_______ __ __ __ ___ | _ | |--.----.-----.-----|__.----| .-----.-----. .-----.' _| |. 1___| | _| _ | | | __| | -__|__ --| | _ | _| |. |___|__|__|__| |_____|__|__|__|____|__|_____|_____| |_____|__| |: 1 | |::.. . | `-------' _______ __ | _ | |--.---.-.-----.-----. |. 1___| | _ | _ |__ --| |. |___|__|__|___._|_____|_____| |: 1 | |::.. . | `-------' CHRONICLES OF CHAOS e-Zine, June 7, 2004, Issue #74 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 #74 Contents, 6/7/2004 ---------------------------- * Chats -- Death Angel: From Death Into New Life -- Insomnium: Sunday Morning Hangover Blues -- Heaven Shall Burn: Not a Marduk Cover Band * Albums -- Agathodaimon - _Serpent's Embrace_ -- Dark Lunacy - _Forget-Me-Not_ -- Death Angel - _The Art of Dying_ -- Falkenbach - _Ok Nefna Tysvar Ty_ -- Gnostic - _Evoking the Demon_ -- Golem - _Dreamweaver_ -- Green Carnation - _A Blessing in Disguise_ -- Loits - _Legion Estland_ -- Loits - _Raiugem Ruunideks_ -- Lupercalia - _Florilegium_ -- Malevolent Creation - _Warkult_ -- Metalium - _As One - Chapter Four_ -- Must Missa - _Ma Ei Talu Valgust_ -- Necare - _Ruin_ -- Nortt - _Gudsforladt_ -- Orphaned Land - _Mabool - The Story of the Three Sons of Seven_ -- Psycroptic - _The Scepter of the Ancients_ -- Sabbat - _Sabbatical Holocaust (Five Massacre Demonslaughts)_ -- Skyforger - _Thunderforge (Perkonkalve)_ -- Suffocation - _Souls to Deny_ -- The Eternal - _The Sombre Light of Isolation_ -- The Great Deceiver - _Terra Incognito_ -- Therion - _Lemuria / Sirius B_ -- Ulver - _A Quick Fix of Melancholy_ -- Vehemence - _Helping the World to See_ -- Watch Them Die - _Watch Them Die_ -- Witches Sabbath - _New World Plague_ -- Withering - _Gospel of Madness_ -- Woodtemple - _The Call From the Pagan Woods_ * Demos -- Behold the Arctopus - _Arctopocalypse Now... Warmageddon Later_ -- Born of Thorns - _New Horizon_ -- Cerberus - _Untitled Demo_ -- Darcane - _Anamorphica_ -- Gezeiten - _Demo CD 2003_ -- Mül - _Litany Circus_ -- Nocta - _Come Out (Wherever You Are)_ -- Philistine - _Consume and Devour_ -- Scala Mercalli - _My Daemons_ -- Sinn - _The Rune of Odin_ * Gigs -- All Murder, All Guts, All Fun * What We Have Cranked =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _,_ _, ___ _, / ` |_| /_\ | (_ \ , | | | | | , ) ~ ~ ~ ~ ~ ~ ~ F R O M D E A T H I N T O N E W L I F E ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats to Rob Cavestany of Death Angel by: Jackie Smit They say the more things change, the more they stay the same -- a proverb that's proving to be more applicable than ever in the noughties. Case in point: when San Francisco's Death Angel released their last album fourteen years ago, the world watched as George Bush Sr. waged war in Iraq, while Israel and Palestine were engulfed in similar conflict. Fast forward to our present point in time and... well, 'nuff said really. Luckily the proverb doesn't only apply to headline-grabbing world events though, and while the world remains (for lack of a better term) fucked, it just so happens that Death Angel have returned from purgatory to unleash _The Art of Dying_ -- a record that quite easily tops any of the band's previous three releases and is most likely going to be in the upper ranks of many a metalhead's favorite albums of 2004. A Death Angel reunion wasn't always on the cards though. Indeed, if it weren't for a certain friend falling on hard times and needing a favor, another Death Angel record would most likely never have seen the light of day. Guitarist Rob Cavestany explains his apprehension at reforming the band: Rob Cavestany: To me it was just the hugest can of worms to open up and however the band had ended back in the day, it had been so long already that by looking back on it we were just going over things that were really terrible when they happened, but that we had gotten over already. Also, everything we had done up until the time we broke up had been, in our minds and in the minds of a lot of people, of the highest quality and I didn't want to ruin that. CoC: Let's talk first of all about what got the band together. The Chuck Billy benefit was the first show that you played after the break-up; what precipitated the band's participation in that event? RC: Our band Swarm was together at the time -- a band that consisted of me, Mark, Andy and a friend of ours named Mike Isaiah on bass -- and we were touring the States opening for Jerry Cantrell. We were asked to do the show, and I was not into it -- I was into it for Chuck, but not into it to reform Death Angel for any reason whatsoever, and I was just kind of like: "Unfortunately I don't think we should do it, the band's broken up". Well, Chuck gets me on the phone himself at this point and I just couldn't say no to Chuck -- he's an old bro from back in the day, he's got cancer -- and I was just like: "Man, we've got to do this for Chuck then, but how are we going to do it?" The show was like three days after we would come home off the tour and we hadn't rehearsed or played together for thirteen years, so everyone just started doing their homework. We decided to go for it on this one show, and have a blast. We picked out the songs that we were going to do, and then me and A ndy started going through the songs at sound check before the Cantrell shows. I would sit with my walkman when I had the chance, playing the songs, trying to relearn them. We got home, rehearsed two times as a full band and then did the show, and we were like: "Man, how is this going to turn out -- we've had no preparation" -- and there you have it. We did the show, and as soon as we hit the stage, it's like a dream-state came on and we were transported back in time and everything just came back all at once and it was just unbelievable. The show has been filmed, so it's around -- but it was just unbelievable. CoC: So one of the main reasons you were afraid to reform the band was the danger of somehow tainting the Death Angel legacy? RC: Exactly. You know, most people try to come back and a lot of people, including myself, always end up thinking: "Why did you guys do that -- you've just ruined everything." And now it was thirteen years later, we had grown apart and we were just not in the same headspace anymore. Plus I knew that it would be a huge amount of work to get it to the level that it needed to be, and if we wanted to do this, we would have to 'marry' each other again and get down to some hard work, with the possibility of no pay- off. After the band broke up we had definitely grown apart, but we had all become good friends again and our relationship wasn't based on Death Angel anymore. So, I just didn't think it was going to be a good idea. Once we got on that stage though, and it felt the way it felt and the crowd responded the way they did, it was just unbelievable and it completely changed the way I felt. At that point, I guess it felt worth it to take the chance. CoC: Walk me through your thought-process as you guys started rehearsing again and as you started playing your first shows after all those years apart. RC: It was bizarre. I think we all just sat there cracking up all the time, because of some weird feeling -- it was like dating someone you used to go out with in high school all over again. At the same time, there was this unbelievable chemistry going on again, and at first I tried to deny it because I didn't want to get too excited and end up feeling let down if everyone wasn't going to be into it as much. CoC: Do you think that everyone in the band shared your feeling in the beginning? When you played the benefit show for example, did you all come off stage with the idea that Death Angel had been reborn? RC: No, we didn't decide on it that fast. We just all came off-stage and we were just looking at each other in disbelief and we were hugging each other and just tripping out -- we definitely all felt it in the same way. I also think that everyone had it in the back of their minds that maybe that wasn't going to be the last time we played. But also that night we were seeing all these people from the old scene united -- Exodus played with [Paul] Balloff again -- all these guys were there that night; all the old-school friends and fans just transported us to how it used to be back in the day in the Bay Area when things were at their peak. CoC: Aside from Mark leaving the band, and Andy's accident -- what were the key factors that led to Death Angel breaking up the first time? RC: Well, after the accident, we heard that Andy was going to be laid up and that he wasn't going to be able to be back behind the drums for at least a year, and that obviously put a wrinkle on things. Our label at the time [Geffen] was heartlessly just telling us to immediately get another drummer and get right back on it, and we were just in massive shock. I mean, our brother had nearly just been killed and was massively injured, so we were like: "We're not getting another drummer! This is the drummer that we started the band with -- he's Andy on the drums!" And so at that, they dropped us from the label. Also, our manager at the time was trying to manipulate us into getting back into things -- he wasn't as down for the cause as we were, which was causing a negative situation, and so by that point Mark just said that he had had enough and he quit the band and he moved to New York. When that happened, I was just like: "Without Mark, this isn't Death Angel, so that's it." We weren't going to try to replace him and with all that stuff happening we were just totally disgusted at how things had turned out and we felt that this was a sign that the band was not going to go on. CoC: Considering how young you all were when this was happening, and that Death Angel formed part of your adolescence in many ways, do you think that made the break-up even harder on you? RC: Oh, yeah... This was not just a band for us. I mean, literally, we're family -- we're related by blood; we're all cousins and we've been close since we were little kids, playing at each other's birthday parties, and so everything was always just so intense for us. Life for us just revolved around Death Angel. We missed out on a lot of things that other people did because we were always on tour and we were always busy, and we started disconnecting with a lot of our other friends. We weren't really independent yet, but we were forced to be and leave everybody behind, which put a lot pressure on us at a very young age. We were handling it somehow, but in retrospect... You never know what would have happened, but we're definitely more in control of ourselves and of our destinies and to know what's happening and understand the whole big picture of it all. Back when we were starting out -- all we were concerned about was just jamming and having fun. And that was a great period of time: all the innocence and all the naivety, you can never get that back. We weren't paying attention to what was happening to us business-wise and we weren't really concerned about our future. We were just concerned with the day-to-day activities of having fun and just being fools. When I look at it now and try to put it into a positive light, I do know that it could not have lasted the way it was up until now, because something would have changed -- something would have happened. There's no way that we would be able to be back together and just so into it the way we are now. We never stopped playing music; we played in a lot of other bands and these were all stepping stones to where we are now. I just try and look at everything as happening for a reason, which makes me comfortable with how things turned out. I just think that there's a reason and you don't always know the reason and what you can learn from the experience you need to use to your benefit in whatever you'r e doing at the moment. CoC: Okay, so the Death Angel reunion becomes a permanent arrangement; why sign to Nuclear Blast? RC: It was a beautiful pairing with us and Nuclear Blast. They were there from the start when we started playing again, showing their support, telling us how into it they were. And we got to know them and know the label and we saw how totally into it they were, and how they're fans of the band -- they're fans of music and of metal. I mean, we've never worked with a label like that; you'd be hard-pressed to get a phone call or have someone answer your calls at some labels. But with Nuclear Blast -- they're a big metal label, they're really into the band and that's huge for us -- the support they show us really means a lot. I mean, they signed us without having heard any of the new stuff that we had done; they were into us from the start and they respected us. CoC: How many albums have Nuclear Blast signed you for? RC: Four. CoC: Given that Death Angel was out of commission for such a long time, does it sometimes feel to you as though you're in a new band, or has it always just been a case of 'business as usual'? RC: A bit of both. At the same time actually, the good aspects of both is what's happening. The fresh aspects and the 'new' of a new band is there -- we're not sick of stuff. I mean, after a while -- I hope that we retain the freshness -- but sure enough, time passes and when we got to the end of touring for _Act 3_, we had just been going at it non-stop for so long that we were sitting on the road just wishing we could be someplace else. But the experiences and the things that we've gone through, combined with the break we've had from each other and from the whole scene -- nowadays we tap into that and we've learned to appreciate things and to take things as a blessing. We constantly talk to each other about it and keep each other grounded and just stay really thankful for the opportunity that we've been given and for the position that we have been put in. We're just really thankful that this is happening and we know how rare of a thing this is. CoC: When you started writing music for _The Art of Dying_, did you initially find it difficult to come up with material that you could rightfully call Death Angel songs? RC: No, it only took a little ice-breaking. It was actually a little bizarre, because we were all wondering like what the new material was going to sound like. CoC: You had been involved in projects like The Organization and Swarm, which were obviously vastly different from what you were doing in Death Angel... RC: Absolutely, and that was done on purpose too. When we did The Organization and Swarm, we were trying to explore different types of music; different types of jams that we hadn't done before. Because we had done this intensely fast and aggressive thrash metal for so long, we wanted to expand our musical horizons. When it came down to writing for this album -- I mainly do all the writing for the band and I realized that I would just have to start writing riffs, so I kind of started writing a bunch of riffs and jamming on them with the band, and we sort of let it just hang loose before we put full songs together. So that went on for a while -- weeding out different ideas and vibes here and there, and then we started getting into the groove and we started writing songs. Some of first songs we wrote were "Prophecy" and "Five Steps", and so then we had those and we had other parts for other songs, which we weeded out and jammed on. The bulk of the writing really came in December , after we had done a tour in November and went back home and just really got into it. Touring actually helped a lot, because we played all the live shows, talked to fans and it really got us into this upbeat mood and all of a sudden the juices started flowing, and by the end of it, things just happened really quickly. Now I'm really excited -- I've already started working on the next album, and I want to put out a lot of music in the next couple of years. I also know that we're not immortal and I know that we're not going to be as young as this forever, so I want us to use our time wisely and just deliver as much music as we can while we're still into it and while everything's going well. I think we're really in a good flow right now. CoC: With Death Angel being back together now, I take it that the side-projects have been laid to rest for the time being? RC: Yeah, there's just no room for them anymore. CoC: You wouldn't even consider resurrecting them once you've eased into a pattern with Death Angel? RC: Well, I'd say that the fact that Death Angel is back together now proves the theory that anything can happen, because this is the last band I ever thought would get back together. It's not the plan right now -- we're totally focused on Death Angel -- but there's no reason why we can't do it in the future. Personally I would love to do another Organization show; I loved doing it, I love singing and I was very proud of those two albums. But right now, there's just no time for any of that. There's also stuff beyond those albums -- beyond Death Angel, Swarm and Organization -- a bunch of stuff; about thirty songs or so that are basically like acoustic kind of stuff that's a whole different vibe. If there was time in the future, I would love to be able to put that out and express that. Right now though, we're all just focusing on this band, but as time permits we'll look into stuff outside of Death Angel. I'd say there's other things to come, for sure. CoC: There have been a lot of changes in the metal genre since Death Angel bowed out. What's your take on bands like Lamb of God, Chimaira and other bands that are regarded right now as being the future of this style of music? RC: Well, quite honestly, I don't really listen to much of it at all, so I couldn't really give you an honest interpretation of it. Now that we're coming back to the scene, and especially now that I'll probably be getting a lot of free music , I'll be checking out a lot of the stuff, but ever since we broke up the whole thing just left a bitter taste in my mouth and I just kind of went into different types of music that satisfied me from that time on. Usually the metal I listen to is older stuff -- my old favorites that really meant something to me. I'm not trying to say that one shouldn't be into the new stuff; it just so happened that I didn't really keep a pulse on the scene. And what I did hear, quite honestly, I wasn't very impressed by -- I found it to be not very original, and it just didn't hit me the way the old stuff did. But I really couldn't give you an honest opinion on those bands and that music. CoC: In the same sense, what is your opinion on bands like Metallica and Anthrax who were your peers in this business when you were starting out? RC: I'm stoked that these bands are still bringing out albums. A lot of those guys are old friends of ours who we played with back in the day, and I'm pretty sure that in the coming months we'll be playing a lot of shows with guys like Testament, Exodus and Anthrax -- and hopefully all of them will continue to put out some good quality stuff that the newer bands can be inspired by. As far as the last Metallica album, it's kind of hard for me to comprehend, in a way. The production sounds odd to me, the choice that they made to have no guitar solos is odd to me -- especially since I love Kirk's lead playing and since he was a big inspiration to me. CoC: Kirk did your first demo, if I remember correctly; are you still in touch with him? RC: Yeah. The last time I saw him, I didn't really feel like asking him why he didn't do any solos on the album. I don't know -- I figure they have their reasons for doing what they did. In their level of the game and in what they're doing, I don't really want to pass judgment on them. They're our friends and I really have nothing but the utmost respect for them. Being in the band, I know how hard it is to maintain and stay in a band for all that time, and the fact that those guys are still making music -- sure, their new album is not _Master of Puppets_ or _Ride the Lightning_ by any means, but it's heavy music and these guys still play it and I respect them for being around as long as they have been. In this business, there's pressure to live up to and outdo yourself and do better than you did on the last album, and there's a lot of different factors that add to that. Besides that, they have a different kind of pressure on them when it comes to making music, which we don't have. We're kind of more free in our music and in what we can do, whereas with Metallica there's just so many people involved in the machine it's quite frightening. CoC: Say for example then that _The Art of Dying_ were to take off and Death Angel were to find themselves in a similar sort of situation. Is that environment something you'd feel comfortable or even able to work in? RC: Their level is pretty heavy, man -- their level is pretty wild. I don't even set my sights on something like that, because they are just mega... mega... ultra-mega . But I do hope that we will be able to elevate ourselves to the point where we will be able to make our living off of music, so that we can focus on and continue to deliver good music and good shows and be a driving force in music. That's just my main goal. Seeing Metallica -- that's just something that I manage to not even think about. I'll deal with it if we ever got to that point, but I kind of like playing small places and I think that when you get that big, it kind of gets weird -- something gets lost. I guess if we ever got that big, we'd just progress with it. But as for them, I guess they're just their own guys and I respect them for still being together and for still playing and touring heavy music. Their new album is not my favorite Metallica album, but there you have it. CoC: Particularly when one sees you guys on stage, a lot of your more eclectic musical influences come to the fore: jazz, blues etc.. Where does that all come from? RC: It has a lot to do with all the different types of music that everyone in this band listens to. We all listen to an unbelievable spectrum of music and naturally it incorporates into what we play. We don't even plan it that way -- it just works out naturally. In fact, we have to try to keep it from not going too far out, because if you let it run free all those different styles just end up sounding crazy. CoC: So once again for the record, Rob -- are Death Angel back for good? RC: Absolutely, as long as we can carry on and not sound ridiculous. But our long term goals definitely include trying to keep it up for as long as we can. So far it's been great; this is not a one- off. We want to progress this thing and see how far we can take it. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= S U N D A Y M O R N I N G H A N G O V E R B L U E S ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Niilo Sevänen of Insomnium by: Jackie Smit Niilo Sevänen is admittedly not a man of many words, and with the effects of a particularly heavy Saturday night still weighing heavily on his ability to communicate, he politely apologises at the start of our discussion for sounding out of sorts. Where this scenario would normally be a colossal pain in the arse for an interviewer, in Niilo's case, Insomnium's latest effort has pretty much said all that can be said already. _Since the Day It All Came Down_ is the latest release by this Finnish quartet, and to claim that it will blow your hair back is one of the understatements of the century. A dazzling and emotional journey through several spectrums of music, it is one of those rare recordings that make you thankful you're able to hear. Yet, as effortlessly as scythes its way through your consciousness, it's an album that apparently very nearly didn't get made... Niilo Sevänen: A lot of unexpected things happened while we were in the studio. First the computers didn't work, then for some reason a lot of the recording equipment stopped functioning properly. After that had been sorted out, our guitars were going strangely out of tune on a sort of sporadic random basis -- I don't know what we did, but that was certainly a problem. All sorts of little things which were really frustrating just kept mounting up and hampering the recording of the album, which eventually ended up taking several weeks over what we had planned. There were some points where it looked like the album would be delayed or even scrapped or like we'd have to move to another studio. But in the end, we're really happy with the result. Now that I think of it, even the mastering had to be done twice! CoC: How close did you come to scrapping the work that you had done? NS: Very nearly, but we pushed through. For a while though none of us could listen to any of the songs we had recorded because whenever we did we would be reminded of all the hassles. It definitely took some time before we could listen to the album at all. CoC: Did you ever get an explanation as to the cause of the problem, or does it remain a mysterious set of unfortunate coincidences? NS: There must have been some poltergeist loose in the place. All I know is that there was supposed to be a lot of cool new equipment to help us record the album and none of it worked properly. CoC: The new album is much heavier than your last _In the Halls of Waiting_ effort. Do you think that perhaps these problems and frustrations that you were experiencing during the recording process added to the album's eventual energy? NS: I'm not sure -- it might be, but we also tried this time to create a heavier sound and to make the album much heavier. CoC: Aside from the increased heaviness, it is also by your own admission much darker and more sombre. What was the reason for a move in this direction? NS: I don't know what the exact reason was. These kinds of songs just sort of come to us, and now we're happy with the direction that we're moving in. Some of the songs on the first album were maybe a bit too happy sounding for me and that's why we deliberately tried to find a darker way of expressing ourselves. But as to the overall feel of the album, I'm still not sure why it ended up sounding the way it did. CoC: What were your influences and inspirations in coming up with the songs? NS: Myself and both our guitarists wrote the lyrics and we came up with the concept. What is the concept of the album? I don't really want to reveal that right now, because I want listeners to hear for themselves and make their own interpretations. It's a very tragic story and it deals with issues like coping with loss and losing loved ones. As to the details of the story, we'll leave that to the listeners to figure out for themselves. CoC: Is it based on anything stemming from a personal frame of reference? NS: No, not really. The story was thought up by me and [guitarist] Ville Vänni, and we basically cut up the story into pieces to fit every song. It was kind of like putting together a picture, in a way. As far as being based on a true story -- no, it's not. CoC: Looking toward your musical background -- Insomnium have a lot of very diverse influences in their songs. Where do these all come from? NS: As a teenager, I was listening to bands like Metallica, Slayer and Sepultura. Then I found bands like Opeth, Dark Tranquillity, Amorphis and At the Gates. As time passes by and you get older, obviously you start to listen to many other styles of music, but at its core I think that Insomnium is rooted in the Swedish and European style of melodic death metal. CoC: Considering how technical some of your work is, did anyone in the band ever have any formal musical training? NS: Our drummer, Marcus, has trained at a music school and our guitarist Ville played violin as a child. So both of them have a strong sense of theory and of musical history and things like that. As for myself and our other guitarist, we taught ourselves to play our instruments. CoC: How did it happen that you decided to take up the bass? NS: It was really a case of all the other instruments being taken. The first band that I joined already had two guitarists and a drummer, so all that was left was the bass and I was the lucky one who ended up playing it. CoC: Your native country has played host to a big burst in activity as far as metal records are concerned, and when you look at the Finnish music charts, it's not uncommon to see a metal band in the top ten. Why do you think that Finland differs so much from most other countries? NS: I suppose you could say that it's dark here all the time and all the people are really depressed. Rock music in general is really popular here and playing in a band is generally considered to be "cool", so you have a lot of young kids who want to play in a band, which is where a lot of stuff gets started. CoC: Any up and coming bands that we'll be hearing from soon? NS: I think most people will have heard Swallow the Sun by now -- they're our friends and they're probably one of the best bands in Finland right now. There's also a band called The Arrival who did an album for a small Norweigian label. Other than that it's pretty boring, really. You have a lot of Spinefarm bands who in my opinion just all sound exactly the same. They're all power metal bands and I can't stand that stuff. We definitely have some interesting bands though, but out of everything I'd say that Swallow the Sun is the best thing going right now. CoC: How about your own musical aspirations -- do you have any side- projects or anything like that going? NS: Myself and Ville Vänni play in a band called Watch Me Fall and Ville actually played in that band before he came to Insomnium. Now I do the singing in the band. We have done one album for a small Finnish label, but it hasn't come out yet and I don't know what will happen. Maybe in the future we will do something else and try to get a proper deal for it, but I'm not sure yet. CoC: So what are the plans for Insomnium over the course of the next few years? NS: In the spring, we'll be touring all over Finland -- we'll do about twelve shows in total and play some summer festivals as well. But after that, I'm not sure. Candlelight Records has promised that they will try and arrange something for the autumn. It would be very nice to visit England, Germany and the States, but I can't say for sure whether that will happen or not. As far as music is concerned -- just basically experimenting, pushing the band in different directions and making the best music we can, really. CoC: Any last words, Niilo? NS: To all readers of Chronicles of Chaos: if you're into melodic and fierce music, check out our albums and visit our website. Contact: http://www.insomnium.net =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= N O T A M A R D U K C O V E R B A N D ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ CoC chats with Maik Weichert of Heaven Shall Burn by: Jackie Smit The Associated Press recently ran an article detailing a study on the lyrics in modern metal, name-checking among others rising stars like Lamb of God, Chimaira, God Forbid and Soilwork. The writer in question determined that many of heavy music's current crop had departed from the self-indulgent wallowing of nu-metal and had instead adopted an overwhelmingly positive and life-affirming core message. Of course, black and death metal did not form a part of this investigation, but in reading the article one is struck by the fact that in slightly less extreme quarters, metal may well be on the verge of growing up. Certainly in this sense, there are few bands more effective in carrying over as strong and empowering a message as Germany's Heaven Shall Burn -- a band whose latest effort hits mighty hard in terms of both thought-provoking diatribes and sheer musical brutality. I recently caught up with guitarist Maik Weichert, who shed some light on veganism, politics and why he dis likes Formula 1. CoC: Your previous record (_Whatever It May Take_) was very aggressive, but on your latest record you seem to have reached new peaks in terms of blatant heaviness. Considering the political and reality-based approach of your lyrics, would you cite recent world events as a principal cause for this? Maik Weichert: Yes, of course -- there's been a lot of rage flowing into our music that was caused by things happening in the world right now. But at the same time, it wasn't actually motivated by any specific political developments. It's more like a feeling that we're a part of the system and that we can't do anything about it. If there's a war in Africa or in Arabia for example, we can go out into the streets and we can protest against it; we can get together in vast masses of people and shout against these things, but at the end of the day the reason they happen is to protect our wealth. If you wake up in the morning and turn on the light switch, then you're a part of that game; and even though you may be against it, you're still benefiting from it. It's something that we can't do anything about, because it's not a viable alternative to go out and live in the mountains of Afghanistan, so in a way this is almost like aggression toward ourselves, and also to our leaders and to the people that tell us every day what we shall do and what we shall think. CoC: [Referring to the article I spoke of in the preface to this interview] With more and more legitimate metal acts preaching positivity and self-empowerment, would you say that this new- found attitude detracts from the danger and excitement of the genre in any way? MW: I don't think so. With Heaven Shall Burn we have always had that approach, but I also love bands like Cannibal Corpse and I really hope that nobody takes their lyrics seriously! However, I do hope that people think about our lyrics and the ideas that we project. We don't see ourselves as artists -- we're not as skilled on our instruments as Cannibal Corpse, but we deliver social and political commentary and we as a group try to initiate thought in our listeners, which in turn could hopefully generate change -- and in that sense our lyrics and our message is equally as important as our music. I always say that our music is like our missile and our lyrics are the warhead. We aren't like an ordinary metal band -- I think that we have more in common with bands like Napalm Death and Kreator, who always had that political theme running through their songs. CoC: With Heaven Shall Burn being classed as a metalcore band in many quarters, and you all being straight-edge and vegan, I was interested to know what your take was on why hardcore seems to attract such a variety of extreme schools of thought -- everything from Christianity to Nazism to Veganism appears to have its own niche in the hardcore scene. MW: Hardcore and punk has always been the most political part of the extreme music spectrum, and this is where bands like that gather. Take again a band like Napalm Death -- they could very easily be a band with gore lyrics, but because of their message and the topics that they deal with you have kids in the hardcore and punk scenes listening to them. I don't think that you can define hardcore purely by music -- it also has a lot to do with the attitude and the lyrics. I mean, if for example we play in front of a metal crowd, nobody will be overwhelmed by our hardcore influences and vice versa. With us the hardcore aspect is defined by our lyrics, and I think that most socially conscious bands -- whether they write about animal cruelty or social ills -- can be defined as hardcore. CoC: Sticking to the topic of extreme schools of thought, what attracted you to veganism and being straight-edge? MW: Well, it didn't really have anything to do with the music; it was just the right choice for me. I mean, so many people who are straight- edge look down on people because they smoke or because they drink, and I would not do that. For me it would be stupid to drink or do stuff like that, but for others -- that's their decision. There are many assholes who are straight-edge and many cool people who drink. As far as veganism, it's really about an awareness of the problems in nature. We have all been vegetarians for about ten years already, and being vegan is just a consequence of that. It was a very easy step for us to take. We know that it's not the solution to all the problems in the world, but it's the right thing to do. And if we reach someone with our lyrics to the extent that someone goes to McDonald's one less time, or takes a bicycle to the pub and not the car, then we have already achieved something. CoC: I'm interested to know why you decided to change your name from Consense to Heaven Shall Burn, which carries with it the obvious connection to black metal -- something that you are quite obviously very far removed from. MW: That's true; we've always had the problem that people think that we're a black metal band or a Marduk cover band or something, but we wanted to make a statement with the band's name, and to us that means that people should open their eyes and not follow the wrong ideals or false dreams. It has nothing to do with Satanism, just that people should live in reality and not follow illusions. Actually I think a name like Poison the Well is far meaner. CoC: What was the reason for the name change? MW: We had a line-up change and the guy that left had also been writing a lot of the music, so the style changed a bit. I think that Consense was more of a "real" metal band in a way. We had our political ideas, but the approach to the hardcore scene came after the line-up change when we weren't really the same band anymore. CoC: Going back to the diverse audience that is attracted to hardcore -- has the band ever had any problems with white power skinheads or neo-Nazis at your shows? MW: Yes, we have. I mean, we are from East Germany and neo-Nazis are a big problem here, so sometimes they come to our shows and they try to start trouble, but we are lucky that we also a attract a lot of cool people who share our views and support us. So from time to time, we have some assholes turn up at our shows wearing Blue Eyed Devil shirts or something like that. But we don't tell the audience: "Hey, beat these motherfuckers up!" Instead we just tell the audience to turn around and laugh at them, which I think is way worse for them than getting beat up. But of course here in East Germany... it's a very weak part of Germany: there are a lot of problems, like unemployment, and it's very easy for these radical groups to influence young minds. We really try to show people something different. More often than not, these troubled kids are just looking for someone to identify with. CoC: Do you think that living in a country with the history of East Germany played a role in inspiring a lot of the aggression in your music? MW: Well, it's the thing that where we come from we grew up always questioning things and always questioning authority. Take my dad, for example: he woke up one day and everything that he believed in for forty years was gone, and as I child I was taught those same things, only to have it all switch back from communism to capitalism. I don't think that anyone can understand that if they didn't live it. CoC: Rammstein come from the same area as you do, and looking to their success and considering their background, do you think that they played a role in inspiring other bands from East Germany to start working more pro-actively and to be more focused? MW: Oh yeah, totally -- they definitely inspired us; perhaps not musically, but we were still very inspired by what they were able to achieve. Some of their first shows were actually in our town, and I remember being at their shows where they were playing to about 80 people in shitty clubs and they were using homemade pyros. They had all actually been in punk bands before and had been part of the scene for a long time, so a lot of people looked up to them as role-models, and to look at them now -- I'm very glad that they have achieved all their success, because they really deserve it. CoC: Considering how popular some of the subgenres in metal (particularly metalcore) is becoming, would say that reaching the heights that Rammstein has done is something that Heaven Shall Burn is aiming for in the future? MW: Not really, because we don't have the same kind of commercial appeal. Also, Rammstein created a very unique type of music, and I don't think that we are that original. I mean, right now I make enough money from the band that I can concentrate only on playing shows, writing music and my studies, and that is an advantage that I would not have had without Heaven Shall Burn, so I am very lucky. CoC: What do you study? MW: Law... I'm a fucking lawyer! CoC: What about the other members of the band: are they students as well? MW: Yeah, we're all students. Our singer did environmental science and finished that, and now he is studying medicine or something. Our bass player works with disabled people, our drummer studies economy and our other guitarist is studying something to do with electronics -- it won't surprise me if he becomes a famous professor one day. CoC: What takes top priority for you, the band or your studies? MW: Well, right now I'd say the band, but we are lucky because when we are touring there is so much time to study in between soundchecks or when you're on the bus or something. Heaven Shall Burn has a goal to instigate change in the world, and if we are able to do it in our jobs one day, then we shall be achieving the same thing that we want to do with our music. We don't want to be rock stars, we just want to make music and promote our message. If I can do that one day as a lawyer or as a judge and I realise that I can do more in my profession to achieve that goal, then I will choose that. I can always play music for fun. CoC: What's the touring schedule like for Heaven Shall Burn in 2004? MW: I think we'll be covering Europe in weekend shows, because I think that gives you enough time to rest so that when the next show comes up you can give it your all and not be tired like if you were playing forty shows or something. Hopefully those shows will include the UK, Scandinavia and places like that. We'll also play some shows in the US and later this year we will also be going to South America and Chile, which is going to be great for us because some of our songs are based on incidents that happened there. CoC: Any other plans for the near future? MW: Well, there's the touring, like I said, and then we'll be writing exams, and after that's over there will probably be another new CD. We're also busy doing a video for the song "The Weapon They Fear" that will hopefully be on MTV. CoC: One final question -- I read this on the website and I was very distraught when I saw it: why do you hate Formula 1? MW: For me it's not a sport, really. I have deep respect for the drivers -- they are very talented and they do a great job, but the rest is just a technical battle based around money. It's the same with tennis and golf and soccer: it has nothing to do with sport anymore. Look at Beckham: he's a pop star, not a football player. He isn't there because he wants to beat the opposing team; he's just there for the money. I'd rather just see some kids in a bicycle race than watch Formula 1. Same with football: I'd rather watch some third division games than anything in the big leagues; at least the players fight more. CoC: But surely you have to feel some pride in seeing your countryman, Michael Schumacher, lay waste to everyone in F1? MW: No -- Schumacher is so ugly that I could never support him! =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _, __, _,_ _, _ _, / \ | |_) | | |\/| (_ |~| | , |_) | | | | , ) ~ ~ ~~~ ~ `~' ~ ~ ~ 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! Agathodaimon - _Serpent's Embrace_ (Nuclear Blast, 2004) by: Jackie Smit (6.5 out of 10) It would probably have been handy to have had Agathodaimon's previous records handy to act as a reference for _Serpent's Embrace_, seeing as how the last time I stumbled across the band was around the release of their debut in 1998. Some may recall that during that period nary an item of Nuclear Blast literature could be found that was not buckling beneath the excessive touting of the band as "the next big thing". Of course, shortly thereafter Dimmu Borgir made their indelible mark on the symphonic black metal scene, leaving lesser acts like Agathodaimon to become just another indistinct blip on the extreme music radar. What I find most interesting about _Serpent's Embrace_ from a critical point of view, is that the band still appear to be suffering from the same musical Achilles heel that they did four albums ago. You see, for however many times they manage to blow your hair back with songs like "Cellos for the Insatiable" or "Light Reborn", they seem intent to persistently counter these momentary strokes of genius with the sort of Cradle of Filth-lite drivel that in my humble opinion barely qualifies as metal -- let alone -black- metal. And so, while _Serpent's Embrace_ is well produced and flawlessly performed, it is often a decidedly hit or miss affair and chances are that in order to truly enjoy it, you might need to rely on your CD player's "skip" button on a few occasions. Contact: http://www.agathodaimon.de Dark Lunacy - _Forget-Me-Not_ (Independent, 2003) by: Brian Meloon (9 out of 10) Dark Lunacy is an Italian band, and this is their second independent full-length release. They describe themselves as "Dramatic Death Metal", and that seems fitting, though I recognize some elements of black metal in their music as well. Now before a lot of you stop reading, it's important to distinguish between "dramatic" and "theatrical" -- such as Cradle of Filth. The "drama" in Dark Lunacy's music comes not from cheesy shock tactics such as moaning "virgins" or "blasphemous" lyrics, but from their heavy use of violins to create a morose atmosphere. It is these violins that elevate Dark Lunacy from a very good melodic death metal band to something special. Brutal but beautiful, melodic and melancholic, this album captures the sad/angry mood better than any album I've ever heard. It's the same atmosphere that Mundanus Imperium and Sear Bliss were going after on their best efforts (their mCD and demo, respectively), but Dark Lunacy are even a step beyond those two bands. Their riffs are generally syncopated, thrashy melodic death riffs with shouted/screamed vocals and the aforementioned violins. They also add plenty of other elements, including black metal-inspired tremolo-picked guitar lines, acoustic guitar, piano and other keyboards, some whispered sections, and female vocals. All of the instruments are very well played and very appropriate to the music. There's nary a flashy or distracting moment to be found. If I have a complaint about this album, it's that the second half slows down somewhat. While it's still well-done, I much prefer the faster-tempo sections. I also wish they would expand upon their more black metal-ish style, as this seems a more conducive vehicle for the violins to play against. But these are relatively minor complaints; this album really blew me away, and I can't wait for their next release. Fans of melodic black or death metal should search this out. Contact: http://www.darklunacy.com Death Angel - _The Art of Dying_ (Nuclear Blast, 2004) by: Jackie Smit (8.5 out of 10) Of all the comebacks that 2004 has played host to thus far, a Death Angel reunion was undoubtedly the one that very few of us could have foreseen. A classic example, if any was needed, of a major label taking advantage of young artists, the furor surrounding the band's acrimonious split from Geffen Records in 1992, and their subsequent decision to part ways, just about sealed the deal on any hope of a follow-up to the critically lauded _Act 3_. But, as if to prove that great things can be born (or reborn in this case) from tragedy, a favor to an old friend by the name of Chuck Billy saw the seminal Bay Area quintet back together once more. As the story goes, a one-off soon evolved into something more substantial, which in turn brings us now, after a fourteen year absence, to the next studio installment in the Death Angel saga. Considering that it's been nearly a decade and a half since the last time Mark Osegueda, Rob Cavestany, Dennis Pepa and Andy Galeon were in the studio together as Death Angel, it's remarkable how comparatively natural _The Art of Dying_ has ended up sounding. Laced with the band's trademark inventiveness and flair for punked-up experimentation, openers "Thrown to the Wolves" and "5 Steps to Freedom" are pure old school thrash metal gold. Mark Osegueda's voice cuts an imposing figure and has never sounded more arresting, while the guitar synergy between Rob Cavestany and newcomer Ted Aguilar is as effective as anything you will find on the band's early efforts. A surprise ballad in the shape of "Words to the Wise" also rears its head, nodding knowingly in the direction of Cavestany and Pepa's post- Death Angel outfit, The Organization. Unfortunately, taking into account the unashamedly early classic flavor of this record, it's to be expected that there are going to be some that will sneer at Death Angel's vintage approach. For the rest of us however, _The Art Dying_ is well produced, neck-snapping rollick, and quite possibly one of the finest old-school thrash albums since _Rust in Peace_. Contact: http://www.deathangel.com Falkenbach - _Ok Nefna Tysvar Ty_ (Napalm, 2003) by: Quentin Kalis (8 out of 10) Falkenbach's last album was in 1998, and I had taken their silence as an indication that it (as it is essentially a solo project) was no longer active -- so it was quite a surprise (though not an unpleasant one) to discover that one of Viking metal's most important acts had returned. This lengthy break -- which is apparently due to an automobile accident -- has not seemingly impacted on his music, as this album compares favourably to his previous work. He is clearly still performing _Hammerheart_-inspired Viking metal and can be justifiably regarded as one of the masters of the style. However, he has calmed down considerably: the music is less heavy, proceeding at a comparatively more sedate pace. The black metal style vox have been virtually abandoned in favour of clean vocals and the omnipresent folk tendencies have become even stronger. In addition, Vratyas Vakyas has enlisted the help of several musicians, and this has aided the music considerably -- most notably with the drumming, as the drum machine is discarded in favour of an actual person. "...Into the Ardent Awaited Land", which initially appeared on debut album _...En Their Medh Riki Fara..._ has been re-recorded, and in a rare instance, it sounds better then the original. It demonstrates perfectly the changes in style as the status of the electric guitar is downgraded in favour of an acoustic guitar and a more contemplative sound is adopted. A welcome return by one of the masters of the genre. Gnostic - _Evoking the Demon_ (Ordealis Records, 2003) by: Quentin Kalis (7.5 out of 10) This album gets off to a bad start by using a sample from "Gladiator" -- which would not be a problem were it not the very same sample which was used by Satyricon to open _Volcano_! Plus "Infernal Crypts of Martyrdom" sounds suspiciously like a reject from _Morbid Tales_ era Celtic Frost, further suggesting a lack of original ideas. However, the rest of the album proved to be, for the most part, an entertaining and dynamic listen that turned out to be considerably less generic than my first impression. Gnostic consider themselves to be war metallers, and if the aim was to create a frenzied sounding recording that reflected the chaos of war, then they have succeeded -- perhaps more so than most others of their ilk. A good production is clearly not a high priority for this band: the guitars possess a fuzzy, droning quality, while the drums tend to dissolve into an undifferentiated sludge. On occasion, its sounds as if the CD were being played through a cheap radio with the vol ume turned too high. In short, this album has a strong rehearsal sound and one could easily believe that this was recorded in one of the members' basement! A live concert has been included as a PC bonus. Golem - _Dreamweaver_ (Nuclear Blast, 2004) by: Jackie Smit (8 out of 10) With a bio describing their brand of extremity as a fusion of classic Morbid Angel and Carcass -- subsequently lumping them alongside the vast majority of death metal acts these days -- I'll admit to being less than enthused at the prospect of listening to this German quartet's fourth effort. In reflection, my lack of curiosity may also have had something to do with the fact that I've never really paid much attention to the band at any point during their fifteen year existence -- a factor that ultimately turned out to be a blessing, because upon further investigation _Dreamweaver_ actually turned out to be a huge step up from all its predecessors. While the allusions to Carcass and Morbid Angel do ring true on the majority of _Dreamweaver_'s 60-odd minute duration, it is the manner in which this blueprint has been incorporated that makes Golem an alluring and wholly interesting prospect. Think Trey Azagthoth and Bill Steer trading guitar riffs while sharing the world's worst acid trip and you start to get the picture. It isn't simply a case of skewed influences however, as songs like "The Tower", "Diaspora" and "Rose" toy with ideas centred around everything from black metal to neo-classical film soundtracks to progressive jazz. Of course, as would most likely always have been the case, some of these ideas prove to be a little too avant-garde for their own good, and particularly the spaced-out guitar wankery of "Le Sacre du Printemps" ends up sounding more trying than entertaining. Kudos to Golem however for returning to the fray after five years with an album that shows off not only some damn good tunes, but the sort of daring songwriting that will sustain the death metal genre for years to come. Contact: http://www.golem-metal.de Green Carnation - _A Blessing in Disguise_ (Season of Mist, 2003) by: Brian Meloon (2 out of 10) Green Carnation's third effort is the aptly-named _A Blessing in Disguise_. Why is this album a blessing in disguise, you ask? Well, first we have my misfortune of purchasing and listening to this horribly vapid album. And from that misfortune comes the blessing that I'll be more careful in the future not to purchase another album based upon the strength of a band or label's back catalogue. Oh, who am I kidding? There's simply no silver lining to my purchase of this insipid waste of time. I can only imagine what the band were thinking when they wrote and recorded this album. To me, it sounds like they were just sitting down to start writing a new album, but decided that putting together another epic atmospheric doom metal album like _Light of Day, Day of Darkness_ [CoC #57] was too much effort. Instead, they opted for the simpler task of writing a '70s rock album. So they took the few pieces of music that they'd already written, hastily wrote some generic filler and some lyrics, threw in some cheesy Moog synths for a real "vintage" sound, and called it good. The end result is the type of non-threatening, middle-of-the-road, radio-friendly fare that I'd more expect from the likes of the Little River Band than from former members of In the Woods. This is a decidedly half-assed offering that taints their good names with the stench of banality. Contact: http://www.green-carnation.tk Loits - _Legion Estland_ (Ledo Takas Records, 2003) by: Pedro Azevedo (6 out of 10) From the band's official website: "Loits is a wakening for Iron Youth, Loits is call to join the ranks of Legionaires, Loits is everything what judeo-christianian democracy is not. Loits is Estonian National Pride." In addition to this, the decorations on the band's logo leave little to the imagination about their political inclinations. Whether or not you give a damn about the above statements, be prepared for the fact that there is a clear militaristic, nationalistic feel pervading much of _Legion Estland_ (a look at the album title should indicate both aspects quite clearly). However, those who are simply interested in some rocking black metal fun need not worry about any of the above: this 7" EP provides just that, tweaked in Loits' own style, and the band's political views don't really get in the way of the music itself (so long as you skip the redundant second track, "Terasvanne"). Loits infuse many of their black metal riffs with touches of folky synth and an infectious rock 'n' roll vibe, resulting in songs that remain enjoyable without ever trying to achieve a remarkable level of aggression, intensity or atmosphere. It's not that the music comes across as relaxed; it's just that with all the unholier-than-thou black metal bands out there competing for the ultimate in the genre's extremity, Loits take a rather different approach: their mid-paced riffs are pronounced rather than rushed, and the songs are well defined. The fact this is only a brief EP also helps keep each song relevant, but on the other hand only the first and third track really have anything worthwhile to offer (in addition to what I wrote above about the second track, closer "Demon's Night" is only passable). While the music on _Legion Estland_ won't exactly floor you, it is unlikely it will bore you either; could be worth a punt if you're a fan of the genre and don't mind the political crap. Contact: http://www.loits.org Loits - _Raiugem Ruunideks_ (Schwarze MaSSenvernichtung, 2004) by: Pedro Azevedo (5 out of 10) Packaged together on the same CD-R as the band's older _Legion Estland_ effort, I received another 7" EP from Estonian national pride promoters Loits, this one titled _Raiugem Ruunideks_. Released by a different label (Schwarze MaSSenvernichtung, which can be translated into a pretty unambiguous "Black MaSSeradication"), this new EP features only two tracks. The title track is a bit folkier than the material on _Legion Estland_; the production is slightly inferior and the song drags a bit. The second track, "Tuleristsed", sheds the folk influence and boasts some improved song structuring, saving the EP from a negative rating. On the whole, however, there isn't much on offer in terms of quantity, nor does the average quality of the two tracks suggest you'll be spinning this EP over and over again. Decent material, but far from being a remarkable release even if you have no qualms about the label's more than questionable choice of name. Contact: http://www.loits.org Lupercalia - _Florilegium_ (Equilibrium Music, 2004) by: Pedro Azevedo (8 out of 10) Mixing neo-classical music with medieval influences, Italians Lupercalia are now on their second full-length album, following the _Les Nuits des Samain_ EP and the entirely instrumental full-length _Soehrimnir_ (neither of which I've had the chance to hear before delving into _Florilegium_). With soprano singer Claudia Florio joining classical guitarist Riccardo Prencipe, the duo then enlisted the help of solo violinist Gianluca Uccio and a string quartet to create the lush medieval ambience of _Florilegium_, now released through Portuguese label Equilibrium Music. The songs on _Florilegium_ tend toward the tranquil side of things, though some more stirring passages are also mustered (during "Personent Hodie", for instance), as well as some more festive ones. From Eastern influences to Latin lyrics, there is a lot of uniqueness to be found behind the skilled musicianship. The vocals are very well performed, adventurous and well suited to the music, combining with the violin, guitar and background strings and synths for flowing, involved compositions. While very pleasant and musically interesting, _Florilegium_ sometimes lacks more memorable passages (the aforementioned "Personent Hodie" comes to mind as a good example), and a somewhat darker atmosphere would have been a definite bonus for me. Furthermore, at over one hour in length, some arrangements become slightly repetitive, and some tracks therefore come across as less relevant; but the medieval atmosphere is convincingly achieved and well kept throughout, which goes a long way to keeping things together as an album. In spite of minor problems, _Florilegium_ remains a very good album, with a vast amount of musical merit and an accomplished medieval atmosphere to ensure its relevance. An intriguing and enjoyable listen that should prove very rewarding for those with an inclination for all things medieval. Contact: http://www.equilibriummusic.com Malevolent Creation - _Warkult_ (Nuclear Blast, 2004) by: Jackie Smit (7.5 out of 10) With song titles like "Preemptive Strike" and "Shock & Awe" adorning the tracklisting down the back sleeve of Malevolent Creation's eleventh full-length effort, one suspects that everyone's favourite second-tier death metallers have decided to get political on us. Whether or not they intend for _Warkult_ to be a deft musical kick up the arse for the Bushes and Rumsfelds of this world becomes a moot point however after "Dead March" kicks into its introductory rumble and the message hits home that this is going to be a seriously nasty piece of work. As with the band's last studio outing, _The Will to Kill_, _Warkult_ finds the malevolent ones in top technical form with the vocals of one-time Hateplow growler, Kyle Simmons, sounding as ferocious as ever against the backdrop of Phil Fasciana and Rob Barret's grinding guitars. The return of Dave Culross to the drum stool proves a further boon for the band, and quite predictably many of the songs seem almost purpose-written to take advantage of his talent for blasting at nigh on insane speeds. Yet overall _Warkult_ fails to impress to quite the same consistent extent as its predecessor, which is largely due to the band slowing things down halfway through proceedings and inexplicably trading their signature riffing for the kind of tepid, generic melodies that were last being bandied around Sweden in the mid-nineties. Astonishingly this unnecessary lull lasts for a good three to four songs, breaking up the record's atmosphere to the point where you might think you're listening to a different record. One could of course argue the merits of the adventurous intentions behind this attempt at diversity, but ultimately there are far more effective ways of adding variety to an album, and unfortunately in this case fifteen years' worth of experience has apparently not proven enough to enable the band to do so. And in this lies the album's biggest let-down, because songs like "Tyranic Opression" and "Murder Reig ns" probably rank amongst some of the best material in the Malevolent Creation discography. Contact: http://malevolentcreation.cjb.net Metalium - _As One - Chapter Four_ (Century Media, 2004) by: Aaron McKay (5 out of 10) In the political press it has been said that you aren't a "real journalist" until you've truly pissed off an elected official with a published piece. That leads me to believe the author of the article in question here can distance themselves enough to write exactly what he or she sees the facts of the story to be. That's kind of how I feel when I find myself faced with the task of drafting something up for Metalium. Never having been a fan of the whole "power/triumph metal" as a genre per se, Metalium presents me with somewhat of a dilemma. On one hand I can see their appeal and hear their mastery over their chosen instruments -- skillfully executed solos and catchy riffs, for example. On the other hand Metalium forever seems to launch them headlong into well-traversed musical territory. All things being equal, as an aside, this new offering was very well- received in Japan. Admittedly, the concept that this four-piece German power outfit surround themselves with is completely lost on me -- kind of like exploring the intellectual prowess of Mad Magazine in your graduate level literature course. Warriors, Medusa, Heathens and a storyline that unites the Metalian hero with a female counterpart, Metaliana -- Metalium tread too close to the whole Dungeons and Dragons meets Battletech arena for me (and not in a Manowar kind of way either). That hubbub aside, musically, as I said before, Metalium are competent and obviously practiced musicians. Mostly with an aggressive fast paced edge, this band blazes out a fiery album here with _As One - Chapter Four_; no disputing that. Also a step in the right direction away from 2000's _State of Triumph - Chapter Two_, I might add. Let me put it this way: if you thrive on this kind of thing, Metalium is solid gruel, but don't look for any dessert. Contact: http://www.metalium.de Must Missa - _Ma Ei Talu Valgust_ (Death to Mankind Records, 2004) by: Pedro Azevedo (5 out of 10) Estonians Must Missa have surely been living on a diet of classic Darkthrone, Gorgoroth and such acts for quite some time now, judging by this _Ma Ei Talu Valgust_ EP. There is a distinct feeling of old school black metal grimness running through each song, and while time seems to have stopped in the early '90s for the band, at least they can still come up with some decent examples of the genre. Decently playing what others invented before them isn't a huge accomplishment however, and the somewhat pedestrian compositions Must Missa present us only just manage to escape a negative rating. They really need to either excel at their chosen style or successfully add more of their own personality to their music in the future. Contact: http://www.metal.ee/must_missa/ Necare - _Ruin_ (Firebox, 2004) by: Pedro Azevedo (8 out of 10) Playing the music you like, and sparing nary a thought for whether it is particularly fashionable or innovative at any given point in time, must be a great feeling for a musician. Necare are almost certainly one such band: harvesting influence from early '90s British doom, this American duo indulge in a form of doom/death metal that may not be exactly groundbreaking, but nonetheless remains welcome when done properly -- and for the most part, _Ruin_ is done properly. Indeed, the first three tracks after the intro -- all of which tend to scream _Serenades_ era Anathema -- rank among the most accomplished doom I've heard in a long while. But while originality doesn't run high and the music is kept fairly simple throughout, the fact is _Ruin_ remains an unpretentiously enjoyable disc for those who like the doom/death genre. The Anathema connection tends to fade away during the second half of the album, which is also slightly less captivating, but not to the point of making this album significantly less worthy of purchase for lovelorn doom/death fans. Contact: http://www.firebox.fi Nortt - _Gudsforladt_ (Diehard Bloodline, 2004) by: Pedro Azevedo (9 out of 10) Browsing Nortt's website and looking at the collection of demo tapes reaching back to 1997, it becomes clear that there has been a consistent aesthetic and musical theme since the beginning. Pondering on death as a welcome release from the torments of life, the grave as a darkened womb to return to, Danish one-man project Nortt combines black metal sonic elements with a doom metal state of mind; the self- inflicted label of "pure depressive black funeral doom metal", wordy as it may be, is an apt description -- even the "pure" bit makes some degree of sense, since Nortt never seem like they would compromise the bleakness and moroseness of the music on _Gudsforladt_ for all the gold in this world. Nortt have taken a sound reminiscent of early Burzum and twisted it to the point of seeming as slow for black metal as Skepticism are for doom. Mournful keyboards (mostly church organs and slow piano) very adequately complement the music, which is driven by rumbling guitar chords, slow pounding drums and the wails and laments of some tortured spirit (though not quite in Deinonychus' downright weeping style). The music has a droning, simplistic feel most of the time, but that suits the unrelenting oppression created by this album. There is no actual singing (even by black metal standards), no upbeat passages, no effort to make the album easier to accept by listeners (except perhaps if you point out the occasional piano melodies, but that would seem unfair since their delicate despondency and cobwebbed beauty only adds to the atmosphere). The tracks aren't very long, so you need not expect the same riff getting repeated for ten minutes; it is the album as a whole that works in the way I described above. This is the kind of album most worth playing when you are not simply alone but also lonely, or at least considerably melancholic or sorrowful for some reason. It simply won't work on a sunny day when you're feeling good and your life's alright -- so be warned that this album may not be for you. Otherwise you really need _Gudsforladt_ in your collection. _Gudsforladt_ comes presented in a hardcover digibook (limited to 1000 hand-numbered copies), which at the time of writing is being sold by the label for a very steep 190 DK (equivalent to about 25.50 Euro as of May 2004). Considering the quality of this release, however, I doubt even at this exaggerated price Diehard will have much trouble dispatching all the copies. Contact: http://www.nortt.dk Orphaned Land - _Mabool - The Story of the Three Sons of Seven_ by: Aaron McKay (8.5 out of 10) (Century Media, 2004) Here is about the best way to describe this disc: a metal menagerie. This six piece Israeli outfit maximizes all sixty-eight minutes on this effort to stir in as much creativity, theology and conceptuality as humanly possible. To call this band experimental is like saying gravity has a purpose -- a statement of the absolute obvious. While this is my first exposure to Orphaned Land, the previous two efforts stretching their career back to 1991, complete with the a demo in 1993 entitled _The Beloved's Cry_, must have been an adventurous path of wonderment to culminate in such a rich and well-crafted album as _Mabool_. This offering is the third for the band after a seven year hiatus to concentrate on severe developments in their homeland. While this comparison will fail to deliver a true sampling of Orphaned Land's sophistication, try imagine everything a Mid-Eastern version of Agalloch meets a Borknagar (of sorts) crammed into a less-than- suitable, and mostly restrictive, metal labeling could possibly offer; Orphaned Land is far too fluid to be pigeonholed in such a manner. Barbarous rhythms and tranquil interludes flow effortlessly all- throughout this concept album. Interlacing a biblical tale of three sons uniting in an attempt to restrain God's fury, _Mabool_, or The Flood, eventually overtakes the Orphaned Land wrought with fanciful indulgences and debauchery. Not content to lay open this story solely with typical instrumentation, Orphaned Land utilize violins, classical acoustic guitars, cello and piano side-by-side with instruments of oriental origin. Orphaned Land complete their developed presentation with clean and harsh vocals that continue their sophisticated experimentation and further stave off any notion of labeling style or concept not expressly exhibited by the band itself. Obviously a deeply powerful album, but a minor point worth surfacing is that for full effect _Mabool_ is most balanced when listening from start to finish uninterrupted; for those of us mostly musical attention deficit individuals, over an hour at one sitting is asking a fair amount. From time to time, however, pull _Mabool_ out to remember while there are only so many stings on a guitar and a finite number of ways to play them, creativity will not be stifled. Contact: http://www.orphaned-land.com Psycroptic - _The Scepter of the Ancients_ (Unique Leader, 2003) by: Brian Meloon (10 out of 10) I was almost sure that Spawn of Possession's _Cabinet_ [CoC #67] would be my favorite disc of 2003, but Psycroptic's second release is perhaps even better. Australia's Psycroptic play fast, technical death metal featuring a constantly-changing barrage of riffs. They keep the tempo fast enough and the riffs changing frequently enough that it's hard to classify them as "brutal", though their music is certainly very aggressive. Their music is highly syncopative, but they add some melodic elements and even a few guitar leads to avoid sounding too one-dimensional. The riffs themselves, while generally above-average, aren't overly original, but it's their execution that is so impressive. In particular, two things really strike me about this release. The first is the agility of some of the riffs: they're able to switch tempos, feels, and/or time signatures on a dime, which is very difficult to do in the middle of a blast beat. The second is their tightness: several sections simply wouldn't have been as effective without the band being as tight as they are. Needless to say, the drums, guitars, and bass are all exceptionally well played. The vocals are also very impressive, as their vocalist has a lot of versatility. His main vocals are a mix of shouting, screaming, and growling, but he also incorporates a guttural style, a few Cradle of Filth-style screams, a slightly distorted style that reminds me of early-'90s Pantera, and several others. Most of these styles are very effective and fit the music very well. If there's a problem with this release, it's that they often resort to simply average riffs, especially at the beginnings of songs. Their best songs don't really have an intro that reaches out and grabs you, and their best moments are often buried in the middle of songs. In addition, they sometimes follow up an excellent section that they've been building for a while with a distinctly average one, breaking the momentum that they had built. Nevertheless, they are usually able to recover this momentum within a few measures. The production is very good; it's clear enough that all of the instruments are clearly audible, and it fits the music well enough. I can't imagine a fan of technical death metal not liking this release. On the other hand, it probably won't appeal to those who like to groove to their music or demand catchy hooks or melodies. Since I'm firmly in the former camp, I'm eagerly awaiting their next release and hunting down their debut album, _The Isle of Disenchantment_ [CoC #53]. Contact: http://www.psycroptic.com Sabbat - _Sabbatical Holocaust (Five Massacre Demonslaughts)_ by: James Montague (7.5 out of 10) (Time Before Time Records, 2004) "Five Massacre Demonslaughts" -- translated for the sane, this means "five Sabbat 7" EPs pressed onto CD". These are the first five of the band's career, released in the days before they adopted the curiously Japanese habit of putting out fifty limited vinyl pressings a year, so in fact this compilation spans a staggering five year period (1985-1990). "Five" is clearly an important number when discussing this release, along with the ubiquitous "666", but that goes without saying. Does it deserve a five-star rating? Very nearly. This is a classic hit of old- school black/thrash metal from a band that cut its teeth at the same time as Bathory were making a bigger name for themselves over in Europe. The Sabbat of the late '80s played in a similar vein to the first few Bathory, Sodom and Hellhammer / Celtic Frost EPs/LPs, but with arguably better songwriting and certainly better musicianship. Fast, slow, melodic, gritty and ugly: they do it all with aplomb. There is a slight undercurrent of evil running through the music (in fact the band were originally called Evil), but all in a cartoonish Grim Reaper kind of way. The true strength of the band is in its mastery of thrash riffology -- this is neckbreaking thrash for drunk, long-haired louts. And it's not in the least bit ridiculous. Sabbat may not take themselves too seriously , but they do take metal seriously, and you can't help but admire the spirit of these heavy metal samurai. The compilation loses points for what is essentially an "official bootleg" presentation; the liner notes proudly proclaim that the tracks were recorded directly from the vinyl, but it hardly takes a sound engineering genius to work that out, given that the snap- crackle-pop of 14-to-19 year old vinyl discs is clearly evident. Not a lick of remastering on this CD -- would it really have been so hard to tidy things up a bit without eliminating the feel of the music? I think not. The CD is also rounded off with three live tracks from 1986, containing impeccable performance but a weak sound; certainly there are many live recordings by the band that blow this one away. It's hard to complain about 76 of minutes of killer blackened thrash, but keep in mind that Nuclear War Now! put out a stunning reissue of three Sabbat EPs in a 6" boxset in 2004; its name is _Sabbatical Satanichrist Slaughter_, and I'd recommend you put that ahead of Time Before Time's lazy effort on your shopping list. Still, the rule of thumb with Sabbat is to take what you can get, whenever you can get it, because it's a right pain in the arse to get hold of their quality recordings. Contact: http://welcome.to/sabbat/ Skyforger - _Thunderforge (Perkonkalve)_ (Folter Records, 2003) by: James Montague (9 out of 10) One of the most refreshing bands to hit the metal scene in the past decade, Skyforger have been flying the flag of Latvian metal since 1995. They have also seemingly taken on the burden of educating the world in the ancient pagan ways of their homeland, with an official website bursting at the seams with notes on symbology, folklore and customs; and music that incorporates several traditional arrangements into a modern metal form, plus a wide variety of traditional folk instruments adding to the authenticity. There's a shameless celebratory aspect to _Thunderforge_ -- for instance, the instrumental "Long Dance" is an adaptation of an old wedding dance tune, and "Oh Fog, Oh Dew" is also nuptial-based, in this case telling the story of the Moon's union with the Sun's daughter. Very few bands in the extreme metal field would dare to allow such positivity to creep into their songwriting, but Skyforger are a determined bunch, and this ambitious venture succeeds in every regard. From the immense power-chord marches of "When Usins Rides" and "Through the Gates of the World Beyond" to the more black-metal tremolo stylings of "Warlord of the Night Sky" (a tribute to that great black metal icon, the Moon) and the joyous folk melodies, the album flows together like the cycle of life in the world of Mother Nature that Skyforger hold so dear. I can almost feel the crackle of flames from the campfire as I sit with my pagan brothers, drink to the gods above and reflect upon the many wonders of t he world around me. Of course, I can't sit for long, when such kickarse metal riffs are bursting out of the soil. And so we have "pagan metal". The most evil or ferocious record of 2003? Certainly not. But _Thunderforge_ is an album of such impeccable craftmanship and uplifting energy; the kind of record that will always stir me out of my melancholic haze and get me bouncing off the walls again. Being Latvian hasn't helped Skyforger gain a massive worldwide following, but it has inspired them to produce some truly outstanding music. Contact: http://www.skyforger.lv Suffocation - _Souls to Deny_ (Relapse Records, 2004) by: Jackie Smit (9 out of 10) Whether it is down to simple coincidence or not, it nonetheless remains interesting to note that the last time death and thrash metal enjoyed the prominence that it does now, the world was engulfed by similar ominous threats of nuclear devastation and war. One might even argue that world events spanning the last four years have on a subconscious level been the motivation for many of the genre's erstwhile prophets of doom to fire up their instruments in retort once again. Whatever the reasons, there are very few acts who have proven themselves capable of capturing the zeitgeist with the same sort of bone-jarring clarity as Suffocation; and on their comeback effort, they certainly don't disappoint. Of course, evolving from a pedigree that boasts such seminal efforts as _ Effigy of the Forgotten _ and _ Pierced From Within _ was only ever going to send expectations crashing through the roof, but despite being out of the game for a good six years, the New Yorkers don't appear to have lost a single step in their brutal danse macabre. Indeed, any doubts as to whether Suffocation still possess the fire needed to create music that can stand up to what they've offered in the past are quickly laid to rest as the album fades into the opening rapid-fire attack of "Deceit". Where dark melodies played a limited role in much of Suffocation's latter-day output, _ Souls to Deny _ sees it introduced to a far greater extent -- evoking an almost black metal-like atmosphere on some songs. But rather than dampen the impact of their über-heavy assault, it adds a sense of even greater dynamics to the blueprint left behind on _ Despise the Sun _. The band's primary focus is still squarely on skull-crushing brutality however, and with the help of Joe Cincotta in the engineer's booth, _ Souls to Deny _ is about as aggressive and crushing a record as anything one could have reasonably expected Suffocation to deliver this point. In fact, judging by the dizzying technicality and superior songwriting on tracks like "To Weep Once M ore" and "Surgery of Impalement", I'd be willing to bet that their second coming could well prove to be their most devastating. Contact: http://www.suffocation.us The Eternal - _The Sombre Light of Isolation_ (Firebox, 2004) by: Pedro Azevedo (7 out of 10) This debut album from Melbourne's The Eternal arrives in the wake of three full length albums and two EPs released by pretty much the same people under the guise of Cryptal Darkness -- a name which they apparently abandoned due to line-up and label problems. Indeed, the music created by this Australian quintet for their debut as The Eternal betrays a good amount of past experience, with its considerably high level of composition, arrangements and execution. The music on _The Sombre Light of Isolation_ tends to come across as quite mature, but on the other hand it suffers from trying to integrate more elements than might have been advisable, and also possibly trying to please too wide a spectrum of listeners. As a result, while most of the album will appeal to those into melodic doom, they will also find a considerable component of Nevermore-like heavy metal and even plenty of what is pretty much gothic rock thrown into the mixture at times. This results in more variety than usual for a doom album, but also in some clash of styles and consequently the loss of some of the all-important atmosphere every doom album should possess. _The Sombre Light of Isolation_ is still an accomplished album in spite of a few lengthy lukewarm passages, though with all that's been thrown into it and clocking in at over an hour, it may be a lot to digest. One remains with several memorable moments sprinkled around the album and a generally agreeable listen, but not really a disc that most people will enjoy from start to finish and keep going back to. If you happen to like all the sub-genres mentioned in the review, however, The Eternal seem quite apt at all of them and there should be nothing to stop _The Sombre Light of Isolation_ from becoming a worthwhile addition to your collection. Contact: http://www.firebox.fi The Great Deceiver - _Terra Incognito_ (Peaceville, 2004) by: Pedro Azevedo (7 out of 10) The extent to which The Great Deceiver's _A Venom Well Designed_ impressed me meant its successor would be welcomed with open arms -- but also that it would have a hard time proving its worth. _Terra Incognito_ is, first and foremost, an album that picks up where its predecessor left off, but also one that doesn't seem to care where it goes from there. The Great Deceiver have veered into a more pummeling hardcore-based approach, and as a result much of the more introspective guitar work that really made some of _AVWD_'s tracks shine has been forsaken this time around. The final result is a different balance of the elements that make up The Great Deceiver's sound, but despite a promising opener in "Today" it is also somewhat disappointing. _Terra Incognito_ is a mildly enjoyable album: Lindberg's usual screams occasionally go into lower registers than usual, and there's a definitely impressive sound emanating from the pounding riffs and rhythm work -- often quite straightforward, but very pronounced and commited. A hard album to judge, _Terra Incognito_ is neither a headbang-inducing riff-fest nor a considerably doom-infused album; it's less doomy and more pounding than its predecessor, but it's clear that The Great Deceiver are still very much doing their own thing rather than trying to create easy music for a given target audience. For my taste _A Venom Well Designed_ is much more enjoyable, but _Terra Incognito_ is still a good album that might even turn out to be more attractive for other listeners. Contact: http://www.peaceville.com Therion - _Lemuria / Sirius B_ (Nuclear Blast, 2004) by: Jackie Smit (10 out of 10) It's been nearly ten years since the first issue of Chronicles of Chaos swept across the pornography emporium that is cyberspace, and while we have never claimed to be the world's harshest critics, there have been comparatively few bands who in the time since then have managed to achieve a perfect score. Even rarer still have been instances of a band being awarded this elusive honour for more than one album. Therion are an exception however, boasting not one, not two, but three flawless records, underlining the fact that here at CoC Central, there clearly exists a consensus view that in his fifteen year career as the band's leader and main songwriter, Christofer Johnsson has been doing something right. Still, in measuring the quality of Therion's tenth effort one must look to the evolution of the band's discography and the gradual decline in quality displayed on the likes of _Deggial_ and _Secret of the Runes_. While these releases weren't nearly the overblown, self- indulgent puff-pieces their detractors made them out to be, they did fail in many respects to live up to the daunting standards etched out by their predecessors, in particular those achieved on the band's breakthrough opus, _Theli_. Taking this into account, one might therefore almost have considered the possibility that once seemingly bottomless pool of Johnsson's creativity was about to run dry. Of course, seeing as how _Lemuria / Sirius B_ is about to achieve a record-setting fourth perfect ten, you'd have been wrong. Nine months in the making and featuring the contribution of some 171 musicians (yes, that's right), the _Lemuria / Sirius B_ double album is admittedly a band effort. Johnsson, along with Kristian and Johan Nieman and producer Lars Nissen have created a double-headed beast that quite frankly renders this review redundant after the first ten minutes of play. It takes ideas that were hinted at on _Theli_, _Vovin_ et al and elevates them to the nth degree, but such is the scale of this opus that these form only a part of its dense sonic tapestry. To aptly describe its sound would see one combing virtually the entire musical spectrum. Woven into the rich soundscapes that form the album are elements of opera, classical and neo-classical, progressive rock, folk, and jazz, all augmented to levels unheard of anywhere else. Similarly _Lemuria / Sirius B_ is a markedly heavier record. Where more recent efforts may have forsaken the harsher side of music, _Lemuria / Sirius B_ restores i t to its former glory, and in this instance, Johnsson has stepped up to the plate and pushed himself to extremes that were last seen on the band's earliest demos -- even bringing back the odd death metal vocal. In further listing its strengths, I could probably spend several more paragraphs analysing this album and honestly, if I were to do that, I'd more than likely find fitting superlatives in short supply. At the same time, it is very hard, if not impossible to find a flaw on this record. Every song is virtually note-perfect from start to finish, and in this sense, it is an effort that is able to not only equal its ambition, but one that ultimately ends up transcending mere musical expression, to become pure art. Contact: http://www.megatherion.com Ulver - _A Quick Fix of Melancholy_ (Jester Records, 2003) by: Quentin Kalis (10 out of 10) The tone of the album is accurately -- and predictably -- described in the title. But exploring the darker aspects of humanity is hardly new territory for Ulver, as virtually all of their releases explore bleak themes. What does change is the manner in which those themes are explored, as Ulver are seemingly content to switch genres from one release to the other. Apart from the thematic material, the only other constants during their ten years of existence have been the use of distinctively Ulverian melodies and the presence of Kristoffer (Garm) Rygg -- who is now Ulver's sole member. But even against this background, _AQFoM_ stands out as being particularly creepy and perhaps more avant-garde then any other Ulver release. Paradoxically layered and minimalist, easy categorisation beyond vague and unhelpful terms such as "electronica" is near impossible and not worth attempting. Stirring neoclassical strings dominate alongside Garm's potent vocals, which continue to improve with each successive release. On "Vowels" he attempts some sort of pseudo-operatic style, with the passion and strength black metal bands can only dream about. Electronic beats -- which I usually despise with a passion -- succeed as they tend to be evocative rather than danceable. A remix of "Nattleite" off _Kveldssanger_ ends the album, and for the first time they have attempted a rework of material from their black metal period. Ironically, it is considerably harsher then the original. Try as I might, I could not find any flaws -- at best it could be said to be too short. If _Nattens Madrigal_ was the ugly face of Ulver, then this is its very antithesis; an ethereal and eerie album absolutely beautiful in its stark simplicity. Easily Ulver's finest since the excellent _Perdition City_. Vehemence - _Helping the World to See_ (Metal Blade, 2004) by: Brian Meloon (7 out of 10) Arizona's Vehemence have returned with the follow-up to their excellent 2002 release _God Was Created_. Unfortunately, this release fails to connect with me the way that album did. I was somewhat surprised by this, as the two albums share many of the same characteristics. Both are melodic death metal with brutal and precise guitar riffs, growled/screamed vocals, and a tight rhythm section, all played with considerable aplomb. Their riffs are generally melodic without being hook-based and are often harmonized. They seem to be fond of individual note lines -- especially arpeggiated ones -- but they do use chord-based riffs from time to time to add some diversity. And although none of these elements is particularly original, they've managed to define their own unique sound. Yet there are three elements that make this album less appealing to me than its predecessor. The first is that many of the riffs are too similar to those on their previous album. Thus, while they might have been novel before, this time they've lost some of their impact. The second is that the music is less diverse and more repetitive. The songs have a more internally consistent feel, which might also be because each of the songs is credited to a single band member, as opposed to their last album, which had several tracks that were collaboratively written. The last is the production, which certainly isn't bad by any means, but gives the music a sterile feeling. That's not to say that this isn't an extreme album, because it definitely is. However, the production makes the music sound compressed or constrained, and that limits its effectiveness. Overall, I think this is a pretty good release. I certainly got my money's worth from it, and I wouldn't expect that too many death metal fans would be disappointed by it; yet it doesn't really show much progression over their previous release, and thus I don't expect much from their next release. Contact: http://www.vehemence.com Watch Them Die - _Watch Them Die_ (Century Media, 2004) by: Jackie Smit (8.5 out of 10) It is interesting to note upon closer analysis of the current thrash boom, that the majority of bands leading the charge of the next generation have -- on a musical level at least -- followed the schematics etched out on early Slayer records virtually to the very last note. Not that there's anything wrong with that, mind you, as bands like The Haunted and Carnal Forge have proven, almost as a testament to Slayer's enduring legacy, that the formula can still produce songs of amazing impact given a slap of contemporary veneer. It is nevertheless refreshing to hear a new band explore roads less travelled -- in Watch Them Die's case, the venomous riffing of classics like _Bonded by Blood_ and _Among the Living_. In addition, this Bay Area outfit have also added a generous dose of progressive hardcore to the mix, referencing bands like Mastodon and Uphill Battle on more than on occasion. It's an approach that hits hard and aggressively, particularly on tracks like "To See You Blee d" and the haunting "Resurrection". Given that the somewhat flat production does let the potential effectiveness of the songs down from time to time, this is a remarkably mature debut effort -- one which may not quite be _Reign in Blood_, but that's definitely one of the best examples of the new generation of thrash you'd find right now. The soundtrack of violence indeed... Contact: http://www.watchthemdie.com Witches Sabbath - _New World Plague_ (Necromance Records, 2004) by: Jackie Smit (6.5 out of 10) Witches Sabbath's debut reminds me a lot of a low budget, independent film -- a director's first unfettered foray into showcasing his craft. Sensing the amount of passion and effort that has been ploughed into the work, you desperately want it to blow you away, but there's just one too many loose end, and one too many rookie blunder left for you to overlook to truly appreciate the end result. So it is with _New World Plague_. It is undoubtedly a truly commendable effort from a band who would most likely have produced this record on the thinnest of shoestring budgets, and still managed to deliver something so technically competent. Certainly, when their Myrkskog / Zyklon-style blackened death metal works, it can cut it with some of the best in the genre. Then come the cringingly ill-fitting clean vocals on "False Truth Falls", the monotonous tedium of "Silent Path to Die" and the hollow droning of "Legions of Death", and one is instantly reminded that this is the band's first effort and that Witches Sabbath still have a long way to go before they have truly tapped their impressive potential. To their credit however, despite its flaws this record is promising enough to convince anyone that when such a time comes, the Spanish underground scene may well be in for a boost of Polish proportions. Contact: http://www.necromancemag.com Withering - _Gospel of Madness_ (Warhorse / Firebox, 2004) by: Pedro Azevedo (7.5 out of 10) Sometimes one establishes a mental connection between two rather different bands, not because they sound similar or share the same kind of imagery, but rather because there is something about their attitude that they have in common. Case in point, Withering and the legendary Carcass. Truth be told, Withering play in a very different league from Carcass -- a doomy sort of death metal, and not on a similar level of virtuosity. But different as their style may be, I am still reminded of _Heartwork_ when listening to _Gospel of Madness_: there is the same underlying -metal- feel to it, a stripping down of superfluous elements that gives way to a definite focus on each riff and each hook. Everything is very pronounced, rather than hurriedly played amidst a flurry of blastbeats or a thick layer of keyboards. The production is strong but simple, and there is a feeling of conviction that imbues every riff and every lead. This wouldn't amount to much if said music was mediocre, but Withering are actually capable of keeping a very decent level throughout and even achieving a few particularly remarkable passages. There is a little bit of early Amorphis in these Finns, but the delivery is quite different and ultimately Withering seem more concerned with playing the music they believe in than trying to stand out at any cost or market their work as the ultimate in whatever way possible. This is simply a very solid, enjoyable semi- doomy death metal album, with meaty riffs and catchy leads, competent gruff vocals and drumming -- the sort of release that may not get into many album of the year charts, but will likely provide more actual enjoyment to reviewers and listeners in general than some of those that will. Contact: http://www.firebox.fi Woodtemple - _The Call From the Pagan Woods_ by: Aaron McKay (5.5 out of 10) (No Colours Records, 2004) Arguably one of No Colours' stronger acts, Woodtemple is a solid manifestation of black metal hedonism. Calling themselves Pagan metal, this one man outfit has achieved his goal, if that aspiration is dim anonymity. Aramath (where do they come up with these names?!) trumps forth a steady, mid-paced march on this, his second full length offering. Drawing roots back to 1999 with the _Swords of Hate_ demo, _The Call From the Pagan Woods_ attempts to push forward efforts begun on _Feel the Anger of the Wind_ in 2002 with little to no development lyrically or musically. Despite the new disc's blatantly obvious title, _TCFtPW_ delivers three intentionally elongated tracks book- ended appropriately by intro and outro segues. Complete with all the necessary elements one would come to expect from a black metal release, Woodtemple creates a conceptually bleak aura throughout _TCFtPW_'s nearly forty-six minutes. Highly repetitive in nature, the balance is struck on this album by the lull ing effect Aramath concedes with the raw guitar work and uncomplicated atmospheric keyboards. Of course the harshly executed vocals are typical yet reassuring, in the same way that you know Slayer will never stray too far from their bread 'n' butter stylistic formula. If you can fight through the surface monotony, occasionally the mostly repetitious songs found on _The Call From the Pagan Woods_ aren't as much of a yawner as they might seem. Contact: http://www.no-colours-records.de =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, _, _ _, _, | \ |_ |\/| / \ (_ |_/ | | | \ / , ) ~ ~~~ ~ ~ ~ ~ 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 Behold the Arctopus - _Arctopocalypse Now... Warmageddon Later_ by: Brian Meloon (4.5 out of 5) This NYC three-piece (formerly known as "We Need a Drummer" on mp3.com) play an innovative brand of jazzy metal/rock. You should have some idea of what to expect just from looking at the instruments they play: "lead drums", "lead guitar", and "12-string super guitar" (which I suppose is something similar to a Warr Guitar or Chapman Stick). It's hard to pin down exactly who they sound like, but their sound is syncopative, technical, and completely instrumental. They blend elements of jazz and fusion with metal, while incorporating influences from guitar spankoff, progrock, and probably other genres that I'm not so familiar with. I noticed some elements of Voivod, Primus, Richie Kotzen, Greg Howe, Spastic Ink, and a few others represented in their music. But these influences are the minority of their sound, as their style seems mostly original. They seem to prefer individual-note guitar lines (using both dissonant and consonant harmonies), but they use a fair amount of (dissonant and power) chords as well. Much of the variety in their music stems from their use of different rhythms and tempos, which change quite rapidly at times. Yet the band doesn't change things too quickly; they usually take the time to develop each section a little before moving on to the next one. Still, the longer of the two songs here, "You Will Be Reincarnated as an Imperial Attack Spaceturtle (Part 1)", clocks in at over eight minutes, and does seem to lose a little bit of focus at times. As you would expect, there are a lot of solos and other show- off sections sprinkled through their songs. These are generally well done, and the playing is excellent from all of the members. Their tightness is especially impressive given the technicality of the material. The production is a little noisy, but doesn't really detract from the music; in fact, it gives them a more raw and chaotic feel. Ultimately, this is a promising demo from a very talented and original band. It should be enjoyed by fans of technical metal and math-rock as well as fans of the more avantgarde. Contact: http://www.beholdthearctopus.com Born of Thorns - _New Horizon_ by: Adrian Magers (5 out of 5) On their last release _The Encounter of Light and Dark_ Born of Thorns had pushed themselves out of obscurity and into a position as one of Finland's premier underground acts. In a review of _The Encounter..._ I dubbed the music that BoT presented as "beautiful, melodic, dramatic [and] grandiose." After listening to their follow-up, entitled _New Horizon_, I'd like to expand on my previous description, but I'm at a loss for words. This newest trinity of superbly-crafted melodic neo- black songs is absolutely shockingly good. The guitar riffs are better, the keyboards are doubly haunting, and the interplay between the two instruments is sharper and more complex than before. Credit must also be given to the other aspects of the band: the vocals (particularly the clean ones) are stronger, and the drumming has intensified. Great production, arrangement, technical playing... everything about this demo (it's almost unfair to call this work of art a demo) is an improvement from the l ast. At this point I'm drooling for an LP. The sound is slightly more progressive, and less "Filth-y" than previous works. Imagine Borknagar painted much darker with some of the post-thrash fury initiated on Susperia's debut and keyboards befitting of an orchestra. I also hear a little bit of their countrymates Children of Bodom's influence in certain parts. Probably the best independent CD I'll receive this year -- that is unless an LP is coming along from this amazingly talented young act. Contact: http://www.bornofthorns.com Cerberus - _Untitled Demo_ by: Jackie Smit (5 out of 5) This is what I like to hear! After a very impressive debut on last year's split EP with Seethe, Milton Keynes' most promising metallic exports have kept the momentum going and are back with three new tracks that don't merely improve on past efforts, but completely blow them away in every respect. While the diverse influences of bands like Mastodon and Entombed are still prevalent in their sound to a certain extent, the band has made several grand strides toward becoming an entity all on their own in the nine months following their last outing. Chris Milliken's vocals are sounding more aggressive than ever, at times hinting toward The Haunted's Peter Dolving, while the instrumental work shows a greater depth and maturity than ever before -- particularly so on the potentially riot-inducing "Mind Control", where Cerberus blend groove and technicality with a flair that could only come from a band who are headed toward bigger things. Judging by the quality of this demo, that seems bound to happen sooner rather than later. Contact: http://www.cerberus.2ya.com Darcane - _Anamorphica_ by: Pedro Azevedo (3.5 out of 5) Darcane are Finnish and play melodic heavy metal -- let's get that clear from the beginning to avoid any confusion with the Swedish Darkane. The music is based on heavy metal riffing, topped by a vocalist who has the sort of half-gruff singing characteristic of James Hetfield (which isn't quite the only Metallica connection that comes to mind over the course of this demo). Singer and band mastermind Tommy Dee keeps things a bit more melodic than Hetfield though, and his somewhat odd singing style can actually become pretty catchy if you get into it. The band (who have changed their name from a lousy Holochaust to an unoriginal Darcane) continue to produce unassuming, enjoyable songs that stick to the ear pretty well, and still come across as influenced by bands like Metallica and Sentenced. This demo is a bit better than the two Holochaust demos I reviewed, but despite the name change it's now the third release in a row where I've mentioned the same influences and the same problems with their sound: it's not very original, and while the songs are catchy they also go away pretty fast. The first time I heard these guys they were showing potential, but after hearing three demos, all I can say is that they are in fact improving, but they're just not going anywhere very remarkable with their music. Contact: http://www.darcane.com Gezeiten - _Demo CD 2003_ by: Pedro Azevedo (1.5 out of 5) Somewhere in the realm of gothic metal wanders a German band called Gezeiten in search of a record label that will sign them. What arguments do they present to justify getting signed? Well, some would argue their melodic, keyboard-driven, very slightly heavy approach is pretty marketable these days. Add German lyrics, gothic clean vocals and techno-ish elements to the mix -- hey, now we're getting higher in the marketing scale, this could even sound a bit like Rammstein! In addition, the demo is decently produced and adequately played, which is also quite useful. In all seriousness however, I don't think I can find a single good riff or interesting original passage in this demo. The act of putting together a few elements that seem likely to sell doesn't spontaneously create good music, and this demo is a fine example of that rule. Some of the material is downright atrocious, while most of it just wallows in mediocrity; only a small minority can be rated as average. Not that any of the above necessarily means Gezeiten won't eventually end up with a label deal... Contact: http://www.gezeiten.com Mül - _Litany Circus_ by: James Montague (4 out of 5) As Charles Montgomery Burns might say, I don't know much about doom, but I know what I hate -- and I don't hate this. This doom project, though currently confined to small, select circles and word of mouth, compares favourably to the big hitters of the genre. The brainchild of one man in Bergen, Norway, Mül has put out five ambitious demos, and _Litany Circus_ is their daddy. As in the other demos, disparate elements are bounced about on the traditional death/doom canvas, but on _Litany Circus_ they rarely seem surplus to requirements. The opening number "Litanus" is a right cracker. Torturously slow riffs are tinged with what feels like Middle Eastern melody, creating visions of bleak desert landscapes in the night; an uncomfortable passage of clean vocals feels appropriate to a passage of uncomfortable, drifting guitar noise; then a stomping death riff rises out of the morass to smack you across the skull. Wonderful. A little acoustic guitar piece offers some respite before "Dreaming of the Black Tomorrow" torments the listener for another ten minutes. Immense, sluggish riffs groan along, while melancholic lead guitar, siren wails and other haunting effects are draped over the top. Pure bliss for the true doom fanatic -- horrible, wilting pain for anyone else. The final track, "Tsakel", has a little more impetus behind it, and features some achingly beautiful guitar work -- listening to it as I write the review, I feel my opinion of the demo rising sharply -- leading into a lengthy outro of folky ambience and sinister piano work. It feels rather like a collaboration between Raison d'Etre and Profanum, and while not terribly coherent, the constituent parts work a treat for this reviewer. I really was surprised by how damn fine this independent release was, though you'd think that after more than ten years in extreme metal I'd know that being signed to a label and having loads of drooling fans means sweet fuck-all. This is definitely a band for the doom fiends -- Esoteric fans in particular -- to sink their teeth into. Heads down and thumbs up to a quite excellent piece of work. (N.B. All Mül's demos are available for free download at the URL provided.) Contact: http://vindice.cjb.net Nocta - _Come Out (Wherever You Are)_ by: James Montague (2.5 out of 5) From reading their biography, it seems Athenian quintet Nocta are a band that struggled to find their true identity in the early days, a desire for recognition and popularity conflicting with a rejection of pop music's flippancy. Not surprisingly, their music doesn't wander anywhere near the extreme fringes of metal, where people like us have made our home. _Come Out (Wherever You Are)_ is essentially a blend of '70s heavy metal and modern rock. The first four Black Sabbath albums are an obvious point of comparison, and this demo's opening track, "Wicked Woman", certainly elicits memories of a similarly-named Sabbath track. Although the demo is a little tame for my tastes, the nostalgia does compensate, and the songwriting is certainly accomplished. The vocalist gave up a career with a popular Greek rock band to lend his excellent singing voice to Nocta, and the lead guitarist displays good technique and melodic sensibility. The overall package is polished yet tasteful, with just the occasional dose of grit. I can't really pick any weakness in the band -- it's just not really my cup of tea. Nocta is certainly a name to look out for if you're after a mellow dose of old-school hard rock. Contact: nocta@freemail.gr Philistine - _Consume and Devour_ by: Aaron McKay (3 out of 5) Heavily rooted in the Godflesh sound, this northeast two piece low-end industrial outfit formed in the fall of 2003. Filled from stem to stern with a wash of samples and synth, Philistine builds a sound of slow, low and heavy. Strong is the undercurrent of simple aural assailments as well as a dependence on their influences. While Philistine cites Grief, Halo and Khanate, Godflesh's 1998 self-titled release is laid out unapologetically on the inside cover of _Consume and Devour_. Furthermore, song titles on this, their initial demo, smile shamelessly upon Philistine's influences. Just over forty-three minutes in length, Natas Corpsegrinder (the last name is not to be confused with the Massacre song of the same name) and Slave Voltage together combine their abilities in an attempt to shape an exploration in dejection and desolation. Throughout the eight tracks comprising _Consume and Devour_, Philistine does little to emblazon their own approach, but their sound and aptitude i s admirably executed. The production on this demo is equally impressive. After cutting their teeth for awhile on the scene, Philistine will no doubt find a stride more their own. Until that day comes, _Consume and Devour_ is a creditable gesture toward a promising calling for this duo. Contact: Space Ghost Records, 206 Jarvis Gore Drive, Eddington, ME 04428 USA Scala Mercalli - _My Daemons_ by: Jackie Smit (4 out of 5) Aaaah, the early days of discovering met-aaaaaal... If you got into heavy music at an early age and were anything like me, chances are that you will recall several hormone-driven afternoons spent in the confines of your room, blasting the Iron Maiden, WASP, Dio and Judas Priest C-90 copies at ear-splitting volume, belting out odes to death and destruction into anything resembling a microphone like you were Bruce Dickinson in his last ever stage performance. Hearing Scala Mercalli's version of "Be Quick or Be Dead" on their second official demo, I am reminded of good days gone by, and only adds to my impression that this Italian five-piece are a fairly accurate incarnation of the band that every young male metalhead in his formative years wished he could start. As such, this is hardly the most inventive stuff you're likely to hear anytime soon; it is unashamed in its love of metal's earliest traditions to the point of being derivative. However, with just enough technical profi ciency to make songs like "Day of Fighter" and "Banshee's Whisper" rock like the hard-nosed sons of bitches they are, there's something undeniably special about this band. In a world of several hundred shitty power metal bands, Scala Mercalli can rest easy in the knowledge that they most definitely are not one of them. Contact: http://www.scalamercalli.com Sinn - _The Rune of Odin_ by: Aaron McKay (3 out of 5) No longer content with the pace or substance of his former Oregon based outfit, Vido Sinn parted company with Jesters Moon to develop his own unique brand of vileness. The menacing menagerie culminated with the 2004 _The Rune of Odin_ release. Leaving no possible room for comparison, Vido mutated Sinn away from the hard-hitting straightforwardness of Jesters Moon into a wicked variety of anti- religious sentiment and darkened disgust. Adding to the faithless frivolity, Tyran (drums/percussion) and Johann (bass) complete Sinn's line-up of seamy sorts. Lyrically, the message comes across loud and clear in a highly unsurprising way - "sodomy on Earth", "breed death and pain", "rot and plague" and the like. On the other hand, Sinn's strengths include a penchant for mood, largely through synth and vocal range changes from the comprehendible rasp to the spoken word. All this communicates the band's tone in an effective and efficient manner. No doubt due to circumstance, _The Rune of Odin_ suffers somewhat from underproduction -- the guitars betraying this truth in the most noticeable fashion. Nowhere, however, does this effort leave the listener's attention to wonder. Vido enhances Sinn's ambience with a truly succinct and fitful song structure throughout the nearly thirty-nine minutes on _TRoO_. It could be said that Vido Sinn "stuck the landing" with his vault from Jesters Moon, but better production and more attention paid to the lackluster lyrical content would go a long way to securing a perfect score from the American judge in the metal mastery competition. Contact: isisvolgaard@hotmail.com =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= _, _ _, _, / _ | / _ (_ \ / | \ / , ) ~ ~ ~ ~ A L L M U R D E R , A L L G U T S , A L L F U N ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Cannibal Corpse, Kataklysm and Gorerotted @ The Electric Ballroom, London, UK, on April 13, 2003 by: Jackie Smit The workmanlike attitude that Cannibal Corpse has always displayed toward recording and touring makes it almost a case of mathematical theorem that anyone living within the outskirts of their well-trodden path will be given the opportunity to witness them in action at least once every two years. Indeed, their last visit to the capital was just a hair under two years ago, and if anything has changed from their previous bi-annual sojourn it would be the attendance, which in keeping with the current inexplicable burst of interest in all things heavy, has more than doubled. Before the Cannibals can get down to the making of the metal though, we have to contend with local blood-and-guts merchants Gorerotted for a half hour. This is a band whose appeal continues to elude me -- their farcical brand of deathgrind just barely manages to saunter beyond mediocre, and their live shows are among some of the most boring that you are likely to witness anywhere in the underground scene. Unsurprisingly, tonight is no exception, as the band make nary an effort to even seem in the slight bit interested in what they're doing. Stage activity is virtually non-existent and aside from the odd amusing nugget ("Hawksaw" being one such rare morsel), it quite a relief to see them head backstage. Not so with Kataklysm. Where the self-proclaimed Canadian hypergrinders' last few studio outings have failed to impress as far as I'm concerned, their stage performance is a whole different kettle of fish. Barreling through a selection of songs culled mostly from their recent _Serenity in Fire_ opus, even the fairly generic "Ambassador of Pain" ends up sounding utterly blistering. It is when Max Duhamel launches into a drum solo that clocks in the other side of warp 10 however, that Kataklysm's set is elevated from merely good to completely mind-blowing. And just when you thought that the envelope couldn't be pushed any further in terms of sheer blasting speed, they follow it up with a rendition of "Blood on Swans" that is so insanely brutal it threatens to rip apart the fabric of the space-time continuum. Despite Kataklysm's best efforts, the heroes welcome that greets Cannibal Corpse's arrival on stage makes it eminently clear who the majority of punters have come to see. Rather than launch into a selection of material off _ The Wretched Spawn _ though, tonight's set list draws quite heavily from the band's first four records. "Stripped, Raped & Strangled", "Vomit the Soul", "Fucked With a Knife", "Staring Through the Eyes of the Dead", "The Cryptic Stench", "Gutted" and "Skull Full of Maggots" all get suitably riotous airings. Thankfully (for people like myself) fans of the band's later work aren't forgotten, as we also get to hear "Devoured by Vermin", "Pit of Zombies", "Dormant Bodies Bursting", "Pounded Into Dust", "The Wretched Spawn" and "Unleashing the Bloodthirsty". Bowing out with the obligatory "Hammer Smashed Face", there's quite frankly not all that much to set this show aside from any of Cannibal's countless other performances. That said, anyone who has seen the Buffalo quintet in action will testify that when they are on form they can kick up a racket with the best of them, and tonight they just make it look all too easy. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= W H A T W E H A V E C R A N K E D ! ! ! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Pedro's Top 5 1. Insomnium - _Since the Day It All Came Down_ 2. Nortt - _Gudsforladt_ 3. Mastodon - _Remission_ 4. Necare - _Ruin_ 5. Hypocrisy - _The Arrival_ Brian's Top 5 1. Descend into Nothingness - _Darkened Reality_ 2. Divinity Destroyed - _Eden in Ashes_ 3. Vehemence - _Helping the World to See_ 4. Eyes of Fire - _Ashes to Embers_ 5. Pathos - _Perdition Splits the Skies_ Aaron's Top 5 1. Jungle Rot - _Fueled by Hate_ 2. Finntroll - _Nattfodd_ 3. The Forsaken - _Traces of the Past_ 4. Celestial Season - _Solar Lovers_ 5. Peccatum - _Lost in Reverie_ James' Top 5 1. Suffocation - _Souls to Deny_ 2. Root - _Zjevení_ 3. Faith No More - _The Real Thing_ 4. Skyforger - _Thunderforge_ 5. Nazxul - _Totem_ Jackie's Top 5 1. Therion - _Lemuria / Sirius B_ 2. Malevolent Creation - _Warkult_ 3. Suffocation - _Pierced From Within_ 4. Amen - _Death Before Musick_ 5. Demonoid - _Riders of the Apocalypse_ =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= __, __, ___ _, _ _, _, | \ |_ | /_\ | | (_ |_/ | | | | | | , , ) ~ ~~~ ~ ~ ~ ~ ~~~ ~ 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 #74 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.