Accession Records Volume One, with its unassuming cover art, could easily be dismissed or ignored because of the lack of “eye candy” with the packaging.  Word to the wise, DON’T dismiss it. The CD contains 17 exclusive tracks or remixes with 77:33 minutes of pure musical brilliance, all digitally recorded and mastered for the discerning audiophile. If you purchase it because one or two of your favorite artists are on it, there is a very high prevalence that many more will also become part of your musical diet.

Angels of Venice lead the way with Luna Mystica, an amalgamation of enchanting orchestral arrangements with flute, harp and cello. This is the type of music that one would want to bask in the candlelit glow with. Much of the music is in fact recorded by candlelight, as many fans of the artist already know.

Diary Of Dreams flows from the preceding track with a morose and dramatic intro which veers into a massive attack of dance electronic music. Bladerunner 2001 is like Robert Miles meets Paul Oakenfold. The style maintains a sense of synthpop/EBM intensity with enough of a dark layering underneath to not only make this a goth club favorite, but also a track that is capable of crossing the genre lines into most clubs.

Assemblage23 “I think I have spent enough time in the company of death,” thus beings the track Anthem.  This track utilizes white noise like effects in a rather unique percussion. The deep vocals pay homage to the dreamy song styling one recalls from the gothic past.  By now, this band’s ever-growing fan base is legion.

Cut.Rate.Box are forging ahead with an intense blend of electronic effects and EBM, as showcased by the included track Zionsank. Their diligence to quality and intensity remains evident on every track I have heard from them thus far on other compilations as well. Zionsank combines up to the minute industrial dance music with space age electronics from our apocalyptic future.  Definitely a track to keep on the DJ watch list!

Diorama is a new band to this reviewer, but this track does make one want to seek out any other work that they may currently have available. Advance is an edited version, thus there must be another version and full work available elsewhere. These are beautifully harmonized male vocals over catchy pulse beats, creating a guaranteed dance floor filler in less than a quarter beat.

Haujobb and Daniel Myer are two names that are synonymous. It is impossible to have heard of one and just not know the other. The track begins with rather cinematic and morbid strains that gradually introduce a trip hop beat. It marries electronics and Goth sensibilities to provide a unique blend of haunting sound with a steady rhythm. The song structure is very much in keeping with the way early Switchblade Symphony layered everything around a trip hop beat. There dance element is much more subtle, giving way to the more unique styling of electronic blends.

Claire Voyant’s lead singer Victoria Lloyd continues to delight fans with her smooth as silk vocals. Cleaner remixed this version of Blinking Tears which updates and highlights the versatility of this band. All three of the band members work so well and cohesively together that is impossible not to feel it as it is delivered through their music. This particular track is given an updated trip hop beat, but it is the voice of an angel named Victoria, that captures the attention.

Psyche enters with Unbreakable which also utilizes the morose and morbid intro, but then slams home with a dark synthpop that is a nod towards the retro New Wave era when songs held a bit of darker mystery.

Cleaner is given the opportunity to strut their stuff with Fun To Be Head (Dub Mix) which is designed for the dance floor without a question. The unique element is that the song can cross into so many genres flawlessly. The vocals are understated and somewhat elicited in an electronically compressed whisper. The synth’s maintain a steady beat with a funereal style underscoring.

GASR give this track an ominous intro that seems to be a replication of an airplane in distress with the song Conspiracy. Like the other bands before them, the song just slams home with up to the minute dance industrial eats. This track is very much in keeping with the popularized sound of VNV Nation and Covenant.

Megadump squeezes out unique electronic sounds and whips them in a froth that percolates from the second the song starts. Der Kreis (Hot Shower Mix) is meant to burn the club to the ground with sweating dance floor revelers. This is more in keeping with the current electro-industrial trend, with vocals like Rammstein and music similar to VNV Nation once again. The lyrics are in German, but don’t let that detract you from enjoying a chorus that you will undoubtedly sing along to once you get the hand of it a few listens through. It is quite addicting.

Aesma Daeva brings the beats down a bit with Introit (Remind). The intro plays with macabre sounds and vocals samples in a surrealistic nightmare. Underscored are operatic vocals singing through blips, beeps and otherwise percussive electronic sounds. This is very much in the style of Die Form and Attrition in its execution and should be quite popular as well.

Cut.Rate.Box starts off the bonus section of the disc with In Your Eyes, featuring Stefan Netschio of Beborn Beton. This is a mid tempo song that could be summed up as electro-goth. This is a slower transition of the CD, going full circle, which works well if the CD is on repeat play. Despite the semi-sedate tone, by the time you get to the chorus, the foot is tapping away at the song. Lyrically there are some rather intriguing relational points brought out, that one may find themselves putting the track on repeat play just to get all the words. This is a perfect song for anyone with a relationship in trouble.  NOTE: This track may not play on broadcast radio for some of the whispered expletives which, though common usage when we are pissed off, may not sit well with the more mentally constipated FCC who are in charge of the airwaves.

The Azoic have gone from spooky darkwave to literally progressing Forward, as their new CD name asserts. The style has become more EBM/darkwave dance music, as opposed to their earlier unnerving and darkly brilliant work. This version of Progression is more reflective of their earlier darkwave period, which begins with a dirge as the remix name implies. Assemblage 23 contributed the remix to this track, which includes delivering the voice through a vocoder, giving lead singer Kristy an electro-Goddess type of sound that makes an already popular dance floor track unique and yet different from other versions one may have heard previously.  While most industrial/electronic/EBM bands are mostly male vocals, The Azoic broke new ground again by being among the first in the genre to feature female vocals for this style of work.

Diary Of Dreams also have an added track in this bonus section with Forestown.  The track itself seems to plod a bit, but is not bad overall. The baritone vocals harmonize over the electro/medieval sounds and would work well at a loud volume.

Diorama slow the beat down further with You And Ice featuring Katrin, which is an ethereal piece reflective of Dead Can Dance. There is a steady drumbeat mixed with minimal instrumentation and reflections of harpsichords. Vocally this is a lush song where one just wants to drift on the musical cloud for a bit of time while the beautiful tenor vocals coalesce around your psyche.

Claire Voyant is featured again with the original version of Blinking Tears that was showcased above. This track is featured on their CD Time And The Maiden and the liner notes dedicate this simply “for Adrian.”  The original version is stripped of the percussive additives and features the track simply in a dark ballad fashion.

Accession Records Volume One managed to cut to the chase by providing tracks that weren’t rehashed a million times on other compilations. They strove to give the consumer new mixes and exclusive tracks and then went the extra mile to be sure it is a DDD recording rather than AAD as some other’s have done. Quality and Quantity were kept in mind during its creation and that dedication clearly shows. It honors the dark music tradition while investigating various ways with which this style and sound can be made more updated and palatable to a multitude of music fans from all various backgrounds.

Tonally, the CD can play on repeat simply because it begins relatively mellow and then suffuses into more up to the minute dance rhythms and then back again to a sense of dreaminess. Overkill is not something to fear with this CD.

All aspects of the dark underground have been covered from ethereal, ambient, dark pop, industrial and EBM, all darkly showcased and beautifully sequenced to make a great addition to the collection of music fans longing for something new and different.  The other advantage is that this CD plays well with non-dark music fans as well simply judging from the reactions from folks at work who have made many positive comments about it while playing in the office.

Do seek this compilation out as it is worth the money and sure to be something played quite a bit in your home, car, boom box or personal stereo.

Released by:
Accession-Records
Kottendorfer Strasse 21
42697 Solingen-Germany

Website:   www.accession-records.de/
Tracks:
1.   Angels of Venice: Luna Mystica  (www.angelsofvenice.com)
2.   Diary of Dreams: Bladerunner 2001 (Director’s Cut Remix by Adrian Hates) (www.diaryofdreams.com)
3.   Assemblage 23 Anthem (Stronghold) (www.assemblage23.com)
4.   Cut.Rate.Box: Zionsank (www.cutratebox.com) North American Market Contact (www.gashed.com)
5.   Diorama:  Advance (Edit Version) (no web address noted)
6.   Haujobb:  Unseeing (www.planetmyer.de) (www.accession-records.com/haujobb)
7.   Claire Voyant: Blinking Tears (Cleaner Remix Version) (www.clairevoyant.com)
8.   Psyche:  Unbreakable (www.psyche-HQ.de)
9.   Cleaner:  Fun To Be Head (Dub Mix)(www.accession-records.com/cleaner) (www.planetmyer.de)
10. GASR:  Conspiracy (Http://GASR.somewhere.net)
11. Megadump:  Der Kreis (Hot Shower Mix) (www.megadump.net)
12. Aesma Daeva: Introit (Remind) (www.PMCMGMT.com/Aesmadeava)

Bonus Tracks
13. Cut.Rat.Box:   In Your Eyes (feat. Stefan Netschio -Beborn Beton )
14. The Azoic:  Progression (Dirge) Remixed by Assemblage 23 (www.nilaihah.com)
15. Diary Of Dreams: Forestown
16. Diorama:  You and Ice (Feat. Katrin)
17. Claire Voyant: Blinking Tears_ For Adrian

ABORYM
Fire Walk With Us
~reviewed by Michael Johnson

I really don’t know what it is with me writing these reviews.  I listened to this a couple times before sitting down to write and I didn’t like it.  I had a slam review penned out in my brain and, for some reason decided to hold off on writing it, as I don’t like to give bad reviews without just cause.  So I sit down, pull down my foreskin, and prepare for a dickhead review, push the play button again, and damned if I don’t like it this time around.  Back to square one.  It has to be a mood thing and I’m thankful I have a personal policy to listen to CD’s more than once before reviewing them.

Anyway, I probably shouldn’t have blurted all that out.  I should have opened saying that this disc made me all gooey and moist but it didn’t and that’s the truth, because this is such a different sound, it took a few listens for it to take to my brain.  Picture if you will pure evil black metal mixed with fast electronica/noise.  There’s no real balance between the two as one usually overshadows the other from track to track.  “Here Is No God S.T.A.” is almost pure electronic while “Our Sentence” is primarily metal.  But somehow the changes work.  What is even more surprising is that this band has been around for quite some time.

Aborym actually started in 1991, but took a long hiatus due to personnel problems.  It took until 1999 to establish a solid lineup but finally their debut, Kali Yuga Bizarre, was released.  Based on what I have heard on this album, they must have enjoyed some cult following but now with the release of Fire Walk With Us, they are prepared to take on a larger audience.

I want to think that fans of the newer Samael will like this but this is much heavier and doesn’t quite have the danceable feel to it.  I finally found myself enjoying this and I think it will take a few listens for this CD to finally get the point across.  One other note to Burzum fans; Aborym does a cover of “Det Som En Gang Var” and although I’m not a Burzum fan, this is a cool cover and I’ve listened to it more than once.

Well, I guess the bottom line on this one is that if you’re looking for something a little different but still mosh-worthy, this is one for you.  Those who prefer their music a little more structured probably won’t learn to enjoy this as much as I have.

Track Listing
1.Our Sentence
2.Love the Death as the Life
3.White Space
4.Fire Walk With Us!
5.Here Is No God S.T.A.
6.Total Black
7.Sol Sigillum
8.Det Som En Gang Var
9.Theta Paranoia

Official Website:
http://web.tiscali.it/aborym/index.html

World War III Records
Website: www.ww3music.com

The Ancient Gallery
dEINSTALLATIOn
~reviewed by Thryn

First, let me start off by saying this review is quite overdue. I got this CD back in early July, I believe, and listened to it on at least one long roadtrip and at various other points over the past few months. Somehow, my review button got shut off, in spite of my enjoyment of this CD.  I just popped it in the discman again yesterday, for my daily walk. It was a grey day, and I needed something to motivate me. It worked.

Often times I find it hard to keep my interest up while listening to this sort of industrial music. It all tends to blur into one long, repetitive haze of dark and smoky night at the club. The kind of night when you really wish you had stayed home, because every song sounds the same and it all sounds like sleep in spite of the beats.

Ancient Gallery are NOT one of those bands. They cite their influences as Einsturzende Neubauten and Nine Inch Nails, and they are dead on without being derivative. They've picked up the tricks without copying them, and made them something of their very own.

The one song that reminds me the most of Einsturzende Neubauten is Durch, which has a certain sort of wordplay I associate with EN. Using the rhythm of the language as an intergral part of the composition, as opposed to setting words to music.

According to the information I got with the CD, they have been around since 1992 when (if their ages are correct) none of them were any older than 16 or 17. Their stageshows are rumored to be quite theatrical. Not only do they perform the music contained in this CD, but they do readings for sepcial events. Their stage art and costumes are done by Carsta Kohler
(WWW.gewandkunst.de) who has also done work for Gothes Erben.

This is the sort of album I would have loved during my DJ days. It's packed full of songs that could fit into, or bridge the gap between, quite a few sets. But since I no longer spend my nights behind the turntables (or CD players), I am quite satisfied to keep this CD close at hand for my own enjoyment.

Tracklist:
durch
ich leer
feuer
laughing
ziel weiter
new dawn fades
nachwelt
nurda
sleep
vielleicht
dreh dich

band:
Robin Weinhold
Andy Weinhold
Mario Friedrich
Dirk Mehnart

Contact:
Mirko Sennewald
Louisenstr.29
D - 01099 Dresden / Germany
http://www.theancientgallery.com
e-mail: management@theancientgallery.de

lable info:
Noiseworks Records
http://www.noiseworks.net
 

AGATHODAIMON
Chapter III
~reviewed by Michael Johnson

When Agathodaimon’s debut album, Blacken the Angel, hit the streets a few years ago, I immediately became conscious of them as a highly talented outfit.  I also heard their second album, Higher Art of Rebellion, when it came out and liked it as well.  Yet, for some reason, I failed to purchase either of them.  Why this is, I have no idea but I can only lump it in with such questions as, “Why do I only clip toenails when my shoes start to hurt my feet?”  Maybe it was the lack of circulation to my feet talking, but I finally decided to fill an empty void in my collection by purchasing the newest Agathodaimon masterpiece, Chapter III.

Agathodaimon have been placed into the black metal category but they are not your standard full-speed-constant-scream-all-hail-Satan.  Instead, I see them as more mid-paced; with a great amount of emphasis on melody and very catchy riffs melted between doom and dark metal.  They can and do haul ass when they want to, but are mostly heavy through a huge wall of sound pushed by a wave of melancholic vocals, demonic screams, and wonderful acoustic interludes.

This is an album that hooked me from the first note and still hasn’t let go.  Honestly, I hope it doesn’t, as this is an album I would be more than happy to return to at any given time.  Songs like “Spirit Soldier”, “Paradise Beyond”, and “Sacred Divinity” have held me fast to this release and even though I singled out a few tracks, I have found no filler on this record.  It’s simply awesome from start to finish and I urge you to purchase it.  As for the first two albums, I’m already on the hunt to complete my discography of this highly underrated band.  You should so the same.

Track Listing
1.An Angel’s Funeral
2.Spirit Soldier
3.Paradise Beyond
4.The Ending of Our Yesterday
5.Past Shadows
6.Yesterday’s Reprise
7.Departure
8.Sacred Divinity
9.Burden of Time

Websites:
Agathodaimon: www.agathodaimon.de

Nuclear Blast: www.nuclearblast.de
 

BATHORY
Destroyer of Worlds
~reviewed by Michael Johnson

This has to be one of the albums I have anticipated the most over the last year.  The return of the mighty Bathory was something many hoped would happen but didn’t think it would actually come true.  The fans of the epic albums (Hammerheart, Twilight of the Gods, Blood on Ice) prayed for more hymns dedicated to the Vikings while the fans of the black metal albums (Bathory, The Return, Under The Sign…) hoped Quorthon and company would let loose and return to their roots.

As the hype surrounding this release reached near frenzy, promises were made to appease all of the fans by enveloping all of the styles Bathory has perfected over the years.  But will this go down on the list of essential releases by this band?  Well, about half of it.

It’s a dream come true when an album begins with the poundings of Bathory’s war drums and “Lake of Fire” takes form and it’s a true epic that could have blended with any of the Viking-era material (my personal favorite style).   The title track follows in suit and “Ode” lurches solidly behind led by Quorthon’s clean (clean as his get) vocals.  It almost seems too perfect…

Now Quorthon has stated in interviews that he doesn’t follow the metal scene and has no idea who the top bands are.  This is a feat in itself as he has created some of the best music I have heard but “Pestilence” sounds like a cross between punk and death metal and really doesn’t work with his vocals.  “Bleeding” returns to the epic style and “109” again switches back to the heavier style but again his vocals don’t mesh well with the music.

The album continues this trend throughout; death metal songs intersected by wonderful epic pieces.  Now, I am a rabid fan of the epic style but am not biased against the heavier stuff based on what I felt he should write.  The metal stuff just doesn’t sound right.  It sounds dated and incomplete somehow.  The production is great, and much of the music itself is incredible but there’s something missing.  It’s almost like a “ghost-limb”, where you feel like you have the arm or leg, yet it’s really not there.

I’m really not being as hard on this album as it may seem, as it does have many strong points.  “Liberty & Justice” and “Krom” are the standouts of the heavier style and it closes with another great epic track, “Day of Wrath”.  Maybe I’m too picky with my metal anymore, but with the amount of bands surfacing, every day it seems, I have to be careful where my nickels are distributed.

I’m sure many Bathory fans are quite happy with this release but I’m sure there are others that really did expect more from his lengthy hiatus.  I know I did.  If you’re thinking of getting someone into Bathory, I definitely wouldn’t use this album.  Die-hard Bathory fans should definitely pick this up but the curious should pick a different starting point in this bands career.

Track Listing
1.Lake of Fire
2.Destroyer of Worlds
3.Ode
4.Pestilence
5.Bleeding
6.109
7.Death From Above
8.Kill Kill Kill
9.Liberty & Justice
10.Krom
11.Sudden Death
12.White Bones
13.Day of Wrath

Black Mark Records: www.blackmark.net
 

BELPHEGOR
Necrodaemon Terrorsathan
~reviewed By Michael Johnson

You know, this is the kind of release that reminds me of why I like black metal so damn much.  It’s fast, filled with extreme energy, and as memorable as it gets.  The first time I played this CD, I immediately thought of early Deicide and even now I think the same thing.  Remember that sound?  Well, it’s still around. You just have to know where to look and let Belphegor
be your starting block.

Necrodaemon Terrorsathan is a relentless assault loaded with that “old-school” sound a lot of us grew up on. The whirling guitars and non-stop chattering of the drums create the perfect backdrop for the layered growls and screams.  Occasional keyboards make their way into the mix and some chanting monks and bells even make an appearance.  It’s all here, folks, and it’s killer.

I know this is a short review but there’s not too much I can say.  This is flat out a badass CD and I’m already hunting for their first two albums.  I love this shit.  I live this shit.  I have no problems with this disc whatsoever aside from my girlfriend accusing me of subscribing to Beaver Hunt when she saw the cover.  I had to convince her it was a CD case.  Oh yeah, there’s more teats here than in a dairy farm, if you didn’t get what I was just saying (I’ll have the next one laminated because, uh, something spilled on the first).  Highly recommended for fans of brutal, blackened, satanic metal with that wonderful old-school feel to it.

Track Listing:
1.Necrodaemon Terrorsathan
2.Vomit Upon The Cross
3.Diabolical Possession
4.Lust Perishes In A Thirst For Blood
5.S.B.S.R.
6.Sadism Unbound
7.Tanzwut Totengesange
8.Cremation Of Holiness
9.Necrodaemon Terrorsathan Pt. II
10.Outro: Analjesus

Website: www.belphegor.at

Napalm Records: www.napalmrecords.com
 

BERNADETTE MCCALLION
Cry Wolf
~reviewed by Michael Johnson

When 80’s metal stormed the scene, I would have never guess that it would still be around.  The same goes for rap, techno, and even the softer, female-fronted pop rock.  What is it that makes these genres so strong?  It’s a timeless formula.  Bernadette McCallion stands in a population of many as yet undiscovered artists but with her first full-length release, Cry Wolf, she’s definitely separated herself from that faceless crowd.

I’ll be honest; this is not my usual style of music.  It’s much softer and happier than what I am used to listening to.  But the single trait that separates a writer from a listener is the ability to transcend genres with an open mind and find good within unfamiliarity.  Cry Wolf immediately struck me as a very strong album and, upon reading the bio, was shocked to find that Bernadette had not yet reached a more mainstream status.  I had been wondering why she had submitted to a ‘zine that deals mainly with the underground.  Her recipe is very simple: Mix alternative guitars with a rock beat, occasionally whip, and season with soft vocals to taste.  It’s as traditional as your mother’s lasagna recipe and you look forward to it every time she makes it.

There’s definitely some standout music on here.  “What About Love?”,  “Four Days”, and the bluesy “Full Moon Curse” come to mind quickly.  It’s rock without the abrasion.  It’s an ointment for a bad day.

I was geared up to review this album poorly but instead ended up cursing myself for bad judgment.  This is the stuff that works and, like it or not, will not go away.  The trick to buying in a flooded market is to find the gems in the rock pile and I honestly believe Bernadette McCallion is just such a gem.  If you’re into soft vocals that soothe instead of overpower, and indie rock with a slight edge, this is one for you.

Track Listing
1.Walk On By
2.What About Love?
3.Situation
4.White
5.Four Days
6.Full Moon Curse
7.House Of Straw
8.Angels, Etc.
9.Cry Wolf

Website: www.bernadettemccallion.com
 

CARFAX ABBEY
Mullo
~reviewed by Michael Johnson

Having reviewed Carfax Abbey’s previous release, American Gothic, I jumped at the chance to review this short disc of their newest material.  In my previous release, their addictive blend of techno-laden dark music caught my attention and, to my relief, they have not changed the formula that seems to be working so well for them.

Right away on this release I picked out something I did not like: its length.  Four songs doesn’t seem long enough for the new stuff and I’m really not sure if this is just an EP or not (although one of the songs, “Embrace”, is on American Gothic).  But, as usual, this is trivial compared to the strength of the songs.  Now, for those of you who have not heard this band before, you’re definitely missing a talented band.  The KMFDM-ish guitar work is blanked by techno beats and synthetic drumming and the vocals are clean and mesh well with the overall scheme.  Ballads are thick and heavy and crush you beneath a dark blanket of gloom.

This review is only this short because of the length of the CD.  These guys were a wonderful discovery and, although not normally something I would have taken notice of in a store, I’m glad I found about them and highly recommend them.  Fans of Contagion, Skinny Puppy, and Nine Inch Nails will appreciate Carfax Abbey even though the songs are not quite as fast.  Do yourself a favor and download something from their mp3 site.  You won’t be disappointed.  A very solid band with tons of talent!

As an aside, they are reporting having signed a “spec” deal which will deliver them to many record companies over the next 18 months or until they are signed.  Congratulations!  You deserve it!

Carfax Abbey is:
Gary – Vox
Paul – Bass
David – Synths, programming, and vox
John – Guitars and guitar synth
Byron – drums, programming, and vox

Website: www.carfaxabbey.com
 

Cesium: 137
The Fall (EP)
~reviewed by Catherinna

"Cesium:137 n: 1. The 137th element of the periodic table. 2. An exceptionally strong and extremely poisonous mind-altering substance. 3. An Industrial band in Philiadelphia! (Tonedeaf Records)"

The Fall is the single track preview to their full length CD Advance and Decay, which is planned to debut this fall. There are 2 individual tracks and 4 remixes of the debut single 'The Fall' featured on this CD.  Cesium:137 is an electro Industrial band.  The edit track is harsh, yet poppy, and has quite a few layers behind the base of the song.  It's extremely catchy and will definitely serve as a good prelude or prolude to a floor packer song in an industrial dance club!!  This single features remixes by other electro artists such as GASR, Assmeblage 23, The Matrix, Dubok, and The Morgen Particle.  Each remix has it's separation from the other, if you listen carefully, but are similar in many aspects.  All are worth mention.   I enjoyed the single, and was equally intrigued by the B-side 'Language Without Lies (Mothertongue mix), remixed by A23.   Definitely worth a listen or two or three!

the Masterminds behind Cesium:137:
Isaac Glendening - Programming +Sound Design +Vocals + Lyrics + Synths + Sampler
Matt Cargill - Programming + Sound Design +Direction
Vince - Programming + Percussionist + arrangements

Isaac and Matt have worked together on this project for several years but with no real cohesiveness or direction until recently, where Vince of Tech 9 joined forces to help them create this electronic/Industrial project we now know as Cesium: 137.

Track Listing:
1. The Fall (edit)
2. The Fall (GASR j4j mix) http://www.gasr.net/
3. The Fall (Matrix - Morpheus Mix) http://geocities.com/sunsetstrip/studio/3507/matrix.html
4. Language Without Lies (Mothertongue Mix) rmx by A23 http://www.synthetic.org/a23/
5. The Fall (obfuscated Mix)  rmx by The Morgen Particle (unable to locate a website).
6. The Fall (Ricky Roma Mix)  http://www.nezzwerk.com/dubok/

I would recommend this single to any DJ that spins 'Electro Industrial music' as well as anyone who likes this type of music.  I look forward to following up with a more detailed review of the full length 'Advance and Decay' upon it's release.

Official Website: http://www.electronika.com/cesium137/
Tonedeaf Records: http://www.tonedeafrecords.com/
Mastered By: http://www.westorangelabs.com/
Isaac Walter Glendening THEBINARY@MSN.COM
 

The Changelings
Epicycles (CD) / Orbit (EP)
~reviewed by Blu

When I have a chance, I usually spend my extra money on the Middle Pillar website buying tons of glorious CDs that I've been meaning to get since they came out. My last splurge began when I saw an announcement for a new 3 track CD single from The Changelings which serves as a teaser to their upcoming album Astronomica. While shopping, I also realized I hadn't yet bought their CD Epicycles either which is a great collection of "Incidental Music 1997 - 2000". Purchase made, order shipped and here we are.

If you've been a long time Changelings fan such as I, Epicycles is a must have for your collection containing music slightly unlike their previous releases because its made up of mostly instrumental, atmospheric tracks that were made as commissioned pieces for other entities. Tracks 1 - 4 were commissioned by HGI for the forthcoming computer game Noble Armada while tracks 5 and 6 were commissioned for Netherworld haunted house. Its really rather interesting to see how successfully this band rose to the occasion and ventured into the realm of soundtrack music. Track one, "Red Shift," starts out with an odd almost spacey-sounding electronic beat that is shortly followed up by dramatic, slow drumming and haunting vocals by Regeana soar and add texture throughout as Paul's violin adds a melancholy melody that builds into a much more intense theme by the end of the song. "Eclipse" starts out right away with heavily layered vocals, light spontaneous guitar and exotic percussion reminiscent of Dead Can Dance in ways. More uptempo, "Tannhauser Gate" continues the exotic theme from the previous track but this time a more sinister tone is added I believe, mainly through bell tones made by the keyboards. A violin counter melody comes in to drive the song and add tension; atmospheric vocals swirls in the background and complex percussion runs wind up dramatically in a climax.  "Dulcinea" is a slower, dreamy song with liquid-smooth melodies carried out by voice and strings. Starting off the two Netherworld tracks, "The Young Merlins" is indeed magical sounding - lots of sparkling chimes among swirling keyboards, dulcimer (I believe I hear it in there) and violins.  And finally, "Dreams in the Witch House" is my favorite track on this CD. Although not entirely as spooky as you might think, it is darker than the rest but has more of a fantastical element to it. I believe the haunting wailing noises in the beginning of this one are not vocals but the musical saw that is noted in the credits. Regeana's voice comes in later - very minimal in the background adding just enough "whispering" to make you shiver a bit.

The Changelings' previous full-length CDs have sometimes had a theme to them -- Terra Firma with its exotic Indian sounds and Amphibian with its ocean-inspired maritime settings.  With that in mind, I'm assuming this 3 song EP called Orbit hints that the upcoming CD Astronomica will have a "space" theme to it.  The title track "Orbit" is a dreamy, lush song -- more pop-sounding than much of their older material with straightforward, accessible melodies. Perhaps not what  you might have expected, it does hint at their extreme marketability in diverse genres. "Departure" starts out very abstract, almost experimental in sound before a very lovely violin melody comes in to clear it all up. Regeana's vocals are especially pleasing here sounding a bit more jazzy (a la Portishead). This is definitely one the swirly goths will enjoy dancing to. Track 3, "Veils of God" is more of the traditional exotic sound they're known for.

Continuously delightful and pleasantly surprising, The Changelings always manage to introduce new sounds and elements to their music while remaining true to the lush, classical qualities that have earned them the respect and love by a diverse set of listeners.

Epicycles Track List:
1. Red Shift
2. Eclipse
3. Tannhauser Gate
4. Dulcinea
5. The Young Merlins
6. Dreams in the Witch House

Orbit EP (from the upcoming CD Astronomica)
Track List:
1. Orbit
2. Departure
3. Veils of God

The Changelings are:
Paul Mercer - Violin, Viola
Regeana Morris - Voice, Hammered Dulcimer, Musical Saw
Nick Pagan - Keyboards
Chandler Rentz - Percussion
Damon Young - Guitars, Door

Official Website:
www.changelings.com

buy Changelings CDs at Middle Piller

Dark Muse
remembering...
~reviewed by Michael Otley

Dark Muse is the musical outpouring of Phyll, a maker of very careful and intricate jewelry.  Self-proclaimed "haunting lush ethereal, dark ambient, experimental noise flow" is quite accurate, emphasizing ethereal.  Music and jewelry are treated as partners of her gothic style.

Phyll's layer voices are laced with more reverberated voices; the opening track "Backward World" of remembering... doesn't seem to incorporate any other instruments, but you never realize that unless you careful sort the tracks out to discover they're all her slow steady voice.  "the city at night" consists of noises and plunking slowed down for an eerie 'peering out the window of a dark room' kind of feel; everything is dark and damp.  Most of the rest of the tracks, like "Inner Wavelength", "Bar Code (revisited)", and the title track, utilize droning synth-like sounds and other looped noises with vocals distant and reverberated in the background.

The album is slow, hypnotic, and uneventful.  Fans of slow ambience and reverberated female vocals will appreciate this release.  Eerie squeaks at the beginning of the closing track "Metal Leaves" was one of my favorite parts of the CD.  A variety of tracks from different recordings are available from her mp3 site.

http://www.eyescreamjewelry.com
 

DESTROYER 666
Phoenix Rising
~reviewed by Michael Johnson

When I think of the Australian Outback, I think of dingoes and the Aboriginal Natives.  I would have hardly guessed that a death metal band would come together out of some of the most sparsely populated land in the world.  But somehow, Destroyer 666 found each other and have been creating some of the best death metal I have heard in a long time.

Phoenix Rising carefully uses the same, carefully laid track that their predecessors have used for many years.  Instead of relying on pure speed, as many bands do, they rely on highly memorable lead guitar riffing and understandable death metal growls.  There’s not too many of these CD’s I own that I can listen to without the lyric sheet.

So what is it that really sets this apart for me?  It’s the fact that they really don’t reply on the speed of their music, but the power and if I ever had to choose between the two, it would be power any day.  I really don’t see the point in ripping at breakneck speeds through a whole album.  My mind really can’t take that kind of activity and it’s just too damn hard to play the double bass on the gas and brake pedals while driving without getting into an accident.

Anyway, this is solid.  Any death metal fan will find merit in this recording and when asked if I have heard anything good lately, this band will definitely come up and if I had to cough up a few song titles for download (prior to buying, of course), “Rise of the Predator” for the awesome chorus and “Lone Wolf Winter” for the killer clean vocals at the end would be my choices.  Renegade Records really has really struck gold with these guys.

Track Listing
1.Rise of the Predator
2.The Last Revelation
3.Phoenix Rising
4.I Am the Wargod
5.The Eternal Glory of War
6.Lone Wolf Winter
7.Ride the Solar Winds
8.The Birth of Tragedy

Destroyer 666 Is
K.K. Warslut – Vocals, guitar
Shrapnel – Lead guitars
Deceiver – Drums
Bullet Eater – Bass

Renegade Records
Website: www.renegaderecords.com
 

Dragonlord
Rapture
~reviewed by Eric Rasmussen

Like many bands before them, Dragonlord is intent on bringing you yet more uncompromising black metal hailing from the cold forests of... California? You mean this isn't from Scandinavia? As it turns out, Dragonlord was hatched from the once fertile Bay Area thrash scene. Featuring Jon Allen of Sadus, Steve Smyth and Erik Peterson of Testament, Lyle Livingston of Psypheria, and Steve Digiorgio of Death, Sadus, Iced Earth, C-...[pauses to breathe... deep breath], Control Denied, Autopsy, and Testament, ... ok, I lost my place. Is Steve Digiorgio the only bassist in California?

At any rate, you've probably encountered his work at some point or other, along with the work of all the other musicians in the band. Nevertheless, even though Dragonlord is composed of mostly thrash musicians, this sure isn't thrash. All the elements of modern symphonic black metal are present: the rasping vocals, the eerie atmospheric keyboards, the blast beats, and the razor sharp guitar lines. I can't say this is any sort of necessary release because it's severely lacking in the originality department, but Dragonlord do a convincing job of playing this sort of metal. The riffs and solos have a distinctly thrashier sound than you'd find in a more typical black metal band.

The production allows you to hear everything pretty clearly (minus the bass, which is a little disappointing), and the guitars are surprisingly listenable and even a bit catchy. The guitars are what most separates this from more traditional symphonic black metal, and fans of Testament or Sadus who can't quite get into Dimmu Borgir or more recent Cradle of Filth may find Dragonlord appealing.

Erik Peterson's debut as a vocalist is a pretty good one. Although harsh, the "singing" (that is, rasping) is listenable and compliments the album well. He only uses clean vocals for a few sparse moments, but it's fairly effective and I'd like to see him expand on that in further albums. His lyrics are fairly dark and evil, but no moreso than the band's Norwegian counterparts. The drumming is another draw to the CD, as Jon Allen keeps things interesting throughout and maintains a good level of technical skill. It is really only the bass and keyboards that end up taking a backseat. Steve Digiorgio is a talented bassist deserving of a mix that keeps the bass at audible levels.

There's nothing wrong with how the keyboards are handled, but they mostly come across as being a little too generic and uninspired, almost like a talented keyboardist just "going through the motions" to get something pressed to CD in time. The most notable exception to this is the album's intro keyboard instrumental, which really does a good job of setting up the mood to follow on Rapture.

Clocking in at 35 minutes, Dragonlord's eight song debut hardly lasts long enough to wear on the listener's nerves (assuming they can tolerate this style of metal in the first place). I'm not disappointed I picked this CD up, and it is a pretty solid release overall, but I think most black metal fans are best off waiting around for the next Dragonlord CD. Hopefully Peterson and crew will further develop their own sound, instead of just providing a thrashier and slightly catchier take on something that's been done to death over seas. Nevertheless, everything here is very well played, and if you're a fan of American metal that never got into black metal for whatever reason, this is an excellent place to start.

Track List:
1.) Vals De La Muerte
2.) Unholyvoid
3.) Tradition and Fire
4.) Born to Darkness
5.) Judgement Failed
6.) Wolfhunt
7.) Spirits in the Mist
8.) Rapture

Dragonlord is:
Erik Peterson - vocals, guitars
Steve Smyth - guitars
Jon Allen - drums
Steve Digiorgio - bass
Lyle Livingston - keyboards

Dragonlord - Official Web Site:
http://www.enterthedragonlord.com/

Spitfire Records:
http://www.spitfirerecords.com
 

ENSLAVEMENT OF BEAUTY
Megalomania
~reviewed by Michael Johnson

I, by nature, am a music skeptic.  When I receive something or even buy it myself, I psyche myself into not liking it.  I may pick apart the cover art or even the song titles.  This is not an effort to force myself into hating it only to feel surprised when I buy it.  It’s just that I expect a lot for my hard-earned dollar and am eternally searching for that “perfect album”.  The album that will bring me into complete harmony with myself and everyone I come into contact with.  I still have not found that album and probably won’t, but more often than not, I am both relieved and surprised at the quality of music I seemingly trip over.  Enslavement of Beauty’s second album, Megalomania, is a wonderful waypoint along the path of my musical quest.

Megalomania is a seamless blend of classical guitars and synth mixed with harsher growls, spoken word, and insane guitar riffing.  I know this sounds a lot like the old black metal formula but this is really much more schizophrenic than that yet it maintains a solid structure.  It’s almost like gazing at something through a shower door.  You can almost make out the shape and you know whether it’s a dog or a watermelon or a person, but it’s still not quite clear.  Anyway, they do what is necessary to get the point across, whether it is to add chimes or female vocals or harsh whispers or even the sounds of a typewriter to the mix.  I was rather shocked to see there were only four people in this band.  I had expected six or more to create the sound they have.  I also have a thousand bands I would like to compare them to, but no other bands act as a stencil to pen this outline.  They’re devilish, almost playful, and their music spins out of range of stereotype as they skip madly down their own path.

A lot of their music seems to revolve around a classical centerpiece, whether it is piano or acoustic guitar or soft synth.  The songs gain strength, peak, and then cascade softly down, almost like falling snow, fluttering here and there but still heading for the same destination.  It’s a style that completely holds my interest, as it is always changing.  Song breakdowns are impossible and comparisons pure folly.

To be blunt, this is VERY cool stuff.  It’s a break from the constant without leaving home.  It’s a decision to change while still essentially remaining the same.  It’s a journey along the z-axis of an x-y plane.  It’s highly recommended for all types of listeners, because it’s all here.

Track Listing
1.Dainty Delusive Doll
2.The Venial Blur
3.Late Night, Red Wine Blight
4.Malignant Midwinter Murders
5.Comme II Faut
6.Benign Bohemian Brilliance
7.Prudence Kept Her Purity
8.Seven Dead Orchids
9.The Dying Buds Of May
10.Fifteen Minutes
11.Ye That Tempteth, Ye That Bequeth
12.C17-H19-NO3-H2O
13.Tangled In Grand Affection
14.Crowd Of Mourners

Enslavement of Beauty is
Ole Alexander Myrholt – Vocals
Tony Eugene Tunheim – Guitars, programming
Hans Age Holman – Bass
Asgeir Mickelson – Drums

Voices of Wonder
Website: www.vow.no

Godflesh
Hymns
~reviewed by Matthew
 
“Hymns” was one of the releases that I anxiously anticipated this year.  I have always been deeply attached to Godflesh, a band that I feel doesn’t get nearly enough recognition as one of the best second-generation Industrial bands that should appear in the annals of dark music history alongside Ministry.
 
Whatever the case, I have always felt that Godflesh picked up with the suffocating, abusive brand of Industrial that early Swans pioneered.  When Gira and co took on a more apocalyptic folk approach to their music, Godflesh was there to fill the void that was left.  The band tossed in some grindcore rawness and death metal crunch and voila: one of the most oppressive, violent, and purely dark bands of the past two decades.
 
Revisiting the early releases by Godflesh could possibly satisfy any modern day rivet head who is disgusted with the current hooky synth pop that more often than naught is slapped with an Industrial tag. With all that said, my opinion of the band’s thirteenth release (including EPs and the like)  “Hymns” was slightly foiled with a high plateau of specific expectations.
 
As a DJ who is constantly attempting to sneak in harder, darker Gothic metal music into my primarily vintage Gothic rock sets, I was hoping for an album that contained some suitably ‘club friendly’ tracks.  The band’s previous two albums “Us & Them” and “Songs Of Love & Hate” contained a good dozen stompy anthems and intensely dark aggressive trip hoppish songs.   Not that Godflesh probably even intend for their music to receive play in Gothic clubs, I believe that their music is more than suitable, when one considers the atmosphere they invoke.  Since I harbour this outlook, I was personally bummed that there is very little I could comfortably get away with spinning at the club.
 
That is not to say the album isn’t good.  It is definitely a bit of a departure from “Us & Them” which was infused with barrages of harsh break beats and spooky electronic headphone exercises amidst a crushing density. This album is raw and back to the basics.  There is less of an Industrial feel and more of a sludgy groove and even a modest amount of hardcore assertiveness in the performance this time around.  It is a much choppier album with less complexity and is not nearly as emotionally grinding as their past releases.  This is like Godflesh in groove mode, freshly baked on some Sabbath.
 
“Hymns” is still ripe with the characteristics that define the band. This time around, the rhythm section of rumbling bass playing of GC Green and Ted Parsons’ drumming (ex-Prong, Swans) have greater freedom.   The pummeling guitar crunch and ever-present pinch harmonic wizardry that Justin Broadrick is infamous for is still at the forefront, but the music this time around is very loose and flexible.  Justin’s vocal performance is raw and guttural, and regrettably, his haunting clean vocals appear much less on this album than some may hope.  “Anthem” and “Regal” are the only tracks on the album where Justin’s clean vocals appear throughout the entire song.  These are both very laid back, groove-oriented songs and while melodic, they are not very ‘dark’ per se.
 
“Voidhead” and the album’s opener, “Defeated,” are both noteworthy tracks, in that they are the best and most solid representations of the album’s overall musical fusion of characteristic crunch and swingy sludge.  “Paralyzed” contains a catchy series of riffs in the intro of the song, which segue into brutal, head banging, cymbal-crashing rhythms that will surely please the Godflesh fan.  This more simplified, straightforward ‘metal’ approach may have been unexpected of the band, but it definitely works very well.
 
On the other side of the coin, “Antihuman” is infused with a hint of the dark electronics that distinguished the “Songs Of Love & Hate” CD, as it relies on the same layering techniques of synthetic and organic drumming. And overall, the tonal qualities of the bass, the crisp sharpness in the guitars, and the jackhammer precision in the drumming throughout the entire album do succeed in producing the machinist sound characteristic of the band.  However, this time around, it’s presence is much more subtle.
 
The album ends on an extremely high note with the eerie, unrelenting “Jesu,” a suffocating, plodding piece of hellish torment only Godflesh could deliver. The track lasts a good six minutes, after which, a hidden track appears bearing a more melancholic and brooding tone.  I can see why the song was ‘distanced’ from the other tracks, being that it has a very different mood, similar in scope to tracks like “Empyreal” and “Flowers” from the mid-point of the band’s career.  I suppose I was wishing that the whole album was in this same vein, but that would admittedly not make half as varied or interesting an album as “Hymns” chalks up to be. But “Jesu” and the hidden track together represent both ends of Godflesh’s emotional spectrum at their absolute finest: violently eerie discord and funereal atmospherics.
 
What it boils down to is that “Hymns” is instantly recognizable as a Godflesh album.  But in the long run, the groove friendly aspects outweigh the stark, cold Industrial sounds that I personally loved so much on past releases.  Whatever particular elements of Godflesh you as a listener enjoy will determine how you react to this album.  For more straight up metal and perhaps doom rock fans of Godflesh, this is without question a must have release, for never before has the band ever relaxed and ‘jammed’ to this extent.  And purely, it is very heavy.  However, for Gothic and Industrial fans of the band, which I assume make up the body of the audience reading this review, this album taps into those elements only sporadically and may leave you somewhat unfulfilled.

* As well as “Hymns,” 2001 saw the release of “In All Languages,” a 2 CD set of remastered, remixed, and rare material spanning the band’s entire career.   That release is available through Earache Records.

Track List:
1.) Defeated
2.) Deaf, Dumb, & Blind
3.) Paralyzed
4.) Anthem
5.) Voidhead
6.) Tyrant
7.) White Flag
8.) For Life
9.) Vampires
10.) Antihuman
11.) Regal
12.) Jesu

Godflesh is:
Justin Broaderick – vocals, guitar
GC Green – bass
Ted Parsons – drums, percussion

Godflesh – Official Personal Website:
http://www.avalancheinc.co.uk/

Godflesh – Official Fan Site:
http://www.godflesh.com

KOCH Records:
http://www.kochentertainment.com

Music For Nations:
http://www.music-for-nations.co.uk

Earache Records:
http://www.earache.com
 

HEADHUNTER DEATH CULT
…And The Sky Turns To Black…(The Dark Age Has Come)
~reviewed by Michael Johnson

It wasn’t but a few years ago that I thought Sepultura would remain the be-all-end-all of Brazilian metal forever.  With the sudden flood of brutal music coming from all corners of the globe, a few of these Brazilians have come out above the rest and Headhunter D.C. is one of them along side the wildly popular Krisiun.

As far as this album goes, it’s pretty much straightforward death metal with a few keyboards thrown in for atmosphere.  The vocals are very cool and remind me of the era where Possessed reigned supreme.  Aside from that, this is death metal to a “T” with few surprises thrown in.  Not that this is a bad thing, though.  It’s well done.  I’ve heard a lot of garbage in this genre and this isn’t one heading for the trashcan.  The atmosphere and music remind me of when I was just getting into this stuff and although this is new, I am compelled to feel a little nostalgic.

Death metal fans should definitely give these guys a try.  If anything, the covers of Sepultura’s “Morbid Visions” and Possessed’s “Twisted Minds” are worth the price of the disc.  The bass-heavy production will thunder through your house and remind you why you listen to stuff this powerful.

Track Listing
1.…And The Sky Turns To Black…
2.Falling Into Perdition
3.Beyond The Deepest Lie
4.The Glory
5.From Dream To Nightmare
6.Eternal Hatred
7.Conflicts Of The Dark And Light
8.Morbid Visions
9.Twisted Minds

World War III Records
Website: www.ww3music.com
 

HECATE ENTHRONED
Miasma
~reviewed by Michael Johnson

Hecate Enthroned started out when bassist/vocalist Jon left his band Daemonum in 1994 to join a new black metal band named Cradle of Filth.  His stay was short, however, but the shadows that followed the shift would last for years to come.  Hecate Enthroned was extremely powerful black metal loaded with memorable riffing and a drum style I can only associate with them, but the high pitched screams emanating from Jon would cause this highly promising band to be cast aside as a Cradle of Filth wanna-be.  Nothing could have been farther from the truth.

I myself was guilty of labeling this band only a few short years ago.  I loved the songs but couldn’t get past the vocals, as I was a rabid Cradle fan as well.  Dark Requiems…And Unsilent Massacre sat quietly collecting dust.  It wasn’t long before I was talking to a friend of mine about this band (we’ll just call him Matthew) and he pointed out the enormous differences between the two and from that point on, Hecate Enthroned has been one of my favorite bands and Dark Requiems one of my all time favorite albums.

Hecate Enthroned saw a major shift in sound when vocalist Dean filled the void left by a departing Jon.  On the critically acclaimed Kings of Chaos, a more death metal approach was taken while still maintaining the unique and blackened Hecate sound.  Darkened growls replaced the screaming and a much more versatile approach to the music was taken, adding enormous amounts of power and creating many new fans.

Now, the follow-up to Kings of Chaos, Miasma, has arrived and it continues to herald the powerful songwriting of a band that is quietly (at least here in the US) one of the foremost names in black metal.  The one downer with this is that it’s only an EP.  I prayed for a full-length, desperate to hear more of the newest developments and ideas born of an extended touring hiatus.  But despite the length of this, Hecate has once again completed another process of evolution by adding harsh whispering and soaring clean vocals mixed with the traditional sounds of black, death, and thrash metal and the resulting carnage is nothing short of spectacular.  Trance-inducing mellow arrangements are met head on by the galloping drums and the wall of guitar that complete the sound of Hecate Enthroned.  “So Called Savior” is led by clean, spoken word, whispers, and Dean’s own harsh screams. “New Day Emerges” the instrumental “Commence The Chaos”, and easily my favorite on the album, “Designed With Hate” follow in the same vein, breathing new life into my love for this type of music.  The album closes with “Silenced But For Their Cries” but after a short silent stretch, I was treated to a cover of one of my favorite Venom songs, “Buried Alive”.

   "The morning mist beckons
    It calls out my name
    The morning miasma
    Leaving all slain
    It raped all their virtues
    It raped all their hopes
    Destroyed all their dreams
    Destroyed all that's false"

Miasma is a sign of great things to come from this band.  I can only hope that the full length is not far behind because, even as great as they were years ago, this band just keeps getting better.  I strongly urge black metal fans that have never heard Hecate Enthroned to get off your ass right now and go get one.  They can be tough to find at times, but a little resourcefulness will go a long way.

Track Listing
1.So Called Savior
2.New Day Emerges
3.Commence The Chaos
4.Designed With Hate
5.Silenced But For Their Cries
6.Buried Alive

Hecate Enthroned Is
Dean – Vocals
Nigel – Guitars
Andy – Guitars
Rob – Drums
Dylan – Bass
Daz – Keys

Official Website: www.hecate-enthroned.co.uk
Email: deanicide@hotmail.com
andy@hecate-enthroned.co.uk

Label:
Website www.plastichead.com
www.blackened.com
 

Holy Cow
Purge
~reviewed by Thryn

Having spent my formitive years in Rhode Island, I've had many the opportunity to see Holy Cow perform. Seems like any time there was a sort of goth band playing The (old) Livingroom, or wherever, Holy Cow were there. They were reliable like that. Like hearing "Kerosene" by Big Black before just about every show at The Livingroom, back in the days when I was probably too young to even be there, and my little sister most certainly was. Back in the days when you could get away with that sort of thing...

So, here I am, getting nostalgic when what I am supposed to be doing is writing a review of their long awaited CD. I think Purge is on track 8, which, looking at the tracklist, would be a song called "Random". Which, in my opinion, is the best song on this CD.

It's been a few years since their last release, which seems to have been next to impossible to find at the time, and now is nowhere, as far as I can tell.

This is an odd CD. I don't quite dislike it, but at the same time I'm not sure what it's doing. Maybe it's that it doesn't hold together as well as it could have. I feel like they're all over the place, which isn't necessarily a bad thing. Ecclectic is never bad, in my opinion.

There's a little Bauhaus (there was always a little Bauhaus, which is probably why I liked them), a little Nick Cave, and a bit of Swans for good measure. And when it works, it works very well. "Dig", "Random", and "Drug" are evidence of this.

"Dance of Torture" is probably my least favorite track. They are employing the same tactics used by Sleep Chamber in this song. A sort of seedy fetishclub sound with half whispered, half sung, vocals. And I've never really liked Sleep Chamber.

I have a feeling that, were I seeing Holy Cow perform these songs live, I'd appreciate all of them a lot better. As it is, there are 3 very strong tracks, and 7 that I'm not so sure about.

Then again, I'm not so sure about a lot of things. I suggest you find a copy of this CD and give it a listen yourself. If only for "Random".

Tracklist:
Dig
Outsider
You get What You Deserve
Two Women
Dance of Torture
St. James Infirmary
The Desk
Random
Nub of Flesh
Drug

Website:
http://www.geocities.com/holycowweb/index.htm

For other reviews and more information, see their Label:
Neue Aesthetik
http://www.aesthetik.com
 

Lucid Dementia
Twisted (CD) | Song for Newborn (EP)
~reviewed by Jett Black

Lucid Dementia, sharing stages with artists as diverse as CTRL, The Last Dance, Kevorkian Death Cycle, Razed in Black, Switchblade Symphony, Terminal 46, Luxt, and Clan of Xymox, have a couple of albums of their own with tracks appearing on COP music compilations, and now their music is supported by Texas' Analog Aether music label.

My first introduction to Lucid Dementia was by way of "Twisted" appearing on COP's Diva X Machina v/a music compilation, volume 2. Of all the great great tracks on that compilation, Twisted is the one that I just couldn't shake from my mind. Soon, I came to discover that Lucid Dementia was located practically in my own backyard! (Okay, so I was living in Texas at the time and thus I had a pretty huge backyard ; )

Lucid Dementia stomps about Austin Texas, and has performed also in Dallas and San Antonio I believe. In all the years I spent in Texas and spoke with Sheldon Reynolds by email and phone ... I never made it out of the flatlands of Lubbock to Austin (8 - 10 hour drive) to see any of their live performances. I wish I had, because now the drive from Portland, Oregon really bites!

So, what's so kewl about this electro-goth/techno-industrial band anyway? Well, the music rocks.  That I can confirm. It's like canned whoop-ass, only much more fun! Lucid Dementia's live show from every report .... sounds like it must be
so-oo much fun! (and I have read so many e-mailed concert reviews on Lucid Dementia)

"Lucy" or "Lucid" is sort of an alien.  And I don't mean an illegal alien crossing the Texas border.  I mean, like ... an "Alien" one that taunts the audience from some seven feet in height, and she sings and dances and gyrates and grooves across the stage floor throughout each Live Lucid dementia performance. So, not only will you find the music haunting in your head like a television commercial, or x-mas jingle... the live show as well is absolutely unforgettable, and never the same show twice. In Dallas underground dance clubs, to both my surprise and delight, I have actually found myself dancing to tracks such as "Twisted" from Lucid Dementia's album by the same name.
 

LUCID DEMENTIA's ALBUMS:
TWISTED, Label: Buried

"Twisted" weighs in at (4:22).  Twisted spins like a sweet and demented acid trip. Twisted is no doubt Lucid Dementia's most popular and requested song. This is most certainly a song that just jumps into my head no and then... long after I've re-shelved it, or locked it away.  I swear, it will drive you insane. Lucid Dementia describes "Twisted" as "A song about the confusion and sickness caused by the belief in a supernatural being called God." And as if THAT weren't enough, Twisted is also the title of this full-length album! So, in essence, this album could be viewed as ten songs reflective of just how fucked up life gets when we let God get in the way!

Oh, and Sheldon points out something I had previously overlooked: Not only are all the words to each song printed in white-on-black inside the 8 panel cd jacket, but also, descriptions to the concept behind each song are also included with each track title.

So, moving on now to the next track, a bit longer at (5:00) "Wrazor Wrist Grrl"... uhm, the title of this song alone should give you some indication as to the state of mind you could end up in... or at least a generous array of subject matter covered by this song... drugs, violence at home, social torment... pick a reason to carve on yourself, and you'll find it covered in this track. Lucid Dementia takes a satirical approach to the world and all the chaos living in it brings upon us.  "Wrazor Wrist Grrl" conveys the satire rather well. Sheldon describes "Wrazor Wrist Grrl" as "a song about a self mutilating teenager, cornered by her sexuality, as witnessed by Lucid in a mental institution..."

Next, "Tailbone" (3:51), a bit darker, more like a personal conversation about the crazy things going on in the world.  the beat doesn't stop, however.  Still as maniacal as ever. Kinda like voodoo magic.  It just never goes away.  The description for this track concept.. oh, you're gonna love this one: "A song romanticizing a crime by a man who, unable to deal with the realities of the death of his girlfriend, robs her grave, but then, still unable to deal with the realities of death, discards the body on a Dallas roadside."

Followed next by a taste of "Truth" (4:35).  "A song proclaiming the hypocrisy of religion based on money." A bit of techno-industrial, with some guitar riffs thrown in for thrash effect.  I can totally rivet and twist til the sweat pours forth with this
one.  Perhaps the essence of Truth is in killing the deity?  "kill your god" - I just love that lyric.

Perspectives upon "Chip On My Shoulder" (5:56) vary depending upon who's listening at the time.  I believe this is rather haunting because it is intro-spective and subjective.  It seems to mean something different to everyone I talk to. One thing for certain is that I enjoy watching the look on people's faces as they listen to this one.  Obviously getting drawn into the lyrics and reflecting upon them in relation to their own experiences.  I can't say that I know what Lucid was going for with the lyrics in this one exactly, but I believe Lucid certainly makes the listener think via the influence of the music.

"Heroin Grin" (5:46)  "Love lost to heroin induced death" no mystery here, and it's quite an interesting story.  I find this song more relaxing, more reflective. Part of the song, in my opinion, is about "knowing" where one's significant other has been and what he/she has been up to just by the grin worn like a badge across the face. Yeah, I've unfortunately lived through this one, too.

"Strange Kiss" (4:36)  "A song acknowledging Lucid's difference with a threat."  "I'm not cool.  I'm just weird... Yes, I am a FREAK!"  No,  I can't relate to this at all.  It means absolutely nothing to me.

"Cannibal" (4:41)  Here's another one I love to hate.  Sometimes, I'm walking along and the words just come leaking out..  It's uh, infectious. Descriptor: " A song based on a writing by Jonathan Swift called 'A modest proposal'.  Read it."

"Human Waste" (5:32)  Well, the title of this track obviously enjoys redundancy.  The music itself is haunting.  Perfect, in fact, for that haunted house you've been building for the kids each year when Helloween rolls around.

"Sorry Misery" (6:04) The longest track on this full-length album... this song I imagine Lucy (the Alien) singing in a rather hip-hop/industrial rap dance.  I'm telling you, that LIVE show, must be some kind of incredible. Warning: Repress the urge to consume large quantities of controlled substances while Lucid Dementia performs LIVE.  I dare you. Descriptor: "A song about how a person can dig themselves into a deep hole of trouble... alll on their own."
 

Song For Newborn ep, Label: Analog Aether

Lucid Dementia's 2nd music cd release. This appears at first to be just a 3 track ep.  and it is just three music tracks. However, there's a fourth "hidden track".  And, uh, it's simply hilarious. I'll let you discover that one on your own.

The first track is: "A Remix of "Twisted" (3:49) Industrial Electronic. Yeah, I know what you're thinking, "it's a remix.  so what?" Okay, well, it's kewl.  It's fun.  and you can dance to it.  "Twisted Remix" by Eric Gustafson, x-programmer for Terminal 46.

"Song For Newborn" (4:47) More Industrial Electronic okay, Pay Attention!  You WANT to hear these vocals! This is NEW!  This is different.  And... it's beautiful! Cassandra Carico - Lead Vocals I agree with Lucid's own description of "Song For Newborn" as:  "A slow, heavy electronic song. Playing softly in the background, is very Romantic." Vocal Samples are introduced very well toward the end of this track. Totally fits with the mood of this track.

The last MUSIC track on this album is a LIVE track:  "Heroin Grin" (5:54) And, I totally imagine the live performance of this track. Someday, I'm going to see Lucid Dementia perform on stage. It's going to happen.  I just know it.

TRACK LISTINGS
TWISTED
1.   Twisted (4:22)
2.   Wrazor Wrist Girl (5:00)
3.   Tailbone (3:51)
4.   Truth (4:35)
5.   Chip On My Shoulder (5:56)
6.   Heroin Grin (5:46)
7.   Strange Kiss (4:36)
8.   Cannibal (4:41)
9.   Human Waste (5:32)
10.  Sorry Misery (6:04)
- NOTE: ALL TRACKS CONTAIN DESCRIPTIVE INFO INSIDE CD JACKET

SONG FOR NEW BORN
1.   Twisted (Remix) by Eric Gustafson
2.   Song for Newborn
3.   Heroin Grin (Live)
 

Lucid Dementia: http://www.luciddemntia.com/
E-mail: <info@luciddementia.com>
Listen to realAudio and buy Lucid Dementia cds at CDBABY.com:
LUCID DEMENTIA - TWISTED
http://www.cdbaby.com/cd/luciddementia1

LUCID DEMENTIA - SONG FOR NEW BORN
http://www.cdbaby.com/cd/luciddementia2

Lucid Dementia on Mp3.com
http://www.mp3.com/luciddementia/

Analog Aether: A .I. A - (Austin Industrial AllStars),
The Alpha Conspiracy,  Ctrl, Kusser, Lucid Dementia, and Pharc.
http://www.analogaether.com/

Analog Aether on mp3.com
http://stations.mp3s.com/stations/149/analogaether.html

COP Int'L
http://www.copint.com/
 

The Last Mushrooms
Invasion of the Energy Spectres
~reviewd by Kevin Filan

The Last Mushrooms is part of Queasy Listening, a British art collective engaged in "guerrila distribution" and otherwise rallying against the "unresearched consumerism that pervades our adult taste centres."  Taking cues from Aleister Crowley, H.P. Lovecraft, Austin Osman Spare and Kenneth Grant, they bring us "Invasion of the Energy Spectres," an uneven release which promises much and occasionally delivers.

"Panarchy in the UK" opens things up with an interesting vocal sample that develops into a repeated chant of "Rapture ... in England ... now," with an occasional choking quote of "Like a devil sick of sin" thrown in for effect.  There is some interesting guitar and synthesizer interplay here, but ultimately things don't seem to go anywhere.  The same problem befalls "Angels of Neurosis" and "Voice of Space."  In each case the band starts with moderately interesting grooves, then fails to develop the theme.  The chanted-through-a-sweatsock vocals have been done before (and done, and done, and done), and the namedropping of "William Blake ... William Shakespeare ... John Milton" and suchlike doesn't really add anything to the proceedings.

The band and CD names could have come straight out of a 60s Be-In.  "Strange Transmissions" shows a strong psychedelic influence, with an excellent bass line that simultaneously pays homage to the groovy 60s, the funky 70s, and the drum-and-bass 00s.  The bass and the jangly guitar provide a strong rhythmic and melodic hook.  I'm not sure if this is intentional, but "Strange Transmissions" actually works as a pop song.  On songs like "Witchcraft Man" and "Witchcraft," they even capture the marijuana-scented grandeur of Hawkwind and other prog-rock outfits, with sweeping electric guitars and solid power-ballad drumming.  Remove the spoken word artist and put an operatic baritone up front, and Last Mushrooms could very well reinvent itself as a thinking man's Fields of the Nephilim.  (I suspect they will be horrified by this suggestion... )

If I've seemed harsh in my assessment of Last Mushrooms, it's because I felt like at times they were slumming.  They are unquestionably a technically competent outfit.  I was particularly impressed by the elegaic cello/acoustic piano/guitar interplay on "A Rose in the Garden of the Midnight Sun."  When I hear the crescendos on "Dunwich Tapes," I'm reminded of British composer Ralph Vaughan Williams' "Antarctica Symphony."  And thus I can't help but be disappointed when I listen to "Amenta (Against All Odds)" and hear what is essentially a damned good knockoff of late-80s Ministry.  The best material on here was very good, while even the worst was well-crafted and competently done.  I would give this effort a solid B, and would look forward to hearing the next one.  I'd also hope they take a few more creative risks next time.  If you're going to release limited editions and strive for top quality without commercial worries, you might as well take chances.

Queasy Listening Website
http://www.queasylistening.com

Mortiis
The Smell of Rain
~reviewed by Eric Rasmussen
(CD cover courtesy of Earache Records website,
other photo from the official band site)

It's tempting to start off this review with some troll jokes. Nearly anyone who has heard of Mortiis likely knows what he dresses like (or is?) a troll (just glance at the album cover). Nonetheless, his appearance doesn't take precendence over the music, which I suspect is a lot more important to him than any makeup. I do have to wonder how he can play keyboards so well with big troll-like hands (you think he'd flatten them out every now and then), but aside from that, his taste in attire and makeup has no bearing on the music. And speaking of the music, which we should be doing right about now, let me say that The Smell of Rain is an enjoyable and above average album. This makes me wonder why Audiogalaxy forum visitors have been quick to call Mortiis a sell out, or to claim he plays something known only as "gay lobster techno."

As usual, the average forum-goer there has absolutely no idea what it is he or she is babbling about. Mortiis has dramatically changed music directions from his last outing, but this is a move that could potentially lose fans. He took some risks within a community where such blatantly electronic music normally wouldn't be accepted as valid work. That is commendable, though outside of metal and ambient  music, The Smell of Rain really isn't anything experimental or unheard of. It follows 80's and early 90's moody synth-based music pretty well. Comparisons to Skinny Puppy and Nine Inch Nails are accurate enough. On "Flux / Mental Maelstrom" I could almost swear I was listening to Trent Reznor in troll makeup. The backing guitars and spiteful lyrics/vocals are very reminscent of NiN, which isn't too surprising given that Mortiis has recently labeled them as a big influence.

Mortiis incorporates all kinds of darkwave and darker ebm sounds and puts it to use in the fantasy world he creates. His vocals are usually spoken, though he often adds a lot of little touches to the delivery to keep things lively. His voice compliments the album very well and adds an authentic quality to mostly synth based music. You actually get to see the sad and lonely side of trolls who just want to be understood. You might have guessed that already based on the contemplative troll sitting alone in a desert on the album's cover.

Mortiis comes up with a number of catchy choruses and generally ensures that after listening you'll come away with several of the songs stuck in your head. Slower songs have a sort of pensive and overall sad quality to them, while faster songs may range from the upbeat to the aggressive. Mortiis knows how to use an effective programmed beat for a faster song, but he also knows when to slow things down or back up the electronics with more symphonic sounds. The percussion is mostly beat based, though occasionally more exotic drum sections will creep their way into the sound.

Sarah Jezebel Deva contributes her vocals also, and while they aren't a defining aspect of The Smell of Rain, they do add a lot of subtle touches. Mortiis is taking a fairly common sound on this CD... so I can't give it a lot of originality points. Yet he does manage to add enough personality to it to keep it entertaining throughout. He also took care to make sure it's backed by some real emotion and feeling. I get the impression he's probably been wanting to make an album like this for a while, and the bands he modeled it after consequently shine through as unmistakable influences.

The great songwriting works despite the overall lack of originality, so this CD will undoubtedly spend a lot of time in my player. I can't help but think the next Mortiis release is going to be even better if he continues to explore this realm of electronic music and adds further personal touches. For now, The Smell of Rain will do nicely. Recommended to any fans of Skinny Puppy or NiN, or any metal fans looking to branch out but aren't sure where to start. I highly doubt Mortiis fans who really appreciated his music before will dislike this release to any great extent either, and most should even enjoy it.

Track List:
1.) Scar Trek / Parasite God
2.) Flux / Mental Maelstrom
3.) Spirit in a Vacuum
4.) Monolith
5.) You put a Hex on Me
6.) Everyone Leaves
7.) Marshland
8.) Antimental
9.) Smell the Witch

Mortiis is:
Mortiis - Vocals, programming, synths
Frederik Bergstrom - timpani & percussion
Sarah Jezebel Deva - main female vocals
John Prozac - additional programming
Chris A - guitars
Alzahr - bass guitar

Mortiis - Official Web Site:
http://www.mortiis.com

Earache Records:
http:/www.earache.com

Mr. Badwrench
Up Jumped the Devil
~reviewed by Blu
 

"The inbred, bastard child of The Misfits, The Cramps, and Hank Williams Sr....Fu&kin A!" - LA Times

Onward to this deliciously naughty set of music!

The CD opens up with "Sweet Little Girl" - a track that has a dusty country western beat and twang to it contrasted against some very gritty vocals on the chorus. Next up is one of the best Billy Idol cover songs done to date,  "Rebel Yell". Mr Badwrench has put their own twist on it quite nicely... adding a seductive swing beat and saucy backing vocals. Buster Kretin's vocals are just superb on this track too adding emphasis on certain lines with a bluesy twang... I can't wait to see this live. Elvis has nothing on these guys.  "Bodies Piled Up" (also featured on the Gothabilly III comp) has to be one of my favorites with its bloody, murder inspired, extremely silly lyrics sung to Straycat styled beat where in they ask the age old question:  "Blood on the floorboard, blood on the wall, blood on the dog's head.... blood on the rooftop... blood on the bedspread, who's gonna clean it up?"  "Miles to Go" is sure to knock the crowd out of their socks and into an early grave with its faster that lightning, very keen bass playing (damn man, are the strings on fire yet?) while "Gasoline" (actually requested by The Fly of the Deep Eynde last time I DJ'd!), showcases what I love the best about this band: down, dirty, sleazy rock and roll that can make girls melt and boys tremble. Its saaaaweeeeeeeeeeeeeeeeeeeeeet!

In short, if you want a great example of the Psychobilly genre and where its at today, check out Mr Badwrench. From its crunchy, snake-twisted guitars, to its punk-induced dirty bass lines and its slicker-than-a-pimps-suede-hat vocals, Mr Badwrench is all Psycobilly has ever aspired to be and then some.

Tracks
Sweet Little Girl
Rebel Yell
Slippery Slope
Texas '39
Bodies Piled Up
Drop Dead Beat
Miles to Go
Bad Ass Dad
Gasoline
Unholy Roller
From the Cradle to the Grave

Website:
http://members.aol.com/MBadwrench/page1.html

Check em out for FREE  on Mp3
http://artists.mp3s.com/artists/84/mr_badwrench.html

Skully Records
http://www.skullyrecords.com/
 

Mr. Underhill
Vamp
~reviewed by Blu

I first met Mr. Underhill when I was reviewing Skully Record's third Gothabilly comp Razin Hell.  They had contributed the song "Trick of Light and Shadow" which I was immediately drawn to. Only slightly flavored with a rockabilly tinge, this song had a sound all its own quite outside the sometimes restrictive genre tag of "gothabilly".  To my delight and surprise I was later contacted by Flaming Angels Design in regards to an appearance at a StarVox LIVE in Seattle and consequently, they said, they were friends of the band and the band was planning on attending the event. My lucky day indeed. At some point in the evening I notice a well dressed, towering stranger lurking about the place and later was introduced to him and low and behold, it was Nim - the singer/guitarist from Mr. Underhill who was quite charming in person. He gave me a copy of their most recent CD, Vamp, that night and its not been far from my CD player since.

Describing Mr Underhill is hard because they are so different - they definitely do their own thing and a likely comparison to anyone in the scene eludes me - which is a good thing! On their webpage they take an animated approach and call it "Vamp Rock" and play with the premise that the band members were hijacked from the 1950s by a sexy femm-fatale of a vampire and Nim has come back as an evil-Elvis of sorts. Indeed there is an under riding rockabilly tinge to their music caught in the beats and sometimes the guitar structure which does allow them inclusion in that scene, but its not the typical sound nor does it conform to the limiting formulas bands in this genre sometimes get lost in. There seems to be hints of glam influences (the good old kind like The Runaways), rock, goth, rockabilly, you name it. Vocally Nim is impressive as hell sounding less like Elvis but more like a twisted Jeff Buckley with a slightly harder edge. That booming but smooth voice of his isn't a result of studio production either, I had the opportunity to hear him sing a couple bars live at the Deep Eynde show in Seattle on Halloween and it was just as grand in person.

Track one "Glitter Like Darkness" has a groovy glam rock guitar sound that revs you up before Nim's liquid-like vocals pour out of the speakers, the chorus enhanced by rockabilly-like "whoa oh oh"s. "Flicker" is a faster song, but mesmerizing nonetheless and Nim's vocals slink and slide serpent-like over a wide range and go from deep, breathy murmurs to soaring top notes. The vocal harmonizing on the chorus is one of the yummiest things about this song. I'm getting the feeling that this band will become one of those "he could sing anything and I'd go weak in the knees" type thing. The guitar playing in this song is masterfully done too as it rips away in the background almost under your nose adding a dynamic flare.

Track 3 is one of my favorites of course because its the song I associate them with the most having heard it so long ago. "Trick of Light and Shadow" starts with a keen rumbling bass line before a rockabilly guitar chimes in with a steady drum beat. And there's that voice again, otherworldly and seductive. "Vivica" is an altogether different song - more straight forward rock but darkly themed, you'll find the lyrics to this one one inside the CD sleeve. "Sunset Sweetheart" has a great "do-whop" chorus thing happening in it but its "The Weirding Way" that really grabbed my attention with its 3/4 waltz beat and the dramatic intonation in the vocals. Its a super intense song that changes tones and tempos and even includes a very moody, blues-styled guitar bit in the middle. Its my favorite track on this CD as Nim murmurs, whispers, entices and then wails on the chorus - a rare vocal talent to be sure.  My only complaint is that it was a short CD - I want more!

In closing, you definitely need to check these guys out for yourself because despite my best attempts, there really is no way to describe this very different and very talented band accurately. They have a mp3 page on it with lots of yummy songs so there's no excuse for you not to give 'em a listen.  Expect great things.

Tracks
1. Glitter Like Darkness
2. Flicker
3. Trick of Light and Shadow
4. Vivica
5. Sunset Sweetheart
6. The Weirding Way

Mr Underhill is:
Nim Vind - Vocals, Guitar
Robbie K- Bass, Vocals
Lab Drac - Drums

Website:
http://www.mr-underhill.com/

Mp3 site:
http://www.mp3.com/mrunderhill

emails: mr_underhill_@hotmail.com

Flaming Angels
http://www.flamingangels.net
 

NANOCHRIST
Corrode
~reviewed by Michael Johnson

I think one of the reasons I listen to metal is that when I hear stuff on the radio, I burn out on it.  I watch genres change slightly and then become flooded with bandwagon bands making millions of dollars for one CD and then falling beneath the public radar, never to be heard from again (most of the time this is a good thing).  Nu-metal seems to be the trend lately and it sickens me to head that fans of this stuff call themselves metalheads simply because they have some of Metallica’s new stuff as well as all the “aggressive” stuff from the last episode of MTV’s TRL.  Anyway, needless to say, I hate this nu-metal genre and I know I can’t be the only one bored with it.  So what the hell does this rant have to do with Nanochrist?

Well, actually Nanochrist newest release, Corrode, might just be a perfect outlet for fans of this genre that are looking for a new twist on it.  While there are whiffs of nu-metal emanating from the pores of this disc, the tough skin has been electronically twisted into a new and exciting form.  Nanochrist combines heavy electronic cacophony with the styles that are more popular today.  They even at times remind me of older Nine Inch Nails.  The guitar work is heavy indeed and the vocals are a mix of spoken word, screaming, and softer singing.  An early favorite track of mine is “Anus With A Fist” mainly
because of the spoken parts at the end.

To compare Nanochrist with any other bands I have heard or to put them into any specific genre would be ludicrous.  Fans of electronic music will love this, as the programming is excellent.  The only thing I found a bit distracting was the long instrumentals.  They brought the aggression level down a bit due to the length and it’s hard work getting all pumped up
and pissed off again.  Again, definitely recommended for fans of electronic music and metal layered with electronics.

Track Listing:
1.The Incredible Melting Man
2.In –s/dev/null $deity
3.Anus With A Fist
4.Transistorized Control System For Unit 6-B
5.Two Dead Women On Public Transit
6.Aphyd “spimms” Tuxedo
7.The Flies Inside
8.Spark Plug Gap Tool Incident, The
9.Corrode
10.Digested

Nanochrist Is:
Scworm –Vocals
Scott Fitches – Bass
Mike Bryant – Electric, acoustic, and slide guitar;
programming; backing vocals; garbage can

Website: www.nanochrist.com
 

NARC
Internal Use Only
~reviewed By Psionic

~Mmmmnnnn... Filled with Chewy Nougat.

What I love so much about Narc is how it spans all the boundaries of 'experimental' music, yet retains cohesion. Moron (The self-proclaimed 'shitworker' who constructs Narc) is unabashed in his love of noise, yet refuses to be bound in any way with his own material to the confines of what a 'noise' project should be. Thus, Narc does whatever it damn well pleases. Elements of rythmic powernoise, formless "Japanese-American-Noise-Treaty" fuzz, and droning dark-ambient are all to be found in abundance on 'Internal Use only', with one element stitching it all together... CLASS.

Narc is a classy project, stylistic in it's musings on political hypocrisy (while not being quite so preachy as say, David Thrussel), politely Canadian in it's self-flagellating violence ('Diagrammatic'), even an air of dignity whilst in the throes of introspection ('Veracity'). But while I wax poetic on the possibilities of interpretation with Narc, it remains a down-to-earth project... Yet another aspect to, err, respect. Self-released in the finest DIY tradition, 'Internal Use Only' is a shining example of what one can achieve if they're willing to just DO IT. And on top of that, it's a superb cd. So click your way over to industrial.org and hop on the bandwagon already.

Tracklisting:
1. Conduit
2. Corporate Extremist
3. Diagramatic
4. Hold Music
5. Infraction
6. Internal Use Only
7. Programmatic
8. Stylistic Differences
9. Managerial Consultant
10. Veracity

Narc website/all around handy resource site: http://www.industrial.org
 

NEPHASTH
Immortal Unholy Triumph
~reviewed by Michael Johnson

What ever happened to good old, fun loving, Satanic metal?  You know, the stuff your parents made you listen to at dinner and other family functions (Baptism, first unholy communion, etc.).  Deicide seems to be growing up a bit, Venom’s legions lay scattered, and many of the bands that heralded this era, like Hellhammer and Celtic Frost, are now gone, leaving hard to find cult classics in their wake.  So what’s a person supposed to raise his/her kids on now?

Surely not these oldies!  Kids today want their production clear, their riffs tight, and finely spun tales of necro-rape, world domination, and obliteration of those “stupid fucking Christians” (you know, like the Williams’ over on Maple Street?).  You just can’t send your kid off to third grade without this stuff.  It’s just a good way to get their ass kicked.

So here they are, the newest torchbearers for a good old-fashioned burning.  These guys are intensity spiced with insanity.  Take the guitar sounds of Deicide’s Serpents of the Light CD, gargle with some glass and lemon juice, throw in a few solos and a maniac for a drummer, and you’ll have it too.  It may sound like I’m being a bit facetious (and maybe I am) but this is actually damn good stuff.  I already own a ton of CD’s like this and they never seem to get old to me.

Fans of Krisiun, Vader, and Deicide will totally dig this but I have to warn you, it’s short.  This album lops off you head and goes on its merry way in under 32 minutes but really, Slayer did it with Reign In Blood so what the hell?  Don’t believe for a minute you are wasting your money with a short album.  A lot of times, it’s quality over quantity and this is definitely of the former.

Track Listing
1.The Wrath Will Be The Fire
2.Screams For The Supreme Force
3.Useless Cross
4.Merciless Controller
5.Flames Triumph
6.Gloomy Words
7.False Pride
8.Empty Holy Reaching
9.Visions Of Fury
10.Inquiring Fear

World War III Records
Website: www.ww3music.com
 

Nomenclature
Storms in Time
~reviewed by Catherinna

I would like to preface this review by apologizing to Nomenclature on my latency in getting it completed in a timely manner.  I would also like to add, that although late, I think it was a blessing towards this review, in disguise.  If I had reviewed this CD immediately after I received it, I know for certain the review would have been a completely different viewpoint, as my impression of this artist has changed in the course of the last month or so.  Funny, that how your taste for music can develop or change from one way to another in a course of a month, a year, so on and so forth.  I suppose that is the beauty of music and it's influence it has on it's audience.

Nomenclature is Bilian Frost (vocals, bass, guitars, percussion and programming) and Ron Schecker (keyboards and vocals), with D. Douglas Danahy (guitar, guitar synth) and Gerard Young (backing vocals) on selected tracks.  Both Bilian and Ron have quite an extensive history in New York.  Over the last decade Bilian has shown his presence in multiple clubs not only in his many band presences, but as a Dj as well.  He is currently involved in another project called "Carved Insane" (information can be found at http://www.carvedinsane.com/).   Ron, former member of "Bell, Book and Candle" is no stranger to the scene as well. Together, with the collaboration of Douglas and Gerard, they have put together a project, that will surprise many.  If you would like to hear some Nomenclature tracks, there are several featured on MP3.com ( http://artists.mp3s.com/artists/113/nomenclature.html).

Nomenclature's musical style resembles that of varying levels of darkwave and dark pop.  Their music is somewhat reminiscent of a cross between older, darker "Cure" (especially vocals and lyrics) with a slight musical hint of newer sounding Depeche Mode.  The musical talent behind this band uses guitar, synth guitar, varying keyboard sequences, some percussions and programming.

"Storms in Time" is their first full length CD and it's split up into two parts. The first half of the album is studio recorded(tracks 1-5) and the 2nd half of the album (tracks 6-8) are special bonus live recordings. The first five of the tracks have a sound effect which is used over the vocals.  This effect seems to be the focal that helps set a haunting, soul whirling type mood for the album.  The first time I listened to this CD I found myself wondering what the songs would sound like if there were some variance on the vocals, rather than having the same type effect in every song.  Interestingly enough, the irony I found while listening further, is that the last 3 tracks do not seem to have any vocal effects.  This definitely shows a different side or mood to the music and is notable enough to mention.

Notable tracks:
Track 2 ~ "Breathe Again"  Is like the calm before the storm.  It has a beautiful climax that builds with the keyboards (piano) and really just sets the entire mood of the CD.  It's very dramatic yet subdued.

Track 3 ~ "In The Dark", track three, is in my opinion the best track on this CD.  It creeps right down into the darkest corner in your mind and invokes the inner most secrets you thought you had forgotten.

"In the dark we can shake,
 with our hand,
 what our eyes,
 can not see,
 It could be, if you try.
 Spread your mind,
 then your legs and
 we'll dance in a corner
 of heaven disguised as my ___________? "

I leave the blank at the end of this lyrical phrase not only to leave you wondering, but to search and find on your own, what is at the root of Nomenclature's mind.

If you are looking for something new to taunt your ears with, I would recommend giving this CD a listen.  Truly, if not intrigued the first time, give a listen again, you will be the next.  There are so many varying musical influences bound into this creation of music, it should please many different tastes and genre preferences.  This is a quality that will possibly set them aside from the norm in some peoples minds.

Track Listing:
1. One Day
2. Breathe Again
3. In The Dark
4. Washing Wounds
5. Finest Hour
6. Unreal (Live bonus track)
7. Misery's Forgotten Son (Live bonus track)
8. Remain (Live bonus track)
 

For further information on this band, please visit:
http://www.carvedinsane.com/
http://artists.mp3s.com/artists/113/nomenclature.html
 

Oxygen Law
Le Vestibule EP
~reviewed by Matthew
 
Hailing from Californian, Oxygen Law’s most recent EP was an interesting offering to say the very least.  I was pleasantly won over by the nostalgic shades of vintage 4AD elements that could be found in the grayed synths and modest electronics of the first half of this EP.   The title tracks are pretty cool, the LP version of the song being a bit more punchy than the extended version, but both feature a delightful mix of slow old school drum machines and swirling orchestration.  “Perihelion” is perhaps a better and more solid example of what Oxygen Law is capable of.  A plodding, tense track that centers around a steady rhythmic pulse, a smooth bass line, and moody male vocals.  This track in particular vaguely recalls early Clan Of Xymox, and it is kind of cool that a band is more conscious of atmosphere than BPM’s, the way early dark electronic bands were.
  
And indeed, Oxygen Law is conscious of atmosphere.  Citing not only 4AD artists as creative influences, they also site the Brönte sisters and Edgar Allan Poe as musical muses, and indeed the misty moors and stark psychology of those authors cast a favourable shadow over the band. Somewhat in the more ‘electronic’ friendly tracks but this influence is clearer on the EP’s two epic instrumental tracks.
 
There is an authentic classical darkness that pervades these last two works, the two unlikely candidates I suppose to receive the fond critical attention.  Truthfully, these last two tracks were the ones that struck me the most and I feel earns the band some serious investigation.  The “Intermezzo” is a piece comprised entirely of stark, reverberated piano, with shadows of Chopin and Rachmaninoff, but primarily Franz Liszt.  The song shares a similar desolate spirit with the Hungarian pianist’s “Totentanz” and “Transcendental Etudes.”
 
The grand symphonic track “Lamentations In A Churchyard…” serves as a perfectly suitable finale.  Despite being composed and performed with a synthesizer, there is an overwhelmingly authentic air in the effect of this music; it is very dark, very dreary and not so much resembling a cinematic film score as an honest orchestral classical piece.  Of course, there are bits of electronics that sneak in to the mix, some ambient storm effects, and a brief section of reverberated vocals, but it is still quite symphonic at heart.
 
I very much enjoyed what Oxygen Law has to offer, and though I liked their ‘gothic dance’ offerings, I was moved more significantly by their ‘classical gothic’ offerings at the end of this disc. I sincerely hope that the band continues to explore both sides of their talent, and perhaps find a way to better bring them together.  If it becomes impossible to integrate them, I would suggest these guys start commissioning to do film scores or work with an actual orchestra if it were possible.  While the compositions on this CD are admittedly still amateurish when compared to professional concert music performers (i.e. modern day classical composers), Oxygen Law is miles ahead of where other bands claiming to be ‘neo-classical’ currently linger.
 
There is some significant potential here, which I think can develop into something that could transcend the trappings of the Gothic genre.  Contact these guys and keep an eye out for the upcoming full-length release “Aperture.”

Track List:
1.) Le Vestibule (extended)
2.) Perihelion
3.) Le Vestibule (LP)
4.) Intermezzo
5.) Lamentations In A Churchyard For Currer, Ellis, and Acton Bell

Oxygen Law is:
VIIR – synths, grand piano, linndrum, vocals and vocoder
EJ Emmons – production, recording, mixing, mastering

Oxygen Law – Official Site:
http://www.oxygenlaw.com
 

Peter Murphy
aLive Just For Love
~reviewed by Blu

I was lucky enough to catch Peter Murphy on the Wild Birds Tour in March 2000 that served as the inspiration for what would later become a tour and a CD called Just for Love.  I wrote of that night:

Tonight - on stage in the bright lights, poised, beautiful, and energetically timeless - Peter Murphy was a wizard of time travel. Back through summers past, first loves, bitter heartbreaks and reconciliations, he stirred old memories with a musical wand. He opened old wounds and let them bleed clean. Tears were shed that night both in joy and sadness… and no explanations were needed. A friend turned to me once, tears wavering on the edge of his eyes, and hugged me without a word. This is the power of song - of soul-drenched lyrics and memories attached to significant parts in our lives....

And so, for a THIRD time, totally unplanned, Peter took to the stage alone, guitar in hand- almost giddy with his smiles, once more to the relief of adoring fans to play "Big Love of a Tiny Fool". And finally, with that, he tip-toed along the ledge of the stage- shaking hands, talking to people and accepting a few gifts with a wide grin. This is the payback - this is what he's earned from years on the road and years making music that meant so much to people. He was at the height of his game and totally adored by those who had traveled, sometimes from hours away, just to hear him. The beautiful thing was that he was so humble…so thankful and appreciative of his fans - appreciative of those who had spent the night, taking a ride through time and memories with him.
(taken from the StarVox archives)

About deciding to take his songs live and stripped down to the bare essentials on this tour, without the backing of new CD, but "just for love", he's said,

That was like a breath of fresh air. I was able to strip all the decoration away and uncover songs that some said were buried under production. To me, that was a very new experience. It allowed me as a singer to be heard in a sense -- quite literally -- and it gave the lyrics a chance to be heard as well.
(from the Metropolis website)

The impulse for this tour and this recording was as a tip of the hat to all the valued fans who complete the circle of all this.  Must say, it was meant to sound as if I were playing in the front room of the audience, surprisingly, I think we flew to the stars...

On the CD and on stage, only two other musicians played along side Peter: former Porno For Pyros guitarist Peter DiStefano and violin virtuoso Hugh Marsh who's most well known in our scene for his musicianship on Loreena McKennit's CDs and who's also toured with acts such as Rod Stewart, Bonnie Raitt, and Soul Asylum.  And, in case you weren't lucky enough to be at the El Ray that night, recorded for all to hear was former-Bauhaus member David J joining them on stage for a rare performance of  "Who Killed Mr. Moonlight," "All We Ever Wanted" and "Hope."

On a purely technical level the musicianship of this CD will no doubt impress anyone who knows anything about music and has heard the originals. To re-create these complex songs using only a guitar and violin was a masterful task to be sure. Textures were added where you wouldn't expect, percussion parts covered in creative and effective ways, and melodies wound around and through songs in ways you couldn't imagine before. I could spend literally hours pointing out intricate musical details of each song but I leave that to discover for yourself.

There also is no need for me to go through this CD track by track because unless you're completely new this musical world we live in, you've no doubt heard some if not all of these songs before in their original forms. Instead, let me say this about this CD: I am not usually one to have much use for LIVE CD's but this one is a grand exception in my opinion. It is not merely a live recording of a band playing the songs we've all heard before. Instead, it is a re-invention and re-discovery of songs we hold dear to our hearts. It is about listening to them in a different way, looking at them from a different angle - it is the electricity in the tiny detail, the stress of one syllable over another, the meaning of a pause, the absolute beauty of the raw human voice and all the emotion and frailty and love and strength that comes with it. And it is a superb example of the incredible knock-you-to-your-knees power that simple music can have. Just two instruments and a voice. No big drums, no drum machines, no fancy fireworks or effects, no remixes, no overdubs. This is real. This is what we heard standing there in a trance. This is humbling and this is magnificent.

If you've not checked out the official Peter Murphy website please do stop by (http://www.petermurphy.org). If nothing else, it is visually one of the most beautiful sites I've ever seen. What's more is Peter continues his drive to connect with his fans. On his site you'll find a section titled "Peter's Room" which is utterly fascinating to read and I'm sure I've spent way too much time on it myself when I should have been doing other things. Its rather addictive.  In this section Peter responds to emails sent by fans fielding all kinds of questions from serious minded technical questions, to those about lyrics, inspirations, personal questions, questions about worldly events and cultures, and in several cases, an exchange of poetry. As an example, Peter responded to a fans poem with one of his own:
 

With sleepy eyes
She throws a look
At the passing Swallow
Nestled in
Her candy hair
She's never heard of tomorrow
How it filled me - how it filled
Girl Child aglow
How it filled me - how it filled
Letting go
Of sorrow

And when he responds to fans with "I love you too" - you get the sense that he really does mean it.

-------------------------------------
Disc One
1. Cool Cool Breeze
2. All Night Long
3. Keep Me from Harm
4. Indigo Eyes
5. Subway
6. I'll Fall With Your Knife*
7. Mariene Dietrich's Favourite Poem
8. A Strange Kind of Love
9. My Last Two Weeks
10. Big Love of  a Tiny Fool
11. Gliding Like A Whale
12. Cuts You Up
13. Time Has Got Nothing to Do With It
14. Angelic Harmony

Disc Two
1. Who Killed Mr.Moonlight
2. All We Ever Wanted Was Everything
3. Hope (Midnight Proposal)
4. Love Me Tender*

Peter Murphy Website:
http://www.petermurphy.org

*sound clips from these songs available on the Metropolis Records website:
http://www.metropolis-records.com

Hugh Marsh info:
http://www.canoe.ca/JamMusicPopEncycloPagesM/marsh_hugh.html
http://www.montunopolice.com/marsh.html
 

PURE DRAMA
On The Surface
~reviewed by Edwin Somnambulist

The Denver based dark electro band Pure Drama, consisting of members Ryan Policky, Becca Gomez and Erik Jeffries, was formed in 1997. On The Surface is a great disc, combining beautiful vocals, interesting samples, and very cool, almost subliminal stereo effects.

One of the features of this disc is a very short intro track, "Underneath," which is a brooding track that sets the mood for the disc. I like this method, as it makes a nice intro into the disc, especially if you're going to listen to it from start to finish.

"The Time You've Spent" is, barring all, one of the most beautiful tracks on the disc in my opinion. This probably wouldn't be a typical choice for the most beautiful track on the disc, but it's mine for a couple of reasons. First, it features Becca's vocals prominently in an ebbing flow of power and emotion. Also, the vocals and the music logically seem to mismatch each other, but the effect is beautiful, spellbinding, and mesmerizing. Truly a wonderful and creative track.

"For Angry Clowns" is also a very cool track, and has some great vocal effects hiding within it. Nice and dancy, but dark and beautiful.

"Sinking Pleasure" is the first track on the disc that primarily features Ryan's vocals. While his supporting vocals with Becca are great, his solos are where he truly shines. Harmonic and forceful male vocals are always a pleasure to listen to, because they are indeed a rare thing.

The disc also boasts the collabortive efforts of Scot Gordon and Shari Valentia of the now unfortunately disbanded Scary Valentine, which was a brilliant dark electro band in its own time. They bring their special touches to this wonderful body of work.

The nature of this disc makes it great for any sort of situation, with its varied tracks, and the different emotions it plucks at. You can pick one track off the disc, or listen to it in its entirety. Its great for radio, club, or home play.

Tracks:
1. Underneath
2. Involuntary Change of Pace
3. The Time You've Spent
4. For Angry Clowns
5. Sinking Pleasure
6. Deeper Sense
7. The Final Lie
8. Clamped Down
9. Paused
10. November Song
11. Low Break
12. On The Surface
13. Minute Holiday

Band Line Up:
Ryan Policky - Vocals, Bass, Programming
Becca Gomez - Vocals, Samples, Keys
Erik Jeffries - Guitar

Band Contact Info:
Website: http://www.puredrama.com
email: info@puredrama.com
 

Rasputina
The Lost & Found
~reviewed by Thryn

What a delicious treat! Rasputina have just recently released an ep of covers, available only through their website. It starts out with a fabulous rendition of Led Zepplin's "Rock & Roll", and keeps the energy up til the very last note of Pink Floyd's "Wish You Were Here".
 
I'm usually a bit wary of covers, as too many bands try to make their cover sound exactly like the original. And, personally, I prefer a bit more out of a cover. Rasputina, of course, deliver. They've even managed to make me *really* like a Marylin Manson song. Their cover of "Tourniquet" is just as addictive as the rest of the CD. Even the terribly cute "This Little Piggy" (based on the nursery rhyme) managed to steal my heart.
 
"All Tomorrow's Parties" has always been a favorite song, and seems to be one that stands up to being covered quite well. Of course, I don't know if this is because it's a fabulous song to begin with, or if I'm just partial to the bands I know of that have covered it (Nick Cave & The Bad Seeds, Japan, and now Rasputina).
 
The real and true gem of this CD, in my opinion, is "Wish You Were Here". I first heard a bit of it accompanied by a sweet little animated video on Rasputina's webiste back in May, and then was fortunate enough to see them perform it back in June. I was very glad to find it included on this CD.
 
In spite of the fact that this is a CD of covers, it's still *very* much Rasputina. It's probably my favorite CD right now, and got me through a long drive just recently. The kind of CD you can put on repeat and not quickly get tired of.

tracklist:
Rock and Roll
All Tomorrow's Parties
This Little Piggy
Tourniquet
Wish You Were Here

website:
http://www.rasputina.com
 

SABRINA
Euphoria
~reviewed by Michael Johnson

One of the fun things about being a writer for a music zine is that I never know what is going to come across my desk.  This can generate interest in new genres of music and bands or it can be a highly challenging exercise in constructive criticism.  The New York based Sabrina is something that would not normally be included in my regular disc rotation but I found her debut CD, Euphoria, not as challenging to review as I had feared.

Within minutes of the opening track, “I’m Alive”, Sabrina tips her hand and I knew what was in store.  The music is primarily dark rock fronted by Sabrina herself but I have to admit, there are some very dark and catchy riffs on here that did command my attention.  “Tell Me” and “Without A Trace” are prime examples of this almost magical harmonization between the dark guitars and her voice.  Lyrically, Sabrina brings themes from everyday life to the table and surprisingly enough, they are very easy to relate to.
 A
lthough this is an exceptionally strong debut album, fans of the more underground sounds might not like this for its more polished and mainstream feel.  I have no doubt that Sabrina is going to be very successful because they have all the right elements as well as excellent promotion.  This is a great album to listen to while sitting in your house on a rainy day.

So it all boils down to whether or not I would recommend this album.  I firmly believe fans of goth rock and dark pop will enjoy this especially if you’re into smooth female vocals sans the “tough-chick” throatiness.  A metalhead like myself would probably not rush out to purchase this, but given the right moment on the right day, this is an album I will have no trouble going back to.

Track Listing:
1.I’m Alive
2.Euphoria
3.Tell Me
4.Without A Trace
5.Bring Me Down
6.Angels Cry
7.Nowhere Girl
8.Find Another
9.Star (acoustic)

Website: www.sabrinamusic.com
 

SAPPHIC ODE
Proceeds The Rain
~reviewed by Michael Johnson

Many times in my life I have considered myself to be well rounded musically, having heard so much of it over the years.  Metal stuck to the foreground and became my music of choice but I still enjoy trying out many different types and styles as I never know what will pop up that will catch my ear.  Proceeds The Rain, the newest release from Sapphic Ode, is an undeniably excellent release loaded with the darkness I require.

When I first put this CD in, I did not expect to hear what I heard.  Heavy guitar riffs marched from the speakers following the cadence of the both soothing yet attitude-ridden vocals of Julee.  While musically, this would be metal, the softer vocals stand in contrast to create a perfect blend of goth and metal.  I was quickly reminded of the style Fear of God (RIP, Dawn) used to have and then surprisingly learned Mike Carlino from Fear of God played on the song “Dies Irea”.

Anyway, the worst thing about this release is the length, only having five songs.  By the time you’re up and grooving, it’s all over.  Aside from that, there’s really nothing I could single out as a stinker for this release or this band.  They are a very talented outfit and are on to something good.  I would hope that they have a strong cult following and can see them becoming much more popular in the future.  I urge people to go out and give them a try, as their harmonies and offsetting guitar/vocal styles are infectious.

Track Listing:
1.In My Mind
2.Proceeds The Rain
3.Dies Irea
4.10
5.Dust

Website: www.sapphicode.com
 

Sullen-Bliss
Sullen-Bliss
~reviewed by BlackOrpheus

I received the very professional looking, glossy red press kit of Sullen-Bliss last week. I was intrigued, it isn't the sort of presentation I see often from a new band. It was obvious, that they're taking the promotion of the band seriously. They got my attention.

When I went looking for background information on the band members, it was in short supply. The biography section of their web site, was no real resource. Who are the band members? What are their backgrounds? Where are they from? The vocalist may be a native New Yorker, as I inferred from the write up of the bands show at The Parting Glass in Saratoga Springs, New York. It's only a guess. I can tell you they're from Seattle, and have been together for about a year. They have a successful east coast tour under their belts, and are firming up dates for a west coast one.

The cd I received with the kit, contained three songs.The first song was the popular? "My Rage Is Contagious".I don't really agree with the assertion that the band is some dark rock/goth hybrid. No, not unless you could apply that to a band like SoundGarden as well. I hear the bass lines of grunge past. No, this band sounds like alternative if anything. There are moments in all three songs,and yet the deficiencies are glaring. Lewis voice is a limited one, in terms of range and style. It could only benefit from some vocal f/x and further training, perhaps. I will say the bass and guitar are pretty solid. I don't wish to be unkind. They're a young band, who knows where they'll be in a couple years from now? They may very well be a "live" band, and the evident youth and production of this disc is not casting them in an entirely favorable light. It has a very "live" and "garage" kind of sound, and these are admittedly not preferences of mine. I'm a firm believer in the combination of chops and skilled production. My best advice, is to build the foundation before the house. This cd reminds me of Shadow Light's cd from a couple years ago. It was a cd that was premature in my opinion as well, but Shadow Light is a band that has made great strides since that time. If you're going to go to the expense of a promo, make sure you're as tight as possible and don't be miserly with the production. I'd like to see the band live, it may very well prove to be a different experience altogether.

Track Listing:
1.My Rage Is Contagious
2.wretched Doll
3.Loveless

Web Site: www.sullenbliss.com
 

SYNTHETIC DREAM FOUNDATION
Quench
~reviewed by Kevin Filan

There's shiny happy upbeat synthpop and there's hard grinding industrial; not many people work in the spaces in between.  With "Quench," Synthetic Dream Foundation stakes out territory in that cold and foreboding land.  Their music combines the cold metallic machine feel of industrial music with sweet melodic passages, with a result that is chilly but never sterile.

Unlike industrial music, dissonance is used sparingly here, and always contrasted against a firmly tonal background.   In "Regenerate (Bio-Stasis Mix)", synths weave a high dissonant counterpoint, creating a sense of longing and loss which reminded me of Portuguese Fado sung by a machine, or Coil's "First Five Minutes After Death."   "AngelFire" opens with what sounds like a synthesized digideroo leading into a pretty piano line, while "Torn" brings the piano to the foreground over a faint, ghostly moaning backdrop and "Desolation" closes things with warbling synthesizers trying to cheer an elegaic piano.  The persistent mood of longing and loss is brought about more by absence than presence; in place of emotional histrionics, there's a soft wistful anhedonia.  Instead of the Cure, think of Gary Numan circa "Down in the Park."

Synthetic Dream Foundation makes frequent use of vocal samples.  Sometimes they prove distracting.  "Gateway" opens with a woman preaching about "Satanic influences in these lyrics."  I'm not sure what this has to do with the instrumental Jan-Hammer-meets-illbient concoction that follows, nor am I quite sure how the 50s hypnotist who opens "Sindustrial Slumber" fits into things.  "The Procedure" is more successful, with a woman moaning in what might be torture or orgasm providing the backbone for sinister mechanical sounds brooding in a slow factory lockstep.

There's an intense feeling of tension and dread throughout much of this CD.  I kept waiting for "Scaring the Flowers" to explode into screaming and power chords but it never did.  For the most part things stayed slow, harnessing the power of understatement.  Only "Silicon Lifeforms," a fascinating Drum & Industrial experiment, moves at an uptempo pace; it also features lots of speaker-to-speaker mixing and dubbing, which may remind you of psytrance or Pink Floyd, depending on your age bracket.

I'm generally not a fan of synthesizer bands, particularly those given to Ye Olde Painfully Obvious Cliches.  Thankfully, Synthetic Dream Foundation avoids those perils.  This is a well-constructed and tuneful CD, which shows solid technical chops combined with a willingness to transcend genres and think outside the box.  Highly recommended.

1) Sindustrial Slumber
2) Scaring the Flowers
3) Regenerate (Bio-Stasis Mix)
4) AngelFire
5) The Procedure
6) Gateway
7) Silicon Lifeforms
8) Torn (further mix)
9) Desolation

Synthetic Dream Foundation on MP3.com
http://artists.mp3s.com/artists/213/synthetic_dream_foundation.html
 

Skinflowers
Data in a hurry (Wasp Factory Records)
~reviewed by Steph

Wasp Factory Records is a rough 'n ready kinda place, full of dodgy characters like The Chaos Engine and other merry purveyors of noise and mayhem. In the midst of this madness sit Skinflowers, the (dare I say it?) Radiohead for the new millennium. They are the exception that proves the rule, the calm at the eye of the storm.

The very Radioheadesque opening track, "Transatlantic Love Song", is a gentle melody of acoustic guitars and charmingly reedy vocals in the best indie rock tradition.

The whimsical beginning of "Eschalotogy" soon gives way to subtle, churning guitar chords that anchor the chorus firmly. In an interesting move, the guitars drop away almost entirely to make rooms for the vocals, thus not forcing these two key elements to compete with one another.

The one drawback to the delicate nature of Skinflowers sound is that could well come off sounding fragile and a bit precious, and happily, the band rescue themselves from this fate with the low-key glam guitar chords and sardonic vocal delivery of "Clever boy", a snarky little ditty that leads me to believe that Skinflowers have been known to listen to Placebo now and again.

Skinflowers describe themselves as "Fine purveyors of awkward rock", and they are. "Data in a Hurry" is an awkward album to review, simply because Skinflowers are not a singles band. There are no obvious hits on the album, but rather a collection of deceptively simple, melodic songs that reveal their quirks, idiosyncrasies and dark underbellies after repeated listenings. There is a slyly deliberate self-conciousness to the band's presentation of themselves.

[3/4 song about teeth] is an oddly meandering track with a somnolent backbeat that leads perfectly into the album's closer,
"Mock Tudor Doors", with their "wood paneled happiness" and "mock tudor wife and kids/no passion/conversation locked away/a prisoner of war". The saving grace behind this grim picture is the knowledge that Skinflowers have not locked away their passion or their talent.

Track listing:
Transatlantic love song
Green stick fracture
Eschatology
Call home this fleet
Clever boy
I don't need more money I need more time
Last time I blinked I was okay
Little white lies
I suppose
Through my Windows (TM) I can see a beautiful background
Newstwentyfour
[3/4 song about teeth]
Mock tudor doors

www.wasp-factory.co.uk

The Spectres
Blood Sweat & Nitro
~reviewed by Blu

Having fallen head over heels in lust with the psychobilly sounds of east coast bands such at Psychocharger, The Gettin' Head Stones and Ghoultown, I came to Seattle in high hopes of finding a whole new breed of similar themed bands on the West Coast. I searched and searched. I emailed the elusive and mysterious Hammerdowns to no avail and had almost given up when I got an email from someone named Jesse, who quite politely pointed out a mistake in one of my recent psychobilly reviews. He was correct, I re-wrote a sentence or two and a bit of correspondence went on. He knew his shit - knew his music history, but wasn't being snotty or catty about it. It took a while before he even humbly mentioned he was in a band himself, didn't make it out to be a big deal but I was by then, mildly curious what a fellow Seattle-ite had to offer especially when it came to this type of music.

What a humble man indeed. The Spectres, it turns out, are one of *the* best bands I've ever heard in this genre. They simply blew me away. Here they were, all along, quietly doing their own thing, not really claiming a specific genre, hoping their music would speak for itself. I finally convinced him to send me a promo pack and a few weeks later, I got their latest CD, Blood Sweat & Nitro in the mail.

The first thing you notice when the CD opens up is the fat upright bass lines served up by Austin followed by snappy drumming by J.R. and finally  - Jesse James Jr and that guitar of his comes barreling in. Did I mention, that along with being the perfect frontman and singing, Jesse plays one helluva axe? It "twangs" in all the right places, it grinds and whines in others... and sometimes, its just fast and nasty. The production and sound on this CD is damn tight and that's owed in large to the band itself who play live even better. Their sound is mature, complex, engaging and balls out riotous at some points. Every song is tweaked to perfection, Jesse's voice trills, spills, hammers, and teases while  the tempos change when its just right, country-western riffs are added with care, rockabilly punk bass lines drive it like a fine tuned engine and the lyrics are the best B-movie adventures.

While each and every song on this CD kicks ass, stand out tracks include the seductive lounge wailings of "Voodoo Doll", the  Western slap stick humor of "Bloodsuckin' Cowboy" (found on the upcoming Skully Records Gothabilly comp), and a song that's become their fans' proclaimed anthem, "Did It for Elvis." Be sure to check out their webpage for song samples and their previous releases....

If you're in Seattle, be sure to come check out the Spectres LIVE with The Deep Enyde at The Catwalk for a special ALL AGES Halloween show on Wed, Oct 31st....

Tracks
1 Hell Bent
2 '57 Deathtrip
3 Pick Your Poison
4 Dragstrp Demon
5 Voodoo Doll
6 Mad Machine
7 Daddy's Goin' Crazy
8 Neck Romantic
9 Bloodsuckin' Cowboy
10 From Beyond
11 Blood Sweat & Nitro
12 Did It for Elvis
13 Just Enough Rope

The Spectres are:
Austin, J. James Jr, and J.R.

www.thespectres.com
 

Shadow Reichenstein
self-titled
~reviewed by Blu

Born in the early 90's as a one man project them morphing into a live band and playing their first ever gig in 1999, Shadow Reichenstein cite "a wide range of influences from psychobilly and surf, to early 80's new wave and deathrock, to the guitar driven sounds of old school punk and rock-n-roll" which basically describes what the "Gothabilly" genre has become whether that was their intention or not.

Like their fellow Texans Ghoultown, but less "western" in theme, part of Shadow Reichenstein's gig depends somewhat on the over all look and thematic approach to their chosen genre. If not careful, genres like psychobilly and gothabilly can become extremely musically limited because bands too often get caught up in following a standard "formula" and lose sight of originality. I believe Mark Splatter from deathrock.com likes to call this the "cookie-cutter" effect. Ghoultown is a great example of a band who I think, have forged a style uniquely their own. Shadow Reichenstein on the other hand, suffers a bit from "formula" gothabilly in its predictability. Having said that, their music is not bad at all, but having seen and heard a great many such bands this year, I was hoping for something a little more original.

The "Intro" is quite fun - a haunting wind, a wolf howling, bells tolling, rain, thunder and an assortment scary noises that go bump in the night backed by ominous organ notes is not unlike one of those Halloween Sound Effects CDs. I did use this as an opener to one of my DJ'd sets on Halloween night.

"Cemetery Surfin" is your standard surf-zombie instrumental with sinister laughter, girlish screams and a stage coach driver whipping some whinnying horses. Over all, not that exciting but I personally don't care for instrumentals in this genre anyway. "Carnival Macabre" is cool though - starting out with a funny polka type thing than changing into a more straight-forward rock song with a steady bass line and catchy guitar melodies. However, the "Transylvanian" accent on the vocals in all these songs is a  little much for me, even if it *is* intended, it seems to cheapen them a bit - personal opinion of course. You, my dear reader, might thoroughly enjoy that kind of camp.

"Dracula Built My Hot Rod" is sure to be a favorite on this CD for many people starting off with its Hot Rod Car effects and then moshing along in a Munsters-like melody. "My Dear Deceased" is a witty song lyrically and has a "Western" gothabilly twist to it but gee, is it just me, or does the Count Dracula accent seem even more out of place? I'm sorry if I'm harping on that... I just can't help but believe the songs would be more appealing without getting visuals of the Count from Sesame Street in my head. I promise to shut up about it... really. Some of the other songs on this CD seem to suffer from being a bit too heavy on the instrumental side. I keep waiting for vocals and for an entertaining story and I feel like I keep getting "background music" instead.   Quite possibly my favorite track from this collection is "Texas Tumbleweed Terror" with its Western themed music once again incorporating a nice jangly guitar and a more straightforward vocal style (yay!) The last track, "Fear of the Rising Sun" is what you might expect: Count Dracula does an Eagle's cover. I don't like it but some one out there might appreciate the humor (maybe I'm just getting too old and serious eh?)

At any rate, while not the most exciting CD to come my way in this genre this year, it does have its merits and would be a valuable addition to anyone's collection. I'm sure I'll spin at least two tracks off it next year when I DJ.

Tracks:
Intro
Cemetery Surfin'
Carnival Macabre
Black Car
Dracula Built My Hot Rod
My Dear Deceased
Lunacy
Zombie Dance Trance
Be My Victim
Texas Tumbleweed Terror
Fear of the Rising Sun

Webpage:
http://www.shadowreichenstein.com
 

Testament
First Strike - Still Deadly
~reviewed by Eric Rasmussen

This is truly one hell of a great album. For those of you who aren't familiar with Testament, they were one of the first 80's thrash bands to hit the scene, and they did so with a pretty big bang... for the time, that is. As metal continued to get better production, Testament kept up. Their last full album, "The Gathering," was as hard and heavy hitting as any other contemporary metal album, and Chuck Billy even developed a deathy sort of growl. So over this period of time as things were a-changin', and Testament was able to keep up and show the youngsters how it was done - you still have to wonder, how many people really spent time listening to Testament's first two releases?

Early Testament was pretty influential, and bands like Nevermore and The Haunted aren't afraid to express their gratitude for Testament's work. Er... that didn't sound very metal, now did it? Let's say that Nevermore and The Haunted were influenced by Testament and don't hesitate to tell their fans that "TESTAMENT KICKS ASS!" There we go. I can only imagine, however, that anyone used to thrash-based music with better production would have some trouble adapting to the old-school sound on Testament's "The Legacy" and "The New Order." And that, my friends, is where "First Strike - Still Deadly" comes in.

I have to say, this is one of the best representations of thrash I have ever heard. Instead of just remastering their old work, Eric Peterson and Chuck Billy got together an all star Testament lineup to re-record their classics and show all the young'uns how it's really done.  They managed to retain the original thrash sound; they didn't just make this into a heavier sort of album like their more recent releases. In any case, when they produced this CD they set the intensity throttle to  FULL. Ah, there we go, now I'm talking metal!

John Tempesta provides a thoroughly pounding drum performance, liberally adding a lot to the old songs compared to their original form. Steve DiGiorgio adds his patented bass handiwork, quite adeptly filling out the rhythm section along with Tempesta. And even Steve Souza (he was the vocalist before they were known as Testament), who wrote some of the material used on "The Legacy,"  returns to contribute vocals on the last two tracks. I think the most surprising return member in the lineup, however, would have to be Alex Skolnick. Anyone familiar with his Testament work should know that this is a big deal, in part because of the rumored shaky terms on which he broke up with the band years ago. His fluid and classy lead lines helped define the early Testament sound, and on these re-recordings he actually even updates his solos. They're now faster and more impressive than ever.

Eric Peterson's playing follows along perfectly, and he tosses in a solo or two of his own as well. Chuck Billy's vocals stay pretty varied, and he never resorts to his newfound deathy growl - these songs aren't being played again to show you what a modernized Testament might sound like. This could have been straight out of the 80's (in a good way), if production like this for metal bands existed back then.

Each of the tracks is played superbly, making this a must have release for metal fans. That's right, all metal fans. Anyone who is into Testament likely has it or plans to get it. Anyone who couldn't quite stomach their older releases because of the production definitely needs to check this out. And anybody who has never heard of Testament before needs this too. These songs were a defining moment in thrash history, so go on and buy this already.

Track List:
1.) First Strike Is Deadly
2.) Into The Pit
3.) Trial By Fire
4.) Disciples Of The Watch
5.) The Preacher
6.) Burnt Offerings
7.) Over The Wall
8.) The New Order
9.) The Haunting
10.) Alone In The Dark
11.) Reign Of Terror

Testament Is:
Chuck Billy - Vocals
John Tempesta - Drums
Steve DiGiorgio - Bass
Alex Skolnick - Lead guitars
Eric Peterson - Rhythm guitars
Steve Souza - Vocals on tracks 10 and 11

Testament - Official Web Site:
http://www.testamentlegions.com/

Spitfire Records:
http://www.spitfire-records.com

Sample mp3:
http://www.spitfirerecords.com/mp3/Test-IntoThePit.mp3

TOXIC SHOCK SYNDROME
Dead Animal Sodomy
~reviewed by Edwin Somnambulist

First off, I'd like to make it known as a bit of background information, the radio program that I host is entitled Industrial Strength Nightmares. This being said, it is with nothing but the utmost irony that I am at a point  where I am thoroughly sick of the industrial music that is currently being  produced.

And honestly, how could I be blamed? With one label running (and ruining)  the biggest part of the scene, and countless bands flip-flopping all over each other to capture that similar sound that will give them the biggest market share and the most fame, the genre has become so watered down by mainstream elements that it's painful to listen to. What we see today is not the brainchild of the likes of Genesis P. Orridge, or Blixa Bargeld. When Bill Leeb wrote ten years ago that music was in the doldrums, I doubt he could have imagined it would have become as bad as it is today.

That little diatribe behind me, I set to the task of reviewing this disc. In the words of Mr. Burns, "I know what I hate, and I don't hate this."  Seriously though, I like this a lot, which is very refreshing, considering my absolute disgust with most everything I listen to these days. Granted, the disc isn't perfect, but if anything in the genre was, then maybe all the copycat bands would be justified in their regurgitation.

The intro track, "The Gate," is just that -- nothing too hard hitting to start off with, a good intro track to the disc. A slow, quiet beginning that builds into a fast paced and dancy track with a solid beat. Nice samples, with dark synth choir hits.

"Dienstag" was one of the few tracks that I didn't like. To give it a fair shake, though, I should say the only thing about it I didn't like were the lyrics as they seemed a bit forced to me. Other than that, everything's spot on. Nice vocal distortion when it kicks in too: very static-y, though the static gets pulled off a bit later in the track.

"Manipulate" starts off with a great pulsing beat, followed up by a machine gun hi-hat cymbal. A wonderful track through and through. Probably one of the best on the disc in my opinion.

"Trial: Fire" is a track that I find especially interesting. It's a musical anthem of sorts, starting with a new reporter sample, and building into a high crescendo of beautiful synths. I really like tracks that are structured like this, for their sheer beauty an empowerment.

"Reprobate" is another neat dancy track with wonderful samples. The vocals really fit well with the music on this one. Definitely a club hit. The end features a vocal sample that sounds like David Suzuki. Perhaps I'll never know if it is for sure, but as long as I believe it's a Suzuki sample, its one of the coolest things I've ever heard.

"Through the Eyes of a Killer." Bladerunner samples. Cliche, but I don't care. The day I get tired of Bladerunner samples is the day I pack it all in.

One more thing I'd like to point out is the brilliant package design this disc features. Back in the days of vinyl, album cover design was a real art. I've got a lot of vinyl sleeves that I could take and hang on my wall. The era of CD's seems to have given way to more of a "design by committee" feel, especially among the major mainstream labels. The packaging philosophy behind this disc is pure artistic genius, with a general motif, and all parts -- from the covers to the disc itself -- flowing togetherto make a sort of harmony. If only more CD's had such a wonderful layout scheme.

To sum it all up in a neat little package, this is a disc that any industrial fan really shouldn't be without. It's a breath of fresh air in a swamp that has too long been stagnant. So many ideas are represented here that you just don't see from the big name industrial bands of the day who are far more preoccupied with making money it seems. From dance music, to contemplation tracks, its all here.

Tracks:
1. The Gate
2. Dienstag
3. Manipulate
4. Tyranny
5. Scare Tactics
6. Trial:Fire
7. Trial:Execution
8. Specimen
9. Reprobate
10. Inside Me
11. Decay Within
12. Cyborg
13. Through the Eyes of a Killer

Toxic Shock Syndrome is John Mortimer

Label Contact Info:
Interdimensional Industries
Website: http://www.interdimensional.com/
Email: regan@interdimensional.com

Band Contact Info:
Website: http://www.toxic-shock.net
email: fatherkarras@hotmail.com
 

VLE
Book of Illusions Chapter I
~reviewed by Michael Johnson

Right now, how many people sit alone in their homes recording their musical visions?  If you really think about it, the number can be breathtaking.  There are so many people out there harboring fantastic soundscapes that beg to be heard, yet for some reason or another fail to reach the ears of the true listener.  When these dreams are realized and leak out to the public, more often than not they are an invigorating listening experience.  Such is the case with New York composer, The VLE, or Virtual Listening Experience.

Experimentation is a right of passage for a budding musician, and it must be done.  With the Book of Illusions Chapter I, experimentation is the key to the captivating aura surrounding this piece.  The familiar sounds of self-production encapsulate each track as the album moves seamlessly from one style to the next.

A short introductory instrumental is followed by “Freedom To Fly” which stands out as my favorite on the album, with its backbone of crunchy riffing and haunting clean vocals floating behind the music.  “Behold the Night//Beyond Sunsets” and “Timeless” reveal a black metal approach with its vocals while still retaining a uniquely vast sound, as if you were standing somewhere in the open and had the ability to go anywhere.  “3 In 5” is an odd piece, with a flute tugging at the sounds of a backward guitar, guiding it along its misshapen path.  The album closes with “Stark”, the VLE’s own soft classical composition and again his talent with a variance of styles is evident as this short piece sounds more lavish and dense than I would have thought.

Although this is a short album, there is undeniable talent contained within it.  I love the freedom of it and the variety of styles.  Even the unpolished production sounds full and seems to enhance many of the ideas inside.  The VLE is a dream you didn’t realize you were having, and the soundtrack to a mood necessary for subconscious tranquility.  As promised in the name, this is without a doubt a virtual listening experience.

Track List:
1.) Kano
2.) Freedom To Fly
3.) Behold The Night /// Beyond Sunsets
4.) Timeless
5.) 3 in 5
6.) Drift
7.) Stark

VLE – Mp3 Site:
http://www.mp3.com/vle
VLE – Official Site:
http://www.geocities.com/infestvle/
email: vle25@hotmail.com

12/08/01

“One cannot achieve greatness if not ruled by Illusion”

There are some seriously promising and interesting ideas abrew within this project.  As the title would suggest, this is just the beginning and it is obvious that VLE is still in its formative stages.  But as this young musician continues to tap into his abilities, VLE has the potential to evolve into something very special.  This EP alone is full of charm, despite a somewhat amateur production (which actually accentuates the effectiveness of the music) and the overall brevity of the mere seven tracks.  I believe this musician is but a few steps shy of finding the right element.  The ideas are here, and I still cannot get over the power behind some of the melodies that crop up on this CD.  A slightly more refined production will capture the attention of more skeptical listeners, and succeed in winning over those who are not as well accustomed or partial to independently produced dark music.  As well, a more reserved and critical focus on the composition itself and a patient fleshing out of these developing ideas could possibly boost VLE into the forefront of the dark music scene.  The competition is more vast than fierce; it all boils down to if whether or not this music will be heard.  Regardless, I simply cannot wait to get my hands on to Chapters II and III.

Pay a visit to VLE’s mp3 site and hear this music for yourself.

Track List:
1.) Kano
2.) Freedom To Fly
3.) Behold The Night /// Beyond Sunsets
4.) Timeless
5.) 3 in 5
6.) Drift
7.) Stark

VLE – Mp3 Site:
http://www.mp3.com/vle

VLE – Official Site:
http://www.geocities.com/infestvle/

email: vle25@hotmail.com

VLE
West 34th Street
Apt 14C
New York, NY 10001 USA
 

WINDIR
1184
~reviewed By Michael Johnson

Ever go to a party and a maybe a couple chicks get a little too drunk and decide to get naked and jump in the pool?  Suddenly, there are naked guys jumping in all over the place just for a chance to swim close to a naked girl even though a potentially sexy show has turned into a weenie-roast.  That’s how black metal seems to me lately.  A ton of Johnny-come-lately’s hopping into the pool just to brush against the soft (and full in my own little analogy) teat of success.  Now this little intro might be misleading in that you may think I am going to attack this band but it’s actually quite the contrary.  You see, in order for a band to get singled out and grab on to this breast of success, it has to get noticed, and Windir is a band that should be singled out and allowed to cop a feel.

Within seconds of hitting play on this album, I thought I had another power metal CD on my hands.  Not that there’s anything wrong with that, it’s just when the harsh screaming kicked, I was taken a little off guard.  The drumming and guitar work smack of that power metal feel and throw off that irresistible energy that has kept me a fan of it for years.  So when the screaming started, I knew I had black metal on my hands but then came the clean vocals soaring in from my blindside.  They’re awesome and I can’t help but be reminded of Vintersorg when I hear them.  And what’s this?  An accordion cruising along with the chaos?  Yep, sure is.

This, my friends, is Windir.  A combination of the pieces of styles we have all taken to heart over the years.  I love the screams, the energy, the fantastic riff-changes, the clean baritone, and even the accordion.

Windir began a few years ago as a one-man project with Valfar as the master of his own domain.  Valfar released two albums as a soloist but now with 1184, he has opened his door and allowed for a full band to assist him in his goals.  I’m not really sure how the first two albums sounded but if they’re anything like this, I’m definitely taking interest.

The magic of 1184 is that it seems to gain more steam as it moves along and each song just gets better and better, combining spacey interludes with the raw metal, and true to the black metal form, peppers the songs with orchestral arrangements.  It works quite well and my early favorite songs are “Heidra”, “Destroy”, and the trancelike closer “Journey To The End”.

I’m going to have to recommend this album to all you horn-throwers out there simply because of the immense amount of energy contained within this little CD.  If the power metal people can get past the harsh vocals, they will enjoy it as well.  I’m pissed at myself for letting this little gem sit so long before getting a chance to review it and I hope you will not do the same.

Track Listing
1.Todeswalzer
2.1184
3.Dance of Mortal Lust
4.The Spiritlord
5.Heidra
6.Destroy
7.Black New Age
8.Journey To The End

Windir Is
Valfar – Vocals, programming, guitar, synth
Strom – Lead guitar
Sture – Rhythm guitar
Hvall – Bass
Righ – Synth
Steingrim – Drums

Voices of Wonder
Website: www.vow.no

Various Artists
Working with Children and Animals: Volume 1
(Wasp Factory Records)
~reviewed by Steph

It was, I believe, W.C. Fields who refused to work with children and animals. He couldn't stand to be upstaged and did not want any competition from anything smaller or cuter than he was. The artists on "Working with Children and Animals: Volume 1" are neither small nor cute, and being upstaged should be the least of their concerns.

Wasp Factory Records, who take their name from Iain Bank's delightfully mordant novel about killing one's relatives for fun and profit, have put together a fearsome, impressive compilation showcasing their roster of fiercely individual acts. This collection of harsh gems will knock the complacency out of the most zombified music listener.

Wasp Factory masterminds The Chaos Engine kick off the compilation with "Me & My Army", which rattles out of the speakers like machine gun fire. The dense wall of noise envelops you and makes you hear strobe lights in your head. "Complicit" boasts space age sound effects, rather like being stuck inside an echo chamber, while warm guitar fuzz roars forth and fills in the gaps. There are no sanitized pop offerings here; The Chaos Engine ooze slithering menace.

Cyberpunk misfits Arkham Asylum are frantic noise mongers in a desperate race for the finish line. On "Frantic" and "Get Some", they grab you by the throat and drag you along on a dizzying, unsettling ride."Frantic" embodies the cyberpunk ideal of a man-machine fusion in the desperate, pleading chorus of "I wanna be a machine!".

The mysterious Leech Woman create unforgiving sonic mayhem with harsh, distorted vocals and pounding rhythms with sudden hollow drops. Pure perfect noise to lose yourself in.

I used to go and see a great local industrial band called DHI (Death and Horror Inc.). They used great samples, lots of spooky
vocal effects and played keyboards in a way that reclaimed them forever from poncy poufy-haired new wave bands. (Not that I'm putting down poncy poufy-haired new wave bands, you understand.) Goteki* remind me a lot of them. "Disco for the Dead" deserves major club airplay.

Tarantella Serpentine is, bar none, the greatest band name I have heard all year. Marcus Lanyon, who is Tarantella Serpentine, looks like a young Marc Almond. I almost felt duty-bound to like the music, but I was absolved of all decisions from the first note of "Cocaine Disco Riot". Pseudo-techno beats that harken to late 80ish dark electronica meld with sex club beats and vocals that grip you like an iron hand in a velvet glove.

Straight ahead punk with added distortion issues forth from Hydra, a three piece who operate on instinct and energy. "Try not to think so much!" they order on "Wake". Good idea. I think I'll shut up and keep listening.

Squid lead us into the homestretch with a mixture of club-ready goth rock, industrial noise and low-key electronic effects. Plangent vocals are the crowning touch, especially when they turn nasty without warning. "Khurkh of the Binary Khrist" is a supreme catharsis.

At the end of it all is a lovely surprise, the Skinflowers. They owe more to James and Radiohead than Ministry. They can create noise with the best of their labelmates, but they interject odd little moments of melody and introspection. The CD's closing track, "Mad Powder Keg", blends a lilting bassline with an almost anthemic guitar riff before scaring the living daylights out of you with a blast of static. The song then settles into an indie-ish vocal pattern. Compellingly odd.

Track listing:
The Chaos Engine-
Me & My Army
Complicit

Arkham Ayslum-
Machine
Get Some

Leech Woman-
Section 13
Kincaid

Goteki-
Disco for the Dead
We Can Rebuild You

Tarantella Serpentine-
Cocaine Disco Riot
Sugar Sugar

Hydra-
Feverdream
Wake

Squid-
Khurkh of the Binary Khrist
Chasing Dragons

Contact info:
Wasp Factory Recordings
PO Box 270
Cheltenham
Gloucestershire
GL51 9YE
United Kingdom

www.wasp-factory.co.uk

*Editor's Note: You may have heard "Disco for the Dead" in relation to the band SNEAKY BAT MACHINE, which is what Goteki used to be before they decided they needed a name changee.
 

YATTERING
Human’s Pain
~reviewed by Michael Johnson

For the last couple years, this band has been in my peripheral vision.  I kept seeing the name pop up on metal lists and on metal news but I had never heard them so, like a chicken, I stayed clear afraid I would not like them.  As it turns out, this is the stuff I’ve been listening to for years.

Old Cannibal Corpse, Deicide, and Jungle Rot come to mind when I play this.  It’s straight up death metal and from the sounds of this; I have come across one of the more elite death metal bands out there.  Death metal albums too easily turn into a swamp of cacophony where one song is indistinguishable from the next.  Not so here.

Human’s Pain is your typical blend of glass-gurgling growls (which make me cough a lot when I try to mimic them), insane guitar riffing complete with Slayer-esque solos, and maniac drumming.  On this release, however, the bass stands out a lot more to me than usual.  I normally lose it in the din.  “The Feeling”, “Annihilation of Fellow Creatures”, and “Eyes Can See…” (not a Morbid Angel song!) leap from this album like pages in an apocalyptic popup book.

As an added bonus with this release, there are three bonus tracks including a cover of “I’ll Neglect” by Brutal Truth and the incredible “Dittohead” by Slayer. Both are great covers but I had to laugh because Svierszcz’s clean vocals reminded me of Oderus Urungus from GWAR.

Anyway, all you death metal heads out there, if you’re looking for something new and very solid to add to your collection, this is definitely a band you should check out.  I’m going to have to recommend this only because if you ask me, this shit never gets old.

Track Listing
1.Intro
2.The Feeling
3.Unnormally Zone
4.Annihilation of Fellow Creatures
5.Demon’s Inoculate (Fourfold Change)
6.Chase of Thoughts
7.Sexual Trauma
8.Lost Within
9.Escape From The Scheme
10.Eyes Can See…
11.…Taken Due…
12.I’ll Neglect
13.Dittohead
14.Exterminate

Yattering Is
Svierszcz – Bass, vocals
Zabek – Drums
Hudy – Guitar

Website: www.yattering.pl

Season Of Mist Records
Website: www.season-of-mist.com
 

Zyklon
World ov Worms
~reviewed by Eric Rasmussen

In case you happen to run into Zyklon's debut album at your local record store and aren't sure who they are, a handy little informative sticker on the cover states that the CD features prominent members of Emperor, Myrkskog, and Limbonic Art. Seeing as Emperor especially carries a good bit of name recognition in this scene, it shouldn't be too surprising that Candlelight is marketing the Zyklon album that way. Nonetheless, this CD would be just as exciting even if it wasn't public knowledge that Trym and Zamoth were in the band. This is no rehash of Emperor's work. Zyklon is reminscent of Myrkskog, however, though far more melodic and less chaotic.

The first two tracks establish a really heavy and relentless sound. There's some melody sprinkled here and there, but more attention is given to the technical death metal riffs and some short solos. Along with other bands who blur elements of technical death metal and black metal (such as recent Immortal or Akercocke), the solos usually hit hard and fade quickly. I'm not sure if there is some unwritten rule that when playing this style of music solos are not to exceed 20 seconds in length, but one of these days I'd really like to see Zyklon expand on them more. As they show with what brief fast-fingered solos they do play, even in this style you can use them effectively to add to the sound and not lose the heavy edge.

"Chaos Deathcult" is the first song where they really slow down the tempo and make sure the lyrical message gets across. Faust's guest lyrics on "World ov Worms" draw upon the works of Nietzche, Huxley, and Orwell, and generally just tell us what's wrong with today's world. This track specifically attacks Christianity, and if the heavy riffs and brutal growling courtesy of Daemon (Limbonic Art) don't drive the message home, Zyklon has a backup plan. The song slows down and brings in some rather machine-like industrial tinged sounds into the mix, and over it you get to hear Faust's lyrics spoken cleanly by Garm (Ulver, Arcturus) and Mistress Persephone (if you don't know - don't ask).

Each of the tracks that follows mostly stays in the vein of death metal meets black metal, mixing melody and heavier riffs smoothly. At one point during "Zycloned" they even slow things down and again show their slightly industrial leanings. Machinery sounds of some sort and a neat guitar line plod along to give the listener a change of pace, before blasting forth in full force once more. And while we're on the subject of blasting with full force, I can't forget to mention Trym's drum performance. This is easily the most brutal and fast drum work I've ever heard him do. In addition the relentless blast beats he throws in a number of rapid and chaotic drum fills to keep things interesting.

The album closer, "Transcendental War - Battle Between Gods" is easily my favorite, and in itself a strong argument for paying attention to Zyklon. It shows off their ability to pound the listener with heavy death metal oriented riffs, slice and dice with razor sharp black metal guitars, and slow things down to solo a bit (for longer than 5 seconds, even!). To further enhance the variation in this excellent song, Zyklon invited Garm to contribute some really amazing clean vocals to the Zyklon style. His powerful vocal performance enhances the mood a great deal, and admittedly it was nice just to hear Garm's voice soaring over some heavy material once again.

"World ov Worms" is one of the best debut albums I've heard in a while, and it's got very clear production that gives it a powerful, driving sound. Zyklon is one metal band to make note of, even if this first release isn't quite your thing. They've got a lot going for them right now, and I suspect their songwriting skills will only continue to improve.

Track List:
1.) Hammer Revelation
2.) Deduced To Overkill
3.) Chaos Deathcult
4.) Storm Detonation
5.) Zycloned
6.) Terrordome
7.) Worm World
8.) Transcendental War - Battle Between Gods

Zyklon is:
Zamoth - Guitar & Bass
Trym - Drums, Percussion & Programming
Destructhor - Lead-guitar & Bass
Daemon - Vocals

Zyklon - Official Web Site
http://www.zyklontribe.com

Candlelight Records:
http://www.candlelightrecords.co.uk