So as I am checking out my new surroundings in Southern California, I found myself wandering into a Virgin Mega Store which was, ultimately, a bit of a disappointment as it's so mainstream (even its magazines) that I found it quite boring. The Tower Records down the street had a much better selection. Anyway, as I was walking through Virgin, the cover art of a Various Artists compilation caught my eye (here's to you Col for the argument that sometimes a cover sells a CD!). As you can see above, its a lavendar-colored cover depicting a beautiful fairy. Hmm...I thought to myself, wonder what kind of illogical grouping of mainstream bands we'll find on this...as I picked one up and flipped it over. To my surprise, it wasn't mainstream at all but a very luscious combination of artists like Rasputina, Future Bible Heroes, Cranes, The Creatures, and of all things - Legendary Pink Dots.

Purchase made, probably the only one I'll make at that store, and off I went to the car to rip open the packaging of my new find. The gorgeous artwork of Amy Brown as seen on the cover, is  continued inside as there's a little booklet with an illustration and story for each song (hence the title - 12 tales). As a bonus, it tells us that each "tale" was written by Melora Creager of Rasputina. How yummy is that? It's not often that I find myself willingly enveloped in ethereal music but the exotic tones of this hit just the right spot as I drove home in my own little fantasy world.

Track one is "Hunter's Kiss" by Rasputina which starts out with their signature mournful cello and quickly descends into a quirky Victorian-themed tale. Melora sings of desperate love affairs backed by operatic choruses, punctuated by charismatic strings and a quite danceable beat. Even their use of distortion on her voice at the end is a welcomed surprise. Next up is "O! What a Dream It Was" from Future Bible Heroes - piano melody and atmospheric operatic female vocals before the male lead comes in with "I know I'll never be beautiful, but you kissed me once in the sun. I know I'll never be lovable, but you made me think I was wrong...and you say it doesn't matter, but I want to scream, it does." At some point some exotic percussive elements invade and bring along some strange, forest-spirits with it as things squeak and snort and buzz in a otherworldly, fantastical sort of way.

Track 3, "Lick" by The Flir is one of my favorites propelled by a danceable beat and strummed acoustic guitar (one of my weaknesses), female vocals soar childlike and mystical. I would love to hear a DJ spin this. This is the kind of ethereal music I almost forgot about - the kind that propelled graceful, swirling beings under changing lights on the dance floors. And of course "Flute Song" by Cranes is as haunting and as lovely as you'd come to expect from anything they do -- a down tempo lounge like beat is contrasted against their memorizing vocals backed by synths. "Impossible Gardens" by Bitstream Dream is an exotic track characterized by spoken word female vocals over an atmospheric world created by keyboards and percussive elements. The Creatures, always a delight no matter what they do, add strength to this CD with their track "Slipping Away". Siouxsie rules the roost with her dynamic and powerful voice - no one would ever expect anything less.

If you haven't heard of Violet Indiana yet, you'll no doubt recognize some of the names behind it: Robin Guthrie and Siobhan De Maré; carried on Simon Raymonde's Bella Union Records. Slow tempo with almost a Western lounge twist to it, Robin mournfully relates a sad tale to us in "Purr La Perla" as only the best song birds could do - a completely beautiful and mesmerizing track. Devilishly spooky as always, Miranda Sex Garden delivers "Ardera Sempre" like some silver encased nightmare fresh out of the deeply haunted forest of your mind. Driving tempos flank operatic female vocals and wicked string work. Soft and delicate, yet still with a tinge of spookiness, Russell Mills creeps and drifts his way through "Room of Sixteen Shimmers" in a semi-psychedellic haze.

More alternative sounding in nature, Livid Kittens contributes an exotic flavored popish tune called "Flying" (sounding a bit like Blondie) while another band on the Bella Union label, The Devices, slows it way down with a mournful "You Could Walk Forever." And finally, Legendary Pink Dots gives us a short, strange string highlighted "The War  of Silence" clocking in at just over a minute. I'm not sure why LPD is on this comp unless it was a favor from/to a friend or to strictly drive up the value of this CD with their name alone; but this track is so odd that it doesn't really fit the theme or flow very well. It sticks out like a sore thumb - undoubtedly why they put it at the end instead of somewhere else. So beyond that one little quirk, I think its an excellent V/A comp - definitely something you can put on and enjoy during a day out driving or in a bubble bath for that matter. The artwork and packaging alone speak volumes.

Tracks:
1. "Hunter's Kiss" -  Rasputina
2. "O! What A Dream It Was" - Future Bible Heroes
3. "Lick" - The Flir
4.  "Flute Song" - Cranes
5. " Impossible Gardens" - Bitstream Dream
6.  "Slipping Away" - The Creatures
7.  "Purr La Perla" - Violet Indiana
8.  "Ardera Sempre" - Miranda Sex Garden
9.  "Room of Sixteen Shimmers" - Russell Mills / Undark
10. " Flying" - Livid Kittens
11.  "You Could Walk Forever" - The Devices
12.  " The War of Silence" - The Legendary Pink Dots

Listen to Sound samples of ALL tracks here:
http://www.instinctrecords.com/release_detail.cfm?CAT=INS594

Instinct Records:
http://www.instinctrecords.com

Illustrations by Amy Brown
http://www.amybrownart.com

Acid Ice Flows
Dol Guldur
~reviewed by Matthew

Hailing from Washington, Acid Ice Flows is a dark synth pop project spun from the entrails of a single multi-faceted musician.   And while there are recognizable elements of talent prevailing on this disc, there are a few major shortcomings I could not get passed.

I despise writing negative reviews, especially of struggling, new, independent artists.  But for whatever reason, I feel a pang of confidence in this particular musician.  I believe Monsieur Gollum has a remarkable ear for melody, for his manipulations of electronics invoke a sincere feeling of melancholy.  The production on his debut release is crisp, clear, and extremely professional, despite a slight ‘thinness’ that is sort of characteristic at the DYI stage of this kind of music.  Musically, Acid Ice Flows recalls the mid-paced orchestral Depeche Mode-isms of Soil & Eclipse and the cult darkwave act SubVersion.   There are also elements comparable to the more atmospheric and moody moments of Bella Morte.  Hell, I am not really all that keen on samples, and there is a really well placed sample of Jack Nicholson in “The Shining” and his infamous “Here’s Johnny!” quip.  All is well thus far.

For me, the problem is that the vocals are a dominant weakness. If there is anything I hate in the world of Goth and synth pop it is the prevalence of vocalists that are drenched in strained self-pity, exasperated drama, and a lack of conviction.  So many vocalists invoke the sublime terror of Valencourt, the pathetic chevalier ‘hero’ in Ann Radcliffe’s “Mysteries Of Udolpho” springing from the mildewed pages to take up a singing career.

Though I don’t find Gollum’s vocals to be nearly as grating as some other bands that I have been exposed to, nonetheless, his voice drifts sterilely - whining, nasal, and monotonous.  There is little to no variety or emotional expression to be found in the vocals on this disc, and it is truly a shame considering the delightful musical backdrop, and it makes this CD all the more tragic a listen.  His voice has a steady quality to it, but he needs to shed the pretense a bit and just let the words flow. Deepen his voice a bit, throw some angst in there, and frankly, he just needs to toughen up.  Or perhaps, with all due respect to this man’s artistic vision, he needs to find a session vocalist to work with while he can play the role of maestro, conducting and arranging a voice to compliment the cinematic musical accompaniment.

With a synth pop revival in full sway, the keyboard work here is perfectly executed and well timed for rabid public consumption.  The bleeps and the wire synths are artfully balanced with sweeping, airy synthetic strings.  The earnest mood of sadness conveyed in the music is perfect: it is not too light to be dismissed as sappy, and nor is the mood to dense to alienate.  What more, is that the percussive elements are not steady harsh 4/4 thuds, but rather the drums are swayable, dynamic rhythms culled from vintage new wave and mid ‘90s darkwave. The final track even features some creepy watery guitar passages that worked nicely with the synthetic backdrop, so variety can be found musically where it lacks vocally.

Overall then, I hear and sense such a magnificent amount of potential, but vocal performances often make or break a release.  While I am sure that there quite a few dark music fans that are not as particular as I am, perhaps because they are more accustomed to, used to, and just genuinely respond more openly to this kind of music.  So I would say that there is a great chance that fans of the polished sound courtesy of De/Vision, The Crüxshadows, and Wolfsheim will have no problem with the vocals on this disc.

Whatever this case, I hope that Acid Ice Flows continues to refine its vocal approach and remains faithful to the successful and beautifully melancholic song structure that is firmly secured.  According to the artist’s website, a new release entitled “Angbad” will be released this year, and it will feature a cover of The Cure’s classic depressive slice of perfection “All Cats Are Grey.”   Stay tuned, contact this lonesome soul, give his work a listen, and give him a chance…this very well could get interesting.

Track list:
1.) Deception
2.) Pierce
3.) The Pain Subsides
4.) Fear
5.) Acid Ice Flows
6.) Surrounded
7.) Eternity
8.) Wind
9.) Lord Of The Flies
10.) Rho Ophiuchi

Acid Ice Flows is Gollum
Email: gollum@acidiceflows.com

Acid Ice Flows - Official Site:
http://www.acidiceflows.com

Ampcast Site:
http://www.ampcast.com/acidiceflows

Mp3 Site:
http://www.mp3.com/acidiceflows

ARMAGEDDA
The Final War Approaching
~reviewed by Michael Johnson

I started listening to black metal way too late. Without the resources of the Internet, I was confined to only albums that I could special order or could find on the shelf.  There wasn’t much there and this caused me to miss an essential era in the development of the black metal scene.  Bands like Mayhem, Old Funeral, Emperor, and Darkthrone stormed the scene spitting blasphemy and stroking the hellfires contained within us.  Some are not finished with this era.

Had this CD not been dated, I would have never guessed that it was relatively new.  Armagedda has managed to hang on to the sound and production quality of these early pioneers and create an album completely stripped down of all the glamorous special effect and studio tricks that have caused the scene to blossom, flourish, and eventually become saturated.  This is the sound I think of when I hear about “true” black metal.

The Final War Approaching has an extremely raw production that somehow remains clear, offering feeling of nostalgia rather than the headaches sometimes caused by muddy production.  The vocals of Graav lie somewhere between Abbath (Immortal) and Satyr (Satyricon) and, although the Swedish accent is thick, are surprisingly understandable.  The music is straightforward black metal and it’s not hard to pick up Bathory as one of their influences (think Under The Sign… or the debut release).  The rawness is further enhanced between tracks, as the clicking of the master tape being turned on and off for the recording can be plainly heard but somehow it does not deter from the quality of the recording.

All in all, Armagedda have created a very solid recording.  Normally I would find fault in production quality but I felt as if I was listening to something from years ago and rather enjoyed it the way it is.  Those into this very raw sound as well as the older albums from the bands mentioned above would do well to purchase this album.

Armagedda Is:
Graav – Guitars and vocals
Phycon – Drums
A – Guitars
Mord - Bass

Websites: www.merciless-records.de
www.breathofnight.com

Avaritia
Wide Awake EP
~review by Jezebel

From the voice of Dorit Karstedt and the instruments of Matthias Dopp (ex-New Days Delay) comes this new offering, Avaritia. Their debut EP has been produced by Justin Stephens of Passion Play who offers up background vocals.

So I admit I go into this blind. I know I ~know~ a song or two by New Days Delay, but please don’t ask me what they are. I don’t know. I have met Justin in the past, but have yet to hear a Passion Play song knowingly. So – I am objective, aren’t I?

For anyone who says that EBM will take over, has to the see the number of good guitar, real instrument playing band CDs I get in the mail. EBM may have a moment in the sun, but there are bands out there that are pulling it back down by its cyber-y, fluorescent, plastic dread. Avaritia has the possibility to be another one of these.

Listed in Matthias’ credits is programming, which means these drums are out of a keyboard (not a computer as he has contended on a newsgroup). Fine, but I think that is one of the first things I have found lacking. I want a real drummer there and I can sense in the sound, especially when spotlighted in the first track, "Pleasure & Pain", being just a bit missing of depth. Oh – get Belle of Killing Miranda, perhaps Simon of NFD, or Jeremy long ago of Sunshine Blind. They would bring a deeper dimension to the drums.

Is there any thing else I have found lacking? Not in the music. It is strong and powerful, reminiscent of both guitar based gothic and ethereal gothic. It may just appeal to both sides of the fence and get the swirly girlies out to the dance floor with one song, "A Tiny Glance", and the harder rockers out with Bars.

Dorit’s vocals remind me a bit of Candia from Inkubus Sukkubus, but without her strength. And although beautiful and definitely filled with talent, that is what Dorit’s voice is missing, a depth/strength that would be able to equal the music. In "Bars", Justin’s vocal completely eclipses Dorit’s and is no longer the background or additional vocal, but takes over and throws Dorit backward in the listening hierarchy. (Actually I didn’t know Justin’s voice was this lovely and I plan to run out for a Passion Play CD as soon as possible). In "Fragile", it gets lost inside the guitar of Matthias. Perhaps it was a production choice.

There is so much possibility within this two-some. I wonder who they will enlist to play their live shows with. Matthias on guitar of course, but who for bass? Keyboards? Drums? I would love to hear Dorit’s voice after some more power has been instilled in it. Let it rip, belt a bit more, find the power from within to equal the music.

A short review…well, it is only five songs.

Bottom line. This is a great beginning for this band. It’s solid, it has possibilities, and it has a running start with its line-up already. All it needs now is to deepen their strengths.

tracks:
pleasure & pain
a tiny glance
challenge
bars
fragile

Avaritia are:
Matthias Dopp: guitars, bass, programming
Dorit Karstedt: Vocals
Additional vocals by Justin Stephens

E-mail:
info@avaritia.net

Website:
www.avaritia.net

Black Tape For A Blue Girl
The Scavenger Bride
~review by Matthew

Projekt Records has undergone a flurry of activity over the past few years.  New signings, new artists, new releases, new distribution – label head Sam Rosenthal has had quite a bit weighing on his shoulders, constantly promoting the label and the roster of bands that make it up.  But thankfully, he was finally able to set aside time to devote to his own musical project, Black Tape For A Blue Girl.  It has been almost four years since the last CD “As One Aflame Laid Bare By Desire” was released, perhaps one of my own personal favourites.  The last three Black Tape albums (“Lush Garden Within,” “Remnants Of A Deeper Purity,” and “As One Aflame…) were monumental Ethereal/neo-Classical releases, thus, there was a lot of expectation for Rosenthal’s follow up release.

With that in mind, I think Sam took a much different approach to this release, and “The Scavenger Bride” is definitely one of the most unique and dare I say ‘experimental’ additions to the Black Tape discography. The neo-Classical elements are still to be found in Vicki Richards’ eastern violin talents, Lisa Feuer’s delicate flute playing, and Elysabeth Grant’s striking range of beautiful vocal delivery.  This time around, the instrumentation has expanded into even broader realms, touching on exotic and more rhythmically ‘slinky’ songs, best exemplified in the wonderfully refreshing tracks “All My Lovers” and “The Whipper.”   You rarely think of Black Tape as the kind of band to receive club play, save for the darkwave classic “Across A Thousand Blades.”   There is a similar feel to the aforementioned songs, though they have an even more appealing sense of organic flow, due to collaborations with Michael Laird of Unto Ashes fame.

One of the most interesting aspects of “The Scavenger Bride” that differs from other Black Tape albums is that besides the additional percussive and period instrument performances by Laird, Sam invited several other musicians aboard to contribute to the CD.  Martin Bowes (Attrition), Athan Maroulis (Spahn Ranch), and Brett Helm (Audra) contribute vocals throughout the disc, and Judith’s Christopher David dropped by to record a few subtle guitar lines for “A Livery Of Bachelors.”  The exciting result is comparable to This Mortal Coil, a kind of 4AD ‘super group’ that was comprised of members from Dead Can Dance, Cocteau Twins, Modern English, etc.

The music and atmosphere of Black Tape has always had a feeling of nostalgia to it, having the ability to transport the listener to early, more poetic times.  The bands past work always invoked a feeling of the 19th Century to me personally and that was part of the appeal for me as a listener.  “The Scavenger Bride” has a much more ‘modern’ kind of mood about it, in that lyrical concept of the CD is set in early 20th Century Prague.  In fact, “The Scavenger Bride” is the first proper ‘concept album’ Sam has ever purposely done.  Whereas the prior albums, though obviously sharing thematic links, were just expressions of similar lovelorn (and often) autobiographical feelings.  This album is still shaded by those signature feelings of deep romance fans have come to expect, drawing it’s influences this time around from artistic figures like Klaus Kinski, Marcel Duchamp, and Franz Kafka.  And the ‘tale’ of the album itself is especially intriguing as it is chronicles the inner struggles of a young bride’s emotional breakdown, and the discarded bachelors she has rejected.   These are the roles played by the guest vocalists sprinkled throughout the album.

“The Scavenger Bride” then, has quite a bit going on, a lot of exciting new elements have been incorporated into the realm of Black Tape, and the characteristic emotions, moods, and lyrical concepts have never been so painstakingly crafted.   Though an ambitious release, after several listens, I have to admit that I have mixed feelings of both distinctive praise and light disappointment.

My main problem with the disc is a minute one.  There are several very short tracks, as well as a few epic lengthened songs.  The shorter songs have some wonderful ideas, such as the remarkably touching “Floats In The Updrafts.”   Athan’s soothing vocal melody is fantastic in this song.  But the song sort of ends somewhat abruptly.  This same complaint holds true for tracks like “The Doorkeeper” and “The Whipper,” both of which are under the two-minute mark.  While the album is meant to be listened to as a whole, and these tracks to be transitional, simple songs – I felt there were very strong melodies and lyrical ideas going on here that could have been a lot further developed into longer, more intricate songs.

Another ‘surprise’ offered by this album is an unexpected cover of Sonic Youth’s “Shadow Of A Doubt,” one of the more sensuous and atmospheric tracks to appear on the band’s seminal 1986 masterpiece “Evol.”  The song easily fits into the conceptual ideas presented by Black Tape, as the song is about a woman who ‘met a stranger on a train’ and centers around the dark, erotic fantasies of infidelity prompted by such an encounter.   The lush, subdued music perfectly translated to Rosenthal’s manipulation of dark electronics, reverberated pianos, and warm moody synths.  The musical translation of the song from Sonic Youth to Black Tape’s style was easy for me to envision, but it was even cooler than I ever expected.  However, I feel the song features Elysabeth’s weakest vocal moments.  Granted, who the hell can compare to Kim Gordon?  However, I felt Elysabeth’s voice possessed too much clarity and energy, where as the original was more of a jaded, dejected whisper.  She just sounded a little too animated, and the finalé of vocal layers is a bit too melodramatic.  A minor complaint, for the song is still a favourite of mine due to the faithful and embellished musical backdrop.

The instrumental tracks are very engrossing, a difference for me than on past Black Tape albums, as the instrumentals usually drone on far too long for my impatient tastes.  The title track and “Das Liselottenbett” were both especially cool and powerfully hypnotic.  The many vocal appearances on the album obviously add quite a bit of diverse colour, but I definitely think that Brett Helm’s vocal contributions stand out the most.  Extremely passionate, stark, clear, and exceptionally moving – I think he actually sounded better on this album than his own impressive work in Audra.   Of course, Martin Bowes dusky sepulchral narration of “The Scavenger’s Daughter” is chilling and well worth the price of admission, Bret Helm out creeps the master in the gritty claustrophobia of “Like A Dog.”   This track  recalls some the hair-raising anguish of past songs like “Decomposed By The  Fires Of The Firmament” and “For You Will Burn Your Wings Upon The Sun.”

There are of course, a lot of lighter, more traditionally beautiful passages, the best probably being the album’s closer “Bastille Day, 1961” with Elysabeth’s vocal strengths are at their peak and Sam’s familiar murky pianos stamp the final seal of gorgeous gloom on a very well-packaged and visionary record.

While parts of the CD sound a little rushed and unfinished, the memorable greatly outweighs the forgettable.  While “The Scavenger Bride” does not evoke as dense or heart wrenchingly depressive an atmosphere as the band’s prior work, it is obvious that a great deal of passion and vision went into crafting this release.  And though that passion is more detached than in the past, Sam weaves a finely wrought tale of erotic intrigue amidst an exotic and mysterious backdrop.  Surely fans will be relieved to have the opportunity to set their minds and hearts adrift to a new Black Tape For A Blue Girl release, and as a longtime fan, I quickly adjusted to this new guise of elegance offered by “The Scavenger Bride.”

Track List:
1.) The Scavenger Bride
2.) Kinski
3.) All My Lovers
4.) Shadow Of A Doubt
5.) The Doorkeeper
6.) Floats In The Updrafts
7.) A Livery Of Bachelors
8.) Das Liselottenbett
9.) The Lie Which Refuses To Die
10.) The Scavenger’s Daughter
11.) Like A Dog / Letter To Brod
12.) The Whipper
13.) Bastille Day, 1961

Black Tape For A Blue Girl is:
Sam Rosenthal – electronics
Elysabeth Grant – vocals and viola
Lisa Feuer – flute
Julia Kent – cello
Vicki Richards – violin

Additional appearances by:
Michael Laird (Unto Ashes) – percussion, dulcimer, mandolin, backing vocals
Bret Helm (Audra) – vocals, acoustic guitar, doumbek
Athan Maroulis (Spahn Ranch) – vocals
Christopher David (Judith) – electric guitar
Martin Bowes (Attrition) – vocals
Steve Roach – sound processing

Black Tape For A Blue Girl – Official Site:
http://www.blacktapeforabluegirl.com

The Scavenger Bride –CD Info Site:
http://www.thescavengerbride.com

Black Tape For A Blue Girl – Mp3 Site:
http://www.mp3.com/blacktape

Projekt Records:
http://www.projekt.com

Butterfly Messiah
Priestess
~reviewed by Matthew

Tampa’s Butterfly Messiah is one of the few select ‘new’ bands that have riveted my attention.  Since I first heard the band on Mp3.com and received a copy of their debut EP, I have considered them, to coin a phrase from Scary Lady Sarah, among those that offer a ‘hope for a dark future.’   While the darkwave genre seems to be eclipsed by up tempo and light hearted synth pop, which is designed to fill floors rather than spook the mind, Butterfly Messiah manage to brilliantly utilize the machinery of contemporary synth pop and the fleeting spirit of classic darkwave.  Tempered with pagan and occult themes, the band avoids masking itself in faux aggression or annoying objectivity.  Seriously, the gloomy Goth is becoming more and more alienated with each passing day, and that is a fine example as why we are twice as misanthropic lately.  Butterfly Messiah provides a much-welcomed respite from the norm and a return to the dark danceable atmospheres that Die Form and Attrition alone have continued to deliver.

The band will be appearing along with Judith, Gossamer, and Thou Shalt Not (among others) at this year’s GothCon in New Orleans at the end of this month.  I am hoping their live appearance generates some more interest in the band and they begin to receive more club play, as they certainly deserve.

“Priestess” is the band’s first official full-length release.   Besides the album’s fantastic brooding opener “Land Beneath The Waves,” the CD consists of all new material, exhibiting an even stronger catchiness and dance appeal.   “The Wicked” is a mysterious and ambient track, while “Introspections” kicks things into high gear.  This track and a good bit of the early half of the album has a very noticeable eighties appeal, embodied in the quirky keyboards and near vintage drum tracks. It recalls Attrition’s “Smiling At The Hypogonder Club” in some respects, especially with Robert’s post punk vocal monotone that delivers the verses of the song.  Iced with chilling synths and ghostly female vocals at the chorus, the more contemporary darkwave effects provide the balance to the song.  The undeniable dance appeal, paired with the stark mood assures “Introspections” as ideal for club play and I hope more DJs catch on.

“Serpentine” keeps the tempo up, with Shannon providing the vocals.  Her lead vocals could be described here as an almost sardonic chant, while layers of spooky sopranos pan out in the backdrop.  This edgy track also sticks out as tailored made for Gothic dance floors.   “Visitor” slows things back down for a bit, for a more mischievous and plodding feel.  Dark, creepy, and seductive – with both Robert and Shannon contributing striking vocal performances.

“Ring The Bells” is Butterfly Messiah’s ‘rock’ song.  Though I am glad the band attempted to bring guitars into the mix, especially guitars processed to have an obvious old school sound.  However, the song is one of my least favourite on the album.  It doesn’t have quite as much punch as I think the band hoped for.  This is a result I think of the production more than anything.  The song comes across somewhat flat and tinny, and needs to be thickened a bit, more layers of drums, guitars, bass, synths, etc.  Something is just missing, but I hope that in the future the band is more successful at throwing in a traditional kind of Goth rock song.

“Eternal Undone” is similar in feel to “Land Beneath The Waves,” and the material found on the band’s first EP.  A lengthy and mid-paced track, strong in atmosphere and rhythmic drive and showcasing all the elements that are characteristic of the band.  I think this track will be a fan favourite. Not so much on the dance floor, but just a cool track to listen to and get creeped out in the dark.

“When Autumn To Winter Resigns” is a short acapella intro to “Reverie,” the album’s ethereal finale and homage to ‘the old ways.’  Centered around stark synthesized harps and sweeping orchestral strings, Shannon’s delightful voice turns the ingredients “Hawthorn, rose, elecampane, angelica, mandrake, ivy and oak” into one of the best, persistent, and addictive choruses since “The Girl From Eponyma!”  Not to mention the image of the ‘midnight cat on a never ending run for the star mice.’  A nice accomplished finale to an album I sincerely wished never ended.

Butterfly Messiah are an up and coming band, with a promise that I cannot truly stress the importance of.   If you are a fan of dark, moody, danceable music, you simply must check out this fabulous band.

Track List:
1.) Land Beneath The Waves
2.) The Wicked
3.) Introspections
4.) Serpentine
5.) Visitor
6.) Ring The Bells
7.) Eternal Undone
8.) When Autumn To Winter Resigns
9.) Reverie

Butterfly Messiah is:
Shannon Garson – vocals, keyboards
Robert Nightshade – vocals, percussion, programming
Josh Harrington – keyboards
Steve Francois – keyboards (live)

Butterfly Messiah – Official Site:
http://www.butterflymessiah.com

Butterfly Messiah – Mp3 Site:
http://www.mp3.com/butterflymessiah

Fossil Dungeon Records:
http://www.erols.com/tsbb/fdungeon

CAT AS TROPHY
Lullabies For The Dead
~reviewed by Michael Johnson

Cat As Trophy  (the name sounds mysteriously familiar to a creation by Piers Anthony in one of his Xanth novels) is one of the more intriguing bands I have heard in a long time.  A metal band at face, the music wears too many different hats to be confined to only one genre.  The rough metallic exterior is a blend of rapid fire death/black metal guitar riffing and rhythmic chugging similar to KMFDM.  A maelstrom of technicality, these styles mutate from one song to the next, creating a schizophrenic fell throughout the course of the album.

The vocals are equally chaotic, ranging from deep, evil rumblings, clean baritone, black metal raspings, and Skinny Puppy style whispers.  Added to this mix are the samples, synth, and programmed drums, which absolutely fly out of control at some points.

Amid this chaotic mixture, there is structure and some damn good song writing.  “Skinny Little Bitch”, “Beyond The Flesh”, and “Momento Te Esse Mortalum” are my early favorite tracks although almost every track on here has at least one good hook in it.  On some songs, Valak even manages to sound like Fernando Ribeiro from Moonspell.  I’m actually quite astounded at the range of vocal styles he pulls off on this CD.  If someone were to put a gun to my head and tell me to compare this band to one other, I would be a dead man.  I can say with confidence that they have taken elements from many of my favorite bands and melted them into one solid release.  The Kovenant, Skinny Puppy, Rammstein, Moonspell, KMFDM, Morgul, Sisters of Mercy, and NIN.  They’re all here in one form or another.  Although because of such a varied mix, the album doesn’t always flow smoothly, each song stands strong on its own.  I could not, in good faith, slam this album in any way.  It’s well executed, evil, and fun at the same time.  Fans of the above listed bands would be doing themselves a disservice in passing this one up.

Cat As Trophy Is:
Valak – Metrical Decomposition & Blasphemies
Porno Boy – 6 & 7 String Orgies & Pelvic Thrusts
Lady Die – Keys & Psychotic Menstrual Slayings
Medivh – Sublevel Mass Murder & Meathooks

Website: www.envy.nu/catastrophy (currently not working)
Email: cat-as-trophy@totaldeath.com
Mp3.com page: http://artists.mp3s.com/artists/127/cat_as_trophy_.html

Cesium 137
Advanced/decay
~reviewed by Catherinna
 

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

In regard to Advanced/decay, I was most satisfied in terms of the style of music taking on so many different roles in one production. Many of the variations in style aren't exactly my personal music preference, however, the more I listen to it, the more fascinated I become in their direction and focus. There are some things that I felt could be different or altered to enhance this CD overall. These items are denoted in my comments next to each song.

Advance and Decay is Cesium 137's first full-length album. Currently, it holds the number 9 slot in Metropolis's Top 10 CD's in current sales. I would recommend this CD to anyone who appreciates, Industrial, Trance Techno, and Experimental Noise. You can listen to several of their new releases on their website at: www.cesium137.com

Track Listing and Overall Impression of Each

Track 1: The Fall
'The Fall' is an excellent opening track for this CD production. It's Industrial based in terms of the lyrics and beat formula. Excellent dance song for an Industrial/EBM based club. This track is high energy, with a hint of trancy electro elements. Overall: Techno/Electro Industrial. -Harsh vocal effects.

Track 2: End Game
Samples, another strong beat, high hats drum beat, not the strongest song on the CD, but similar in energy to track 1 and still maintains good production.

Track 3: Regrets
The beginning melody layered over the drums, etc draws/captivates the listener from the get go. This song in particular is in my personal favorite. It has a rich, deep, underlying bass, beat, drums intertwined with distorted vocals w/ different effects added throughout the track. It has an industrial cohesiveness in sound, very tight and is well produced.

Track 4: Darkest Dream
This track is instrumental. The underlying metal hammering effect is nice, but there is too much high hat throughout the song. Good overall beat, but could benefit from some lightening the high hat. It also has a nice old style, analog, synth chorus that reminds me of a sci -fi/ fantasy movie soundtrack song from the 80's. There is lot's happening in this song synth wise, layered and very minimal samples. This song intrigues me.

Track 5: Last Days
Distorted crunchy effects on vocals, extremely light but fast beat, fade ins and outs of beats, varying brassy high hat beats, trance chorus. The vocal chorus has less effect on the vocals, which adds a nice variation in the layers. I think this song could be a strong song in this production. Unfortunately, the parts of the song that I feel make it deep and powerful aren't pronounced enough throughout the song, and there feels like there is to be too much emphasis on the high hat, brassy, techno electro phrases.

Track 6: Placebo
This track is where this production starts getting more experimental. This song is more Noise based~ totals 00:43 seconds in length and very crunchy.

Track 7: Effigy
This song is somewhat robotic sounding at points throughout the track. It's upbeat and kind of poppy in a playful way. Lot's of non -traditional electronic sounds can be heard in this song. This version is instrumental. There are some prolonged breaks in this song, which can be distracting to the beat of this song.

Track 8: Failure
This song is more noise based. It's sort of reminiscent of early Einsturzende Neubauten in that it has a raw metal hammer sound (and other layered raw sounds), as it's main beat/drum beats.  There are also many electronic sounds to counter that thought. Each phrase is pretty repetitive layered along w/ various Noise natured phrases as well. There are no vocals on this track.

Track 9: Effigy (Caltrops Mix)
This mix definitely has a more electro/techno feel to it than the rest of the CD and other mixes of this song.

Track 10: Effigy (Crematory Mix) by Lost Signal
This Mix pretty much kicks ass. It is mellower and softer in comparison to the other tracks, but it has just the right amount of elements of Cesium's varying musical styles to make it work this way. The vocals are also softened more than in other songs, which gives this song in particular a more oozing, melting, sinister feeling.
 

Cesium 137 is:
Isaac Glendening - Programming +Sound Design +Vocals + Lyrics + Synths + Sampler
Vince Guzzardo - Programming + Percussionist + arrangements

Band website:  www.cesium137.com
General Info:  TheBinary@aol.com
Booking: Cesium137@tonedeafrecords.com
Promotion: Promo@tonedeafrecords.com
Label: Info@tonedeafrecords.com

DETERIOROT
In Ancient Beliefs
~reviewed by Michael Johnson

Death metal has never really been my thing.  I dabbled in it while searching for my own tastes and back then I didn’t believe in genres and if it was metal, I bought it.  Cannibal Corpse, Entombed, and Bolt Thrower set my standards, and as my tastes began to mature, death metal slowly slid from my map.  The sometimes-silly competitions between bands to see who could be the most grotesque and lewd calloused me and I became immune to any of the shock value.  This being said, I haven’t kept up with the scene and with the market as saturated as it is now, I’m frightened to try the waters again.  I hold tight to a few personal favorites and I’m content.

Deteriorot newest release, In Ancient Beliefs, wastes no time in tipping its hand.  Immediately noticeable are the ungodly evil vocals that howl like a fingernail-rent chalkboard with an advanced case of lung cancer.  Oh yeah, I like them.  A lot.

Music-wise, Deteriorot guitar sound reminds me a lot of Clandestine-era Entombed but this is played with an almost sludgy precision.  Even when the drumming picks up tempo, the guitars feel like they’re being pulled through quicksand.  It’s an ominous, powerful sound that feels more authentic and gives this album a much heavier vibe than if it had slick production.  All in all, this is a good album simply based on just how damn heavy it actually is.  Speed does not equal heavy and vise versa.  This album won’t punch me back into buying a bunch of death metal, but it does compliment my small collection and proudly stands alongside the few kings I have chosen.

Deteriorot Is:
Paul Zavaleta – Guitars & Vocals
Jon Brody – Drums
Will Kuberski – Lead Guitar
Jim Hoffman – Bass

Website: www.deteriorot.com
Email: deteriorot@aol.com

WWIII Records: www.ww3music.com
 

DALET-YOD
From The Hands of Lilith
~review by Kevin Filan

There's nothing more difficult to review than a CD which almost succeeds.  There are lots of adjectives to describe the outstanding; there are even more to describe the Truly Awful.  But what do you say about a CD which is good but which should have been great? Dalet-Yod's "From the Hands of Lilith" is a good CD, at times an exceptional CD, but one which never quite reaches greatness.  It's an B+ effort from an A+ band; not the breakthrough it could have been, but still solid, entertaining and worthwhile.

Vocalist Michala Kazda and multinistrumentalist Steve Piscione are both top-notch musicians.  More important, they have excellent chemistry and support each other well.  It's obvious that they've been playing together for some time and work well as a unit, particularly as a songwriting unit.  This is something which only comes with long hours of practice and performance.  They aren't just talented individuals; they are comfortable playing together and have learned how to complement the other's strengths and weaknesses.

All too often Shoegazer tunes degenerate into a muddy mess: songs like "Spindle" and "Captive" move along briskly thanks to tight percussion and excellent bass work from Piscione and Joel Hickman.  I was especially impressed by "Divination," a song which shows how well they work as a band.  Michala's vocals shimmer atop a wash of blurred guitars, the whole thing underpinned by a snare and an intricate but unobtrusive bass line.

Dalet-Yod began as an acoustic duo; even now their acoustic guitar work stands out.  The sweet bottleneck work on "Trees" and the finger-picking on "Rendevous" were among the CD's highlights.  I'd really enjoy seeing Dalet-Yod live, especially in an intimate setting.  (If the Elizabethan-esque "John Stewart" is any indication, they might even be fun at a Renfaire).

Dalet-Yod's music is always tuneful and occasionally breathtaking.  With its acoustic piano and haunting vocalise, "Siren" is one of the most absolutely gorgeous songs I've heard this year.  Along with "Glimmer" and "Juggler" (a more upbeat song which reminded me of the Cranberries), it shows real potential for Bigger Things.

And yet, in the end, I felt like I wanted Something More.  This CD felt like a few musicians who were comfortable with each other and with their music; it didn't feel like they were exploring their limits, or looking for anything new.  The moody instrumental "321" gave a few nods to dissonance; everything else was tasteful and pretty.  I would like to see Dalet-Yod stretch out a bit more.  They certainly have the chops and the chemistry.

1) The Calling
2) Juggler
3) 321
4) Siren
5) Divination
6) Glimmer
7) Spindle
8) Rendevous
9) Trees
10) Jack Stewart
11) Captive

Michala Kazda: Vocals
Steve Piscione: Guitars, Bass, Baritone Guitar,
Mandolin, Bohdran, Percussion and Programming
Joel Hickman: Bass, Guitars and Keyboards
Rich Maier: Keyboards and Programming

Additional Artists:
Missy Laukas: Bells (321)
Johnny Avila: Guitar (Trees)
Michael Verzani: Trees, Rendevous

Produced by Dalet-Yod
Mixed by Jimmy Circle and Dalet-Yod
Mastered by Sanford Parker
All Songs Written by Michala Kazda and Steve Piscione

Dalet-Yod Homepage
http://www.dalet-yod.com

Entombed
Morning Star
~reviewed by Matthew

It has been years since I heard Entombed, one of the most influential and most important acts in the traditional Death Metal scene, responsible for the seminal releases “Clandestine” and “Left Hand Path.”  Though I enjoyed their earlier work, I didn’t follow them throughout the years after “Wolverine Blues.”  There is really no spiteful reason in particular why I lost track of the band, as I liked their albums.  I suppose my attention was turned toward the development of other dark metal genres, and though a fan of death metal, Entombed never appealed to me personally as much as say, Carcass, Deicide, or Morbid Angel did. I suppose I missed the band’s progression throughout the past eight years and four albums.

Of course, I wouldn’t go as far as to say that there really was much of a progression.  Which is a good thing to, dare I refer to them as conservative, fans of death metal.  So many bands have been veering off into alternate directions over the years, to the point where they betray their roots so drastically and no longer even sound like the same band.  For fans that do not fall for all the marketing and the derailed train of imitation, there needs to be bands that consistently provide solid ground.  And for that, despite whatever else I may state in this review, I commend Entombed whole-heartedly for sticking to their guns.

Judging by this latest release from Sweden’s gritty merchants of the macabre, Entombed have a firm stance upon the rotten soils out of which they sprung over a decade ago.   Traditional Death Metal fans will revel in morbid glee at the old school edge, the signature buzz saw guitar sound and sloppily graceful vocals – I don’t think Entombed has ever sounded this confident and that just totally rocks.

And while “Morning Star” kicks off with the wonderfully dark “Chief Rebel Angel” there were few songs that stood out in a positive way for me.  The opening track employs some truly spooky and well-placed piano passages juxtaposed against a dense atmosphere of mischievous Doom.  When this song first oozed from my speakers, I was sure I was in for a pleasant treat, and that an unexpectedly unique, fresh, and modern Death Metal record was about to uncoil before me over the next forty some minutes.  But as the album progressed, I grew more and more distracted, and lost interest rapidly.  While there are definitely some highlights in the well-executed rhythmic grooves and sparse moments of atmosphere provided by very brief and eerie acoustic interludes, the album just seemed to get more and more generic as it went along.

I suggest readers take my views with a grain of salt, as I have been feeling overly critical lately when it comes to metal music.  Nothing is exciting me; nothing seems to be dark enough for my sapped tastes.  And though this showed promise, it lost its novelty quickly.  Despite a concentrated variety in the pace of the songs, some characteristically sludgy and heavy, others thrashy, others underscored with a vague nod to punk, it all seemed way too familiar.

It all culminated in the unforgivably stupid track “When It Hits Home.”  This song is just so low brow, adolescent, cheesy, and plain worthless.  The lyrics aren’t even worth repeating, but to illustrate my point:

“you fist-fuck the planet in style/and lick your fingers clean”
“your dick is sore and you’re all alone/hurts like hell when it hits home.”
“now listen!/prepare to suck cock in hell/it’s really not all that bad/once you get past the smell.”

After reading this, perhaps Marilyn Manson is comparable to freakin’ Poet Laureate!

Songs like this are why metal skeptics constantly refer to and dismiss this music as a clichéd genre that appeals only to Neanderthal alcoholics.  As long as bands of high stature continue to churn out trash like this and people buy it, the scene will never completely progress and the lack of respect and recognition the genre gets will continue to be limited and laughable.   While Entombed do manage to come up with some lyrics that are relatively witty and express a sardonic form of social satire, (rather than teenage interpretations of Satanism that would cause poor Anton to roll over in his grave) I personally find no excuse for the band’s juvenile attempt to be shocking and hard assed in “When It Hits Home.”

Nothing shocks me anymore.  It just irritates me and disappoints me.  I constantly defend the integrity of metal not only for this zine, but also to friends, narrow-minded Gothic club kids, colleagues, and basically anyone that will listen to me.  Things like this make it hard for me to perform the duty I have forsworn to uphold <grin>

After hearing this song, it took a lot to remain objective.  Overall, I think this CD is half way descent.  There are quite a few high points for the old school death metal fan, but truthfully, “Mourning Star” is sort of like a monochromatic painting placed in an opulent frame.   The album’s opening track and the final track “Mental Twin” provide the most exciting and ear-stimulating moments on the disc.  The closing track manages to sound eerie and foreboding as well as sincere.    The musicianship throughout the disc, as raw and purposely unrefined as it is meant to be, is definitely admirable.  The band is still tight, riding along brusquely on the sound they pioneered.  And like fellow comrades Obituary and Napalm Death, L.G. Petrov’s voice still sours practically every note he sings in the way Metal fans love.   However, the vocals on this release lie atop the music in a much more complimentary way when compared to the band’s early days.

To sum up “Morning Star” I will turn to a few lines from the track “City Of Ghosts.”  For fans of traditional Death Metal looking for something safe, ‘fun,’ and true to form, look no further.  You will dig this.  No wanky attempts to be avant-garde, melodic, or Gothic that result in sappy sentiment that have the impact of ballads by Skid Row will be found here.

But on the other side of the coin, to condescending jaded bastards like myself, you will find “the same old bullshit/the same old song…familiar patterns/familiar hosts/the city’s [CD’s] crowded with the sideshow ghosts.”

Track List:
1.) Chief Rebel Angel
2.) I For An Eye
3.) Bringer Of Light
4.) Ensemble Of The Restless
5.) Out Of Heaven
6.) Young Man Nihilist
7.) Year One Now
8.) Fractures
9.) When It Hits Home
10.) City Of Ghosts
11.) About To Die
12.) Mental Twin

Entombed is:
L.G. Petrov – vocals
Alex Hellid – guitars
Uffe Cederlund – guitars
Jörgen Sandström – bass
Peter Stjärnvind - drums

Entombed - Official Site:
http://www.entombed.net

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

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

Enslaved
Monumension
~reviewed by Eric Rasmussen

Enslaved is a band that is as meaningful musically as it is spiritually. While there aren't a lot of bands you can say that about, there are even fewer viking metal bands that fit that description. There are, however, quite a few fun loving Scandinavian viking metal bands. Some of them like to dress up in viking gear, pose for photos around heavy oak tables, and wield big weapons to look extra scary during the photo shoot. Enslaved did take pictures in viking gear at one point during their career, but the end result wasn't a dressed up parody of their viking heritage. They have always taken their Norse beliefs seriously, and if last year's release Mardraum didn't prove that to you, Monumension certainly should. They have now entirely ditched any surface similarities to "viking metal."

Monumension is an experimental black metal album in many regards. If you were to hear a song or two off of it, you may just think it was above average or creative black metal. If you know anything about Enslaved and you hear this in its entirety - you'll know there's more than the obvious musical surface value. Enslaved have always sought to connect with vikings on a spiritual level, and now more than ever they have left behind any outright "viking" sound in their music (excluding the extra track, I'll get to that later). Monumension instead focuses on exploration of sound textures and the mind itself. Exploration was always an important part of viking culture.

Each of the first eight tracks represents a rune used in a ritual I'm not even going to try to explain because I'd no doubt mess it up and give you the wrong impression. You'll just have to visit the band's website (link below) if you'd like to learn more. What I can tell you is that the relationship between the tracks and the flow of the album is intimately tied to the runes that each track represents. "Hollow Inside" has a vastly different sound than the other tracks on the album, and that is because it loosely represents a deconstruction of the self. The first three tracks provide a mostly instrumental sound that is similar to last year's Mardraum, using a variety of metal vocal styles where appropriate. There are some very rocking riffs and solos along with very thoughtful compositions. When "Hollow Inside" kicks in after those, you can see how well it fits in with the idea of deconstruction. It is not an aggressive song at all, it is in fact very peaceful and reminscent of 70's progressive rock. But it effectvely tears down the sound presented on the first half of the album, making way for track five, which is reconstruction. Track five builds a different sound than you heard before, and keeps this CD thoroughly engaging and interesting.

The relationship between the tracks to each other, the tracks to the album as a whole, and the lyrics/symbolism makes Monumension a deep and involving release that takes a lot of time to understand. The music side of things more than keeps up with the ambitious concepts, and if something in the sound throws you off or sounds out of place, there's very likely a clear reason for it. As with some past Enslaved songs, vocals can sometimes be used sparsely. Enslaved's vocalist has added a new trick to his set of skills this time around also, making the vocals even more interesting when they are used. The band covers their distinct aggressive rasping, clean chants, death metal growls, and now a lighter singing that reminds me more of Pink Floyd than anything else.

The last song is in stark contrast to the first nine tracks (track nine is a conclusion to the concept portion of Monumension). "Sigmundskbadet," which I may be spelling wrong because of the obscure font it was printed in, is a representation of traditional viking music. It is based on a simple but hypnotic melody and rhythm, and has a guest musician performing traditional viking singing. This old style of vocal expression is not something you typically hear in metal, the only other time you may have heard something similar was on Finntroll's Jaktens Tid. Enslaved isn't out to have the same kind of fun that Finntroll did, though, and "Sigmundskbadet" ends up being a fitting conclusion to an amazing album. Enslaved has managed to stand out among the black metal pack by giving themselves a distinctive sound. And more specifically by redefining that sound with each new album. And even more specifically by writing songs that are unique and individualized. And (you knew I had to add another and), you can even break things down further to the consistently interesting and varied instrumental and vocal work.

If Enslaved is a band you haven't looked into yet, definitely give them a try. Monumension is the sixth full length release of a band that has managed to outdo themselves with every new CD. I can't wait to see what they'll do next, but for now, Monumension is a superb addition to an impressive discography.

Track List:
1.) Convoys to Nothingness
2.) The Voices
3.) Vision: Sphere of the Elements - A Monument Part II
4.) Hollow Inside
5.) The Cromlech Gate
6.) Enemy I
7.) Smirr
8.) The Sleep: Floating Diversity - A Monument Part III
9.) Self - Zero
HOV Featuring Trygbe Mathiesen Presents:
10.) Sigmundskbadet

Enslaved is:
Dirge Rep - Percussion and effects
Ivar Bjornson - Guitars, synths, hammond, piano and effects
R. Kronheim - Rhythm and lead guitars, vocals and effects
Grutle Kjellson - Vocals and bass

Enslaved Official Website:
http://www.enslavedunion.com

Osmose Productions:
http://www.osmoseproductions.com
 

Etoile Noire
Sleeping Black Eyes
~reviewed by Jezebel

I was recently accused of writing only “nice” reviews. And that I don’t actually review CDs that I don’t like. That isn’t true. Up until this point, I haven’t received a CD that I didn’t like. Up to this point.

Then I received this. It’s on the way back to you Blu. I just can’t have it in my house.

Supposedly a CD where “different musical styles mix,” three of the four members list AMOK as a credit, two were in Anima in Fiamme and three were in Argine. So how they can have different musical styles and all seem to be in the same bands is the first question.

They “propose a language of its own, a gothic rock which could harmonically conciliate the obscure feelings of dark, the hypnotic force of desert rock, the power of metal.” Well, let’s look at that. There are definitely two different sounding singers here. One must be Pasquale Scotti and I think that is the one that could not find a harmony if given a map. No – really. It’s a voice that lacks character and depth, but he seems to want to make up for that with screeching, growling and yelling. It’s not pleasant. It’s not listenable. I am still trying to figure out what “obscure feelings of dark” are.  I have never heard of desert rock, but if this is trying to hypnotize me, the noise that is created just won’t do it. The power of metal? Yes….Yes!!! Redeeming feature. The music is powerful. In fact, some of the music isn’t horrible. It’s just not, um, well, good, or original. It’s all been done before and better.

The absolute saddest song for me is the third track, "Eyelids Covering Mirrors". Why? Because for the majority of the song I thought there was a possibility of hope. A beautiful violin opening by Alfredo Notarloberti, followed by a beautiful, gorgeous, soft, caressing voice. Is it Pasquale Scotti? I don’t really know as Roberto Toderico is also listed, but as background voice. But this is lovely, acoustic 12 string guitar, the violin interspersed. Oh there is a Projekt feel here. The violin playing could even be compared to Paul’s from The Changelings. And then it happened. Some rather ordinary guitar solo and THAT VOICE came back, the painful one from before! Screeching and straining and groaning and just sounding like it was dying. The song ruined.

So there you go…Pasquale – if you are the person who began the song and ended the song, then stick to the technique you used in the beginning of it. It shows talent. The other – well…..it’s just horrible.

This is one of the shortest reviews I have ever written. Why? Because I can’t find anything really constructive about the band. And you know what your mother says…….”If you don’t have anything good to say……”

Track Listing:
1. Ascension
2. Sleeping Black Eyes
3. Eyelids Covering Mirrors
4. Melt
5. Point of No Return

Etoile Noire are:
Pasquale Scotti: voice, 12 string acoustice guitar, samplers
Augusto Maiolini: electric guitar
Ferruccio Milanesi: electric and acoustic bass, samplers
Alessio Sica: drums
With Alfredo Notarloberti: violin
Roberto Toderico from Sulphur: background voice

Email:
etoilenoire@katamail.com

Website:
www.etoilenoire.net

Snail Mail:
Ferruccio Milanesi
Via G. Jannelli 45/D
80131 Naples, Italy

Fredrik Thordendal's Special Defects
Sol Niger Within Version 3.33
~reviewed by Eric Rasmussen

Surely, by now, you've heard a reviewer use the words "you've never heard this before." And granted, you can't entirely argue a point like that because there are differences between any two recordings if you want to look hard enough. But I think we can agree that there are definite similarities between most bands.

Enter Fredrik Thordendal's solo work. And let met tell ya - you've never heard anything like it. The only similarity this has to any other music is the obvious kinship to Meshuggah. Thordendal has a patented guitar style that he has developed in Meshuggah, and on his solo work he uses some of the disorienting and syncopated rhythmic riffs that you have heard before in his other work. Aside from that, this is one of the hands down most unique things I have ever heard. I'm at a loss as to what to call it. It sure isn't metal, it's not your average solo guitar work. It's just... different.

Sol Niger Within is essentially one long song, broken into 28 sub indexes for your, um, convenience. I think that's what it is for. Either that, or Thordendal wanted to exercise his creativity further by naming every one to two minutes music you find here. Throughout the album you'll hear a very eclectic range of sounds. Some distinctly Meshuggah sounding riffs are here, but when vocals are used they are either spoken or rhythmically vomited by a man I sure don't want to meet. There are some songs that feature various tortured cries and screams that won't help you sleep any easier at night. During one part in particular the screaming gets so bad you'll really begin to wish it would stop - and then suddenly it does. A while later it comes back into the mix, but it's distorted and accompanying a heavy riff. Maybe that's Thordendal's own way of handling foreshadowing, I really can't say. But it'll leave all but the most hardened fans of experimental music disturbed.

If I sound a little lost during this review, it's because thinking about music like this in some kind of organized and rational way is impossible. It is operating on a non-human level and it will leave you wondering if Thordendal is from the same planet we are. Amidst the random chaos and violence he has songs with much more peaceful sections also. He covers a spacey and subtle ambience with sparse bits of melody, and he even throws in some guitar solos. Most of which are quite good. I believe he's listed jazz/fusion guitarist Allan Holdsworth as an influence, and that sounds about right. Thordendal's style of soloing here ranges from short, blippy staccato notes to a more fluid style of jazz playing. His ability to syncopate so many blips and notes is amazing, and distinguishes him from any other guitar player you'll ever hear. Complimenting the jazz influence on this work is some saxophone playing. The saxophone sounds distorted in some way, though I'm not sure how those sounds were created. In any case, it's more aural stimulation you haven't heard before, and it truly is otherworldly.

Still other tracks focus on various spoken parts and samples about alien abduction. At times they nearly border on parody, but in a clearly intentional sort of way. If you've ever seen the movie "Event Horizon," Sol Niger Within is really kind of like that. It can have the most gratuitous and disturbingly violent scenes you've ever seen in a movie, but it also mixes calmer moments with good performances and other sections that are bound to elicit nervous laughter. Once you start in on this ride, you'll take what normal and human sounds you can - and you may very well chuckle at some of the odd discussions on alien abductions.

If this at all sounds like something you're interested in, it's worth a look. I have no idea who to recommend this to. If you've ever dreamed about being launched into space and finding disturbing sights and sounds that will permanently alter your
mental well-being, then this is for you. You may also appreciate the music if you like Buckethead. Thordendal's style isn't similar to Buckethead's, but those are about the only two experimental guitarists I've ever heard. If you're crazy enough to like one, you just may appreciate the other. Meshuggah fans looking for more Meshuggah material are going to be disappointed, because that aspect of Thordendal's sound plays a minor role on the CD, popping up only occasionally to jar the listener out of the more ambient sections. But if you do like experimental music and otherworldly sounds, be sure to look this up. Also, this release isn't arbitrarily named "Version 3.33;" there actually are several versions of it out. This one has a couple of extra tracks and I believe is remixed for better sound. You should check which version you're getting before buying it, but I'm sure they're all fairly similar.
 

Track list:
1.) the beginning of the end of extraction (evolutional slow down)
2.) the executive furies of the robot lord of death
3.) descent to the netherworld
4.) ...och stjarnans namn var malort
5.) dante's wild inferno
6.) i, galactus
7.) skeletonization
8.) sickness and demoniacal dreaming
9.) UFOria
10.) zeta 1 - reticuli
11.) transmigration of souls
12.) in reality all is void
13.) krapp's last tape
14.) through fear we are unconscious
15.) death at both ends
16.) bouncing in a bottomless pit
17.) the sun door
18.) vitamin k experience (a homage to the scientist/john lilly)
19.) sensorium dei
20.) zeta 2 - reticuli
21.) de profundis
22.) existence out of joint
23.) on a crater's verge
24.) solarization
25.) the end of the beginning of contraction (involutional speed up/preparation for the big crunch)
26.) tathgata
27.) missing time
28.) ooo baby baby

Find Sol Niger Within information at the Official Meshuggah site:
http://www.meshuggah.net

Relapse Records:
http://www.relapse.com
 

HMB
Great Industrial Love Affairs
~reviewed by: Mike Ventarola

When this project was initially underway, Victoria Lloyd sent me some of the demo tracks and I knew immediately that this was going to be a classic among EBM/Industrial dance fans.  The enigmatic Daniel Meyer worked with members of Claire Voyant on some of the songs as well as a few other notable music figures in the underground, in order to tweak some of the best performances out of the combined group.

Although this is a slight change of pace of Meyer’s previous works, it nonetheless creates a new benchmark for the artist to demonstrate that it is possible to skirt with various genres while still remaining loyal to fans from other work and genres.

“Initiation” simply brings us into the fold of oddly placed sounds, layered under fulminating beats that progress in delightful segues. We are thrust into a futuristic chasm of machine and man, where one ends and the other meets becomes a contention that is simply up to the listener.

“Wanted” drives with intensive beats that beautifully accompany Lloyd’s vocals in a dreamy wanderlust fashion. Some may recall that a previous remix project of Claire Voyant’s work was met with raves across the globe. Here, Meyer brings out the dance diva from Lloyd’s vocals which will only prove to garner both artists even more fans.

“This Fire” actually has a few remixes online, so grab them while they are still available! This particular track was one of the first that Ms. Lloyd had me hear during the project construction that simply had me and the Hidden Sanctuary street team screaming, “It’s a HIT!” Despite the dance beats behind the electronica, the song still maintains a semblance of delirious and delicious darkness. Lloyd takes on a more seductive and dark siren intonation like black velvet cotton candy. At this point, one wonders if there is any style this young lady can’t tackle with her phenomenal vocal range.

“Night Vision” was not given any vocal credits, so at best, one can assume it is maestro Meyer himself.
The track opens with a bit of static and white noise with undulating bass beats that show no mercy for swaying hips. The darkness is evident in the low, evoked spoken and sung lyric delivery as well as the high treble background sound that adds just the right touches of the morose.  This is not only a great dance song, but a great accompaniment for the bedroom!

“Everything” opens with electro-pulsations that tick off metronomically like a futuristic count down to some isolated Armageddon.  Lloyd emerges from the cavernous walls of darkness to paint a tortured electro diva in the throes of some ghostly re-enactment. Meyer tosses in some excellent goth spookiness, demonstrating that one can utilize a synthesizer and still be very goth friendly while coddling the industrial/ebm sounds of today.

“Siren” vocally joins Vanessa Briggs and Daniel Meyer. The track is simply out of the halls of any VNV/Apoptygma Berserk construct , however the vocals here are more conclusively seductive. Briggs’ contribution is more as a backup vocalist which helps to shade the resonation of the track.

“In The Beginning” saunters like a soundtrack to a Twilight Zone type of nightmare. The lyrics are done sotto voce by Lloyd, which adds an extra level of eeriness to this Dylan Thomas piece. Despite the barren landscape which is musically painted, the beats and rhythms are still conducive to floor usage, in a similar vein to Xorcist’s Nomad CD.

“Falling Stars” seems to open like a ride through space. Pounding notes that sound like slamming bullets or meteors segue into a high intensity BPM that is aggro-industrial that simply crosses the genre categories.  Dennis from In Strict Confidence lent his vocals for this song and infused his own style of malevolence. Meyer tweaks the vocals in such a way to give Dennis a computer-gone-mad type of sound. The track is simply irresistible.

“Impulse” once again utilizes sounds like something from a soundtrack of realism coupled with a future apocalyptic world. The bubbling percussion accompanies the eerie background sounds in a unique marriage. Lloyd’s vocals caress the harsh wall of sound, imbibing and melding into a barrage of exotic layers, making it a balanced rendition between the dark and light.

“Return” takes a touch of Middle Eastern tones, layers it with a level of sinister atmosphere and militaristic drum beats. For those who thought they had heard every range from Lloyd, need to sit up and take notice. She transcends the medium by working around the Middle Eastern chanting like a Goddess for the whirling dervish. Meyer pulls out all the stops with this remarkable track, simply coasting along the realm of inspiration and midnight inspiration, making this unique and addictive at the same time. Dj’s who don’t have this song in continuous rotation are simply tone deaf.

“Turn To Stone” jumps right in with heavy pulsations. This is the type of track to use at the height of the dance club hour when heavy pounding beats are needed to keep the floor in an ecstatic sweat. The pre-requisite eerie tones are not left behind, but they are suffused into such an amalgamation of heavy grooves, that this track will appeal to goths and industrial fans equally.

“Information” begins with morose notes, simply making the listener wonder where the track is heading. Never fear, because the dance beats are not far behind, utilizing unique clangs, twangs and tinkles to keep the ears fully absorbed and awash with sound that makes you want to move.

“Might Have Been” creates a maelstrom of energy, again showcasing Lloyd’s vocals, combining the sweet as ice cream vocal tones with piercing white noise, deep tones, and heavy percussive beats.  It is simply impossible not to get lost in her singing style and Meyer’s pounding sounds.

“…Revelation” slows down the pace significantly, where Lloyd croons like a chanteuse from some misbegotten era of a nightmarish future, totally bleak and annihilated.  The mid-tempo grooves pick up the pace about a minute and a half through the track. This further demonstrates Lloyd’s vocal range and sheer remarkable ability to turn a phrase or word into an impassioned plea to rival the late Ofra Haza. Having been a long time fan of Claire Voyant, Ms. Lloyd should consider utilizing the Middle Eastern intonations in future recordings simply because she makes them shine in such a way to send chills down the back from their sheer brilliance.

One of the long standing debates in the underground scene has been the contention that Goth music hasn’t evolved or that EBM/Industrial/ Synthpop has taken over too much of the Goth fan’s attention.

HMB did the seemingly impossible. They combined the morose and forlorn emotional tides of gothic music, wrapped it up with frothy electro/industrial pulse beats and skewered it through many vocal intonations. Simply put, this CD is a brilliant piece of work that crossed the genre boundaries, signifying that Goth music and industrial music can in fact have a great marriage when enough forethought is given to its construction.

Daniel Meyer is to be lauded for the accomplishment of delivering a new body of work to his already well known classic works with Haujobb.  Meyer brought out best sounds from the various artists who contributed to this project and simply disproved that Goth music is a static entity, unable to develop or venture beyond its tonal old school qualities from the 1980’s.

Victoria Lloyd has had quite a following from her work with the Claire Voyant, and simply demonstrated that she is not a singular range vocalist. Her sounds can go from smooth as silk to seductively wicked in the span of a breath. Lloyd simply seduces, soothes, caresses and entices vocally, while Meyer is the musical whipping master, driving listeners into a frenzy. Along with other Claire Voyant band mates, Chris Ross and Benn Fargen, the additional evolvement of their abilities is simply brought to an innovative height to a whole new audience through the genius of Meyer.

Do seek out this recording if you like industrial dance music. Also if you are prone to Goth music with a bit more bounce to it, this should become a welcome mélange for your collection.
 

Track Listing
1. Initiation…
2. Wanted
3. This Fire
4. Night Vision
5. Everything
6. Siren
7. In The Beginning
8. Falling Stars
9. Impulse
10. Return
11. Turn To Stone
12. Information
13. Might Have Been
14. …revelation

Band Line-up:
Daniel Meyer: Synth & Programming
Victoria Lloyd: Vocals & lyrics on tracks 2,3, 5, 7*,9,10,13,14
Vanessa Briggs and Daniel Meyer: Vocals on track 6
Dennis from In Strict Confidence: Vocals on track 8
Chris Ross: Production and Synth on track 3
Benn Fargen: Guitar on track 1, 2
*Lyrics for track 7: Dylan Thomas, from “In The Beginning”

Website: www.wtiirecords.com
Sound Samples: www.mp3.com/hmb

Immortal
Sons of Northern Darkness
~reviewed by Eric Rasmussen

There are some bands that you either like or don't like - and these are generally bands that find a sound they're comfortable with and stick to it. Immortal has done just that. While fans of the band will note distinct differences across their releases, they all retain a core "Immortal" sound that you probably won't like now if you didn't ten years ago. Even so, the band has showed a steady all around improvement, and I'd say Sons of Northern Darkness is their best release to date.

The most obvious difference between this and every other CD they've made is the production. Immortal has finally got the production they deserve, most likely because they've finally signed to a big label (Nuclear Blast). Everything sounds full and clear, all of the instruments are audible, and Sons of Northern darkness just has a more complete sound than any Immortal record that came before it.

Musically, Sons of Northern Darkness continues where Damned in Black left off. If you've followed Immortal's career since At the Heart of Winter (the first album without Demonaz on board and playing light speed rhythm guitar), then you have an idea what to expect here. This new album combines the general thrashiness and strong, even sad, atmosphere of At the Heart of Winter, and mixes it with the more upfront punchiness and shorter songs on Damned in Black. The end result is a very powerful release with a distinctly Immortal feel. The thing that most amazes me about the band is their ability to consistently write quality material. Every song here is distinct and kicks ass, even though Immortal isn't going out of their way to try new things or do something drastically different from their last couple of albums.

The title track opens with some damned angry drumming. Horgh's blood pressure must be dangerously high to drum this way - he has gotten noticeably angrier with each new release. If more bands had a drum sound this complete, you'd hear people talking about metal drums more often. As it is, you can scarcely find an Immortal critique or even fan that mentions Horgh's always engaging performances. Has has come up with a different drum sound for every Immortal CD he's played on. Abbath's patented singing hasn't changed much, but the production makes it much easier to listen to this time around. His strange sounding narrative style is unusual for a black metal band, where you normally find people growling away with anger. Abbath's style of vocals is a bit more confident and less in your face.

The guitars here sound better than ever. The slower riffs on "Tyrants" create a sense of impending doom, while the offbeat thrash-influenced riffing of "Demonium" will pound you into submission. Abbath's guitar playing is much more thoughtful here than on past releases. For the first time it feels like every single riff has a clear place in each song. There are even occasional solos that are more reminscent of the death metal soloing style than black metal. Iscariah's bass performance is also great, as with his first appearance in the band on Damned in Black. This time around you can hear the bass even easier. It provides this low pounding rumble that makes Immortal sound even heavier than before. Again, something you're more likely to see in death metal than black.

Immortal's sound certainly isn't death metal, and it's hard to explain where they fit into black metal these days. They lost their outright speed when Demonaz suffered an arm injury (from playing guitar at unreasonably fast speeds, no doubt). Abbath can still play with the fastest black metal guitarists, but the speed is now just one element of the sound, and not something that carries otherwise simple composition. The amount of quality riffs per song alone should show Abbath's improvements as a song writer.

Everything about their playing is confident and pummeling, but without that death metal throb that gives me a headache - creating a sound that is simply "Immortal." The much improved production and top-notch songwriting make this one hell of a CD, a must have for Immortal fans.  There are probably others among you who could stand to add sonic battles from the frost-bitten north into your music collection, too. So if you like other recent Nuclear Blast or Century Media releases, give Immortal a listen.

Track list:
1.) One by One
2.) Sons of Northern Darkness
3.) Tyrants
4.) Demonium
5.) Within the Dark Mind
6.) In My Kingdom Cold
7.) Antarctica
8.) Beyond the North Waves

Immortal is:
Abbath - guitars and vocals
Horgh - drums
Iscariah - bass

Immortal Official Website:
http://www.immortal.nu

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

Inertia
No Defect EP
~reviewed by Uncle Nemesis
(photo credits: Reza by Gothpat and Alexys by Valerie Palmer)

If there was an award for the hardest working band in our corner of showbusiness, Inertia would be a shoo-in.  Formed in 1994, they made an immediate impact by playing heavy duty electronic music at a time when the dominant style in the world of industrial was the quasi-metallic Ministry/Cubanate maximum-guitar thing. They've released 4 albums (with a fifth on the way), formed their own record label, built their own studio, and collaborated with just about everyone who is anyone on the industrial/electro scene.

They've also toured like buggery all over Europe and throughout the USA - in itself a major achievement for a UK band. So many UK-based acts talk a good fight about international tours, but never quite seem to get out there and do it. While other bands are talking, Inertia are touring. The gigography on their website lists almost 150 shows. They've played everywhere from CBGBs in NYC to the Wave Gotik Treffen in Leipzig, from Club Dominion in Bergen, Norway to my personal favourite - the Rockin' Horse Saloon in Birmingham, Alabama. You *know* you're on tour when you play the Rockin' Horse Saloon in Birmingham, Alabama!

So, here's the latest slice of Inertia noise. 'No Defect' is a five-track EP intended as a taste of the forthcoming album, 'Advanced Revelation'. What you get for the price of admission is four different mixes of the title tune, plus 'Void', as remodelled by Swedish electro-stompers Project X.

I have to say the CD inlay artwork isn't exactly a triumph of groovy graphics - it's a drab brown background, with a strange kind of texture to it like an Artexed toilet wall, upon which the track listing and other details are rendered in a font so highly stylised it's almost unreadable. Not a particularly tempting item for a record store browser. Quite why Inertia didn't simply put a cool photo of the band on the CD sleeve is a mystery - they have a strong visual style, and have many promo and live photos to prove it. But then, so few artists put band-shots on their CDs now - have you noticed that? Bands will happily slap photos all over their websites, and in fanzines, magazines - anywhere *except* on the actual product, where they too frequently seem to favour an anonymous and sometimes just plain naff design. Seems highly illogical to me, Captain!

However, I digress. Let's listen to the music. I mentioned above how Inertia's electronic approach made them stand out from the crowd in the era of 'Jesus Built My Hot Rod'. But even now, when everyone's using electronix, Inertia still maintain a highly individual style. Not for them the accessible, dare I say even commercial, stylings of VNV Nation or Apoptygma Berzerk. Inertia's music has a harsh, sparse feel, and on 'No Defect' they come at us like a severely pissed-off Kraftwerk. The vocals are treated, but unlike too many bands these days who just max out the distortion, Inertia keep *just* enough of the human element to give the vocals an individual, regognisable, sound. The mixes here range from thumping dancefloor-slanted versions to deconstructed machine-beat workouts, but my guess is that the original mix, which has the flavour of a prime slice of European coldwave, will be the one the DJs go for. Meanwhile, 'Void' (or at any rate, this mix of the song) is a tower of electro-melodrama, all blue dry ice rolling in between the tower blocks as the beat detonates. Sorry, I think I'm watching 'Bladerunner' in my head again here. Highly effective, Grade A electro-industrial that doesn't make compromises and doesn't take prisoners.

Tunestack:
No Defect (Single edit)
No Defect (The Pixs dub mix)
Void (Project-X remix)
No Defect (Club mix)
No defect (Mutagenic mix)

Inertia is:
Reza Udhin & Alexys B: Vocals, electronics, programming, percussion, production
With: Ed Luxmoore & Eddie Tempest: Keyboards
Reviewed by Uncle Nemesis:  http://www.nemesis.to
Inertia: http://www.inertia.gs
Cryonica Music, Inertia's label: http://www.cryonica.com

Leisurehive
Spasm
~reviewed by Jezebel

I have heard lots and lots about this band. One DJ, whose opinion I respect muchly (he turned me on to Belisha), has spoke rather highly of this band. I have heard things like they are art and music combined. “Music project” is another term that I have heard. So I was quite happy to get the CD.

But that was over a month ago and to be honest, I have yet to warm up to it. The first two tracks, "Initially" and "Interior: Hungry" just don’t warm me up to the band. The third track, "Position", does interest me. It’s an interesting combination of guitar, percussion and what I would think is described on the credits as “sounds.” Even the voice of Daniel Knowler, which drones on without the depth of other droney singers works here. The music has a movement to it; an angry wave quality to it.

The music I think is what is best quality of Leisurehive. Subtle is spaces, strong in others, it has the ability to create an atmosphere which I think is one of the goals of music, to take you somewhere else. The guitar playing is short and quick. A talent is there whether that is Knowler’s or Mariabob’s, I do not know. The violin, played by Mariabob is not as dreamlike as Paul’s from the Changelings or as powerful as Jyri from the Sins (and formerly of 3tks), but it’s piercing and effective in a unique way that makes it a Leisurehive branding “sound.” I question whether the percussion is from drums or a drum machine. I lean towards a drum machine as they are a bit toooooooo perfect to not be. (I may be putting my foot in my mouth here, but that is nothing new, eh?)

And as I state, this is music that is subtle in places, strong in others, usually in the same song. Leisurehive is not about making pretty melodies it seems. It’s more about disjointed, almost atonic pieces of music to really push or strengthen your music listening. It’s repetitive at times. It’s against sound at times. I think one of the flaws that can be with this approach to music is that it sometimes loses the emotion that again, in my opinion, is pivotal to good music. Although not achieving it in every offering, Leisurehive I think has the ability to do it and, as time goes on, will be able to make a person sit back and feel the emotion of each song more distinctly and yet subtly. "The Envelope Itself" did it for me. It was atmospheric, a bit disjointed, yet somehow soothing.

They have been compared to PiL, Cranes and Swans. I being a fan of all three, I can see the comparisons. I was looking for a male voice to compare Knowler’s too. And I kept seeing Johnny Lydon. But….and perhaps that is where I was going with the lacking of depth of other droney singers. I don’t use droney as a derogatory terms, it can be quite effective, but it has to be done right and although a decent, talented voice, Knowler is not just up to the sheer depth and agony of the king of drone.

As for the Cranes and Swans comparison, again I see both. The Swans definitely, for they define the combination of art and music for me in the shapes and images their disjointed, yet seamless work created. And again, the ability is there for them to do the same. As for the Cranes, yes…but less so. Especially over the last few years when I think melody has become much more important to them.

I am looking forward to the next release from Leisurehive, which they are currently working on. I am curious to see where they go from here, which is an excellent beginning and base for great things to come.

Leisurehive is:
Daniel Knowler – voice, guitar, percussion, samples, sounds
Mariabob – violin, electric and acoustic guitars, sounds
Joanne Owen – bass guitar, sounds

Track Listing:
1. Initially
2. Interior; hungry
3. Position
4. Shelves
5. Conclusions
6. The Envelope Itself
7. A Response
8. Shift
9. List of excuses
10. Architect
11. Song Nine

Website address:
http://www.geocities.com/leisurehive

E-mail:
leisurehive@hotmail.com

Label:
http://www.operative-records.co.uk

Lazy Lane
(self-titled)
~reviewed by Matthew

I am a total sucker for bands that take seemingly disparate genres and blend them together.  In the case of Lazy Lane, a small indie group that lurks on the fringes of Pittsburgh’s scene, the elements of psychedelia, folk, shoegaze, and Goth collide beautifully.  This debut CD definitely stands out when compared to the stacks of promos I have received so far this year.

Lead by the smoky vocals of Lily Fabian, her voice resembles that of Hope Sandoval (Mazzy Star) and Alison Shaw (Cranes).  Her playful yet wry vocals elicit a slight waywardness and veiled sensuality.   The lyrics read like stark, demented faerie tales, the mood further accentuated by the dreamlike voice that delivers them.  This kind of nursery rhyme vibe usually turns me off (Switchblade Symphony springs to mind!) but the mood of Lazy Lane is a surreal and mature kind of dementia and I was easily drawn into their murky world of mischief.

The music is a seething blend of The Doors and The Bad Seeds; the Cranes and Mazzy Star.  A nice variety of guitar work is used, ranging from strummed acoustics, watery leads, and swelling ebow wails.  The bass lines are at times, under cut with a free form jazz technique as well as a straightforward post punk strum. The production is damn good for an independent band, and the entire disc is awash with a feverish and fuzzy reverb that only further enhances it’s vintage feel.

“Waking Up Buttercup” is probably my favourite track, (Hah! You guessed it; it is the darkest one!), the song swirls around a brooding bass line, bluesy guitars, an ominous church organ drone, with Lily’s pouty vocals capping it all off.  Tribal drums and an eerie flute passage provide a stark break between the verses, and then back to the plodding gloom reminiscent of the darkest moments of The Doors and Syd Barret era Floyd.  The only contemporary band I could even think of comparing these guys to are Babylonian Tiles, but even that is a bit of an injustice as Lazy Lane holds their own wonderfully.

Another track that stands out especially is the thoroughly amusing “Black Cat,” with its swinging rhythmic strut and frisky vocals.  Kind of like if “Love Cats” wasn’t so overtly manic, this is like the Munster’s Halloween psychedelic jazz party!  Again, I am not too easily sold on this kind of tongue-in-cheek stuff, but this is just so irresistibly catchy, and it features an awesome explosion of guitar work worthy of Robby Krieger himself toward the end of the song.  Perky Goths® will dig this immensely,  but this particular gloomy Goth liked it just fine.

This is definitely a band to watch.  Check out their Mp3 site at the link below, especially if you are a fan of stuff like Mazzy Star, Mojave 3, the Cranes, and other forms of dark psychedelia.

Track List:
1.) Sea Witch
2.) The Girl Upstairs
3.) Waking Up Buttercup
4.) Time Warp
5.) Under My Pillow
6.) Starsweeper
7.) Rumello
8.) Black Cat
9.) Electro The Wisp

Lazy Lane is:
Lily Fabian – vocals, keyboards
Greg Ballato – guitars
Aaron Richardson – bass
Nathan Ballato – drums

Contact:
LazyLaneMusic@aol.com

Lazy Lane – Mp3 Site:
http://www.mp3.com/lazylane
 

Morgan's Canon
Like Water
~reviewed by Kevin Filan

Before beginning this review I should say that Morgan's Canon are not only great musicians: they're also understanding and gracious.  I originally received this CD in September ... and promptly lost it.  They've waited all this time for a review, and even sent back my check when I asked for a replacement, with nary a harsh word or complaint.  Every band should be so understanding.  My review may have been delayed, but it's a positive one: this is an exceptional CD, certainly one of the best industrial releases I've heard in a long while.

Otto Zizak, band leader and songwriter, is a classically trained musician from the Czech Republic, birthplace of Franz Kafka.  Like Kafka's writing, Zizak's music always feels ready to fall into chaos.  The driving bass line of "Time to Pretend" and the hard electronic percussion of "Feed" remain constant as other riffs begin, then are swallowed by harsh atonal noise.  The end result is sinister and mechanical -- not the cool synthetic bleeps of Kraftwerk and their idiot progeny, but the rough, greasy metallic darkness  of *Metropolis* or *Alien*

This endless darkness could quickly become grating or depressing, were it not for moments of transcendent beauty.  The industrial slamfest which is "Monday" is highlighted by gorgeous shards -- acoustic piano lines, Mistress Silvia's operatic vocalising -- playing off against distorted power chords.   Similar hard-and-soft combinations are found throughout "Only Words," where sad distorted vocals and piano lines provide an underpinning of longing to Leonardo's crunchy guitars.  The regrettably-titled "Vampire Girl" evokes Brecht and Weill with the help of Jana Andevska's violin and Zizak's piano.

There are many out there who have bought a keyboard and some software and who now consider themselves musicians: there are  a few who actually know something about music.  Zizek is clearly in the latter category.  In lesser hands "Krime" would be a standard issue EBM/synthpop tune, hummable, listenable, and ultimately forgettable.  Thanks to his skill -- and to some outstanding percussion work from The Minister -- it becomes one of the album's highlights.  Smoother and less challenging than some of the material preceding it, it succeeds on the strength of a driving, irresistable beat and a catchy hook.  Along with the powerpop-meets-industrial stylings of "Of Cemeteries," it may be one of the most radio-friendly songs on the disk.

In New York Zizak is fast gaining a name for himself with Morgan's Canon and his other project, Otto's Daughter.  If "For Water" is any indication, he's only going to get bigger as time passes.  I may have been a sluggard in reviewing this; you should learn from my mistakes and buy this CD now, before it becomes a collector's item.

Tracks
1) Monday
2) Time to Pretend
3) Vampire Girl
4) Feed
5) Only Words
6) Of Cemeteries
7) Krime
8) A New Way
9) Monday (radio version)
10) Time to Pretend (radio version)

Otto Zizak: Vocals, acoustic piano, machines/synthesizers, guitars, electric bass
Leonardo: Guitars
Mistress Sylvia: Vocals, electric and acoustic bass, keyboards
Daniel "The Minister" Rivera: Acoustic drums, electric triggers, percussion

Official Morgan's Canon Website
http://www.morganscanon.com

Necare
Appassionata (Into The Vale Of Rest)
~reviewed by Matthew

Appassionata is the first full-length release from Virginia’s Necare, one of the most promising and emotionally poignant bands linked with the sparsely populated American Doom metal scene.   After having inked a deal with Australia’s Crestfallen records, the band is prepared to re-release Appassionata officially, but for now, this pressing of the CD is currently available from the band directly.

Though Europe is usually regarded the motherland of Gothic Doom music, (My Dying Bride, Paradise Lost, Anathema, Skepticism, et al originate overseas) America has it’s fair share of prominent bands dedicated to foreboding Gothic decay and oppressive Romantic metal.  Evoken, November’s Doom, Thorns Of The Carrion and Divine Silence are among the forerunners, and Necare might be the band with its step firmly grounded in the traditional, early aesthetics of British Doom.  Not quite as alienating and ominous as Evoken, nor as avant garde as November’s Doom, Necare rely primarily on layers of warm, depressive guitar melodies, lyrics that recall the darkest sentiments of turn of the century Victorian poets and authors, and an unmistakable atmosphere of despondent, melancholy yearning that is achingly absent in most bands that have professed to be Gothic Metal over the past few years.  Necare is the real deal, and will not fall short when it comes to creating a morose, heart rending atmosphere for their listeners.

After the cinematic prelude of “Lux Occulta” (which recalls the admirable symphonic scores to such video games as “Clive Barker’s Undying” and the nightmarish “Alice”), “Eleanor” begins in all its dejected majesty.  Haunting guitars intertwine with a slithering violin, and droop above a plodding percussive dirge, evoking dusky images of twilight, a twilight of day as well as life.  The vocals appear both monstrous and riddled with anguish, as well as spoken passages delivered by a voice broken and drained of hope.  Though vocal critics scoff at the guttural vocals characteristic of death metal, the manner in which they are employed in doom metal is metaphorical.  There is a genuine expressiveness in their unsettling rawness. The striking lyrics explore the despair of losing a loved one to an irreversible illness, and I must take the liberty of quoting them in their near entirety.

Veiled in sun-wept kisses, sullen, weak, you smiled
"You must bid me gone, love”
Frailty-wracked, you cried
Still upon your deathbed, your hand I held in mine
Caressed with woe your flaxen hair
Felt your last aspirant breath
Goodbye…
No flights of angels bring you to your rest…
I live on in wanton futility
And yet in my dreams now I arise and follow you
The veil of eternity rends
And you are whole again
For there is no cancer, no lamenting depth of grave
That separates us anymore, in death we are one.

This is the music the miserable seek.  For whatever psychological reason, it makes us ‘clasp our hands and shriek in ecstasy’ like a young Percy Shelley in the presence of his adoring shades.

After the listener has recovered from the withered beauty of “Eleanor,” a piano motif borrowed from Albinoni’s G Minor Adagio sets the tone for “Wall Of Voices.”  The expressive and desperate guitars manifest at first in a solemn gloom, but then an eeriness seeps into the fold, and the song wanders into territory similar to early My Dying Bride.  A groove-oriented verse leads into a remarkably chilling break of buzzing tremolo guitars and spectral choirs.  “There is no life, but that death allows.”  The song makes an even more profound descent, into a claustrophobic spoken word passage.

“The Fury,” an epic nine-minute track further explores the raw, edgy eeriness of early doom death metal.  Ryan’s downcast clean vocals volley between his brutal death growls, backed by well placed operatic female singing.  Some of the album’s most catchy melodies and unique rhythmic progressions occur in this track, which will surely be a morbid joy to fans of old school Anathema and the like.

“Juliet (Libera Me)” is probably the album’s lightest moment, though still coloured with a romantic desperation.  An ambient re-interpretation of a track that appeared on the band’s “Ophelia” EP, this version removes the guitars and drums, leaving only Ryan’s clean voice accompanied by charming female vocals.  Celtic violin snakes in and out of the song, atop subdued heavenly synths.   A truly beautiful song that would definitely catch the attention of Gothic ethereal and Doom fans alike.

The sweetness is of course short lived, as “The Mourner” soon elongates its slimy, black tentacles.  Heavy and dense, the mood is emphasized by watery guitar arpeggios that sneak in between the crunchy power chords and riffing, reminiscent of Anathema if not Fields Of The Nephilim in its murkiness.   “The Mourner” seems to have been a fan favourite, being one of the band’s most successful tracks at Mp3.com.

“Even The Heavens Cried” is the album’s stark suicidal finale, featuring some of the more bittersweet guitar melodies and the most prevalent use of clean vocals.   The ambient instrumental title track draws the disc to a close, serving as a reconciliatory piece, so as not to leave the listener hanging too far above a vast psychological abyss.

This is the kind of music that leaves me feeling thoroughly satisfied.  The whole reason I am attracted to the Gothic aesthetic in the first place is it’s reconciliation in darkness, and no music is as absorbing as that of Doom metal at it’s finest.  To fans of dark metal that are tired of all the polished, avant garde showiness of recent Goth metal, Necare’s resuscitation of Doom Death will surely appeal to the primitive, raw feelings that plague us all in our darkest moments.  For fans of Goth that are looking for something more intense and suffocating, CONTACT this band and BUY this CD.  You will not regret it.

Track List:
1.) Lux Occulta
2.) Eleanor
3.) Wall Of Voices
4.) The Fury
5.) Juliet (Libera Me)
6.) The Mourner
7.) Even The Heavens Cried
8.) Appassionata

Necare is:
Ryan Henry – lead, rhythm, and harmony guitars, bass, keyboards, and vocals
Greer Cawthon – drums, lead and acoustic guitars, and keyboards

Andy Henson – additional guitars
April Leightty – viola
Ben Snider – violin
Amy Parker – female vocals
Erin Vernon – female vocals

Necare – Official Website:
http://www.necare.net

Necare – Mp3 Site:
http://www.mp3.com/necare

Neikka RPM
Neikka RPM
~review by Jezebel

As a favor to Blu, I took on some of the CDs which seemed to be sitting on her desk. This is one of them. And to be honest, I am not a fan of EBM or “gothtronic” as this is described. And for those reviewers on staff that do like this stuff, even ~I~ think they have missed out on something really worthy of a listen, a review and for our readers, a buy.

This is not pure EBM, this is something beyond that. I won’t go as far as saying that this is finally a duo that can combine EBM with gothic music and make something that doesn’t bore me to tears. No. This is actually something that reminds me more of Euro-electronic music (think Enigma) and EBM and perhaps a smattering of ethereal.

Dominique’s voice is whisperingly well done. Nothing new with the usage of a woman softly whispering sometimes sensual phrases throughout a song….so in that sense, this New York duo has not crossed any barriers, evolved something.

But it definitely has “something”, since I kept it on past the second track and wasn’t too bothered about listening to it. I hate to say it, but I was waiting for Madonna’s “Justify My Love” to pop in here somewhere. (Die My Darling’s version of “Just Defy My Love” would have been more welcome, but that was wishful thinking). It didn’t, but that’s okay….I was calmly and almost in a relaxed state, sitting and enjoying this album.

The sixth track "Don’t Be Afraid, Don’t be Sorry – Miss You Version" has a great beat to it and for a bit even walked away from the “boom boom” sound that depresses me every time I hear EBM.

Okay – so final impressions of the CD. An excellent buy for someone into this music. Definitely quality stuff. Do I like it? Um…..an unconvinced yes.

Track Listing:
1. Let Me Destroy You
2. No Mercy
3. Break Your Heart
4. I am Your Girl – Blue Version
5. Don’t Be Afraid, don’t be Sorry
6. Don’t Be Afraid, Don’t be Sorry – Miss You Version
7. I Will Find What You Try to Hide

NeikkaRPM are:
 Dominque – Vocals, Programming
Richard – Programming, Live Instrumentation

Website:
http://www.neikkarpm.com

E-mail:
info@neikkarpm.com

MP3 site:
http://www.mp3.com/neikkarpm

Project 12:01
Time for a Taste
~reviewed by Catherinna

Reaching beneath the depths of pleasure and pain, sorrow and love, dark and light, we find ourselves a bit of time where balance and fate, through space and music, is of perfect essence.  Project 12:01 nearly flawless in their musical concept, interpolate the ear with dark, lust filled yet angelic, vocals and synth sequences.  "Time for taste" appears to be Melissa London and Noel Johannes's first full length debut CD.  This CD is composed of 8 tracks in total and is approximately 30 minutes in duration.  Their sound is that of Darkwave/Electronic/Ethereal in nature and has an overall crossover in each musical genre.  Hints of triphop, Switchblade Symphony, Battery, Hungry Lucy, and Collide, can be heard in influential overtones throughout this production.  If you are partial to any of those bands you will be captivated by the sounds of Project 12:01.  For a first release it holds much promise.  It is obvious through listening to the level of detail in the construction of these songs that Melissa  and Noel are musical soul-mates.  Below you will find my notes to each track.

Tracks worth Notable Mention = **

~Track Listing~
1.  Lucid~ ** Female vocals, piano, overlaid repeated synth patterned phrases, angelic, with poppy bass. Very addicting.
2.  Bluish Jewel~ ** Samples, distorted bass/ synth, slows down, light angelic singing w/ background vocal cries,    whispering singing, lots of variations on voice, same general music progression/programming in song.  Very nice.
3.  Taste~  This track has a Battery, combined with early Collide sound and feel.  More distortions, masqued/layered vocals, heavier synth beat/ sort of crunchy.  Raw background vocals.  Seductive.
4.  Shut The Door~**Synth; programmed drums.  Organ sound:  angelic voice beneath the organ and sequences.  Good song overall, could use more emphasis on voice.  Swirly, synthy, flowy, melting feel. Slows down about mid/3/4 way through song for about a minute, lot's of layers, picks back up.  I LOVE THIS!!!
5.  Love~ Choral beginning underlying vocals, slow sequences to accompany.  Beautiful.  Angelic awakening.
6.  This Heaven~ **Switchblade Symphony sounding.  Nice beat, but rather slow, synthetic violin programmed sequences. This track seems like it needs a bit more oomph!  It just doesn't quite get going enough, has amazing potential.
7.  Spill~  Also very Switchblade Sounding (vocals).  **has potential, needs more pick up.
8.  Beyond These Streets~ ** This song as a Gothy Trip hop beat, synthetic strings, soft male background/foreground lyrics/vocals in collaboration w/ female vocals.

All 8 tracks can be found on MP3.com @ http://artists.mp3s.com/artists/191/project_1201.html.
You will also find a fabulous new remix of the song "Taste" remixed by Cliff (who does percussion and sounds in their live band), a thought provoking song created in light of the September 11th incident called "September 11th Lament", and lastly, a soul seducing cover of "Nikki" by Prince.Project 12:01 resides in Denver, Colorado and has a promising upcoming performance as the supporting act to Gene Loves Jezebel, among various other local club shows.

As a fan based listener, I thoroughly enjoyed this CD, in fact it didn't leave my CD player for two weeks.  As a DJ, I will be waiting anxiously, but patiently, in P12:01 depraved angst, for some remixes that have a smidgeon more of an upbeat focus in the mix.  I feel Project 12:01 would thrive and receive continued airplay in clubs, if more emphasis was played on the beat.  I look forward to both seeing and hearing more from Project 12:01 in the future!!   (P.S.  This ones coming to Gothcon with me!)

Website: www.project1201.com

MP3's : http://artists.mp3s.com/albums/191/project_1201.html
Email : project1201@project1201.com

Join the list: list@project1201.com

Fan mail: Project 12:01, P.O. Box 670, Eastlake, CO 80614-0670, USA

Regenerator
War
~reviewed by Uncle Nemesis

As a grizzled veteran of The Punk Wars, I tend to associate concept albums with the kind of pomposity which weighed down the pre-punk music scene. Thus it was that I approached Regenerator's new release with a certain amount of caution. Because 'War' - the fifth album by this Californian duo - is...a concept album. And, as concepts go, you can't get much heavier than war (apart, of course, from death or taxes). Fortunately, my fears of a full-on pomp-fest were unfounded, for Regenerator are an electronic band with a certain lightness of touch, and a fine appreciation of light and shade. They are not, thank God, Jean Michel Jarre. Nor are they yet another identikit EBM outfit: the basic format of shouty-bloke-plus-doof-doof-beat is getting increasingly hackneyed these days, and it's a pleasure to find that Regenerator don't tread that well-worn path. There are dance beats here, sure - but, crucially, there's more...

The album opens in alarmingly High Concept style with a melodramatic spoken word piece: Wrex Mock, the male half of the duo, intones certain extracts from the Essene War Scroll - one of the Dead Sea Scrolls, and a particularly bloodthirsty one at that: 'The congregation of the gods and the congregation of men shall engage one another, resulting in great carnage'. Hmmm, I've been to parties like that, too. Then a quick-march beat kicks off, and we're into the harsh electroscapes of 'Battleground', which immediately presents Regenerator's trump card - the interplay between the voices of Wrex Mock and Patrice Synthea.

Now, Regenerator are not the first band to feature both a male and female vocalist, but they do it more effectively than most. They have the knack of building up tension in the verse, and then releasing it all with a lilting chorus, where Patrice's wistful tones act as the perfect counterpoint to Wrex's sepulchral Voice Of Doom. The music is uncompromisingly ice-cold electronica, and yet when Regenerator take it to the chorus it all suddenly warms up, like a ray of sunlight breaking through a snow-cold cloudy sky. The only band I can think of who do broadly similar stuff is, perhaps, Attrition, and they always have a strand of amiable English eccentricity running through their music - they don't have the edge, the sense of opposite poles being reconciled, that Regenerator conjure up.

'Take Me', for my money, is the highlight of the album, and could easily stand alone as a single. Regenerator demonstrate their gift for a entwining a lilting melody around a lively beat: the result is a song which would hold its own against all-comers on the dance floor, but also works well as something you can sit and listen to. There's real emotional content here, with Patrice's voice striking just the right wistful-yet-hopeful note. A solo violin wanders in and out of the electronics, a nice organic touch in a sea of synthetics. I'm reminded of the delicate electropop tunes that ex-Throbbing Gristlers Chris and Cosey produced in the 80s. I wonder if Regenerator have ever heard Chris & Cosey's 'October Love Song'?

However, if you prefer your electronix with more of a kick, more of an abrasive, heavier, sound, then  Regenerator deliver the goods in this area, too. 'Blink' hammers along like an overdriven electric motor, while 'This World' gives us a bleak cinematic soundscape, a post-holocaust nuclear winter: beats crack and clang like sheets of corrugated iron rattling in the wind. 'Bombs Away' employs Regenerator's trademark trick of a harsh, in-yer-face verse, relieved by a chorus you could take home to meet your mother. 'Nowhere', unfortunately, opens with the sound of a modem dialling up, which happens to be my least favourite sound ever, and not even original in this context (Emma Conquest used the same sound on their album, and I'm sure they weren't the first). Fortunately the song itself is a lithe and understated little number, slinking into your ears with an ease that belies the bleak lyric.

There's even an interlude for 80s-heads, with a cover of The Psychedelic Furs' 'Love My Way' - not, I have to admit, my favourite Furs song, coming as it does from the band's frankly rather tedious AOR period, but it fits in with the theme here, with lyrics like 'War on the dance floor...' so we'll let it pass. Hey, could've been worse. Regenerator might have covered Culture Club's 'War Song' - that's the one with the less-than-classic lyric, 'War is stupid/And people are stupid'. Not, I fear, one of Boy George's finest moments. Let's be thankful Regenerator passed on *that* one!

The album ends with 'A moment of Silence', which is just that - a seven-second (by my CD counter) silent track billed by Regenerator as being 'in memory of the victims of the terrorist atacks on 11.09.2001'. I'm undecided about the worth of this. While it's entirely fitting that such a terrible event should be remembered, tacking seven seconds of silence onto the end of an album doesn't exactly require much effort or thought - it's not as if Regenerator have even written a special song. Personally, I feel
this gesture, sincere though I'm sure it is, comes across as a bit of a gimmick. It would have been better, perhaps, simply to dedicate the entire album to the innocent people who died in the terrorist attack on New York - and in the war that came after...

Tunestack:
War
Battleground
Shores of Forever
God is on my Side
Take Me
Faith
Blink
This World
Bombs Away
Nowhere
Wasteland
Colours
Love My Way
War (club mix)
A Moment of Silence

The players:
Wrex Mock: Vocals and instruments
Patrice Synthea: Vocals and instruments

Reviewed by Uncle Nemesis:  http://www.nemesis.to

Regenerator website:  http://www.regenerator.net
Regenerator mp3s:  http://www.regenerator.net/music.html
Alfa Matrix, Regenerator's label: http://www.alfa-matrix.com

Chris and Cosey:  http://www.chrisandcosey.com

That Essene War Scroll in full:
http://www.pbs.org/wgbh/pages/frontline/shows/religion/portrait/scrolltranslation.html
 

REIGN OF EREBUS
Humanracist
~reviewed by Michael Johnson

Reign of Erebus was originally formed in 1997 and finally, after two demos and one MCD, their full-length debut is here.  Humanracist is a potent mix of black/death metal with spatters of industrial thrown in.  The heavy use of keyboards and atmosphere might lead you in the direction of early Cradle of Filth but hey, it’s 2002, and we’ve come a long way.

Unfortunately the vocals are buried far beneath the tornado of drums and guitars and at times are almost completely inaudible.  Said drums and guitars fly at a frenzied pace throughout the songs and to me, this becomes monotonous quickly.  I require a change of scenery once in a while and although small interludes are found here and there, like at the end of “The Darkest Pride”, I had barely enough time to catch my breath before I was engulfed once again in utter chaos.

This album isn’t without its high points, however.  At times, the keyboards do create some excellent atmospheres, but most other times they feel forced to keep up with the music.  When Reign of Erebus do slow down, they create some oppressively heavy music but there’s really little new or exciting to set this band apart from a thousand other black metal clones.  Simply because of this, I cannot recommend this album to any other than collectors who cannot get enough of this stuff.

Label: www.blackendrecords.com
 

Roadsaw
Rawk N' Roll
~reviewed by Eric Rasmussen

When I got this CD, the first mistake I made was reading the press sheet that came with it. The sheet essentially says that their music is their mating call, and they lust after females and beer. Ambitious gents, these guys. Then at one point it says: "the noise they make is loud and brash..." Loud and brash, eh? We'll see about that, I thought! And when I recovered from laughing at the song titles, I decided to put the CD on. As track 8 requests, the band prefers to be called "Mr. Motherfucker" instead of just "Motherfucker," so we'll go with the former.

Note to Mr. Motherfucker - your CD is not loud, nor brash.

Perhaps several decades ago people would have thought this was loud and/or brash. However, there is a little known genre called "metal" that is full of many sub genres. And every single one of them is louder and brasher than any of the bland retro rock on Roadsaw's CD. What kind of track title is "Bad Ass Rising," anyway? In my experience, when a band needs to let people know how tough they are by saying "look at us, we're tough, all right!", chances are the band is just posing. And that's exactly what Roadsaw is doing. The songs are competent as far as outdated rock and roll goes, but bands in the 70's had better production and more interesting ideas than you'll find here. The only way I can imagine Roadsaw being the least entertaining is during a live performance, since this music sounds like it belongs in a club for people who still think it is loud and brash. Even then, I'd rather avoid the band all together, because if their music is their mating call, I sure as hell would rather not be around when they hit the stage.

Oh, and on that note, the press sheet refers to females the band attracts as "spoils of victory" resulting from the mating call. Yikes. I'm sure all of you females out there are, understandably, turned on by this and are quite interested in seeing the band live. I'd tell you where to find them or their music, but surely their loud and brash mating call will grace your ears sooner or later, and you can head backstage to be Roadsaw's first or second female trophy.

Yeah, these guys know just what women want...

Anyway, while Roadsaw's music isn't quite as bad as their horrible image and lyrics, it's still thoroughly unexceptional and bland. You're much better off just listening to the bands that were playing rock originally, and not any of this "retro" stuff that shows no signs of evolution. Before I forget - what the hell kind of name is Roadsaw anyway? No one is out sawing roads. That just doesn't happen! I suppose the name, like the rest of their image, is supposed to be crude and loud or something. Also like the band's image, I bet women just swoon at such a powerful name.

I'm not sure why I'm still writing at this point, you've probably got the idea by now, but I don't get many opportunities to make jokes about such a laughable band. The press sheet, which provided considerably more amusement than any of the music, refers to the band members as a species called "The American Longhair." Which, they say, is on the verge of extinction. Just in case you thought my blatant sarcasm about women actually going for the band's loud mating calls was uncalled for - now you know that I'm just basing it on what the press sheet had to say. There's a reason for the band being on the verge of extinction. With no natural predators, they clearly just aren't finding mates. After hearing their music, you'll know why.

Track list:
1.) Right on Through
2.) Bad Ass Rising
3.) Disconnected
4.) Scorpion Bowl
5.) Foot
6.) Your own Private Slice of Hell
7.) The Finger
8.) That's Mr. Motherfucker to You
9.) Buried Alive
10.) Blackout Driver
11.) Burnout
12.) Hoof

Roadsaw is:
Craig Riggs - Vocals
Ian Ross - Guitar
Tim Catz - Bass
Hari Hassin - Drums

Roadsaw Official Website:
http://www.roadsaw.net

Lunasound Recording:
http://www.lunasoundrecording.com

The Sins
Self Titled Promo EP
~reviewed by Blu

I heard early versions of some of these songs on a CDR almost a year ago when Jyri, electric violinist who used to play with 3SKS, was thinking about joining this band with long time friend and previous bandmate Lee Tillman who was brought on as new guitarist for the Sins. At the time, I liked their harder rock edge but the sound wasn't quite as tight as it could be and gave it little more than a passing glance. Since then, Lee re-recorded the tracks as their new guitarist, Jyri joined the band; they found interesting and beneficial ways of incorporating his electronic violin into their existing songs; they hammered out some new material, and overall, grew by leaps and bounds as a band. I'm not sure how their inner dynamics changed over the course of time, but its almost obvious to me - having seen them play live 3 times now at various intervals, that they've now found the right combination of musicians and are becoming more and more a "band" in every since of the word. From what I hear, they all get along well and have fun doing what they do. This comfort level and resulting  confidence is apparent  in their live shows with the amount of enthusiastic energy they put into each performance no matter what the venue or how big or small the crowd is. It's no wonder that in a city plagued by under appreciated local bands who are lucky to get a measly $100 per show; The Sins are commanding unheard of prices sometimes at four digit levels at regional music festivals and are getting invited, all expenses paid, to out of state events.

So what do they sound like you ask? Well, let's get to it.

The Sins are a melting pot whose influences range from The Fields of the Nephilim, Sisters of Mercy, Skinny Puppy, Dead Can Dance, The Doors, Jane's Addition and The Mission UK. Each band member is a veteran of the music scene skilled in various genres providing the Sins with a large knowledge base to pull from. Bass player Dexter Fauxe is into everything from  from Jazz to Classical, Fusion to Punk making him one of the most interesting bass players I've seen in a long time employing a wide range of techniques. Guitar player Lee Tillman has a degree in Music Theory and Composition and wields his guitar with maturity and confidence. Skillful and thoughtful, he's not one to over power a song with guitar-machoism but seems to know exactly what level to push things to without becoming over bearing as this type of music easily lends itself to. There's much to be said for restraint by a guitarist in a guitar driven band. Drummer Kris Killian is an explosive dynamo - "a percussion performance major in college, the development of the dark tribal percussive sounds embodied in The Sins began its development. Experience in a number of jazz and rock bands over the years has led to the evolution of Kris’ sound - a sinister, melodic wave of rhythms."  Jyri Glynn brings his unique skills as an electric violinist, best known for his work with the band 3SKS (Tri-State Killing Spree), and adds a level of sophisticated symphonics that is almost unheard of in most goth rock bands. And finally there is Nightmare Boy - the brooding front man whose dark inner workings propel the band's vision through his voice and lyrics.

This demo CD is a far cry from the first CDR I heard. Not only have they included Jyri's violin giving all their songs more texture and depth, but its obvious it's more polished with care taken in the mastering process to equalize and balance the wealth of musical talent they have at their disposal.  Even *more* impressive is that these five songs were pretty much recorded in one take without doubling back to fix things. Add to that Jyri had only done two practice sessions with the band prior to this recording so much of the violin work was never really written down or set in stone. He played most of these songs by pure instinct. If you're one of the lucky DJs who got these promos, consider it a real gem. The band is currently back in the studio recording new songs and touching up a few of the old ones in preparation to release a full length.

Track 1, "Ecstasy in Oblivion" starts out with an exotic violin line - almost egyptian in theme, that is then joined by menacing bass lines and like-themed guitar melodies. The first time you hear Nightmare Boy's vocals, they are deeply masculine but are calmly restrained like the quiet before the storm. The static energy is there - the power hinted at, waiting to be released.  Now this song could have gone on in this way - a laid back verse/chorus/verse and it would have been just fine. If you've got this far, don't skip to the next track because this one changes. As fans of the Fields of the Nephilim, the boys are willing  to push it one level further and elevate it to another plain altogether. At 3:04 into the song it changes tempos and keys - the drums echo a warning and the guitar line is thrown into an urgent percussive roll (playing a kind of a call and answer with the violin) as the bass crashes in like ominous thunder. Then this - this is my favorite part --  the part where you kind of stop and look at Kris and let your jaw drop to the table as you realize just how good this boy is on drums. What comes next is bar none one of *the* best, relentless, energetic, breath taking drum features from a goth rock band I've heard in years. He just flails skillfully at them, hammering away while the guitar and violin, in stark contrast, bleat out mournful chords. In a scene so lacking in live drummers, it's enough to make me cry - honestly! I get goose bumps hearing this every single time. You CANNOT re-produce this effect with a drum machine - I don't care how much money you spend on equipment.  Keep in mind, in the studio this was done on one take - perfect the first go around. On CD you get the effect well enough -- and live, god,  it's simply mind boggling and deafening. And suddenly it's over, the drums wander off, and all that remains is the echoing lines of the guitar and violin as you sit paralyzed in the aftermath wondering what large vehicle just ran you over. Simply amazing.

"Rivers" is a popular and accessible song because its got an immediate hook - a good driving chorus highlighted by violin, Cure-like bouncy guitars, steady bass and drums with a danceable beat. The real star of this song though, in my opinion, is the lyrics -- a very gothy sort of love song which I fell for immediately. Sung by Nightmare Boy's strained, emotional vocals, the urgency of the words speak seriously of their intent. It's not a pretty voice - there's nothing frilly or romantic about it or the sentiment in it - its raw and gritty and real and even more so appealing that way.
 

...I would crawl through your world on my knees for you little girl I would take my life for you When I'm alone I wonder why I can’t be with you In my dreams I find you You’re my everything I give you The world you take it all and you break me

I don't know how much more I can take before you kill me I would cross all the rivers in the world for you little girl I would drown to get to you I would die for your love I would kill for the slightest touch I would slit my wrists for you My little girl

"Angels" caught my ear immediately - and for some reason that I cannot put my finger on specifically, it reminds me alot of The Doors and I get the slightest sense of Western twang with that rumbling bass. The violin echoes the vocals in a haunting way before they break into a powerful chorus - thundering bass lines, propelling guitar riffs and a nice solo in the middle, powerful drums and the energy in the vocals that is finally released - husky and seductive. Someone once said that live,  Nightmare Boy reminded them of Billy Idol - and I think that's a proper positive comparison if you think about the delivery and intonation in this song.

Track 4 is titled "Pain" and is characterized by a strong bass line that oddly enough, reminds me alot of an old Journey song although the technique used to produce it is clearly something altogether different. (I'm really showing my age aren't I ? Billy Idol... Journey... whew).  Dexter literally hammers on the bass producing a bouncy, insistent, gritty sound as Lee takes a more melodic part on guitar contrasted by counter melodies by Jyri on violin.  As always, Kris's drum playing is solid and forceful. About 3:07 into the track it explodes. Nightmare Boy is literally screaming out the chorus "I want this pain/I need this pain/I cause this pain..." and the sound coming from deep within him  is so guttural and primal that it makes you wince in sympathy for whatever it is that has drove him to this point. My vocal chords feel raw after listening to that track. All the while Dexter is hammering on the bass more and more intensely (live you watch in horror wondering what will break first - his strings or his fist!), Lee's guitar crunches and grinds like an animal with a will all its own, and in a unique and unexpected twist, over top of it all sails Jyri's violin in an urgent, insistent solo melody line that just adds to the intensity. Incredibly creative and gutsy - it was a brilliant twist to place the violin there.  Kudos fellas.

And finally rounding out the EP is what has been dubbed their "deathrock" song by fans, "So Many Ways." The first thing you'll hear is high pitched squeaky distortion which sounds eerily like a human scream. No - its not a manipulated vocal track - it's Dexter's bass - no kidding. It's the coolest sound. Recently when they played this song live, Dexter had turned down his bass to an almost inaudible level thinking that sound was far too over powering... and ironically, in my opinion, the song lost alot of its character and power. Infact, I thought the bass had been turned down accidentally and that was my only complaint that night. I think its an essential element on the song highlighting the jealous rage being sung about in the lyrics (so if you're reading Dexter - hint hint hint). They charge along at a psychobilly pace as Nightmare boy belts out sentiments for the green-eyed monster in us all -- Dexter's bass screaming on cue. At one show I went to, this song even inspired a rather violent mosh pit - the energy is contagious.

Succinctly put, The Sins are a goth rock band with huge potential on CD as well as Live. They have just enough influence from the old guard to give them a solid, successful sound; and enough new and unique ideas to make them stand out as something special and different. Again, I'm hoping to brag "you heard about them here first" one day - so snatch them up now, this stuff will be collector's items.

Tracks
1. Ecstasy in Oblivion
2. Rivers
3. Angels
4. Pain
5. So Many Ways

The Sins are:
Nightmare Boy - vocals, guitar
Lee Tillman - guitars
Jyri Glynn - electric violin
Dexter Fauxe - bass guitar
Kris Killian - drums

Webpage: http://www.nightmareboy.com
Hotline: 206-947-SINS

Skymning
Artificial Supernova
~reviewed by Eric Rasmussen

If you've tuned into Starvox before, you may have noticed that many of the "metal" bands we review stand out above all of the generic acts in someway or other. If you've read my reviews in particular, you'll notice I cover a lot of the more avantgarde and loony metal acts, often sliding in comments about how those bands distinguish themselves from the rest. You may be asking, right now, "Gee, Eric, where are all these generic bands you keep talking about? Why don't you ever review them?" And if you aren't asking that, just go with me for a minute. I try to avoid reviewing the more generic bands when possible, but when a quality label like Candlelight puts out a record like this, a proper critique is in order. Skymning has a few unique musical ideas, but ultimately slips into that aforementioned heap of generic metal bands.

Of course, that isn't necessarily a bad thing. "Artificial Supernova" certainly isn't a bad album, it's just not a particularly good one. On a song to song basis Skymning does have something of a neat sound going on. They avoid the more common melodic metal fellow Swedish bands are playing, and opt for some (occasionally quite cool) metal riffing with an additional layer of atmospheric synthetics for that industrial-ish touch. Unfortunately, that description of them only applies when they're at their best on this CD, on songs like "Inner Cosmic Experience."

With most of the songs it's difficult to tell them apart. Listening through the whole album from start to finish becomes an exercise in tedium because the relatively constant drone of the vocalist and the similar pace keep the album from feeling like it is going anywhere. Any number of contemporary metal acts could have made this, and I'm afraid if Skymning doesn't expand their sound on the next release they'll sink into total mediocrity. As it stands, some of the riffs have a cool edge to them, and it makes me think if Skymning decided to push themselves they could be doing a lot more. Outside of the guitars, the drumming is just there, the vocals are just there, and chances are you've heard most of this before.

The keyboard use isn't especially innovative, but as with other bright spots on this album, some synth sections show a lot of potential. Because of the competent (if bland) playing and synth programming, I think they do have a relatively clear idea of what they want their music to sound like. I'm just not sure they entirely pulled off their intended vision. With each additional listen I only grow more disappointed that they didn't tweak these songs a little further to at least catapult the band into that group of above average, if unoriginal, metal acts.

I think the closest comparisons for a band like this are Myrkskog and Zyklon, but Skymning lacks the overall intensity and powerful performance that they have. The techno-ish concluding track makes this album even more similar to Myrkskog's Deathmachine, which had a techno/dance remix of one of their songs at the end of that album.

So, with all that being said, I'm sure there are metal fans out there who would appreciate what Skymning have done. If you think Myrkskog and Zyklon are just a bit too brutal, or if you like heavy background music with few surprises, "Artificial Supernova" can be an enjoyable album. I can't give it any strong recommendation, but I do look forward to their next release. And as always, one person's "generic" is another's "kick ass," so if you like other recent Candlelight releases, you may as well give Skymning a chance.

Track List:
1.) Synthetic Visions
2.) Shadowed / Astral Silver
3.) Shatter the World / Artificial Supernova
4.) Exoskeletal / X.T.C. (Extreme Terror Control)
5.) Suicidal Dominion
6.) Inner Cosmic Experience / Inject The Spirit
7.) Solitude
8.) Esperandote
9.) Elite

Skymning is:
Tyborn - Vocals, bass
Loathings - Guitars
Machine - Drums

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

Soilwork
Natural Born Chaos
~reviewed by Eric Rasmussen

Sometimes it's fitting to start off a review with a very strong statement. This is one of those cases, so brace yourself:

Natural Born Chaos is one of the best metal albums I have ever heard.

There's no use dancing around that with all kinds of "witty" journalistic metaphors - this CD just plain kicks ass. If you've kept up on current metal releases, you might have noticed that bands tend to go one of three ways. Some bands are moving a more artistic route by using odd song structures or live orchestras - things like that. These bands are starting to leave behind their "metal" sound. Other bands just continue to play generic conventional metal. And then there are the very rare acts - like Soilwork - who play what is undeniably metal, but manage to reinvent the sound without leaving behind that metal quality.

The songs on "Natural Born Chaos" follow your standard metal structure. There is a verse/chorus/verse pattern that makes them very easy to listen to. Within this standard metal framework, usually you just hear bands do the same sorts of things over and over. Soilwork, on the other hand, takes that framework and shapes it into something of their own. I'm not sure how to describe their sound if you haven't heard their past releases. NBC is very much a continuation of last year's "A Predator's Portrait." It features the clean vocals and choruses from that album, along with the solid melodies, but it also provides the really cool energetic riffing from their earlier releases.

I think the closest comparison you could make to Soilwork's sound on this album is with some Devin Townsend/Strapping Young Lad material. Devin Townsend knows how to sing, a trait you don't often see among extreme metal bands. He can make the most extreme yells and cries sound musical and blend seamlessly with heavy music. Similarly, Soilwork's vocalist, Speed, has been honing his voice and showing vast improvements in his singing ability. As with past releases, Soilwork is still "extreme metal." It has aggressive, heavy riffs and drumming, and Speed can rasp with the best of them. This time around, however, his clean singing voice is absolutely amazing. He has found a way to mix musical clean singing with extreme metal. Everything about his vocals just exudes a great power that blows away all of the dull rasping maniacs in the metal scene.

On "Blackstar Deceiver," Speed keeps up with the aggressive riffs by using his thrash-influenced rasps, but as the song slows down for the main chorus, he is able to carry a strong melody (and still, somehow, do so with a metal edge). His vocals on the title track will have you yelling along in rage. His powerful shouts are so convincing that this should raise the bar for other metal vocalists. Who's going to stand for monotone rasping when we could listen to Soilwork?

The guitars have a great tone, and every riff is well thought out and fitting for the song its in. Peter Wichers and Ola Frenning rank among the best metal guitarists as far as I'm concerned, and surprisingly they toned down the soloing this time around. The guitar playing is less melodic to allow Speed's vocals to carry the main melodies. The guitars instead provide some of the coolest metal riffs you'll ever hear, ranging from the high octane aggressive sound to slower rhythmic riffing (like on "As We Speak") that reminds me a little of Meshuggah. When the band does solo, however, every solo is tastefully done and sounds great.

The bass playing comes through clearly, and there are some impressive bass riffs going on. The drums, as with other Soilwork releases, add a lot to the band's sound. They are there to provide rhythm when necessary, but there are even memorable drum sections that enhance the album. The entire band wrote the third track, and there are some drum sections in particular that just demand attention. The keyboards provide a background layer of atmospherics and melody that compliments the album quite well. If you don't want to listen to them, they're far enough in the background that they won't distract you from the other instruments. But the quality they add to NBC is undeniable, and their use should rank Soilwork far ahead of their  contemporaries.

I could probably go on endlessly on what a great album this is. Every single track is masterfully crafted. If you've thought metal ideas of old were on their death bed, this should change your mind. Soilwork has continued to breathe new life into thrashy melodic death metal. I compared the band's sound to Devin Townsend above, and there is more than one reason for that. In addition to adding some extreme vocals to "Blackstar Deceiver," Townsend produced NBC with Fredrik Nordstrom.

Yeah, you read that right. Two of the best producers in metal worked together to bring this to you, and the result is quite literally unparalleled. I have never heard a metal release produced so well. Absolutely every aspect of the sound shines through clearly, and there is a sense of dynamics that is usually missing from metal. Devin Townsend's touch is just unmistakable. The guitar tone is full and furious, the vocals are clear and powerful without dominating the sound, and even in moments with a lot of sound going on at once - everything is distinguishable and clear.

So what else can I say? If you haven't got the impression yet, this is a must have metal release. I think even metal fans who haven't quite embraced extreme metal need to give this CD a listen. There's nothing else like it, and you'd be hard pressed to find another distinctly "metal" album with such a sense of power and energy. Be sure to give Soilwork a listen, and in the meantime, check out our interview with their guitarist this month.

Track List:
1.) Follow the Hollow
2.) As We Speak
3.) The Flameout
4.) Natural Born Chaos
5.) Mindfields
6.) The Bringer
7.) Black Star Deceiver
8.) Mercury Shadow
9.) No More Angels
10.) Song of the Damned

Soilwork is:
Peter Wichers - guitars
Björn "Speed" Strid - vocals
Ola Frenning - guitars
Ola Flink - bass
Henry Ranta - drums

Soilwork Official Website:
http://www.soilwork.com

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

Solarized
Driven
~reviewed by Eric Rasmussen

If you've ever heard rock music - most any mainstream variant will do - you'll know that most bands in the genre copy other bands. There seems to be a severe lack of creativity among bands that only want to get on the radio. And while they're duking it out for that spot on the Billboard 100, usually the music is going to suffer in some way. Solarized falls victim to just that, as this very pedestrian release just screams "hey, we're radio friendly!"

Still reading? Words like radio friendly tend to scare off hardcore music fans, so I'm just checking. Solarized does a decent job of playing this sort of laid back stoner rock, but the music is just too generic to keep me interested. The songwriting is none too varied, and you'll get a not-so-eclectic mix of slow stoner rock songs, and less slow stoner rock songs. The production is far from clear, and it would have been nice if the band hadn't drenched their guitars with distortion to get a "heavy" sound. There are many bands who can pull off that sound, but these are bands who can afford better production. On "Driven," the rhythm guitars are just an annoying background drone, and most of the riffs just blend together. The leads come through clearly enough, and some of them have a cool vibe going. Unfortunately, most all of them end up sounding the same. The driving leads on "Dig The Ride" and the mostly instrumental "Southbound" are actually fun to listen to, but can't save the album from the mostly boring songs.

The bottom line on the guitar work is that "Driven" is a mix of crappy sounding rhythm guitar and mundane leads that can work on a song to song basis, but fall quite short of making an interesting album. That's another reason I think Solarized may be trying too hard to make this acceptable on radio. They've crafted a couple of songs that could make fairly popular radio singles, and then they realized there was still a lot of space left on the CD, so they put together several useless tracks that end up serving as filler. These days that seems to be a standard technique of popular bands. Really, why spend time writing a lot of good songs when you only need a couple of singles to sell records?

It's really a shame too, because I think Solarized could do a lot better. The band plays this style competently, and the vocalist has a good sound going now and then. At least, if you like this kind of retro-rock. With the mostly dull instrumental work, the vocals are about all Solarized has going for them right now. But then, that's probably all they need to become the next Monster Magnet and rock radio hit. They've got the strong potential singles and vocal dominated songs that most likely will land them a prominent radio spot sometime in the future. But I think if you're into this kind of music you should give some other bands a listen first. There's always Kyuss, and the seemingly unheard of Agents of Oblivion. Heck, I'd even recommend Acid Bath if you like this sort of heavy music (note, though, that Acid Bath isn't at all radio friendly, they're like a metal version of this style). In any case, Solarized is just another rock band with a decent but not exceptional sound.

Track List:
1.) Intro
2.) Dig the Ride
3.) Born of Fire
4.) Chrome Shop
5.) Meanspirit
6.) Angel
7.) Stab Your Back
8.) Firefight
9.) Box Full of Dirt
10.) Southbound
11.) Conspiracy
12.) World Without End

Solarized is:
James Hogan - guitar, vocals, bass
Dave Topolenski - guitar
Regina Satana - drums
Mike Fiore - bass

Solarized Official Website:
http://www.monmouth.com/~solarized/

Meteor City
http://www.meteorcity.com

Source of Tide
Blueprints
~reviewed by Eric Rasmussen

Source of Tide can be added to the growing list of hybrid bands that defy categorization. Maybe a new metal sub-genre name needs to be invented. Something like "wacky metal." I try to avoid overused terms like "avantgarde," but I suppose that's what most people would call this. Source of Tide plays a previously unheard of variant on wacky metal that is fairly similar to Solefald's material. There is an odd use of electronics and programmed beats set alongside the live istrumentation, and a general weirdness mixed with catchy melodies. "Humanism" in particular is based around a very catchy riff and keyboard melody. The vocals cover the standard assortment growls and shouts we've grown to expect from some recent metal groups (think Solefald or Emperor). Source of Tide's vocalist makes sounds a lot like Solefald's screechier vocals when he's doing that black metal thing - and as with Solefald, it can be incredibly difficult to listen to. The harsh rasps become grating very quick, moreso than most extreme metal acts.

Thankfully, Source of Tide doesn't overdo any one aspect of their sound. There are harsher vocals, but there are also clean shouts that sound a lot like country/label mate Ihsahn of Emperor. Coincidentally, Source of Tide has ties to Emperor and Peccatum. Source of Tide's vocalist is also one of the Peccatum vocalists.

Ok, now that you've got an idea what sounds make up Source of Tides' musical landscape, you deserve to know what sets them apart from all the other wacky hybrid metal acts - their mood. These guys just aren't right in the head, trust me on this one. Despite the metal instrumentation and occasionally very extreme vocals, this doesn't sound like metal. Let's liken Source of Tide to a mental patient in a regular prison (the metaphorical world of metal, for the purposes of this example). There are lots of guys there acting tough. Some are, some aren't. That's what your average metal band is doing, for better or worse. If Source of Tide were a man in the prison, he'd be the lunatic who somehow didn't get sent to the asylum he belongs in. He can act tough if he wants, but don't be surprised if he starts randomly screaming and attacking a wall only to pause thoughtfully and hum out a peaceful melody. In other words, he's the kind of guy you want to stay away from.

But if you're listening to metal - chances are you like the disturbed music. And so there you have it, that's Source of Tide. It's metal, and yet, it isn't. It's full of blasphemous catchy riffs and melodies, and alternately switches between them and black metal rasps so awful even veteran corpse painted church burners have trouble stomaching it. Often those vocals are accompanied by nice keyboard melodies. The guitar riffs are not at all black metal either, and they range from rock to heavy metal riffs that are easy to latch on to and enjoy. If it doesn't sound "avantgarde" enough for you, so far I've only described the first few tracks on the album. As it progresses there are some hypnotic electronics mixed in with the metal, but the band never lets you forget about their ability to rasp like a psychopath and scare off the squeamish.

Right now, you might be wondering if I actually like "Blueprints" or not. That's a tough question to answer. The CD is full of great ideas and everything is well played, but it can be a lot to handle in one sitting. After listening to it many times, I'm as comfortable as possible with the more extreme aspects - and this really is an above average release worthy of more attention than it's getting. I can't help but think Source of Tide will blow us away even further next time, but "Blueprints" is still a very good album. As with some Solefald material, however, I'm sure more conservative metal fans won't be able to stand the mix of vocals and the catchy vibe that pops up now and then amdist all the madness. If you do appreciate that style of avantgarde metal, chances are you will like Source of Tide. And they certainly aren't a Solefald clone, "Blueprints" is full of ideas and sounds you surely haven't heard before. So head on over to Candlelight's sound section and see what you think.

Track List:
1.) Static Development
2.) Humanism
3.) Tales of Fruition
4.) Serenade of Silence
5.) Enslaved by Principles
6.) Bravery 1999
7.) Declaration!
8.) Bravery 2000
9.) Ruins of Beauty
10.) The Retaliation of a Misanthrope
11.) Revolt Future!
12.) Blueprint...
13.) ...Remembrance

Source of Tide is:
Cosmocrator - Battery and synth programming
Tragenor - Bass guitar
Pendragon - Lead guitars and synth programming
Lord PZ - Vocals
Taranis - Rhythm guitar

Source of Tide Official Website:
http://www.source-of-tide.net/

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

Spahn Ranch
Closure
~reviewed by Uncle Nemesis
(live photo from their first show in London by Valerie Palmer)

First, some nuts and bolts. 'Closure' is Spahn Ranch's fifth album, give or take the odd batch of remixes and EPs along the way. It's released on Metropolis in the USA, and on Cryonica Music in Europe. This continues Spahn Ranch's tradition of using different labels for different territories - although having said that, neither of their previous Euro-labels (Zoth Ommog, Out Of Line) made much impact in the UK. We only ever saw Spahn Ranch product on import from Cleopatra, their previous home in the USA. With any luck, Cryonica, being British-based, will be able to push the band's UK profile up a bit.

I think this album, more than any of Spahn Ranch's previous work, could be the one to do the business for them in the UK. But not, perhaps, with the EBM/industrial crowd who have essentially been the band's target market up to now - because 'Closure' sees Spahn Ranch make a distinct move towards the dub influenced rhythmic territory staked out long ago by our very own Adrian Sherwood and his On-U Sound crew. And why not? If you're a fan of weird electronic noises, dub gives you more heavily-reverbed bangs for your buck than pretty much any other musical form - and Adrian Sherwood's take on the genre has always been more 'out there' than most. To my ears, there's more than a touch of Sherwood's influence here.

Nevertheless, to kick off the album, Spahn Ranch show us they still know how to get the industrial dancefloor jumping. The opening track, 'Reasons', arrives with a squall of distort-o-guitar and an insistent bom-chack beat (Spahn Ranch go Boystown!) that seems deliberately tailored to generate max dancefloor action. The song features plenty of those break-it-down-and-bring-it-back moments, calculated (I guess) to inspire ever-greater heights of club-frenzy. It's an immediate grabber, without doubt the track the DJs will go for. For all that, the very fact that the song has 'instant dance floor hit' written all over it makes me a little suspicious. It's almost as if Spahn Ranch are deliberately pressing all the right buttons to get a slice of EBM-scene action. Frankly, the band can do this kind of stuff in their sleep: 'Reasons' is a totally effective contemporary dance track, but I can't quite rid myself of the feeling that it's basically the sound of Spahn Ranch paying the rent.

Second song in, and things become a little more interesting. Unexpectedly, Spahn Ranch cover PJ Harvey's 'The River'. It's a slow, loping blues...the elgantly phrased vocal of Athan Maroulis well to the fore, a restrained, less-is-more electro-pulse behind his voice. Some haunting melodica drifts in and out like river mist rolling off the water, punctuated here and there with rimshots like jumping fish - and everything's soaked in a reverb effect that gives the song a wide, deep feel. It's deliciously bleak and yet otherworldly at the same time. A real treat...and I bet Nick Cave is kicking himself for not thinking of doing this first!

Third track, 'Destruction', is a percussion-heavy workout, interrupted by slabs of guitar - it's the most 'industrial' track here, and yet it's intro'd with a sampled drum roll that sounds like it was grabbed from an old Blackbeard dub plate. From here on in, the album eases itself into the dub zone. 'The Missing Frame' cruises along on low-rider bass - with, deep in the mix, something that sounds suspiciously like one of Peter Hook's New Order basslines - if it's not a sample, it's a deliberate pastiche. 'Born on a Ray of Sound' (which I suspect might really be intended as 'Borne' but that's just the proof-reader in me) is an atmospheric instrumental which racks up the dub influence with a deep-sea bassline, reverbed snare shots and some odd little samples which I'm sure were swiped from an old Tackhead track. The sampled cry of 'Riddim!' is, perhaps, a little unnecessary (it's the kind of thing white folks *think* reggae artists say) but the track as a whole works, so we'll let Spahn Ranch off just this once.

'Phase' takes us even deeper into dub, with a bassline *way* down there, and the melodica drifting around Athan's melancholy vocal like a ghost. 'Flash Forward' un-dubs us for a moment with a skittering, nervy instrumental workout, and 'A Picture' could be an extract from a David Lynch soundtrack, but in terms of overall style and theme, 'Closure' never strays too far away from the warm, deep oceans of dub...

Lucky European purchasers of the album get three bonus tracks not featured on the US edition. 'Swim' is a cover of one of Madonna's 'look-at-me-I'm-still-hip-to-the-club-scene' tracks which William Orbit constructed for her a while back. Spahn Ranch's version is fun, but essentially throwaway. 'Magellan' is a suitably uplifting instrumental with another of those bom-chack beats, and 'Version Excursion' closes the album with a final prowl through the murkiest cellars of dub...which is where I think the band (or at least principal instrumentalist Matt Green) seems to feel most at home these days. What the industrial crowd will make of the band's musical metomorphosis is an interesting point - but if Cryonica have enough suss to market this album to all the On-U Sound heads out there, I reckon Spahn Ranch could win themselves a whole new audience. And what the hell - *I* like it!

Now, for their next album, why don't Spahn Ranch recruit Adrian Sherwood as producer? Go on, Matt, you know you want to!

Tunestack:
Reasons
The River
Destruction
The Mising Frame
Born On A Ray Of Sound
Phase
The Last Laugh
Flash Forward
Mind Over Matter
A Picture
Swim
Magellan
Version Excursion

The players:
Matt Green: Programming, Guitars, Keyboards, Melodica
Athan Maroulis: Vocals
Harry Lewis: Percussion

Reviewed by Uncle Nemesis:  http://www.nemesis.to

Spahn Ranch:  http://www.spahnranch.net
Cryonica Music (Spahn Ranch's label for Europe):  http://www.cryonica.com
Metropolis (Spahn Ranch's label for the USA):http://www.metropolis-records.com

Three sites related to Adrian Sherwood's On-U Sound label:
http://www.onusound.co.uk   http://www.obsolete.com/on-u
http://www.tt.net/onusound

SpySociety99
4 Song EP
~reviewed by Blu

So my question is, is there anything Myke Hideous doesn't do well? I mean really -- everything I've picked up from him is just oozing with talent. Just before I moved from Seattle to LA, I bought the SpySociety99 EP from Middle Pillar - curious to check out Myke's other band.  I listened to it - a lot, on the drive down. My one complaint? It's too short. I want more. More more more more more. I'm a greedy girl and four tracks end too soon. Damn this is good stuff (if you know me at all you know I have a soft spot for psychobilly). And the thing is, he makes it look so easy too.

SpySociety99 is a highly stylized, polished, psychobilly/gothabilly/lounge/punk blend. The visual and thematic work is certainly there - which is a very important part of bands in these genres. They've developed a tight Spy plot with agents and conspiracies and surveillance. It's all packaged very nicely. You can get ties and tshirts and even thongs  - I kid you not. Each band member is an agent with his own shady history. They dress smart, in crisp white shirts, pressed black pants, ties, and slicked back hair. The ultimate suit and tie men.

Yeah yeah, you say, so they got a theme and a look, but can they play ? Hell yeah. Better than most, I'd reply. And it's true. I've listened to, DJ'd and went to a lot of concerts in this genre. I'm one of Skully Record's biggest fans. And this stuff, well, you'd think they'd been doing this for decades they've perfected the sound so well. From the raunchy group choruses, the twangy, greasy guitar riffs, the throbbing bass lines and pounding drum breaks -- it's all here. Myke's vocals slither and seduce, kick and spit, they're all over the board in just the right places. Smooth, gangster, slick, criminal, sassy, in your face -- it's just so well animated.  Played live it's got to be riot.

Track one of the EP is called "NI4NI" - (phonetically translated to "An Eye for An Eye" of course). It's got your standard up tempo  rockabilly bass and drum line with mean as shit guitar chords and a strong group chorus shouted out between Myke's saucy verses. It's amazing how well his vocals translate over to this style in comparison to the more sing-songy mode of Empire Hideous. Track 2, "Killing  You" throbs along at a cool psychobilly pace, dirty and mean - the bass carrying much of the melody line and the guitar picking up a rockabilly/western twang. The chorus is addicting, Myke sings, "I'll be your cannibal, I'll be your cannibal, your severed  head will keep me warm in bed."  Hmmm... appetizing.

"Rise of the Insects" is probably the most accessible song on this CD for people from any listening base. The song is very melodic with a plodding, sing songy bass line that immediately causes much head bobbing whether you want to or not. The guitar comes in with the vocals, scratching out a percussive line, as Myke sails up and down the scales, vocals in perfect control. It almost reminds me of some of the early Meat Puppets' songs. The insect sound effects and the subject matter make me smile quite a bit knowing Myke's fondness for critters as witnessed by his many tattoos.

And finally, track four, "Every Man for Himself" has got to be the crowd favorite. Again, based on a solid rockabilly beat (excellent drum breaks in this one btw), the bass and guitar creep ominously along as Myke slithers through the story-like lyrics and at the chorus the bands joins in for a riotous time. This would be such an excellent song in a club setting...guaranteed to get the rockabilly kids and punks out on the floor at the same time. Watch for flailing arms!

Fans of bands like Mr. Badwrench, The Brickbats, The Psychochargers, The Damned and even The Misfits should give this a whirl, you won't be disappointed.

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

The Empire Hideous: www.empirehideous.com

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

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

Summoning
Let Mortal Heroes Sing Your Fame
~reviewed by Eric Rasmussen

If you've ever been a big fan of a band, you know what it's like to anticipate their next release. The wait can be painful, and all you've got to think about is how great the next release will be. If their last was a masterpiece, surely the next will raise the bar even further. I have anticipated this release for a couple of years now, and my expectations for it were, admittedly, unrealistically high. Summoning's last album, "Stronghold," was one of the most brilliant dark metal releases in all of black metal history. Which isn't bad for a band that started as a lowly Abigor side project. As Summoning further developed their own sound and perfected it on Stronghold, they made a very clear name for themselves, and gathered a small, but intensely loyal, fanbase. And now, finally, we have a new release of theirs to behold.

The reason I think it's important to give some history on Summoning before delving into the obligatory musical analysis is because it will help explain how I feel about "Let Mortal Heroes Sing Your Fame." Summoning did indeed start as a side project, but they also became a band of their own soon after. Unfortunately, Silenius and Protector both have been busy in several other bands recently. Silenius in Kreuzweg Ost, and Protector in too many to remember, though Ice Ages and DVKE are among the many Napalm Records bands he has been a part of. It seems that these two musicians have perhaps been a bit too busy with their other work lately, because this new Summoning album is ultimately one big disappointment.

I can't say that it has any bad music on it. The composition is great, as one would expect from the Austrian duo. "Let Mortal Heroes..." does have its own distinct sound, so it isn't just a "Stronghold" re-run either. There are lots of interesting melodies and even some well performed clean vocals to accompany the usual rasps. The biggest drawback to this album is the production. It is, simply put, horrid. In fact, it's about the worst I've heard Summoning do. And keep in mind that when they started as an Abigor side project, they played harsh, under produced black metal. At that time, the sound fit. It doesn't fit here. "Stronghold" didn't have the greatest production, but the mixing allowed all of the composition room to breathe. The trilling guitar lines and looping drum beats complimented each other perfectly to make an epic and thoroughly hypnotic sound that was just "Summoning."

This new CD has the looping drum beats, but the mixing makes them difficult to listen to. They're just packed in densely. Metaphorically speaking, whereas "Stronghold" created a great expanse of sound to explore, "Let Mortal Heroes..." provides you with a cardboard box full of Tolkein inspired goodies. Sure, they all look neat and can be fun to play with, but it just doesn't compare to hanging out in Middle earth.

What's worse than the percussion is the guitar tone. It's about the worst I've heard in a metal band, and you hear some pretty awful and poorly produced guitars in metal. The somewhat rock sounding riffs are uninteresting, and the thick distortion used on them swallows up other sounds in the mix. Instead of adding to the music, you'll likely end up wishing they hadn't recorded guitar parts at all. They quite effectively destroy the melodies with their horrible background fuzz.

As for the keyboard and synth work, the equipment has improved some... but not exactly in a good way. Now most of the keyboard sounds exist in that synthetic realm of emulation where it isn't emulated well enough to pass for real, but it is noticeably not always actual keyboard playing either. There is a strong argument for making something noticeably keyboard-ish if you can't come close to sounding like the real thing. A lot of the instrument sounds end up becoming distracting in this way.

I realize that in some ways it can be a cheap shot at a band to criticize them for the production value of their work. With Summoning, however, I think they're fair game. Protector records and produces all of the material in his own studio, and he has managed better than this on every other recent release he has worked on, "Stronghold" included. The sloppy production job on this new release just makes me think it is a rushed and even careless effort from a band that can do so much better.

"Let Mortal Heroes..." doesn't in any way do justice to the usually amazing work Silenius and Protector can manage. I'm not sure what caused the album to end up this way, but I can't recommend this at all. If you're a big Summoning fan, chances are you're going to look into this regardless of what I say, and understandably so. And hey, if you are a Summoning fan, just convince yourself that this is a re-release of older material, and then it might not sound so bad. If this had come out before Stronghold, I might even like it.

Track List:
1.) A New Power is Rising
2.) South Awan
3.) In Hollow Halls Beaneath The Fells
4.) Our Foes Shall Fall
5.) The Mountain King's Return
6.) Runes of Power
7.) Ashen Cold
8.) Farewell

Summoning Is:
Protector - All guitars, keyboards, percussion, vocals
Silenius - Keyboards, vocals

Summoning Official Website:
http://www.summoning.info

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

SALOME'S WISH
Black Days EP
~reviewed by Edwin Somnambulist

This 3 track EP from one of Atlanta's newer bands, Salome's Wish, is only a sampling of what I am certain is to come. The music is striking, and in many ways harkens back to the old days of death rock, to something Rozz Williams himself might even recognize. While it definitely has roots and influences in the classics, there is an unmistakably modern twist to it. The lyrics are also a very interesting matter, as they're far more poetic than many bands of this genre, as if the poetry aspect was primrary to the band, like the music was formed around the verse. Definitely a refreshing change.

"Black Days" is one of the more dancy tracks on the disc. I could easily see this track fitting into the regular regime of any club that deals with this genre. Sue's vocals are especially well done on this track, and lend a lot to both lyrics and music.

"Frozen" is a more mellow track than the other two, as the name might suggest. It starts off with a slow and brooding guitar lick, but the beat picks up a little later on. This track is very soothing in places, making it great for relaxing a bit.

I really like "Waiting," if for no other reason than the calling up of David Bowie's Major Tom imagery. It's the shortest track on the disc, but a tip of a hat to the great ones -- without overwhelming the song -- is always a welcome addition.

If I had to make any one complaint about this music, it's that the lyrics are a bit repetitive for my taste, but I attribute it merely to the highly abstract poetic nature of the songs.

This disc is highly recommended for any fan of darker music, and the nature of the music makes it perfect for radio or club play. I look forward to seeing where this band will go in the near future, though if this disc is any indication, I'm sure the future will be bright.

Tracks:
1. Black Days
2. Frozen
3. Waiting

Salome's Wish is:
Sue B -- vocals
Noel Page -- guitar
Will Metz -- keyboards
Tito Jimenez -- bass

Band Contact Info:
Website: http://www.salomeswish.com/
email: suzins@mindspring.com

Theory in Practice
Colonizing The Sun
~reviewed by Eric Rasmussen

Colonizing The Sun is one wild ride through a mad concoction of death metal, black metal, thrash metal, and progressive/technical metal. Usually, you'll hear a little of each of those in every single track. If you remember how a good Metallica album goes, you can kind of mentally imagine what Theory In Practice sounds like. Let me explain... first, let's use the album Master of Puppets as an example. It has a ton of memorable riffs and solos, songs that stand out as classics, and angry vocals. Have you ever wondered what might happen if you condensed the entire album to its 5 minute equivalent?

That's Theory In Practice. In any one song on "Colonizing The Sun" you get jarring timing changes, a new riff every few seconds, plenty of melodic lead playing, and everything is sickeningly fast and accurate. This band knows how to play. What's really amazing is there is only one guitarist to handle lead and rhythm lines. For rhythm, he plays a sort of technical death metal (though much more complex than any death metal I've heard). The rhythm sections are just the way good aggressive metal should be. The riffs are distinct; they have a powerful feel where appropriate but also can take a supportive role to let the lead playing shine through. And even despite the frequent timing changes and complex song structures, all of the material here is quality.

The lead playing is what really distinguishes the songs, because it is full of brutal melodies. That sounds a bit like an oxymoron, but it's the best way I can describe it. The solos and lead melodic lines shred like mad, but not in any fluid sort of way. They're every bit as jarring and pounding as the backing rhythm riffs can be. The drumming keeps up the whole way through, and trying to focus on it and the guitar playing at the same time is disorienting. The bass playing is also expectedly competent from what can be heard, though it mostly takes a back seat because of how the album is mixed. My only big criticism about the band is the use of vocals. We've heard an angry Swedish guy growl into a microphone before. In fact, we hear it far too often. There is very little vocal variation here, so I often find myself trying to tune out the constant nagging buzz it adds to otherwise amazing music.

The great songwriting and technical playing abilities of the members are excellent, however, and even my distaste for the unchanging vocal presence doesn't prevent me from getting into the music. Each song has enough going on that it will take many listens before I can fully absorb "Colonizing The Sun." Yet I can already tell the songs apart clearly thanks to Theory In Practice's ability to write memorable material and still retain the complexity of progressive music.

One of my favorite tracks is "Shapeshifter," which features some head banging death metal riffs to start out. It then jumps to some carnival-ish keyboards and accompanying guitar solo, and this combination of unbelievably fast heavy riffs and creepy melodic playing makes this song stand out. Scandinavians sure do like that carnival sound. "Illuminati" is another favorite of mine, because it has some excellent thrash soloing. Imagine a good Testament or Metallica solo sped up a few times, and you'll get an idea of what it sounds like.

I'm not a big fan of technical or progressive bands as a general rule, because I think with some of them the passion and emotion is lost in their efforts to concoct complex songs. Theory In Practice is, in that regard, much more "metal" than progressive. This is music any metal fan can get into, it's not just for musicians to listen and wonder how the band plays like that. That passionate fury and the strong melodies and riffs make "Colonizing The Sun" Theory In Practice's best release. If you didn't like their first two albums, which are noticeably more difficult to listen to, or if you just haven't heard the band yet, this is the best place to start. I recommend this strongly to anyone who likes metal based music with excellent playing.

Track List:
1.) Colonizing The Sun
2.) Conspiracy In Cloning
3.) The Psycomantum Litany
4.) Shapeshifter
5.) Asken Apocrypha
6.) The Clockwork that Counts Aeons
7.) Illuminati
8.) Replica Dawn
9.) This Town Isn't Big Enough for Both of Us

Theory In Practice is:
Peter Lake - Guitars
Mattias Engstrand - Bass and keyboards
Henrik Ohlsson - Drums, percussion, vocals

Theory In Practice Official Website:
http://hem.passagen.se/theory

Listenable Records:
http://www.listenable.net

The End Records (US Distribution):
http://www.theendrecords.com
 

Theatre Of Tragedy
Assembly
~reviewed by Matthew

Though the stylistic transformation these influential Norwegians have recently undergone can hardly be referred to as ‘theatrical’ or ‘tragic,’ they still do have their merits.  Perhaps not so much to fans of Gothic or Doom Metal music, they have developed a more modern edge and are slowly carving out a respectable niche in the crowded world of electronic music.

On some levels, I feel that Theatre Of Tragedy should start recording music under a different moniker.  There is very little left of what the band was once commonly known for – single handedly shaping the early years of the Gothic Metal genre.

Since this particular reviewer has a kind of split personality, one that not only relishes the aesthetic power of dreary funereal doom metal and Gothic rock music, I also openly embrace certain kinds of electronic, EBM, and Industrial music.  The good kind that is, the kind that still manages to convey emotion, provide a distinguishable atmosphere, and incorporate interesting rhythms as opposed to a monotonous 4/4 thud.  Theatre Of Tragedy manage to incorporate all that I personally like about electronic influenced music, and still maintain a light, nearly pop rock sentiment, that is irresistibly catchy if the listener allows themselves to open up to it.

The cool thing about this latest release, “Assembly,” is that it shows a marked improvement from the band’s first foray into electronic music, in last year’s “Musique” release.  The band exhibits a firmer grasp upon the potentials of the genre, the songwriting is much stronger, the arrangements are more complex, and the impact of the songs is a lot punchier.  The production is crisp, full, and extremely noteworthy – Theatre Of Tragedy may have never, technically speaking, sounded so good.  Also noteworthy, is the fact that despite the dominance of electronic blips, beeps, pops, and programmed percussion, Hein Frode Hansen still continues to play live drums for the band, yielding a full, dense alchemy of the organic and the synthetic.   His drumming makes this release all the more powerful and sets Theatre Of Tragedy admirably apart from the forerunners of contemporary synth pop.

The guitars as well, have returned with a marked vengeance.  However, having followed this band for nearly eight years, I know what the band is capable of stylistically.  Though the guitars are cranked and placed high in the mix, they rarely deviate from simple crunchy power chords and it makes me wonder what purpose two guitarists serve as there is not much layering going on here.  The exceptionally moody riffs the band was once responsible are nowhere to be found on this disc.  The occasional watery guitar arpeggio sneaks in and works well, but overall, the guitars are disappointingly simple and once again, I will state that what a band like this needs to do is to fully tap the dormant bank of their past talent and consciously blend Gothic Metal guitar riffs with an electronic backdrop.  No one has done it, and no one seems to want to try.  It would definitely give the band not only a stylistic uniqueness, but also an atmospheric quality unlike any other artist currently in any dark music genre.

And not to dwell too much more on the band’s past, the lyrics are just plain silly.  Though very fun, and extremely tongue in cheek, the lyrics are just a very sub par contrast when one reflects on the band’s early Shakespearean sentiments.  Yes, Raymond has already long established his ability as a classical style poet, but why such a drastic departure?  Of course, a band matures.  As artists, their ideals begin to change, as does society.  But there seems to be an artistic degression rather than a progression when it comes to the band’s guitar playing and lyrical abilities.  It is frustrating for someone that is perhaps way too familiar with their early work, to envision what this band could be. It is not so much a question of the departed spirit of the band’s past that bothers me; it is the fact that much of their talent seems to be going to waste and substituted with a new fascination with technology (which they have indeed mastered quite well).

But that is the bad.  The good is, this album kicks the hell out of “Musique.”  “Assembly” is a solid, strong album on it’s own isolated merit.  Liv Kristine continues to develop her range and dominates most of the vocal responsibilities of the album.  She still retains her characteristic and charming ‘coo,’ but she also spices her voice up with quite a bit of attitude and sexuality, which never quite shone through as blatantly in prior work in Theatre Of Tragedy or her own solo work.   The opening track “Automatic Lover” is absolutely fantastic – a driving rhythm, jagged guitar crunches (somewhat reminiscent of Project Pitchfork’s “Timekiller – really!).   Probably the album’s strongest and best track.   “Episode” sticks out as well, being one of the more moody tracks.  There is almost a guitar riff reminiscent of the band’s early work.  But the kind of distortion used sort of nulls the effect, but it is still quite melodic with a great melancholic chorus by Liv.  “You can’t deny me, I’ll make you happy.”   “Play” is a cute song, one of the more poppy tracks, and easily gets trapped in the listener’s unconscious before it finally lets up its hold.

Raymond’s vocals on this album are much more subdued, and are not as frequently processed.  A lot of the time, his voice resembles a more animated version of the dark whispered vocals he used throughout most of the “Aegis” album.  His voice is much easier to digest on this album and compliments the music very well.  The main vocal melody for the verses of  “Envision” crack me up though, as it is nearly lifted note for note from the chorus of that Kim Wilde song from the eighties “You Keep Me Hanging On.”  “Stay out of my life why don’t you babe?”  Heh.

When you hear the song, you will hear what I mean.    “Liquid Man” was a nice surprise, however, as it resurrects the playful vocal interplay between Liv and Raymond that characterized most of the band’s early material. Not to mention some moody piano lines that draw the song to it’s close. “Goddamnit!”  I said to myself, “why the hell don’t they do this more often?”

Anyway, I am hoping the third time is a charm.  The band has definitely developed a much firmer grasp upon the potentials of their new style, but I still think they have yet to really tap their potential and illustrate their talents.  Though I am personally irate with the direction of the latest Katatonia and Anathema releases, I still have faith in Theatre Of Tragedy, and as much as I secretly anticipated hating this album after the seemingly forced direction of “Musique,” I was easily won over by “Assembly.”   For most fans of the band’s early work, unless you found elements of  “Musique” to be enjoyable, this release may not be for you.   But despite all my whining, I enjoyed the CD a lot more than I expected to.  “Aegis” or “Velvet Darkness They Fear” it certainly is not, but it is a solid and worthwhile release.  And besides, the existence of this new album and the direction of the band only increase the sentimental worth of the band’s early work to fans of Gothic and Doom Metal.

Track List:
1.) Automatic Lover
2.) Universal Race
3.) Episode
4.) Play
5.) Superdrive
6.) Let You Down
7.) Starlit
8.) Envision
9.) Flickerlight
10.) Liquid Man
11.) Motion

Theatre Of Tragedy is:
Liv Kristine Espenaes – vocals
Raymond I. Rohonyi – vocals
Frank Claussen – guitar
Vegard K. Thorsen – guitar
Lorentz Aspen – keyboards
Hein Frode Hansen – drums

Theatre Of Tragedy – Official Site:
http://www.theatreoftragedy.com

Nuclear Blast Records:
http://www.nuclearblastusa.com
 

This Vale of Tears
Exceed
~review by Jezebel

The process I have for new CDs is pretty set in stone. I get it from whatever source, and inspect it. Packaging is important to me. I have bought CDs JUST because of the covers. It may be hit or miss in the bargain bin, but you can find some great music that way. You can also find some crap.

This is, well, neither. The cover, a sexy mixing of deep magenta hues, immediately drew me. There is some very talented graphic designer behind this. I wasn’t even thrown by the lyrics being put in different directions on each page. Kept me interested.

And as my CD player was engaged in something else, I had time to flip through the website. Well designed, well organized. Reading through the material sent with the CD, TVOT presents “Gothic Rock not sticking to traditional restrictions but open to other musical influences allowing a wide range of sounds and fantastic volume. Independent, experimental, professional.” Okay. Intriguing.

My advice is to lose the first song. A first song on an album, in my opinion, should capture an audience and begin a craving within them. This doesn’t. "Exceed" smacks too much of a “we learned how to play with the keyboards this week” sound and doesn’t fully showcase the sound that is possible from this trio. It just doesn’t ~go~ anywhere. Like too much EBM (aka “crap”)-rock out there, it is repetitive, does not take the listener anywhere. Yes, there is some lovely guitar (?) and some ups and downs. But even those levels are very repetitive…..aaaaaaa, bbbbbbb, cccccc, dddddd. It just doesn’t give the listener, and in this case, a new listener, enough to grab on to and continue to listen. Luckily for the band, I have to listen to an entire CD when doing a review…and lucky for me, because they aren’t as bad as I originally thought.

The second offering "The Wind" better showcases the abilities of the band. Although still slightly repetitive, the layering of sounds and melodies are much more for the listener to absorb and enjoy. Although I think the voice is a little underemphasized, the music is excellent. Well thought out, well layered. This is gothic rock with an electronic twist. The guitars are strong and powerful – i.e. wind.

Unfortunately – the underproduction of Erik Duffeler’s vocals carries on with "No More". You just can’t hear him. It’s sneaking under the music, although not whispering. Perhaps if he had been whispering, they could have gotten away with it. But it’s obvious that he isn’t and what could be a good voice (I can’t really tell) is completely lost underneath beeps, guitars, synths, etc. It’s sad, because the sweeping guitars of this song are gorgeous and I think Johan Peeters is possibly a good guitarist.

The next few songs on the album confused me.. Well, the liner notes did. Because as I turned the page after "No More", I expected to hear, "Silence", but I heard "Flame", which was listed on page 5. Instead of page 4. Now, The Shroud has done their liner notes in the wrong order to the songs, is this a new trend? If so – I don’t like it.

"Flame" is a good EBM song. I am not a fan of EBM, so I need to grit my teeth and be objective about this. It’s a good song of the genre. It lacks the intensity and energy to get all those at Slimelight up on the floor with their glo-sticks (in my opinion) and once again – the vocals are just not there.

We are then given "Alone in the Shower" which is yet another basic EBM song. Oh puddles. Each and every song on the rest of the album is yet another basic EBM song. And each and very single one has the same problems. One – the vocals are so underproduced, that I have no idea and eventually lose interest in the lyrics. And two – the music lacks energy….lacks that….that…..”something” that makes EBM/gothic music work with fans of the genre.

One exception could be "My Distance". It still has the vocal problems that every track has (perhaps not as bad), but this ~could~ conceivably be a starting point for the band. This has the gothic rock influence that was promised, and perhaps some influences from 80’s pop/gothic. There is, to me, a Cure edge here.

No – I tell a lie, another exception is "Higher Spirits". It’s a good, quality 80’s like song with an excellent beat which you could dance to (no Dick Clark reference intended). Unfortunately, it’s an old sound, and I could see me dancing to this in a Long Island alternative club circa 1989.  BUT….it does give an insight into the ability of the trio.

So I go back to the pledge I received from the band in their promo materials.

“Gothic Rock not sticking to traditional restrictions but open to other musical influences allowing a wide range of sounds and fantastic volume. Independent, experimental, professional.”

I don’t consider this Gothic Rock. Not in the sense of those that ARE putting it out. Sub.rosa, Faces of Sarah, Belisha. This is a hybrid, mutant, EBM/gothic offering that lacks the power of both of the genres. This is basic and good music, but needing the help of professional engineer to remaster and get the vocals up. (Unless of course he can’t sing, then ditch the singer).

I asterisk this review in that I am not a fan (and a very vocal non-fan) of EBM and electronic music. I think, although it is giving artists opportunities that were never available before, it is also giving the chance for some very un-talented people to get involved in an industry where artistic ability should mean more than it does.

But…saying that. I don’t dislike TVOT. Surprisingly. I actually think they have talent and perhaps a future. What they do need to find some more “oomph” in their music and themselves. And to change engineers which can actually bring up the volume on their vocalist. AND they need to evolve from "Higher Spirits"…. That’s where their talent actually lies. Ditch the synths. Make some real music.

This Vale of Tears is:
Johan Peeters: Guitars & Vocals
Erik Duffeler: Lead Vocals
Tom Simons: Synths, Programming & Vocals

Track Listing:
1. Exceed
2. The Wind
3. No more
4. Flame
5. Alone in the Shower
6. If I Die (resurrection mix)
7. My Distance
8. Higher Spirits (flat liner mix)
9. Inside Out
10. Exceed (tva vs. ganesh edit)

Website: http://www.tvot.be

E-mail: tom@tvot.be

Label:
Black Rain - www. Blackrain.de
 

VNV Nation
Future Perfect
~reviewed by  Mike Ventarola

After much internet chat about this present release, one wasn’t sure what to really expect from these underground sensations, as opinions have been as varied and as widespread as their tour roster.

The opening track "Forward", speaks of a world where we need to help build toward a better tomorrow, in English, German and French. In a case of art imitating life, this track segues into the next track, "Epicentre" with submarine or heart monitor like blips which then thrusts into a pounding, which sounds like gunshots. This was simply chilling because while listening to this track, I was also reading an online news article stating that kidnapped Wall Street Journal Hostage, Daniel Pearl, had in fact been killed. These gunshot like sounds came at the same time that Pearl’s photo appeared on my screen, in a macabre, poignant and almost prophetic way.

The two events managed to shake me a bit that I turned off  the CD in a moment of reflection, and happened to notice the news headlines from my local paper sitting on the chair beside me. “Egypt Disaster: Hundreds Killed As Moving Passenger Train Catches Fire,” “Palestinian Attacks Drive Israel To New Fury,” “ Buried Alive: Alabama Man escapes after his throat is slashed and is buried with slain son,” “Brown Shot Cop As He Lay Dying.”

In essence, VNV Nation read similar news headlines previously and simply utilized the forum of music as well as their popularity to hopefully wake up the slumbering masses bent on world destruction.

Before anyone gets the impression that this is a “happy” album, wipe that from your mind. The lyrics are tortured and fraught with much nihilism, despite the high dance factor woven around some of these lyrics.

Rumination aside, "Epicentre" percolates with the trademark VNV Nation sound. The vocal intonation is more passionate than one may have heard from this band before, particularly at the opening stanza, “I asked myself was I content with a world that I once cherished/ did it bring me to this darker place to contemplate my perfect future/ I will not stand nor utter words against this tide of hate/ losing sight of what and who I was again.”

"Electronaut" bubbles with electronic blips and quarter beats without vocals. Dj’s looking for floor filler or material to remix for their dance floors may find this track appealing. The periodic breaks in the track simply paint a musical sculpture of machine and man merging to a new found entity.

"Liebestod" begins rather forlornly with beautiful synth-violin tones which one would anticipate in a goth ballad. This is yet another track without lyrics, but musically asks the listener to focus on the essence of the self before it is too late. Had VNV Nation been known as classical artists, this track would be a magnum opus.

"Holding On" is another morose track with intensely introspective lyrics about our place in the world. “ I thought the future held a perfect place for us/ that together we would learn to be the best that we could be/ in my naivety I ran, I fell and lost my way…in this future of made of lies we see what it is we want to see…”  The impassioned delivery is so potent that it may leave a lump in more than a few throats of sensitive listeners.

"Carbon" is a cry of outrage towards our supposed predilection towards progress which leads to nothing more than annihilation. We are pointless essences of a “million points of light that no one could see….by our blindness we kill everything.”

"Genesis" has been the track to incur much chatter as of late, particularly for the 2 mixed Cd versions that are available. We are given the space message from Apollo 8 “…God said, let there be light.”  The fanfare dance beats are once again evident, but listen closely to the lyrics next time this is rotated at the club you are in. “ …With you I stand in hope that God will save us from ourselves…and did our laughter, did our tears have some purpose after all?”

"Structure" combines electro beats, noise and vocal recitation sound samples with instructions regarding impending warnings based upon sound heeding us to take shelter.
In an almost glaring statement, these sounds can be equated with those heard from radiation meters and the like.

"Fearless" brings more electro percussion with sounds which slam from the walls. Essentially this track delineates the type of self talk one has in front of the mirror during their morning ritual. It also emphasizes the ludicrous need to program ourselves to “thinking happy thoughts” after a life of chaos which previously haunted and tormented us.

"4 a.m." seems to be an homage to that time in the dark hours of the morning where thoughts seem to either plague or inspire us. The track is haunting and theatrical and could easily depict the dream state or the insomniac sitting and brooding over a multitude of events that give the impression of no closure.

"Beloved" segues from the last track to become and electro-ballad of love lost and longing which then erupts into a dance groove. “We were once young and blessed with wings/ no heights could keep us from their reach/ no sacred place we did not soar/ still greater things burned within us/ I don’t regret the choices that I made/ I know you’d feel the same...I can’t forget what we claimed as ours.”

"Airships" thrust the listener into a panoramic takeoff and then gentle coasting above the Earth and sky. There seems to be a bit of lyrical double meaning, hinting at a savior coming from the sky, as well as the possible alien air craft coming to take us to lands far away and into a new found world of wonderment.

The popularity of VNV Nation as an EBM dance band need not be explored as that would simply be stating the obvious. However, Future Perfect seems to almost beg the listener to empathize with the lyrics and tap into that heartfelt emotion that was so poignantly written. The slower tracks far outweigh the dance tracks, giving rise to a need to be taken more seriously than just an EBM dance band.

Upon first listening to this Cd on the stereo, its potency was not initially experienced. Only when the headset was put on, did the power and enormity of this project come to light while in the privacy of my own encapsulated music world.

VNV Nation made an album with compelling sentiments for these trying times in the post World Trade Center disaster aftermath. It stands as a testament that despite our many flawed intricacies, there still remains a hope for a new tomorrow if we want it. Although this particular subject matter has been covered by other artists in many other genres over the years, VNV Nation somehow brings it to a level of personalization which will somehow resonate with those receptive to its sentiments.

Some of the tracks are delivered with such intensity, that singing these songs may have been rather cathartic for Ronan Harris.

All in all, Future Perfect is the album that allows dancers to gyrate while imbibing its timely message, but also provides enough somber moments to allow for pensive inner reflection.

Tracks:
1. Foreword
2. Epicentre
3. Electronaut
4. Liebestod
5. Holding On
6. Carbon
7. Genesis
8. Structure
9. Fearless
10. 4 a.m.
11. Beloved
12. Airships

Line Up:
Ronan Harris
Mark Jackson
Additional Vocals on Foreword:
Pedram Sadighi and Severine St. Denis
Website: www.vnvnation.com (official homepage)
www.vnvnation.de ( official German fan page)
Email: info@vnvnation.com

All words and music by Ronan Harris except excerpt from “Nimrod” by Sir Walter Elgar used on “Foreword.”

Wolverine
The Window Purpose
~reviewed by Eric Rasmussen

It's easy to call Wolverine a progressive band, but that might be a limiting label. Typically, progressive metal is full of talented playing and technical composition. Sometimes the band members like to show off their skills more than write meaningful music, however, and that clinical but showy side of progressive has always turned me off. I like music with technical playing, but it needs to have some honest emotional aspect as well. Wolverine does play music that fits in with "progressive," but the emotion and excellent lyrics put "The Window Purpose" into that category of great concept albums that transcends genre trappings.

I actually listened through this CD a couple of times before reading the lyrics, and that was something of a mistake. I certainly enjoyed the music, but it was difficult to find clear direction or flow. The lyrical concept is what binds the songs together. Each track tells one part of a story - a very depressing one at that. The opening track has sounds from the main character's funeral, so you can guess from the beginning that this will be a dark album. The following tracks have a subdued and almost tranquil quality to them, but the emotive clean singing adds a sense of melancholy to the mix. As best as I can tell, these tracks are detailing a child's abuse. The story is fairly complex so I'm not going to give any in-depth analysis, but the basic ideas can help you understand why the songs are composed the way they are. "Leaving Yesterday" features a beautiful duet between Stefan Zell and a female vocalist, representing the main character falling in love with a woman he met. This song is very easy to listen to and has a rather nice quality to it. But as you may have expected, all the hope and love segues into the following song, "Towards Loss," which is very turbulent and violent. Some vocal growls are added in to the mix to accompany the clean singing, making this song even more aggressive.

The range of metal styles Wolverine can cover is impressive. They come up with many depressing and dark melodies throughout the course of the album, but they can also do lighter songs. The tracks are symbiotically attached to the lyrics, so it is necessary to understand the backing story to fully appreciate the work. Some of the sounds in "Coma," for instance, might sound rather random if you didn't know what was going on with the main character.

Musically, the vocals are a strong point of this album. The singer has an honest quality that I have rarely heard in progressive, and the mix of vocal styles where appropriate conceptually will keep you on your feet. The guitarists write solid, if somewhat standard, progressive metal riffs and solos. The bass player doesn't show off much, but there are definitely some cool bass lines driving the music forward, and the production allows the listener to hear everything clearly. The drums are also well performed and can switch between a soft and jazzy beat to all out metal fury when necessary. The touch that the keyboards provide is often very subtle with all of the other instruments competing for space. On more aggressive tracks they keep up fully furious organ sounds, and elsewhere they provide pleasant background melodies.

It's difficult to think of any bands Wolverine sounds specifically like. They have an odd mix of progressive and more extreme metal sounds that gives them a unique quality. Evergrey is one band that comes to mind, but Wolverine's vocalist is a lot more powerful and typically progressive sounding. If I had to make any direct comparison, "The Window Purpose" most reminds me of Nevermore's "Dreaming Neon Black." That CD had similar conceptual themes and art, along with interesting quotes above the song lyrics in the liner notes, just like you find on "The Window Purpose." And also like Nevermore's performance on "Dreaming Neon Black," Wolverine is able to make heavy music that is elegant and intelligent.

With each successive listen to Wolverine, I've started to realize just how depressing a lot of this material is. The lyrical themes deal with realistic life events, so to me that is quite a bit darker than a band singing about satanic rituals and murder. "The Window Purpose" has lyrics that can actually be identified with by non-social deviants, and that is what gives it such an honestly melancholic feeling. However, Wolverine does not maintain a dark mood the whole time. They work with the story in such a way that some songs will allow you room to breathe and contemplate what is going on in the narrative. A brighter, hopeful song will break up the darker songs. The CD even ends on a note that isn't entirely a downer, though I suppose opinions on that will vary.

In any case, Wolverine has put together quite an impressive set of lyrics and songs, making "The Window Purpose" one of the better concept albums I have heard recently. If you like Nevermore, Evergrey, or progressive music, you will find a lot to be interested in here. And even if you aren't into progressive music in general, I'd say it's worth giving Wolverine a try. I'm not a huge progressive fan, as I mentioned, and I also don't like the really high pitched vocals found in some progressive and power metal bands. Wolverine stays well within a comfortable range that I think should appeal to metal fans of most any sub genre. Add this to the ever-growing list of impressive hybrid metal bands.

Track List:
1.) End
2.) My Room
3.) His Cold Touch
4.) ...
5.) Leaving Yesterday
6.) Towards Loss
7.) The Storm Inside
8.) Coma
9.) Release
10.) Post life

Wolverine is:
Marcus Losbjer - drums, growls
Mikael Zell - guitars
Stefan Zell - vocals, bass
Andreas Baglien - keyboards
Per Broddesson - guitars

Wolverine Official Website:
http://www.wolverine-overdose.com/

DVS Records:
http://www.dvsrecords.com

The End Records (US Distribution):
http://www.theendrecords.com