: after a couple of polite but unanswered calls out for a beer to be brought to him on stage (mid-song and still growling out the lyrics the whole time), Sherwood made his way to the bar for his own beverage. On the way back up front to the stage once again, we are all reminded to tip our hardworking bartenders. Nice shameless plug there, but hey, I guess Sherwood figured whatever works... Few bands engage the crowd as aggressively as Skinless and the entire Cedar Falls fans responded like a bunch of horned-up high schoolers after prom especially after tunes like "Escalate Discord"! Near the strike of midnight, Dying Fetus took the stage to close the show. At this point, it had been a powerfully loud and hot evening already, but I felt my second wind creep over me especially about the time "Intentional Manslaughter" screamed forth. I counted my lucky stars that I was fortunate enough to hear "Grotesque Impalement" and "Killing on Adrenaline". Much like when Skinless did "From Sacrifice to Survival", I thought Dying Fetus's set had climaxed; I should have known better. Vinny was feeling pretty good on his birthday night, even if he was on the road like the tour dogs Dying Fetus have always been. Something that I guess I've never noticed before was John Gallagher's awesome red Hammer guitar; the Cedar Falls venue, however, allowed for a clear, unobstructed view of the band and their gear providing a wicked sound in the room(s) to boot. Dying Fetus maximized every plus available to them and ultimately put on a great show. As seemed to be the theme that evening, Dying Fetus dedicated "Skullfucked" to the women of Iowa. Whatever happened to having a song like "Abandon All Hope" dedicated to the guys? Equal opportunity offenders, Dying Fetus is -not-, I guess! "Institutions of Deceit" and "Pissing in the Mainstream" wrapped up the nearly phenomenal sixty minute set. While Wisconsin has just a little less than double the population of the Hawkeye State, Iowa turned out an energetic and enthusiastic crowd for this tour. Obviously Cedar Falls is no Milwaukee and the Reverb isn't the U.S. Cellular Center, but Iowans are nonetheless passionate about their metal. My gratitude and appreciation goes out to Dying Fetus, Skinless, Divine Empire and Misery Index for making Iowa a part of the tour in August! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Gino's Top 5 1. Ulver - _Bergtatt_ 2. Burzum - _Det Som Engang Var_ 3. Bloodbath - _Resurrection Through Carnage_ 4. Graveland - _Carpathian Wolves_ 5. Ulfsdalir - _Grimnir_ Pedro's Top 5 1. Misery Index - _Retaliate_ 2. Aurora - _Dead Electric Nightmares_ 3. Cryptopsy - _None So Live_ 4. The Haunted - _One Kill Wonder_ 5. Intestine Baalism - _Banquet in the Darkness_ Paul's Top 5 1. Suffocation - _Effigy of the Forgotten_ 2. The Crown - _Deathrace King_ 3. Equinox - _Journey Into Oblivion_ 4. Nevermore - _Enemies of Reality_ 5. Repulsion - _Horrified_ Aaron's Top 5 1. Morbid Angel - _Heretic_ 2. Callenish Circle - _My Passion // Your Pain_ 3. Divine Empire - _Nostradamus_ 4. Pro-Pain - _Run for Cover_ 5. Trouble - _Trouble_ Matthias' Top 5 1. Ulfsdalir - _Grimnir_ 2. Clandestine Blaze / Deathspell Omega - _Split_ 3. Behemoth - _Historica_ 4. Nehemah - _Shadows From the Past_ 5. Melechesh - _Sphynx_ James' Top 5 1. Beherit - _The Oath of Black Blood_ 2. Beherit - _Drawing Down the Moon_ 3. Beherit - _Beast of Beherit: Complete Worxxx_ 4. Leviathan - _Verräter_ 5. Elend - _The Umbersun_ Jackie's Top 5 1. Morbid Angel - _Heretic_ 2. Immortal - _Damned in Black_ 3. Emperor - _Emperial Live Ceremony_ 4. Cephalic Carnage - _Exploiting Dysfunction_ 5. Disfear - _Misanthropic Generation_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, ___ _, _ _, _, | \ |_ | /_\ | | (_ |_/ | | | | | | , , ) ~ ~~~ ~ ~ ~ ~ ~~~ ~ Web Site: http://www.ChroniclesOfChaos.com FTP Archive: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos --> Interested in being reviewed? Please ask for a local mailing address by e-mailing us at: =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Europe@ChroniclesOfChaos.com NorthAmerica@ChroniclesOfChaos.com RestOfTheWorld@ChroniclesOfChaos.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= DESCRIPTION ~~~~~~~~~~~ Chronicles of Chaos is a FREE monthly magazine electronically distributed worldwide via the Internet. Seemingly endless interviews, album reviews and concert reviews encompass the pages of Chronicles of Chaos. Chronicles of Chaos stringently emphasizes all varieties of chaotic music ranging from black and death metal to electronic/noise to dark, doom and ambient forms. Chronicles of Chaos is dedicated to the underground and as such we feature demo reviews from all indie bands who send us material, as well as interviews with a select number of independent acts. HOW TO SUBSCRIBE ~~~~~~~~~~~~~~~~ You may subscribe to Chronicles of Chaos at any time by sending an e-mail to with your full name in the subject line of the message. You may unsubscribe from Chronicles of Chaos at any time by sending a blank e-mail to . =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= End Chronicles of Chaos, Issue #65 All contents copyright (c) 1995-2003 by individual creators of included work. All rights reserved. All opinions expressed herein are those of the individuals expressing them, and do not necessarily reflect the views of anyone else.