They’re mainly written about from the visual side, with transgender vocalist Venus and their dancers evidently contributing to give people unforgettable sights, on unforgettable nights, but with a CD it’s the music only. Venus, a man who takes hormones but has no interest in medical transformation, sounds wholly male on record, and although I know sod all about Rawk, I try. I do try.

I like the vocals. People have mentioned Bowie and Bauhaus, just as the band label themselves Dark Glam, but I also hear vague Rock influences here from the pre-mid 90’s era, when Rock had become fully modern, so it’s old fashioned, spruced up a little and given dignifying twists. The best side to their work is their lack of musical excess, and their greatest strength is Venus singing slow. These are intelligent and capricious lyrics, and some very deliberate delivery that enhances the subtle shading of the songs. ‘If God Were Caught ‘ is beautiful, ‘Another Story’ delicate and poignant

‘Lust’ is a grunting thing. That’s not a philosophy, but an observation. They often have a slow side, but this has a growlier edge to it, which is good. Sadly, the production of this CD has given little weight to the notion of musical power, so it doesn’t rock like a bastard at al. It either sounds catchy or not. ‘Live With A Ghost’ is the main casualty where even the vocal are muddy and some glorious riffing gets buried. Got that? ‘Kissed Adonis’ goes bam-bam-bam in a pleasing manner, and ‘Boys’ manages a form of wildness but also crammed with good ideas

The rocky or supposedly glammy side of things doesn’t sway me either way. There’s no hoary old rock dross, or much in the way of guitar-fuelled commercial raunch, so it’s more like Iggy during his Raw Power era, dressed as Britney, and somewhat the worse for wear through drink, ending up like Placebo trying to recreate the sound of Aerosmith’s ‘Rocks’.

I bet Mike Patton would wee delightedly all over them. The rest of us should take notice. Unlike a lot of the bands who rely on the show to disguise serious holes in their arsenal (see Genitorturers) this band have songs of quality. They just need more oomph.

CRAZY TO FLY
IF GOD WERE CAUGHT
HURRICANE
LIVE WITH A GHOST
SOCIETY’S CURE
KISSED ADONIS
BOYS/REVOLUTION
LOVERS
LUST
WHTE HORSES
HOME
ANOTHER STORY

http://www.prettyhorses.net
 

Antique
Book One
~reviewed by Joel Steudler

Most of Antique's bizarre album Book One sounds like a disgruntled corpse complaining about how much it sucks to be dead.  Oddly, that's not necessarily a bad thing.  The album is, to put it mildly, a really strange listen.  The music is built on synthesized orchestral arrangements and buzzy non-orchestral synth arrangements, piano, and then some more synth arrangements thrown in as well.  It's uniformly slow paced, ploddingly so at times... and yet in all the dismal lumbering gloom is a melancholic beauty that seems incongruous with the various parts of the album's sum total.

Thank goodness for press releases, or I'd have to think up things to compare Antique to on my own.  The PR people helpfully point out that Antique's music is kind of like Ulver's more recent output, and a little like Mortiis (everyone's favorite troll)... and it is, in a superficial fashion.  Some of the vocals resemble Mr. Mortiis' midrange rasp, and a few of the more electronica-tinged moments in the music bear his mark as well, though not to any large degree.  The Ulver comparison is a bit more apt, but Ulver's sound is more refined, layered, and complex.   The synth arrangements on Book One are simple and, well, cheap sounding in the way that only older synth hardware can be.  Though it contradicts common sense, the crude, faked orchestral parts and old synthesizer sounds actually fit the mood better than modern equipment or live musicians.  More impressive instrumentation would just detract from the omnipresent sullen gloom.

Setting Antique further apart from all the other... er... everything is the nature of the vocals.  There's not really much singing, as such.  Most of the vocal performance is made up of spoken word passages delivered by the characters on the album.  Now, you're probably thinking "Characters?  Who are these characters of which you speak?"  Well, I'm not brave enough to find out what the meaning is behind the story they're trying to convey, but there are a few distinct personalities that show up to spread their woe as the album goes on.  There's 'Midrange Rasper', 'Corpse Guy', 'Guy That Sounds Like Agitated Goblin', and 'Pretentious Normal Sounding Guy From Theater Class'.   I made those names up, but they fit.  This rogues' gallery trades off from time to time, with 'Midrange Rasper' getting the best of it.  It's a unique and mostly interesting way to tell the story of... whatever it is they're going on about.

Listening to Book One as I review it is seriously draining me of sanity.  It's one weird album.  If you like things that are dark and depressing but with a small ray of hope piercing through the shadows... and have a high tolerance for unconventional forms of storytelling, you'll probably like Antique.  There are moments on this album that convey wistful lamentation in the strangest way, extracting beauty from buzzy synths and a gruff deadman's voice.  Book One' leaves me shaking my head in a confounded haze, but begs for another listen each time it finishes... and I can't help but oblige and revisit Antique's grim world again and again.

Track List:
01.) Take This Sullen Timber
02.) A Meadow To Die In
03.) Essaying Paradise
04.) No Tears For The Devil Inside
05.) Elysium Cascades
06.) Frost Upon Broken Dreams
07.) What Temptation
08.) One Last Thought

Antique is:
(... and this is straight from their press page...)

We are the expression of the pain and suffering that humanity endures. We are faceless and none, merely an expression of what you already feel.

Our voice goes only by the name Antique.

Antique Official Site:
http://artists.mp3s.com/artists/126/antique.html

Trostlos Records:
http://trostlos.org/index.html

ARKANE
ARCANE ELITISM (Fossil Dungeon)
~reviewed by Mick Mercer

He looks weird, and there’s a reason, because Pandelis came from Finnish Pagan Metal outfit Nymph and Greek neo-folk artists Daemonia Nymphe. So, a bit of a nymph thing going on. And, typically, this Fossil Dungeon release looks fantastic, with the CD in a sleek DVD case, with glossy inner card inlay and front cover showing a timeless blurry female in historic headgear, while the masked Pandelis looking knowing among ruins on the rear.

You can see how the Ritual and Maudlin elements mix together with a nouveau classique attitude, which is what most non-Industrial Ambient music in when it overlaps with Goth and Metal sub-genres. It is imposing at times, without ever being crass. It has strict limits, because of the equipment, and doesn’t exactly shriek with human optimism, but as atmospheric music, rather than background, it has clear quality lifting it above the majority. I don’t get a fascinating artistic/aesthetic hit off of this, it sounds more the sort of thing people will listen to while painting their Lord Of The Rings figures (oh, don’t deny it!) and that’s okay.

You get a false start which is regrettable, as it’s a hard stammering intro, where the drums and synth go for stark and urgent, and it isn’t downhill after this title track, but downward, simple as that. It stays dark, without being dank, and fairly average in vocal use, where often a background attempt at choral glory is accompanied by meaningful whispers in the foreground. These are standard methods, and quite romantic, in a mildewed way.

The medieval touches swim in hesitantly in, and by halfway it gets slightly dull, with ‘Aracnum’ having a quite horrible synth note prodding in towards its end, and overall it may not be mysterious enough, for all the talk of mystery. Luckily, the latter tracks are kept slick, with ‘Ambience’ being nicely autumnal, ‘Summoning’ boasting nice classical guitar with incomprehensible forlorn vocals, and the lush twilight closer, ‘Arcarnanian’ sends you away thinking you’ll be happy to keep tabs on further releases.

http://xarkanex.realnoise.net/
http://users.erols.com/tsbb/fdungeon/

ARTICA
OMBRA E LUCE (Decadance Records)
~reviewed by Mick Mercer

Re-released after seven years, you might quibble as to how strong and relevant an already modern record might sound, but you need not worry. It’s also been re-mastered, mainly in the sense of some added polish to the musical muscles, and heaving bass power, which has done it real favours. It sounds even more poised than before, and purposeful.

‘Saian’ is a perfectly moody opener, with vivid guitar and heavily melodic vocals, then ‘Honiria’ punches in with pacier drums and thinner, faster guitar and that’s your two basic Artica styles. The guitar, when lively, has a hint of Metal about it, and the keyboards, on either type of songs can fit waywardly around whatever direction the vocals are taken. It’s almost like Dance Society being rudely shaken awake.

They can be quite bubbly, as ‘Dahlia’ features an almost exultant ending, or quite mental, where the vocals in ‘Leniha’ border on apoplexy. They can also be rather still, and undemanding. The two least compelling tracks, ‘Leila’ and ‘In Me’ are vin ordinaire, but sandwich the volcanic vodka called ‘Sarajevo’ with storms into life, with adventurous drumming, bells and scalding guitar, and particularly strident vocals whip up some stunning torment and anguish. A song where I can honestly say you’d be happy buying the album just for that.

Occasionally some female vocals appear, which definitely gives ‘Preqhiera’ some added, fervent power, as the male vocals sound lost, and musically, as on certain other tracks, you might best describe their approach comparable to a solidly, dense Nephilim, minus the other-worldly agenda. Artica drip attitude, musically, in terms of evoking the strongest overall flavour. They don’t do anything in a showy, or trashy way.

‘Ombre’ and ‘Luce’ are fairly gentle ways to see the album out, but they aren’t the most intense band anyway, playing more on the mind than the heart, despite the passion in Alberto Casti’s voice, and the extra track, ‘7 Anni’ is fairly slender in its charms, but the effect of the album is one of real satisfaction, for this is Goth as Art and bugger the consequences. Artica have never chased attention, or changed their approach to fit whatever is happening at the time. As far as I can see they’ve even retained the same line-up forever, and only have two albums, but gig whenever possible. It is classic Goth really, dark ,intelligent, moody and with demanding vocals. No excesses, just songs with feelings, kept sparse or soaked in adrenaline.

SAIAN
HONIRIA
LORELEI
DAHLIA
LENIHA
LEILA
SARAJEVO
IN ME
IN DOMITA
PREQHIERA
OMBRA
LUCE
7 ANNI

http://www.articaweb.it/ (you need to run cursor over areas of the big barcode on the frontpage – they have a brilliant Links section)
http://www.decadancerecords.it

Asmodeus X
Asmodeus X EP
~ review by chris parasyte

Out of Houston, Texas comes Asmodeus X. Following a string of singles and EPs, the band has finally released a full-length album and, as bit of a sampler, this promotional release, which I’m dubbing the ‘Asmodeus X EP’ (highly original, I know). The EP features three songs from the album Wolf Age (available now on Black Pepper Records). ‘Songs of Gory’ and ‘Wolf in the Sky’ are well chosen, being easily two of the strongest tracks on the band’s full-length release.

Asmodeus X crafts thoughtful electro industrial music at its best, and it’s little wonder that the group was named Best Industrial/Noise Act in the 2000 Houston Music Press Awards. ‘Wolf in the Sky’ is an odd blend of psychedelic sound and heavy industrial weight, which works surprisingly well. Imagine The Wall-era Pink Floyd mating with Velvet Acid Christ and you’re halfway there. This is a song with anthemic power and emotion that deserves to be on numerous film soundtracks… well, you know, if anyone ever made a movie that deserved a song like this. Actually, while Hollywood may never notice it, ‘Wolf in the Sky’ is featured in the independent film Shut Eye, alongside tracks from In Strict Confidence, Arcanta and Stromkern, and the video for the song is included on the film’s DVD release.

Just as ‘Wolf in the Sky’ creates powerful images with its music, ‘Songs of Glory’ also strikes a powerful chord with its lyrics. The song is perhaps best labeled psychedelic cybergoth with a rock twist. With elements of the baroque and new age in the composition, and crafty use of the theremin, ‘Songs of Glory’ is one of the best pieces of music to come along in a long while. There’s more complexity and thought put into the composition of this four-minute track than many bands put into entire albums.

The inclusion of ‘Night Stalking’ on the promotional EP left me shaking my head. It’s one of the two album tracks from Wolf Age I really didn’t like (the other being ‘Melting’). It would appeal more to the listener of heavy metal dirges than the rivet or goth set. Still, I suppose I can’t fault the band for having a broad musical range - ‘Night Stalking’ just isn’t my cup of tea.

A small sampling of what Wolf Age has to offer, listening to the Asmodeus X EP left me wanting more. Thankfully, I have a copy of Wolf Age on my shelf at home. The full-length album was one of the highlights of 2002, with great songs like ‘Black Forest’, ‘MuZ’ and the band’s absolutely delightful (and surprising) cover of the Partridge Family’s ‘Point me in the Direction of Albuquerque’. Asmodeus X is a band with some talent and diversity in their music, and one I look forward to hearing more from in the future.

Asmodeus X is:
Paul Fredric
Marshal
Frank Faust

Track List:
1. Night Stalking
2. Songs of Glory
3. Wolf in the Sky

Official Website:
www.asmodeusx.com

Asmodeus X
Wolf Age
~reviewed by Eric Rasmussen

Asmodeus X are kinda like And Oceans without the crack, or Funker Vogt with well-developed guitar sections - either way you look at it, you're in for a fairly hard-hitting industrial/EBM/electronica sound merged with crunchy guitars and raspy vocals. For a debut album, I'm very impressed with Asmodeus X's sound. They've got the kind of songwriting depth that many bands don't acquire until they've been around a few years, and we're talking about a minority in the first place - a lot of groups never develop a taste for diversity.

Wolf Age has an eclectic collection of songs that successfully span dark atmospheres with whispering vocals, upbeat techno, angry electronica-fueled metal, and even calm acoustic sections. And Oceans and Funker Vogt are only similar to some of the songs on Wolf Age, but you'd be hard pressed to find any comparison that fully worked. There are bouncy rhythms, synth arrangements, and clean vocals in "Songs of Glory"; acoustic guitars and a neo-folk feel on "Wolf in the Sky"; heavy riffing on "Black Forest", and nice acoustic guitars on "White Mountains." The songs stand out individually, and work together quite well when listening through the whole CD.

However, for reasons beyond my comprehension, Wolf Age does not inspire any especially strong reactions from me. I enjoy their music in every  other way, as it's quite pleasant to listen to, but the work falls just short of grabbing me by the hair and punching me in the face. Not that I like that sort of thing... but I do like CDs to be powerful, whether it's through calm reflection, strong emotions, or hard-hitting  aggressiveness. Asmodeus X display all of those emotions, but come off as being more "enjoyable" than "powerful."

For an entertaining and diverse electronica/metal CD, I do recommend Wolf Age. I think that the rather flat production keeps Asmodeus X from making the impact that they're clearly capable of musically. I would really like to see these guys get signed, perhaps to a label like Metropolis, where they can get a proper budget and make their mark on the world of music. As it stands, the production is clear, but a little plain, and the music is neat and pleasant, but a little less powerful than I think it can be. In any case, it'd do no harm to give Asmodeus X a listen on www.mp3.com/Asmodeus_X . Their brand of electronica/metal/etc. is worthy of a listen.

Track List:
1) Melting
2) What is Strong
3) Songs of Glory
4) Mandatory Sacrifice
5) MuZ
6) Nightstalking
7) Wolf in the Sky
8) Black Forest
9) White Mountains
10) Point Me in the Direction of Albuquerque

Asmodeus X are:
Paul Fredric - vocals, programs, acoustic guitar theremin
Marshal - keyboards, midi, backing vocals
Frank Faust - electric and acoustic guitars

Asmodeux X - Official Site:
http://www.asmodeusx.com/

Asgaroth
Red Shift
~reviewed by Eric Rasmussen

Asgaroth are loosely described as cinematic metal - an apt label, because their music is epic, sweeping, and features many of the qualities you'd find in an excellent fantasy movie. The music is very metal-oriented, full of thrash riffs, fast rhythms, and expressive leads that are all hallmarks of good metal. The keyboards and vocals are what propel Asgaroth into a more cinematic realm. I could even see Asgaroth's songs being used in a movie sometime - their melodic compositions are that good. This is the kind of music that would fit a freaky monster flick, if such movies were actually scary or meaningful. You can just picture an epic battle being waged between terrifying creatures and militant special forces units. In all likelihood, Asgaroth's lyrics have nothing to do with this, but it's fun to imagine. And when you aren't given a lyric sheet, what else is a reviewer to do?

Christopher Baque-Wildman has his own way of rasping, which is pretty unusual since 90% of metal bands adhere to a standardized sort of raspy sound. Instead of a monotonous growl that blocks out melodies and gets in the way, he very carefully chooses when to speak, when to rasp, and when to sing with his powerful clean voice. I wouldn't say that he's as strong of a lead vocalist as, say, Simen Hestnaes, but his smart choice of placement makes his compositions more effective. Red Shift is
actually similar to Dimmu Borgir's Spiritual Black Dimensions (featuring Simen), but without the formulaic and wall-of-sound feel. Perhaps if Dimmu Borgir had something they really needed to communicate, they'd be on par with Asgaroth.

The keyboards writhe and twist their way into the music, alternating between subtle and up-front sounds. The all-encompassing orchestral sections give the music a larger sense of being, in that you feel like you're being taken outside of a boring "four guys playing instruments" context. There are also darker piano/synth melodies that make the soundscape just a little uneasy, so you're never quite sure what's waiting around the corner (probably some kind of horrendous Monster of Untimely Death waiting to flay and fillet you for kicks). The digipak version of Red Shift comes with a weird video that has a tortured red-spotted creature I'd never want to run into, so maybe the monster image isn't too far off.

Asgaroth's greatest strength is their approach to songwriting. They never use all their tricks in a single song, and they have a very effective approach to communicating feeling and atmosphere. Although they have been releasing CDs in Spain since 1995, this is their first release being distributed worldwide. I've been under the impression that symphonic metal is dying, since many of its once great bands have fallen apart or headed in directions I have no interest in. Asgaroth manage to play this style with a unique touch, and are just as worthwhile as older Cradle of Filth, Dimmu Borgir, and so on. CoF and Dimmu Borgir have continued to get less enthralling with time, so if you miss the good days of symphonic-laden metal, listen to Asgaroth.

Track List:
1) Naked Eye
2) Lured Decoy
3) Cyphred
4) Bluntness
5) Buried
6) Mindscape
7) Descent to Dion
8) I, befouled
9) 6 Bloodmarks
10) Sharpedge Solitude
11) Red Shift...

Asgaroth is:
Christopher Baque-Wildman: vocals, lead guitars, keyboards
Daniel Rubi Piero: bass, backing vocals
Oscar (Mr Ax) David Raventos: rhythm guitars, samples
Oisin Martinez: drums

Asgaroth - Official Site:
http://www.asgaroth.com/

Peaceville Records:
http://www.peaceville.com/

The Blood Divine
Rise Pantheon Dreams
~reviewed by Joel Steudler

It's not often that a defunct band who only released a couple albums gets a compilation... yet Rise Pantheon Dreams is evidence that it can happen.  The album contains a selection of The Blood Divine's greatest hits and unreleased gems, or at least that's what a marketing department would say.  I, an ignoramus who was unaware of their previous discography, found it to be an interesting, fun, and worthwhile yet uneven release.  The band sounds like they had a good time recording all this music, but how much you'll enjoy it depends on whether you like the influences that shaped The Blood Divine's sound.

I always seem to pick on bands that are strongly derivative of other sources, and by all rights I should blast The Blood Divine for it, too... but they're so good at what they're doing that it comes off as harmless fun instead of slavish mimicry.  For much of the album, Darren White sounds like he's enthusiastically channeling the modern day version of James Hetfield, complete with his trademark shouts of 'yeah-AAAh!'  Many of the tracks on the album seem almost lifted off of Paradise Lost's Icon or Draconian Times, and a few other songs are reminiscent of their latter-day electronica influenced style on One Second.  Out of the blue, there are a couple tracks that are vintage Pantera (if there is such a thing), circa Vulgar Display of Power.  Several oddities round out the collection, but on the whole, The Blood Divine do not tread on fresh ground... they just follow in others' footsteps quite well.

Everyone in the band knows how to handle their chosen instrument quite adroitly, and listeners are treated to a blazing guitar solo or two in amidst the thundering riffs.  The prodction quality on each song varies, as they're taken from disparate sources.  Some are clear and crisp, others muddy and blanketed in fuzz.  We're not talking Ildjarn levels of mud-fuzz, so don't fret too much, but do expect a general dullness swallowing some of the unreleased material.

Fans of atmospheric doomy heavy thrash metal will likely get a kick out of this compilation.  It doesn't drive me to want to find the band's studio albums, but it did convince me that they're good musicians who know what they're doing.  Rise Pantheon Dreams is packed with cool riffs and crushing metal in multiple flavors.  The music may be nothing new, but the variety of tempos and styles the band deploys is enough to hold most listeners' interest.  If you're looking for a familiar yet fun take on a genre you like, check out The Blood Divine's postmortem retrospective.

Track List:
01.) Aureole
02.) Visions in Blue
03.) As Rapture Fades
04.) Revolt (unreleased)
05.) Wilderness
06.) Sensual Ecstasy
07.) Enhanced by Your Touch
08.) I Will Bleed (limited)
09.) The Passion Reigns
10.) Leaving Me Helpless
11.) Forever Belongs (unreleased)
12.) So Serene
13.) Crazy Horses (live & unenhanced)
14.) Aureole (live, no intro)

The Blood Divine is:
Darren White - Vocals
Paul Ryan - Guitar & Backing Vocals
Paul Allender - Guitar
Steve Maloney - Bass
Ben Ryan - Keyboards
Was Sarginson - Drums

The Blood Divine Website:
http://www.blackmetal.com/~mega/TBD/

Peaceville:
http://www.peaceville.com
 

Bobby BeauSoleil
"7"
~reviewed by Saint Petrol

It's one O'clock in the morning, and as per usual, I can't sleep. This CD has been waiting patiently to be reviewed for quite a while. Since it arrived, life got terribly hectic, took some downturns, made dark circles under my eyes if you know what I mean.  I put this music on, and it was like sinking into a warm bath.

The songs here are intentionally diverse, and yet there is a similar weight, contentment, and serenity at the center of them all.  The first two songs take me back to my days when I used to live near the ocean; used to swim in it every morning, sail it on weekends, and spend as much time surfing as I possibly could.  These songs feel like home.

"The Rub" presents itself coquettishly as a dalliance.  Listen to the bass line.  Sultry sax.  Layers of meaning, sound, experience. Street smart, elegant, cocky.  A beautiful song.

"Big House Blues" is a shock to the system.  Hello real world. Hello slamming doors, cavernous spaces, human voices mumble, echo, perhaps forever.  And still he sings.  Pardon the heresy, but this is everything Eric Clapton tried to understand in the 80s but somehow couldn't.  The guitar work here leaves my chin squarely on the floor; mixed with the sounds of prison life, it becomes almost unendurably graceful.

"Nine Ball" reminds me of the work of one of my other  favorite electronic artists, Jean-Michel Jarre, specifically the brilliant work "Equinoxe".  Nine Ball is fascinatingly  textured, patient, wheeling, orbiting, falling down gyres.  I only wish it were longer.  I wish for an entire album of this!

The sixth song, "Third World Industry" is wistful, haunting, and yet, moves somehow daintily over the folds of my mind like a swift running stream.  Weighty and yet completely unburdened, this is a prime example of the breathless chiaroscuro I've come to associate with Bobby BeauSoleil.

The seventh and final song on the CD is "Tar Pit". Sticky, deep, and dark.  Mucky wet, and not sure what's at the bottom of it.  You sure you wanna punch that thang, Bre'r Rabbit?  Don't mess with tar, baby.  You never know what's in there.  History. Ancient.  Knowing.  You never know what's in  there.  This song is all of that.  Funky.  'Bubbles up black rainbows.  My one and only complaint is that for me, it ends too quickly;  I feel like I just got my eyes good and closed when it up and ends!

I definitely recommend this CD to anyone who's curious about the work of Bobby BeauSoleil. If you've not heard any of his work previously, this would be an excellent place to start.  If you have  some of his work already, you definitely need to add this one to your collection!

Track Listing:
1.)  Island Girl
2.)  Storm Song
3.)  The Rub
4.)  Big House Blues
5.)  Nine Ball
6.)  Third World Industry
7.)  Tar Pit

Bobby BeauSoleil website:  http://www.whitedogmusic.com/artist.html
Jean-Michel Jarre site:  http://www.jarreuk.com/
Bre'r Rabbit and the Tar Baby:  http://search.eb.com/blackhistory/micro/582/32.html
The Page Museum/La Brea Tar Pits: http://www.pagemuseum.com/

Bottomfeeder
Bottomfeeder (EP)
~reviewed by Joel Steudler

This four song EP from the self-proclaimed Experi-metal band Bottomfeeder presents me with a bit of a quandry.  You see, for two-thirds of the album they sound almost exactly like rock-groovemasters Clutch. If Clutch's lead shouter Neil Fallon ever busts a vocal cord, he has an understudy in the wings: namely, Scott Massie, aka the voice of Bottomfeeder.  I don't want to sound unfair, or imply that the band is aping Clutch, its just that there's an uncanny resemblance.  They say everyone has a doppleganger... I guess that holds true for rock singers' voiceboxes as well.

The Clutch resemblance doesn't stop with the vocals- both bands must have eaten a big bowl of grooves before they went into the studio, because they both rock in that offbeat way that fans of Fallon & crew have grown accustomed to.  Bottomfeeder - boasting a massive lineup of eight musicians - does add a bit of spice to the mix, in the form of a middle-eastern interlude on 'The Explanation's long edit.  Otherwise, the guitars are full of thundering crunch, the drums rumble purposefully in the background, and the rock is 'a rollin' on 'The Explanation' and 'Evilution'.

Inexplicably, the band takes a sharp left turn and winds up in '90's Alternarock-ville' on their third track 'Drunken Butterfly'.  The song brings back memories of the Screaming Trees and Jesus Jones and the heyday of alternative non-grunge music from a decade ago.  More distressingly, Mr. Massie seems to have morphed into an effete, smooth-singing crooner... or more likely, someone else stepped up to the microphone while he rested his larynx.  Personally, I prefer the pounding Clutchy groove-rock to old fashioned alternative music, but Bottomfeeder appears to like exploring a multitude of styles, so more power to them.

It's obvious from listening even in a cursory way to this EP that the musicians in Bottomfeeder are quite skilled at playing their chosen instruments.  For a non-major label release, the production values are also quite high, with crystal clear quality that forces none of the ingredients to fight for space in the dense stew of sound.  To top it all off, they also display strong songwriting skills.  There's really nothing holding Bottomfeeder back from turning ears and earning dollars.  In short, they rock.

Track List:
01.) The Explanation
02.) Evilution
03.) Drunken Butterfly
04.) The Explanation (short edit)

Bottomfeeder is:
Scott Massie: vocals
Darin Presutti: guitar & vocals
Will Seifried: bass, upright & sitar
Mike Lembke: low & electric drums
Keith Ruffing: drums & percussion
Kimee Massie: art, vocals & muse
Becky Holsinger: keyboards
Tommy Kinnet: additional guitar

Bottomfeeder Official Site:
http://artists.mp3s.com/artists/492/bottomfeeder_.html

Innervenus Records:
http://www.innervenus.org

The Cadavers
Suicide Family
~reviewed by Blu

Gothic / Horror Camp is one thing that has to be done with finesse and with intelligence. Otherwise, it's just bad. Bad bad bad. The Damned -- they can do camp. The Cramps -- they can do camp. Even The Misfits can still do it. The Cadavers, I fear, cannot. Something is missing -- the something that says, "yes we're being silly, we admit it, now laugh with us." Instead, this is presented in a serious manner with their grim, over-dramatic painted faces grimacing out at us from the CD sleeve -- band members "Scarecrow," "Corpse," and "Dementia" seem to out -vamp mundanely named "Dru" and "Craig."  [Are they serious? And why don't Dru and Craig get a horror name too?] Further inside we are told in bold letters: "On the first of April in the Year of our Lord 2002, The Cadavers did descend upon Azmyth Studios to Infect and Destroy. You hold in your hands the product of that fateful day. Cursed be those who read these words."

Lyrically they seem to be about spouting biblical terms and adolescent apocalyptic phrases along with a does of suicide. Deeper investigation turns up lyrics like this from "Suicide March":

To Clear The Earth Upon His Cross the Nazaren Deams [sic] of Crowns and Glory in Sins Conceived to Clear the Earth and Sew a Better seed as as once before the Earth shall Bleed...

...You Can Hear the Howl of a Terrible Fury on the Prowl The Sun Beats Down on a Land Now Foul The Whole of Whoredom Held in Swoon In the Light of Cadaverous Moon...

They inform me that "You May Worship Us here: thecadavers.net" And after reading, I'm afraid they indeed might be serious.

From Dru's bio:

Eye color : Blue filtered (so he can see only the shit and slime of all creation)

Sex : I like sex with death

Hobbies : Favorite hobbies include blasphemy, and  anything else that damns the name of Christ. I also like to take several different kinds of prescription medicines at the same time and wash them down with a bottle of scotch and see what happens.

 Goals : To see the lord humbled and  weeping before me as I turn his pathetic world into a smoldering field of ash.

 Favorite method of murder : I prefer to drive my victims into suicidal frenzy using nothing but my horrid banshee shrieks. And if that fails I make them eat pages out of the bible until they die a slow horrid death by ink poisoning.

No, it's not funny at all.

Tracks:
     1.Suicide March
     2.To Clear The Earth
     3.As Jerusalem Burns
     4.7 Hearts For Valentines
     5.Of Contempt And Rage
     6.Demon Of Shame
     7.Crucifix Stains
     8.Blood Filled Sky
     9.A Plague Upon This Land
     10.Faceless Pride
     11.Afraid To Die
     12.Come To Ruin
 

THE CARPETTES
Fair Play To ‘Em (Waveform)
~reviewed by Mick Mercer

The two bands I have seen the most are The Dancing Did, and The Carpettes, at 35 gigs a piece, and it’s so long ago the only reminders I have of this band are their two albums, Frustration Paradise and Fight Among Yourselves, plus six singles. That was until last year when they were re-released as a single CD, and when George Maddison, bassist, sent me a collection of early demos and single tracks which came out as a compilation. He had unusual news. The band had been shocked to find themselves popular when occasionally playing Punk festivals, and a new album was planned.

The band were primarily purveyors of Punk energy-fuelled pop, with the emphasis on Punk (think Ruts, more than Stiff Little Fingers) with a fine pedigree, having released two of the first ever single on Small Wonder, in 1977 and 1978. Their songs were stuffed full of the sort of fluid energy only trios can successfully manage, but after two albums and never having got the media fully on their side, they split up when their drummer Tim Wilder had to go off and help with his family business.

Now they had slipped back into occasional action when guitarist/vocalist Neil Thompson (also in The Only Alternative) and George found there was a demand for them, and truly their records are enough to guarantee that their status only grows, in terms of having written quality song. As a band The Carpettes were hamstrung by not having an image, or a scene into which they might fit. Neither Anarcho nor Oi, they were really firing on all cylinders when they were expected to fit into the birth of indie scenes everywhere, and it wasn’t easy for them. The songs can’t be faulted, so when people get the records they rarely sell them on, meaning there was natural demand for reissues but what surprised the band most was the offer of a few gigs in Japan, all expenses paid.

They completed this, and were somewhat mystified, having always been told by Beggars Banquet that they simply didn’t sell records anywhere, to find that at three gigs, where the audiences were comprised of different people, that virtually everyone there was primarily late teens/early 20’s, and while there were only 2-300 people at each of the sold out gigs, most had records they wanted signed. Do the math. Most of their original fans were obviously too old to attend, yet this whole new generation had all managed to get records. Just how may had they sold first time round?!!!!!!! And as a result of those gigs they got the deal which allowed them to release this record.

They’re on form, with 12 songs in 33 minutes, but they don’t sacrifice quality for speed. ‘Is Everybody Happy’ makes for a slightly worrying opener in that George’s voice seems higher, and more melodic, as though he might have lost his power, but it’s also mainly the sound which makes this track lightly punky, and in ‘Look No Further’ they are almost there, but I realise there’s less angst, and therefore less tension, which is hardly surprising, because they’re now in their 40’s and it’s not like you spend your whole life feeling truculent. (Mind you, the lyrics of this song are just plain soppy.)

‘Brains!’ signals a total sense of recognition, the full guitar impact is back, the snarl may be gone, but the sarcasm slaps in with attitude, and then with ‘It Doesn’t Matter’ is like pure nostalgia as the sound is just right, the song streamlined and fizzing.

You’ll cheer like mad things when you realise my Miss Marples instincts are still fully intact. Perplexed by the composition of ‘That Was Then, This Is Now’ I checked out the credits and realised it isn’t one of theirs, but a fairly obscure Monkees track. God knows why it’s on there.

‘Cold Thoughts is a genuine oldie which has waited two decades for a release, and comes over in a rich, awesome vein. ‘It makes Me Want To Cry’ finds them being produced just a little too slickly, but with a killer chorus, and ‘Love Is Blind’ is a thick stream of powerful moves which shows their almost musical shorthand. They stamp their songs out in a breathlessly melodic form sometimes.

‘We Want Your Money’ is a chomping, messy thing, but as Herman Asteroid had a hand in writing it that’s no surprise, and we have some classy commotion with clears vocals and Neil’s trademark constantly chugging riffs throughout a somewhat hackneyed ‘I Still Remember The First Time’. Then they charge to the finish with ‘No Respect’ that surges like beast, and another oldie ends it as ‘No Chance’ is heaven with its yelping chorus.

They split up way before their time which is what always allows certain bands to come back without making arseholes of themselves, and in The Carpettes you also have a band who may have seemed to idiots to have nothing distinctive, but they have their own approach. They’re into their songs so quick, and so naturally, unlike anyone else, and they get the drums and guitar riffs synchronised at times, making a different rhythm to coalesce with the bass. It makes it all sound so incisive.

Weirder still, while George admits they get knackered because Neil’s nephew (I think) Paul now plays drums for them and sets such a pace they’re always shattered at the end of a gig, but the fact is that The Carpettes, while still being ultra-melodic, make music which no Goth bands could replicate as their arms would fall off.

It’s brilliant to see them back as nonchalant and rowdy as ever.

http://thecarpettes.free.fr/index2.htm
http://www.hermanasteroid.8k.com/news.htm (Herman now lives in the Sudan?)
http://home.so-net.com.hk/~jsmith/herman/mp3.htm (Herman’s Wailing Witness mp3s)
http://members.lycos.co.uk/GeorgeMaddison/ (old Carpettes info)
http://neil.thompsonhasasmallpenis.com/ (seems to be down!)
http://www.cherryred.co.uk/anagram/carpettes.htm (Carpettes CD to buy)
http://punkandoi.free.fr/carpettes_interview.htm (Interview 2002)
 

Cathy-Ann
Honey Wagon
~reviewed by Eric Rasmussen

When people ask me what kind of music I listen to, I'm always at a loss as to how I should answer. How could I ever include everything I listen to? I usually just suffice for something like "extreme black metal", which generally gets people to back away slowly and quit asking questions. The kind of thing I probably wouldn't mention is that I used to listen to Alanis Morrisette, and that I've got a soft spot for some pop-sounds... usually when they're oddly phrased or just a little this side of normal. If Alanis Morrisette was a bit left of normal, I'd say that Cathy-Ann is operating in a distant nebula that can't be seen by NASA-grade telescopes.

Cathy-Ann's music has a distinctly pop sound, but it's clearly not pop. If you've ever tried listening to your average girl-singer pop CD (Avril Lavigne, Alanis, et al), you'll note that the songs within a CD tend to sound alike. This is because a high-paid team of scientific engineers put their efforts into designing a couple of hits and a slew of inoffensive and unremarkable filler songs. With Honey Wagon, you get a collection of songs that is purely Cathy-Ann.

Cathy-Ann is an excellent acoustic guitar player and vocalist. This CD was recorded while she played and sang at the same time, so it has an energetic live feel. Her vocal delivery ranges from sweet pop-oriented styles to angry rock and odd vocal experimentations. It took me a few listens to adjust to her singing style because she has an unorthodox approach to vocalizing. She has unusual confidence for a debut album, and she's not afraid to try all kinds of phrasings and combinations of sounds and words to make very memorable and individualized music.

Her ability to let-go vocally is equally present in her lyrics. Cathy-Ann, apparently, likes to shake things up. "Musical Prostitute" and "Hollywood" lambaste the entertainment industries with clever lyrics that are fairly explicit (though not in terms of cussing). "Duraselove" is a completely shameless ode to her vibrator. I can safely say that I'd be a little wary of meeting Cathy-Ann, but she sure gets points for honesty and fearlessness. "The Flame" is one of my favorite songs, featuring a flamenco-styled rhythm and solo, with catchy vocal melodies and a high-energy rock sound. "Nothing" is a slightly bluesy piece, with a walking bass rhythm and an atypical blues-meets-pop feeling.

To put it simply, Cathy-Ann knows what she wants to say, how she wants to say it, and she's willing to do what it takes to get her message out. It's a testament to her sincerity that she passed up a record contract, and the sacrifices that came with it, in favor of putting this CD out by herself. Honey Wagon is produced by the inimitable Bumblefoot, so the production is eminently full and captivating. The music has a very lively tone, but with the kind of clarity you wouldn't get from a live recording. If you've got any taste for intelligent pop, or heck, even if you don't, give Cathy-Ann a listen. Her music is creative, sincere, clever, and fun, so head on over to www.Cathy-Ann.com

Track List:
1) I Have Arrived
2) Crazy Bitch
3) Forgive You
4) Musical Prostitute
5) The Flame
6) Duraselove
7) Never Break Your Heart
8) Hollywood
9) Nothing
10) Identity Crisis
11) We don't f*ck

Cathy-Ann: all acoustic guitars and vocals

Cathy-Ann - Official Site:
http://www.Cathy-Ann.com/
 

ChthoniC
9th Empyrean
~reviewed by Eric Rasmussen

ChthoniC are one of the more interesting bands in black metal, and for very good reasons. If you want to make your hardcore black metal unique, it helps to have a solid foundation to build the music on - i.e., something other than rote Christian bashing. ChthoniC's lyrics deal with the group's Taiwanese heritage. Each ChthoniC album has featured a different lyrical theme; 9th Empyrean depicts the struggle for power between the Hans and aborigines.

Some exotic bands stand out solely by way of being exotic, and I'm happy to say that ChthoniC isn't one of them. They have a very distinct tone and a crafty songwriting prowess. I don't know how to describe it, exactly, except that I have now associated their sound with the color of the album cover, a sort of yellow-ish sand look. In fact, my brain was at such a profound lack to associate ChthoniC's sound with anything typical that I practically see that sand color when listening. It's a bizarre sort of synaesthetic experience. In that regard, 9th Empyrean has definitely left its mark on me, but let's dig further into its inner workings to see why.

ChthoniC's guitars mix really sharp speed-picked riffs with thick (but not brutal) rhythms. You can tell the band has a ton of energy, and they have a knack for writing catchy riffs and beats. What's most odd about their sound is their willingness to mix old-school metal and symphonic black metal. Sometimes the keyboard arrangements and guitar riffs will be highly pompous and self-important in true in-your-face metal fashion. There's even an occasional wild solo, and incredibly manic and layered growly vocals that sound psychotic in the fun kind of way (only in metal do we see "fun" associated with psychosis, sadism, and ear-splitting music).

On the other hand, there are strong atmospheric compositions that maintain a melancholic mood. There are evocative piano lines, beautifully clean-sung melodies, and even bombastic symphonic sounds to fit the heavier riffs. ChthoniC's greatest strength is in capturing a powerful mood, but knowing when to lighten up and rock out. This is a very good black metal CD, and I'd say that fans of the first albums by Scholomance and Arcturus could really get into it. I've been listening to it regularly since it came, and it has only improved with each listen. If you like your black metal to be hard, exotic, and moody, go listen to ChthoniC.

Track List:
1) Breath of Ocean
Mother Isle Disintegrated.
Aboriginal Gods Enthroned
Chapter 2
2) Intro
3) Floated UNconsciously in the Acheron
4) Summon of China
5) Gods Souls Gathered
6) Invasion
7) Upon the Empyrean
8) Guard the Isle Eternally

ChthoniC are:
Freddy - Mind destructor
A-Jay - Earthshaker
Doris - Thunderbeat
Jesse - Qi Slamer
Ambrosia - Siren

ChthoniC - Official Site:
http://www.chthonic.org/

Nightfall Records USA:
VIRTUALHEAVENS@aol.com

TRA Music:
http://www.TRAmusic.com

CURSE
Curse
~reviewed by Mick Mercer

Let’s talk weird. Curse influences admitted to include Ramones, Velvets, Siouxsie, Joplin and Tom Waits which, given their curly Goth-folk image, makes you kinda curious, right? You haven’t really heard a band who looks late 80’s going back some time? I certainly don’t.

So it begins, and the rawness hits you. They’ve recorded it in an old fashioned way if you ask me. No cheap connecting to some home studio nonsense. It sound more like a group of people all crammed into one tiny studio the size of your spare room. And that makes it convey THAT sound.

‘Tattooed Rain’ introduces you to a strain of sleazy post-blues simplicity which I haven’t heard in such an authentic form since the original American Punk stuff from ‘77/’78, although maybe this is close to how Mothburner would sound if they were a full-blown band - who knows? - except for the knowing hard-bitten vocals rotating neatly, and a big roustabout guitar sound. Then, curiously, ‘Her Confessor’ is far slower, with more luminescent, tremulous vocals. This is real classic stuff with catchy, nagging highly vowel-opened vocals and then a real clue, and a good comparison for people to follow. ‘Starfall’, with its splatter drumming and high Goth-folk vocals keeping the melody high, has passages where the vocal dominance sounds so Patti Smith it’s uncanny, which is exactly what Tattooed Rain reminded me off, ‘Horses’ era.

‘Luna’ is very live sounding, the drums almost vibrating at the proximity of the bass, but the song just drifts aimlessly towards the end, ‘Graveyard Shuffle’ sashaying along with jaunty vocals, like bloodshot bar music is okay but isn’t on a par with those openers, and here’s a funny thing. Lodas of songs on this album aren’t that hot but they have a sense of pure class about them and grow with repeated plays.

‘Like A Glass OF Wine’ won’t, I pray, because think All About Eve at their most worthy-of-face-slapping and you know where I’m heading. It’s a personal prejudice I realise, as many people like the folk-goth tradition I call voluminous vomit, and that’s what’s here. Enjoy.

‘High Enough To Reach’ is another sign. It’s almost post-Morrissette, offering a personal lyrical message to someone with a drug problem, and it just has Major Label Deal all over it. ‘Maenads’ is a lush but lopsided thing which meanders prettily, sounding slightly rough and unfocussed, ‘Gris-Gris’ seems faintly alt-rock with a historical bent, but kept very bare, with little angular breaks, and the guitarist dying to cut loose and go into one. ‘Svengali’ is another odd, jumpy little number with a bouncy guitar direction, cut up by the stark vocal stammering segues and then…a truly execrable guitar solo!!!!! It all finishes with a Radio Edit of ‘Starfall’ which is acceptable and shows you what could happen.

It’s a wonderful introduction to their talents, but a good fifty percent simply hasn’t been done justice. Maybe they had to rush the album, maybe the songs are new and haven’t been brought to their logical conclusion? Maybe, but what’s here should interest anyone, and the next album could be very special. They’re simply not like the other bands. The fact they may seem so much more obvious means they are actually quite the reverse.

TATTOOED RAIN
HER CONFESSOR
STARFALL
LUNA
GRAVEYARD SHUFFLE
LIKE A GLASS OF WINE
HIGH ENOUGH TO REACH
MAENADS
GRIS-GRIS
SVENGALI
STARFALL (RADIO EDIT)

http://www.curseonline.com
 

Daemonia Nymphe
Daemonia Nymphe (Prikosnovenie)
~reviewed by Uncle Nemesis

Daemonia Nymphe are a folk group. From Greece. And they play reproductions of Greek instruments from bygone centuries, such as the Askaulos and the Syrinx, the Krotala and the Aulos plagios.

You know what? All of a sudden, we're a mighty long way from rock 'n' roll.

Now, I have to confess that this isn't my usual musical area. In fact, in the normal run of things, if you tried to engage my interest in stuff like this, I'd probably experience an immediate desire to play the Ramones very loudly, just to make a point. And yet, there's something here which grabs me by the Krotala. Perhaps it was because I came to this album after reviewing a load of EBM and synthpop stuff, and I was ready for something - anything - that wasn't bangin' dance beats. Anything, in fact, that didn't have to be plugged in.

And indeed, this is about as unplugged as you can get. This is a very 'live' album: the recording quality is pin-sharp, to the point where you can almost feel the vibrations of the strings and the gusts of air pushed out by the drums. The music isn't complex: although the instruments weave around each other, creating almost physical patterns of sound in the air, it's possible to follow each sound on its travels through the music, even though you're not entirely sure what instrument you're listening to. It's precision stuff, and given that (I assume) it's all played live in the recording studio, the sense that you're listening to musicians doing their stuff just as it happened creates a connection between listener and music that simply isn't there with anything more technology-oriented.

The English translations of the lyrics, printed in the inlay booklet, veer from slightly odd to just plain baffling. I'm not sure if this is down to a mismatch between the languages, or whether they're supposed to be like that - but try these examples for size. These words come from 'Ida's Dactyls':

Oh dancing and bouncing curetes, you armed walkers in rhythm,
Hitting the ground with your feet spinning around, lovers of mountains, of
Bacchic cries...

Immortal god, hear my invocation you pleased one,
And help us, perfect sweet, sweethearted together with beautiful belted
nannies.

Fortunately, the words are all rendered in Greek on the recordings themselves, in which language I sincerely hope they make a bit more sense. To an extent, you've got to suspend your preconceptions with this stuff: just let it all flow over you. It's not rock 'n' roll, or anything remotely like it - and it probably doesn't even touch base with any notions of the ethereal end of the goth scene. But on those occasions when you feel like you want to take a break from your usual music, Daemonia Nymphe can take you on a rewarding journey to places you've never been before.

The tunestack:
Message Horn's Enchanting Echo
Ida's Dactyls
Summoning Divine Selene
Hades
Dance Of The Satyrs
Korai Rejoicing In Antron
Nymphs Of The Seagod Nereus
Hymn To Baccus
Invoking Pan

Daemonia Nymphe are:
Spyros Giasafakis
Evi Stergiou

With additional musicians:
Alkinoos Ioannidis
Giorgia Tsaprazi
Maria Sekeroglou
Tilemahos Roussis
Maria Stergiou
Stauros Theodoropoulos
Simos Rizopoulos
Paulos Bakalos
Dafini Mauridou
Maria Stolaki
Eleni Baitsi
Gogo Baitsi
Petros Moraitis
Dimitris Makrantonakis
Mina Morti
Sofia Kapetanakou
Giasafakis Pandelis

There is no Daemonia Nymphe website, but the band have embraced technology sufficiently to set up an email address: dnymphe@hotmail.com

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

DC Molina
A Room Of Hearts (Advance promo)
~reviewed by Uncle Nemesis

Is this a sampler for DC Molina's forthcoming album? Or an EP? Dunno. What I *do* know is that it's a six-track CD-R which arrived in a rather groovy black fake-snakeskin pouch. That's DC Molina for you. Even their promo CDs arrive in glamourously decadent packaging.

Some information. DC Molina, for those who've just joined us, are a low-slung hot-rod of a band who you might have heard without realising it on the latest Sex Gang Children album, 'Bastard Art' - for DC Molina comprise some of the musicians who back Andi Sex Gang these days. The band's own music isn't necessarily *like* that of the Sex Gang Children, although it has that same gritty glam swagger, but the chances are that if you're a Sex Gang fan you'll find a lot to like in the DC Molina sound. If you need a starting point, that's it. Now let's jump straight in.

The title of the first song here, 'Do You Romance?', sounds like a particularly nerdish opening line, but the song itself is a rollicking glam-punk burn-out, colliding guitars over an implacable stomp-and-thwack beat. The vocals are dropped back in the mix, a fractured wail. I'm reminded of The Jesus And Mary Chain doing Syd Barrett's 'Vegetable Man' - that wall of guitar, everything coming together like a car crash, and yet somewhere underneath it all there's a rather neat little pop song. That's a good trick if you can pull it off - and DC Molina certainly can.

'I Love My Name And This Shrink', second track in, stakes its claim for song title of the year - and turns out to be a catchy little ditty with a surreal lyric: 'March on your back/It's a murderous game that we play/Stay on the track/Because the monster is back'. It could almost be one of The Cure's poppier moments, until the guitar comes in with a rush and for one ghastly moment I think it's going to turn into the Manics' 'Motorcycle Emptiness'. Fortunately, it doesn't. OK, I realise it probably seems like I'm throwing random comparisons around like confetti here,  but in truth that's only because DC Molina's sound is hard to pin down. This is a band that doesn't fit into any neat slot; they have no natural genre. They seem to pull in influences from everywhere and weld them all into their own unique monster sound.

'Garcia' has a naggingly assertive two-and-fro lilt, but just when you think this is DC Molina playing at being a nice pop group it all erupts into a squall of distortion and barrels ahead like a drunk picking a fight. 'Gold Suits' - now there's a glam reference! - is built on staccato, chopped-out lines of guitar, and the lyrics sound like the outpourings of a doomed poet: 'Will no-one light a candle for me?'

'Stiff Calypso' is the ballad. A phased bass chunks away behind uneasy lyrics: 'I curl your hair with hooks of illness'. It's an unholy alliance between noir-ish imagery and pleasant, almost jaunty, music. As a complete contrast, 'Un Cadavre' is a big, bad, noise-assemblage - signals fed through effects, distorted and mutated and fed through it all again. DC Molina having a 'Metal Machine Music' moment, if you will.

And that's yer lot. Six tracks which convincingly establish DC Molina as a bunch of uniquely warped rock poets...and yet always with a certain pop sensibility. No matter how dark and bizarre their music or lyrical imagery becomes, they never fall into the trap of being 'difficult' for the sake of it. So, what next? I don't know. I have no idea when the tracks on this promo CD will be officially available - but this is one to keep an eye on. When it's out, buy it and revel.

The tunestack:
Do You Romance?
I Love My Name And This Shrink
Garcia
Gold Suits
Stiff Calypso
Un Cadavre

The players:
MJ Saw: Voices, guitars, programming, effects
Carl Magnusson: Bass, programming, effects, production
Kevin Matthews: Drums, percussion, effects, guitars

The website:  http://dcmolina.20m.com

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

Dead Hollywood Stars
Junctions
~reviewed by Saint Petrol

There is probably something wrong with me.  I adore this CD, but I especially liked it when I put "slim westerns" by A Small Good Thing, on in the background and then listened to Dead Hollywood Stars in headphones.  I'm sick, I know. Layering.  Further assemblage.  It never stops.  To my credit, though, they fit together nicely.  "slim westerns" adds an even more ethereal layer to  the Dead Hollywood Stars sound.  All I need now is "Calamity Jane" starring Doris Day on the tv, and I'm set.  Likely, there's a term somewhere in a  psychology book for this.

Meanwhile, back at the ranch.  Dead Hollywood Stars have created a meandering, pleasurable work with Junctions.  If you've ever  travelled across the "desert states" of the U.S., you'll understand this music cellularly.  The American desert is itself already twisted.  Already David Lynch.  There is no fiction here.  It's all true.  Drive through it.

Dead Hollywood Stars adds one element to their desert-Americana soundtrack that O Yuki Conjugate and Purr (A Small Good Thing) did not. DHS added the truck stops.  DHS added the small collections of silver spoons with each of the states cloisonned on the handles.  DHS added the little stones all glued together with bubble eyes on them, and "rock concert" painted across the bottom.  What A Small Good Thing left out, Dead Hollywood Stars put in; right there in all the majesty and mystery of the American desert, there is the wide-eyed, ugly, evil, innocent, Ayn-Rand heart of Capitalism at its best worst.

Dead Hollywood Stars capture it all with affection and detail. It's like James Dean in "Giant".  It's like the monstrous billboards careening the landscape, petrified forest of signs, "Hungry?  Tired?   Lonely? Out of gas?  Left home?  Don't know where you're going?  It doesn't matter.  Whatever you need, we've got it here.  Credit cards accepted."  It's like ravens as big as cats, hopping around the endless battlefield of roadkill.  "Junctions"  is achey.  It's as big as a goddam Texas sky or a goddam Texas waitress' hairdo, and just as sincere.  The gum-clicking resplendency of the desert southwest.  It's all here.

Track Listing:
1.)  Last Train To Aldebaran
2.)  The Pure Voice
3.)  Back From Exile
4.)  Through The Cane Fields
5.)  Suburban Mystery
6.)  In The Abbey Of The Psalms
7.)  Akiko's Diary
8.)  A Cold Spot
9.)  Triangulating The Daemon
10.)  Stardust
11.)  Gunslinger
12.)  Down To Zero
13.)  Singapore SlingSS
14.)  The Crying Indian
15.)  Noctuary
16.)  Western Glamor
+ 17.)  Last Train To Aldebaran video.
[Note:  I was unable to see the video, and therefore cannot review it.  Lo siento mucho!]

This album was produced by:
John N. Sellakaers, Herve Thomas, and C-drik Fermont.

Plus:
Michel d:  Guitars and outer space wonderbox.
Gabriel Severin:  Voice, farfisa, organ, greenhouse effects.
J-r rob(u)rang:  Lyrics, vocals, melodica and tambourine.
video by Benjamin K. Hodges.  (Austin, Tx video experi-mentalists, "Fake".)

On Hymen/ant-zen, via Soleilmoon Recordings in the U.S.
http://www.ant-zen.com
http://www.soleilmoon.com

Calamity Jane movie:  http://us.imdb.com/Title?0045591
Slim Westerns:  http://www.soleilmoon.com/store/searchresults.lasso
James Dean as "Jett Rink" in Giant: http://us.imdb.com/Title?0049261

Decoded Feedback
Shockwave
~reviewed by Mike Ventarola

Let me say at the outset that I am not a big fan of industrial music. There is only a very small handful of industrial bands that make me want to part with my money, so the chances of me “liking” a lot within that genre are slim.

My main contention with the majority of industrial music is the vocals or lack thereof. At this stage, hearing a vocalist who sounds as though they have gargled with Drano has become rather passé. Screaming and then processing the sound through filters no longer belies any creative inflection, but highlights the possibility that the vocalist simply cannot sing. This opinion is in the minority as far as this style of music is concerned, but to these ears, it is monotonously irritating. Usually I do not waste time reviewing industrial artists because most of it leaves me cold. However, when a label sends a promo and press kit, it becomes the reviewers job to try to objectively report the  interpretations as we see them.

So with that being said, I am happy to report that Decoded Feedback fall within the category of bands that I think are worthy or our hard earned dollars. The aggro-industrial world must also be in agreement too, because the band has enjoyed much world-wide success since 1993.  Musically, they  put together a fine blend of up to the minute electronic industrial hybrid tracks that are simply begging for massive world-wide club rotation. Whether you like aggro-industrial or not, chances are these tracks will make you want to tap your feet at the very least if you are from the “elder-anything” background. Fans of the genre will be quite pleased with a bevy of tracks with simple but rather potent lyrics, sculpted with cunning and flawless musical construction. The potency of the lyrics may become lost among the aggressive tones, but they are evident nonetheless.

Although there is a bit of that “Drano voice” apparent on this release, it isn’t the only style of vocals that we are treated to.   On the tracks “Heaven,” “Do You See,” and The Swans cover of “Love Will Save You,” we were given real vocals that are quite good indeed, clearly earmarking that Decoded Feedback have a long history ahead of them due to the variety of sound that they can achieve. “Bondage” utilized a vocal recitation that seductively made the song work so much better than the main harsher vocals, but again, that is a personal preference and does not detract from the astuteness of the artists and their high caliber work.  “Nothingness” and “Shockwave” had the harsh vocals but they were toned down a bit to be more comprehensible while “Organic” and “Burn Europe Burn” are pumping instrumental pieces that DJ’s of all genres will want to seek out for their club playlist.

Even though this reviewer finds much of the rough textured vocals a distraction rather than an enhancement, Decoded Feedback demonstrate that they can sing as well as offer great pumping music that will speed up the heart rate in a flash. The band is offering the genre fans what is “in” at the moment, but also expanding beyond the parameters of “just industrial” by incorporating a variety of sounds and hooks into their work to make it deliciously intoxicating.

For elder goths who are attempting to keep up with the musical transitions, this release is a decent primer to acquaint oneself  with quality industrial music.   However, it is not recommended that elder goths sample this on the headset because the tones are a bit of an assault the first time around. Play it on the stereo and ease into the sound before you assail the auditory canal. After all, it isn’t called “Shockwaves” for nothing.

This recording is presently one of the better ones out on the market and the music itself is very conducive to keeping a club night pumped up at full throttle. Thankfully, the band showcased that they CAN sing as the need arises, which is saying a lot more about their overall talent than the glut of hacks that cross this desk on a monthly basis. Their real vocals are far more impressive than any white wash noise that they can come up with, so one can only hope that they utilize them a bit more in follow up releases.

Band Members:
Marco Biagiotti: vox, lyrics, samples, sequences, basses and drums
Yone Dudas: keyboards, sequences, arrangement, basses and drums

Tracks:
1. Phoenix
2. Bondage
3. Democracy
4. The Fruit of Wisdom
5. Heaven
6. Do You See
7. Nothingness
8. Organic
9. Shockwave
10. Burn Europe Burn
11. Love Will Save You (cover version)

Bonus: Phoenix Video

Available through Metropolis Records: www.metropolis-records.com

Dissection
Live Legacy
~reviewed by Eric Rasmussen

Ah, what can one say about the legendary Dissection that has yet to be said? That they're legendary? Nay, I just said that. That's what I mean - most things that can be said about the band, have. Dissection's music is classic in the metal scene, and you probably aren't much of a Scandinavian metal fan if you haven't heard them yet. If you do consider yourself a serious metal fan but aren't familiar with Dissection, you better start listening now and praying to the dark lord.

Dissection's music is made up of very dark, very melodic, and very memorable themes and riffs. Nödtveidt's vocals are the usual raspy kind, but they have a certain cadence that gives the music a poetic quality. I can't see much reason to further enumerate the music's fine points, because there's no excuse for not going to listen to Dissection, and this live album features no new tracks.

So what can listeners expect? Essentially, this is a collection of Dissection songs with grittier live production, occasional introductions to the tracks, and some cheering from the crowd. Now, if you own The Somberlain and Storm of the Light's Bane already, it's arguable as to whether or not Live Legacy is worth buying. Jon Nödtveidt is still in jail, so this is an old performance of material that you can get on the other two Dissection CDs - and with better production at that.

If you're a hardcore Dissection fan, then definitely buy this CD. There is a good trackselection, including some of my favorite Storm of the Light's Bane songs, along with the brilliant title track off of The Somberlain. This is a handy CD to listen to when you want to sample  Dissection's best material without spending two hours listening through  both studio albums. Also, for newcomers to the band, this is a very  suitable introduction to Dissection. In short: don't expect anything  new, much less a live album the quality of Emperor's Emperial Live  Ceremony, but do check this out if you're a hardcore Dissection addict  or metal neophyte.

Track List:
1) Intro - At the Fathomless Depths
2) Retribution - Storm of the Light's Bane
3) Unhallowed
4) Where Dead Angels Lie
5) Frozen
6) Thorns of Crimson Death
7) The Somberlain

Dissection are:
Jon Nödtveidt: vocals, guitar
Johan Norman: guitar
Peter Palmdahl: bass
Tobias Kjellgren: drums

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

Dream Radiation
Dream Radiation
~reviewed by Mike Ventarola

Ventricle Records prides itself on releasing music that features lush female vocals within such realms as ambient, gothic, avant progressive, which doesn’t cater to the ever changing market trends. The strength of this label is that of showcasing artists whose passion comes before profit and artistic beauty and originality comes before the incessant need for club rotation.

As such, the latest release from the label is Dream Radiation, a compendium of ethereal work by Melissa Webb and Kelly Thistle. The CD comes with a steel colored cover in an attempt to symbolize the permanence of the ethereal female voice that has been with us since the dawn of time, harkening us back to our Earthen spiritual roots. Sadly, the label site or a web search didn’t provide much more information on the background of these artists, so one had to glean any pertinent information from the sparse press kit.

At the outset, one must state that if you are not into ethereal music, particularly with female vocals that seem to emanate from the mists of time, this may not be something for your collection.

However, for those stalwart aficionados of dark ethereal music, a welcome respite was created by Dream Radiation as it marries the Pagan centered spirit with the otherworldly dark qualities that many have come to love with introspective sound and voice.

This release is heavy on atmosphere that is dark but not macabre. Electronically, the mastering of reverb and sonic creation of another world is like taking an auditory vacation between the veil of space and time.  Wiccans will find this rather comforting because it emanates with the same type of energy and resonance that one would find during circle work that is done correctly.

Webb’s vocals are often in the upper registers that border on operatic. The intonation is kept from being monotonous by the brilliant use of reverb that shifts and changes like shimmering illusions in a star filled night sky.

None of the instruments that were used are listed,  but the amazing depth of sound that Thistle was able to mix into the work was nothing short of a stellar achievement.

Gothic Pagans/Wiccans seeking out music that is at once conducive to a spiritual cleansing will find this a welcome addition to the collection. Lyrically, there are songs of longing and emptiness but somehow the otherworldly intonations transcend human sentiment.

Artist Info:
Melissa Webb: Vocals, chimes
Kelly Thistle: instruments, mouse

Tracks:
1. Obsidian
2. Dream In Amber
3. Awaken
4. Crystalline
5. Through His Eyes
6. Quick
7. Velvet Ashes
8. Simulacra
9. Suling Song
10. Yesterworld
11. Somewhere Tonight

www.ventricle.com

THE DROWNING SEASON
HOLLOW (Morphenic)
~reviewed by Mick Mercer

I’m going to pick some holes in this, because I think it’s in their best interests, and because what they’re doing with their songs is so good, but could be important, I’d feel guilty if I didn’t. You see here we have a band so unashamedly Goth they say ‘file under pointy boots and dark sunglasses’ and happily cite S*s*e*s, Mission, Neffs and Violets as prime influences. So you’re expecting some warm Goth sounds with a plonky beat and some impassioned vocals which sounds far too gnarled for their tender age. And you would be right.

That is usually the sign for experienced ears to start to close up like an irate clam. We’ve heard so many bands like this, seen so many bands who are sub-Rosetta, sub-Stun. It’s been done, and it’s time to move on. Looking at some of the song titles I wasn’t exactly expecting to be impressed, especially as the inner photo of the Monastery Graveyard In The Snow would have made a preferable front cover. Then they surprise me with a great set of songs which are never saddled with pomposity or excruciating Myths And Legends lyrics, and where there are mistakes, I can see why it happens, because it’s their starting point. They’re so close, they lack confidence in one important matter, that of self-perception.

Matt Slowikowski handles lead vocals, and so it’s your task to lead, Matt. You are the dancing verbal blade that will cut the audience open, but you have been a naughty, naughty boy. ‘Hollow’ makes for a simple Goth mood created by a touch of pace and constant decorative guitar, with a very decent melody lurking thereabouts, and some light but clearly attractive, able vocals. The drably named ‘Violet Sky’ has a swathe of vivid keyboards accentuating a starker mood, with some great guitar touches and vocals you can barely decipher, they’re so throaty. That’s where the Neffs influences groans, with its appendix flaring. On ‘Perfect (Dream)’ Matt again shows he has an adventurous style and clearly isn’t afraid to try anything, and successfully takes attention away from slightly ponderous guitar, and then with ‘Six Feet Under’ we could have done with riffs from the word go, but it is a very fluid song, which has a spry feel. ‘Ashes’ has a guitar approach heard earlier, and the vocals seem to hide amid the drama, then the Return Of The Neffs Style stalls the engine of ‘Godspeed’ which is Pure Goth Cliché in one sense, and yet a great tune on the other. So you see the dilemma? If you wish to see them as A Goth Band they definitely push all the right buttons, but I’d prefer to see them manufacturing their own buttons.

‘White Sand Red Sand’ almost touches metal in the vocals, as the song clomps prettily with chirpy guitar, ‘Gun’ is seriously cool with a huge whomping intro, but grizzled vocals again, and ‘Common Things’ is so poor you can barely believe it’s the same band responsible. Then the clouds clear, the light pours in, and it’s the jangley closer ‘Grace’ where Matt comes into his own, directing the emotional pull of the song with a nicely graduated sense of angst that oozes out right until the luscious end.

Here’s the thing. Their trusty drum machine needs to be either replaced or turbo-charged to give them faster velocity, because they can handle pace, which would make them more exciting and leave Matt with less chance to go for the groan, and they need to remember that much as they pay tribute by adopting certain set styles, this does them a disservice, because they have great ideas which can really come alive and sparkle with the power a trio brings. They needn’t fill every space in every song, and they can rely on their own capabilities, because they write excellent songs, and Matt, when he isn’t McCoy-lite, clearly has the capacity to be a superb singer.

None of these criticisms are Harsh. They are all lower case. Anybody who hears this album will enjoy it, but with their second album I think the inspiration will really begin. It’s a fantastic debut, but next time, forget about your heroes lads. It’s your band, not theirs.

HOLLOW
VIOLET SKY
PERFECT (DREAM)
SIX FEET UNDER
ASHES
GODSPEED
WHITE SAND RED SAND
GUN
COMMON THINGS
GRACE

http://www.drowning-season.com
 

The Duskfall
Frailty
~reviewed by Eric Rasmussen

Sigh... I really, really, -really- need a template for writing reviews of Swedish melodic death metal. In my many reviews of that genre, I've seen enough commonalities to build a super nifty list of Important Features. Instead of giving you the same mind-bogglingly dull paragraph descriptions that I do every month, here's the list:

Band: The Duskfall
Genre: Swedish Melodic Death Metal
Guitars: Fast, bouncy riffs and dual-lead guitar harmonies
Drums: Standard metal drumming
Bass: What? Where? Straining can reveal a distant bass rumble, which may or may not be Odin growling his disapproval for the 436th melodic death metal album.
Vocals: Raspy, throat-tearing yells
Rank within SMDM: Slightly above average, good mix of riffs
Sole Distinguishing feature: All solos courtesy of Swedish guitar virtuoso, Magnus Olsson

And there you have it. Frailty would be an amazing album if I didn't have 20 like it already. There's absolutely nothing wrong with the music. It's technical, well-crafted, and sounds great when I'm able to forget about how many other CDs I own that are just like this one.

I think that fans of Swedish melodic death metal probably have a quota of albums they must buy yearly. They could pick this one, or another one, or whatever it is they happen to come across when they're in need of more melodic death metal. If you're reading this review, and you're in need of more melodic death metal, go ahead and get The Duskfall. Hell, maybe if consumers spread their money out across enough SMDM bands, all the bands will sta