Incorporating elements of melodic synth pop, lush metallic atmosphere, and Industrial rhythms, this independent one-man project is noteworthy for the successful execution of relatively refreshing ideas and arrangements.  The musical vision of Chicago native Patrick Windsor, I found 48 Sin to be chock full of interesting (and at times, teetering on the brink of heavy!) guitar arrangements, heart felt vocals, crafty synthetic rhythms, and warm orchestral keyboard swells.

Patrick’s voice is unique – it is hard to liken his vocals to any notable dark music vocalist.  There is a throaty quality to his voice, powerful and well suited for the music.  By no means pitch-perfect, but when he does stray from the key friendly path, the effect is one of emotional expression, a painful pleading, and honest, unpolished rawness that enhances the experience rather than deters from it.

“Key” introduces some buoyant violin passages, which return again, accompanied by cello, on the EP’s finalé, “Equal.”   The extra presence of live classical instruments gives this an added sense of maturity, and provides a perfect balance between the organic and the synthetic.  As expected, these songs, both of which being slower, introspective ballads, stand out considerably and hopefully, 48Sin will continue to incorporate this winning combination of instruments.

On the other end of the atmospheric spectrum, and the other key strength to 48 Sin is the guitar work.  Muscular, intense, and dense, the guitar work provides both some heavy walls of Industrial crunch and also offers riffs that would fit comfortably in the arrangements of some of the better Goth Metal bands on the scene at the moment.  Though not entirely original or that complex, there was just something extra special about the guitar work on this release that I did not expect.  As a guitarist myself, I found myself nodding with great approval at the arrangements in the opening track “Faster Than Me” and “Nature,” which could be described as Moonspell greeting a sedate KMFDM.   Bold and playful, and unfailingly interesting, “Nature” is a progressive mix of styles, by yet another new artist that seems more concerned with making music with a musician’s integrity rather than harping on a dance floor accessibility.  There is much to be enjoyed and absorbed.

With my own personal musical preferences, I’d like to hear the violins accompany the shredding guitar riffs and weighty crunch.  But then again, that is an acquired taste and I am not exactly sure where 48 Sin wants to fit.  At this point, the project offers a little bit of everything and I hope the band continues to defy categorization and genre limitations.

“Hibernating” is a piano centered ballad, with interweaving layers of vocals.  Fantastic ideas are put to the test, and a tense and effective atmosphere is created.  However, the vocals could be seen as falling short here.  They needed to be more precise, being that they are such an integral part of a rather minimalist song, and the arrangement itself is quite demanding and at this point, might be a bit beyond the ability of Patrick’s vocal abilities.  Purists will criticize his lack of precision.  But my guess, judging by the honest expression of dreary pain in this track, is that he wasn’t shooting for perfection and could careless.  The final result, once you let the song seep in, is a dramatic pairing of orchestral Depeche Mode-isms colliding with softer Pink Floyd.  Though not perfect, I quite enjoyed what was being attempted on this particular song.

“Pray For A Full Moon” charges from the bleak confessional quiet of the prior track, thus accentuating it’s strength.  I love this song; I can definitely hear what Patrick was shooting for.  Everything about this song is infused with an earnest power – and sadly, we as listeners can only imagine how effective this song could be if performed by a full band, with a live drummer, a pair of guitarists, and Patrick’s best vocal performance capping it all off.  A divine, sweeping Goth Metal track with wonderful pop hooks.

This then exhibits a reviewer’s predicament.  (And you all think it is so easy to sit around, amass tons of free CDs and review them).  The challenge comes when you receive an  ‘amateur’ independent recording, that is animated by an assertive and impressive vision, fueled by interesting and immaculate ideas, and bursting at the seams with unquestionable talent.   As a reviewer, we are trained to pick up on this.  The big question is if a release such as this is ready for public consumption.  With its technical limitations and thin perhaps too synthetic production, it might not be as effective to the average listener.  Which sucks, because at this stage of the game, this is the best the independent artist can do, the most he can offer at the early stage of their career.  They just want to get their material out there, and hopefully, receive some positive attention.  Which puts an incredible amount of pressure on US.

Therefore I will say this: 48 Sin is a project that will hopefully never give up or become discouraged by the competition and other obstacles that keep musicians from realizing their dreams.   If I were independently wealthy, I’d finance the trip to the studio for this guy.  With that, I hope to express that I believe in this band, and that this EP demonstrates what could be.  With a full band, a more organic sound to thicken the backdrop and lighten the responsibility of the keyboards, this band could be incredible.  The voice is there, just a bit of fine-tuning.  The guitar work is great, and the ideas superb.  Just a matter of time…

My advice to readers: it might be a rewarding and fun ride to accompany this project along into a promising future.
 

Track List:
1.) Faster Than Me
2.) Key
3.) Nature
4.) Looking At Today
5.) Hibernating
6.) Pray For A Full Moon
7.) Equal

48 Sin is:
Patrick Windsor – synths, programming, guitars, bass, vocals

Ashley Corron – violins
Chris Weltzer – cello
Jon Sapsford – additional live guitars

48 Sin – Official Site: http://www.theholyhour.net/~sin/

48 Sin – Mp3 Site: http://www.mp3.com/48sin

Email: UglyX48Sin@aol.com
 

Agalloch
The Mantle
~reviewed by Eric Rasmussen

In rare instances, I will come across a musical work that is so powerful I can become completely absorbed by it. And while I am lost in the vast soundscapes, I can find myself again at the end of the journey. There are few bands capable of provoking this kind of response in me. In The Woods... was one band that invited me to explore their world, and ever since they broke up I have wondered if any other group might come along to make music that was similarly exciting, thoughtful, and full of subtle intensity. Agalloch caught my attention with their debut doom metal album: Pale Folklore, and I have patiently awaited this new release for quite sometime. It would be unfair to say that Agalloch sounds like In The Woods, and for all I know the bands don't know of each others' existence, but the sheer power of their works makes them similar in my mind. The Mantle is the newest addition to my list of personal favorite works that create a world and share the experience on several levels.

I did like Pale Folklore very much, and it was much more metal oriented than The Mantle. As you may have guessed, I think that Agalloch's newest output is not only a worthy followup to their original, but also an album worth even more praise and attention. The melancholy vibe that permeated Pale Folklore is still present on The Mantle. Yet as you almost always see when a band expands its sound, the feeling that defined Agalloch's first album is only one of the many components on their new CD. Yes, the music is still depressing in its own way, but as the instrumental "Odal" best expresses without words, there is some hope amidst all of the melancholy. As the song builds towards its climax and everything that had been charging up in the sound comes together to resolve, there is an epic feeling behind the music. It has direction, it's moving towards something powerful. I can't say I see that in much that is purely doom metal, because by its very nature that style of music tends to move more lethargically and not climb and build with great force.

To continue the In the Woods comparison, Agalloch's music also builds up a sound and then tears it down, only to rebuild it again. What I find so appealing about this style of song construction is that no single emotion dominates the music. Moreso, it feels like you are moving through the halls of memory, and recalling some things with great joy, others with great sadness, and the rest with a response that falls between those two. As "The Hawthorne Passage" begins, it features acoustic guitars that speak to the listener, much in the way folk guitars might, though the feeling is more modern. That becomes noticeable as an electric guitar solo kicks in and keeps the relatively upbeat pace going. Then, about three and a half minutes in, the song slows down for some time before building up the way it did originally. The song has many more twists and turns, as it manages to break down and build up in ways much different than it did in the first four minutes.

The sheer range of sounds found on The Mantle is impressive. There are chimes, bells, beautiful acoustic guitars, harsh metal guitars, extreme vocals, melodic vocals, a variety of synth and keyboard sounds, along with piano, and even samples (such as the sound of someone walking through snow, adding a very personal touch to the music). There are more instruments used than those listed, but their effectiveness is always in how they contribute to the overall sound. Each sound serves to further move the listener into Agalloch's creation.

The lyrics are as thoughtful as the music, though it is difficult for me to analyze them as something separate from the music itself. They belong with the music, and that's where they most need to heard. The vocals are used with great care throughout the songs. Many minutes can pass before they return, but you know that when they do return it's because they will make a passage more expressive then it could be as an instrumental. I really value this approach, because so many bands feature a constant growling vocal presence that makes the music feel monotonous regardless of instrumental variation. The clean singing  is used as effectively as the metal growls. "...And The Great Cold Death Of The Earth" features both vocal styles as prominently, and the alternating vocals compliment the mix of acoustic and electric guitars with a strong mix of melody and harshness. The following acoustic solo is very melodic, and feels as intense in its own quiet way as any heavy riff or speedy solo ever could.

I realize that somewhere along the line this review became an essay gushing about Agalloch, but it's rare that I'm so moved by a piece of work. I definitely recommend that doom metal fans give Agalloch a listen, as well as anyone that appreciates progressive rock that can mix dark and light without coming across as confused or trying too hard. Fans of Pink Floyd, Ulver,  or even Opeth are doing themselves a disservice by not listening to Agalloch. And any fan of Agalloch can rest assured that Pale Folklore has a most impressive follow up that is worth their attention.

Track List:
1.) A Celebration For The Death Of Man...
2.) In The Shadow Of Our Pale Companion
3.) Odal
4.) I Am The Wooden Doors
5.) The Lodge
6.) You Were But A Ghost In My Arms
7.) The Hawthorne Passage
8.) ...And The Great Cold Death Of The Earth
9.) A Desolation Song

Agalloch is:
Haughm
J. William W.
Anderson

Agalloch - Official Site:
http://www.theendrecords.com/html/agalloch/index.htm

The End Records: http://www.theendrecords.com
 

Beseech
Souls Highway
~reviewed by Eric Rasmussen

I am convinced that Napalm Records has devised some way to clone goth metal groups. There are simply too many similar sounding bands on the label for this to be untrue. Oh sure, you can generally tell the groups apart, but the typical quality and consistency levels remain the same, as do the stylistic elements. Thankfully, there's usually a fair amount of competency, especially when the band in question has an artistic cover (or at least, something other than a woman chosen because she was willing to flash her boobs for the camera).

In the case of Beseech, I have mixed feelings about Souls Highway. On the one hand, they fit right into the goth metal scene and offer no ground-breaking originality. Nevertheless, Beseech have a more distinctive sound than many goth metal bands. The music focuses on melancholic moods with alternating clean male and female vocals. The singing is the most expressive element in the sound, but it also merges well with the other instruments. Lotta Höglin has a beautiful voice that is as pretty as it is sad. Unlike so many metal bands that claim to be goth because they found some woman to sing with them, Höglin contributes to an actual gothic sound. Erik Molarin's singing contrasts Höglin quite well. He has a deep voice that calls attention without commanding it, and retains the same melancholic quality each instrument has.

You won't confuse Beseech for other Napalm bands, but my main problem with those bands is that they don't always vary the sound throughout their CDs. If a band had the most original style in the world but repeated it 11 times on a CD, I'd still end up feeling that the music was somehow generic. Beseech suffers from this problem to a certain extent. There are just too many times where the basic elements in the sound remain unchanged, and if someone were to re-order the songs or play some of them twice I very likely wouldn't notice.

But as I said at the beginning of this confused excuse for a review, I do have mixed feelings about Beseech. Sometimes their brand of variety across the songs is subtle. "Between the Lines" offers a catchy electronic break, for instance, and the title track features some soft keyboards and acoustic guitars to mix things up. There is even some jazzy soloing on "Blinded," showing that the guitarists are capable of playing more than the riffs they mostly stick with. The peaceful "Beyond the Skies" also stands out. It's a nice instrumental piece that actually reminds me a lot of Robert Miles. Mainly because one of the melodies in "Beyond the Skies" is partly just like a melody from a Robert Miles song on "Dreamland," but also because the Beseech song has a calm and semi-electronic feel that is similar to Miles' work. I'm sure there was no theft involved, though I have to wonder if Beseech have any interest in Miles (and of course, they might all be stealing from some obscure classical piece written a couple hundred years ago).

The quiet variation throughout the songs isn't enough to hold my interest. There is too much sameness across songs, and the end result is yet another goth metal album that is enjoyable, but ultimately unfulfilling. On the bright side, depending on how you look at it, I often feel this way about goth metal albums. Perhaps the lack of great variety is just an element of the style. If you enjoy other Napalm Records goth bands, or even recent Katatonia, then there's a good chance you'll like Beseech. I do not dislike their work, I just don't have the same patience I once did for bands that find a solid formula and stick to it religiously for every song. Needless to say, anyone who has stuck with the recent goth metal sound so far would do well to visit Beseech's web page and download an mp3.

Track List:
1.) Illusionate
2.) Between the Lines
3.) Souls Highway
4.) Blinded
5.) Endless Waters
6.) Fiction City
7.) Sunset 28
8.) A Last Farewell
9.) A Season in Green
10.) Beyond the Skies
11.) Gimme Gimme Gimme

Beseech is:
Erik Molarin - Male vocals
Lotta Höglin - Female vocals
Jonas Strömberg - Drums
Klas Bohlin - Guitar/Vocals
Robert Spånglund - Guitar/Programming
Daniel Elofsson - Bass
Mikael Back - Keyboard

Beseech - Official Site:  http://www.beseech.net/

Napalm Records http://www.napalmrecords.com

The Chaos Engine
Escape Ferocity
~reviewed by Step Quinlin

What is escape ferocity? It is the fierce desire to escape, or the fierce joy and abandon that follows a successful break for freedom? It's not clear on this album whether The Chaos Engine are fighting to get out, or dancing a victory dance at a successful breakout.

This new release sees the band in full-on aggro mode, and it suits them well. The blinding energy of the title track proceeds into the warm thundering roar of "Me and My Army", in which Lee Chaos threatens "We have come for your children!"

The children of today should be so lucky.

As usual when doing a review, I play the album all the way through a couple of times to get a feel for it, and it strikes me as very long, so I check the track listing on the CD. There is something..devious at work here. No, not quite devious. Sly, perhaps. Look at the back of the CD case. 14 tracks are listed, but the accompanying numbers are not in numerical order. Now take out the CD sleeve and open it up. There are 23 tracks listed inside.

I've listened to just the tracks listed on the back of the CD case, then I listened to the tracks not listed, and then I listened to the whole album straight through. I'm sitting here feeling very confused. What is Lee Chaos doing to my head?

If you listen only to the tracks listed on the CD case, the CD is a whirling vortex of anger. The music skids along wildly like a train about to go off the rails. A fear of failure, anger at that fear, a blinding determination to succeed against all obstacles. A fierce acceptance of his position as an outcast - "This is the Outcast Manifesto!" - and anger at the society that condones the rejection of those who don't fit the mold. These are just a few of the elements that combine to form the core of energy that the songs revolve madly around.

The tracks not listed add up to a scant 15 -20 minutes of  music, with no discernible pattern. They are unsettling.

Listened to in its entirety, Escape Ferocity is aural  madness on a par with the maverick artistry of David Lynch.  Odd interludes pop up between the core songs, pulling your  senses off to the side just a bit before releasing you back  to the main attraction. Is Lee Chaos trying to distract us  from the angry energy that permeates this album, or was he  trying to distract himself?

This is a difficult, challenging and utterly gripping album.  Love it or hate it, you won't walk away unaffected.

Track Listing
Escape Ferocity
Me and My Army
Paradoxia
Broken Children
Atomised
Nerve Opera
Elegance vs The Abyss
Rebellion Lite
Industrial Society and the Consequences
Jesus Christ V2.0
Naphephilia
The Guiting Power Institute for Supreme and Unnecessary Evil
Custom Built for Anger
The First Law of Averages
The Second Law of Averages
Sick, Broken, Happy
404/Signal to Noise Ratio
Resurrection Kisses
Don't Expect Us To Be Close After This
Little Miss Misanthropy
Welcome to the Future It Is Broken
Evacuate:Disconnecting
Go Offline

www.wasp-factory.co.uk
www.chaosengine.com
 

The Changelings
Astronomica
~reviewed by Matthew Heilman

Hailing from Atlanta, Georgia, The Changelings formed in 1995 and five releases comprise their discography.  Some Anne Rice fans out there may be familiar with the band, as they had played a few of Anne’s annual balls in New Orleans.   Fusing meditative psychedelia with Gothic and fantasy themes, the resultant sound is a breathtaking, rhythmic and gorgeous experience of dynamic ethereal alternative music.

I have been wanting to check these guys out for quite some time, having read nothing but glowing reviews of them over the past few years.   My introduction came late but better than never, as “Astronomica” ranks as one of the most delightful and engrossing releases I have heard so far this year.   When the opening track “Departure” kicks in, the listener is immediately awestruck.  The Changelings instantly assert that they are a band with substance, musical authority, and atmospheric supremacy.

First and foremost, each and every one of the musicians behind this project is exceptionally talented.  The ideas presented here are powerful and the arrangements are superb, progressive, and coursing with sublime inventiveness. Paul Mercer’s sizzling violin passages contribute an exotic Eastern flair, sweeping acoustic and treated guitars and tastefully tweaked electronic effects ring out in heavenly waves of sound, while fantastic and precise drumming serves as the hefty anchor to it all.  Regeana Morris’ voice is the glistening ruby jewel in the crown, sweetly operatic when the music sinks to a calm, humid and sensual as in the awesome seraglio jam “Veils Of Gold” and charming, playful, and frisky in the deliciously elegant “Mata Hari.”

“Parallax” is probably my personal favourite song and a track I can’t wait to include in my DJ playlists.  A tight drum pattern swings along behind dense, hypnotic swells of brooding electronics.  Regina’s voice soars to operatic heights, pinched with a compelling sadness and a breathless intensity.

“Hypersleep” quite possibly could be one of the most memorable instrumental tracks I have heard in years – while most instrumental tracks serve as space fillers and tedious interludes, this is truly provocative due to its stark bass line, ritual percussion, and murky orchestral grandeur.

Guitarist Damon Young steps up to the mic for “Olympus Mons,” a swirling and dreamy ballad, recalling the early “Obscured By Clouds” and “Meddle” years of Pink Floyd.  And if the Floyd influence wasn’t conveyed quite clearly enough, The Changelings confirm any speculation with a mischievous and muscular rendition of Syd Barrett’s “See Emily Play.”  A rousing and faithful adaptation of the song, which reinvigorates the song carefully and attentively, making it as relevant today as it was over thirty years ago. Sonic violin climaxes, bouncing harpsichords, and pounding drums fatten the chorus wonderfully – all in all, one of the best and most creative Floyd cover tunes this reviewer has ever heard.

“Astronomica” draws to a Romantic and haunting close, with the touching requiem “My Shadow, Your Ghost.”  A heartfelt and effective song, complete with imaginative percussion, a stellar vocal performance, a sleek acoustic guitar solo, and lovely piano.

The Changelings convey the same maturity and musical genius as say, October Project, and they share the same penchant for dark Goth friendly psychedelia as Babylonian Tiles or the Legendary Pink Dots, but when it all comes down to it, The Changelings are in a league of their very own, without a worthy competitor or challenger in sight.  Absolutely high class listening, and recommended to all fans of intelligent and transcendent alternative music.

Track List:
1.) Departure
2.) Orbit
3.) Mata Hari
4.) Outrun Your Fears
5.) Veils Of Gold
6.) Parallax
7.) Hypersleep
8.) Olympus Mons
9.) See Emily Play
10.) My Shadow, Your Ghost
 

The Changelings:
Regeana Morris – vocals, bass, hammered dulcimer
Damon Young – guitars, vocals on “Olympus Mons”
Paul Mercer – violin, viola
Nick Pagan – keyboards, synthesizers, chimes, backing vocals
Chandler Rentz – drums, percussion, backing vocals

The Changelings – Official Site:
http://www.changelings.com

Middle Pillar Presents:
http://www.middlepillar.com/presents
 

Conscious Structure
Non Human Figure
~review by Matthew Heilman

There just is nothing like the sound of a brooding cello.  My love for the instrument resulted from the strangest of places (experimental metal music) but I eventually wound up where I was supposed to be, immersed in the quiet strains of Bach’s famous suites, and the sonatas of various Romantic composers of the 19th Century (Brahms, Fauré, Saint-Saens, etc.)  I have noticed as of late that the instrument is creeping its way into darkwave and Gothic music as a centralized instrument – (* see also the Unwoman review this issue)- most notably in the mischievous hands of the much loved yet over-rated Rasputina (they’d be great if they’d TUNE their cellos ;P).  But bands like Amber Asylum and Sunday Munich have long been successfully utilizing the cello to create a unique juxtaposition between dark electronics and organic orchestral grandeur.

Washington DC’s Conscious Structure is the brainchild of three multi-talented musicians, who besides being classically trained, also exhibit remarkable expertise with synthetic and electronic soundscapes.   In addition to cello, the band also flawlessly incorporates violin, viola, and tasteful guitar passages into their arsenal of instruments.   Their debut release Non-Human Figure offers challenging rhythmic Industrial and techno influenced backdrops, dreamlike cinematic interludes, and exceptional mid-ranged female vocals.   The atmosphere created is appropriately dark and wonderfully edgy, a plus being that so many bands hide beneath a counterfeit umbrella of derivative ‘Gothic’ mood.  The arrangements are particularly impressive, seeming to opt for a more progressive result rather than a typical dance floor friendly accessibility.  While some of these tracks could be successful in a club setting, they may contain too many drastic changes and jagged rhythms to smoothly segue between one 4/4 EBM band to the next.   This, however, is all the more reason DJs should pay attention to this CD.  Stir things up a bit, and give club kids a dance-step challenge!

On a purely musical level, it doesn’t matter whether this CD receives club attention or not.  Non Human Figure is certainly one of the most intriguing ‘electronic’ based CDs that I have heard these last few months.  And while some tracks do not stand out as much as others, there are some that particularly rise to the top and stick in the memory.  “Every Time” may be the most accessible and it is a well-chosen track to kick things off.  It quickly foreshadows the vibe of the album, showcasing how well the band can seamlessly weave trip hoppish rhythms, subtle electric guitars, and ethereal string arrangements into a successful formula.  Crowned with lovely female vocals, the song is definitely a hit.  “Malsituation” a decidedly more Industrial track, features male vocals in the lead with peaks of harsh guitar chords and manic pizzicato string accents and valleys of swirling Kronos Quartet like brooding.

The dreary operatic magnificence of the album’s title track puts session vocalist Sarah van der Vate into the spotlight, as she hits higher and stronger notes, and the band incorporate a wide variety of instrumental accompaniment to her voice.  The verse passages of the song are particularly eerie, with an almost disorienting shift in rhythms, sprawling swells of static, and impressive piano.

I am not a usual fan of frequent instrumentals, and this CD sometimes suffers a slight disruption and plunge in attentiveness with its three or four breaks – however, I did enjoy “Thread; Destination,” primarily for its complimentary placement after the title track and it’s insect-like buzzings, sudden treated scream effect, and murky pianos.

Conscious Structure’s masterpiece appears late in the disc in the shape of the shuffling gloom of “The Last Façade.”  Opening with an anxious and devilish cello passage, the song waltzes along with a feverish mischief and playful dementia.  Sarah’s vocals crown the song beautifully, and the mini-quartet provided by layered cello and violin haunt the song perfectly.  Breaking only briefly for a short purely classical interlude, the song sweeps along steadily and probably provides the most consistent beat on the disc for club kids to skip around gleefully on the dance floor.

While Conscious Structure has an admirable debut release to their credit, the album is not without its flaws.  Some songs seem to have a greater passion underlying them than others, and as mentioned earlier, perhaps some of the instrumental tracks drone on a bit.  On the other hand, it is feasible to assume they contribute to the continuity of the disc, as all the songs do combine well to present one fluid symphony of uniform concept.  This is an album that is best listened to as a whole.  Unfortunately, the success of many bands in this genre is fueled by club play.  I can’t fully decide where I stand on the issue of the band’s club accessibility.  It might not hurt Conscious Structure to produce some harder hitting, consistent songs with the cello even more in the forefront in the future.  They definitely have it in them to produce catchier songs that can add artistic class to the dance floor, yet not betray their musical integrity or spoil their lofty aspirations.

Come what may, fans of Darkwave will enjoy the atmospheric and technical appeal of this release.

Track List:
1.) Introduction
2.) Every Time
3.) Escape
4.) Into Your Hands
5.) Escape (reprise)
6.) Malsituation
7.) Realm; Journey
8.) Non-Human Figure
9.) Thread; Destination
10.) Fluid
11.) The Last Façade
12.) Field Of Radiance
13.) Frozen
14.) Thoughts In Static

Conscious Structure is:
David Belazis: vocals, cello, guitar, keyboards, programming
Tenoya Bennett: vocals, violin, piano
Matt DiBeneditto: guitar, piano, bass

Session musicians:
Sarah van der Vate: vocals
Gavin Duncan: additional drum programs
Gene Markley: viola, violin
Chris Duncan: sound design/engineering

Conscious Structure – Official Site: http://www.consciousstructure.com

Email: info@consciousstructure.com
 

Das Ich
Antichrist
~reviewed by Eric Rasmussen

It's probably best for the lot of you if I stick to my normal reviewing habits instead of branching out into unfamiliar territory. But how fun would *that* be? So in my first attempt to exceed my normal bounds, I decided to take on a serious challenge. An album in a style I am only marginally familiar with by a band I've never heard of that provides their lyrics in a language I can't speak or read. Not to worry, however, I've overcome all obstacles to provide you a review of unparalleled accuracy. In part by quoting someone wiser than myself.

Das Ich play a style of dance industrial that is as suited to bouncing around a dance floor as it is to brooding in a dark throne and plotting the end of humanity. The music is made up of enough elements to catch your attention immediately and hold it on further listens. There is always a syncopated rhythm of some sort driving the music along and adding the dance element, and the vocals are often rhythmic in their own way (also very up front in the sound). Those elements only make up the base music, however, and the subtle background touches are arguably as important as the catchier elements (that's catchy in an evil sort of way, in case you were getting worried. And yes, I know pop is evil, but we're talking about the satanic sort of evil here).

The deepest levels of the music come in the form of occasionally subtle orchestral elements that give Antichrist an atmospheric feeling. The layers of more traditional dark ambience and orchestral aspects merge to convey strong emotion. You get the sense that the band is really communicating, and through several types of sound at once. The vocals add another  range of emotions on Antichrist. At times they will be angered or forceful, while at others there is a tangible lamenting feel that can make the music as sad as it is atmospheric and bitter.

I have been listening to Antichrist ritualistically since getting the CD, and amazingly, there isn't all that much to say about it. For all of the different moods and feelings in the music, it ultimately expresses a solitary kind of sense that has to be experienced to be fully understood.

And speaking of understanding (or lack thereof), I can scarcely begin to analyze lyrics written in German. StarVox writer Matthew can read them, however, and he has said that the lyrics are full of references to "biblical visions of the apocalypse" (you can read more in his own Das Ich review from the StarVox June 2002 issue). The great thing about "Antichrist" is that you can get a good picture in your mind of what's going on whether you can read the lyrics or not - the atmosphere is that powerful.

I wholeheartedly recommend this album to anyone who owns a large throne, plans to invoke satan for some nefarious purpose (or to get free beer), and it's also suited to anyone who enjoys danceable electronic music with real feeling behind it. I believe that most any fan of Skinny Puppy would similarly appreciate Das Ich. The dark atmospheres and broken rhythms are shared by the bands, but each is a unique entity. Antichrist is my favorite Metropolis release so far this year, so make a point of checking it out.

Track List:
1.) Engel
2.) Keimzeit
3.) Grund Der Seele
4.) Vater
5.) Krieg Im Paradies
6.) Tor Fur Hölle
7.) Garten Eden
8.) Das Dunfle Land
9.) Sodom Und Gomorra
10.) Der Achte Tag
11.) Keimzeit (rmx)

Das Ich is:
Stefan Ackermann
Bruno Kramm

Das Ich - Official Site: http://www.dasich.de

Danse Macabre Records:  http://www.dansemacabre.de

Metropolis Records:  http://www.metropolis-records.com
 

Dark Tranquillity
Damage Done
~reviewed by Eric Rasmussen

Dark Tranquillity are known for helping to kick off the Swedish melodic death metal scene, and they have already earned their place in metal history. In Flames has been similarly praised, though in recent years they have been sticking to their tried formula while Dark Tranquillity have continued to evolve and grow. I'm typically more interested in bands that are always looking for ways to enhance their sound, so it's no wonder that I've been following DT for some time now. The Gallery and Projector are among my favorite releases of theirs. The Gallery best captured their ability to write amazing twin guitar leads and melodies that had a lot of energy and general coolness. Projector was a departure from the old style into uncharted terrain - terrain that had unusual but honest and likeable clean vocals as well as slower songs. With the followup Haven, DT seemed to be moving back towards their roots. And with this newest release, DT have successfully paired their older style with a new quality that makes the music exceptional.

The great melodies and leads from older Dark Tranquillity are still around today, and they're cool as ever. Niklas Sundin and  Martin Henriksson make an awesome guitar duo, and the sheer number of awesome riffs, leads, and solos leads me to believe they've discovered some ancient songwriting technique that keeps each new song fresh without losing the quality that made the last song effective. I don't want to spend too much time describing this aspect of their sound because if you're into metal you're bound to have heard some Swedish melodic death metal... so you've got a good idea what makes up the sound.

What separates Damage Done from other Dark Tranquillity work and their peers is the atmosphere. Martin Brandstrom's keyboard performance adds an ambience that takes the music to new heights. It's difficult to explain specifically how this works. Sometimes he'll just play a background melody, or chime in with more subtle synth oriented touches. Somehow, the end result is something that could fit a movie soundtrack. If you were to cut out the more extreme elements of the sound and replace them with visuals from, say, Blade Runner, everything would fit together in a meaningful way. But since the music is written to be a complete sound that needs no visuals, it of course works best just as it is - with background sounds to set the stage and lead guitars and vocals to tell the story.

I really enjoyed Mikael Stanne's clean vocals from Projector, but it looks like that was the last time he'll ever use them. A lot of fans criticized them or found them intolerable, so I can't quite blame him if he got discouraged or just decided it wasn't the right direction for the band. But nevertheless, his death metal voice has improved considerably over the years. Damage Done features his best extreme vocal performance yet. Unlike so many groups he actually growls in sync with the music and puts a lot of force into the vocals where appropriate. In the past, some of his vocals have bothered me because he never varied his approach. Although Damage Done doesn't have any great amount of vocal variation, the differences in pacing and ferocity throughout the songs keep things interesting.

The lyrics span topics ranging from psychology and conciousness to chaos theory and quantum physics. I think the songs stand fine on their own even when you can't understand a word Mikael Stanne growls, but reading the lyrics helps create a more lucid picture of what the band is going for.

It's also important to note that some of the slower moments are the most emotive. The peaceful ending instrumental is among my favorite Dark Tranquillity songs of all time. It has a mix of atmospheric keyboards and melodies that contribute to a very dark and slightly sci-fi feel (though I'm not calling it sci-fi or anything, I just keep thinking of Blade Runner when I listen).

If you've enjoyed any release by Dark Tranquillity in the past, then you'll very likely get into Damage Done. I wasn't too fond of DT's last album, so I'm glad to see they're still evolving and refining their sound. It's comforting to know that while I might not go stupid with glee each time the band puts out material, they'll always keep trying new things instead of getting stuck in a rut. If you're into metal and have somehow missed hearing Dark Tranquillity for this long, Damage Done is the best place to hop in and see what the rest of us have been listening to for years.

Track List:
1.) Final Resistance
2.) Hours Passed In Exile
3.) Monochromatic Stains
4.) Single Part Of Two
5.) The Treason Wall
6.) Format C: For Cortex
7.) Damage Done
8.) Cathode Ray Sunshine
9.) The Enemy
10.) White Noise / Black Silence
11.) Ex Nihilo

Dark Tranquillity is:
Mikael Stanne - vocals
Niklas Sundin - guiars
Michael Nicklasson - bass
Martin Henriksson - guitars
Martin Brandstrom - electronics
Anders Jivarp - drums

Dark Tranquillity - Official Site:
http://www.darktranquillity.com/

Century Media Records:http://www.centurymedia.com

Elfman
Common Sky
~reviewed by Joel Steudler

As I sat at my computer the other day, I found myself thinking 'Man, I wish I had an album of music to listen to that totally rips off of Korn and Limp Bizkit!'... and wouldn't you know it, the promo copy of Elfman's new CD Common Sky showed up in the mail and fulfilled my wildest fantasies.  That's a lie, actually.  I didn't -really- want to listen to any overtly vulgar nu-metal that was laced with profanity delivered by a hysterical vocalist who thinks he's Johnathan Davis.  I -really- wanted to listen to what the blatantly dishonest press release advertising the album promised... but more about that in a moment.

Before I vent my wrath further, I feel obligated to mention that if for some inexplicable reason you actually like Korn and their nu-metally bretheren,  you'll probably enjoy this exceptionally derivative album.  Its a miasma of nu-metal cliche, with plenty of customary 'I'm so sick and twisted and insane that I must tell you about it' songs, and even a highly intolerable Bizkit-y rap number.  They even toss in a Creed-ish ballad at one point (ironically the most listenable song on the album for me) just to cover all the radio-metal bases.  The production is of a quality that matches what gets played on the airwaves or mTV, so you wont be disappointed there.  All Elfman needs to do is to pick out some crazy masks and assign the band members numbers for names, and they'd be guaranteed crazy money and all the 15 year old zombie-groupies they could ever want.  Oh- and guys, don't forget to grow nutty facial hair and partially shave your heads too, in case you take the masks off.  I hear the kids really dig that kind of hip stuff these days.  Yo.  Word.

Back to that press release comment:  here's an unaltered excerpt from it for you to evaluate before I dig in and start firing with both barrels.  The whole text of it can be found on the WAB records page listed at the bottom of the review, under 'bands', then 'elfman'.  I'd direct link you but they used frames on the WAB page, and I'd hate to spoil their oh-so-elegant layout.  Er, anyhow, that excerpt:

New ways of creating sounds and arrangements became possible, which finally ended up in what elfman is today: "a new kind of new rock".

A completely new sound, a never-heard combination of synthetic vibes and rough instrumental parts, electronic bass grooves and melodies, aggressive guitars and expressive vocals.

Fitted with their own style elfman gets established in the underground-scene and soon reaches a larger fanbase by playing a lot of club-gigs.

Someone like Devin Townsend or Trent Reznor -might- be able to invent "a completely new sound, a never-heard combination of synthetic vibes and rough instrumental parts, electronic bass grooves and melodies, aggressive guitars and expressive vocals"... In fact, both have in the past.  These posers in Elfman can barely elevate themselves above the status of a Korn cover band.  The ridiculous claims of the press release / band bio gave me a far lower opinion of Elfman than I would have had if I'd known they were a garden variety nu-metal bandwagon-hopper in the first place.

You'll find absolutely nothing new or innovative in Kor-- er, Elfman's album 'Common Sky', despite the outrageous claims of the record label.  You will find well executed, slickly produced, highly formulaic nu-metal.  If that's your cup of tea, then knock yourself out and go 'insane' listening to this 'sick and disturbed' offering from Austria's Elfman.  It saddens me to think that this could indeed become very popular if promoted well in the US.  Judging by what I've seen of Wait And Bleed Records (who themselves rip off their name from a Slipknot song, of all things) there's not much danger of that happening.  I'll just have to quietly hope that mTV never gets sent a copy of this 'never-heard completely new sound' or we may never hear the end of it.

Track List:
01.) Why Dont You Say
02.) Drive
03.) For You
04.) Glory D.
05.) By Myself
06.) Hold Out
07.) Sail Away
08.) Inside
09.) Raggedy Ann
10.) Entertainment
11.) Common Sky

Elfman is:
Varga Oliver: vocals, guitar, progr.
Kostron Georg: bass, vocals, progr.
Kropej Thomas: drums
Saint Sferic: turntables, fx

Elfman Official Website: http://members.aon.at/elfman/info.htm

Wait And Bleed Records: http://members.aon.at/wabrecords/e_index.htm
 

Evoken
a CD Preview - untitled
~review by Matthew Heilman

The almighty Funereal Doom Metal ensemble Evoken are gearing up to record their fourth full-length album.  Being a long time and rabid enthusiasts of this kind of uncompromisingly dark music, I pester these bands for updates and news as often as I possibly can. The pay off came early when Nick Orlando, the guitarist of these New Jersey misanthropes, was kind enough to send me an unmastered demo of their latest material.

The band will be entering the studio this October, with a slated release date in late Winter/Early Spring of 2003.  The album is as of yet untitled, but is slated to contain up to seven tracks, five of which I have heard with my own misbelieving ears.

For fans of despondent and dreary Doom, this is IT!  This is the album that will ensure Evoken’s staying power and majestic reign amidst the dark metal elite, on both sides of the Atlantic.  These five songs are encompassed by a sinister power that few bands have ever been able to harness.  Though not of the same genre at all, I can think of only two musical outfits that have slithered along these same bleak shores of hopeless abandon: Current 93 (on the I Have A Special Plan For This World CD) and the 20th Century Classical composer Kryztof Penderecki (for his “Threnody For The Victims Of Hiroshima.”)

All the tracks exceed the nine-minute mark, and generally comparing the material to Quietus, the band’s breakthrough third release, I would say the material is more powerful, darker, and not as emotionally detached.  Where as in the past, Evoken’s music conveyed a distant, almost ‘outsiders’ view of desolate atmosphere and emotional wasteland, the band now seem to have immersed themselves deeper into the spirit of their music.  Throughout the Quietus CD, I often anticipate specific memorable passages in the songs – parts that manage to outshine and stand out above the greatness of the whole release.  This material however, I feel is stronger and contains even more memorable moments.  Each of the five tracks I have heard offer some spectacular moment of Doom Metal perfection – whether it be a passage of the utmost heaviness, creepiness, or a profound bittersweet sadness.  It’s all here in many fresh and creative guises.

The riffs are heavier, and the keyboards three times as interesting and sophisticated compared to the band’s previous efforts.  There is especially some outstanding interplay between the guitar parts and keyboard passages – the synths at times possessing an unsettling discordance and eerie disharmony, swelling recklessly and climactically behind the guitar chords.  Elsewhere, they fill in the spaces with full, ghostly, and chilling orchestral splendour.  The band recently had a bit of a ‘keyboard crisis’ and it was uncertain whether or not they would include the instrument in future releases.  Even some fans were unsure of where they stood with their opinions on the presence of synths.  All I can tell such uncertain fans is that the keyboards are awesome, and in no way detract from the uncompromising rawness Evoken are known for.  They intensify the atmosphere with an even greater feeling of haunting unease.

And speaking of unease – there is one track in particular, tentatively titled “The Last Of Vitality” which can be described as sheer macabre evil.  The track creeps along at an ungodly pace, with unwholesome clean guitar parts and disharmonic keyboards weaving throughout the heaviest and dense guitar passages on the entire release.  John’s vocals arise straight from the blackest pits of unholy perdition, and the atmosphere is so suffocating that it may take listeners a few cautious times through before they can fully appreciate the sublime blackness of this piece.  By far one of, if not THE darkest metal song I may have ever heard.  Nothing comes close to comparison, not even Skepticism, and not even the darkest works of any of the band’s contemporaries.

This is the first time I believe we at StarVox have ever offered our readers this kind of review – under normal circumstances, there really wouldn’t be a need to preview a release this far in advance.  While this material will without a doubt go through a slight though inevitable metamorphosis in the upcoming months and in the studio, I am honoured and still a bit dizzy to have been allotted this special sneak peak into the mind’s of metal’s most promising band.  I champion a lot of stuff here at StarVox, and while I know that Evoken and their style of music is definitely not everyone’s cup of tea (Metal fans and Goths alike), this is what I personally deem the most impressive and emotionally effective music available in the underground.  I love music, and I hear a lot of it.  To me, metal bands have been getting lighter and lighter, straying farther from the aesthetics established by early Gothic Metal and Doom bands.  Whether it be overexposure to ‘dark’ music in my case, or just the fact that I have been overly critical lately, this satisfied my ever searching need for something ‘DARKER.’

It’s not easy to get into, nor is it easy to absorb.  It may bore fans of faster Black Metal, scare the living hell out fans of ethereal music – but those of you out there that use music to explore the darkest recesses of your psyche – you know who you are - this band is what you are looking for.  And their next album will be their finest and most intense yet.  I doubt I could recommend anything more sincerely to fans of genuine dark music.

Demo track list (Tentative)
1) Omniscient
2) Coveting Elysium
3) Reverie In Tears
4) The Last Of Vitality
5) Antithesis Of Light

Evoken is:
John Paradiso:Vocals/Guitar
Nick Orlando:Guitars
Steve Moran-Bass
Vince Verkay-Drums
Dario Derna-Keyboards

Evoken – Official Website:
http://www.evoken.com

Evoken – Mp3 Site:
http://www.mp3.com/evoken
 

Excession
Forever
~reviewed by Matthew Heilman

Excession is a new project lead by ex-Vendemmian guitarist Dave, after the demise of his previous band.  At first, nothing struck me as particularly exciting about this British duo, as much as I am loathe to say that about any hardworking independent band.  Most of the time, I know right away whether or not I am going to enjoy an album or not.  This was one of the rare exceptions to that rule.  It took me a few listens, all of which occurred in various moods and mindsets, but the appeal of this band finally began to sink in, when I knew what to expect.  It grows on you, as we say, so if you come across this album, give a few spins before you come to your final verdict.

Excession provides a noteworthy and direct kind of emotional female fronted Gothic Rock.  Commendable and beautiful guitar playing, driving bass lines, and well-done drum programs characterize the band’s sound.   Gothic bands that use drum machines can be broken down into two very distinct categories. The first being those who were unlucky in finding a real life drummer.  So, they do the best they can to utilize synthetic drumming in order to create convincing rhythmic backdrops that somewhat resemble the organic. Then of course there are the bands that are just lazy and for whatever reason think that it’s ‘cool’ to use drum machines and that it is part and parcel to the ‘sound’ of Gothic Rock.  They don’t even try to find a real drummer.   This is a plea to all individuals thinking of picking up an instrument: put down the guitar and buy a drum set!

Anyway, Excession is of that hardworking and dedicated first category, the ones that do their best to create the most organic sound they can.  At times, the drum programs on this album could almost pass for being played by a real life human being, which is indeed the goal.   Perhaps it seems ridiculous that I am harping on this detail, but if you are anything at all like me, you are sick to death of basement Goth bands and their hokey keyboards and Fisher Price drum machines.  </rant>

As well, few keyboards are used, outside of the short instrumental interlude “59” and some accents of subtle piano in “Caged Bird.”  Instead of relying on synths, the processed washes of jangling, flanged guitar is the primary source of the sad misty atmosphere.   Excession makes quite a bit of pleasurable noise for two lone musicians.  The main drawback and what perhaps fueled my initial lukewarm feelings about this act were Yasmin’s deadpan vocals.  Her voice does at least have a deeper, sultry quality to it – much more convincing than many of the thin ‘angelic’ styled sirens out there.   The problem is that her voice often falls flat, there is little variation, and she sounds ‘tired’ and rather lethargic throughout most of the disc.  I am willing to bet she is a lovely and wonderful gal, however, I can’t help but feel that her vocal performance on this CD was a bit sub-par.  There might be a great deal of emotion in her lyrics, but she doesn’t sound particularly animated or excited to be in her position as a vocalist.

As important as strong vocals are to some, I do not feel that this release is really that hindered by them.   Once I let go and even as I sit down to review this with the upbeat melancholic bounce of “Desire” playing in the background as I write, Excession’s genuinely earnest and evocative moods of sadness have completely won me over and have successfully moved me to a deep contemplative feeling of dreariness.   The sun is shining mockingly outside my window, but it’s raining in this bedroom.  It may sound silly, but when a band is able to take such a strong hold of a listener’s feelings, and transport them from reality to an aural realm of personal fantasy, I deem that success.  The music of Excession definitely has that power.

Not much biographical information is available, nor was I able to dig up a website for either Excession or Vendemmian.  Nevertheless, the CD is available through Resurrection Records in the U.K and through Metropolis distribution in the U.S.   I think fans of The Shroud, Mephisto Walz, and This Ascension would enjoy this a great deal.  Though the vocals need some work, this is promising Gothic Rock I hope to hear more from soon.

Track List:
1.) Wanting
2.) Aurora Borealis
3.) Desire
4.) 59
5.) Caged Bird
6.) So Close
7.) Blind Faith
8.) Something
9.) Vapid
10.) It’s A Sin

Excession is:
Yasmin: vocals/lyrics
Dave: all instruments

Email:
excessionuk@yahoo.co.uk

Write to:
Excession
16 Barrow Road
London, SW16 5PF

Resurrection Records:
http://www.resurrectionmusic.com

Buy it through Metropolis Records:
http://www.industrial-music.com/product.php?prodnum=PLANET+001
 

Gaussian Surface Project
Slanting Waves of Optic Horror
~reviewed by Dibrom

Slanting Waves of Optic Horror is one of those albums that soothes its way into the background and slowly engulfs the listener within it's influences.  Before you know it, you're completely focused on the music, and loving every minute of it.  Yet, it has happened so gradually and gracefully that you didn't even notice it taking place and when you reflect back on it, you're left in amazement.

These days, it can be difficult for a particular artist to stand out in the sea of experimental electronic music.  This is not to say that most of it is boring, far from it, it's just that leaving a very distinct signature upon one's music is not the easiest task in such a genre.  I believe that GSP has accomplished that with this album though.  It has a very unique feel to it.  The underlying musical techniques are not necessarily groundbreaking, but the composition of such certainly feels so.

SWOH is very listenable.  It works so well because the beats, the melodies, everything about it create a presentation which is interesting and detailed, but at the same time easy to ingest.  One will not find them self struggling to listen to this album in their search for more great experimental electronic music.  Instead, they will only find a fine and ever so carefully woven mesh of synthesized textures, effortless floating melodies, loops and drum patterns which contain a definite groove, and some very well utilized samples from the likes of movies such as Pi and Apocalypse Now.  Indeed, the masterful composition of the songs on this album are almost reminiscent of a soundtrack.

Perhaps the only real downside to this album is nearly the same attribute that makes it so enjoyable -- that fact it flows together so well... perhaps too well.  The album is great while it lasts, but it just seems to fly by too quickly with too few memorable moments.  At nearly 40 minutes, it's not short enough that this should be an issue. By the time the album is over, I find myself wishing there was more to come, and so I often have to end up looping the cd to get my fill.

All in all, I find that the only real downside of this album does almost nothing to hamper it's overall worth.  The album is executed with a degree of ingenuity not often seen and the effect is simply great while it lasts. And In the end, the fact that I'm wishing there was more is really good sign, a sign that the artist incited significant interest from the listener.  I can certainly say I'll be patiently waiting for more to come from GSP in the future.

Track List:
1) dictation
2) osseary in angel's breath (the dilemma of st. francis)
3) five fears of motion
4) two16
5) the ceiling moves, slithering worms and insects
6) optic horror (eye of the oppressed)
7) the mending apparatus

Gaussian Surface Project is:
Jeremy Dziedzic
Rob Kukuchka

Dysgenic Records:
http://www.dysgenicrecords.com
 

Hate
Cain’s Way
~reviewed by Matthew Heilman

All those Polish jokes have finally taken their toll, pushing a long mocked people past the point of patience and – well, at least a handful of their younger more aggressive types, into a veritable frenzy.  Try to sink this screen-doored submarine, if you dare.

Hate, like their fellow countrymen Vader, is an unrelenting Death Metal machine. Hate began my admittedly rocky relationship with World War III records a few years back.  With a few exceptions, I personally didn’t feel any of the bands on label’s roster matched the might of these pissed off Poles.  When I heard the band was set to release their second WW3 release, I was skeptical whether it would be able to contend with the band’s blistering previous masterpiece, Holy Dead Trinity.   But after only a few moments of “Apocalypse,” the track that kick starts this deadly opus, it is firmly attested that Hate are certainly no fluke or flash in the pan.  This is the real deal.

I still am amazed at how certain bands can manage to make a genre as predictable and derivative as Death Metal still sound relevant and interesting.   Armed with a crisp, bottom heavy production and engrossing material, Hate is definitely the cream of the current crop.  Standing back to back with Hate Eternal and Morbid Angel, these guys shred from one gut-wrenching grind to the next, fueled by an esteemed aggression backed simply by strong and memorable material.

The quality of the production adds greatly to the album’s appeal – a warm and deep crimson red to clash with the all-prevalent icy grey of contemporary Black Metal (let’s not forget the rosy pink aspirations for the forlorn sable of would-be Gothic Metal).  A scorching collection of material, noteworthy for its simple aggression rather than cartoonish theatrical ‘blasphemy.’  Sure, these guys aren’t singing about Snow White’s faerie tale courtship by Prince Charming, but they aren’t simply praising Satan for the sake of metal cred.  And besides, there is just something bleakly poetic about the song titles “Shame Of The Creator” and “Resurrected But Failed.”   It’s the little things that can please me.   I like it when evil metal bands try to make God feel guilty for his negligence rather than when they just aimlessly toast his arch enemy with empty plastic cups.

There is not much really to say other than this is quality Death Metal.  All the right elements are here, no filler, just breathless rage fueling unrestrained evil.  Crushing walls of crunch, flawlessly smooth blast beats, sprinkled with the occasional eerie harmony, capped by venomous guttural growling, all working in unison with one mission and one mission alone – to splinter the Holy Cross into barely visible fragments and drag the weak Lord Jesus Christ kicking and screaming back into his empty fucking grave.  Grrrrrrrrrr!!!!

The Most Unholy Track List:
1.) Apocalypse
2.) …And The Sin Becomes…
3.) Sectarian Murder
4.) The Fifth Eternally Despised
5.) Through Hate To Eternity
6.) Shame Of The Creator
7.) Resurrected But Failed
8.) Cain’s Way
9.) Holy Dead Trinity
10.) Future Is Mayhem
11.) From Cain To Oblivion

Hate is:
Adam The First Sinner - Vocals & Rhythm Guitar
Mittloff - Drums
Ralph - Lead Guitar
Cyprian - Bass Guitar

Hate – Official Site: http://www.hatesatanic.org

WW3 Music: http://www.ww3music.com

Icon of Coil
The Soul is in the Software
~reviewed by Eric Rasmussen

One day, I tried to conceive of the perfect electronic band. Perfect as I saw it, of course, and since electronic music encompasses such a far reaching set of genres, I was thinking of something not too far removed from techno. The bouncy rhythms had to be there, the danceable aspect. The speed and the blippy sort of energy. But there also had to be depth, moreso than you're likely to find in the happy hardcore music adored by certain ravers. There had to be more emotion than programmed energy, and this meant there most likely had to be vocals. And anytime you're going to look for a variety of emotion in art, you're going to find that sadness is most always present at some point.

So in other words - I wanted to hear depressing techno. You know, something that would get me bouncing around to the groove and yet ultimately feeling like I'd digested something intelligent. Something that would go over the heads of any brightly clothed person inhaling various household items. Little did I know, Icon of Coil had already released an album along the lines of what I was looking for. And thankfully, they aren't nearly so pretentious as I can be when I'm deeming all that is intelligent and all that isn't.

The Soul is in the Software is IOC's second release, and it's just about everything a fan could hope for. I really got into their debut Serenity is the Devil, but it may have been a bit techno-heavy at the end of the day. It didn't offer the same thoughtful pacing that their newest effort does, despite the somewhat sad vocals and occasional slower piece. IOC's new release, however, is a much more diverse effort. The techno energy is still there (and yes, I know that the band is often categorized as EBM, but when I say techno you know very well what I'm talking about), but the vocal performance is much more varied. Some of the tracks are darker, such as "everything is real?", a piece that questions reality over a contemplative and hypnotic mid-tempo beat. The old energy and seeming happiness can be found on other songs as well, like "access and amplify." But the vocals have an undeniable sadness, partly due to the lyrics and partly to the performance, and they bring to the music much needed emotional variation.

There are a lot of pads used to fill out the sound. Subtle symphonic elements back the main sound and add that extra emotion that takes even the blippiest and most trance oriented sections into the fabled realm of "vast replay value." It's easy to find things in the soundscape that weren't apparent on the first several passes, and the great variety in pacing and feeling on each song keeps the CD interesting throughout.

I have no solid criticisms of The Soul is in the Software, though I can't help but feel that some of the songs could have been made better. The elements of great EBM can be found in every track on the album, but some of them pull it off more convincingly than others. I can only say that in the context of the personal impression the CD left on me, and no two people will experience it in exactly the same way. If you enjoyed previous Icon of Coil music or have been looking for an upgraded version of their sound, you'd be smart to buy The Soul is in the Software.

Track List:
1.) comment
2.) thrillcapsule
3.) violations
4.) in absence
5.) access and amplify
6.) everything is real?
7.) other half of me
8.) love as blood
9.) disconnect
10.) simulated

Icon of Coil - Official Site: http://www.iconofcoil.com

Metropolis Records: http://www.metropolis-records.com
 

The Imperial Orgy
THE SEXUAL REVOLUTION IS NOT OVER!
The Imperial Orgy Community Sampler
~reviewed by Kevin Filan

Caesar Pink doesn't just sing in a rock band: he's a self-proclaimed "artist, musician, activist, and shaman of  The Imperial Orgy," an art collective and "open celebration of life, love, sexuality and rebellion."  Ambitious? Certainly.  Pretentious? Possibly ... but at least he's got a dream and a vision, and the charisma to attract other like-minded souls.  The Sexual Revolution is not Over! gives us the fruits of this Dionysian symposium... a mixed bag but never a boring one.

Mr. Pink realizes that it's not a revolution if you can't dance to it.  He starts things off in a funky way with "Sexual Revolution," a crooned-word performance with one foot in the funky 70s and another in the naughty Aughties.  The syncopated beat here wouldn't be out of place at Studio 54, while the erotic energy evokes today's (some say soon to be yesterday's) Berlin/Williamsburg "Electroclash" sound.  As if that weren't enough, Pink gives us the alt.country stylings of "Happy Endings" and the hiphop-influenced "Rabid," along with a somewhat less successful cover of the Stooges' classic "Now I Wanna Be Your Dog."  Whatever else one may say about the man, no one can accuse him of playing it safe.

If Pink doesn't stick to one sound, neither do the artists whose work is sampled on this CD.  Friction's "Father Knows Best" is poppy, danceable alternarock, while Clint Starr's "It Can Happen to You" is poppy, danceable triphop/house.  Both tracks are sweet sonic lemonade; not groundbreaking, but refreshing and enjoyable for all that.  With their deathmetal opus "Gabe Every I & II" Always is not Forever try to prove themselves the bastard children of My Bloody Valentine and Katatonia.  If they don't quite make it, they at least deserve points for trying.

Spoken word artists get their moment in the spotlight as well.  Vanessa Hidary's "Culture Bandit" is a spicy brag-shoutout about the author's mixed Puerto Rican/Jewish heritage, while Heather Milburn's breathy delivery proves that "Words Can Be Sex" indeed. Brother Earl's "Cornfield" strives for Barry White but ends up Chef from South Park - not that this is necessarily a bad thing - while "Joan of Arc" shows that Das Ubermensch wants very much to be Jim Morrison.  (Of course, so does Andrew Eldritch, and Das Ubermensch would probably be a better dinner companion).

Any compilation CD, particularly one as wide-ranging and willfully diverse as this one, is going to be uneven.  Still, there are enough high points to make this one worth a listen ... and, besides, who do you know who's against a sexual revolution anyway?  Buy this one now and help keep up the fight.

1. Caesar Pink, "Sexual Revolution"
2. Heather Milburn, "Words Can Be Sex"
3. Stuck, "Sushi"
4. Koester, "The Blood Red Poppies of October"
5. Clint Starr, "It Can Happen to You"
6. Vanessa Hidary, "Culture Bandit"
7. Brother Earl, "Cornfield"
8. Das Ubermensch, "Joan of Arc"
9. Caesar Pink & The Imperial Orgy, "Happy Endings"
10. Caesar Pink et al, "Rabid"
11. Caesar Pink et al, "I Wanna be your Dog"
12. Friction, "Father Knows Best"
13. Tal Peretz, "Tied"
14. Frank Picarazzi, "Etude #2"
15. Always is not Forever, "Gabe Every I & II"

Imperial Orgy Website
http://www.theimperialorgy.com

Imperial Orgy on MP3.com
http://artists.mp3s.com/artists/153/the_imperial_orgy_communit.html
 

In Tenebris
Fall Away
~reviewed by Matthew Heilman

In Tenebris is a developing darkwave trio hailing from Charlottesville, Virginia.  It is rather hard to ignore the fact that they share their home turf with the likes of Vehemence Realized (VR) and Bella Morte, as the latter of the two seem to have made a profound influence on the band.  To put it in the simplest ways possible, Fall Away is not only distributed by Some Wear Leather, the same label that pressed Bella Morte’s first release, but the overall tone of the album (wintry synths and prominent bass lines floating above what sounds like the very same drum machine) sounds like it was straight out of Andy Deane and Gopal’s basement, circa 1997.  I still remember how much that album had initially struck me, but as I have grown a bit older and been exposed to a ridiculous amount of music in 5 years, it is harder to get passed the limited and flat production that is the result of primarily synthetic compositions – no matter the fidelity to a ‘Gothic’ atmosphere.

I will try not to harp too much on that, for I don’t think that alone really determines the success or the failure of this band. There are, as with all projects, positive and negative aspects to In Tenebris. The good is that they can indeed create a chilly Gothic atmosphere, as they masterfully show with the opening track “Bedlam.”  With it’s synthetic orchestration, light tympani accents, chiming bells, and layers of harmonized female vocals, the song almost comes across like a medieval invocation, similar to the early work of Autumn Tears.  All is well so far.

But despite the promising intro, an unconvincing bounce and out of place upbeat pop sensibility immediately follows with “Burden,” complete with the kind of amateur keyboard/drum machine combo that makes me want to grind my teeth until my jaw is numb.

Thankfully, they slow things back down to a less grating and more suitable pace, with piano, more chimes, and watery guitar strums for the album’s title track.   A subtle improvement, recalling a less poignant number in the style of “Silver Crosses” or “Nevere.”  For “In These Silences,” vocalist Christina is joined by back up male vocals, with the right intention to stir things up a bit.  At times the two vocalists harmonize together quite well – a formula that may work well in the future; but at other times I can’t help but recall the dissonant duets of Nicole Kidman and Ewan McGregor in “Moulin Rouge.”

And it is here, after four songs, that the listener comes face to face with the integral shortcoming of In Tenebris; for one can no longer deny Christina’s limited vocal range. Granted, she has an easily perceived sweetness to her voice, an enchanting and meek femininity, delicate, wounded, and indeed, beautiful.  She is even at times comparable to Liv Kristine of Theatre Of Tragedy.  But Liv as well (and I will get hanged for this) is only now beginning to really show the range of her voice after nearly 10 years.  But beauty and tender sweetness alone is not enough to carry an entire album.

The excitement and duration of the CD suffers by the fact that Christina rarely changes the tone of her voice, relying on a perpetually nasal monotone.  (Christ I know that was harsh!)  But the heartbreaking thing is – she could be a great vocalist.  But there is a dire need for more vocal variation.   It does not sound like she is tapping into her potential at all.  She sounds rigid and restrained.  She needs to get angry at my review and start belting this material out.  From the heart, and from the diaphragm, and hell, through clenched teeth to prove me wrong.   Christina, I am waiting for you to start breaking some windows, my dear inhibited siren ;)

Anyway, back to the music.  The pace of the album begins to drone on, but this is primarily due to the lack of any powerful instrumentation.  Though some distorted guitars make their appearance on “A Game Of You,” they are too quiet and fuzzy in the mix and are overpowered by the one-dimensional flatness of the keyboards and simplistic drum programs.

“Ashe,” a little over the halfway mark for the CD, and is the album’s saving grace.  A slower shuffling kind of rhythm, paired with low synthetic strings and watery guitar chords that ring out (albeit quietly) but steadily through the song.  A strong chorus with distant male vocals in the backdrop is accented by a more confident, non-lyrical performance by Christina.  The verses of the song also put her in a more comfortable light, and overall, I quite liked this song.  It as well demands for a fuller, organic sound, but it stands as the most powerful material on the album

What could have been the next highlight comes along in the shape of a cover of Vehemence Realized’s “Old.”  However, In Tenebris shamelessly speed up the tempo, I assume in an attempt to make the song more danceable.  And sadly, Christina’s voice just is not equipped for this song.  No variation, no tonality – just a monotonous and dazed angelic drone.

The last two tracks are merely space fillers – the first a token ‘spooky’ instrumental and the last a token noisy ‘experimental’ track.  There inclusion just seemed rather pointless, as they did nothing to enhance the record.

Clearly, In Tenebris are earnestly in need of direction.  I hate hate hate HATE writing reviews like this of independent or smaller bands.  There are so many bands that THINK they are good and deserve to be knocked down a few pegs.  Then there are bands that are struggling but are truly dedicated and work hard and deserve more recognition than they get.   In Tenebris need to thicken their sound, and perhaps apply a more active approach toward their music; the synths are too weak and the vocals need to be more assertive, powerful, and varied.  There is talent here, but I do not hear the band’s own voice.  I hear a pale imitation of mellower Bella Morte and other ethereal/darkwave acts.  There is very little that is positive that sets In Tenebris apart.  These guys need to perhaps dig up some additional members, rely less on the synths, and find a more powerful vocal approach.

Finally, I will offer this: if you are a fan of the “Remains” album by Bella Morte – and you may not be nearly as picky and jaded as I am when it comes to music.  If you enjoyed the more somber moments of that album, then you will most likely find something of merit in the work of In Tenebris.  I just hope they come along in the near future with an album that packs a more stunning punch, and Christina blossoms into the siren she could become.

Track List:
1.) Bedlam
2.) Burden
3.) Fall Away
4.) In These Silences
5.) A Game Of You
6.) Ashe
7.) Fear To Breathe
8.) Disdain
9.) Old
10.) Plethora

In Tenebris is:

Christina – vocals
J. Davyd – guitar, synthetics, vocals
Arin – bass

In Tenebris – Official Site:
http://www.disrupted.org/~tenebris

In Tenebris – Mp3 Site:
http://www.mp3.com/intenebris

Itchy Pushy
Dull Spoon Phalicide
~reviewed by Dibrom

Dull Spoon Phalicide starts off aggressive.  Then it kind of tapers off some.  From this point it sort of alternates back and forth between subdued noise and gritty minimalist beats, brutally distorted guitars, blindingly fast drum machine beats, and overdriven, yelling vocals. Also thrown in to mix things up are the occasional melodies, samples, or whispered vocals.  Overall, and somewhat ironically, the only largely coherent quality across the entire album is that it is erratic.

Sound and production wise the album does a pretty good job.  It does seem to have some amateurish qualities in some spots, particularly in some of the synthesized melodies or the rapid drum machine beats, but overall it does a very convincing job and for the most part the actual music itself allows one to overlook these things.  There are a lot of subtleties present in the music to keep one occupied throughout multiple listens.

Most of the time, the musical content itself sounds sincere on this album.  At times however, some of the vocal content, particularly the lyrics or some of the beats, sound just a little bit forced.  It's almost as if the musician was trying a bit too hard when shooting for a lack of continuity and overall sameness both within the songs and across the entire album.  Yes, with that observation I do believe that the erratic aspect I mentioned is actually part of the point here.  Having said that, it's also entirely possible that this forced quality is nothing more than a mechanism for creating edginess within the songs. By presenting the sound in a manner which just doesn't quite sound "right", it becomes more difficult to get used to.  Certainly the overly aggressive and general "in your face" manner of this music would fit in line with that assumption.

Basically, Dull Spoon Phalicide is a difficult album to quantify. There's nothing particularly bad about it, rather there's quite a bit that's good about it, but for some reason it just seems hard to really latch onto.  I keep trying though because every time I'm actually in the process of listening to it, I am entertained and I do enjoy it.  I believe it's definitely worth a shot listening to if you're able.  If you're into overdriven, distorted, and gritty electronic music with an overtly edgy, erratic,  and discomforting quality, then it's quite likely you'll find something here to interest you.

Track List:
1) i stitched shut
2) shitty86
3) destroy metal
4) father
5) mommy
6) free! all you can fuck
7) dum dity
8) blood sponge
9) boys are yucky
10) the religion of today
11) air supply
12) spoon feed
13) new brad
14) overture
15) sleepy time

Itchy Pushy is:
Justin Donhauser

Dysgenic Records:
http://www.dysgenicrecords.com
 

Jack Frost
Self Abusing Uglysex Ungod
~reviewed by Joel Steudler

This is probably going to sound pretentious, but I'll put it out there anyhow:  It really surprises me when I enjoy a very straightforward and uncomplicated album like Jack Frost's Self Abusing Uglysex Ungod.  With all the crazy music I've been exposed to, all the chaotic rhythms and layered sounds, its almost shocking when something so structurally simple holds my interest through many listens.  Jack Frost's new album has done just that, though.  There are no thick washes of keyboards to be found here... no orchestra... no electronic blips and bleeps... just four guys, a couple guitars, a bass, and some drums.  This arrangement works to trememdous effect in producing a somewhat raw, stripped down, and impressively catchy classic doom/stoner metal sound.

I'm going to go off on a tangent for a moment, as I often do.  Music genre names- specifically metal ones since thats what we're dealing with here- are often vague and sometimes misleading.  They can mean different things to different people, and are often hotly contested by fans.  I typically try to categorize the bands I review using my definition of fitting genres, which may be quite a bit off from your perception of said styles.  One of these days I'm going to pester someone with more knowledge of the myriad faces of metal (and more time on their hands) than I have to write the Grand Dictionary Of Genre Names And What They Encompass.  Even if everyone else didn't agree with the bands lumped into certain genres it would still provide a concrete reference so we all knew what the hell everyone else was talking about.

The only reason I bring up the whole 'genre name' issue is that I didn't precisely know what 'stoner metal', 'stoner rock', or 'doom metal' were going into this, and how they differed.  And I still don't.  By all accounts, though, that's what Jack Frost is.  Doomy, stony... er, stonery... er... stoner metal/rock... or something.  With theatrical gothic vocal stylings.

Let's try this: I'll equate the band to other bands it reminds me of!  That usually works.  If you took Paradise Lost (from their Draconian Times / Icon era) and fused them to Black Sabbath in some kind of Gene-Resequencing Blender, added a quarter-cup of Kings-X, then tossed Peter Steele from Type O Negative in after raising the pitch of his voice by about an octave and pressed the 'blend' button, this album might pour out.  I'm unfamiliar with the past discography of Jack Frost, but according to the always reliable press releases from their record label, 'Self Abusing Uglysex Ungod' is a bit of a departure for them.  I don't know how this album will sit with fans of their previous work, but for someone who's never heard of them (much less heard any of their albums), it could provide a reasonably entertaining listen if you like the aforementioned artists.

Musically, Jack Frost's style really isn't that complicated.  They play exclusively mid-tempo, riff-driven songs that rely on catchy heavy melodies and dramatic goth-y vocals to propel them onwards.  More plaintive than angry, vocalist Phred Phinster might be likened to a deeper voiced Robert Smith from the Cure... or a higher pitched Steele, as mentioned above.  He croons out his melodramatic laments in a manner that might sound overwrought if it were coming out of the voicebox of one not named Phred Phinster.  His similarly goofy-named associates appear to not take themselves too seriously, which may upset purists (... but then, does anything NOT upset purists?).  Clocking in at 38 minutes, the album is just the right length to provide a full, satisfying listen without becoming tedious.

If you listen to a whole lot of stoner-doom-goth-rock-metal (my newly coined genre name), you may find this release less enchanting than I did.  If, however, that flavor of music only makes an occasional appearance on your menu... Jack Frost's 'Self Abusing Uglysex Ungod' could very well be a tasty entree that leaves you full, but not stuffed, and with plenty of room for a fancy dessert later.

Track List:
01.) Mother Mary Sleeps With Me
02.) One Hundred Percent Pain
03.) Unseen Insane I
04.) The Dance
05.) Some You
06.) Last Monday
07.) It All Means Nothing To Me
08.) El Funeral Del Dictator

Jack Frost is:
Phred Phinster: bass, vocals
Mournful Morales: guitars
Gary Gloom: guitars
Collossos Rossos: drums

Wait And Bleed Records: http://members.aon.at/wabrecords/e_index.htm
 

Lecanoscope
Comparing Notes
~reviewed by Eric Rasmussen

First off, I can't honestly say I dislike Comparing Notes. In fact, it's really a very pleasant work with some nice subtle touches and atmospheric effects. It's not the kind of music you put on when you want to accompany a particularly passionate mood of some kind, or when you want to try to incite a mood. Rather, it's best relegated to the background while you're performing activities - in my case, doing some form of writing or work on the computer. While Comparing Notes may not instill me with vigor, it does tend to alter my perception of things ever so slightly. The ambience of the music is just strong enough to attach itself to your thoughts and let you re-interpret things in a new way.

The music also contains hypnotic trance elements. The sound is often very understated, and thus it hasn't done a lot to grab my attention on repeat listens. But I can hardly fault Lecanoscope for achieving what they set out to do, and anyone into calmer trance music will no doubt appreciate the mix of ambience and ritualistic rhythms. The somewhat tribal sounding beats are paced very slowly, but fall just short of lulling me into a hypnotic state. Everything about the music is very low key in this way, but because of its design, it scarcely produces any concious response from me. When I do make an active effort to focus on the sound it becomes easier to get drawn in, and there is enough variation that Comparing Notes does not suffer from any unsightly repetition.

My biggest complaint about the music is that it doesn't do a stellar job of holding my attention. I constantly drop out of focus and forget about the music only to remember it's playing a while later. But as I said, the music still has subtle impacts on everything I'm doing as it's reaching into my subconcious and inducing a tranquil state. I'd be a fool to criticize ambient music for not engaging me in the way something more epic and pronounced might. I realize that the entire point of the music is not to be overt or demanding in anyway, and Lecanoscope fulfill their musical ambition very well.

But I can say that if you have little to no interest in ambient music, there's no need to go out of your way for Comparing Notes. Ultimately, to the general music fan, it's just background music. On the other hand, if you do appreciate ambient music, then the 24 minutes of easy going ambience is worth the $8 price tag. There is enough quiet variation and creativity in the sound to impress ambient music lovers or anyone that enjoys creative background music. Having not heard any previous Lecanoscope, I can't compare this to their past work. But I can say that it's a good ep overall, and if this style of music interests you, take a look at their website and download an mp3.

Track List:
1.) Kuya Drill
2.) Asaresult
3.) Waterlilly
4.) Dual Unity
5.) Somnambulist Transmitter

Lecanoscope - Official Site:
http://www.metabolicmusic.com/
 

Lunatic Gods
The Wilderness
~reviewed by Eric Rasmussen

If I had to write a simple one line review of this album, it'd go a little something like this:

"Nightmarish metal from Slovakia that you're welcome to listen to, but don't send me the counseling bills when you're through."

Lunatic Gods are a metal band... kind of, but it's as if they had only read about metal in books or heard rumors of its existence in distant lands. That's one possible reason they make the music they do - and the other is that they're just insane, or that Slovakia puts out music so culturally different from what I'm used to that it comes across as totally nuts.

The reason I'm trying to explain how music like this may have been created is that my brain wants to rationalize this strange music that is at once appealing and yet disturbing and a challenge to listen to. Lunatic Gods' brand of metal is a different sort of metal then I've ever heard, and since I listen to bands like Source of Tide, Korova, and Astral, I'm used to hearing music that pushes the boundaries of normal metal.

The first notably crazy sound on The Wilderness comes from the vocals. They growl and rasp as necessary over heavy riffs, but there are also nearly random cries of anguish and strange shouts that feel foreign and vaguely disturbing. It's as if the vocalists were prepared to provide normal metal vocals but kept receiving bad news each day in the studio that culminated in some kind of nervous breakdown. The end result is a mostly extreme and often non-musical vocal approach that can be hard to listen to. There are melodic vocals used sparingly, so I don't doubt the band could sing properly if they wished... they just don't. That kind of style most reminds me of Source of Tide because they had similarly harsh vocals that were hard to listen to, and yet alluring in their honest extremity.

The guitars keep up the entire way, and the guitarists provide an impressive range of riffs and solos. Many types of metal riffs push the music along at every pace imaginable, and the solos range from mildly exotic and calming pieces to speedy technical metal soloing that's tasteful and impressive. The more typical death metal oriented riffs are energetic and convincing in their ability to pummel the listener. Certain styles of metal represented here are not wholly original, but the combination makes the overall sound unique. The bass player and drummer make for a tight and focused rhythm section that is often relegated to the background, but is never drowned out. Their contributions make a real impact on the music.

Lunatic Gods also have a new keyboardist to fill out the sound. Keyboards aren't used in any overt way, so metal purists have nothing to worry about. But they are used whenever appropriate, as in "Doomsday." The intro sounds like the kind of epic and grandiose orchestral score you'd expect from a very old movie. It appropriately sets the stage for the manic death metal frenzy that follows. By the end of the song I was confused, and slightly nervous. The keyboards continued popping into the track with organ-like sounds that lended an eerie feeling amidst the growling and riffs/solo.

There is even a guest sitar player on "The Wilderness". The title track features some melodic and exotic sitar playing that leads into distorted guitars and a sitar exchanging leads. The resulting atmosphere is off-kilter and very foreign sounding, but as with everything on the CD, it's been growing on me steadily. Lunatic Gods aren't entirely crazy all the time either, a few of the tracks are mostly death metal oriented without too many weird things going on. And the strange but endearing instrumental, "Dance of Salome," is one of the more expressive and listenable songs on the disc. On my first listen through "The Wilderness," that was the song that made me realize there was more to the work of Lunatic Gods than a random pairing of extreme sounds. On further listens, I've only become more accustomed to the Slovaks' brand of craziness, and I can guarantee fans of wackier forms of metal that Lunatic Gods really have something going with their experimental and bizarre sound.

I admit, I had expected an under-produced and ultimately uninspired album from Lunatic Gods. I'm not sure why, other than my growing cyncism over the last couple of years. But the band not only exceeded my expectations, they've grabbed my attention and held it the way only the most psychotic of metal bands ever have. Some of you won't think that's a good thing, but I sure do. And any fans of Source of Tide or Korova out there likely know what I'm talking about - so give Lunatic Gods a listen.

Track List:
Circles of Blindness
1.) Curse
2.) Tormenting World
3.) Fallen Beauty
4.) Doomsday
5.) Battlefield of Life
6.) Dance of Salome
7.) Stone
8.) Mystic Way
The Wilderness
9.) Bemidbar I.
10.) The Wilderness
11.) Bemidbar II.

Lunatic Gods is:
Horar - vocals
Emil - vocals
Hirax - guitar
Psycho - drums
Richard - bass guitar
Lucy - keyboards

Guest musicians:
Jirka Dohnal - sitar (Bemidbar I., The Wilderness, Bemidbar II. )
Natanael - didgeridoo (The Wilderness )
Sanchez - vocals (The Wilderness)

email: HIRAX@STONLINE.SK

Lunatic Gods - Official Site:  http://www.lunaticgods.sk/

Shindy Productions: http://www.shindy.cz
 

Lethal Injection
The Other Lie Form
~review by Jezebel

Okay - geographically, this band really challenges itself. Members live in the US and in France and yet somehow….somehow, they create music. They are the self-professed "future of the new electronic movement" with music that spreads "like a disease throughout the world." This has supposedly earned them the title of "creators of 'music for the doomed generation." This offering is their second attempt, as they have "wasted no time on feeding the frenzy of music starved youth that couldn't get enough of the new movement."

Let's all stop laughing now. Come on. No. No. Really - you can do it. Get that image of mindless thin Goths/industrial/bleepy zombies moaning and slowly wandering aimlessly searching for the music that will somehow save them. According to Lethal Injection, they have solved that problem. Perhaps the "Supermen" of the scene…they that save us????

It all starts well and good, a stalking kind of laser weapon firing intro to the first song, "Demons Whore" (interesting title…but then again - you'll find they pretty much all are). In fact, I was pretty excited until shortly into you are attacked by industrial. Hard industrial with a fleck of punk in there. Attacked - but by a generic sound which doesn't make you listen really. Until there is a break - which I swear the guys from Killing Miranda may want to listen to for legal reasons - if that ain't the main the backbone of "Discotheque Necrominca," well, I be a monkey's uncle.

The screeching quality of R.S. Saidso's voice is fine enough, but again - not more than generic. This is not a ~bad~ song. It's just not an exceptional song. The breaks in the music are jumpy and mixed poorly with seemingly no rhyme or reason. It's just all over the place, not really going in any direction completely.

The second offering of "Pussy Grinder" is one of the most horrific offerings I have ever heard from a band. Screeching vocals, offensive lyrics, I was mystified how someone would find this enjoyable. I am sure there are people out there…but I am not one of them. Saying that the programming on this song is much better than the first with the song seeming to have direction and focus.

We go screeching (wow, that word does seem to fit this band) into "Oppressive".  Yet another generic offering which really doesn't move the band further away from being yet another industrial/techno band.

"Drag" the fifth offering on the CD, does that and although I am sure that it was effect to go with the title of the music, it ends up sounding more like a mistake in production that a desired effect.

Okay - I am being harsh - but that is what the sound is and although that is in and of itself a characteristic of this style/genre of music, one must be able to do it well to make the harshness be palatable. And this isn't. But, saying that, it's not distasteful completely.

The band shows promise…there is talent in the playing of Kill Jelly (with the oh so "non-offending" alias of "Incest") with bass and guitar and Jess Richard on keyboards and programming. Unfortunately this is not a well put together package and the bow (that being Saidso's voice) fails to live up to glimpse of talent that we hear in the other two.

Like I have written, someone might like this band and what they have produced….but to me it's just not up to their self-important press kit. Saving the masses? Supermen? Um, I think more Clarke Kent without the cool tights.

Lethal Injection:
R.S. Saidso - Vocals
Kill jelly (a.k.a. Incest - Guitars, Bass and Programming
Jesse Richard - Keyboards and Programming

Track Listing:
1) Demons Whore
2) Pussy Grinder
3) Oppressive
4) Gold Told Me To
5) Drag H
6) High Class Porn Agency
7) D.V. Hate

Website:
http://www.lethal injection.org

Email:
Lethalinjection@noos.fr
 

Marc Almond
Violent Silence/A Woman’s Story
~reviewed by Mike Ventarola

When most people think of Marc Almond, the first thought is that of the popular club hits "Tainted Love" or "Tears Run Rings". However, Almond’s work is much broader in scope and spectrum than just those two songs. In fact, it almost seems like a disservice has been done by having such stellar hits as a reminder of one’s previous achievements.

This Cd is definitely not club friendly but is more apropos to those who tend to like Voltaire’s style of dark cabaret. Almond however does not add sardonic wit the way Voltaire does. Instead, he croons in a tell-tale way of love and life and all the heartaches in between. He reaches inward and simply pulls the guts from the lyrics, making us simply enthralled as though he has been reading our own thoughts.

The music isn’t dark in the traditional sense of goth, but does have its dark roots clearly embedded, particularly in the mournful trumpets and violins that play out like a heart on the final vestiges of love lost remorse.

Each track is an entity unto itself, thereby creating a new “story” and essence to follow each song. The consistent thing is Almond’s deft handling of the material that is delivered like a chanteuse who has seen too many nights of heartbreak and now simply wanders the streets in the midnight hour seeking out a sympathetic ear. The styles range from a rather Celtic flavored pop with "Indigo Blue", orchestral balladeer with "A Woman’s Story", the quiet European cabaret of "The Heel", to the almost Broadway-like song "Just Good Friends".

The sequencing for these tracks was simply perfect because it draws you in and with each sound transition, we are provided with yet another facet of style and sound. Through it all, we have an empathetic singer who is sharing the same thoughts of melancholy that we have experienced.

Clearly, A Violent Silence/ A Woman’s Story is the type of Cd to listen to during a rather gloomy day when nothing else will suffice. Light the candles, fill up your glass with your favorite beverage and wallow in the emotional tide. This is among Almond’s best work to date despite it not having any club appeal. Thankfully, some artists also realize that not everything needs to be made for dancing and are able to provide us with poignant lyrics and the right flourishes of sound to remind us of the human condition and the foibles of the heart. If you like dark cabaret style work, do seek this CD out as it does deliver in spades.

Tracks:
Indigo Blue
A Woman’s Story
The Heel
Salty Dog
The Plague
Little White Cloud That Cried
For One Moment
Just Good Friends
Oily Black Limousine
Blood Tide
Healthy As Hate
Things You Love Me For
Body Unknown
Unborn Still born

Available through: Middle Pillar www.middlepillar.com

website: http://www.marcalmond.co.uk/

Released by:
Thirsty Ear
274 Madison Ave. Suite 804
New York, New York 10016
Email: thirstye@aol.com

Merzbow
Amlux
~reviewed by Dibrom

My friends tell me that it's madness listening to Merzbow.  Even worse, they say, for actually liking it.  Well, people do crazy shit.  They walk on burning hot coals, they shove pins into their skulls, and sometimes they lay on beds of nails.  I listen to Merzbow at loud volumes.  Why?  I don't know, but it works.

For those of you unfamiliar with the artist, Merzbow is considered as one of the pioneers of Noise.  His "music" is thusly composed almost entirely of noise in all of its different incarnations, modulations, permutations, whatever.  In Merzbow's music, you will hear nearly every presentation of noise imaginable and then plenty not-so-imaginable.  Why would anyone want to listen to such a thing?  Well that's a good question.  Most people wouldn't.  Most people actually find Merzbow painful to listen to I suspect, even if this so called "pain" is only psychological.  At any rate, buried deep within the madness and pure chaotic distortion, there is a soothing effect.  That's right, Merzbow is soothing.

I find that the act of listening to Merzbow often takes on a meditative quality.  I guess if one were to explain such a thing, you could draw parallels to the treatment of tinnitus using white noise generators. Merzbow has a similar effect, except for all immediate surroundings. What I mean is that when you're listening to this stuff, if you actually pay full attention to it, it pretty much drowns out all surroundings. It clears your mind.  It somehow changes you.  I believe most people that successfully make it through an entire session (or multiple sessions!) of Merzbow will walk away feeling... strange.  Perhaps it's like having an epiphany.

Amlux, at it's basis, is just another chapter in the utterly massive Merzbow catalog.  How does it compare with his other works?  Well, I'm not entirely sure, simply because there is so much of it and I have relatively little exposure.  However, Amlux, on its own merits, is simply amazing.

Replete with rumblings, hisses, whooshes, whispers, piercing tones, alternating noise rhythms, drones, explosions, reverberations, all manner of static-like sounds,  white, red, and pink noise, all layered, combined, modulated against each other, and processed in countless combinations -- it is extraordinarily complex and detailed. Amlux provides the listener with virtually endless focal points.  It's impossible to actually become bored while listening to this stuff.  And If you do, well.. then you must just be weird.

There's really not much else I can say about Merzbow or Amlux at this point.  If you've made it this far, I urge you to go listen, and I wish you luck.  If you find that you actually enjoy this stuff, then congratulations, you've just managed to wrap your mind around some pretty amazing stuff and you'll probably never look at conventional "music" the same way again.

Track List:
1) Takemitsu
2) Looping Jane
3) Cow Cow
4) Luxurious Automobile (Krokodil Texas Mix)

Merzbow is:
Masami Akita

Important Records:
http://www.importantrecordstore.com
 

Meshuggah
Nothing
~reviewed by Joel Steudler

For me, listening to Meshuggah (particularly their previous studio album, Chaosphere) has always been about testing my ability to persevere in the face of adversity... to endure hardships and the most extreme of conditions.  The brutal time changes, scathing vocals, and insane Frederik Thordendal guitar solos were intense, confusing, and at times frightening.  It seemed that at any minute, vocalist Jens Kidman might climb out of the CD player and begin viciously kicking my ass while shouting incoherent invective directly through my skull.

Even on their earlier offerings, Meshuggah showed a knack for writing riffs that could easliy turn my stomach inside out if I wasn't properly prepared.  'Future Breed Machine' off of 'Destroy Erase Improve' never fails to leave me clutching some nearby (and preferrably well anchored) object to try and regain my equilibrium.  Thomas Haake's percision drumbeats often came at such irregular intervals that when coupled with Hagström's churning rhythms, they left me in a debilitated heap... unable to think coherent thoughts until I turned off the music to regain my composure.

That's always been the charm of the angry Swedes' music for me... its ability to wreak havoc on my nervous system and imbalance my psyche.  It is with great disappointment that I must report to you that listening to Meshuggah's new album 'Nothing' simply doesn't have that effect.  That's not to say that it is poorly crafted... but whether buying the album is the right decision for you to make is all a matter of perspective.  If, like me, you are a fan of Meshuggah's previous work, you may simply be too desensitized for Nothing to have much of an impact on you.

It is difficult to throw around a term like 'mellow' when discussing Meshuggah, but relative to their other offerings, Nothing is indeed a more laid back and ... (I can hardly say it) ... mellow album.  Kidman's shouts are more measured and less ferocious here than on Chaosphere, though he's still clearly upset about something.  Thordendal is thoroughly restrained, his typically bizarre and inimitable style only flashing through in small bursts.  The rhythm guitar and drums are brutal, to be sure, but are more consistent in their bludgeoning- whereas before they often generated the same feeling you might get in your car shifting from 1st to 3rd without popping the clutch.  Even the pace has slowed down a bit, to a steady (and universal) mid-tempo attack.  All of this ultimately results in less interesting music than the band has made before.

Perhaps, though, comparing new Meshuggah to old Meshuggah is like trying to climb an unscalable peak... a fruitless endeavour best left to masochists and dreamers.  Certainly, 'Nothing' is far heavier than the majority of metal releases these days.  The band's technical prowess has not dimmed, either... they simply flaunt it less often (and in subtler ways) than before.  Kidman seems to have lost a bit of his inner fire, but would likely be dead from a heart attack by now if he had tried to muster even more rage than he disgorged on Chaosphere.

My purchasing recommendation, then, is two pronged...

Fans of Meshuggah:  you likely have already heard the band at their most creative (and angriest) on previous releases.  Bearing that in mind, if you feel a more 'low key'/less intense album is something you would like, then you won't be wasting your money here.  It is still an enjoyable fifty-three minutes of metal, even if it is a less impressive outing in many regards than the band's previous efforts.

People who have never listened to Meshuggah before:  Buy this album.  If you're trying to find something more satisfying than radio-metal, or simply want to ease your way into the more extreme offerings from the band, this is a great 'gateway' album.  It retains enough Meshuggah-ness to make it a cut above most metal, but is not so extreme your head will explode while listening to it for the first time... and head-exploding -is- a common side effect of listening to 'Chaosphere'.  Really!  It should come with a warning label.  And a disclaimer.  You'll be safe with Nothing, though... even if 'safe' is the last thing you want to be with a Meshuggah album.

Track List:
01.) Stengah
02.) Rational Gaze
03.) Perpetual Black Second
04.) Closed Eye Visuals
05.) Glints Collide
06.) Organic Shadows
07.) Straws Pulled At Random
08.) Spasm
09.) Nebulous
10.) Obsidian

Meshuggah is:
Jens Kidman: vocals
Frederik Thordendal: guitar, bass
Mårten Hagström: Rhythm Guitar, bass
Thomas Haake: drums

Meshuggah Official Website: http://www.meshuggah.net

Nuclear Blast Records: http://www.nuclearblast.de
 

A Murder of Angels
In The Air
~reviewed by Mike Ventarola

The first release from A Murder Of Angels had quite a number of visitors leaving my home simply because the music created such a dark and troublesome atmosphere, that they were easily unnerved by it all. I will make no apology for delighting in that fact and admit to creating a private game of sorts to see who could hold out the longest. Few made it to the midway mark by any means.

With the follow up of In The Air, it was anticipated that the same type of morose ambience would once again have these unwitting people flee just as easily, and to my delight it did in fact work its charms on the unsuspecting.

However, aside from the fact that Bryin Dall and Derek Rush are able to create more sounds than we have words to describe it, this entire work isn’t as frightening as the first release. The graphics that are included on this digi-pack show hand tinted old photographs of young cherubic children as well as the delightful black and white cover photo of an angelic child. The back cover depicts someone standing near an ancient grave.

"Crossing the Threshold" starts off with whispers from disembodied children and someone calls out, “who’s there?”  From that point forward, we are rushed into a chasm between the light and dark, vaguely peering at the corporeal images of the distressed souls from the departed realm. Each time one listens to this track, it seems as though voices can be slightly discerned through the layers of sound, however, they are never in the same place twice!

"Submerged Beginning" reminds one of the death of a fetus in the embryonic stage. The muffled voices that are heard and the machine like sounds seem to be echoes from within the confines of a hospital emergency room. Gentle strains of funereal music provide a rather distressing accompaniment to a defenseless life on the verge of being terminated. Although I am all for a woman’s right to choose about her own body, this track would definitely have many other’s rethinking their choices a bit more cautiously.

"Momentary Vision" reverbs with what sounds like the distant cry of a child but it is blended and molded in such a way as to simply behave as sonic paint. Electronic pulses seem to echo the sound of a heart monitor as it would be heard from the inside. The strains of funeral music picks up again, as if the quiet minstrels from the other side have come to carry the departed away.

"Decaying Among The Hopeful" provides us with the rushing wind and prerequisite church gongs, along with whispered voices as they emanate from the various graves. Backward masking of sound assists with added the levels of macabre in a skewered panoramic world.

"Nothing Is Written In Stone" enters rather oddly with mechanized sounds which could be anything from a night bird taking flight to something being drilled during the twilight hours. This forlorn epic piece seems to be an homage to that life laying in the ground without any identity and without so much as a loving memorial to mark their place.

"Tomorrow In A Heartbeat" opens with mechanized voices from the deepest bass to the highest soprano. Are these the disembodied restless souls looking for a means of returning to their Earthly life? There are many bits and pieces of dialogue suffused between the musical notes, but they are just out of our reach to be deciphered comprehensively.

"Excavation Of The Words" reminded me of the dredging of the rivers that so often happens in order to keep the channels passable for the boats passing by. Those living on or near water would understand this sentiment. However, in addition to this dredge effect, there is an innate anxiety, as though there is a body laying just beneath the dredging fork, waiting to be discovered.

"A Trail Of Gossamer" provides us with the darkest of dark nights, fraught with every imaginable element meant to unnerve us in our reverie. While the spider weaves her web, there seems to be some knocking in the graveyard. Is it someone being buried alive or someone banging to be let out?

"To Find The Lost Place" comes full circle where we feel as though we are riding on the back of a disembodied entity, seeking for a place to land during their midnight excursion.

In The Air takes A Murder of Angels to another dimension. Whereas the last CD was fraught with frightening sound images, this CD seems to be the embodiment of the souls of the innocent who have departed before their time. There is no lacking for scary elements within the confines of this CD, however the added innocence seems to make it more doleful and bittersweet in addition to having the effect of being simply frightening.

Dall and Rush manage to constantly create sounds, effects and moods that defy description. Calling the work frightening doesn’t seem to do it nearly enough justice as there are so many woven elements into the work as well. Taking the tracks apart one by one is a daunting task, yet one is compelled to do so simply because the work triggers all the right memory references for the listener to do so.

Middle Pillar once again scores by releasing work that no one else seems to be able to release. Despite the beauty of the digi-pack, I will admit to the frustrating fact that they have to be placed in a safe place to deter them from becoming marred. This can be a bit troublesome if you happen to have a rather expansive music library and need to have everything alphabetically ordered. Since this reviewer also has the double edged sword of enjoying the beauty of these types of packaging, it has become essential to create a special place for these odd packages from the various music companies just to keep some semblance of order for finding the work again at a future date.

However, packaging aside, this is yet another incredible piece of morbid and dreary music to create just the right atmosphere for the macabre at heart. If you are looking for that instrumental work that will give you that haunted house feel, A Murder of Angels is just what the Grim Reaper ordered!

Tracks
1. Crossing The Threshold
2. Submerged Beginning
3. Momentary Vision
4. Decaying Among The Hopeful
5. Nothing Is Written In Stone
6. Tomorrow In A Heartbeat
7. Excavation Of The Words
8. A Trail Of Gossamer
9. To Find The Lost Place

Created by:
Bryin Dall and Derek Rush
Mastered by Dick Charles

Available through Middle Pillar at www.middlepillar.com
Email: Info@middlepillar.com

Mortiis
The Smell of Rain
~reviewed by Mike Ventarola

Mortiis is renowned for his troll like stage image, which has bedazzled and fascinated his fans for many years. Sadly, it seems that many in the press wanted to frequently focus on his image more than the music. Many have simply failed to look beyond the external to see that his “image” is another reflection of his musicianship; an essence of the song in life via “costume.” With each passing release, his image has in fact taken on a different look and tone, culminating in the visual embodiment of his work.

Mortiis deserves his proper due for reaching deep within his psyche to create a body of work that is a departure from all that has come before. Here, for the first time that this reviewer is aware of, we are treated to the vocals of Mortiis in addition to his glorious music. This present album is his “anger” phase, done up in such a way that one needs to look at each song and lyric in prismatic fashion to really cogitate the depth of the meanings, both implied and hidden, as there are many double entendres woven into each one. Instead of just grandiose orchestrations, we are provided with an up to date electro- industrial melange, fabulously delivered by all the brilliant musicians who contributed to this work.

"Scar Trek/Parasite God" is a rather tongue in cheek title that many Star Trek fans should appreciate. This simply hints at what the following tracks will thematically relay, though each track is able to stand on its own as well.  It is as though the song is from a disembodied entity, noting how we as a world simply follow blindly like sheep toward the majority rule which dictates how we should love, worship and lean politically. It is also the cry of the downtrodden, those who are outside the norm who realize that the world is not such a pretty place, made even uglier by the sheep of the world who think there way is the only way.

"Flux/Mental Maelstrom" is a harsh and angry song. Mortiis takes on a God-like status, declaring how we have simply destroyed the world around us and now the wish is for it all to fall apart to finality. Clearly the message is that “we” are the true devils, raping and usurping the world around us without remorse. This is an extension of the previous song in tone, but can be easily missed because of the frequent use of first person lyrics which provides a theatrical essence. The smattering of percussion layered between the phenomenal apocalyptic type vocal choruses is simply brilliant.

"Spirit In AVacuum" is a self-explanatory song title depicting the horror of waking up to discover that all that we have witnessed and experienced was done in a void of mental perception. This waking causes such a flux of mixed rapid emotions rationalizing that all we believed as true has been challenged as incorrect. This internal mental whirlwind is almost too much to bear, but it presses us to open our minds and trust our own experiences.

"Monolith" seems simplistic enough about a God who is fed up with the world and simply needs to get away from all the false happiness. The double entendre also comes through as though one from a broken relationship who finally has reclaimed their self-hood and wants the solitude of personal strength to the duplicity of false love.

"You Put A Hex On Me" is one of this CD’s club favorites at present. On the surface, it is about someone rattling the bones and sticking pins into the voodoo dolls as a means of control. However, beyond the imagery, we are also forced to look into the heart and soul of those with the real power, who are indeed the real “evil” lurking around the unsuspecting.

"Everyone Leaves" is a reality check if ever there was one. No matter how much one holds on to life, love or possessions, it all disappears in the end. The context is via a tortured soul viewing life like a film on rewind, delivering the fruition of total understanding that only hindsight could ever make clear.  This song is sung as a ballad and is simply a powerful bittersweet song of reckoning and realization.

"Marshland" takes us to the point of waking up and realizing that not only does everyone leave in the end, as elucidated in the previous track, but also the only thing we have to rely on is ourselves. We are stuck in a quagmire of morose leanings, and negative self-talk, forcing us to endure further emotional pain in order to seek out a world beyond what reality has taught us. In the final analysis, the “Big Machine” does not care what we say, do or think, as it is cold and simply beyond our reach.

"Antimental" sinks us further into the marshland, bringing forth a new found anger of not wanting to partake in this hellish damnation of isolation. Despite its tortured lyrics, the delivery shows that the anger is in fact the impetus to keep one going in order to find the answers they seek.

"Smell The Witch" does not resort to tying this thematic epic up with a solid answer. In fact, it begs even more questions and self-exploration. It delivers the imagery of the evil “witch” as the pervasive fear that haunts us and the darkness that seems to hold tight our freedom and enlightenment in hostage.

Much like the original Star Trek film, where the machine was in control searching for its creator, VGER, Mortiis does a gentle send-up of that theme. Unlike the Star Trek film, however, Mortiis takes on the role of the machine/god/creation, reaching deep into a psyche that has finally found enlightenment. This enlightenment comes with a heavy cost, as it has opened the realm to the essence of nothing really being there, and that one simply must witness a world gone mad in its chase for the brass ring of wealth, immortality, love, and understanding. The anger that surfaces is in part due to the betrayal that is felt that ideation’s once held near and dear were nothing more than wasted time and effort.

In spite of all the double entendres built into this work, it is quite approachable and a tour de force departure from Mortiis’ early work. The songs are still epic, but updated and industrial enough for most club and college radio play. Lyrically, there is much embodied into the realm of each song for those with a penchant to go deep into the confines of the artist’s mind.  It is as though after many years, Mortiis has found some answers and rather than feeding them all to us, he coaxes us towards our own inward journey. We are encouraged to stare into the face of ugliness and realize its true worth in a world gone mad, full of human souls devoid of any emotion. In the final analysis, Mortiis, with his troll like image, simply looks out at us from the CD booklet, daring us to really see who the real freaks of the world are. The answers that some will find just may surprise you.

Track Listing:
Scar Trek/Parasite God
Flux/Mental Maelstrom
Spirit In A Vacuum
Monolith
You Put A Hex On Me
Everyone Leaves
Marshland
Antimental
Smell The Witch

Musical Personnel:
Mortiis:  programming, synths, lead and backing vocals
Fredrik Bergstrom: Timpani & Percussion
Sarah Jezebel Deva: soprano, solo soprano, harmonies, alto female vocals
John Prozac: additional programming
Chris A: all guitars
Alzahr: bass guitar
Nicklas Trane additional bass guitar on “Antimental”
Maritna Binder: alto and lead female vocals
Suvi-Tuulia Virtanen: alto female vocals
Mika Lindberg: alto male vocals
Raptor: alto male vocals
Asa Anveden: cello
Staffan Wieslander: cello
Johanna Wetter: violin
Cecilia Lindgren: violin

Webpage:  http://www.mortiis.com/