There comes a time in every black metal band's life where they need to hang up their cloaks and wipe off the corpse paint in order to pursue other sounds. In today's music scene, even the truest black metal bands are starting to sound less than intense - we've heard it all before, many, many times. Yet Abigor has managed to stay at the top of their game in this scene, and it should be no surprise that "Satanized (A Journey Through Cosmic Infinity)" shows them taking some risks and developing an even more unique sound.

The first thing you'll notice in glancing through the "Satanized" booklet is that the album isn't just your typical devilish black metal release. The sub-title of "A Journey Through Cosmic Infinity" signifies something a bit more in the sci-fi vein - there's no room for corpse paint here! Looking through the booklet some more, that initial assumption is only confirmed. Abigor's heavily satanic lyrics are now hovering somewhere near the Milky-way. Song titles like "Satan's Galaxy" and "Battlestar Abigor" best show the more space-oriented take on mayhem and satan that Abigor opted for this time around. Even the pictures of the band are different than before. You can see the members standing in front of a backdrop of space instead of starting fires in a forest.

So how has this impacted the music? In a few ways, all of which I think are positive. From the album's opening sample of a man saying something like "Welcome to the leading edge in brain mind technology," to the very ominous sounding keyboards, you can tell you're in for a new interpretation of hardcore black metal. The production is also a lot clearer than past Abigor releases, allowing for a slightly less fuzzy but overall heavier sound. The mixing separates the guitar work very effectively so you can hear Peter K.'s twin leads and kickass rhythm guitar. I don't know how he manages to come up with so many interesting riffs, especially when he's handling all lead and rhythm guitars for this release.

"Repulsor" is a great example of his ability to write many memorable guitar lines and keep things exciting. The song varies between really fast and melodic guitar leads to a thrashier sort of rhythm guitar, and even incorporates some elements of technical death metal to break things up a bit. Nearly every riff in the song is suitable for headbanging, though the unexpected timing changes and variations in the playing style are bound to give even the most experienced of headbangers a challenge. In fact, amateurs are better off not exceeding any sort of general nodding to accompany the music - I really believe trying to keep up with the guitars on "Satanized" could throw someone's neck out of alignment in no time.

Another standout track is "Battlestar Abigor." It has some great thrash-oriented riffs and some really frenzied lead playing that gives it a chaotic feel. It's also noteworthy for having what is destined to be one of the greatest metal choruses of all time. Thurisaz LiD leaves behind his rasp to go all out in a shouted chorus about Battlestar Abigor.

"Galaxies and Eons Decline" shows off Abigor's ability to mix in some atmospheric tension with all the chaotic black metal intensity. The song slows down at several points and some eerie sounding keyboards and guitar accompany a rather foreboding bass line. This eventually leads into some creepy spoken words that are bound to keep listeners on edge.

Each of the following tracks is equally awesome, though some of the playing in "Luminescence of Darkness" really shows off Peter K.'s ability. In one of the stereo channels there is one of his trademark chaotic melodies, and running along side it in the other channel is a heavier power chord version. Sometimes it can take a few listens to appreciate all of the guitar lines and variations on them you'll hear throughout this album, but the mixing makes it a lot easier to hear than previous Abigor releases.

Even though the guitar work is what most stands out and defines Abigor's sound, the drumming here is able to keep up flawlessly. Mortiz N. of Korova and Korovakill is handling drum duties, and anyone familiar with his past work knows he's used to demolishing his drum kit along with even the most insane timing changes Korova could come up with. The production on the drumming gives it a rumbling, undefined sort of sound that fits the music perfectly. The vocal performance is my only real complaint about "Satanized." The rasping starts to lose its intensity throughout the CD because Thurisaz rarely varies his recitation of the lyrics. It might be extreme when you're first exposed to it, but it becomes common place by the end of the album. When he does break out of the limitations of that rasp, however, he manages to keep things entertaining. The eerie spoken parts and the epic clean choruses add a lot to the Abigor sound. With any luck, he'll expand on that for future releases, or at least vary his rasps some more.

"Satanized" definitely isn't for everyone, but it's an excellent "hardcore black metal" release. I wouldn't be surprised if true black metal elitists leave behind Abigor for expanding their sound and using production that allows one to actually hear the instruments - but I think anyone who has followed the recent work of Emperor or Immortal will be able to keep up. Anybody interested can check out a sample mp3 in Napalm Records' products section.

Track List:
1.) The Legacy
2.) Repulsor
3.) Battlestar Abigor
4.) Galaxies And Eons Decline
5.) Luminescence of Darkness
6.) Nocturnal Stardust
7.) Satan's Galaxy
8.) The Redeemers Return

Abigor is:
Virus 666 P.K. - Guitars
Thurisaz LiD - Bass & Vocals
Mortiz N. - Drums
Lucia-M.F.K. - Synth arrangements

Abigor - Official Web Site:
http://www.infernalhorde.com/abigor

Napalm Records:
http://www.napalmrecords.com

All About Eve
Live and Electric at the Union Chapel
~reviewed by Jezebel
(image property and courtesy of the All About Eve website, by Howard Crowe)

Brilliant. Sensual. Sexual. Hypnotizing. Mesmerizing. Emotional. Gentle. Graceful. Uplifting. Breathtaking.

A few adjectives for a night and now CD, that defied adjectives and pleaded for new ones to be created to fully describe what happened at an intimate show by All About Eve.

For those of you who don’t know, All About Eve is back. Splitting up in 1993, they have each taken on different projects (jules et jim, Mice, Julianne’s work with This Burning Effigy, etc.). Opening for Mission on their tour in 2000, All About Eve was back. Marty Wilson-Piper, Andy Cousin and the amazing songbird, Julianne Regan reunited not just for those shows, but to test the waters and see if anyone still listened, or even cared.

Since then, AAE have been for the most part, touring non-stop. Acoustic shows, electric shows and combos of the both, all through the UK have proven to them that they were indeed always listened to and never ever forgotten. In fact, people were always praying silently that they would reunite. The fans still cared.

But as I unwrapped my Union Chapel CD, I was nervous. I had been at this show. I sat in the pew and rocked and danced and dreamed. It had been a magical show. The band had taken time to put tea candles completely around the stage and as had been their trademark, fairy lights around the mike stands. With the stained glass, the gorgeous senseof history and spirituality the venue was perfect. As Julianne herself has said, “All I can say is that I was stood in the vortex of a twinkly, sparkly spangled spiraling sonic smoky delicately thrashy twilight midnight dreamworld. All I know is that, for me, and for my lovely fellow Eves, that night was special. I personally felt that it made the Royal Albert Hall look like a bingo hall.”

So could they capture it on CD? Could they somehow make me feel like I did that night? And perhaps more importantly – could it make someone who wasn’t there feel what we all did?

The answer is a resounding yes.

Starting with the beautiful and whispering "Lady Moonlight", the album immediately wraps you in a warm feeling, touching you gently and relaxing you. You are at ease. Marty slowly and seductively strums out his guitar. It touches you on the shoulder, bades you a sweet hello. And this mood, this feeling, something of a tangible sigh continues though the next tracks of "Freeze, Wishing the Hours Away", and the poignant and melancholy ballad of "Martha’s Harbour".

And then it rocks…Marty gets the chance to play loud and hard in "Wild Hearted Woman" and "In the Clouds". The album just continues taking you on an emotional and amazing trip through all of the music that makes All About Eve a band that can leave, and come back years later and pick up with you again. Their music is timeless…because clear beautiful vocals, poignant, insightful lyrics and amazing musicians is something that never can lose its place among those who appreciate what music is about.

Surprises of the evening and the CD included "Forever", one of Marty’s songs, and Julianne made this song enrapture. As well as "You Bring Your Love To Me", another of Marty’s songs, this one another love song which Julianne’s vocals give a special touch.

December is not just the beautiful song which reminds all what it is like to be alone near the holidays, but it is haunting. The echo from the venue, the sweetness of Julianne’s voice, the subtlety of the guitars, cutting out to allow acapello from Julianne…..her sigh…her leaving the notes to just hang in the air…..”taking our breath away”.

The reworkings of the songs make them find new life, new energy and new places within our hearts. I went back to my collection of AAE thinking that they would somehow not be as much anymore after this…but that was wrong. These versions gave fresh spins on old masterpieces and there is enough room for both in my world and heart.

This limited edition 2 CD album (once these are sold out a one CD version will be available) includes on the second CD, "Scarlet", "Never Promise Anyone Forever", and one of my all-time favourites, "Farewell Mr. Sorrow".

Do you remember walking out
The day it rained forever
And you were wondering
If I held dreams of wedding rings
Well, farewell Mr. Sorrow

Who doesn’t have someone that song relates to?

I can go on. And on. "Shelter From The Rain" makes softness powerful. The “lightening strikes again”.  And what I have always felt is an anthem for those always left of center in the world, "What Kind of Fool".  Those single notes being played, you can hear on the album how the crowd went wild. And the final track, as you hear thecrowd roaring (believe it was a lot louder that night), "Outshine The Sun", which I had not been familiar with, is a lovely tune which made the whole audience as well as the listener, rock contentedly to themselves.

The one thing this CD is missing is the banter between the three. Always witty, always on mark, the three just make you feel like you are sitting in their living room and you are all just joking about. Julianne plays mother or older sister role, “tut tutting” the more raucous behaviour of Andy and most certainly, Marty. (He is a fiendish little devil).

Have the Eve’s lost anything over the years? No. This CD proves it. Marty is still a breathtakingly amazing guitarist and ham (unfortunately, the 15 minute version of "Every Angel", which they did foran encore did not make the album – a complete shame as Marty really out did himself). Andy still is the base of strength and subtle power in the group and Julianne’s voice still has the haunting strength and pull that makes it one of the most touching and memorable voices in the goth and music world. Ironically, Julianne was terrified that night as she had been ill with throat problems and was fearful that she could not sing. This did not seem evident the night and certainly not on the CD.

This is the third of the live CDs they have released inthe last year and a half and are working on new material for an entirely new album. (Join in my dance of happy joy please.) All About Eve are back (did Isay that already?) They should have never left in the first place, but we are all the more happy just to have them again.

Track List:
1.Lady Moonlight
2.Freeze
3.Wishing The Hours Away
4.Martha’s Harbour
5.Wild Hearted Woman
6.In The Clouds
7.Miss World
8.Are You Lonely
9.Interval
10.December
11.Forever
12.More That The Blues
13.You Bring Your Love To Me
14.Shelter From the Rain
15.What Kind Of Fool
16.Outshine The Sun

Bonus CD Tracks:
1.Scarlet
2.Never Promise Anyone Forever
3.Farewell Mr. Sorrow

All About Eve are:
            Julianne Regan – vocals
            Andy Cousin – Bass and acoustic guitars
            Marty Wilson-Piper – Electric and acoustic guitars

Appearing on this album:
            Rik Carter – Keyboards, acoustic guitar and bass
            Del Hood - drums

Official All About EveWebsite:
http://www.julianneregan.net

Arch Visceral Parlor
Lascia
~reviewed by Matthew

Arch Visceral Parlor is a relatively new act hailing from Chicago, responsible for a spellbinding blend of darkwave romanticism and shoegaze atmosphere.  Soft strains of glorious ebow passages, lulling bass lines, and surreal synthesized swirls all make for a beautiful and highly entrancing package.  The dense and dream-like soundscapes are capped with the breathy alto of Abigail Ferraris, who opts for a decidedly more primal vocal approach, as opposed to rigid attempts at angelic operatics.  Not that there is anything wrong with soprano vocals, but mediocre soprano vocals have become all too common to my ears.  As of late, I’ve preferred my divas to possess deeper, duskier tones and Ms. Ferraris’ falls in the range of the soul-stirring lamentations of Jarboe and Susann of Love Is Colder Than Death, and therefore, does not disappoint.

The band succeeds in creating solid rhythms, courtesy of well-disciplined drum programming, which more often than naught could pass for live, organic drumming.  A big plus in my book.  A raw, lo-fi production elevates, as opposed to hinders the overall sound of AVP.  That, combined with the fluid ebb and flow of warm synths and jagged rhythms recall Lycia’s dramatic debuts “Wake” and “Ionia,” though this is definitely not quite as eerie and desolate.  This is warm, romantic music, and though I have yet again made the New Year’s Resolution to try my best not to compare bands to other bands in reviews, I can’t help but want to compare AVP to the early years of Love Spirals Downwards in lieu of the haunting guitar style and the frequent use of the ebow, and since LSD have been consistently moving away from that sound, I am relieved to hear that a new band is carrying the torch.

AVP’s sound is definitely not something groundbreaking, but it is certainly refreshing and in many ways unique considering the still predominantly electronic and synth-based direction of the dark music scene at the moment.  This is just as indie as it is Goth, a nice balance in between the two and therefore not limiting the appeal of the band.   The songs are longer, involved, and hypnotic, languishingly drifting from track to track, the CD clocks in at just under fifty minutes.  “Impermanence” is perhaps the discs most memorable track with Abigail’s most impassioned performance. “Come back, come back, return, return” Abigail convincingly pleads at the chorus.  The lyrics examine the brevity of love and the empty aftermath, and the reverb-drenched desperation of the music is indeed effective.  “The Cleaving” is a more rhythmic track, the drumming is at the forefront, the vocals acquire a more anxious urgency, and the guitar moans and wails eerily in the background.  Quite cool indeed.   Another highlight is “Little Horses,” a dream-like interpretation of the traditional lullaby that Current 93 (with the aid of Nick Cave) made famous on their 1996 masterpiece.  AVP’s version is coloured with a droning psychedelia, with murky waves of warm synths and accents of music box chimes.

The album closes with two tracks that were apparently recorded live.  “That Medieval Rogue Song” speaks for itself with its clever title, a mischievous track seasoned with bouncing harpsichords, a shuffling rhythm, and rapid tongue-twisting vocals.  Though not disrupting the dream-like fluidity of the disc, it does add a fresh and dare I say, festive dimension to the album.

Overall, AVP are a delightful and promising new act that I am thankful to have been exposed to.  Having already opened for acts such as Sorrow and recently, performing with Element at Scary Lady Sarah’s annual Saturnalia winter event, I hope that Arch Visceral Parlor will continue to make the same honest and emotional music, and receive attention beyond the Chicago area.  Fans of the Cocteaus, Slowdive, Mira, and other 4AD and Projekt styled artists should keep an eye out for a new release this winter, and visit the band’s website for more information.

Tracklist:
1.) Wire Hazing
2.) Impermanence
3.) The Cleaving
4.) Bitter Moon
5.) Little Horses
6.) Stopped
7.) That Medieval Rogue Song
8.) Prague

Arch Visceral Parlor is:

Abigail Aileen Ferraris – vocals, keyboards
Nathaniel Fremont – guitar, drum programming
Andrew Germkow – bass, strings, programming

Arch Visceral Parlor – Official Site:
http://www.archvisceralparlor.com

Belisha
The Hounded
~reviewed by Jezabel
(photo courtesy/property of the band's website)

After a recommendation from a leading DJ here in London, I decided to give Belisha a listen…I need to listen to that guy more often.

The first track at first made me doubt the word of my intelligent friend. Wormwire seemed disjointed and out of synch as if the metronome used by the band had gone all wrong and they kept playing with it never realizing that it would speed up and slow down…and not that delicately. Perhaps an “effect” was being approached here, but it left me taking deep sighs and hoping for something better.

And I was not disappointed in the least. These men from East London are another of the bands that need to be watched because of their versatility and strength, something sorely lacking in many bands who can do one thing well and that will be it. The fiercely danceable Cannibal should work well in the club scene, as will the title track, The Hounded and especially, The Fall of the Evergreen (although most Goths might be out of breath after the first chorus). These are danceable goth rock tracks with a metal twist brought in for good measure and even enough electronic in the background to keep bleepy types somewhat satisfied (although why that would be important is beyond me).

And for those like me who like an album to ebb and flow and turn and twist, there is "Into the Capsian Sea" and "Every Sentimental Moment". Both, especially the latter showcase a poetry in the lyrics that are in sharp contrast to the rest of the album.

From "Every Sentimental Moment":

           Life has such meaning with true love that’s burnin
          Changing my yearning for your love that’s turning me

No….that is wrong. I have it wrong as I read through more. There is a poetry in ALL of the songs and that is perhaps what makes it magical. Through this lovely poetry and fine writing (and great vocabulary – calubrious????) the music creates enough strength, anger and energy to take the poetry to another level, changing its identity and giving it more levels than the original words possessed.

I have tried to find some similarities to other bands and I feel I may have to duck some tomatoes here. The versatility of the band actually remind me of early Goo Goo Dolls who were able to balance themselves between hard hitting punk sounding and more relaxed pop sounds.

The vocals are strong, powerful, filled with depth…. and hard to find a comparison to. Believe me, I tried. I found some of the guitar work a bit laborious, and a bit too layered, but again, an overall package that takes away any weaknesses.

Some small problems may arise for these guys if Carl McCoy ever takes a gander at the inside of the liner notes….those images are just “bit” too close to the FotN logo for taste. Thankfully, the logo for the band (available for download on their website) is nothing like the liner and actually is a quite cute alien line drawing. (Hope the guys don’t find that offensive, but I find the little guy cute).

These are hard working guys who have a new video which will be showcased on MTV-2 and Kerrang. I have yet to see the footage, but know there is a copy waiting for me.

This CD is good. It’s solid. And it a great foundation for a band. In that I mean, it doesn’t blow you away so much that any album in the future will be a let down, but gives you the band a way of bringing you in, sitting you down for a nice before dinner drink and then later, will wallop you with a seven course meal that would make a Cordon Bleu chef jealous.

Track List:
1.) Wormwire
2.) Hope of Pills
3.) Cannibal
4.) Filthy
5.) Into the Casparian Sea
6.) The Hounded
7.) Every Sentimental Moment
8.) Wolfs Head
9.) The Fall of the Evergreens
10.) Ball of String

Belisha are:
Dan, vocals
Byden, guitars
Elric, Bass
Pit, keys
Oliver, drums

Belisha - Official Website:
http://www.belisha.com

Filthy Sonnix Records
http://www.filthysonnix.com

Bitter Fall
Sweet Rise
~reviewed by Kevin Filan

Bitter Fall's "Sweet Rise" induces altered states of consciousness: it gives the listener flashbacks of 1995.  The grungy guitars, mumblemumbleSCREAM!!!mumblemumble vocals and metal-edged power chords are pure post-Cobain alternarock.  I could see Bernard Kadosh, Greg Kowalczyk and company opening for an Alice in Chains/Soundgarden bill.  This isn't to say that Bitter Fall is a bunch of alternaclones.  They aren't just sounding the notes; rather, they've captured the melancholy power of stadium rock's twilight years.

This is no mean feat.  Many of these mid-90s bands were derivative of earlier sources like Black Sabbath, Neil Young, and Nirvana.  A band doing postgrunge today runs the risk of sounding like a pale copy of a pale copy.  There's also the issue of timing: postgrunge is too dated to be "cutting edge," yet too recent to win nostalgia points.  (Nothing is quite so old as last season's Big Thing).  Bitter Fall pulls it off largely by sheer talent.  Rockers like "One More Time" and "My Sweet Valentine" feature excellent guitar/synthesizer interplay and a fat synthesizer bass line to keep things moving along.  Like the best postgrunge bands, they combine the raw power of garage rock with top-notch musical skills.

Bitter Fall makes extensive use of programming and sampling, but keep things from sounding either sterile or industrial.  The sinister thrumming synthesizer/guitar riff underpins the crooned-whispered-shrieked vocals of "Butterflies and Black Skies" and serves as support, not focal point. The pacing is always brisk and never self-indulgent.  Even a grinding power-chord workout like "Drown" keeps moving along, thanks to a nice sprinkling of distorted minor guitar chords and some rock-solid use of electronic drums.  (That being said, I'd really like to see Bitter Fall onstage; Alex Marr's live percussion could very well crank these songs up several anthemic notches).  Perhaps the only misfire is their cover of "People are Strange" which is faithful to the original, but doesn't really add anything to it.

Seven years ago, Bitter Fall would have been on the fast track to an MTV video.  Seven years from now, they could well be at the forefront of bands doing the "90s sound."  Right now they've released an interesting and hard-rocking disc which deserves a listen, and which leaves me looking forward to their next release.

Bitter Fall is:
Bernard Kadosh: Vocals, Guitars, Keyboards/Programming
Greg Kowalczyk: Keyboards/Programming
Scott Middleton: Guitars
Alex Marr: Live Drums

1) One More Time
2) Drown
3) Butterflies and Black Skies
4) Angels Don't Lie
5) My Sweet Valentine
6) Sweet Rise
7) People are Strange
8) How is this Going to End?

Bitter Fall Website
http://www.bitterfall.com

Hexagon Records Website
http://www.hexagonrecords.com

Black Ocean Drowning
Negative Life
~reviewed by Matthew

Black Ocean Drowning is a five-piece outfit hailing from Michigan.  Their music is a synth heavy blend of mid paced Goth Rock with a decidedly more hard rock/metal tinge to their guitars.  Somewhat in the same league as Advent Sleep and Seraphim Shock, but a bit more relaxed and atmospheric. The vocals are quite raw, sometimes sounding as if the singer is teetering on the brink of a violent explosion of angst, but sadly, that sort of intensity is only hinted at, and we are left at only the potential.

While a descent band, there seems to be something missing.  They do project a full, organic band sound, with a tight rhythm section supplied by dark bass tones and drum passages that frequently lead into tribal cascades.  The guitars crunch along, sometimes employing the use of simple power chords, but more often than naught they provide a fuzzy, sonic distortion that recalls a more dense old school Goth sound.  The synths however, carry the central melodies and they seem to form the overall nucleus of the band with the edgy male vocals at the forefront.

This is one of those bands that I think might end up being more captivating live.  More often than naught, when you see a band live and then hear their CD, the memories of the live energy gives the CD further animation.  The energy is here, but it sounds as if Black Ocean Drowning are restraining themselves a bit, reluctant to give into a full out musical and vocal attack that they seem capable of.  The vocals need a bit more variation, and I would love to hear this guy freak out a bit.  He has a very strong voice, but it often slips out of key.

I think Black Ocean Drowning have a lot more to offer.  Though we only recently received this CD to review at Starvox, the copyright is 1998.  I am wondering if the band has gone on to do more, and if their compositions since have at all explored the potential that “Negative Life” hints of. There website is not all that informative, and the label’s site just lists a simple bio and provides a link to purchase the CD from Amazon.com  Whatever the case, there is still something slightly amateurish about this release.  Nonetheless, I would rather listen to something of this nature, the product of five active flesh and blood musicians, as opposed to some basement or home computer electronic project.  Keep an eye on these guys; hopefully there is more to come.

Track List:
1.) One Foot Sky
2.) The River
3.) Babylon
4.) Transparent
5.) I Can’t Breathe
6.) House Of Cork
7.) Crush

Black Ocean Drowning is:
Jeremy – vocals, samples
Chris – guitars
Toby – bass
Derek  – keyboards
Jeff  - drums

Black Ocean Drowning – Official Site:
http://www.blackoceandrowning.com

Medea Records:
http://home.earthlink.net/~medearecords

Bleeding Like Mine
Never again will I dream
~reviewed by Jezabel

Quietly and sensually the music from the second release from this band makes its way out of the speakers and into the bowels of whatever disparity you are feeling in your life. Frightening how the simple sounds and soft tones of vocal can actually grab you – but it is in this that BLM succeeds. Curt and Holly Emmer have again made something that is in the world of Black Tape for a Blue Girl, Libitina, lovespiralsdownward and takes their own place among them.

The vocals of Holly Emmer and guest vocalist Hugues Dammarie, from O Quam Tristis… (who also performs flute) gently weave a curtain of despairing words and emotions through the lyrics of Curt Emmer. It seems we are going through a devastating breakup and feeling every shift in love, hate,despair, desolation, loneliness, regret, hope and betrayal. This is the epitome of the volume of poetry written by the 16 year old feeling his or her first breakup – but yet with the ability to write like an adult.

It is almost as we are taken through the five stages of death. Denial, anger, etc. In fact, Denial is the second track and it states clearly, succinctly what goes though so many minds initially after thebreak-up…..

            No, I know you’ll be back, what with the life we are building, and the castle wallaround us…..or between us?

And the fear, as one wonders how one will go on, “without the strength of you open arms I will surely not survive.”  And then the questions and perhaps, subtlety– the anger, “When will you realize the mistake you’ve made?” And more anger comes in Shallow and beyond where the anger starts to build lyrically and continues to do so in "Waiting for the harvest never to come". And then gradual start of acceptance, “You can’t replace the past, can you? Even if you watch the movie”  You can start to hear it. The questioning of it all –"Did we ever know love at all?”.  And then the proclamation in "Untitled #27: Renewal,“  "Teach me to have, and to hold and to feel the powers of love once again.”  And that wonderful time, when you know that you will never feel like this again, you won’t listen to that album that makes you think of the other person, you won’t go to that diner again, “Never again will I relive the time of you.” But the real acceptance comes later, in track #16, “ I’m a better person for losing you. I’ve learned all I can from the memory of you, not it’s time for me to go on…. it’s time for you to go.” But does it really come at all? In the liner notes, Track #16 has lyrics, on the CD itself, it doesn’t. Leaving the listener to contemplate if the resolution of a broken heart has truly come or is it wishful thinking and hope of the writer?

I think the only shortcoming of the lyrics is the over use, abuse we may say, of the question and the question mark. Of the 16 songs this CD offers, 8 have questions, most have more than one. And although this may sound like I am being picky – I think there may have been more innovative ways of phraseology than that and, reading the lyrics, as I am want to do – it gets tedious. I do understand the doubt and questioning that obviously is done during times that are described and emoted about throughout this album, but it is the artists’ job to bring a new twistand a unique way of relating those questions. But enough said on that.

The voices of Holly and Hugues are actually perfectly suited for the music and blend well with it, creating a perfect marriage. I would have loved to hear a duet with the two, feeding off the softness, yet intensity of their voices. The strongest of the male songs, coupled with the music, not only the vocals, is "Faith Abandoned"….there is something very hypnotizing of it all, of the repetition and Hugues lovely tenor dancing over the notes. As for the female led songs, all are strong, her alto voice finding lovely nuances with a note, almost in the vein as Monica Richards can do – but softer, more angelic sounding.

There are some mysterious, if not basically quirky things about this band. One, despite checking out several websites, I could find no history of the band, more info on the members, or from where they come. I~think~ the States would be the answer for Curt and Holly, but assume Hugues is from Europe (I am guessing France or Italy) as the fact that English is not his first language seems apparent on several tracks. Two, rather uniquely, they are very forthright about where the majority of the album was recorded – in the apartment of Holly and Curt. What strikes me about that is the normal fashion of creating a “name” for home studios to look more professional as a band has been abandoned.  Now, I know quite a number of bands and their albums who have never even seen the inside of a professional studio, but you would never know from the liner notes, and perhaps more importantly from the quality. I don’t think is a bad idea for a band to do– creating a fictious name for a studio they record in. But the honesty of Curt and Holly is refreshing and somehow makes me give them perhaps more leeway in quality – which they don’t need anyway.

The music is lovely and relaxing. All I wanted to do while listening to this album was to get into a warm bubble bath in a room filled with candles and drink a lovely glass of rich burgundy. Soothing despite thesubject.

Track List:
Untitled #8: Chapter 4
Denial
In your flesh lies the key; Chapter 2
Untitled #18
Shallow and beyond (Phrases 5 & 6)
Waiting for the harvest never to come
Untitled #23
And now it’s gone
10,000 years… or tomorrow
Did we ever know love at all?
Waiting…: Chapter 2
Untitled ~27: Renewal
Faith Abandoned
In your flesh lies the key (v.2)
Never again will I dream… (the Tower:Chapter 3
The hardest to let go

Bleeding Like Mine are forthis recording:
Hugues Dammarie – Voice on tracks 3, 4, 7, 9, 10 13 &15, flute on 4 & 7
Holly Emmer – Voice on tracks 2, 5, 6, 8, 11, & 14
Curt Emmer – All other instruments; voice on 11 &12

Band’s Website:
http://www.geocities.com/SunsetStrip/Alley/2044

Distribution from Palace ofWorms
http://utenti.tripod.it/palaceofworms
 

The Blue Hour
Evensong
~reviewed by Matthew

Seattle’s Blue Hour is primarily the solo project of one Brian Hodges.  This debut release “Evensong” is a sedate, romantic collection of dark folk ballads with a twist of Pagan mythology to colour the lyrics.  The music is very relaxing, mellow, and depressively introspective.  The listener feels as though they have snuck up behind a lonely troubadour in the forest, pouring forth his heart upon his lute (in this case his guitar).  There are shades of modernity to be found in sparse and subtle keyboard work, which is employed for the most part for a few scattered ambient interludes throughout the disc, but as to flesh out the musical backdrop of the remaining tracks.

If the song titles alone didn’t hint of Mr. Hodges’ admiration for Sol Invictus, his cover of “Lex Talionis” will solidify any suspicions you may have had.  And indeed, his version is a unique and perhaps more minimalist interpretation.  A much starker and more intimate version than the original, The Blue Hour version is simply much creepier and more foreboding.  This of course, is a good thing.  I was very pleased with his cover of a very familiar and timeless apocalyptic folk classic.

Unlike Tony Wakeford, Brian’s voice is very clear and commanding, sometimes a hint of Thanatos’ vocalist shines through while at other times he sounds like a more sincere Johnny Indovina from Human Drama.  He has a very ‘youthful’ voice, which suits the music quite well.  Sometimes his voice soars smooth and heartfelt, while at other times he relies upon a chilling, malevolent whisper, as in the masterful closing track “Red Sands" (Which also feature a few lines from metaphysical poet John Donne, and you can't go wrong with that!)

My only problem with this CD is a very minute one, and that is I feel the ambient interludes sort of disrupt the momentum of the CD, certainly it disrupts the seeming medieval simplicity of it all.  I see the reason behind their inclusion, to stir things up a bit, but I wonder if it is really all that favourable a mix?  Perhaps something more striking and complex might due.  At worst, some with more demanding attention spans may find the CD to be a bit too mellow.   While I enjoyed the moody gloom of the CD, I do think it could stand a bit more moments of tension and musical expansion. The Blue Hour mp3 site suggests influences by the composers Mahler and Shostakovich, so perhaps there is much more to come. Regardless, I definitely see a healthy future for The Blue Hour.

With those small things aside, “Evensongs” is a fantastically organic and richly arranged CD, and though mellow, it is not at all boring.  The mood is dark; the overall feel of the CD is definitely a deep, murky, and introspective journey that World Serpent and apocalyptic folk fans will instantly enjoy.  The quality of the vocals as well will immediately sit well with potential listeners.

Definitely one of the better CDs I have heard recently, and perfect for late night lamentations and for moments of melancholic relaxation.   Keep an eye out for The Blue Hour on the upcoming World Serpent tribute release to William Blake, where an interpretation of “Night” will appear.

Track List:
1.) The Navigator
2.) Eyes Of Nature
3.) A Tree Stands Alone
4.) A Garden In Winter
5.) I Am The Wind
6.) Mirror Of October
7.) My Lady Upon Silvery Pool
8.) Procession Of The Sun
9.) Silence My Dress
10.) Lex Talionis
11.) Temple Of Ice
12.) This Path
13.) Red Sands

The Blue Hour is:
Brian Hodges – vocals, classical & acoustic guitars, flutes, loops,
keyboards, percussion, and programming

With:
Christopher Gladis: 12 string acoustic and electric guitars, programming
Tom Moller: percussion on “Eyes Of Nature” “I Am The Wind” and “This Path”

Contact:
bluehour93@hotmail.com

Website:
www.blue-hour.net

mp3site:
http://www.mp3.com/thebluehour

Perun Records:
http://www.terra.pl/perun

Borknagar
Empiricism
~reviewed by Eric Rasmussen

Ok, we need to get this obligatory part of the review out of the way - yes, Simen Hestnaes has left the band. Since he is one of the best vocalists in metal, it's a great disappointment to see him go to a band seemingly not interested in his vocal talents. Simen first joined Borknagar for their third release, The Archaic Course, and I consider this to be a classic. However, I was less impressed with last year's follow-up release, Quintessence. Simen used more of his deathy/growly vocals on that one and far less clean singing. And that's why I was all prepared for Borknagar to start fresh with a whole new line-up. They've got Tyr on bass (he was the touring bassist for Satyricon and Emperor); and Asgeir Mickelson (drums) and Lars A. Nedland (keyboards) are now full time members. Perhaps the most noticeable change is that Vintersorg (of Vintersorg and Otyg) now handles the vocals.

With all of these changes, it was hard to predict where Borknagar might go. Lesser hands would have muddled up everything they had going because of all the line-up problems. But Borknagar has manged to craft a quite enjoyable release here despite any of that, and I'm all the happier for it.

Empiricism is Borknagar's fifth release, and it is their most mature album yet. It has more of a progressive edge than past releases; the drumming is more technical, and the keyboards play a more noticeable role. Whereas the bass playing on past releases was all but inaudible, you can hear it clearly, and Tyr's talent is very evident. Yet at the same time, this isn't just a more progressive Borknagar. In fact, in some ways it has an even stronger folk influence than before. Several of the songs are slower, earthy sounding tracks that aren't as aggressive as past Borknagar. They move along at a pretty mild pace and are full of some well performed clean singing. Even acoustic guitars weave their way into the sound now and then, adding to the organic feel.

Every member contributes a surprising amount to the feeling on Empiricism. The improved production lets the drums and bass shine through, and the technical yet fitting performances mix with the rest of the sound perfectly. The keyboards are more pronounced and varied than before, and I particularly like their use on the instrumental "Matter & Motion." Vintersorg's vocals are actually quite fitting to the sound. He can handle the whole growly aspect of Borknagar's vocal sound, but more often than not he's using his clean voice. For some reason, his vocals in Otyg and his solo band never really appealed to me. I'm not sure if he's just continued to grow as a vocalist or if he's altered his style somewhat for this Borknagar release - but it works. The guitars are, as always, very entertaining. Oystein G. Brun has always come up with some really creative riffs, and Empiricism is no exception. There are even a couple of memorable solos that enhance the songs they are on. The solo towards the end of 'The Genuine Pulse' is a prime example.

Quintessence wasn't a bad release, but I did feel that it was a bit rushed and messy, and failed to live up to The Archaic Course. I don't know that I'll rank Empiricism quite as high as The Archaic Course, but the albums are different enough that no competition between them should be necessary. Borknagar has improved their sound a great deal, and Empiricism has some of their most well composed and thoughtful songs to date. I'll probably never like Vintersorg's vocals as much as Simen, but even that isn't much of an issue. Vintersorg isn't trying to emulate Simen in any way, and he has a pretty unique sound of his own. After Simen's mostly deathy sounding vocal performance on Quintessence, I think Vintersorg is actually a refreshing change of pace. He is quite capable of accompanying the more folkish and progressive sides of the Borknagar sound.

If Borknagar can maintain this line-up for any length of time, I think we'll see them put out some really unbelievable material. For now, Empiricism is far above average and is a worthwhile listen for fans of Borknagar or Vintersorg and Otyg. Be sure to check out whatever MP3s Century Media posts, and last time I checked there was a full version of "The Genuine Pulse" up on Borknagar's own site. That's one of the album's more aggressive and progressive tracks. Overall, Empiricism is worth the time of anyone into this style of metal. You probably know who you are.

Track List:
1.) The Genuine Pulse
2.) Gods of My World
3.) The Black Canvas
4.) Matter & Motion
5.) Soul Sphere
6.) Inherit the Earth
7.) The Stellar Dome
8.) Four Element Synchronicity
9.) Liberated
10.) The View of Everlast

Borknagar is:
Oystein G. Brun - guitar
Vintersorg - vocals
Lars A. Nedland - synthesizers
Asgeir Mickelson - drums
Jens F. Ryland - guitar
Tyr - bass

Borknagar - Official Web Site:
http://www.borknagar.com

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

The Brickbats
Monster Party
~reviewed by Blu

The long awaited, and I do mean LONG AWAITED, new Brickbats CD, Monster Party, is FINALLY here. I thought I'd be a zombie myself before it finally came out. But impatience aside, it was worth the wait, as I expected it would be. Playing Undead Rock and Roll music since May of 1995, the Brickbats have been, in my opinion, the leading band in the deathrock/gothabilly cross over genres before there were even genres of this sort. They are the grand-daddies of Monster Music and no one will ever do it quite as well as they do. Their discography reads: Sing You Dead (1995), Party Seriously EP (1997), split single w/Stiffs Inc. "Funeral Drive/Brand New Casket" (1997), Hysterical Popular Music Group With Bad Motivator Destroys Fever Swamp In Cherry Tree Monstrosity EP (1998) Creepy Crawly - The Unauthorized Autobiography of Undead Rock And Roll Music (1998) and Monster Party (2001). Some of these are harder to come by these days but I suggest you check out Middle Pillar for all your Brickbats needs.

Onward to the new tunes, shall we?

First things first though, the look of the CD is alot of fun - decked out in bright Halloween Pumpkin orange, it features some pretty nifty block prints done by D.W. himself. And you thought he was just a mere musician? Ha! The inside photo tray also features a great collage by Aemen and Erin (The Crooked Forest) which depicts a dance hall with all sorts of classic monsters -- Dracula, the Wolfman, Frankenstein, the Swamp Thing, etc. and of course D.W. Friend, Corey Gorey and Paul Morden.

Musically this CD is full of all the spooky, rockin' goodness you've come to expect from these guys - always delightful, never bitter, and smooth bold flavor...a'hem. "Distort & Amputate" opens up the CD and takes no prisoners from the beginning with its faster tempo (is D.W. a mad man on the drums or what?), in your face shrieking guitars and plenty o' "whoa-oh-ohs" a la Corey Gorey. "Mr. Halloween" is downright gritty - the bass sulks and slinks with a bluesy twist and it has one of the most addictive choruses I've ever heard. When Corey sings "About dancin' - yeah! About dancin' on the unmarked graves..." you cannot HELP but sing along - - that cartoonish "yeah" is the Greatest Thing Ever. "Roll, Head, Roll!" is an amazingly fast 50's type of song and I'm surprised they can get all the words out without falling over themselves - riotous fun, especially when they he sings "I want to see your head a-spinning. Hack, Hack, Hack Hack Hack" (um...no sir, my cat doesn't have hairballs, really.)

And although all of the Brickbats' material is funny, I must say the the lyrics and the intonation with which they are sung on "Body Snatcher" never fails to illicit out loud laughter from me *every* time I hear it. There's hardly any musical introduction before Corey is off singing, "I came from space to eat your face, uh -huhhhhhhhhhhhhhhhhh, I destroyed Mars, you
can't  fun far, uh-huh, Baby, you're my body..." Sometimes I worry about those boys, yes I do, yes I do, yes I do now. Inside sources tell me Paul Morden makes a cool vocal appearance singing opposite of Corey in this song as well.

Track 5, "She's So Victorian" would classify as the slightly more serious, ode to girl trouble and tip-o-the-hat to those strange girls who are fascinated with the Victorian age:

Did she have to hang the pictures of the baby in his coffin
Or cover the windows in thick black curtains
She can be so repressed, and when I ask her to get undressed
She gets depressed
Unhinge the iron gown, and drop the corset down
She can be so 1883...

Had to leave the Carpathians, had to leave the Black Sea
All those rumors getting uglified
Deep-fried in peasants dreams - Took off to Carfax Abby
Cause who there would suspect
The count of practicing medicine, specializing in necks...

The CD rounds itself out with three final songs: the bluesy, chewy and cleverly worded "Swingin' With the Bones of Batwing" (ripe for commercial takeover by popular products for the right price I'm sure as it would make *the* coolest Halloween candy commercial ever); "Homebodies" about drinking with Frankenstien in a mausoliam (or the ever increasing and sad state of my personal life); and the title track "Monster Party."  I would attempt to write out the extremely addictive tag line of this last song, but I'm afraid what ever I'd pencil in here would just not do it phonetic justice. Therefore, you must get this CD for yourself and learn the secret Brickbat call so you too can be a part of the "in" crowd in the monster world. I'm going to go practice it now while you listen for the hidden track recorded solely with children's intruments and a broken harp that creeps up at approximately 12:30 into track 13 and reeks havoc on my "continuous play" button (pssssssssssssst...here's a fun little odd fact if you're into significant numbers: track 13 ends precisely on 13:13).

Final Conclusion: a must have for Halloween if you're one of those "normal" people who only pay attention to monsters once a year but perfectly acceptable as year round music if you're not.

Tracks:
1. Distort & Amputate
2. Mr. Halloween
3. Roll, Head, Roll!
4. Body Snatcher
5. She's So Victorian
6. Dr. Acula
7. Do The Dead Girl
8. Gravesend
9. Na Na Na Na (The Creature)
10. Brand New Casket
11. Swingin' With the Bones of Batwing
12. Homebodies
13. Monster Party

This CD is available from Neue Asthetik
www.asthetik.com

or Middle Pillar
www.middlepillar.com

The Brickbats on mp3:
http://artists.mp3s.com/artists/245/the_brickbats.html

The Brides
http://www.HereComeTheBrides.com
http://artists.mp3s.com/artists/159/the_brides.html

The Memphis Morticians
http://www.memphismorticians.com/

Rock and Roll Star Destroyer on mp3:
http://artists.mp3s.com/artists/162/rock_and_roll_star_destroy.html
 

Various Artists (Somn<I>mage)
A Cage Went in Search of a Bird:
Music Inspired by Franz Kafka
~reviewed by Blu

This various artists compilation from Somnimage records was no light undertaking. At hand was the task of compiling and/or creating music that was inspired by the fiction of Franz Kafka. It required the participating bands to be at least somewhat familiar with his work and most did a superb job as I notice that several of these tracks were made specifically for this CD rather than culling old songs from previous works that might fit the theme. Any time a group of artists set out to take on a project representing one of the better (and in my opinion, sublimely bizarre) literary figures like Kafka, it stands to reason that admiration just for sheer effort of it, is called for. Comprised of 17 international bands ranging in genre from darkwave, neo-classical to experimental; it was primarily the vision of Mykel Boyd (from the band angelhood) and features outstanding artwork by Christian Faur.

Onto the tracks: I’ve always loved the darker melancholy side of Attrition (as opposed to its harsher electronic side) – especially when they use neo-classical elements like they do here with strings on “Metamorphosis.”  The violin carries the melody in this instrumental with a Russian flair – haunting, teasing and sensually perplexing. It’s an utterly beautiful piece and one of my two clear favorites on this CD. The deeply masculine vocals on La Funcion De Repulsa’s “El Escritorio De K” are evil, lamenting and suffering – I only wish were given access to the lyrics. Angelhood contributes its own piece, complete with plaintive piano melodies, echoing voices and what sounds like squeaking insect sounds (how appropriate) and Mara’s Torment, ethereal and otherworldly as always, gives us the contemplating and surreal soundscape of “Absently Gazing Out” while Loren Jan Wilson II & Ryoji Furui’s “Sample 9” irrigates the hell out of me with its loud Mario-game beeps (composed entirely digitally it notes). You can’t win them all I suppose and because I am admittedly not as thoroughly acquainted with all of Kafka’s work as I’d like to be; I can’t actually say whether or not “Sample 9” is appropriate to the theme. All I know is that sonically, it hurts my ears (sorry fellas!).  Much to my relief, Neither/Neither World comes in on the next track with a delicate darkwave piece called “Falling” -- female vocals backed by acoustic guitar paint a bleak landscape and the words to Kafka’s Metamorphosis are used as whispered spoken-word in background. Halo Skycrash offers up a harsh industrial composition with “Mortal Forcast” and probably one of the most intellectually interesting tracks on this CD is the complex and fascinating “The Dancer Eduardova” by Julian Tulip’s Licorice. This strange spoken word/soundscape composition featuring both male and female voices is more akin to performance art than a song and contains text read from the diaries of Franz Kafka. Bravo to Julian for going the extra thematic mile with this track!

Nearly half way through the tracks now, another one that’s a stand out and the second favorite of mine on this CD is Benjamin Stauffer’s “Imaginosis”. The cinematic piano playing paints a story with its lush, almost Requiem-styled melodies. It’s simply gorgeous! It runs from complicated baroque sounding harpsichord lines to deeply sinister synth lines successfully merging the modern world with a classic touch of the old and indeed, bringing Kafka’s world to our contemporary consciousness. Chagas delivers a noisy experimental piece called “Just” which is a little too abrasive for my taste and sharply contrasted on the next track, “An Awful Autum” from Shinjuku Thief that is light and bittersweet. (Here’s a nod to Mykel Boyd for making a conscious decision to alternate harsh and softer tracks keeping the mood of this CD ever changing…). Another Kafka spoken word piece is presented by Chthonic Force in the song “Solitary;” Garden of Dreams gives us a slightly darker-than-usual darkwave piece with “Into the Deep (Cage Bird Mix);” and Remora employs some strange sort of metallic sound effects that ring and echo against an instrumental melody played so far in the background its hard to hear over the noise (I’m very curious how this sound was made – I suspect its something organic and not produced by synthesizer). Oblivia delivers a crafy female fronted NIN-ish industrial bit called “Dead Zone Eve,” E.A. Zann donates a static-laced noise/experimental piece called “Early Writings” and finally, New York Room gives us the melodic “Inside the Dream.”

All in all, there weren’t too many tracks on this compilation that I wasn’t impressed with. As I mentioned before, each band is to be commended for even attempting such a hard project. Kudos to Mykel and the folks at Somnimage for having the idea in the first place and following through with it. Our scene could use some more literary references and projects like this one. With releases like this, perhaps the media will begin to look at us as a cultivated, intelligent counter-culture instead of Mansonites hiding behind false pretenses of youthful rebellion.

Tracks
1. Attrition – Metamorphosis (www.attrition.co.uk)
2. La Funcion De Repulsa – El Escritorio De K (www.noiseweb.com/genitalp/)
3. Angelhood – A Hunger Artist (www.angelhood.net)
4. Mara’s Torment – Absently Gazing Out (www.corpusnet.com/torment)
5. Loren Jan Wilson II &  Ryoji Furui – Sample 9 (http://loren.uchicago.eduhttp://hello.to/ryoji/)
6. Neither/Neither World – Falling (www.zoskiasounds.com)
7. Halo Skycrash – Mortal Forcast (HaloSkycrash@netscape.net)
8. Julian Tulip’s Licorice – The Dancer Edvardova (http://www.freakathon.com/)
9. Benjamin Stauffer – Imaginosis (www.somnimage.com)
10. Chagas – Just
11. Shinjuku Thief – An Awful Autum (http://werple.net.au/~dorobo/dorobo.html)
12. Chthonic Force – Solitary (www.zoskiasounds.com)
13. Garden of Dreams – Into the Deep (Cage Bird Mix) (www.gardenofdreams.com)
14. Remora – Before the Law (http://members.xoom.com/hrthrt/silber/remora.html)
15. Oblivia – Dead Zone Eve (www.oblivia.com)
16. E.A. Zann – Early Writings (destroyed) (www.seraphonline.com)
17. The New York Room – Inside the Dream (www.iserv.net/~nyroom)

www.somnimage.com
somnimage@aol.com

Corrosion
The Elemental
~review by Jezebel

As the opening of West Coast, US clubs start to prohibit techno, there may be hope for gothic rock and here in the UK, there are bands who are trying valiantly to continue to carry the torch, Corrosion is one of them.

Founded in the later part of 2000 by Matthew North and Paul Roe, their debut EP is rich is what gothic rock should be and can become. There is the base of strong guitars, an overwhelming, but welcome bass and powerful vocals. But here, they incorporate, to this reviewer, usage of “techno sounds” in the right dose. You hear the keyboards, the computer sampling, but it becomes part of the music, supporting what is more important, drums, guitar and bass.

The first track, "The Elemental", is reminiscent vocally of Wayne Hussey while the music is JUDITH with a stronger bass. And the second, "Resurrection Playground", is a danceable track, the vocals less Hussey-like. This could definitely get the dance floor filled, with trads as well as bleepy people.

We move on to "Dream Stalker". I must admit the title of the song made me shudder as it sounded like a bad death metal song. And I was disappointed in the quality of the song. The vocal was horrifically lost, as it seemed as they mixed it purposely, since the song may have been outside of Paul’s range. It does have the potential to be an excellent song – and again quite danceable – but would need to be reworked with either the vocal being brought forward more or perhaps dropping the melody down a half octave.

And finally, we have "Shattered Fragments", starting out excellently….I really love beginnings like this. They are all anxious and almost anticipatory….which may or may not be a word…but you sit on the edge of your seat, wondering, waiting for the weight of the song to be dropped onto you. As it builds, you want more, almost left panting for more. This doesn’t do that – it does, and quite well I think, continue to draw you in and keep you interested.

All in all, it’s a fine album and I must say the first two tracks are the stronger of the two – both danceable and filled with the promise of more to come. The second two, while excellent, leave me a bit wanting of more development into them.

Corrosion are off this year to Coventry and Euro Rock in Belgium….one of the bands that hopefully will lead us away from techno bleepy damnation and back to goth rock salvation.

Track Listings:
1) The Elemental
2) Resurrection Playground
3) Dream Stalker
4) Shattered Fragments

Corrosion is:
Paul Roe: Vocals and Bass guitar
Matthew North: Lead guitar, Bass guitar and Programming

Contact info:
Email: info@corrosionuk.com or info@gothic-rock.freeserve.co.uk
Web: www.corrosionuk.com
Post: Pludda House, Station Road, Bovey Tracey, Devon TQ13 9AS

Cybele
Interactive Playground
~reviewed by Blu

Interactive Playground is the third CD from this formerly all girl band from Norway (they’ve recently added Ronny Sveen as a bass player and programmer). I understand their former work was a bit harder – more metal influences playing into it than on this release which is still a strong CD consisting of aggressive, dark melodic pop. Certainly this new direction has made them accessible to many more genres than before and that’s as it should be – this is a great CD. They can most easily be compared to the US’s Sunday Munich, The Prids or even Belly with a careful blend of danceable, electronic beats, a strong female vocal talent, and a lovely over lay of guitars both electric and acoustic. They manage to combine the electronic elements and the organic in a professional, seamless way without becoming too trendy or selling themselves short.

Track 1, “Unison” is an immediate hit with its drama and dynamics that goes from a whisper to a wail, electronic bleeps added in as slight flavoring – delicate at first, the guitars chime then grind and the chorus comes in full power to hook you. It’s a powerful song. You’ll sing along – I know you will. “Living Satellites” is a more straightforward song with a solid rock beat until the end when more metal sounding guitar riffs coming in making for a pleasant change. “Dreams” is a quiet, beautiful song propelled by acoustic guitar; “Lazy” speeds things back up; while “Closer” embodies a more bohemian feel. Track 6, “Nevereverland” is noted as being a soundtrack for an animation film of the same name. Doing a search on the name yielded no results and the bands webpage is very incomplete so I wasn’t able to gather additional information on the film itself. The song, however, is indeed lovely – acoustic guitars (one of my weaknesses if you haven’t noticed) and Hilde sings a fluid, somewhat sad, melody reminding much of singers like Kirsten Hirsch and Björk. “No Signature” should appeal to those electronic fans out there as the programming and percussive elements are more apparent in this song than any of the others – quite like Collide’s latest release in a way and finally, “Drowning” is a slower, exotic song that gradually gears up into a harsher metal sound with brooding, crunchy guitars. (And listen a bit longer at the end of track for a refrain – very heavy stuff which I assume is more like their earlier material).

Difficult to put into any genre, Cybele would appeal to people with tastes ranging from metal to indie to dark pop lovers in general. Its an excellent CD in production, presentation and concept and well worth a listen.

Track Listing
1. Unison
2. Living Satellites
3. Dreams
4. Lazy
5. Closer
6. Nevereverland*
7. No Signature
8. Drowning

*Soundtrack from the animation “NeverEverLand” by Ironi, ide & mediaproducksjon

Cybele is:
Hilde Wahl: vocals
Elisabeth Østeby: guitar, synthesizer
Ingvild Tafjord: guitar
Ronny Sveen: bass, programming, synthesizer, chorus on “Unison”

Cybele
http://cybele.musicpage.com
cybelemusic@hotmail.com

Voices of Wonder
www.vow.no
info@vow.no

Voices Music & Entertainment
info@vme.no
www.vme.no
 

The Deep Eynde
Suicide Drive EP
~reviewed by Blu

"Little one
Your brittle bones are no match for
His Tales
Painted world of fables and phantasm"
~ from "Sandman", The Deep Eynde

Another CD that will undoubtedly make my Top Ten at the end of the year is The Deep Eynde's Suicide Drive EP. I had the honor of promoting a Halloween show that featured The Deep Eynde and the Spectres. Although I had always liked the band having  heard them on various compilations, I never had one of their CDs until that night. They utterly blew me away live and ever since then, their EP has not left my CD player. I've listened to it nearly a hundred times by now. The Deep Eynde lately, has gotten lumped into the psychobilly category having been on the Skully Records Gothabilly comps, but their sound is much harder to define that than. Having been in existence for over ten years, their eclectic mix of goth, rock, psycobilly, punk and certain cabaret elements defy specific classification. Having been called "Romantically Wicked"  and "an eccentric lifeform that holds such an elegance of dementia," lead singer Fate Fatal is worth a book in his own right, his physical appearance morphing nearly from show to show and his intellect something most journalists would love to have an hour or two to pick at. Mick Mercer wrote about Fate and the Deep Eynde in his book, The Hex Files, with admiration and perhaps a little horror.  It seems you might not ever know what to expect from them live. One thing is for sure, every amount of energy humanly possible is channeled by its members into this music as well as their stage show. The production is superb, each element expertly balanced and the delivery sincere.

"His clothes hold echoes of what his conversations said
And the hues of blue heavens is smoke from his cigarette"
- "Deep Dark Secret", The Deep Eynde

"it is a post punk cabaret with overtones of blues, surf and worldbeat ska... skinless, with nerves exposed. The music, to me, opens up like red velvet curtains in a grand old theater..." ~Fate (from an interview on BZone)

Tracks:
Dead Alive
Transformation
Superstition
Sandman
Invasion
Deep Dark Secret

Official website:
http://www.deepeynde.com/

Interview with the Deep Eynde on BZone
http://www.b-zone.de/eynde.htm

Interview with Fate Fatal conducted by the evil Marcos on August of '98.
http://members.aol.com/agentuno/death/deepeynde.htm
 

Diabolical
Synergy
~reviewed by Eric Rasmussen

Not every band spawned from hellfire pits (most of which are located in Norway, and in this case, Sweden) can be original. Logically, for 'original' to exist, we have to have the generic. But there's another class of bands that exists somewhere inbetween the two, and Diabolical is one of them. They manage to mix a few different styles and elements typical of Swedish melodic death metal, thrash and black metal, but they blend it into something of their own. So you won't find anything especially innovative here, but you will find a solid and satisfying hybrid of ass-kicking metal.

The guitars very aptly cover the more aggressive side of that ol' "Gothenburg" sound (ala At The Gates and The Haunted), but they also incorporate a lot more melody. And they do it without sounding like any other band from the scene. Everything is very well played, and quite a bit more technical than average for bands playing this style (and it's something of a technical genre to begin with). The drumming is a lot more hectic than you'd expect... I still don't know how drummers like that can think and function in day to day life (are they all savants?). The guitar solos add a lot of depth, and surprisingly, class. They aren't just wild solos thrown in to show off, they actually fit into the songs that they're a part of. They range from the elegant and melodic to the harsh and frenzied. The technical aspect and the occasional thrashier sounding riffs remind me more of Death and Carcass than anything, though it never makes you think "hey, I've heard this before."

The vocals are much more black metal sounding than you would generally find accompanying this music, lending Diabolical another unusual aspect to their sound. This combination of sounds and styles works nicely, and Diabolical reminds us that well played music with energy (and fury) can be just as worthwhile as bands more wholly original. My only real complaint about Synergy is that it's a relatively short CD (under 40 minutes), and I'd certainly like to hear more of their work.

Maybe on their next album they can expand the sound in some way or other, but on one level Synergy does work because it is one tight focused ball of flaming fury (that's my cheesy analogy for this month's set of reviews, because all music journalists and metal warriors need to come up with at least one now and then). If you're more into In Flames and that side of the genre, then this may be a bit too potent and aggressive for you. You'll have to build up your tolerance for seething hatred with some other groups before jumping straight into this. However, anyone into Death, Carcass, At The Gates, or Ebony Tears should make it a point get ahold of this.

Track List:
1.) Suicidal Glory
2.) Ashes II
3.) Caged Wrath
4.) Drowned in Blood
5.) Guidance of Sin
6.) Human Control
7.) The Passenger
8.) Haven

Diabolical - Official Web Site
http://come.to/diabolical (doesn't appear to be working right now)

World War III Records
http://ww3music.com
 

Divine Silence
Promise You
~reviewed by Matthew

Several years in the making, Divine Silence’s first official CD finally saw the light of day this past Autumn.  From Staten Island, NY, this emotional metal outfit has created a favourable buzz for itself over the past few years. Due to their well-received demos and live performances, Divine Silence was a name recognized by quite a few dark and doom metal aficionados before they even had an official release under their belts.

This CD is unique in that it seems to unfold before the listener, where the material gets better and better as the tracks progress.  The opening track “Away” is definitely enjoyable, with some nice gruff death vocals and Paradise Lost tinged guitar harmonies.  However, the female vocals leave a bit to be desired and the overall adventurousness of the music is not on that grand a scale.  The album really begins to warm up around the fourth track “Reflections” and with the title track itself.   The clean male vocals acquire a greater, more disconsolate dejection, reminiscent of the years of Anathema with Darren White at the helm.  The juxtaposition of watery and acoustic guitars, desolate guitar harmonies, and dejected vocals is certainly nothing new, but Divine Silence delivers the melancholy stripped of any pretense.  The emotion the band promises to project penetrates into the heart of the listener quite easily.

As the CD continues, the tempo slows, the harmonies grow bleaker and more atonal, the death vocals take on a more horrifying role, the female vocals seem to find their place, and the overall density of the music thickens entirely.  The emotion seems to spiral into a darker, at times even eerie place.  The somewhat diluted Romanticism of traditional Gothic Metal gives way to a more honest funereal desperation.  Which is of course a good thing to fans of Doom in particular.   The production is an asset as well.  A nice reverberation on the drums and guitars accentuates the mood, giving a vast, more open sound, which lays the groundwork for the icy synths and brooding pianos to snake in and out of.

The final track is my most beloved track, with a very interesting mix of major keyed harmonies beneath the most desperate vocal performance yet.  The song seems to somehow be the most disturbing and effective track on the entire disc.  The finale of the song is as well one of the album’s finest moments.  Extremely depressive, remarkably sad, and representative of the very things I adore so much and identify with in this genre.

While Divine Silence are not nearly as emotionally devastating as some of their contemporaries, they provide an important expansion in the genre, standing on their own ground by creatively interpreting familiar elements and presenting them with their own unique style and sound, not limited to Doom, Goth, or Metal alone, but an effective combination of all three.  I hope that it doesn’t take as long for the band to follow up this release. The only flaw I can really see with this album is that seven tracks are way too short.  Unlike some of their contemporaries, their songs are comfortably stationed around the five to six minute mark, with the album totaling in at under a mere forty minutes.  I wanted more.  I would also like to see the band perhaps acquire a stronger female vocalist, and focus more on the strengths in the latter half of the disc, and less on the more upbeat, “Icon” era Paradise Lost themes.

With that said, let us secure the presence of Divine Silence into the growing circle of confident, powerful, and genuine American Doom/Gothic metal acts.

Track List:
1.) Away
2.) To Live Or Die
3.) Novembre
4.) Reflections
5.) Promise You
6.) Twilight
7.) A Day From You

Divine Silence is:
Chris – guitars, vocals, piano
James – guitar
Josh – drums
John – bass
Anastasia Pazana – guest female vocals

Cover art by Aaron Stainthorpe of My Dying Bride

Divine Silence – Official Site:
http://www.divinesilence.com

Divine Silence – Mp3 Site:
http://www.mp3.com/divinesilence
 

Devin Townsend
Terria
~reviewed by Eric Rasmussen

This is without a doubt my favorite album of the year. That's a pretty strong statement, sure, but Terria is worth every praise-gushing word to be found in it. So if I start going off on a tangent here, you know, about building a Devin Townsend altar, or trying to track down his home address, just make sure to hit me with a sharp stick of some sort and that'll get me back on track. Looks like I'm already off on a tangent, so let's get down to business!

Terria is an incredible journey from beginning to end, and has a really nice flow to it. The intro track is very understated and peaceful, though it eventually begins to build up by the end. The pensive pacing helps it ride along quietly in the background, but there's never a lack of interesting (and very subtle) things going on if you want to listen more intently. This eventually segues to Mountain, which launches an all out aural attack on the listener. Moments of chaotic heaviness are mixed with quiet interludes, and the song is apt to leave some listeners a little confused. Just as the track is finishing off with some quiet ambience... bang! Earth Day comes in with a roar. This is one of the most powerful songs I have heard in a long time, and is nearly reason enough to buy Terria.

I could go on for a few more hours about how each of the tracks work together to provide this unique experience, but I'm not sure how worthwhile that would be. I will say that Deep Peace and Canada stand out as my favorite tracks on the album. Deep Peace takes a really calm approach, though it is sprinkled with moments of anger and aggression. It eventually leads into some really emotional guitar soloing. I believe Townsend communicates a lot more with the solos in that track than the lyrics even, his playing just speak volumes about the mood he is creating. Canada is another relatively peaceful song, though a little more dynamic than Deep Peace and it is punctuated by heavier moments. Townsend's amazing ability as a vocalist should be very evident by the time Canada finishes. This album is home to one of the most emotional and passionate vocal performances I've ever heard - certainly not your typical metal fare.

The rest of the tracks cover the lighter and heavier moments equally well. They mostly have a very surreal, dream-like quality that helps to create a world for listeners to escape into. At various points Townsend will reach up and pull you back down to reality, ensuring there's never a dull moment. Even the most peaceful moments have an underlying darkness that creeps up throughout, and occasionally becomes more prominent as the tracks go on.

Townsend's guitar playing has also never been better. Compared to the length of the whole album, there is very little soloing or technically exceptional playing, but now and then he'll throw in a creative or emotionally charged aggressive solo. Aside from the vocals and guitars and other traditional elements to the sound, the keyboards and ambience really make this album as deep as it is. At any given moment there are a nearly unfathomable amount of layers to the sound. Most are so subtle that they have no initial impact on the listener, and don't distract from the more prominent riffs and vocal lines. But for the willing explorer, there is plenty to be heard on Terria. It can work as background music and it also holds up under the most scrutinizing listens.

Townsend incorporates a variety of samples into the musical landscape, and they give Terria a very mature and personal feel. He recorded most of them on his own recorder, presumably whenever inspired to do so. On Mountain there are even some samples of his own dog howling in the background. This all really clues you in into just how introspective and personal Terria is.

The artwork and packaging is another surprising (and outstanding) feature to the album. I got the limited edition digipak version, though I presume all versions of Terria include most of the artwork. It has a very surreal and complex quality to it. It's as interesting to glance at as it is to analyze on a deeper level - just like the music itself. If any listeners are finding themselves lost as to what Townsend is going for on Terria, I think the beautiful (and occasionally frightening) artwork could actually help them visualize it.

Another note about the limited edition version is the bonus disc. It comes with a non essential though quite enjoyable bonus track, along with some videos of Townsend performing his pre-Physicist solo material live. He's quite entertaining to watch, and the quality on the videos isn't bad at all. Additionally, there's a heap of audio commentary by Townsend about the making of the album and certain interpretations of it. It's interesting to hear what he has to say about his own work. I'd guess in some ways he is even a bit of a procrastinator, or just has an odd sense of humor, because some of the commentary was recorded while driving to the post office... and then while in the post office to mail off the recording so it could be pressed to CD.

If you aren't prepared to buy Terria based on my word alone (and I don't blame you), check out the mp3.com link below. Townsend produces and mixes his own albums; he's really a master at it and Terria's production is flawless... but those mp3s are of exceptionally low encoding quality, so take that into consideration when listening. This album is highly recommended to anyone into complex, mature music that easily defies standard categorization.
 

Track List:
1.) Olives
2.) Mountain
3.) Earth Day
4.) Deep Peace
5.) Canada
6.) Down and Under
7.) The Fluke
8.) Nobody's Here
9.) Tiny Tears
10.) Stagnant
Limited Edition Bonus Disc:
1.) Universal

Devin Townsend is:
Devin Townsend - Guitars, vocals, ambience, samples and keyboards
Gene Hoglan - Drums
Craig McFarland - Fretless bass
Jamie Meyer - Piano, keyboards

Devin Townsend - MP3.com site:
http://www.mp3.com/devin_townsend

Hevy Devy Records:
http://www.hevydevy.com

The Empire Hideous
Victim Destroys Assailant | I'm Dead, You're Dead, We're All Dead (LIVE)
This Evil on Earth | Act IV: It's Just a Matter of Time
~reviewed* by Blu

So in conjunction with doing the Feature/interview with Myke from The Empire Hideous, he was nice enough to send me some of their releases which was more than generous and much appreciated (Merry Christmas early to me). There are two cassettes from early on: This Evil on Earth (1992) and Act IV: It's Just a Matter of Time (1997) and two CDs: Victim Destroys Assailant (1998) and I'm Dead, You're Dead, We're all Dead (LIVE) (1998). It's very interesting to do this kind of review because you get to witness the growth of a band over time.  All of these items and more are available to order online via Middle Pillar.

This Evil on Earth contains three songs opening with "Mr. Barnum" which you'll also find remasterd and re-recorded on their latest CD. Menacing bass lines back up a melodic guitar with driving percussion as you get the first taste of Myke's powerfully masculine but liquid smooth vocals; original sounding and yet not so unlike a heavenly mixture of Sisters of Mercy and Rozz Williams. There's just enough verbratto on the higher notes to tease you and the lower notes are deep and resonating. The nightmare like "Find My Way Out" starts with a sparkling guitar and something that sounds like chimes before a moody bass plows in and at the chorus heavy percussion wails; the vocals going from laid back grooves to anguished exasperations. Side two contains the semi-exotic sounding, ominous song called "Rhino (the Evil on Earth)" which interestingly enough (and ironically considering the present state of worldly affairs) contains news exerts taken the Middle East War in 1991 and even contains quotes from then president, George Bush. At the time Myke noted that the song was not directly about the War in the Middle East but now more than ever, lyrics like these strike very close to home:

RHINO stands in a sky of dust
Broken cities only remind me...
RHINO spread his grip of fear
The evil on earth brings you closer RHINO...
He points a swollen fist at the human race
He's a victim of hate with a piece in his hand
AK-47 make way his command...
When RHINO praises God he prays for a fight.

The CD Victim Destroys Assailant was recorded live in a rehearsal studio in one day with only some slight tweaking later in production. Myke comments, "Needless to say EVERYONE was pissy after we got done doing the set about 5 times. If you listen there are some songs that blend right into each other: 'Amazing Murder and Logic', 'Mr. Barnum' and 'Power The Empire'...Like the old days before computers."  All 13 tracks are great but for the sake of brevity I'll touch on the stand outs. It opens up with the very biting "Talk is Cheap" inspired by the clubbing scene, followed by the smoldering and beautifully sad  "Stealing from the Crow" which is one of Myke's personal favorites. "God and I' is a lusty song about what the moral implications in an S&M relationship might be when one partner becomes a sort of "god" to the other:  "Shinny skin glistens from submission, breaking your will. To hold you firm in confinement, a leash keeps you tame. Appearance was the key role, my satisfaction's declined. Falling backward, submitting only lonely facts.Your weakness, you're speechless. Your weakness is mine."  And finally, I think my personal favorite (not including "Mr. Barnum" and "Thou Shalt Be Done" because I covered those on the cassettes) has to be "This Dead Season" with its exquisite acoustic guitar and overwhelmingly emotional lyrics about friendship and loss. Stripped down and raw, the minimal music really lets Myke's beautiful voice - softer and gentler in this setting, shine through.

And finally we have I'm Dead, You're Dead, We're All Dead - a title that's become a sort of slogan for the band. I've seen pictures of Myke's jacket with it blazing on the back and there's a picture of Myke with it written on (carved into?) his chest in Mick Mercer's Hex Files book. Musically speaking its a numbered, live concert recording done at The Bank in New York City on February 15th, 1998 and might be an interesting preview for those of you who are lucky enough to attend their next show on January 19th at the Batcave in NY. You get a good sense of the intense way these songs are carried out live - Mykes voice booming powerfully as he covers tracks like "God & I," "Talk is Cheap" and "Mr Barnum." Interestingly, track two is "You Follow" which Myke says is one of the more psychically demanding songs he performs live -- fast-paced and almost operatic at times. "Stealing from the Crow" is a treat in this live version with its creepy guitar almost reminiscent of Bauhaus from the Bella days.  And historically speaking, after they do "Mr. Barnum" when you hear Myke say, "this is it, this is the end Ladies and Gentlemen," he wasn't just talking about the show. They recorded this show knowing it was the last Empire Hideous show - at least that incarnation of it and because of that it makes this recording that much more meaningful,  if not for the bonus tracks alone.  Track 9 is their "My Way" cover of Sinatra by way of the Misfits. Then you can hear the crowd carry on afterwards and demand more so the band treats them to one of Mykes favorites - an Alien Sex Fiend cover of "Girl at the End of My Gun" and finally an *amazing* cover of The Cure's "All I Want."

By this time you might think I would have had my fill of The Empire Hideous, but no, I'm a greedy thing and I've been bugging Myke for more. I'm quite anxious to see how their comeback concert on the 19th goes and you'd better believe if finances weren't a burden, I'd be there myself as a witness. I'm ready to see them lead the way for a more old-school flavored music trend. I'm done with simplistic electronic bands. I want something with substance and heart made by real drummers and real guitar players and real bass players. I want more vocalists like Myke who sing from their gut and don't hold back. I want more of these dark, mysterious songs and moody lyrics. If you were daft like me and missed them in the early 90's, here's your second chance at absolution. They say good things come to those who wait and its been some mighty dry years since The Empire Hideous last took the stage... January 19th you might want to bring an umbrella.
 
 

*writer's note: this is the first review I've ever written while simultaneously talking to the artist in order to more fully understand the subject matter at hand - was sort of like writing it while having someone look over my shoulder...but in a nice way.

Act IV: It's Just a Matter of Time
1. Thou Shalt Be Done
2. Hereafter
3. Open Windows

Victim Destroys Assailant
1. Talk is Cheap
2. Stealing from the Crow
3. God & I
4. You Follow
5. Logic
6. Amazing Murder Machine
7. This Dead Season
8. Otherside
9. Power the Empire '98
10. Mr. Barnum '98
11. Thou Shalt Be Done
12. Open Windows
13. Hereafter

I'm Dead, You're Dead, We're All Dead
1. God & I
2. You Follow
3. Stealing from the Crow
4. Kissing  Your Poison
5. Amazing Murder Machine
6. Talk is Cheap
7. Power the Empire
8. Mr. Barnum
(3 bonus tracks)

Website:
http://www.empirehideous.com

All Empire Hideous Merchandise is available from Middle Pillar
www.middlepillar.com

SpySociety99
http://www.premise.com/ss99

Bronx Casket Company
http://www.bronxcasketco.com/

Other Links Of  Interest:
Empire Hideous on TVCasualty.com (photos of the Roast + interview)
http://tvcasualty.com/hideous/

Emperor
Prometheus - The Discipline of Fire & Demise
~reviewed by Eric Rasmussen

Often heralded as the kings of black metal, Emperor have finally decided to step down from their throne and move on to different musical ventures. Samoth (guitars) and Trym (drums) have already started work in Zyklon, and Ihsahn (everything else) has been spending time with his Peccatum project. With each of the members dividing their attention between Emperor and other acts, it was only a matter of time before they would have to part ways. Thankfully, they weren't content leaving the Emperor legacy unfinished. Their final release, Prometheus - The Discipline of Fire & Demise, is a farewell worthy of kings.

This album marks a notable maturation in composition for the band, and provides more thoughtful songs with more variation in the songwriting than ever before. Lyrically, it very effectively tells a tale of grief, loss, and disillusionment. The lyrics are spoken, rasped, and sung with such conviction that they are brought to life. The listener begins to feel the words instead of just hearing them. The sheer amount of emotion in Prometheus makes it a worthwhile release, but the fact that it is all so brilliantly executed ensures that this is one of the best symphonic black metal albums of all time.

The album opens with "The Eruptions," which does an excellent job of setting the stage for Emperor's final performance. A brief ambient introduction is accompanied by Ihsahn's rather creepy whispering. This intro is a good example of Emperor's focus on the songwriting. Instead of blasting away at the first chance they get, the haunting echo of Ihsahn's last words: "There was nothing..." is followed by a synthesized dulcimer. This makes the song even more unsettling and consequently keeps the listener from being at ease. Soon after that the guitars kick in slowly and calmly, but then abruptly the sound turns to chaos as Ihsahn starts in with some frenzied soloing. Even within this song, the amount of variation and thoughtfulness put into the sound is astounding. As it continues to play the listener is exposed to both Ihsahn's throaty rasp and some very regal sounding clean singing. The clean vocals are used effectively during slower moments, and Ihsahn's vocal abilities have never been stronger or more grief-stricken.

Prometheus never once becomes mundane. Each song showcases a variety of tempos and moods, and the Peccatum influence on the synths becomes more evident with each song. String sections accompany the blazing guitars in a way that is wholly Emperor, regardless of how many bands may mix heavy guitar with orchestrated synth sections in today's metal scene. "Empty" is a good example of Emperor mixing more chaotic metal moments with quiter melodic interludes. After some frantic heavy riffing and rasping, the song moves on to a quieter synth section that is backed by more of Ihsahn's melodic lead playing.

Anyone who doubted Ihsahn's ability as a guitarist before needs to hear this album. He has developed a very unique soloing style and has managed to seamlessly weave it into the Emperor sound. "The Tongue of Fire" really shows off his ability, but never in any pretentious sort of way. The compositions and songwriting still take precedence over soloing for the sake of sounding impressive.

"In The Wordless Chamber" is another standout track, mainly because of the very epic horns used to accompany the adventurous sound of the riffs. This track reminds me a little of Emperor's "With Strength I Burn" because of its very epic and powerful nature. Each of the tracks afterwards continues to establish its own sound while remaining a part of a cohesive whole. The album then closes with the very aggressive yet forlorn track, "Thorns On My Grave."

Every aspect of this album is amazing. Ihsahn's ability as an orchestrator, guitarist, and vocalist has improved to a very notable extent. Samoth's influence on the guitars creeps up now and then, though perhaps less so than earlier Emperor work, and Trym's drumming is more impressive than ever. Instead of opting for his more typical approach to drumming, which is trying to beat the listener to death with blast beats, speedy fills, and timing changes, the focus is more on rhythm and slowing down where appropriate. Nevertheless, Trym fans have nothing to fear, because he still goes wild at times.

As many an observant fan has noted, there are a lot of bands that just don't know when to call it quits and move on. This ends up dragging things out and results in many useless, derivative works. While I'm not sure there was ever any danger of that happening to Emperor, I trust the band to call the shots. As it stands, I really couldn't have asked for any more, and this is not only a defining album for Emperor, but for all of symphonic black metal. It's without a doubt a must have release for anyone interested in black metal, new or old.

Track List:
1.) The Eruption
2.) Depraved
3.) Empty
4.) The Prophet
5.) The Tongue of Fire
6.) In The Wordless Chamber
7.) Grey
8.) He Who Sought The Fire
9.) Thorns On My Grave

Emperor is:
Ihsahn - All vocals, lead and main guitars, bass, keyboards and programming
Samoth - Additional guitar
Trym - Drums & Percussion

Emperor - Official Web Empire:
http://www.emperorhorde.com

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

Enter My Silence
Remotecontrolled Scythe
~reviewed by Eric Rasmussen

Well, well, just what do we have here? It can't exactly be Swedish melodic death metal, since Enter My Silence is from Finland. And yet, when I'm listening, I really can't tell the difference. Any fans of Dark Tranquility or In Flames could review this CD right now without having heard it. Enter My Silence doesn't contribute anything new to the style. And in such an over saturated genre, it'll take more than this to really impress me. But their debut CD here isn't totally without merit, either. Out of all the generic bands playing this type of metal, they at least rise to the top of that group.

In Flames has, in my opinion, continued going downhill. I haven't been in the least interested in their more recent material. Dark Tranquility, on the other hand, has continued expanding their sound. But I'm sure some of you out there long for the good ol' days of melodic death metal, when those bands were putting out records like Whoracle and The Gallery. If so, look no further! Enter My Silence is full of the fluid and melodic leads that made those releases classics. Everything here is well played, and the usual combination of aggression and melody is pulled off quite convincingly.

I can't get into this CD to any great extent because I feel I've already heard it before (many times). Yet I can't bring myself to really slam the band for it either. If you haven't had enough of this style already, there are few better releases I could recommend to you. I can only imagine that the band was really into In Flames and Dark Tranquility, and at some point decided if they were going to go anywhere they'd pay homage to those groups first. To purge it from their system maybe, or get a record deal while the genre is still popular, it's hard to say. And even though it does sound like a tribute album to In Flames and Dark Tranquility (which may not be a bad thing depending on your point of view), I see some potential in this group.

I sincerely hope they find something more original to do next time around. If they release a second album like this, it'll be a great waste of potential. Then we can for sure chalk them up as yet another generic band in an overcrowded genre. Who knows, though, maybe they'll surprise us.

Track List:
1.) Six.Nothing
2.) Irrelevant
3.) Inhale/Exhale
4.) Articulate
5.) Split
6.) Nevernity
7.) Filter X
8.) Loss of the Leading One
9.) Mindfill Effect

Enter My Silence is:
Mikko Kotamäki - vocals
Tuomas Jäppinen - guitars
Arto Huttunen - guitars
Ville Lapio - bass
Teemu Hokkanen - drums

Enter My Silence - Official Web Site:
http://entermysilence.cjb.net/

World War III Records
http://ww3music.com
 

Faces of Sarah
TwentyFour
~reviewed by Jezabel

 Faces of Sarah’s first fullalbum, Twentyfour, give those who love guitar based gothic music areason to hold onto hope. Not another aping of the sound of Mission or Sisters,this is the evolution.

Formed in the summer of1998, they quickly made a splash onto the London gothic music scene. Theirfirst ep, “belief ep” made the rounds and through it the band’s name and musicbegan to claim global attention. Club play followed and since, the band hasbeen busy with successful and numerous shows in London and throughout England.

But it is now, with theirfirst full-length cd that FoS has established themselves as a true, on thebooks band.

It’s the strong, guttural,belting vocals of Nick Schultz that are showcased in the cd’s first offering,All That is Divine, but is not the end of his mastery of voice or of a tune.Reminiscent of Eddie Vetter in terms of strength and manipulation of a lyricand tune nowhere is it heard better than on Fatalistic Warning where his voicewaves and wafts through, invoking an amazing and powerful atmosphere.

The gritty and yet melodicguitars throughout the album of Alan Tampion and John Currie show that there isstill more to discover within the genre of guitar gothic rock. Throughout thealbum, their strong and powerful guitar sound pushes the music to new andinteresting places, challenging the listener to compare them to their obviousinfluences. And in most cases, the listener feels rewarded for the challenge.This is no copycat band.

Frank Walters on bass andDavid Lockwood on drums round out the band bringing them a full sound lost intoday’s world of techno.

The highlight of the albumis “Baby One More Time” a cover of the Britney Spears hit. If only Britneycould find the irony, the black comedy, within the lyrics, she could haveavoided the bubble gum world and become a more serious actual artist.

Live, FoS is filled withenergy and a strong musical tension that is not lost on this album. There is atangible energy throughout, a flow and a strength that will take them furtheras they evolve what is too often considered a dead genre. Don’t give up onguitar based gothic rock…Faces of Sarah won’t let you…if you are smart enough.

Track List:
1.) All That Is Divine
2.) Heaven
3.) Forever Sleep
4.) Second Skin
5.) Fatalistic Warning
6.) …Baby One More Time
7.) As You Were Leaving
8.) Come To Me
9.) Where No Shadows Fall
10.) Love Me 2

The Faces Of Sarah are:
Nick Schultz: vocals, lyrics
Alan Tampion: guitars, keyboards
Frank Walters: basses, keyboards
John Currie: guitars, keyboards
David Lockwood: drums, background vocals, keyboards

The Faces Of Sarah – Official Website:
http://www.thefacesofsarah.com
Email:
twentyfour@thefacesofsarah.com

Faith & the Muse
Vera Causa
~reviewed by Blu

For fans of Faith & the Muse, this new double CD, full of rarities, live performances and re-mixes, is nothing short of heaven and would be the ultimate gift this holiday season if they don't own it already. That being said, I'm very grateful DJ Psionic decided to review this CD too (read below) because I was about to say that I didn't think it would be a very good starting place for someone who hasn't heard them before because it was so varied, I would be afraid a new listener wouldn't get a good handle on what Faith and the Muse is all about. Perhaps I don't give listeners enough credit. He proved me wrong before I even utter the words. It's a great compliment that this CD with its more club-friendly re-mixes, can garner the appreciation of someone such as DJ Psionic who's a well-known hard ass with a place in heart for aggressive industrial. And I suppose, that was the point of a CD like this -- to present  a variety of songs and sounds to cultivate and develop eager ears as well as to document the progress of a great and dare I say, one of the most professional bands in our scene.

This release stands as a testament to a band who's had a rich history in recorded and live performances. The CD  booklet contains an essay detailing their history, complete with beautiful photos and commentary by both Monica and William. The artwork, done as usual by the multi-talented Monica, is stunning and careful attention to detail was even given to the CDs themselves. The inside tray photo is my favorite though - a collage of flyers, tickets, passes and concert billings - many that I have saved myself.

The two CDs are broken up into categories - the "Morning" CD features compilation appearances, covers, acoustic versions and rarities  while the "Night"  CD features LIVE recordings from shows in Leipzig, Germany and Great Belgium and re-mixes of some of their most popular songs. Opening up the Morning CD is "Frater Ave Atque Vale" --  a lush operatic acapella piece that demonstrates the thing that first drew me to Faith and the Muse: a regal combination of classical elegance, beauty and mystery. The slow but steadily mournful bass line in "In Dreams of Mine" is nothing less than hypnotizing and their cover of Kate's Bushes "Running Up That Hill" is a refreshing change of pace and Monica's vocals fit it perfectly. Its quite possibly the super star of this CD as DJs and fans have already latched onto it as one of their favorites. "Patience Worth" is a piano version of a song that originally appeared on their Evidence of Heaven CD and as much as this is a beautiful version (the piano is very pointed and striking) I prefer the original version much more. The lyrics are the heart and soul of this piece: "with arms too wide to hold just one, too small to heal the world, go on...leave me...alone.. every injured soul needs a silent hand to hold..." Whew, makes my eyes tear up *every* time.  Track 5,"Hollow Hills" is a cover of a Bauhaus song - and although some people might have a hard time imaging a female voice singing a song we're used to hearing from Mr. Murphy, its a nice variation and nothing Moncia sings ever seems out of place. William gets in on paying tribute to great bands of the past as he sings a cover of  The Chameleon's very danceable "Soul in Isolation" (which is also an impressive LIVE track) and for long time Faith and the Muse fans, no doubt the demo "The Breath of A Kiss" will be a delightful discovery with its most notable acoustic guitar work.

Skipping down a bit, probably my personal favorite on this entire collection is their cover of Chistian Death's "Romeo's Distress" (live). I remember the first issue of Carpe Noctem Magazine that I ever bought was the issue released not too long after Rozz William's death. In it, William Faith wrote an essay - a personal account of his experiences having known Rozz Williams as a friend. That essay always stuck in the back of my head and from that moment on, I had a great respect for William Faith and his willingness to share what was obviously, a great personal loss. So knowing that history, it only seems fitting there would be at least one of Rozz's songs on their cover CD. Again, it might be  hard to imagine Monica's beautiful voice belting out the words that used to come so inspired from Rozz before you hear this track, but believe me, its a wonderful thing and very much the track that I believe makes this entire collection worth getting. Musically it captures that Christian Death "sound" (and no wonder -- William used to be in Shadow Project with Rozz) and Monica's voice comes in less like the airy muse she usually is and more pointedly mischievous and almost elf-like. I do like the harder edge in her voice. I can only imagine with what love that this song is performed with. Rounding out the Morning CD, is an acoustic version of "Drown," a demo of the exotic "All Lover's Lost" and the original demo of "Heal."  What's most interesting is the high quality and professional sound of these demos. I'm sure most new bands would stand in wonder, mouth agape, and exclaim, "That's a demo?!".

The Night CD showcases Live versions of "Cantus," "Scars Flown Proud," "Sparks," "The Silver Circle," "All Lovers Lost/Arianrhod," "The Unquiet Grave," and  "Annwyn, Beneath the Waves." And although I prefer listening to the original CD versions of all these songs, they serve as a great testament to what this band can do live. I remember listening with great adoration and love to the song "Cantus" but thinking to myself, "they'd never be able to pull this off live." Months later, at a concert, I was proven wrong and this live recording of "Cantus" demonstrates the power of that performance that could have very well be something at a classical music concert backed by a symphony. The drums thunder, symbols crash and Monica's voice soars - otherworldly and heavenly. I can still see her, arms outstretched, wind blowing her hair and dress, and that voice flowing out of her like it was the easiest and most natural thing to do in the world. I was simply dumbfounded watching them perform this song. "Scars Flown Proud" with William's masterful gritty guitar riffs is always nice to hear, in any form, and is a song I thought never got the play in clubs that it deserved - the lyrics so applicable and meaningful to our scene. My favorite live track though is the theatrically dramatic "All Lovers Lost/Arianhod" which showcases Monica's amazing vocal talent as she sings solo until those pounding drums come in and take over with a primal and mystical drive. Live its simply heart stopping and I always tend to dream of some exotic theatrical stage performance set to this music.  "The Unquiet Grave" with its story-telling folk jig, will be a different twist for those not familiar with their fondness for Celtic culture that has been openly demonstrated on past CDs - quite a treat. Any time an artist can bring cultural awareness  into their works is admirable to me.

The rest of the Night CD is of course, the re-mixes and admittedly, I despise the "idea" of them in that I don't think the originals needed to or warranted re-mixing. I'm also not too dim to realize that these re-mixes make them more viable to the club scene and thusly, serve as a vehicle for exposing a greater audience to the rest of Faith & the Muse's work. Perhaps if I had never heard the originals, I wouldn't object so much, but somehow, hearing the monotonous "thump thump thump" club beat covering up a song like "Elyria" while Monica's voice takes a back seat is just disheartening to me. Its simplifies these songs into something mediocre and Faith and the Muse have *never* been a mediocre band. I also realize that I'm a jaded and bitter old-school goth fan and I will always wince at re-mixes and plead for originals on the dance floor if given the opportunity. (Despite the newer generations inability to dance to anything without a higher bpm, we never had any problems dancing to their songs before...)

That smallish, personal criticism out of my system, this double CD is quite a gift from a band who's reputation has always been well-respected among its peers and through out the scene. Far more professional in sound and actions than most bands I've ever met, Faith and the Muse are a scene legend who will one day, go down in history as one of the best bands we ever had. Jump on the train now kiddies while its rolling - open your ears and minds and experience just what real musicians and artists can do.

The Morning cd Tracklisting:
1. Frater Ave Atque Vale
2. In Dreams Of Mine
3. Running Up That Hill
4. Patience Worth (piano version)
5. Hollow Hills
6. Soul In Isolation
7. The Breath Of A Kiss (demo)
8. Muted Land
9. Annwyn, Beneath The Waves (acoustic)
10. A Winter Wassail
11. Romeo's Distress (live)
12. Drown (acoustic)
13. All lovers Lost (demo)
14. Heal (original demo)

The Night cd Tracklisting:
1. Cantus (live)
2. Scars Flown Proud (live)
3. Sparks (live)
4. The Silver Circle (live)
5. All Lovers Lost/Arianrhod (live)
6. The Unquiet Grave (live)
7. Annwyn, Beneath The Waves (live)
8. Elyria (Toby Dammit mix by Full Fathom Five/The Trace)
9. Mercyground (Rhea's Obsession remix)
10. The Silver Circle (Gears And Teeth mix by Collide)
11. Shattered In Aspect (BassX RmX by L'ame Immortelle)
12. The Sea Angler (Vast Ocean mix by Purr Machine)
13. Scars Flown Proud (Hong Kong Hotel mix by the Cassandra Complex)
14. Porphyrogene (Laboratory X version)

Faith And The Muse website: http://www.mercyground.com/
Metropolis Records website: http://www.metropolis-records.com/

FAITH AND THE MUSE
Vera Causa
~reviewed by Psionic

~It's not often that Goth projects wind up in my hands to review, and rarer still that I'm impressed enough to give it a good review. The Metropolis folks hurled this at me in a most casual manner, almost -daring- me to give it a bad review. Well, nyeah nyeah to them. 'Vera Causa' is the finest Gothic genre release I've heard since the Diary Of Dreams cd, 'One Of 18 Angels'. (Another Metropolis release, incidentally...)

Collectively, the resume of the 2 artists (William Faith and Monica Richards) that fuel Faith And The Muse is a mapwork of old-skool-Goth-flava. Involvement with the seminal and/or legendary projects Christian Death, Mephisto Waltz, Shadow Project, Sex Gang Children, and Strange Boutique should give you a pretty clear picture.. These aren't a couple of mascara'd punks still living with mommy and daddy... No, this is a mascara'd duo of epic proportions.

Now, I make no claims to having almost -any- previous knowledge of F&tM material. 'Vera Causa' is the first time I'd heard them. So I guess it's a good thing that 'Vera Causa' is a 2 cd release, so as to give me a deep-dish helping of Gawthic-Gewdness. (Not a very spooky way to describe a band like this, I know... My apologies to any offended batkid readers.) The 2 cd's are distinguished form each other as the 'Morning' cd and the 'Night' cd. The 'morning' cd is a collection of rarities, demo versions and acoustic treatments of classic F&tM material. To be honest, it didn't do so much for me. While I can respect the technical proficiency, it just sort of lacked the edge that the electric/electronic versions the 'Night' cd contain (more on that later). I have never been a big fan of 'demo' versions used as filler on a cd, and this is no exception to my dislike of that idea. Several of the tracks on the 'Morning' cd seem unfinished to me. I do like the forays into traditional Celtic music, if only for the fact that I can respect their willingness to break the mold and do what they like. All in all, the 'Morning' cd is, I'm sure, something that long-time fans of F&tM will sink their fangs quite deeply into. Personally I listen to it for their STUNNINGLY well done Kate Bush cover only. Otherwise I'm all about the 'Night' cd.

Ahhh, yes... The 'Night' cd. Similar to the 'Morning' cd in that it's mostly different versions of previously released tracks, it differs in that it contains 7 live tracks and 7 remixes. (not demo or acoustic versions, you see now such differences?) If the live versions are anything to go by, F&tM must be a mind-numbing live spectacle indeed. 'Frater Ave Atque Vale' is, in the words of a certain wee Batkid princess in GloomCookie, squishy. Yes. Oh. So. Squishy. It squishes somehow. But I digress.
The selection of remixes are all -very- complementary to the F&tM style, with admirable contributions from such names as Rhea's Obsession, Collide, Full Fathom Five/The Trace, Purr Machine, Cassandra Complex, Laboratory X, and L'ame Immortelle. F&tM don't really strike me as a thumpin', kickin' kinda dancefloor filler, but it's startling to see how well they translate to that exact formula. While the 'Morning' cd is mostly passable (with the exception of the aforementioned cover track), the 'night' cd is an extremely enjoyable listen from start to finish. If you've been despairing from lack of decent Gothic music lately, snag 'Vera Causa' to refresh your flagging faith in the spook.

The Morning cd Tracklisting:
1. Frater Ave Atque Vale
2. In Dreams Of Mine
3. Running Up That Hill
4. Patience Worth (piano version)
5. Hollow Hills
6. Soul In Isolation
7. The Breath Of A Kiss (demo)
8. Muted Land
9. Annwyn, Beneath The Waves (acoustic)
10. A Winter Wassail
11. Romeo's Distress (live)
12. Drown (acoustic)
13. All lovers Lost (demo)
14. Heal (original demo)

The Night cd Tracklisting:
1. Cantus (live)
2. Scars Flown Proud (live)
3. Sparks (live)
4. The Silver Circle (live)
5. All Lovers Lost/Arianrhod (live)
6. The Unquiet Grave (live)
7. Annwyn, Beneath The Waves (live)
8. Elyria (Toby Dammit mix by Full Fathom Five/The Trace)
9. Mercyground (Rhea's Obsession remix)
10. The Silver Circle (Gears And Teeth mix by Collide)
11. Shattered In Aspect (BassX RmX by L'ame Immortelle)
12. The Sea Angler (Vast Ocean mix by Purr Machine)
13. Scars Flown Proud (Hong Kong Hotel mix by the Cassandra Complex)
14. Porphyrogene (Laboratory X version)

Faith And The Muse website: http://www.mercyground.com/
Metropolis Records website: http://www.metropolis-records.com/

Flare
Definitive (three-song maxi single)
~reviewed by Michael Otley

I've come to expect great things from New York City's Flare.  This EP, or maxi-single as they call it, is no exception.

The CD is fairly short, but very sweet.  The songs are light and even a bit uplifting for a quiet and often down-trodden band.  The songs are slow, but moving.  The voices are almost breathy, certainly airy and full of passion.  The strings are sweet and guitar and drums gentle and complimentary.  It's worth noting Ida Pearle of Ida guest appears on violin along with various other musician guests.

The album has three songs: "Definitive", "Course", and "You're the only star (in my blue heaven)".  "Definitive" is the most uplifting of the tracks.  The album slows as it continues on, but is never depressive. The album almost reminds me of something you might have seen on MTV unplugged a decade ago.  "Definitive" is very rich, "Course" is more solemn, and "You're the only star..." drops to a bare minimum low-fi retro-radio guitar and voice song.  These are followed by a short reverberated reprise of the "Definitive" chorus.

I recommend this EP as either a good introduction to what Flare is all about, or for any fans who already enjoy the band, so long as you know it's a short release.

www.flaremusic.net
www.motherwest.com
 

LARRY GAAB
Resurrections
History All at Once
Morphosis
~reviewed by Kevin Filan

Andy Warhol's movie "Empire" consisted of one eight-hour shot of the Empire State Building.  If they ever remake "Empire," Larry Gaab should do the soundtrack.  His 3-CD series "Morphosis," "History all at Once," and "Resurrections" shows that he likes to work on a very large canvas.  This set gives us a monumental, if occasionally sprawling and unfocused, artifice which showcases his considerable talents with a synthesizer.

"Resurrections" opens on an ecstatic note, with the whooshing synthesizer phrases of "Wonders" and "Within Reach."  This is the most melodic CD of the set, in my opinion the most successful.  Gaab has a definite ear for a melody, combined with enough dissonance to keep things from swirling into Yanni-dom.  I enjoyed the Chinese stylings on "Fresh" and the ethereal bells of "Physical States."

"History All At Once" is the darkest and most eerie than its predecessor.  I was reminded of the soundtrack to a David Lynch film.  The pipe organ chords in the opening song "The Rise of Reason" were quite nice, as was the irregular bass line on "Upside" and the Middle Eastern-sounding drone on "History All At Once," probably the strongest track.  This CD felt promising but unfinished: it was as if I was listening to a talented composer's aural first draft, before he had trimmed and edited everything into shape.

The final CD, "Morphosis" gives us many interesting effects: Gaab makes his keyboard sound like an oboe, a xylophone, and a digideroo and all within the space of a few bars.  "No Language" has some haunting chord progressions, while "Multiplications" has an unnerving background chorus of microtonal bleeps.  Overall the music was pleasant, but it didn't creep into my subconscious mind the way the best ambient music will. At its worst, dark Ambient can become Windham Hill in a minor key.  This didn't quite sink to those depths -- Gaab has too much inherent skill to be that boring -- but neither was it as challenging, or interesting, as it could have been.

At its best, Brian Eno's ambient music is like tone poem haiku, as spare as a Japanese landscape drawn with a half-dozen brushstrokes, yet as haunting and evocative.  Gaab never quite reaches those heights.  One problem is that his composition style is less minimalist and more florid than Eno's.  Gaab gives us chords where Eno might use a single note -- or nothing at all.  He also needs to develop as an editor; this 3-CD could have dealt with the same broad themes in an
exceptional single CD.  I'd be very interested in hearing Gaab collaborate with a live band, or even with one or two other musicians.  Right now he's good; when he masters structure and silence, he could become great.

RESURRECTIONS
1) Wonders
2) Within Reach
3) Full Love
4) Safari
5) Fresh
6) Recreating Infinity
7) Unlikely Tensions
8) Never Without
9) Angel
10) Physical States
11) Transmutation Complete

HISTORY ALL AT ONCE
1) The Rise of Reason
2) Even Spaces
3) Upside
4) Temporal Suspension
5) New Station
6) Balancing Act
7) History All at Once
8) Cocoons
9) Furtive Vibrations
10) Sweet Adventures

MORPHOSIS
1) Morphosis
2) Relaxed Ambiguities
3) Last Call
4) No Language
5) Takeoffs and Landings
6) Multiplication
7) Aposiopesis
8) Faint Weakness
9) Neutral Map

Morphosis Music Contact: garbanzo@shocking.com

Green Carnation
Light of Day, Day of Darkness
~reviewed by Eric Rasmussen

I'm not sure if you can say this release was "highly anticipated." Certainly, it hasn't been hyped up on MTV or anything. But ever since In The Woods finally called it quits, I've been following Green Carnation's career pretty closely. Their first release was an excellent piece of work. It featured the guitar and bass talents of X and Christopher Botteri (of In The Woods), and the album had a much darker feel to it than any of the previous material they had composed. With a number of different vocalists brought into the project last minute, the CD didn't sound like In The Woods revisited, or any typical doom metal band, for that matter.

That being said, I've been awaiting this new release for over a year now. The result isn't at all what I expected, but that's not in any bad way. The most noticeable difference is that X and Christopher Botteri are no longer a part of the band. Interestingly enough, Tchort (the main visionary behind Green Carnation, he also handles lyrics and guitar) decided to use the In The Woods vocalists and drummer for this release. So fans of In The Woods can still find some familiarity in the sound here, just in a different way then we heard on the last release.

Now... down to the actual music. Light of Day, Day of Darkness is made up of a single, hour long track. Or trek, depending on how you want to look at it. Music this ambitious is inherently an adventure or journey of some sort. I'm not going to give away every surprising plot twist or great moment by spilling it all out here, but I do want to highlight a few of my favorite spots. The CD opens with some very atmospheric sections. You hear children making noise, and there are backing string sections that work their way in and out of the sound throughout. At one point, things really start to build up. The drumming begins to make its presence known and some interesting rhythms with backing orchestral sections and acoustic guitars create a  great sense of building power right before the guitars kick in.

If I have any complaint about this release, it's in the way the guitars were handled. Personally, I prefer the more exotic and unusual guitar sounds of their last album. This time around, most all of the riffs are typically heavy metal sounding. Though there is something to be said for the fact that even though the riffs themselves are borderline generic, you've never heard them used to accompany this kind of music. The mix is definitely interesting, I just would have preferred a more invntive guitar sound to fit the music. Nevertheless, there are many people who like the way this works, and Tchort had his reasons for handling things this way (which you can read in our interview with him from this month).

The main vocalist is usually heard when the heavier guitars are going on, and he provides the lead melody for these sections. He  reminds me a bit of the last lead male vocalist Green Carnation used, though not so melancholic, as the mood found here covers light and dark... not just depressing and dark. Possibly my favorite section on the album is the point where a piano leads into some emotive guitar soloing that, while a bit typical of guitar solos, works effectively. It fits with the other guitar sounds and provides that "metal" aspect that Tchort intended to mix with the more ambitious orchestrations found here.

After this section, the original In The Woods vocalist adds his patented touch. The combination of piano leading into guitar soloing then moving into the passionate vocal performance is brilliant, and is a real highlight of the album. But there are many other noteworthy moments to be found here, too many to list them all (and I wouldn't want to give them away). This is the kind of CD that isn't really metal, but for the most part I think people into heavier rock and metal are the people who will most enjoy it. If you were an In The Woods fan, you'll likely appreciate the ambition and experimentation here, though it's kind of hard to compare them to Green Carnation at this point. With the loss of the main In The Woods songwriters, the odd guitar style and composition is no longer present. Tchort is mainly in control of the sound here, so Green Carnation are very much their own band at this point.

If you are into that style of ambitious metal, however, definitely give this a listen. It's also a good introduction to the exotic side of 'metal' (think Ulver, Arcturus, Korova, In The Woods...). People already into that type of metal should like this, and for anyone who hasn't explored that territory but intends to, it's a lot easier to jump into this than some others.

Track List:
1.) Light of Day, Day of Darkness

Green Carnation is:
Tchort - acoustic & electric guitars
Bjorn H. - lead guitar, slide and ebow
Stein R. - bass
A. Kobro - drums
Kjetil Nordhus - vocals

Green Carnation - Official Web Site:
http://www.theendrecords.com/html/GC/GC.htm

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

Hold the Vocals
A Tribute to the Instrumental Hits of the 50's 60's 70's
~reviewed by Sonya

I don't know why I agreed to review this CD. Perhaps it was because many of these songs (well, the 60's-70's stuff anyway) I grew up with. I remember putting Led Zeppelin's Moby Dick on the turntable as a kid. I remember watching, mesmerized, as Edgar Winter performed "Frankenstein" on late night tv (I stayed up WAY past my bedtime to see it!). I remember listening to Albatross by Fleetwood Mac. I also owned one or two Funkadelic albums in my day (*ducks*) - so I guess I'll grab a beer and and prepare myself for a stroll down memory lane.

Uh. Wait a minute. This is more like a stumble down memory lane, as most of the songs I remember sounded nothing like the covers done on this cd. Now that isn't necessarily a "bad" thing - but remember, there really isn't anything "goth" about this cd except Trance to The Sun's cover of "Albatross"; and d.A. Sebasstian's (Kill Switch... Klick frontman) contribution, "Rumble" (which ISN’T a goth or industrial song)... so my only other reason for doing this review is to ponder the glory days of my childhood. Hmmm. Perhaps they weren't so "glorious" after all?! These are rather unrenowned "hits" - if one could even call them "hits" in the first place.

Now most of these songs were *way* before my time (really!) but I remember my mother playing some of the originals, "Sleepwalk" for example. This is actually not a bad cover. I can see the tv commercial now - only it isn't K-TEL, it's "Go-Kustom" dishing out the plugs for this "available for a limited time" cd as over-the-hill bobbysoxers smile for the camera.

So.. what is my point here? Well, this cd isn't "goth"  - and it didn't really evoke those warm fuzzy memories I had hoped for, but it is what it is... various bands (some obscure and some not) covering instrumental "hits" (some obscure and some not) from the 50's, 60's, and 70's.

Highlights? I liked Peter Aldrich's cover of "Maggot Brain"; and Waterdogs cover of Henry Mancini's "Experiment In Terror"... and Trance To The Sun, of course (I usually like most anything Trance To The Sun tackles).

So you can get "funky" with "Outaspace", or get stoned with "Moby Dick"... you can even do the "Rumble" and "Jeff's Boogie" down the "Pipeline" on "Hawaii Take 5-0" - but I'm getting drunk and bored and I think I'll go back to my gothic/industrial cd's now.

(uh... did I just let everyone know that I owned Funkadelic albums??!)

...over and out...

TRACK LIST:
1. Hawaii Take 5-0 - The Squirrels
(originally done by Dave Brubeck Quartet & Morton Stevens)
2. Frying Pan - Erik 4-A & Friends
(originally done by Captain Beefheart)
3. Experiment in Terror - Waterdogs
(originally done by Henry Mancini)
4.  Don't Want You No More - Hugh Jones
(originally done by The Allman Brothers Band)
5.  Telstar - Freedirt
(originally done by the Tornados)
6.  Moby Dick - Bill Wolford's Head
(originally done by Led Zeppelin)
7.  Rumble - d.A. Sebasstian
(originally done by Link Wray)
8.  Sleepwalk - Adam & His Ballard Boys
(originally done by Santo & Johnny)
9.  Pet Sounds - Michael R. Bristow
(originally done by The Beach Boys)
10.  Haunted Castle - Peter Parker
(originally done by The Kingsmen)
11.  Jeff's Boogie - The Expliding Pintos
(originally done by The Yardbirds)
12.  Popcorn - Swedish Whistler
(originally done by Hot Butter)
13.  Albatross - Trance To The Sun
(originally done by Fleetwood Mac)
14.  Pipeline - Alonzo "Blind Pineapple" Phillips
(originally done by The Chantays)
15.  Outaspace - Elvis V
(originally done by Billy Preston)
16.  Frankenstein - Clang Quartet
(originally done by Edgar Winter)
17.  Maggot Brain - Peter Aldrich
(originally done by Funkadelic)

Go-Kuston Presents
www.go-kustom.com
 

Judith
Play of Light
~reviewed by Blu

First of all, I have to admit that I'm a biased Judith fan. Christopher David could sing the instructions to ceiling fan installation and I would melt and swoon. His voice, more than most, represents my idea of what classic male gothic vocals should be. Moreover, Judith has consistently released CDs that are brooding, dark masterpieces of tangled emotions and sentiment. Musically, I'd dare call them a modern day Fields of Nephilim or Mission UK.

This newest CD, Play of Light, has ten lovely tracks ready for mass consumption. It does vary slightly from past Judith CDs in that they've added more of an electronic/industrial edge to a few songs updating the sound a bit. (never fear though, dear reader, they've not lost their enchanting guitar!). A very danceable, "Play of Light" opens with an electronic sound scape before brilliant guitars and percussion come waltzing in and Christopher's voice croons tauntingly. Its pure blis. His vocals can be very understated - just enough to draw you in closer. I always get the feeling, listening to him sing, that its something that comes easily and naturally for him - that he just opens his mouth and this giant, soft, deep voice just  floats out. Track two, "Dissolution," is much darker in tone.  Electric guitars screech menacingly before vocals come in to calm them... "Without a miracle, does love exist? Picture an ocean without its horizon. Kiss me softly, at the edge of the world, beyond joy and laughter..."

"Switchblade" is my favorite song on this CD. The beginning of it is almost misleading - its mournful, slower, dreamy,  almost depressing -- guitars whine against deep bass lines, and Christopher laments "Heaven knows no wait, am I dreaming once again? A vision of your face, assembling in all your aura." But then, the chorus kicks in - faster, driving, and the key changes when a wonderful acoustic guitar comes in. The tone created by percussive instruments (tambourine I'm guessing) is exotic and something those belly dancing fans at clubs will no doubt eat up. Vocals soar rich and deep, and then, just as soon as it's started, it swirls back down to the slower tempo -- but by then you're caught in its web and it becomes a surreal dream - back and forth between beats and tones. Its an exhilarating ride.

More keyboards make way for guitars on the track "La Bella,"  another danceable track while "Fields of Green" enchants further with acoustic guitars. "Without Her' is the CD's standout romantic ballad, "Air of Lovers" brings more of that acoustic guitar I love so much, and my second favorite track --  "Seeing Sun" mesmerizes with its almost psychedelic dream states complete with piano and an odd whispery vocal effect before launching into the main 3/4 time chorus. On this track, more than any other, Judith is what The Sisters of Mercy should have been - elegant, dark, gentlemanly, romantic. And finally, "Willow" with its sing songy melody and deep bass lines and "Drop of Passion" with its more straight forward rock approach round out the CD.

Judith has taken the best qualities of what used to be the standard for goth music, made them their own and added a modern twist to them. They are, in that way, a timeless band. I imagine 10+ years from now I'll still be playing Judith to a room of swirly sentimental black hearts. Decadence I'm telling you... its yummy stuff.

Tracks:
Play of Light
Dissolution
Switchblade
La Bella
Fields of Green
Without Her
Air of Lovers
Seeing Sun
Willow
Drop of Passion

JUDITH's musicians are as follows:
Christopher David -Voice, Guitars, Keys
Damian James - Electric Bass
Brian Veit - Drums

Website
http://www.asthetik.com/amphion/

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

Neue Asthetik label:
http://www.asthetik.com
 

Khanate
Khanate
~reviewed by Matthew

Khanate (that’s pronounced ‘con-eight’) is a relentless, pummeling Doom Metal machine hailing from NYC.  This is definitely about as violent and raw an incarnation of Doom Metal that can be found, and it is certainly not for everyone. This is not cannabis-influenced sludge, and nor is it dreary funereal Gothic Doom either.  It is some mad, unholy purgatory somewhere to the left of the latter, sneaking in and out of the shadows of Neurosis inspired hardcore and grind or crust punk.  The drums pound along, the guitars break only to emit unwholesome screeches of feedback, and the low end of the CD will leave your portable Sony Discman in a smoking pile of melted Japanese plastic.

Khanate earns an easy ten out of ten in regard to the brutality, the density, and the realistic horror that their cacophony of music conjures.  Musically speaking, Khanate is A OK.

There are however, two rather glaring flaws about this disc that I cannot overlook no matter how hard I try.  Khanate might be one of the most violently disturbing dark metal bands ever to emerge, if they weren’t fronted by the freakin’ Tasmanian Devil.  All would be well.  And if it isn’t the dizzied beast from down under that is fronting this act, the former vocalist of the hair metal band Jackyl (you know, that silly band that used the chainsaw in their songs and wasn’t Skinny Puppy) must have had a severe nervous breakdown and decided to join a Doom band.  Simply stated, I just can’t buy the vocals.

Though I applaud them immensely for avoiding the use of guttural vocals.  I dig guttural death metal vocals when they are used well, and compliment the music, but it seems that Khanate wished to transcend the usual and go for the direct opposite, in hopes that the shrill, sandpaper wailings of this Alan Dubin character would inspire a fresh terror within their listeners.  I give them mad props for trying, but the vocals are bit too much.  And though they exceed in grating upon my very last nerve, they irritated me as opposed to frightened me.  I laughed rather than shuddered.  And then I felt bad for them because it is apparent how hard they tried and it is such a shame and disappointment that they did not succeed.  I had very high hopes for this band due to the buzz that surrounds them.

Perhaps I exaggerate.  For there are passages within the band’s songs (almost all of which pass the ten minute mark in length) where the vocals are calmed, when he delivers a shrill, half whisper that is often treated with odd studio effects and other bizarre forms of colour.  These parts do succeed in making the skin crawl slightly, but I think the band is capable of more.

The second flaw, as I mentioned, are the lyrics.  Apparently the Tasmanian devil has a penchant for half formed thoughts, sentence fragments, and a tendency to rely on worn out images of violence such as dismemberment, murder, and other torture that is just so 1990’s.  When will bands realize that Satan, murder, and death do not scare us anymore?  Ok, death does, but not the fucking metal personification.  Tap the psyche, my friends.  There is a wealth of terror and a wellspring of horror festering in this world, and the ideas of skinning people alive, sawing off their limbs and stuffing them under the bed is just not going to work anymore.

While the majority of the lyrics are vague attempts at being shocking and horrifying, written from the point of view of a maniac or what have you, they just do not succeed and I can’t help but feel they were a bit contrived.  Of course, not that it really matters because one cannot understand a blessed thing that is being said, but even if you thought the vocals were cool and were frightening and well-suited for the music, the lyrics will be the breaking point for you.

The only exception is the final track “No Joy.”  The fragmentation, the bizarre strings of phrases and violent images work very well here.

“…And there it went…please…please…no face…no breathe…no breathe…please….no joy…eat that smile right off your face…your face”

And so on and so on and so on and certainly endless.  This worked excellently, coupled with the most unnerving and plodding music on the disc.   I very much enjoyed this final track, but I do think it’s a wonder I made it this far.   But I am very thankful I did.  I want to hear more of this, as I think it is the only song Khanate successfully tapped the surface of their potential.

Alas, as a fan of Gothic and Funereal Doom, I hear the talent in this and I respect and appreciate Khanate immensely, but I feel they need to reexamine their ideas and perhaps find a more suitable vocal style and more expressive lyrics.  The music is sublime, crushing, HUGE, and terrifying.  But the vocals and lyrics soften the blow and remind you that this is indeed just music, just a band, and not the score of Hell itself.

If you find yourself a fan of raw ‘total fucking black metal vocals ™’ and a fan of slow violent funereal doom, then this CD will be right up your alley.  It is indeed not for the timid or weak hearted.  There does need to be more dangerous music like this, and Dizzy Devil vocals or not, Khanate are much braver and exciting than probably any metal band that has crossed my desk in the past few years.  With a bit of maturity, this band will be the absolute be all and end all of horror in dark metal music.

Track List:
1.) Pieces Of Quiet
2.) Skin Coat
3.) Torching Koroviev
4.) Under Rotting Sky
5.) No Joy

Khanate is:
Stephen O’Malley – guitar
James Plotkin – bass
Tim Wyskida – drums
Alan Dubin - vocals

Southern Lord Records:
http://www.southernlord.com

More info:
http://www.southernlord.com/khanate.html
 

Legion Within
self-titled
~reviewed by Kevin Filan

Most of today's "Goth" bands are far more influenced by Depeche Mode or Flock of Seagulls than by Bauhaus or the Cure; the "Goth" bands of tomorrow seem more interested in Psytrance and Illbient than in Andrew Eldritch or Siouxie Sioux.  Seattle's Legion Within may well be among the last of a dying breed: an honest-to-goodness Gothic Rock band.  Their "Within" is a solid opening effort, which shows that there are still some gems to be found in that almost-forgotten genre.

Kristoffer Larsen's production is particularly impressive; Legion may well want to consider bringing Larsen on board as an official member.  His reverb-heavy mix echoes (sorry, but I couldn't resist) Phil Spector's Wall of Sound.  (Hell, the Farfisa-esque synthesizer on "I Feel Nothing" would have been right at home on a Ronettes song).  I wouldn't be surprised to see Legion's next CD marketed as Shoegazer music, particularly if they continue along the moody, droning lines of "Pure" and "Treachery"

Unlike much Shoegazer (and, indeed, unlike much Ethereal) music, Legion Within's songs move ahead at a brisk pace.  If you've been following yr. humble narrator's reviewing career on *Starvox*, you'll see that I regularly wax rhapsodic about live drummers vs. drum machines.  Legion's rhythm section, John Gibson on percussion and Ken Stubblefield on fretless bass, keep things from melting into sonic sludge.

William Wilson's crooned-spoken baritone vocals are in the grand tradition of Peter Murphy or David Bowie.  He doesn't have a lot of self-confidence or projection yet; he's a good singer, but he hasn't really come into his own.  He's hitting all the notes, but he never really takes a chance, never goes for broke.  I'd be interested in hearing his next efforts, as he gains the skill and stage presence which only come with time.  On this release, he's generally overshadowed by the band's excellent instrumental work.

Legion Within's musical skill is evident throughout the CD.  "He Moves" opens outside the standard Gothic Rock 4/4 model, and Lisa Smith's cello playing provides some interesting atmospherics throughout, particularly in "Song for the Sun (the Fluid Song)."  I was also impressed by keyboard player Marcus Krieg and guitarist Shannon Cole, whose fuzzy sweet-and-sour riffs call to mind Seattle's grunge scene.  They've definitely got a good foundation here. My only complaint, and it's a minor one, is that I'd like to see them extend themselves a bit more.  Right now they're producing solid and well-done Gothic Rock; they haven't yet crossed over that line between "very good" and "great."

Tracks
1) I Feel Nothing
2) Deeper You Go
3) He Moves
4) Pure
5) Treachery
6) Song for the Sun (The Fluid Song)

John Gibson: Percussion
William Wilson: Vocals and Guitars
Shannon Cole: Guitars
Markus Krieg: Keyboards
Ken Stubblefield: Fretless Bass
Lisa Smith: Cello

Legion Within website
http://www.legionwithin.com

c. 2001 Tragick Records

Luminous Flux
Vision
~reviewed by Xian

If a glimpse of what's to come from this Seattle based band, Luminous Flux's new single, "Vision," captures the attention and sows the anxious seeds of anticipation for future releases.  The proud work of Susan Dumett, and Rob and Paul MacKusick, "Vision" is woven with euphonious melodies, elegant vocals, and moving rhythms that bends and blends with seductive intent.  They have embraced the expressive, organic qualities that bring a playfulness to the dancefloor, stylistically reminiscent of Dead Can Dance, Rhea's Obsession, and even Delerium.

Susan Dumett's vocals are simply amazing; powerful yet tempered with a fluid grace and warmed by the firm counterpoint of Rob's own voice.  The guitar work by Paul is the furthered contributions of artistic finesse, topping off for an unusual arrangement of sound and structure.  Accomplishing a passionate balance between atmospheric ethereal and exotic, electronic dance, I personally believe that Luminous Flux will help to rekindle the dying fire of gothic music within our nightclubs.

Track Listing:
1.  Vision
 

Luminous Flux are:
Susan Dumett - lyrics & lead vocals
Rob MacKusick - keyboard, programming, back-up vocals
Paul MacKusick - guitar, programming

Luminous Flux
http://www.luminousflux.net
luminous@luminousflux.net

Luna in Caelo
Aqvellos Desgarradores Gritos Llamados Silencio
(those tearing screams called silence)
~reviewed by Jezebel

In 1993 historian Alejandra Araya and designer Daniel Davilla formed the artistic project called Luna in Caelo. A year later with the edition of Enrique Stindt and Philippe Boissier, the band played the Santiago, Chile underground scene.

The group is not just a musical group, but use literary and visual means to achieve their artistic success. A manifesto given at one of their concerts explains their “neo-expressionists” position:

“Neo-expressions. Despaired, angry, sad, and anguish, shouting from the guts, looking into a dark and confusing interior, exploring the ‘expression’ as a way to set the soul free, interior need, that’s the scream of the soul, universal expression of the pain, our new expression.”

It’s a tall order.

This, their first album, (they have since recorded a second, Miedo A Morir (fear to die) with a different line-up) is an interesting mix of sounds. After the mesmerizing and seductive tones of air in track one, Pena (doubt), we given a danceable beat in Conciencia (concience).

Very Dead Can Dance, very Changelings, very Black Tape for a Blue Girl. Perhaps some Rhea’s Obsession placed well in there. The voice of Alejandra does have a Siousxie like quality to it, that passionate, drawling softness. I especially am impressed by the guitar work of Philippe Boissier, who brings a plaintive -, yet strong wail to the entire mixture. The bass of Enrique Stindt is a good supportive sound, sometimes taking the lead in songs, but usually being the background sound that pushes along the rest. Enrique Stindt’s drum playing is solid and finishes off the sound.

I like this album. I enjoy this album as excellent background noise as I work at the computer for hours writing reviews. But I don’t love this album. I don’t find it inspirational, I don’t find it particularly uplifting, nor an evolvement of music from the artists mentioned above. It’s interesting. It’s quality. But it’s not brilliant.

And it doesn’t live up to the packaging. Some bands, (Mission, Killing Miranda for instance) you get what you see on the label. This doesn’t.

“Luna in Caelo deals with the feelings, the fears, the dreams, the pain of the individual, it’s the representations of the sensations and the states of the human soul. And, above all, of those situations in which we all try to hide. Travelling towards out inner selves can be turbulent, painful and dark, but that landscape, that destiny, is infinite and majestic. Luna in Caelo hurts, frightens, bewilders, but at the same time, sets free." A taller order than their manifesto…and unfortunately – doesn’t measure up as well as it could/should. It is not the language difference. I tried that angle. The music is good. It’s just not good enough to live up to what has been promised.

Track Listing:
1) Duda (doubt)
2) Pena (sorrow)
3) Conciencia (concience)
4) A-dios (god-bye)
5) Susurro (whisper)
6) Locus
7) Tormento (torment)
8) Encierro (confinement)
9) Trapecio (trapeze)
10) Sombra (shadow)
11) Lluuia (rain)
12) Plural (plural)
13) Cercos (siege)

Luna in Caelo is:
Alejandra Araya – voice
Daniel Davila – guitars
Enrique Stindt – drums
Philippe Boissier – bass

Palace of Worms
http://utenti.tripod.it/palaceofworms

MAUDLIN OF THE WELL
Bath/Leaving Your Body Map
~reviewed by Michael Johnson

The music of Maudlin of the Well cannot be dissected or described in any short form.  With its influences pulling from so many genres, a great and exciting complexity is gained and this became evident with their first release, My Fruit Psychobells…A Seed Combustible.  I must admit that reviewing these releases has caused me fits.  I have fought with my girlfriend, skipped meals, and even avoided emptying my bladder until the last second all while immersed in these albums.  My first thoughts of doing this review were to lay out all my ideas and interpretations of the albums but have since come to realize that each person will come to a different conclusion and that there is not a finite amount of mental paths you can take before you draw your own conclusion.

MotW employs a style of music known as autophysiopsychic, a style developed by jazz virtuoso and music professor Yusef Lateef, who members of Maudlin have studied with.  This style states that the music comes from one’s physical, mental, and spiritual self.  When this is mixed with the combined talents of the nine musicians of the band along with their metal influences, you get the creations of Maudlin of the Well.

Bath and Leaving Your Body Map are concept albums for a higher plane of thinking.  They are a journey that must be taken many times before you finally arrive at your destination.  With its many blended elements such as metal, jazz, doom, and even emo, this may not be so easy to swallow on the first take, but fine bourbon will even be harsh at first only to settle out and warm you to your very soul.

Although these are actually considered separate releases, to own one is to want the other and I have decided to put them both together.  In fact, to figure out the actual meaning of them, you do have to have both, as pictures and symbols chart a course for the listener to a fro between the two.  I have spent many an hour attempting to decipher motW’s evil little code
and have yet to break it.  I had one very exciting moment when I discovered text beneath a dark background in one of the booklets.  I broke out my blacklight and wrote everything down only to discover it was still more code.  The best time, I have found, to do this is while reading the lyrics with the music.

It WILL take you somewhere, and it’s up to you to let your mind get there.  For the listener who takes this two-dimensionally, I feel for you, as you will find this as a puzzle box delivered from Satan himself.

Maudlin is unique in that they have to ability to stir any emotion they desire from you.  The beautiful ninth track on Body Map, represented by a symbol, is nostalgic in that it brings up wonderful winter and holiday memories while “They Aren’t All Beautiful” from Bath will stir rage and angst.  The songs tug and pull your emotions from one direction to the next over each song yet you’ll notice that you offer no resistance.  The music, lyrics, and vocal styles nimbly jump any genre barrier you have created in your mind and fuse styles thought incompatible until now.  It’s quite magical how your emotions will surge and ebb away again, and by the time both albums are done your thoughts are ablaze with a better awareness of what is surrounding you.

In a way I am saddened because it is inevitable that some people will not even attempt to actually listen to these.  To hear just the music and cast these aside is a huge mistake and I only ask people to show a bit of patience with them.  Read the lyrics, read the notes around the lyrics, stare at the pictures, and let the music take you.  I myself have never heard anything like this and I have never had to think this much about an album.  It took me a couple listens to actually figure out what motW were trying to do and since then, I find more and more pleasure every time I listen to them.

I cannot stress enough the importance of these two releases.  They are the Fountain of Life for music itself just based on the uniqueness, complexity, and sheer brilliance of their writing.  There is something here for everyone, whether you choose to see it at first or not and they are EASILY my pick of the month.

These CDs are the doorway to a journey and starting it is a choice you have to make freely.

Maudlin Of The Well is:
Jason Bittner: trumpet
Jason Byron: vocals, keyboards, percussion
Toby Driver: vocals, guitar, bass, keyboards, cello,
percussion
Maria-Stella Fountoulakis: vocals
Sam Gutterman: vocals, drums, percussion
Greg Massi: vocals, guitar
Nicholas Kyte: bass
Terran Olson: vocals, keyboards, clarinet, flute,
percussion
Josh Seipp-Williams: guitar
Guests:
Sky Cooper: guitar on “Monstrously Low Tide”
Anna Wetherby: viola

Maudlin Of The Well – Official Site:
http://www.maudlinofthewell.com
Maudlin Of The Well - Mp3.com Site:
http://artists.mp3s.com/artists/153/maudlin_of_the_well.html

Dark Symphonies Records:
http://www.darksymphonies.com

12/03/01

BATH:
1.) The Blue Ghost/Shedding Qliphoth
2.) They Aren’t All Beautiful
3.) Heaven And Weak
4.)
5.) The Ferryman
6.) Marid’s Gift Of Art
7.) Girl With A Watering Can
8.) Birth Pains Of Astral Projections
9.)
10.) Geography

LEAVING YOUR BODY MAP:
1.) Stones Of October’s Sobbing
2.) Gleam In Ranks
3.) Bizarre Flowers / A Violent Mist
4.)
5.) The Curve That To An Angle Turn’d
6.) Sleep Is A Curse
7.) Riseth He, The Numberless
8.)
9.) Monstrously Low Tide

Maudlin Of The Well is:
Jason Bittner: trumpet
Jason Byron: vocals, keyboards, percussion
Toby Driver: vocals, guitar, bass, keyboards, cello, percussion
Maria-Stella Fountoulakis: vocals
Sam Gutterman: vocals, drums, percussion
Greg Massi: vocals, guitar
Nicholas Kyte: bass
Terran Olson: vocals, keyboards, clarinet, flute, percussion
Josh Seipp-Williams: guitar

Guests:
Sky Cooper: guitar on “Monstrously Low Tide”
Anna Wetherby: viola

Maudlin Of The Well – Official Site:
http://www.maudlinofthewell.com

Maudlin Of The Well - Mp3.com Site:
http://artists.mp3s.com/artists/153/maudlin_of_the_well.html

Dark Symphonies Records:
http://www.darksymphonies.com

Mystic Circle
Infernal Satanic Verses
~reviewed by Matthew

Mercenary Musik has aided in the delayed domestic release of the Mystic Circle release, “Infernal Satanic Verses.”  (Their latest album is “The Great Beast,” but this is the one I was sent to review last month so…) I was previously acquainted with this German band from their “Drachenblut” release a few years back, which was based on the medieval epic the ‘Niebelungenlied.”  Besides having great lyrical content, the music was a fantastic blend of black metal intensity and ancient atmospheres.

This release, however, inspired a unique and disappointing reaction in me, which I totally did not expect.  I have been purposely avoiding this kind of music lately, because it has failed to entertain me the way it did a few years ago.  I think it was just a bit of overkill.  But I was instantly bewitched by the musical content of this release.  The music is fabulous, grandiose, epic, melodic, and highly atmospheric.  All the elements necessary to create the perfect melodic black metal album are here, and therefore, musically speaking, I highly recommend this.

So what’s the problem, you ask?  Well, as I was listening to it, the frequent hails to Satan, the repetitive desire to crush the baby Jesus and whatever other forms of usual blasphemy the band could imagine, instantly turned me off.  I don’t know if it is just that I have been desensitized to this music or what, but it all struck me as extremely silly.   And the tragedy of it all is the music is so fantastic, certainly not innovative as a million and one bands are doing this these days, but Mystic Circle really do display a solid grasp on their talent, and produce quality black metal music with seeming ease.  But the maturity level of the whole thing plummeted from a ten to a big fat zero.

I am well aware that this is what black metal bands are ‘supposed’ to write about, but it just all seems so clichéd, redundant, dated, and worn out.  And it makes it so hard to take the music seriously.  Yet I realize that so many people still do.  So I think it is just me, so save your hate mail, because I realize I am the one that is in the minority and I am the one ‘missing out.’  But whatever the case, I will be honest.  I was very disappointed in the lyrical content, and no, I can’t just let it go and appreciate the music.  I tried that repeatedly.  And once all of this dawned on me, I just could not put the idea out of my mind and the CD was ruined for me.

Furthermore, the lyrics are not even ‘crafty’ like the band’s “Drachenblut” release was and it seems they have degressed as opposed to progressed.  We have atypical titles like “One With The Antichrist” and “Fallen Christian Empire.”  It just all seems so contrived.

What more, is that the music doesn’t seem at all dark or intense.  Again, I think that is just the fact that I have become desensitized to this stuff.

I know that I am definitely not in the majority with these opinions, but I am bound to believe that there are quite a few metal heads out there, that as they get older, their tastes grow as well as their bodies and minds.  So where is the ‘next level’ of black metal?  I feel like we are all still lingering in black metal junior high! When do we graduate to high school?  Or better yet, aren’t we smart enough to go straight to black metal grad school?

Forgive the metaphors, but I think it’s time black metal bands start thinking ahead, what ELSE can they do to be extreme, certainly they need to be a bit darker, more atonal, and violent.  These bands definitely need to be less freakin’ cartoonish.  There is no horror in this.  Where is the horror?  Where is the eeriness?   My parents hear this stuff and laugh.  Yet my mother nearly had a nervous breakdown when she caught a bit of my latest Current 93 CD.  And they are just a wimpy experimental folk rock band, right?  So what’s the deal?  I doubt Satan is at all flattered by any of this.

Therefore, I anxiously await the black metal of the future, the progression and the next step in extreme music.  Until then, I really don’t think it is worth my while to bother with this stuff.

Track List:
1.) Intro – The Daemon’s Call
2.) Undestructable Power Of Darkness (* And yes, I am sure they mean
Indestructible)
3.) Hordes Of The Underworld
4.) The Devilstone
5.) Thorns Of Flies
6.) One With The Antichrist
7.) Black Legions
8.) Fallen Christian Empire

Mystic Circle – Official Site:
http://www.mystic-circle.de

WWIII Records/Mercenary Musik:
http://www.ww3music.com