“Out on the ocean, round and round, she breathes across the brooding sea, traveling over and over, her hands came over me, For everything I had loved, Those everythings she kept above, As she pulled me into her smiling ocean tide…” – from “Mendocino Girl”

The first time I really listened to this CD was a few days after having seen an amazing live performance by 3SKS in Portland, Oregon at the Pre-Convergence concert (see http://www.starvox.net/cr/tonic.htm). At the time – I was spending a day with my dad (and Spinmistress Batty – consequently), on a boat – tooling around Seattle's waterways. The sun was bright but the wind was cool and it was a peaceful, relaxing day after the hustle and bustle that was Convergence. The music on this CD rolled out the speakers on the boat – smooth and perfect. I fell in love with their music then and haven't let that CD out of my sight since.

The beauty of this band is the almost perfect assemblage of melody and counter melody. Sean's vocals are smooth and full and reminiscent of a more somber Robert Smith. Jyri adds a special texture with his electric violin that rounds out the guitar, keys and bass. Everything from the artwork on the CD sleeve to the production on this CD is seamless. The “tone” of this CD is dark without being overbearingly sad or traumatic.  The words are delicious gothic tones and images of desires, pain, fears, hope and dreams. This CD almost embodies a sense of “relief” – that feeling you get once you've suffered through the worst night in your life and the sun starts to come up just to remind you that another day lies ahead with chances to make things different.  It is a soundtrack to time – as words go up on the screen from your latest adventure – it'll define that moment for you from now until eternity.

There's not one track on this CD that I don't love -- but I'll spare you the long winded version and touch on my favorites briefly. “Chance” opens the CD – the guitar melody giving you that “beginning of an adventure” feeling while Sean sings of disappointment, concealment and missed opportunities – “Dazzling the broken dreaming of things that never last to find the dreary remains of yesterday.” Usually I'm not a fan of covers – and certainly not covers that take too much leeway with the original. However, 3SKS’s cover of “Time After Time” is one of the most beautiful things I've heard. They never even fall into that too familiar chorus – which would seem to put them at a disadvantage, but in this case, it magically works. The torment and pain of those lyrics takes on such a deeper meaning the way Sean and company present them. Its haunting.

“My Socrates” and “Empty” are darker, brooding songs. The guitar work on these is splendid – insistent and urgent. Although the amazing violin work by Jyri Glynn is superb on all these tracks, my favorite has to be on "My Socrates"-- the runs in the chorus line is infectious and beautiful. Another stand out track is “Saints Possession” with its lumbering guitar and bass line that meander like a dream world – “Chase me into the sky so we bleed rain down like angels.”

“Sometimes Silver” is one of their songs that has a huge emotional effect on me. Its sadly sweet lyrics roll over a danceable beat and all I can do is close my eyes and swoon to it.  “Stronghands and Makebelieve” is the more up beat song on this CD and probably the most accessible to a wide range of listeners . “Toy Matinee” is one of the fan's favorites as witnessed when they played live in Portland. With its child-like chimes opening and Jyri’s lovely violin lines, this song is fantastical and reminiscent of childhood memories. “Antarctica” closes the CD with ice-blue keyboard lines and that sea-going rolling feeling they're so good at producing – going where the wind blows sure to be full of heartbreak, love, darkness and light – and plenty of magic.

I cannot recommend this CD enough for its professional presentation, production and musical quality and beautifully haunting songs. Its one of my personal favorites and I think if you listen to it, you'll agree.

Tracks:
Chance
Time After Time
Mendocino Girl
If Not For Heaven
Empty
Saints Possession
Sometimes Silver
Stronghands and Makebelieve
Toy Matinee
Somewhere As Me
Antarctica

3SKS on this recording was:
Sean Sonnet - Vocals, Bass, Keys
Matt Bayne - Guitar, Bass
Jyri Glynn - Violins, Baritone Violin
Thomas Atwell - Guitars

Tri-state killing Spree - http://www.3sks.com/
 

ABSU
The Third Storm of Cythraul
~reviewed by Kirin

First off, for those of you already familiar with Absu, this is *not*
the new Absu album, (In The Eyes Of Ioldanach,) but then again, I suppose if you're familiar with Absu, you know that already! Third Storm is a 1997 release, which I am including here for the sole purpose of giving American black metal bands a little exposure.  Whilst the Norwegians virtually re-animated black metal out of its previous state of repose from the "Venom days," their monster has now crossed the ocean and has been busy, spawning seed.  The new monsters, of course, contain traces of the old, but also are distinctly American which is why, in some circles, American black metal bands will always be hated, because the mere IDEA of America is part of what black metal so furiously stands against.  This said, I think some Europeans don't realise that there are plenty of Americans who live in America, and are profoundly unhappy with our government, and with most of the people who live in this country. Who better than Americans to plunder and destroy the beast of America? Bands like Havohej, Judas Iscariot, Thornspawn, Myrmidon, Blood Stained Dusk, Khisanth, Noctuary, The Chasm, Profanatica, Demoncy, Grand Belial's Key, Black Funeral, December Wolves, Usurper, Centuries of Deception, Blood Storm, Krieg, Lycanthropy, Forest of Impaled, Yamatu, and many others, are proof that the beautiful, evil spirit of black metal will survive in America, even as the bigger American record labels sign and become active partners in the selling out of band after band from Norway, Finland, and so on.  I'll take a Havohej album ANY day than have to sit through anything Emperor is doing right now.  Absu are a grand example of what can be achieved when Americans, (who've been mostly influenced up until the mid-90s by Swedish death metal,) take on black metal.  This particular Absu album is enjoyable because the vocals are quite trollish, but also veer occasionally into an almost Mercyful Fate type styling.  The guitar work is incredible;  psychotic, chaotic, and wondrous.  The guitars are a veritable wall of sound and cacophony; the drums offset the guitars as they blister along, and the forays into "Celtic-inspired" folkish drumming mix well with the violent black metal styling.  If you're a fan of Waylander or Primordial, you should definitely enjoy Absu.  This album is one that American black metal fans can purchase without shame.  We are not solely responsible for the death of Emperor and Dimmu Borgir.  Century Media does not represent the whole
of American black metal nor its fans.  We don't all want to ride around in limousines and be big rock stars.  Some of us do care passionately about the corporate American cancer that is eating the world, and some of us do care passionately for lawlessness and chaos and virility because disorder must overcome the deathlike rules and regulations that threaten to strangle the human spirit.  Absu are a glowing ember in the fires that burn  furiously and in despair beneath the BritneySync gloss of this joke we call freedom.

Track Listing:
Preclusion to Cythraul
And Shineth Unto The Cold Cometh
Highland Tyrant Attack
A Magician's Lapis Lazuli
Swords And Leather
The Winter Zephyr (...Within Kingdoms Of Mist)
Morbid Scream
Customs Of Tasseomancy (Quoth The Sky, Nevermore) ACT I
Intelligence Towards The Crown
...Of Celtic Fire, We Are Born
Terminus (...in the eyes of Ioldanach)

Absu are:
Shaftiel: Electric lead guitar, electric bass guitar, acoustic
guitar, and voice.
Equitant Ifernain: Electric lead guitar, electric bass guitar,
and lyrical obscurity.
Sir Proscriptor McGovern: Trap kit, dumbeck, gong,
ice bells, octotron, voices, and lyrical magick.

The Cythraul Klan of ABSU
PO Box 743307
Dallas, TX  75374-3307
(USA residents, send two stamps, elsewhere
send 3 IRCs.)

Osmose Productions
http://www.osmose-usa.com/

Related:  http://www.geocities.com/Xytraguptorh/usbm.html
 

Bogus Blimp
Cords and Wires
~review by Sonia

Bogus Blimp describe themselves as The Spectacular Rock Orchestra and their music in Cords and Wires as ...“13 channels of seductive stereo sound.” This is their second international release. Their first being Men-Mic. They are men are out of Norway with a very artistic vision. It is entertaining in it’s oddness. Some of it make you shake you’re head and chuckle.

Their music is very, very  surreal  and equally surreal are the lyrics. Here is a small example of the lyrics;

256 shades of grey.
Flight to the future,
to the world of plastics.

Song Reviews:
1. "Hello World" - A short song with what sounds like a military march with bad reception.

2. "Brothers of Space" - If there was gothic Lounge music this would be it. I love the all out strangeness of the vocals in this one. From what sounds preachers and demons, to a frightened man, very kooky.

3. "No Cords. No Wires" - Spoken vocals with keyboard. It sounds like something you would hear on the game 7th Guest.

4. "Marching to Rome" - Short track of cartoon/video game type sounds.

5. "By Five O’clock Tea" - Gravely vocals, dark metal/rock. Probably the most danceable song on the cd. Really catchy. I especially liked this one.

6. "King Inst. King" - A lot of cool white noise which is very reminiscent of NIN. Kicks in a really good beat and then stops to continue with various sounds. Which is too bad, because the beat is done well. Samples are rampant in their repetitiveness. Trippy lyrics and vocals again. The voices at the end sound kind of like Loony Tunes on musical acid. Pretty interesting.

7. "The End of the World" - Starts off sounding like a clock chiming and walking around, very much illustrating the title of the song. Again vocals are slow and desperate. Sounds like the vocalist is dying with all the hate, despair and realization about  “end of the world” everytime he repeats it.Use of lite gong and symbol with a bit of ambient guitar which is eerie.

8. "Under the Sea" - Dominating keyboard is a bit repetitive. Slow vocals again, this time there is a resemblance to a melody in them. Very mellow beat and lyrics. “So drowsy” does what it implies. So long as to begin to irritate at 5min. 23 sec.

9. "Oxygen XX" - Instrumental keyboard. Calming but very short. Nice interlude in it’s briefness.

10. "Sugar and Fear" - Piano and keyboard, once again lazy vocals. Very mellow. Melody seems looped in it’s short sighted cadence. I imagine it as a being derived from a strange children’s song.

11. "Making Room For God" - Begins like a old science fiction film teleport sound. That kind of low hum that gradually gets louder then dissipates and dies off. If you don’t have your radio turned up loud enough it may seem that the song ends after this. Listen close enough and you will hear an insistent beeping. Like the sound a car door makes when it is open. The volume gets a bit louder with the introduction of various sounds like radio static. (Which seems to be a favorite effect) And even louder still. Eventually distant vocals and a beat cut in. It seems to play forever and you may find yourself realizing the song is still on after a minute or two.

12. "Fight To the Future" - Lovely piano accompanied by keyboard. Very dreamy.  Vocals seem to match this song better than the others. Symbol and guitar seem to intrude as the song gets away from it’s intro. gradually. Instrumental noise,   mainly in symbol, distorts the song till it’s end. White noise drowns out everything except what seems like some faint sampling.

13. "Things to Come" - Starts out with a ghostly feel in a lonely call and distant piano. I consider this one the best on the cd. I can really imagine a ballerina in a deep red and black tutu, with fishnet stockings dancing about gracefully like in a slow dream, and when she turns around, her face is a skull...

I can appreciate the originality in this cd. The sheer individualistic vision that was sure to have been a major part of the cd, is almost overwhelming in it’s oddity. Give it a listen. You’ve probably heard little like it before.

Check out their website at http://www.bogusblimp.org. they have some great band pictures!
Or order one or both cd’s through Apartment Records;
bobilia@frisurf.no
or call
+47 22 11 57 95
fax: +47 22 87 00 68
(Remember kiddies, they are in Norway.)

The Broken Men
Various promos
~reviewed by Blu
(photos courtesy of the Broken Men website)
 

The Broken Men are David Love and Ed Ellerbe.  Lyrics to their songs read like something out of a gothic novel…

"What are you thinking?"
says the shadow at my side,
"Nothing too extraordinary.
If that's what you had in mind?"
"Are you thinking of the girl
or the youth that dies away?"
I pulled my face from my hands,
and just stared at his fateful shape. - from "Time Kills the Boy"

"I'm sleeping away the heures, until something better comes.
I lie with all these lovers, until true loves comes along.
The funeral is perfect,
I just hope they all will come.
These are Dark and Misguided paths I'm on."  - from "Dark and Misguided Paths"

David has been sending me songs as he made them, even when he was in the Florida band Winter Kills - and now I have quite a collection: 12 songs on a cassette and 12 on a CD. I've been promising him a review for a long time now - and in all honesty, I've procrastinated because it's hard for me to accurately express my feelings on this music. Its hard to write about something that pushes your own buttons and  touches your feelings so vividly and forcefully that it drives you into a whirlwind of emotional confusion when you listen to it.

All of their songs are tremendous and rather than writing a novel about them all, I'll mention a few of my favorites. "Big Machine," with its darkwave 80's keyboard melody line and breakbeats floods my mind with memories of Bowie and the sexiness that oozed from songs like "Little China Girl."  If old school dancing is your obsession, you'll fall hook line and sinker for "3:16" with its seductive bass beat al la the Sisters (think "Vision Thing"). This song never fails to make me move. "In a Dark Place" has to be mentioned for its eerie beginning alone --  a high pitched wailing something along the lines of a native american flute is the back drop to a phone ringing and a conversation in French before breaking into the catchy melody line.

"Confession" is a solid darkwave dance hit -- a guaranteed floor filler with standard David Love lyrics that are pure goth in their tragedy: "I made love to the ghost of you. And held what I thought was your heart..."  Vocal manipulations stand out in "My Greatest Obsession" as we're teased with bits and pieces of French phrases giving this song an exotic and worldly atmosphere. "Spinning Dream" is one of the most accessible songs with its light-hearted Cure-styled melody line pushed by a nicely strummed guitar and I'd venture to say, it would even work quite well on top 40 radio.

I could not, of course, end this review without talking about  "Time Kills the Boy" whose lyrics I mentioned above blew me out of the water the first time I read them. I had fallen in love with the imagery of this song before I had even heard the lyrics set to music. Perfection. The music is bliss - a dancer's delight; and if you know the words, you'll cry as your feet move.

In short, the music from The Broken Men is everything I've always wanted in this genre of music. Its danceable. Its contagious. They lyrics are nothing short of well-written, heart-breaking prose and even though they contain  the best elements of all your favorite bands of the past; they are unique and new and something quite extraordinary. Check them out yourself by downloading some songs from mp3. Their DAM CD is highly recommended.

Official Site of The Broken Men
http://home.beseen.com/youth/millencesoir/index.html

MP3 Site:
http://artists.mp3s.com/artists/36/the_broken_men.html

BORKNAGAR
Quintessence
~reviewed by Kirin

Christ, the price of CDs is outrageous.  And they wonder why people are settling for a song or two culled from the likes of Napster.  I paid, yet again, close to $18 for this CD in the name of trying to support my local independent record store.  I actually thought about taking the CD back, because it's not the greatest Borknagar ever, but then I figure it's not bad driving music so I decided to keep it.  The thing is, it's not black metal, (which is nothing new, Oystein himself has always chosen to call Borknagar's music "epic," not "black.")  So my point is, if anyone tells you that this is how black metal should sound, you can just know to yourself that the person you're talking to doesn't have a
clue what they're talking about.

Honestly, I prefer the earlier Borknagar albums, and I was a little
disappointed by this one because Oystein had said to me after the last tour that when he went back into the studio, he intended to make the next album harder than ever.  I'm not sure what happened between then and now, but Borknagar seem to have fallen into a bit of a rut where they're becoming rather predictable.  At the same time, the predictable thing they create is not altogether unpleasant.  Meaning, they're not breaking any ground like they used to;  they've ceased to be overwhelmingly beautiful in their passion-- and yet, there is still a spark present in this music that makes me think Borknagar still have it in them to create something much more outstanding than what  Quintessence reflects.

One thing that gives me hope is that Simen, (aka ICS Vortex) has left Borknagar to concentrate on Dimmu Borgir.  Simen's disappearance, in my opinion, is Borknagar's gain.  Borknagar have weathered the loss of singers before, and maybe this is the chance they need to find someone who will dedicate himself to Borknagar, a band that certainly deserves someone's full attention.

As I said, even though I don't think this is the best Borknagar ever, I've decided to keep it because it does still contain that epic feel which was so elegantly expressed on albums such as The Olden Domain.  On the other hand, I find the 60s prog-rock guitar meandering around in the mix to be a bit irritating.  I don't like the "heavy metal" influence creeping into the Borknagar sound.  I love Iron Maiden, but I don't want to hear Maiden on a Borknagar album.  I'm so weary of Northern European "formerly-black-metal" bands falling one by one into an abyss of slick American production values and expectations.  Progression does not mean that one completely trashes the values and standards that one stood for, progression does not mean turning one's music to shite and waiting for someone to call it genius.  I have faith in Oystein Brun.  He's a talented man, and I know he lives to make this music.  I trust that his musical spirit will guide him in directions a little less Abba-esque in the future, and that he and the band can find themselves a singer who will bring back the demonic element I so loved in the epic sagas of Borknagar's past work.

My advice is that if you really love Borknagar, go ahead and put your money down.  Don't expect anything like their previous albums, but enjoy it for what it is;  a transitional phase, an album made in a time of change and a time of experimentation if you will.  Pray to the Olden Ones that when Borknagar tour again, they find that gut-level passion and inspiration that made their last live shows so fantastic.  Let us hope that in the future, Borknagar will return to their former glory, and we shall forgive them this tolerable bit of redundancy.

Track Listing:
-Rivalry of Phantoms
-The Presence is Ominous
-Ruins of the Future
-Colossus
-Inner Landscape
-Invincible
-Icon Dreams
-Genesis Torn
-Embers
-Revolt

Borknagar, on this album, are:
"ICS Vortex": Vocals, bass guitar.
Oystein Brun: Guitar.
Jens Ryland: Guitar
Lars Nedlund: Synth
Asgeir Mickelson: Drums

Borknagar website:
http://borknagar.com/

Century Media:
http://centurymedia.com/
 

Catharsist
Catharsist Promotional CD Vol. 1
~reviewed by Mike Ventarola

It is a rare occurrence to be in the company of musical genius, especially in light of today’s studio gadgetry which can make something from nothing at the touch of a button. I contend that Catharsist, a.k.a. Elijah Shepard, falls within the parameters of said genius and will rank among the greats in the halls of music before long. Shepard does not conform to any genre boundaries and by doing so, he releases the wild muse who constantly haunts his psyche to lay down the next refrain of a melody.  Despite the harmonious touches his songs convey, there is always a pensive, deeper level beneath the tune. True to the name he has chosen as an artist, he takes the listener on a purge like journey to remove the cobwebs of one’s mind. Catharsist doesn’t just play and sing a song, he becomes the song, pouring his entire being into each note in an effortless fashion. His vocal range and intensity is somewhat akin to Chris Isaak and like Isaak, can utilize understatement to hit the listener over the head with intense poetry and poignancy.

"Echoes of Repression" starts off the disc with mesmerizing notes suffused with gentle percussion. The vocals and guitar work seem to cascade across our nerve fibers to pull us into a reverie. Shepard croons "only another sees what covers your eyes/if we knew what we were looking for- we could move on."  This is a bittersweet song that depicts that thought process of a new born cynicism and disappointment which leads many to the doorway of mid-life disenchantment.

"We Never Say" is a tumbling mellow rock groove about the difficulty of expressing love and hiding in a facade of emotional avoidance and distancing. The vocals are tweaked to at first sound as if they are coming from a transistor radio and then come fully to the forefront with Shepard harmonizing with himself flawlessly.

"Sometimes Vain" remains the one song that I am fully addicted to and must have heard at least 300 times by now.  The guitar work and the percussive groove on this track are hypnotic that one would swear Lindsey Buckingham had his hand in the creation of this work.  The lyrics depict someone who is a vain and opportunistic person with a bit or irony in the fortune/misfortune scenario. " Self acclaimed you are- the glory ill gotten/ you could have built the things that mattered when you died/ greeting us with a smile, you stepped off the stage…/only to meet a truck coming the other way."

"Oblivious" pensively takes us into the realm of one who seems invisible to the rest of the world. Despite the observations and feelings of life around the character, there is a mournful questioning of how such a curse came to be. We are led into this exploration and self analysis through the multifaceted layers of music and lyrics.

"To Be Making Us Happy" blends trip hop, darkwave and electronic sounds in a song that questions if getting what you want really makes one happy. The simplicity of this song’s focus should not be underestimated. Catharsist seems to play notes and utilize vocal tones and refrains that jar the mind to pull out our memories and thoughts. It is as if there is an invisible cord connecting the artist to the listener’s mind. His dynamic vocal range is fully evident with this song as well.

"Take My Memories" comes to life with a suffused gentle cry of the guitar reminiscent of some of the greatest blues artists.  At one point in everyone’s life, we deal with losing a loved one who just walks out of our lives.  Shepard seems to channel the muse of Muddy Waters, Chris Isaak and Alison Moyet and serves up a frothing, painful tune that seeps into your bones to the point of breaking our own hearts as well.

"Somehow" demonstrates the reflection and puzzlement that one has when they are unconditionally loved. "Somehow I always seem to make you proud/somehow though I always let you down/ somehow I always seem to make you smile." If the sound of the mind could be recorded when it is contemplating such ironies, one would need not go further for a sample than the work of this artist.

"Shallow" opens up the chasm of the mind to make for a lonely bedfellow of total introspection. "now I know that which is in me is shallow/ only a reflection of my insecurities…no easy words to say/ I am used to paying the toll at the end of the road and living in hindsight."

Catharsist does not create background music that is the fodder of many artists in the independent circuit. His work delves into the emotional levels that are akin to the inner workings of everyone’s mind but few choose to reconcile. Shepard unleashes the ponderances and emotional demon’s that sometimes veer people down the chasm of isolation and offers up musical anecdotes to show us the way around it. His music is reflective of the multi-faceted aspects of his personality and he serves it out flawlessly. Catharsist is not afraid to wear his heart on his sleeve however, he does not succumb to self pity. Instead, his music seems to offer a means to segregate a particular complexity and render it harmless. Many artists are able to make music that can float one along on a nebulous cloud. Catharsist, like his contemporaries, does this as well, only on his cloud, your mind will be forced to think, work and react in subtle ways that other artists seem to fall short of. This is brilliantly done through the many echoes and layers of sound that seems to peel the emotional baggage like layers of an onion until we are left feeling purged and cleansed for the experience.

Track Listing:
1. Echoes of Repression
2. We Never Say
3. Sometimes Vain
4. Oblivious
5. To Be Making Us Happy
6. Take My Memories
7. Somehow
8. Shallow

Web page and sound samples:
www.mp3.com/catharsist
Email: Catharsist@onebox.com
 

The Changelings
Epicycles
~review by Brian

The Changelings are an assemblage of 5 musical and artistic individuals playing music for the world to enjoy. Epicycles Incidental Music 1997-2000 is the Changelingss fifth album, and they will be recording material for there next release over next few months. Their music cannot be described adequately by my words -- the only way to fully experience them are through listening to their music yourself. (You can check them out at www.Mp3.com). In the following review I am telling a story on how their music makes me feel and what I see. The first four songs on Epicycles are comissioned by HGI for the computer game www.Noblearmada.com. The last two songs were recorded for NetherWorld Haunted House.

In the year 4996 our beloved warrior of the lost worlds of humanity forsakes his battle with the diabolic foe of the Noble Armada.  As the RED SHIFT hovers in position her steady beat persuades delusion; her timing dwells on ther route for those who have succeeded.

The ECLIPSE transforms the descendents of the ancient technology, as the war masks our neighbors with ethereal beckings of subtle and diverse melodic sonances; crippling them.

The Changelings proceed through the mystical TANNHAUSER GATE recalling ancient lore and verse armed with experience and knowledge of time before.

DULCINEA appears with strength and fury to join the battle to fight the empire with her deadly drum, and  precious strings as the voice flows free, paralysis begins as they fade away the Noble Armada Begins.
 

5-6
The YOUNG MERLINS enter the NetherWorld in an enactment of emotionable outbursts through their extensions known as instruments. They tame the evil with the strike of a key as her voice lurks through the NetherWorld the spirits collide with JOY.

The percussion beats sombrely; as the vocals wail with its true strength for all to avail as she wakes with a DREAM IN A WITCH'S HOUSE the voice speaks loudly and does not repeat in a deifying defeat.

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

www.changelings.com

CIRITH UNGOL
King of the Dead
~reviewed by Kirin

There are some bands which, in retrospect, were a lot more important than they seemed at the time they were still making music.  Cirith Ungol is one such band.  Listening to this re-release of King of the Dead, one realises that perhaps in July of 1984, no one was quite ready for it. Happily, since Metal Blade have been so kind as to re-release this beast, it can now be enjoyed in the context of the year 2000, where the likes of Electric Wizard and Sleep have made this creeping doom part of the contemporary landscape, and what with the recent tour of the original Black Sabbath lineup, ears are more open to the psychotic psychedelic dark dirges that Cirith Ungol coughed up.

Furthermore, I think it's fascinating that Cirith Ungol took the
name of a Tolkien creation for their band, and then, lo, these many years later, Tolkien's darker nightmares have become an obsession for countless black metal bands.  (Another strange precursor to what happened in black metal years later, is that Cirith Ungol played Bach's "Tocatto in D minor" on this album-- and black metal is unquestionably the classical music of the Apocalypse!)  For those of you interested in such things, the name "Cirith Ungol" is the "pass of the spider" which Frodo had to traverse on his way to Mordor, and the spider in question is the disgusting, beautiful, Shelob.  The music on King of the Dead aptly articulates just the sort of  resplendent gloom and paranoia the name Cirith Ungol should conjure, and for anyone interested in picking up a Cirith Ungol album (Metal Blade have, I believe, re-released three of them,) this album, "King of the Dead" is the one I recommend most. It is the darkest, the gloomiest, and probably the most fully realised example of the band's vision.  The other Cirith Ungol album I'd recommend is "One Foot in Hell."  "Frost and Fire" is a decent album, but not as heavy and full of delightful despair.  Frost and Fire seems to fit more into the 80s power metal sound instead of the darker, more Sabbath-inspired atmospheres of "King of the Dead" and "One Foot in Hell".  I cannot, with a straight face, recommend the album "Paradise Lost," as it is more of a product of Restless Records than of the band itself.  If one must have every single thing Cirith Ungol ever did, then sure, Paradise Lost isn't the worst thing ever created in metal, but try to find it in a used bin!

The other thing I absolutely adore about Cirith Ungol are the album covers.  Michael Whelan's art is, <gasp> even more appealing to me than Frank Frazetta's.  Don't tell anyone-- it's so uncool not to worship Frazetta!  <<laughing>>  I highly encourage you to check the Cirith Ungol website to take a gander at the covers, and then go to Whelan's webpage for more of his magick.

All in all, I can fully and happily recommend Cirith Ungol's "King
of the Dead" to any metallion who loves to spend afternoons (mornings, evenings, middles of the nights...) completely off their nut, listening to Sabbath, Electric Wizard, St. Vitus, and so on.  You will be pleased, and you may find yourself staring at the CD cover for inordinate amounts of time.  Enjoy!

Track Listing:
-Atom Smasher
-Black Machine
-Master of the Pit
-King of the Dead
-Death of the Sun
-Finger of Scorn
-Tocatta in Dm
-Cirith Ungol
-Last Laugh (bonus track.)

Cirith Ungol, on this album, are:
Tim Baker: Vocals
Jerry Fogle: Guitars
Robert Garven: Drums
Michael "Flint" Vujea: Bass Guitars

Cirith Ungol web page:
http://www.cirithungol.org/index.htm

Michael Whelan web page:
http://www.michaelwhelan.com/

Metal Blade Records:
http://metalblade.com/

Related:
Viking music list:
http://www.geocities.com/SunsetStrip/Palladium/
7195/viking/vikings.html

Tolkien inspired music list: http://www.telia.lv/~witchcraft/jrrt/
 

Various Artists
Cleopatra Millennium Sampler
~reviewed by Blu

I usually enjoy samplers -- its an easy way for me to check out a current line of artists on a label and decide what CD's I'd like to purchase without taking a chance on CDs I might not be too sure of. As a DJ, samplers are a nice way to pad your collection cause there's usually an abundance of songs you can use in one night. Of course there's usually a few duds in the batch, but overall, you get your money's worth -- as is the case with Cleopatra 2000.

The first track is Switchblade Symphony's "Wicked." I don't  know what it is exactly, but Switchblade hasn't been "doing it for me" for quite some time. I've only found one or two songs I've liked off their latest material. This song is not one of them. Its predictable and sounds like every other song of theirs I've heard lately.

"The Devil Inside" is covered by The Electric Hellfire Club. Its not too bad if played in the right atmosphere (mindless club/dance atmosphere where recognizable songs will go over well) but I never liked the original song so I have a hard time digesting this more electric cover of it.

I do however, think that Kevin Haskins' remix of Missing Persons' "Mental Hopscotch" is worthy of some praise. Normally songs from the 80's get tired when played over and over (and over) at dance clubs -- even remixes, but Kevin was able to bring this song into the new millennium without being cheesy. It features the essential good dance beat but has added a few minimal loops without distorting the vocals too much. Infact, I think this mix compliments the vocals more than the original did.

How can you go wrong with Gary Numan -- master of electronic music? He can do no wrong in my eyes. He contributes "Dark" to this compilation which is as futuristic sounding as it is sexy (love that voice!). This is one track that will definitely get alot of play from DJs.

"Remnants" by Spahn Ranch took some getting used to. I found it annoying on first listen, but then it grew on me and now those cutesy cyber sounds are embedded in my brain. Fun to dance to.

Quite possibly my favorite track on this CD, KMFDM did a remix of the Genitorturer's "Sin City" which I absolutely LOVE. Infact, I like it better than the original (sorry Gen!) and I usually don't like anything KMFDM does. Maybe they should do more remixes, eh? This song is danceable, upbeat and made for the club scene but still has enough gritty guitar to make the rock n' rollers happy. I played this song when I DJd in Dallas a few months ago and it went over wonderfully.

The next two tracks you probably already have in your collection if you're a music addict like me - The Mission UK's "Wasteland" and Bella Morte's "The Rain in Her Hands."  They're not remixes or anything different from the originals but its nice to have these located conveniently on this disc. They're great songs of course... some of my favorites.

And unfortunately, unlike their 80's counterpart mentioned above, A Flock of Seagulls contributes a remix of "Telecommunication - JLAB remix" that is just horrid. Its still cheesy and too reminiscent of the 80's.

Track 10 sees Eerive Von contributing "An Investment in Hate" with its crunchy guitars and Danzig-like vocals. Its not a bad song... really. Think of Elvis and not Glen and you'll agree.

Culture Kultur, always a band that I think doesn't get enough publicity and credit, is on here with a remix of "Inside of Me" which is just lovely. Rivetheads will adore it and the goths will dance to it too. Yummy -- where are my boots?

Ever the energized performers, Razed In Black perform "Caught." Again - there's nothing new here, its the original but how lucky are those listeners that have never been exposed to RIB before. You'll like this... guaranteed.

Leather Strip mixes up Information Society's "Walking Away" giving it a more cyber/industrial feel. Pretty good - but so was the original.

And finally we are presented with Keith LeBlanc's mix of "Rope" by PIG which I like considerably more than the original as the electronic beat and minimized guitars are more "groove friendly."

All in all, this a great sampler to pick up and goes a long way to show the diversity of bands Cleopatra is now distributing. From the infectious synthpop sounds of Bella Morte to the comeback kids of the 80's and even the guitar laden world of dark rock, this is a well rounded CD sure to please most. There's probably three tracks out of the 14 on here that I'll never play -- and that's not bad.

Cleopatra:
www.cleorecs.com

13428 Mexella Ave, #251
MDR, CA 90292
 

Complicity
self-titled 3-song promo
~reviewed by Sonia

I had the chance to review the 3 song cd off of Complicity’s’ upcoming release Welcome to the Real Life. I sat and listened to it and it hit me that this music got me thinking about
how some of the older “goth” music  of the late 8O’s sounded. It was a bit reminiscent of it and that is one of the reasons I liked it I believe. This band comes from England though at first glance of the cd, I thought  that they may have been from the States and formerly in a metal band. Maybe it was the font and picture on the cd... They are neither. A wonderful surprise.
Okay, on to the music!

1. Hide and Seek- Starts off real dreamy , drums and guitar kick in for a Bauhaus feel. Vocals are reminiscent of the Cure. It seems like if Bauhaus and the  Cure ever spliced themselves together in a rock goth format this is what they would sound like. Drums are really well done toward the end of the song. If you forget the name of the song, you will be reminded as it is repeated more than necessary I think.

2. Drug star- Very interesting piece. It’s like retro goth with a slight punk flavor with the vocals. The vocals are a bit lower in volume with the music being the most prominent. The symbols in the songs got a little on my nerves. If they were toned down I think it would have been better.

3. If Only For Today- A nice intermission song. Slow and dramatic. Again, good drums. Repetitive guitar, very nice string accompaniment. I like the melody of the chorus. It can make for a very dramatic slow dance if you are like the majority and prefer dancing alone. Also good for all you Creepers out there. ( the dancers who keep to the floor, not the shoe!) I liked this one best out of all three.

If you would like to recieve information on distribution contact:
Resurrection Records
228 High Street
Camden NW1 8Qs, England
or e-mail
katrina@resurection-rec.demon.co.uk
or use the Tele and call,
+44(0)207 813 2917
 

The Confessionals
4 song demo
~review by Cyberina Flux

There's a new band in Dallas. I'd certainly been hearing the band name around, it seemed like the words "The Confessionals" were being slipped to me frequently enough for me to wonder if folks were getting paid per mention. It started about a month ago, and it was coming from well respected area bands, DJs, recording techs, soundguys, managers, and general scenesters. People were asking me to book them, others were asking me to write about them, and others were asking me to come to a show. It was getting to the point of surreal.

Revelling in the humor of this mystery band situation, I mentioned it my boyfriend.. That's when he tells me "Oh dude, I have one of their CDs. They came up and brought it to me at work. They're GOOD, you ought to check them out." But, alas, he couldn't materialize the CD from his endless shelves of music so I could listen.

Yesterday afternoon, walking through the hallway in our apartment, I took a quick glance to my right and there it sat inconspicuously on a shelf of our newest CD rack.. "The Confessionals". My heart skipped a beat.. FINALLY.

In much anticipation, I watched as my CD drawer on my player slid closed in seemingly slow motion. Seconds ticked along like hours as my CD player attempted to scan and read the CDR..

Then......

It was!

In a clash of symbols, random wailing on a guitar, and an occasional thump of a bass my introduction was staged. The nonsense quickly organized, and what then came out of my speakers floored me.

The beat started on the bass in a low and sultry kind of way when the guitar started in reminding me significantly of a Current 93 track. Then Bella came. Oh did Bella come! In a husky and powerful voice the lyrics just bellowed out of her.. Like Boyd Rice meets Jarboe, she huffed and chanted and wailed. Her voice gave me goosebumps before simply reaching out and lashing me with its ferocity. All the while the guitar kept rhythm in that slightly dischordant Swans kind of way, following the lead of very distinct and martial beat pounded out on the tympani. And thus "The Parting" was over, leaving me a pool of jello on the floor.

I took a few long, deep breaths to catch my air before venturing on to the next track.

"Scar" had a slightly more punk feel to it. The beginning of the track was carried by guitar and bass with spoken word vocals seeming a bit Velvet Underground meets "Boys Don't Cry" era Cure. When the vocals built up, the instrumentation still screamed "Boys Don't Cry" to me, but the vocals were so much more passionate than anything Robert Smith ever mustered. It almost sounded as if Valor had written the lyrics, and they were sung with a P.J. Harvey kind of frenzied intensity. And then with a roll on the drums, "Scar" was over.

"Closet" started kind of bluesy on the vocal side with a beat carried distinctly on bass, drums, and one of the guitars, while another guitar fuzzed in the back. Again the execution reminded me very strongly of Current 93, and towards the end of the track it took on a form similar to Sugarcubes right down to a Bella growling in a huffy kind of way that's so angry its cute.

The last track on the CD, "AOD" takes on a Nick Cave, Birthday Party kind of feel to it. A very hypnotic drum marked the beats while a guitar carried on in a distorted wash, and Bella held absolutely nothing back as she put forth her vocals so raw and loud that it made my throat hurt just listening.

All in all, I'm so very glad that I finally got to hear them. They carry a unique quality that just simply hasn't been found in new acts in a very long time. Fans of anything from The Birthday Party to The Swans to The Sugarcubes to Current 93 will find something that they love about this band. If The Confessionals can convince me this much after their debut performance being only last May, they most definitely have what it takes to grab the Gothic scene by the proverbial horns (goat, of course). I'll be here in Dallas with a lot of other faithful fans trying to help them hold on for the ride.

Track Listing:
1. The Parting
2. Scar
3. Closet
4. AOD

The Confessionals are:
Bella Ted - Vocals, Guitar
Shawn Mauck - Lead Guitar
Justin Frank - Drums, Tympani
Lane Kirby - Bass

The Confessionals
http://www.theconfessionals.com

Cosmic Slut
A Cosmic Slut Production
~reviewed by Blu

Cosmic Slut is a beautifully dark band from Dallas. They defy specific categorization but have obtained an almost cult following of goths and underground scenters. And as much as I hate to make comparisons because this band IS so original and unique – I must say that the best way to describe them is a darker sort of Portishead. And that’s no small compliment in my book. Their music is liquidy, sometimes dark and thick like you were on the bottom of an ocean. There’s this overwhelming feeling of being in another realm – another environment or reality. Its heavy and the temperature is cool. Things move more slowly and sounds that you normally wouldn’t hear are accentuated – breaths and gasps, echos, silence.

The band credits give you a clue about this music… Marisa is listed as providing “voices” not merely “vocals.”  She whispers, purrs, growls, speaks… sometimes lets muse-inspired melodies slip out smooth, sometimes harsh. Some songs, like “Seashell” and “Japanese Toys” feature intense spoken-word murmurs over top the music. I listen to this CD rapt with attention – focused on Marisa’s voice – listening to her words take shape and form. The end effect is calming – a sedative of sorts to those of use who would walk around in a blue and purple colored world. I haven’t stopped listening to this CD since I got back from Dallas – its one of my favorites and if I had my way – would be in heavy rotation on airways around the country. If you’re looking for something new this summer – if you want to be one-up on all those folks who think they know what the best up and coming music is… get a copy of this CD and show off.

Tracks:
texas
cut
walking on the knife
prayer
seashell
japanese toys
laugh

Cosmic Slut is
Marisa – Voices
Gibbon – Guitars
Puppy – Bass
The Fonz - Drums

cosmicslut.com
info@cosmicslut.com
PO Box 742652
Dallas, Tx 75374
 

Dreams in Exile (with vidnaObmana)
3 Song Preview to Since Long Before
~reviewed by Blu

Seems like I'm doing a lot of catch up on reviews here on bands that are quite outstanding. This summer had me traveling from New Orleans to Dallas to Portland to Seattle. Along the way I accumulated quite a collection of demos and CD's from bands. Kirk Kristlibas of Dreams in Exile was one such person who introduced himself to me in Portland at the Pre-Convergence show (see http://www.starvox.net/cr/cr.htm). Dressed to the nines, gracious and polite I was immediately taken with the degree of professionalism he conducted himself with. As things are usually hectic at concerts, I didn't realize until later just exactly what he had given me. There, on a very unassuming CDR was something quite extraordinary. This sampler featuring 3 songs that are included on their new full length release Since Long Before, is a delectable gift and shows just how promising and outstanding Dreams in Exile is. The fact that the legendary vidnaObmana produced and collaborated  with the band on this CD is a validation of their outstanding musicianship.

Dreams in Exile was originally formed in New York in 1988 and have since relocated to the ever-green bliss that is Portland, Washington. Their website describes their music as "a unique alloy of ambient, atmospheres and textures..." which is an accurate and truthful description. Furthermore, its one of the most relaxing and serene CD's I've had the pleasure of listening to in a long, long time from the spatial textures and percussion to the utterly beautiful acoustic guitar and vocals. I am beginning to wonder if its the atmosphere of the Pacific northwest that has such an affect on these bands. Lately I've found that Sumerland, 3SKS and now Dreams in Exile all produce a lovely mix of serenity and melancholy in their music that almost always reminds me somehow of nature and moreover - water -- a life force within itself, often spiritual and sometimes dark. It carries and eases the sadness of life's burdens -- even as it was Ophelia's final companion. Take for example the lyrics to "Jennie Haniver":

Sweet serpents slide by me
enfashioned by the deep
to shores with foaming wave
she calls me to the cave

Jennie Haniver, pull me down
drag me overboard and take me down
Jennie Haniver, pull me down...

"Conifer & Fern" makes me homesick. If you've ever stood in awe at the majesty and mystery that is a forest, this song makes perfect since and dives straight to the heart. Standing alone in the lush vegetation amid grand trees and giant ferns, I remember how chilling and beautiful a crow's call echoing through the forest was. Outstanding acoustic guitar on this track.

And finally "Oarthanalea" starts with a bit more "rock n' roll" feel before settling down into an almost bluesy melody line. The more uptempo beat guarantees the swirly goths will love to dance to this (DJs take note).

This CD will appeal to fans of vidnaObmana (obviously) and of such bands as Dead Can Dance, Delirium and ambient music in general. Beautiful, sweeping and serene, its a perfect CD to come home to and relax. Highly recommended for late night musings over tea....<wink>

Tracks:
Jennie Haniver
Conifer & Fern
Oarthanalea

Their full length CD Since Long Before (Crowd Control Activities) is available through the usual underground distributors like Metropolis, Soleil Moon, Middle Pillar etc.

Visit their website at: http://www.dreamsinexile.com
email: dreams@aracnet.com
mp3 site: http://artists.mp3s.com/artists/46/dreams_in_exile.html
 

Diana McCrary
Diana Obscura
~review by Brian
 
The first song on Obscura's solo album is "St. Cecelia".  St.
Cecelia  being patron saint of Music would be proud of this assemble. It correlates a given emotion with each of the instruments and vocal accomplishments. Its baroque style with the intricate melodia of music. Its a soft subtle song that reminds me of a tale of ancient times with lyrics like:  " A path of thorns to my loves's heart she is not kind Yet I would not have her otherwise" , "And what I give oh all that's mine my gold and tears my Blood and Pride".

On the second track we find an antediluvian tale of "Twa Corbies" which is a variation of "The three Ravens" which dates back to 1611.  Corbie is another word for Raven or Crow.
"As I was walking all alone, I heard Twa Corbies making mane; An one to the t'other say, Where sall we gang and dine the day".  In these first 2 songs and as with the rest of this Cd she uses an antiquated choice of words throughout the CD, utilizing all her knowledge of literature and times passed.

The third track is "Evangeline and the Devil."  This song is filled with a jazzy melisma running lightly on the veracity of a Gospel telling a tale.  In this song the cello speaks as much as the words do.  "The Devils got a sharp deck of cards. Cut you in for an inch and drag you in for a yard". "Ask if you want to double your bet and he'll offer you a pull on his black cigarette"

Track four is  "Hylas" --  a sweet song of softness starting out with "We crawl among the water lillies cold. "  My favorite line is "Slither softly sister and behold A Sailor, just a boy, so fresh and young".  Diana's voice speaks as if she was one of he Nymphs tempting Hylas to join them in the water. Close your eyes and picture yourself on the island of CIOS. And soon you too will disappear as Obscura's Nymphetic voice takes you far and away.

The next song  "Seirenes".   Seirenes tells a tale of a deadly Seirien singing her song to attract her prey. "Come down, Come down and swim with me you'll touch my lips and taste the Sea".
"The Moon will sing a dirge for thee. All washed in brine thy bones will be. Come drown, come drown, sink into me".
If you listen long enough you might be tempted to meet that deadly seiren at the bottom of the sea.

Song six  is  " A-9 APU/ST1200" it is the hardest song on this album and one of my favorites I kinda felt like it was a Punkish  sort of Poem. With lyrics like:  "I've got a new identity four legs and a platinum eye."  "I've got a switch where my Heart should be I can hear your thoughts at night," this song is filled with a steady Bass and matching percussion by the talented Chandler Rentz. To match Diana's demanding voice that seems to split into another dimension with the fury in this song.  The diverse lyrics were provided by brother Nathaniel McCrary; talent is evident in their blood line.

In the end there is  "Estoria" --  last but not least on this incredible album. This song delegates a softer more classical sound.  "Estoria, Estoria....I was completely deceived. You sized up my most precious thing and you waited for me to leave".  What else can I say about Obscura's solo project with the help of her friends they created a musical tale that I will cherish and I hope you do too. Also with Joseph Budenhoizer of Backworld on guitar and Tambourine .

Diana's next performance will be August 28 at Innovox at 9pm and its FREE !!!!!!  Coming soon Concert Review of Diana Obscura's solo Cd release.

For more info check out the following:
website: www.dianaobscura.com
contact:  diana@dianaobscura.com
snail Mail: P.O Box 5554,
               Atlanta, Ga 31107
 

Diary of Dreams
One of 18 angels
~reviewed by Vassago

I personally waited anxiously for the release of this album from the time I interviewed Adrian Hates and he told me the title of the new Diary of Dreams album.  I was very excited  to listen it since D.O.D is a group different from all the others and leads the 90’s Goth scene today with many fans all over the world. After Cholymelan, End of Flowers, Bird without Wings, Psychoma? and Moments of Bloom, this album comes to continue the legend that Diary of Dreams created 7 years ago.

As a D.O.D fan I have high expectations of their music. From the first album to Psychoma?, new ideas, feelings and dreams were created in my mind that haunted me for a long time. When Adrian told me that the new album would be darker than anything he had done so far; I believed this new CD would earn them world recognition in the scene. I was expecting it as a new child -- as a rebirth in my soul -- since all of D.O.D's songs remind me something of my life.

The new album, unfortunately is not the newborn child my soul was expecting but more a clone of the previous one… Psychoma?. Most of the songs, except the fantastic "Rumors about Angels", had nothing new to present to the D.O.D fans since the whole mood and atmosphere is same with Psychoma? Be careful;  I am not saying that the album is not good….I am just noting that I have higher expectations from this band.

One of 18 Angels could be the continue of Psychoma? or songs that could not fit in the specific album and were released in this one. It is more electronic album, with the well known D.O.D elements in it and of course Adrian’s fantastic vocals. The best moments of the CD are "Rumors about Angels", "Chemicals", and "Babylon".

I am not saying anything else.  The D.O.D fans (including me) will buy it anyway. I’ll be looking forward for them in the future.

“I see a face that was imminent image in my soul.  Now it is past. What was full of life and joy is now flesh and dust. It is now time for grief and recollection. It is now time for death and resurrection”

Accession Records
Postfach 110614
40506 Dusseldorf
Germany
inquiries@accession-records.com
http://www.accession-records.com

Luna Productions Management
Colin Gibbens - cgibbens@symantec.com
http://www.luna-productions.com

The Official Diary of Dreams Website:
http://www.diaryofdreams.com

To subscribe to the Diary of Dreams Mailing List:
 http://www.egroups.com/subscribe/diaryofdreams
 

DRAEMGATE
Twilight
~reviewed by Edwin Somnambulist

Draemgate's Twilight is the first non-Canadian release on Interdimensional Industries -- a label best known for its paramount support of the Canadian independent music scene and local music. Of course, my first reaction was "Why an American band?" After hearing Twilight, my apprehensions were put to rest. Interdimensional believes in Canadian music, yes, but they also have a mandate to release enlightening music, and that's what Draemgate is all about.

Draemgate is a project out of Knoxville, Tennessee, composed of two brothers, Matthew Everet Kieren and Robert Shawn Kieren.

While the term "experimental music" gets bantered about incessantly in music today, its actual meaning seems to have been distorted. An experiment in music is much like an experiment in science: it is a process that has no definite predictable outcome, of which the product is not certain. Draemgate's style of making music embodies the original definition of "experimental". The brothers have developed a method by which they can use computers to convert images to sound. Their belief is that pictures hold not only visual information, but auditory as well. The visual media that they use to produce their sounds are of strange and natural formations, such as crop circles, and nebulae.

Perhaps my only complaint about this album is that I would have liked to see the pictures that were used in creating the music, to give a deeper connection to the sound, and a feeling of understanding where the music originated.

The soundscapes that Draemgate create through their process are rich and varied, and very relaxing. Easily good background music.

Tracks:
1. Illud Tempus
2. Gamma Draconis
3. Flight of the Feathered Serpents
4. The Seven Bonds of Heaven and Earth
5. Heliocentric Descent
6. Resurrection of Nemesis
7. Tower of Syene

Draemgate is Matthew Everet Kieren and Robert Shawn Kieren
Band Website: http://www.draemgate.com/
Band Email: contact@draemgate.com
Label Website: http://www.interdimensional.com/
Label Email: regan@interdimensional.com
 

The Electric Hellfire Club
Witness the Millennium (promo Cd)
~ review by Aaron Garland

Like it or not, Thomas Thorn and his unwieldly Satanic entourage are back with their fourth full-length installment appropriately monikered, "Witness the Millennium".  After a series of personnel and stylistic changes on previous outings, this one in many ways resembles their classic debut "Burn, Baby, Burn!" and is arguably their most aggressive release to date.  Understandably, keyboards are kept at a minimum (sans the late Rev. Dr. Luv) focusing instead on heavy and driven guitar work that may surprise the dance floor crowd.  As always, Thorn's lyrics (somewhat buried in the mix) and attitude of decadent revelry will either delight or dismay, but it's credit to his writing talent that he can breathe new life into a genre that's practically been done to death by much lesser outfits who've come and gone.

As with all EHC releases, one track in particular carries on inside my head days after hearing it only for the first time, case in point being "The Bishop's Folly" - which contains a catchy refrain of a choir amidst a frenzied wall of guitars and drumbeats.  "Invisible Empire" takes on a more esoteric aspect of the dark side (guess which empire they're referring to?)  while "Paradise Reclaimed"  is a call for revenge on the sterile and self-righteous of aeons ago that would make Milton proud.  "Wormwood" is a brief swirl of keyboard washes and low-end voice, paying tribute to the mind-altering substance used in absinthe, and finally metamorphosing  into an enthusiastic rendering of the Iron Maiden classic, "Number of the Beast."
Overall, this release will probably win new fans and foes alike, although I doubt it will shift their audience in any way, save for attracting new ears in search of a heavier sound.

Track listing:
- Kirkcarrion
- One Dark Horse
- The Bishop's Folly
- Invisible Empire
- Speed Demon
- My Name is Legion
- Paradise Reclaimed
- The Monkey's Paw
- Wormwood
- Number of the Beast

Cleopatra
pmb 251, 13428 Maxella Ave.
Marina Fel Rey, CA 90292
 

Engelsstaub
Anderswelt
~reviewed by Blu

"Sounds almost fade and softly sway, Be swept into that realm of dreams, Both mythical and new" -- from the song "Dream Catcher"

After a five year absence from the music scene, Engelsstaub is back with one of the most breathtaking and beautiful collections  put out this year in my opinion. They say  their new CD Anderswelt is, "a world between time and space, between here and now where the invisible turns into visible, where the consciousness pours out in infinite nature." Polished, cinematic, deeply rooted in spiritual and cultural themes and imagery, this is a CD that will do well at the more ethereal gothic clubs as well as among fans of neo-classical music and new age music.

The CD opens with the song "Dreamcatcher" which of course refers to the spider web-like Native American object that is used to catch dreams. "Oh come deep sleep. Oh come my dream. Spun into sleep's quiet yarn, the journey has begun."  In addition to the soothing feminine vocals, a Native American chant and drum beat is introduced half way through the song in keeping with its cultural theme. Continuing on their fantastic adventure, " A Dream Within A Dream" is a vast track filled with symphonic elements like timpani drums rolling from one climax to another. Suddenly there is a transition and traditional pipe and drum (bagpipe that is)  fill the space accompanied by flute and later an electronic beat taking this song out of ancient tradition into a new worldly sound. The melody breaks for ominous percussion and brooding, deep horns like something out of a horror movie. You get the feeling you are entering yet another realm.

"A Tale" is next - with sounds of the ocean in the background, the vocals are like mystical sirens in the night. The song is indeed a tale narrated by both male and female voices..." A raging wind her light does choke. A fearful wave reaches up the cliff, so steep she sinks into the ocean, dark and deep."   As sounds of the ocean fade, the delicate flute and urgent drumming and chants of "L'Apell De L'Ange" rushes in to breathe life into lost souls -- you can almost hear them swirl out of the darkness.

"Faerieland" is perhaps my favorite track off this CD if forced to pick. Rooted in the style of new age celtic music, the march-style beats contrasted to synthesized melody lines and vocals akin to Dead Can Dance make this irresistible for me and probably one of the most club-friendly tracks off this CD.

"The Kingdom of Blindness" again employs beautiful symphonic elements and the male lead vocals remind me much of the favorite elements of Dead Can Dance.  "Die Erlosung" follows with mournful bell tones and a lamenting oboe taking the lead melody. The tone of this song has an Eastern European flavor to it -- proud and traditional.

Most haunting on this CD is "A Spirit Awakens" which opens with spectacular cinematic music before transitioning into a acoustic guitar and melody carried by male vocals. The song is delicately sad and strongly romantic. Love lost to death -- who can compete with that. This is a song I would dance to passionately.

"Namiros" comes in softly with faded gongs and finger chimes -- narrated with mystical spoken-word and followed by exotic chants, its a fitting tribute and ending to such an accomplished CD.  "In a time of infinite darkness an angel crossed my way, Brightened my world with his kiss..."

Breath taking and beautiful, I only hope that readers will appreciate the musical superiority and rare effort that has been put into this delightful CD. Bravo!

Tracks:
Dreamcatcher
A Drean Within a Dream
A Tale
L'Apell De L'Ange
Faerieland
The Kingdom of Blindness
Die Erlosung
A Spirit Awakens
Namiros

http://www.engelsstaub.de
email: engelsstaub@yahoo.de
 

FALLING YOU
Mercy and Touched
~reviewed by Adrian

It seems these days that everyone is coming out of the woodwork in a ‘goth-ethereal’ band iced with the token female vocal wash. Projekt has done it with much success, as has 4AD. So when I heard of Falling You, I kind of threw them into the mix, or the grab bag if you will, of washy ethereal goo. Now is the time I insert foot into mouth.

Falling You, a collection of artists formed by John Michael Zorko, out of all places, Kent, Ohio, is a beautiful collection of experimental, ambient, and noise laced aural landscapes. Their sound has a unique feel that takes you back to the early days of 4AD’s His Name Is Alive and Projekt bands like Loveliescrushing mixed with the shoegazer sounds of Flying Saucer Attack, AMP and even, at times, the sanity crushing sounds of Ant Zen’s Ambre. This form of ‘Bliss Rock’ has every quality that I find positive in this type of music, from the subtle yet powerful slicing of vocals by Jennifer McPeak, Sara Ayers, and Krista Tortora, to the cascades of energy and fuzzy velvet-like peaks of sound that seem to tie you up and make you dizzy. Their debut full-length album, Mercy, was voted best vocal album of 1998 by David Hassell of Wind and Wired magazine and has received much acclaim for the direction they have taken by various other magazines and zines around the world. At times you can hear the people that have major influences in their music like Brian Eno, Mike Harris, Sky Lab, and Phillip Glass, and such creative backing has laced Falling You with a style that creates a wonderful departure from your average ‘ethereal’ band. Touched is their upcoming release due out sometime this year and has much promise and desire wrapped in its songs. After browsing through their sounds, I have picked a few highlights which include ‘Crystil (Austere remix)’, ‘Druid in the Works’, and ‘Still Life’, that can all be downloaded at www.mp3.com under Falling You (http://artists.mp3s.com/artists/16/falling_you.html), and while your at it, may I highly suggest their labels website at www.adastra-records.com which has several more audio tracks to browse through. A quiet giant in the experimental, bliss, ethereal arena, but one to watch out for in the coming years to be sure!

Atmospheric loops, crunching percussions, electric static hums, and vocal styles that would make the angels in John Milton’s Paradise Lost green with envy. Now tell me, what more could you want? Although not a danceable cd, it is definitely one to throw on the cd player late at night, light the candles, get the sushi and sake out, and share a quiet evening with a loved one.

Group Members:
Various vocalists: Jennifer McPeak, Sara Ayers, Krista Tortora and others
Instrumentation / production: John Michael Zorko

Albums:

Mercy (1998) Tracklist on Mercy:
Prelude
When Will it End?
No Voice
Lament
Mercy
The Dream Begins
Halloween
Running Still
Glacier
Feathered
Reprise

Voyager (Compilation, 1997)

Touch (to be released sometime in 2000)

Falling You on Mp3.com
http://artists.mp3s.com/artists/16/falling_you.html

AdAstra Records
http://www.adastra-records.com
PO Box 2342
Streetsboro, OH 44241 adastra-records@adastra-records.com

Fayman & Fripp
a temple in the clouds
~reviewed by Michael Otley

Robert Fripp has become a rock guitar legend with his work with King Crimson, leading the band that is, over the years.  His work with Brian Eno in the seventies brought even more recognition in the art rock world.  In contrast, Jeffery Fayman has been more involved in film music, especially scoring trailers.  In the early nineties, Fripp contributed guitar to four tracks by a band Fayman had founded, which was their first collaborative effort.  While Fayman soon quit the project, Fripp left him two hours of
master tape of "Frippertronics Soundscapes", which Fayman let sit for about 8 or 9 years.  The release here is the result experiementation by the two musicians after that period of time, in part organized and created at an ancient temple in Greece.

The album begins with chimes, ocean waves, and heavy swells of deep rich tones.  It hits immediately.  The second and forth tracks have much more of a soundtrack feel, with what sounds like synthetic strings, again swelling sweeps.  The release brings Steve Roach to mind except richer and without the tribal edge.  The album consists of two lengthy pieces and two shorter ones.  For each track, most of the soundscape is introduced in the first few seconds (or for the half-an-hour long third track within the first minute) with a revolving door kind of effect throughout the rest of the song.  While each pieces doesn't necessarily introduce new material as it continues, it presents new subtle combinations of harmonics and never get boring.  The final piece has the most progression on the CD's short, three and a half minute finale.

One might not expect to find Robert Fripp on a Projekt release, but the music here is evidence, it works.  Fayman and Fripp have done an extrordinary job presenting strength and even power on what will be considered by many to be a new age CD.  They won't play this at the dentist office, while it's relaxing, you might just get a bit too stirred up at the same time.

tracks
1. the pillars of hercules
2. the sky below
3. a temple in the clouds
4. the stars below

Jeffery Fayman and Robert Fripp
www.projekt.com

Garden Of Delight
Agony (CD Single)
~reviewed by Vassago

Even though seven years have passed since we heard from them last, it is a fact that Garden Of Delight are back in the music scene with Mike York in the place of Adrian Hates. The “new” Garden Of Delight sounds somewhat similar to The Garden Of Delight we all knew before.

Agony is a single, containing 4 songs which  is a good sign what their new album might be like. The single includes "Agony" which is quiet good, "Gather Dust" which will not be included in the new CD, "The Seal" which is a live version with the old group members and "Judgment Day"  from the Chaos God. I would prefer to wait and listen to the whole new CD before passing judgement on this new project  but I expect to be a good one. Since they decided to continue, they should be presnting something worth the wait. I'll be curious to see if we’ll hear from  Garden of Delight for the next seven years.

http://www.isis.de/members/~afranzma/
 

THE GIRL POOL
The Girl Pool
~reviewed by Edwin Somnambulist

The first incarnation of this band began in Athens, Georgia as a way to bring the 80's electronic sound, a genre which is often overlooked these days, back into the light. The band lineup has gone through numerous changes over the years, but Christian and Michael have been there since the beginning, making the music inspired from the likes of Gary Numan and Depeche Mode for the synth element, and the Cure and Bauhaus for the darker
gothic element.

If this is gothic music, then it is in a category all its own. There is a definite retro sound to it, due to all the layers of synth work. The vocals are perhaps the eeriest thing about the songs, as they have a female tinge to them, yet are done by a male. In a type of music where every male is trying to emulate Eldricht or Murphy, it's refreshing to see someone pushing forward something unique and beautiful.

"Death Disco" is my favourite track on the disc, due to the fact that it projects such a feeling of misery. It's a creepy song, with eerie synths, and multiple layers of vocals.

"Godiva" is a very upbeat song, but it still sounds wonderfully depressing. The vocals in this track offset the general fast pace of the song, and makes the track sound eerie.

Forever in flux, the Girl Pool members parted ways soon after finishing this CD, but Christian continues on the name, and is working towards a new sound, described as a "darkly tinged EBM, like VNV Nation or Apoptygma Berzerk." The next Girl Pool release is currently in development, and hopefully some
of the originality of this disc will spill over into the new sound.

Tracks:
1. Death Disco
2. Paradise a.m.
3. Electra
4. Godiva
5. Technique
6. Veil
7. Space Angel

The Girl Pool was on this recording:
Christian Engel: vocals and some supplemental synth
Winston Whitlock: synthesizers
Michale Stembridge: bass, guitar and drum programs

Website: http://www.thegirlpool.com/
Email: khristiane@hotmail.com

GRAVELAND
Immortal Pride
~reviewed by Kirin
 

The funny thing about listening to Graveland CDs is that they're so elegantly beautiful, and yet esteemed in some black metal circles as some of the most intense black metal ever to have crawled forth from the underground.  The intensity in Graveland's music is part musical passion, and part lyrical passion. These guys aren't making this music because their girlfriends think it's cool.  They are not making this music because they want a recording contract.  They're making this music because it's what they believe in, and they really don't give a shit if anyone agrees with them or not.  This, of course, makes them very dangerous to the status quo.  Anyone not willing to sell out and step in line must either be crazy, a Nazi, a degenerate, or a criminal.  Mostly, Graveland get called all of the above by simpering so-called journalists, and "PoliticallyCorrect" knee-jerk pseudo black metal fans.  If you have a problem with Graveland, you don't "get" black metal.  Yes, their lyrics are all about pride in their heritage.  Yes, they are "pro white," as well as being very openly against anything Jewish or Christian.  (And, by the way, they consider Howie Levy's, (aka Anton LaVey's) "Church of Satan" part
of the Judeo-Christian landscape.)  No, they are not repentant about their beliefs, and no, they're not kidding.

Black metal, by virtue of its social standing as a carrier of chaos and destruction, must include everything from hardcore black metal faggots-- (Said affectionately, by the way. I respect the hell out of them!) who probably secretly own extensive Nana Mouskouri collections, to hardcore black metal anti-faggots who also say things like "nigger" "jew" "commie" and "dyke."  This does not mean that one sort of black metal fan is any worse or better than the other.  They're all part of the beautiful, terrible melee that *is* black metal in the first place. Graveland, with their "Immortal Pride" and ethnic rage are part of that cacophony, and anyone who's interested at all in black metal beyond the scope of just the fact that it "sounds cool" or will make people think you're a hardass, will be well served by taking a listen to some Graveland albums.  Graveland is the "grim, National Socialist black metal" your mother warned you about, and if you're gonna call yourself "black metal" you'd damned well better educate yourself about what questioning the world and being a nihilist really means, even if sometimes it means listening to Graveland-- because, to put it forthrightly, being "black metal" could very well said to be synonymous with "nihilism" and, as a rule, if you're "black metal" you'd better be ready to rip the post post-modern world to shreds.

Graveland are probably most appreciated in the black metal spectrum for the fact that they have created a unique sound
that has never been duplicated, but has been "copied" a million times over.  I suppose the sound would best be called "epic" or "folkish" or both.  Capricornus, Graveland's drummer, took the black metal drum style and stretched it out into a loping gait instead of a blistering holocaust.  The sound, therefore, is somewhat lilting, and the guitars also are slowed down and strung out over the drumming.  Certainly, Graveland are capable of picking up the tempo, but what makes them special is this wounded, limping soldier sort of sound that no one else has really been able to accomplish. (Some of the later work from Varg Vikernes' "Burzum" is similar though, and it's interesting that two of the most fanatic black metal personalities, one from Poland, (Darken,) and one from Norway, (Vikernes,) share such a common vision of an almost fragile, furious, delicate landscape.)  The vocals on Immortal Pride, (of course, since it's black metal,) are typically trollish and aptly reflect the notion of anti-singing and anti happy-harmony.

Robert Fudali, known as "Rob Darken" started Graveland as a one man project in 1991, and 1999's "Immortal Pride" is a fitting and worthy culmination of eight years' work.  The earlier albums approach the grand eloquence of Immortal Pride, but this one is, in my opinion, the most complete creation of what seems to be Darken's vision and desire.  It's sad, really, that information and recordings by Graveland seem to be getting more and more sparse.  Website after website that has attempted to carry information about Darken and Graveland has disappeared.
Happily, new ones reappear in hidden places, where only those who really want to know can find them, but this is gorgeous work, and it deserves to be included in the annals of revolutionary music by those who write about black metal and what has made it great through the years. Graveland are part of the brutish hateful pagan atmosphere of black metal, whether anyone likes it or not.  If they were a shitty band, they might be easily forgotten, but Rob Darken and those who have worked with him through the years deserve a little more than just a wave of the all consuming "PC" hand.  You may not like what Graveland stands for, or you may be passionately inspired by what Graveland stands for, but either way, this music represents some of the highest excellence achieved in black metal to date, and it's *not* going away.

Track Listing:
1. Intro (Day of Fury)
2. Songs of fire and steel//Outro (Servants of War)
3. Sacrifice for honour
4. Outro (To Die in Glory)

Graveland on this album are:
-Rob Darken
-Capricornus

Isengard Productions
Robert Fudali (Darken)
P.O. Box 1775
50-385 Wroclaw 46
POLAND

No Colours Records
Postfach 32
04 541 Borna
GERMANY

Unofficial websites:
http://darkwolf.black.art.pl/~hatred/Graveland/
http://www.angelfire.com/yt/xytraguptorh/graveland.html

Related:
http://www.splcenter.org/cgi-bin/goframe.pl?
refname=/intelligenceproject/ip-4l6.html
http://www.wweek.com/html/leada.html

So where can I buy this stuff?
http://www.blackmetal.com
(Just enter a search for "Graveland."  I've been buying stuff from Elden and Debbie for years.  They won't rip you off, and they're feckin' FAST.)
 

RANDY GRIEF
Alice in Wonderland -- 5 CD set
~reviewed by Kirin

In a world where the status quo is creeping numbness, a work like this is not just refreshing-- it's reason enough to indulge
oneself in something so rare as awe.  Randy Grief has created a body of work here that reminds us of the profound sense of *wonder* in Wonderland.  Grief uses deconstructed spoken text from Carroll's book, combined with a beautifully horrific atmosphere of altered natural sounds, electronic rhythms, traditional instruments, and that Other Thing of experimental
sound which can ever only be described as "landscape."  Grief prepares for us not so much an interpretation of Carroll's
work, as a *place* in which to experience Carroll's work again.  Grief's dreamscape brings to life a world in which to lose
oneself in Alice, in ways that two-dimensional mediums never could. Randy Grief's "Alice" has much more in common
with Grace Slick's psychedelic tribute to Carroll than anything Disney, Paramount, etc. have ever done.

Carroll's world and Grief's world converge around a dream of wonder, but, like any bright thing, there is a horror that must
come with it.  If it's been a while since you've read Alice in Wonderland, you may have forgotten darkness that is woven
through.  You may have forgotten that for every hooka-sucking bug, there's a decapitating queen.  You may have forgotten
that for every Cheshire Cat, there's a Mock Turtle.  Grief takes it all in, swirls it around lysergically, and gives it to us straight, no chaser.  The six hour experience of these recordings is life changing.  I can't possibly recommend it highly enough.  You don't even need blotter, just a good pair of headphones and a Sunday afternoon all to yourself.

Also with the CD set comes a series of five collectible cards.  I'll
quote now from the promo material: "Most interesting to collectors will be the "Alice in Wonderland" trading cards being published in conjunction with the release.  Sixty different cards have been created-- each corresponding to one of the sixty tracks on the CDs.  The image on each card evolves from the last, like the frames of an animated film.  The cards have each been printed in different edition sizes so that only 410 complete sets are possible. Five cards are included with each CD box set, but the cards will also be sold in packs of 10, in the tradition of collectible trading cards."  I find this trading card idea a delightful and appropriate addition to Grief's "Alice" because it appeals, as does the original story, to our childlikeness and our sadly endangered sense of play.  Don't misunderstand, this is no Range-Rover-driving SoccerMom pop psychology notion. Randy Grief has brought to life the antidote that Lewis Carroll carefully powdered and mixed against the Victorian strangulation of his time.  Grief's soundwonder is an antidote for the strangulation of *our* time-- the bizarre trading cards are perfect icing on a collection of sounds that are a most revolutionary cake.

Soleilmoon Recordings
http://www.soleilmoon.com
PO Box 83296
Portland, OR  97283

Lewis Carroll/Alice's Adventure in Wonderland websites:
http://www.cs.cmu.edu/People/rgs/alice-ftitle.html
http://www.wohnheim.uni-ulm.de/allerlei/alice/
 

Holger Czukay
La Luna Cd
~review by Aaron Garland

Before attempting to describe this 47-minute aural journey, a brief intro to Mr. Czukay may give things a little more perspective.  Holger Czukay's career goes back at least to the early 60's, beginning as a student of and later collaborating with Karl Stockhausen, who began studying electronic music in the 1950's.  Holger later formed the legendary and highly influential group Can in the late 60's, releasing a number of records that contained an often engaging yet difficult mixture of electronic and ethnic sounds.  It can be said that Can and Holger himself were the forerunners of much of the experimental music that emerged in the late 70s up to the present day.  After Can disbanded, Holger continued his solo career and 'La Luna' is his latest effort.

Recorded at his studio in his native Cologne, 'La Luna' is described as an 'electronic night ceremony', paying homage through sound and lyric to the moon - the ultimate feminine archetype of the cosmos in all its recurring cycles.  The music itself is representative of an ominous and foreboding soundtrack that keeps a steady pulse throughout all its manifestations but never really lets loose.  If you listen carefully, a wall of electronic cacophony and chanting voices slowly build around a steady drum rhythm but always remain at arm's length - never getting in your face.  This approach seems to give the recording a lot of depth, as well as a mental picture of an endless dark hall of distant and strange occurrences, but not distant enough that you are completely safe from their reach.  If you're so inclined, I'd recommend putting this one on before bedtime - by the light of the moon, of course.

Track listing:
- an electronic night ceremony

Tone Casualties
6353 Sunset Boulevard
Hollywood, CA 90028
 

Hypocrisy
Into The Abyss
~reviewed by Matthew

Hypocrisy has descended into the abyss; ‘Abyss’ studios, that is, for their seventh bludgeoning studio release that compromises for nothing and is probably the most aggressive release since their first two albums. Over the past few years, Peter Tagtgren has taken his well-polished machine forward and has solidified Hypocrisy’s ranks as one of the greatest and well-revered dark metal acts ever.  He has experimented with various degrees of atmospheric melodies and occasional genre bending with gothic metal and black metal, but with this new release he utilizes all he has learned and experienced since the beginning to craft one of the most uncompromising and complex releases the band has yielded yet.

‘Into The Abyss’ is much heavier than recent CDs, and this is stated firmly and loudly on the opening track “Legions Descend” sears your speakers instantly and doesn’t break the blistering and chaotic momentum until the third track, “resurrected.”  It is this track that stands as my favourite off this CD, and perhaps one of my favourite songs they have done.   It is sublimely eerie and sinister due to strange vocal effects and chilling guitar harmonies atop a wall of pounding drums.  Atmospheric, but certainly not pretty or ambient.  This is outright evil!  They follow it up with the punkish, thrash of “Unleash The Beast” and that they do just that, as the song will no doubt be a live favourite that will drive crowds to a frenzy. “Digital Prophecy,” though in its riffing and orchestral interlude is indeed quite melodic, the vocals are still abrasive and the overall song is very intense.  “Total Eclipse” just simply tears things up as does “Sodomized,” however, “Unfold The Sorrow” has a cool driving Goth rock on crack kinda feel and “Death Row” is an excellent closer that hearkens back to the more atmospheric pieces on “Final Chapter” and last years self-titled effort. “Into The Abyss” is bar none a back to basics type of CD for Hypocrisy, doing what they do and doing it at the high caliber that they are known for, though with a bit more anger than recent years.  This an excellent release that will delight older fans who missed their straight forward attack and it will please newer fans with its technicality and guitar craftsmanship.  Highly recommended.

Track List:
1.) Legions Descend
2.) Blinded
3.) Resurrected
4.) Unleash The Beast
5.) Digital Prophecy
6.) Fire In The Sky
7.) Total Eclipse
8.) Unfold The Sorrow
9.) Sodomized
10.)Death Row (No Regrets)

Hypocrisy is:
Peter Tagtgren : guitars/vocals
Mikael Hedlund : bass
Lars Szolke : drums

Official Site:
http://www.hypocrisy.com

Nuclear Blast Records
http://www.nucelarblast-usa.com
 

In The Nursery
Exhibit
~reviewed by Vassago

A year after Groundloop was released ITN returns with EXHIBIT, a compilation and snapshot of recorded works covering 12years of this band’s history from 1986 to 1998; especially released
for the South America market.

For people unfamiliar with In The Nursery, this album is a opportunity to meet one of the most important musical groups of its genre. Its music can not be defined with some words or boundaries.  ITN’ s music is something personal, something unique. Something that only the Humberstone brothers can feel
and feed with life. In a season that feelings like fear, agony, love, despair and loneliness dominates our souls, they know exactly how to create a soundtrack of that  experience almost as if the songs were written for you. Symphonic in its profile, electronic
in its execution, cinematic as far as it concerns the whole climate, all these created by orchestral percussion and vocals sang by an angel.

My opinion about this group was expressed in  the Groundloop review (see our Archives) so I won’t say anything else. Enjoy the  moments of this CD -- a review to the history of this very special and unique band. This CD is also released in a limited European edition which features a specially designed slip case cover.

Tracks: Timbre/Guarded Rites/ Te Deum/To the faithful/
Sesudient /Blue Religion/Sense/Belle
epoque/Duality/Anatomy of a
poet/Hallucinations?/Deco/Syarcuse/
Carroussella/Miracle road/Poema

http://www.inthenursery.com
email: itn@itncorp.demon.co.uk
UK information 0114 272 8726
 

JUNO REACTOR
Shango
~reviewed by Psionic Imperator

I was introduced to the world of Psychedelic/Goa Trance via Juno Reactor's "Beyond The Infinite" album, the third release for the project. So I'm a latecomer to their material. But by now I'm quasi-versed in their sound, a virtually trademarked fusion of trance and ambient. Why am I quasi-versed? Because "Beyond The Infinite wasn't merely an introduction to hard techno for me, it was practically a religious text of how aggressive electronic music should sound, and Juno Reactor remained my trance-messiahs until I heard the 'Element Over Nature' project and 'X-Dream'. But I digress.. I love Juno Reactor, and I pretty much always have. So imagine my surprise upon finding this little gem of an advance copy in my mailbox yesterday. Recently signed to the seemingly unstoppable powerhouse label Metropolis, Juno Reactor stand out as one of the most established acts signed to Metropolis. Formed in the early 90's as a soundtrack project, Juno Reactor has released 2 albums on NovaMute records ('Transmissions' and 'Luciana') as well as 2 albums on BlueRoom records ('Beyond The Infinite' and 'Bible Of Dreams'). And now we have the fifth offering, "Shango" (The Nigerian God of Thunder.. Viva le Nigerian Gods, if they all come wrapped in soundtracks this cool...). Continually growing in sound and scope, "Shango" is perhaps the most ambitious offering yet from Juno Reactor, and thankfully that ambition is not beyond the reach of Juno Reactor's creative abilities. This slab of shiny plastic stuff kicks off with an extremely imaginative blend of spanish classic guitar and traditional psy-trance. Sound unlikely? Not at all. 'Pistolero' captures all the energy of spaghetti westerns, bull-whipped into shape with cyberpunk sensibilities. An interesting post-it note to the track is the inclusion of Steve Stevens (Ex-Billy Idol guitarist) handling the fretwork. Following 'Pistolero', the equally creative but more energetic 'Hulelam' pounds at us with a fabulous swing-jungle-breakbeat feel.

Awwwww Yeeaaahhh...

For these two tracks alone this album is worth paying full price. Following these tracks is 7 standard Juno Reactor songs. That is to say, very good. But not as ground breaking as the first two tracks. All the hyper-mood established in the first two tracks gives way to ambient washes, music that fits flawlessy as the backdrop to a cyberpunk novel. The addition of Alex Paterson (The Orb)does offer some nice polish, though. Juno Reactor seem to be developing a habit with this sort of thing, as 'Bible Of Dreams' was the same way. Pound for pound, however.. This is the strongest I've heard Juno Reactor since the 'Samurai' single from 'Beyond The Infinite'. No small praise, trust me. Slated for an October 17th release, 'Shango' seems, to my ears, destined to squash dancefloors all over the world. "Shango" is a welcome reminder that there is still glorious creativity lurking out there....

Release Date October 17th, 2000
Released on Metropolis Records
Tracklisting:*
1: Pistolero (Feat. Steve Stevens)
2: Hulelam
3: Insects
4: Badimo
5: Masters Of The Universe
6: Nitrogen part1 (Feat. Alex Paterson)
7: Nitrogen part2
8: Solaris
9: Song for Ancestors
(*This is the tracklisting of an advance copy, the actual release may differ from this listing.)

Juno Reactor contributors:
Ben Watkins
Mike Maguire
Johan Bley
Paul Jackson
Stefan Holweck
Jens Walderbeck
Steve Stevens
Amaphondo
Alex Paterson

Juno Reactor Web Presence:
http://www.blueroom.co.uk/juno_reactor/
http://reactorleak.cjb.net/

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

KING DIAMOND
House of God
~reviewed by Kirin

Let me be frank.  Most people who do reviews for magazines and ezines get all of their reviewing material for free.  What this means to you, the reader, is that the person you are trusting to give you an honest opinion or description of the music, isn't going to give you an unbiased review.  The average reviewer wants to *keep* getting free CDs from the record companies, so reviews are very slanted in a way that will allow the reviewer to continue being supplied by the record companies.  Am I clear?  Very few reviewers are willing to be absolutely honest in their reviews of music because they don't want to lose their steady supply of free CDs.  This is why I myself have been making concerted efforts to cut off my official record company connections, and to purchase for myself the music I review for Starvox. This allows me to put myself in the same exact shoes as you, the reader.  Like you, I have to scrounge together money for the CDs I hear, and if I pay $17.99 for a brand new CD and it *sucks*, I'm damned well going to tell you about it.  Not that I've ever been shy about saying if I don't like something, but I believe that the reviewing process as it stands in music today is a scam and a disgrace.  The record companies
are just using writing lackeys to promote their CDs, and the writing
lackeys are so greedy for free CDs that they don't even realise they're being had.  This affects you, the reader, in that you're not getting proper and honest information from the average reviewer who may not even be QUALIFIED to write reviews, but who will consistently give the record companies the reviews that will sell their records.  I wonder how different the music industry would look if suddenly everyone who reviewed music had to purchase that music.  I imagine a lot of absolute shite that gets called "progressive" and "inventive" would be tossed in the bin like it should be, and the truly great music that gets forgotten because it's not signed on a big name label might be heard by the people who would appreciate it most-- you, the lover of music, out searching for decent, competent reviews to assist you in future purchases.

Thus said, I went and plunked my money down for this King Diamond CD just like you'll have to if you decide to buy it.  I came home and unwrapped the lovely limited edition digipack.  The artwork, as one expects from King Diamond, is excellent, and the lyrics are included.  I put the CD in, the headphones on, and put my feet up.  Hell yeah.  This was worth every last cent.  Tighter than ever, King Diamond delivers once again.  If you're familiar with King Diamond at all, you'll know that the King Diamond albums are all themed albums that tell a story as they go.  This particular album tells one of the most fascinating stories King's come up with yet.  It's loosely based on the myth surrounding Jesus Christ, which suggests that he escaped death on the cross, and was spirited away to Southern France where he married Mary Magdalene and set up a secret church which still exists today.  If you'd like to read more on these notions, I'd suggest the book "Holy Blood, Holy Grail," or "Bloodline of the Holy Grail."  Both are available through the major online booksellers and can surely be ordered from a local bookstore in your area.  (I'll post full title and author names at the end of the review.)

The music, lyrics, singing, and artwork on this album are some of
the best the King has ever produced.  Furthermore, I caught the live
show recently at the Key Club in Los Angeles, and if King Diamond is coming to your town, you absolutely MUST see him.  His voice is strong and clear, the band is tight, (inspite of technical problems on that particular night,) and if you've never seen King Diamond live before, I can only tell you that you're missing a truly religious metal
experience. I will also add that you, dear reader, should furthermore be aware that most reviewers who review live shows don't have to pay to get into them, and they'll generally give shows a good review, once again, so they can get into more shows for free in the future.  I'll have you know that I paid *dearly* to get into the Key Club, (god, it was a hot, crowded night!) I also had to pay some exorbitant fee for parking, and beer was four dollars for a teeny plastic cup, but the show was so awesome I didn't even give a shit.

So there you have it.  An honest to god just-like-you review from
someone who put their money down and is giving you the skinny on King Diamond these days.  He rocks.  Hard.  You've gotta get this album, and if you have the chance to see the show live, DO IT!

Track Listing:
-Upon The Cross
-The Trees Have Eyes
-Follow The Wolf
-House Of God
-Black Devil
-The Pact
-Goodbye
-Just A Shadow
-Help!!!
-Passage To Hell
-Catacomb
-This Place Is Terrible
-Peace Of Mind

King Diamond (on House of God) are:
King Diamond: Vocals, keyboards.
Andy La Rocque: Guitars, keyboards.
Glen Drover: Guitars.
John Hebert: Drums.
David Harbour: Bass guitar.

Metal Blade Records:
4025 E. Chandler Blvd.
PMB 70-D7
Phoenix, AZ  85048
http://www.metalblade.com

Official King Diamond webpage:
http://www.geocities.com/SunsetStrip/Amphitheatre/1236/index.html

King Diamond webring site listing:
http://www.webring.org/cgi-bin/webring?ring=kdring;index

Reference material regarding the church
and ideas mentioned in the "House of God" story:

"Holy Blood, Holy Grail"
by Michael Baigent, Henry Lincoln, Richard Leigh
Dell Pub Co; ISBN: 0440136482

"Bloodline of the Holy Grail : The Hidden Lineage of Jesus Revealed"
by Laurence Gardner, Laurence Gardiner
Element; ISBN: 1852308702
 

The Last Dance
Perfect
~reviewed by Matthew

I first heard this bands years ago, and it was via their Cleopatra Goth Box appearance with the track “Do You Believe In Angels?” and I REALLY liked that song and to this day I adore it.  I have been anxiously awaiting to hear more from this band, whom I was hoping would have more driving, club friendly tracks such as this one that would rank up there with say, Big Electric Cat or The Prophetess, both of which were GREAT mid 90’s Gothic rock acts.

Though I was not necessarily disappointed with this release, I was kind of surprised.  The music is excellent, the vocals superb, but my main gripe about this CD is that there are a few tracks that are just a bit too sentimentally poppy and commercial for my tastes.  If there ever was a call for a gothic boy band, these guys would be the perfect candidates.  The core of the music definitely fits the bill for Gothic rock, with processed guitars, upbeat drums, swirling keys, and soulful male vocals.

Fans of Bella Morte, Switchblade Symphony, and The Cruxshadows would really dig this, and I suppose many 80’s synth-pop fans might enjoy The Last Dance immensely.

The promotional CD that I received contains four bonus tracks that appear on a limited edition digi-pack version of this release.  These are EXCELLENT club remixes of this band and COMPLETELY emphasize the beauty and feeling of the vocal harmonies and guitar melodies.  These songs would serve as unbelievably wonderful additions to any good DJ’s nightly playlist.  And to my delight, one of those remixes was indeed “Do You Believe In Angels?”

My advice to The Last Dance is to maybe try and thicken their sound with a more danceable approach…because I do not feel their talent and potential is being reached with their traditional somewhat saturated yet undeniably energetic and uplifting Goth rock style.  After hearing the remixes, I was swooning with thoughts of what this bands next CD could sound like.    The
Last Dance is certainly a band with lots of experience under its belt and I look forward to hearing more music from them.

Track List:
1.) Winter
2.) Fairytale (The Storm)
3.) The Haunting
4.) Perfect
5.) Parade
6.) Regret
7.) Without Words
8.) Lost
9.) Lullaby
10.)10
Bonus Tracks:
11.)Winter (Standing Still)
12.)Regret (Trick Mix)
13.)Perfect (the Eleven Mix)
14.)Do You Believe In Angels (EDE)

The Last Dance Is:
Jeff Diehm – vocals
Rick Joyce – guitars
Peter Gorritz – bass
Robert Schott – keyboards
“Lukcy” Ivan D. - drums

The Last Dance/Mystine Records
P.O. Box 9685
Fountain Valley, CA 92728-9685
http://www.thelastdance.com

MAYHEM
Grand Declaration of War
~reviewed by Kirin

Over and over I hear reviewers, "black metal" fans and other People With Opinions saying that this album is "ambitious" and "experimental" and that Mayhem should be commended for it.  One, I find it is "ambitious" only in that it takes a fairly large pair of gonads for Hellhammer to show his face in public after putting Mayhem's name on a piece of work this disjointed, formulaic, and downright boring.  Experimental?  Maybe for the musicians involved, but not for black metal in general, and certainly not musically groundbreaking by any stretch of the imagination.  Neither "themed" black metal albums nor the mixture of "techno/ambient" music with black metal are new ideas.  Unfortunately for Mayhem, not only are the ideas not new, Mayhem don't even pull it off very well.

There are moments where shades of Hellhammer's drumming expertise shine through, but for the most part, it feels like he's doing the whole thing with little or no real challenge.  What was tolerable on "Wolf's Lair Abyss" is now apparent as the rut that the "new" "true" Mayhem are not capable of (or are unwilling) to pull themselves out of.  Gone are the days of furious, beautiful chaos.  The "black metal" on this album is so sterile and technical that it might as well fall in step behind the mass of pre-packaged death metal bands that were spawned when death metal sold out too.  Even when I closed my eyes and tried NOT to hear this as a "black metal" album, it's still not interesting music.  There's just no passion here.  It's rote.  Even worse, the vocals sound like some sort of televangelical carnival barker harping on about wars in heaven and the like. When Maniac isn't doing the carnival barker routine, he's trying out some new version of "black metal" rap which is laughable at best and insulting to the listener at worst.

The album is supposed to be broken into two parts.  The first part is supposed to be all pre-war fury, and the last part is supposed to be the aftermath of the apocalypse.  The problem is that the songs are so disjointed and unfocused that the "two part" scenario is lost in the clutter.  If this is a transitional album, and Mayhem wish to proceed in a more "technical" (i.e. electronic) direction, I hope they study the work of say, Ulver and Samael long and hard before they try something like this again.  If this is to be considered an "experimental" album, we can only assume that the band was still experimenting as the tapes rolled, since they seemed to be unsure what it was they were trying to create from the first note to the last.  In a few words, it's a sad mess.

What troubles me even more, is that American metal fans and magazines are heralding this album as the sign that black metal has finally matured, arrived, and become "the next big thing" in metal.  Instead, what this album signifies to me is that black metal has now officially become a product-- a commodity that can easily be copied, packaged for consumption, and sold with its soul removed.  The same thing has happened over and over in American society for as long as history records the sale of sound.  Everything that is even remotely or  genuinely rebellious, eventually becomes eviscerated, sterilised, and sold to the highest bidder.  This is why I harp on and on about the tragedy of black metal bands "selling out," NOT because I'm some sort of asshole purist that allows for no growth or experimentation.  The fact that Mayhem joins a LONG list of black metal bands that were once virile and passionately dangerous to the status quo is what saddens me and disturbs me.  If this new Mayhem album is as aggressive and "real" as Americans want their "black metal" to be, then we're even more dead than I thought.  If the "underground" in America can be satisfied with this tripe, then the people who are truly alive and awake and paying attention are becoming fewer and further between.  Just as the decadent crap music of the 70s was a result of the commodification of what was once truly passionate rebellion-music in the 60s, and just as Green Day and Rancid are the capitalist made-for-lunchpail and t-shirt sales answer to Crass and Flux of Pink Indians, this Mayhem album is the death-knell of the fabulous, feral beast that once was black metal.  I believe that "true" black metal (in technique and in spirit) will continue in various places around the globe, but it will likely have to find itself a new name in order to protect itself from being associated with this Disneyfied bullshit that's being called black metal in America.

Track Listing:
1. Part II
2. A Grand Declaration Of War
3. In The Lies Where Upon You Lay
4. A Time To Die
5. View From Nihil
6. Part III
7. Il Principe
8. A Bloodsword And A Colder Sun
9. Completion In Science Of Agony
10. To Daimonion

Necropolis Records
Box 14815
Fremont, CA  94539-4815
http://www.necropolis.com

Old Mayhem albums I recommend:

"Deathcrush":  I recommend this only because it's so truly awful. It's amazing to listen to this and then compare it to the brilliance that came after.  Plus, every once in a while, I get in the mood that I want to hear something with production values so bad, and musicianship so violently awful it makes my guts hurt.  Deathcrush fulfills that need.
 

"De Mysteriis Dom Sathanas":  Sadly, most of the lyrics written for this album were not sung by the man who wrote them-- (the infamous "Dead," whose suicide has made him the poster boy of the "Why Black Metal Is Evil And Should Be Stopped" brigades.)  However, Atilla, from the band Tormentor, does a fine job of sounding psychotically unhinged.  If you're interested in hearing the polyrhythms, textures, and classical music influences that made black metal wholly unique, this is a great first album to purchase and play endlessly.

[Note:  The Mayhem album "From The Darkest Past" is a rehearsal tape from the De Mysteriis album, without vocals, and also features Varg Vikernes on bass, who later murdered Euronymous, thus ending Mayhem, for all intents and purposes.]

"A Tribute to the Black Emperors":  This is a Morbid/Mayhem split. The "Morbid" part isn't that great, and it's certainly not black metal. How it got onto this album is beyond me.  The Mayhem songs though, are worth having to skip past the Morbid stuff for.  The vocals on all four Mayhem songs are sung by Dead, (my favourite Mayhem vocalist, by far,) and the four songs, "The freezing moon", "Deathcrush", "Necrolust" and "Funeral fog" are hands down black metal classics.

"Dawn of the Black Hearts":  This is the CD which is famous mostly because it features a photo taken of Dead after he'd killed himself. The sound on the album is very bad-- it's all recorded live, and only someone who REALLY has to have every thing the OLD Mayhem did before they became this awful joke they are now, should get Dawn of the Black Hearts.  It is interesting in that they do play some *really* old songs, but other than that, I recommend this only if one must have it for posterity.

[Note:  Incidentally, I got to see a picture disc of the "Dawn of the Black Hearts" album recently, at this cool little place off Hollywood Blvd. in LA, called "The Museum of Death." Anyone in or near LA who's interested in immersing oneself into the darker corners of the human experience will enjoy the Museum of Death.  It's only about $7 to get in, and it's worth every penny. Plus, they regularly have readings by horror and other authors whose writings have some connection with death, murder, dying, and so on. As for the picture disc, it's brilliantly beautiful, but judging by the prices they go for on Ebay, I'll just have to enjoy seeing the one at the Museum of Death.]

Museum of Death address:  6340 Hollywood Blvd. at Ivar.
For more info: 323 466 8011.

"Live in Leipzig": Warning. The sound on this is horrid, because, as the title says, it's recorded live, but it's one of very few official Mayhem recordings with Dead on vocals, so, quite frankly, I consider this album imperative. In my mind, it will forever be a tragedy and a great loss that Dead chose to end his life before Mysteriis dom Sathanas could be recorded.  His vocals were exceptional, and, had he lived to participate in Mysteriis dom Sathanas, it would have been a veritable black metal masterpiece.

There are other Mayhem albums out there, but I either haven't heard them, (as in the cases of "War and Sodomy," "Ha Elm Zalag," and "Out From the Dark," and others, plus the many split releases with bands like Darkthrone and Zyklon-B,) or else I just can't recommend them because they're awful... as in the case of "Grand Declaration of War."  Nevertheless, I hope that by including some of the albums I do recommend, it will help separate the wheat from the chaff when you're attempting to put together a decent black metal collection on a budget that prevents you from being able to purchase every little thing that can be coughed up and sold on Ebay.

Related sites:
-My favourite unofficial Mayhem fan page:
http://www.angelfire.com/ut/FromTheDarkPast/
-Nihilism, death and black metal, etc.: http://www.anus.com/
-An excellent internet radio station with which to explore the realms of black and death metal:  http://www.kcuf.org/
-Napster:  A helpful tool with which to hear black metal and decide if you like it well enough to go purchase the whole cd:  http://www.napster.com
-Mp3.com's black metal chart:
http://genres.mp3.com/music/metal/black_metal/
 

Various Artists
Another Prick In The Wall - A Tribute To Ministry Vol. 2
~reviewed by Psionic Imperator
 

Ahhh, Ministry... The name conjures up fond memories for so many of us weaned on the pre-Metropolis days. Along with the likes of Skinny Puppy, Einsturzende Nuebauten, and Nitzer Ebb, many a drug-induced night has been spent by us long-toothed survivors of the mid-80's Industrial scene listening to the raw sounds of Grandpa Jourgensen and Crew. With that in mind, Invisible records delivers the second installation of a great concept that has, unfortunately been poorly executed... Another Prick In The Wall, A Tribute To Ministry.

According to my Collins Pocket English Dictionary;

TRIBUTE n. 1: A sign of respect or admiration.
                     2: Tax paid by one state to another.

In the case of this compilation, neither of these two meanings apply to what the artists have chosen to do. I have found this to be the case overall with "Tribute" albums, but so far I find this to be the single worse example of gimmick-ism yet. A companion to the "Wish you Were Queer" tribute, this release lacks even the 3 stand-out tracks that saved it's predecessor.

Starting with an atrocious rendition of "Land Of Rape And Honey", the Electric Hellfire Club sets the standard, such as it is, for this dissapointing cd. "Flaccid" seems to be the buzzword for all the tracks, with a great selection of tracks chosen... to be butchered. What made Ministry so great was energy and passion. This fact has escaped virtually all the artists who have contributed, most notably with "Jesus Built My Hotrod" hacked up by Shining, "So What", regurgitated by Terminal 46, and perhaps worst of all, "Thieves" crucified courtesy of Resident Phase Shifter. Meg Lee Chin, who delivered one of the few standout tracks on "Wish You Were Queer", is virtually unlistenable this time around with "Just One Fix". As far as I can see, about the only band that got the point and paid tribute to Ministry, as opposed to merely reinterpreting according to whimsy, is Attrition, with their moody, inspired version of "Cannibal Song". Beyond that, this cd is a huge letdown, from beginning to end. Is this truly the best the scene can do as a salute to a band whom we all owe so many fond memories to? I hope not. It's insulting.

"Another Prick In The Wall - A Tribute To Ministry"
Released on Invisible Records
Tracklisting:
1: The Electric Hellfire Club - "Land Of Rape And Honey"
2: Shining - "Jesus Built My Hotrod"
3: En Esch - "Work For Love"
4: Meg Lee Chin - "Just One Fix"
5: Terminal 46 - "So What"
6: Resident Phase Shifter - "Thieves"
7: Attrition - "Cannibal Song"
8: The Aliens - "She's Got A Cause"
9: Dessau - "Revenge"
10: Deist Requiem - "Deity"
11: Sons Of Midnight - "You Know What You Are"
12: Heavy Water Factory - "Just One Fix"

Invisible Records Web Presense:
www.invisiblerecords.com
 
 

MINDSPAWN
Conversing With Zardoz
~reviewed by Edwin Somnambulist

Conversing with Zardoz is the first full-length ambient release of
Mindspawn, and is a retrospective of sorts, of work done between 1993 and 1999. The sound of this album is primarily noise art, but it also has a lot of conventionally pleasing music underlying the random sampling.

I've recently taken to listening to new music while relaxing in my bathtub, and before you all go about picturing me naked, I've included this for a pertinent reason: acoustics. Typical shower acoustics are perfect for listening to music like this, because all the resonance and echoing makes it seem like the music is coming from all directions at once while simultaneously coming from inside your head. And that's what bands like Mindspawn are out to do. They're trying to get inside your head.

I define good noise art as the sort that can tweak different parts of your brain, sometimes without you even noticing, and Mindspawn is able to do this. The melodies of the songs are very harmonic, and lapse you into a state of bliss, while different samples or modulations pick at different chords of your mind. The most important thing to do with music like this is to really listen, even if it's only background listening, and let the music
do its work on you.

This would definitely be a good relaxation CD, but it's also good for background music for any task that involves creativity or intense thought, as I find the sounds tend to loosen up your brain and make free-thought much easier. Summer of 2000 is the expected release period for Mindspawn's album of new material, entitled "Darkness Weaves" and if it's anything like this work, I'm eagerly anticipating it.

Tracks:
1. Joining Genesis
2. Rites
3. Sepulcher of the Witch
4. REM
5. PEK
6. Silently
7. Offering

Mindspawn is D. E. Williams

Band Contact Info:
Website: http://www.mindspawn.com/
Email: spawn@mindspawn.com

Label Contact Info:
Website: http://www.xcentricrecords.com/
Email: info@xcentricrecords.com
Smail: 693 Washington St., Winchester, MA 01890 USA
 

Monster In Your Closet
Moma’s Boy
~reviewed by Sonia

The Cd Moma’s Boy  by Monsters In Your Closet has got a wonderful sound to it. I really enjoyed this cd. This group of four from Columbus, Ohio have many influences: SwitchBlade Symphony, My Life With the Thrill kill Cult, Ministry, and Leather Strip to name a few. This is a five track cd so on to number one.

1. "Momma’s Boy" - Very danceable track. Good bass riff and a great dark feel. Great male vocals with what seems like a small bit sampling. I would love to hear this in a club.

2. "Sheep" - Starts off with a 70’s rock sound but still keeping to it’s dark feel. The guitar is nicely catchy. The vocals on this one are very soft, I could barely make them out. What I really like about this song is how it reminds me of Queensryche.

3. "Husky Bitch" - Here is a fun song! I would like to hear this one played after Suzie and the Banshees’ Peek-A-Boo and Concrete Blonde’s song about New Orleans.  A very energetic sounding song.

4. "False Gods" - This one sounds more industrial. Great beat and washed out vocals. Keyboard and drums sound good too. This one is my favorite on this cd.

5. "Paradise Lost" - This is a short instrumental song. Very nice and mellow with the dark ambiance that I appreciate.

I would suggest you check this one out. I was really impressed by it.

You can hear them at http://www.mp3.com/myc and if you like the cd they advertise it standard mail for a measly $7.00.
Whether though MP3.com,  Magnolia Thunderpussy or Used Kids Records.
http://thunderpussy.com/
http://www.usedkids.com
Check out the MYC website at:
http://www.geocities.com/monsterinyourcloset
 

Orphanage
Inside
~reviewed by Matthew

One of the more unique and lesser known of my favourite Gothic metal bands, Holland’s Orphanage has just recently been signed to Nuclear Blast Records.  This will hopefully help them distribute their music to a wider audience, as many have never heard of these guys. Their sound is very distinct when compared to other doom or Gothic metal bands, as there is a greater focus on groove and rhythm which is established through dense Sabbath-esque riffing and loose, swinging drum patterns.  Even the male vocals have a noticeable rhythmic precision, as the guttural barker of a vocalist traded his skins and sticks for the microphone long ago.

Yet  there are two sides of the coin with this band, and it is the duality  between groove-oriented death metal and beautiful interludes of bleak guitar harmonization, Gregorian choirs, classical instrumentation, and of course, the extremely talented female vocals of Rosan.  Her range is impressive and the rich quality of her voice makes her stand out amidst the lengthy list of female vocalists in this genre. When compared to early material, of which there are two CDs available through the Dutch label DSFA Records, this CD is much heavier and aggressive but the Gothic elements are more developed and emotional.  The title track,  “Deal With The Real,” and the closing track “From The Cradle To The Grave” are the finest examples of the bands melodic elements.  The later track, lyrically explores the sorrow of a stillborn child and though seemingly morbid, it is a very impressive and touching track.  An eerie sample of a  child’s giggle and a music box draws this entire bleak opus to a close, leaving a chill of Romantic gloom and a fulfilling smile of satisfaction. There is a little something for everyone, as the CD definitely has a wealth of aggressive tracks that have a sound that is akin to some of the leading current hardcore/death metal acts in the scene but the musical and atmospheric elements are some of the most interesting and refreshing that I have heard in quite sometime.  I knew I wouldn’t be disappointed with this release, and I hope that with their new deal with Nuclear Blast, Orphanage will definitely reach a greater audience.

Track List:
1.) Grip
2.) Twisted Games
3.) Inside
4.) The Stain
5.) Pain
6.) Deal With The Real
7.) Behold
8.) Weakness Of Flesh
9.) Kick
10.)Drag
11.)From The Cradle To The Grave

Orphanage is:
George Oosthoek – vocals
Rosin Van Der Aa – vocals
Lex Vogelaar – guitars
Guus Eikens – keyboards
Eric Hoogendoorn – bass
Erwin Polderman – drums

Official Orphange Site:
http://utopia.knoware.nl/users/orphanage

Nuclear Blast Records:
http://www.nuclearblast-usa.com

Pseudocipher
~reviewed by Michael Otley

Pseudocipher's debut CD is an interesting intoduction to a band based in electronics with a soulful sensibility presented through guitars and voices. While this works as an entire album, each song also carries it's own personality.  I hear elements of The Gathering and Depeche Mode in these songs though by no means are they just fitting into a sound created by someone else.

The first song, "11:14", has a Depeche Mode/David Gahan sensibility with heavy sterile guitar.  The second evolves into a harder, more dramatic piece with female vocals.  Lyrics all deal with some issue, for instance the third track, "Time", sends a 'carpe diem' message.  The most creative song lyrically is the electronic bliss song "Symmetry" confronting issues of the industrial and 'symmetrical' world.  Kind of like one of those great future-gone-wrong books.

"Daddys Girl" is somewhat touching and quite blatant in dealing with its shaeful subject.  It begins with a nursery-rhyme style until it contorts into the complexity of it's subject, the shame of a female created by men and their sexual approach.  "An Excerpt from Station2" begins like a Danny Elfman piece.  The following song, "Mentor", is solely performed on acoustic guitar and female vocals, which turn a bit too dramaic for my taste.

The pieces are quite varried, but Pseudocipher are presenting a cohesive release.  My favorite moments are the subtle changes in electronics and when male and female voice work together.

Pseudocipher:
Wyman Gentry
Rhonda Amber
Christopher Anton

Tracks:
1. 11:14
2. Confession
3. Time
4. Symmetry
5. Daddys Girl
6. Purgatory
7. An Excerpt from Station2
8. Mentor
9. Embryo
10. Pretty
11. Purge
12. Pretty2

Rhythmick Records Ltd.

www.pseudocipher.com
pseudocipher@pseudocipher.com
 

SOULCHASM
My Greatest Choice
~reviewed by Psionic Imperator

We live in an age of unprecedented musical availability. We are ever-inundated by a perpetual flood of new 'projects', put out by every Joe with .50 cents to rub together towards gear. And in many cases, not even that.. Warez software being what it is, and all. Amongst all the drek, there comes forth the occasional work of genius. Only slightly less rare than these works are the 'Diamonds in the rough', musical works that hint at greatness to come.

Such is the case with Soulchasm.

Soulchasm is the nom de plume used by one Cklay Lee. That is, unfortunately, all the information readily available on this project. No web-presence, and the bio that accompanied the promo CD-r was oddly devoid of pertinent information. So I guess that leaves us with the core of the review itself.

My Greatest Choice starts off with 2 tracks that somewhat reminicient of early Nine Inch Nails. Thankfully this is a limited effect, and the true moments of creativity come about by track three.. Or, to be more specific, when the vocals stop. You see, the only true problem with Soulchasm is Cklay Lee's love affair with the "Trent Reznor Vocal Preset Effects setting # 3." That is to say that in choosing the particular effects he has, the vocals sound just like 'Pretty Hate Machine'-era NIN. Well, it was almost tolerable then, but it sure ain't now. The upside is that Cklay Lee's voice isn't bad. Play around with the effects a little more, and he'll really be on to something.

After the second track, Soulchasm goes on to become a very multi-layered creature, full of passion and emotion. Track 4 in particular, "Release Her", has 'Intelligent Dancefloor Hit' written all over it. The structure of the material is solid, progressing along nicely without ever really overstaying it's welcome. The disc comes with 2 remixes of the title track. One of which is a subdued trance-techno piece, the second being an almost powernoise interpretation. All in all, this material has an underlying strength that is lacking in much of the new independant material flooding the market these days. With a little cleaning up, production-wise, this project will truly shine...
This is the stuff that we will all be drooling over in the future.
 

SOULCHASM
"My Greatest Choice"
1: My Greatest Choice
2: Who You Deserve
3: Breathe
4: Release Her
5: My Greatest Choice Trance Remix
6: My Greatest Choice Noise Remix

Cklay Lee - Synths, Programming, Sampling
soulchasm@hotmail.com
P.O. Box 1331
Simpsonville, South Carolina, U.S.A.
29681
 

Spectralux
Live @ The Earl
~reviewed by Blu
 

Local promoters in Atlanta had told me about this band saying they had the raw energy and spirit the likes of Jim Carrol. My interest was peaked and during my time in Atlanta I got to see them open for other acts twice. They are impressive live and I liked them more and more every time I heard them. They don't have a webpage yet  to my knowledge and this LIVE CD is the only recording they have at the moment (they do have a mp3 site though -- see below). Witness the birth of a band -- one that may go on to become a local legend.

"Suburban Boys and Girls" is my favorite track of theirs -- a mix between psychedelica and the rawnes of Kurt Cobain. With its sing-songy melody and rebellious stance against the status quo, you can't listen to this song without eventually rocking along with it. Live - their vocalist is intriguing to watch as he waivers between dream world and spasms much like Ian Curtis used to do -- so consumed in their music that they are lost to their surroundings.

The energy and urgentness in "Viceroy" reminds me much of my days in college seeing numerous budding bands perform -- new and real and honest before they got jaded by the music industry.  "Forty Yellow Nebutols" is probably the song they earned them the  "sounds a bit like Bauhaus" compliment -- the old school Bauhaus that is -- which is saying quite a lot.

This band is new and full of potential. I hope they find their path and continue to impress me with their vision.

Tracks:
Suburban Boys and Girls
Viceroy
Milk Carton Abductees
Forty Yellow Nebutols
El Dia De Los Muertos
Mass Instinct
Threats to Turn Inclimate

mp3site: http://artists.mp3s.com/artists/128/spectralux.html
(warning: due to the nature of their background on this site, its extremly difficult to read anything here-- word of advice boys-- change your text and link colors so we don't go blind!)
email and info: spectralux@hotmail.com
 

Sumerland
and all is always now - 3 song EP
~reviewed by Blu

"The music is all around us and always has been. I am merely an instrument for it's translation." - David, Bass

This review has been a long time coming - from me at least, and to that extent I owe this talented band a bit of an apology for taking so long to rave about them. Over a year ago, I had a friend in Portland, who told me about a local band there - Sumerland, that so moved her when they played that she was compelled to dance the entirety of their shows. She asked me if I thought that was weird or if the band might considerate it disrespectful. "No," I said, " I imagine that's a high compliment - to see your music move someone to dance in such a trance-like state." A high compliment it was, and now I know why.

Formed in 1996 after an inspiring trip to Europe, Sumerland has been performing on the club circuit in the Northwest well over three years now. Its that experience - playing live, that they credit their mature sound to and that's made it a ripe time to put this incredible music down for permanent record. As a preview to their up coming full length CD, they've put out a 3 song EP, "and all is always now", to feed a growing fan base with the music they've come to love hearing performed live. Now, a year since I first heard their name, I have this EP and finally understand completely, why my friend danced.

A few months ago, before The Changelings embarked upon a West Coast tour in which they got to play with Sumerland in Portland; Nick (from the Changelings) asked me what they sounded like. I was at a loss for words. At that point in time I had heard "Circle Dance" from a mp3 and much like Myssouri - a local Atlanta band, Sumerland defies categorization and simple description. Their sound is utterly unique. And although they, like Myssouri, often get labeled as "goth" because of their darker than normal nature, there is something for everyone here - reality made beautiful in perception and imagination. This is music for the soul - music to get lost in. Anything I said to Nick, or will say to you now in this review, cannot accurately describe this music - you must hear it for yourself.

"Circle Dance" is the first track on the EP and can also be found on Ramen Holiday - a various artists compilation from Northwestern, Inc. There is a serene calmness to this song - a sense of peace that shimmers and washes over you in waves of sparkling acoustic 12 string and undulating bass melodies by David Gibson. The approach is minimalist - with less really being more in this delicate song - soft and keenly placed percussion by Enrique is added in just the right places. With butterfly wings, Dorien's smooth vocals paint a vast landscape of natural beauty. It is a beauty that causes you to weep as you smile.

"Exalted City" is a darker track, the lyrics bittersweet yet hopeful at times. The melody line - accentuated by piano, is as haunting as it is dynamic. The music at times floats down to silence, echos, only to be reborn in the depths of Dorien's vocals followed by a chorus rounded out by Enrique and Marshall singing back up.

"Morpheus (Reprise)" is, although hard to chose, my favorite track - with promises for more when the track that it's based on, "The Blessings of Morpheus" comes out on their full length CD later this fall. For now, we have this gem that opens with a painfully emotional, almost desperate piano melody by Marshall and is enhanced by chanting and mystical whispering that may be as inspired and as channeled as it appears to sound. Indeed it encompasses that nighttime magic - where midnight dust blurs reality enough to make the imaginary come true. Having been raised out West, at times the chanting on this song reminds me of sacred Native American rituals I've had the great pleasure of witnessing first hand.

I implore you to visit their website (http://www.sumerland.com) to get a better idea of what this band offers to its listeners. The website is nearly as beautiful as the music in its design and images and the quotes from band members about what their vision is, enhance the spiritual tone and meaning behind the sounds. Perhaps a better phrase for them would be "artisans of music" - they create it with inspiration and are free enough to let muses guide them where they may. Highly experimental in crafting such delicate sounds, I've heard rave reviews of the interesting percussion set ups and "bow" guitar-playing by Enrique. At this point, I cannot fathom what the live show must be like - how transcending it must be if you close your eyes and let yourself get lost in the sounds of Sumerland.

You can purchase "and all is always now" for a mere $5 (worth so much more than that in my opinion!) from http://www.localsonline.com/
(type in Sumerland under Artist Name and click "Fast Find" to bring up the information)

Tracks
1. Circle Dance
2. Exalted City
3. Morpheus

Sumerland is:
Dorien Campbell (vocals and guitars)
David Gibson (bass)
Marhall Serna (keyboards)
Enrique Ugalde (drums, guitar and vocals)

www.sumerland.com
sumer_land@yahoo.com
 

THEATRE OV IDIOTS
So Far... So What? prerelease
~reviewed by Edwin Somnambulist

Theatre ov Idiots, signed to Interdimensional Industries, is a local band (it's members being from Calgary, Edmonton, Vancouver, and Victoria), while simultaneously being a paradox. To my knowledge, no one, not even myself or any of Interdimensional's staff members, has ever met any of the four mysterious, reclusive band members. Information on their website is extremely limited, and is mostly limited to a highly distorted band picture, and 4 very alien looking individual photos.

The prerelease to 'So Far... So What?' contains all the tracks that band has produced to this date, and I for one am anxious to see which tracks make it to the final album release. Their music can best be described as noise, with seemingly random samples, but also with a danceable rhythm to it. This album will definitely be big with any fans of the euro-noise movement.

One song in particular, "They're Pumping up that Idiot" caught my attention, for it's repetitive samples of Chris Farley screaming "Sweet mother of God, what _is_ the hold up??!" which I assumed to be extreme frustration with something or other. I asked Interdimensional's Regan about this one night, and he laughed and said that it's most likely Theatre ov Idiots making fun of his band, Cryptomnesia, for the year delay on their first release Hypnerotomachia, which has been very eagerly anticipated in the Calgary scene, after Cryptomnesia's live show here last year.

"Auto Chiller" is also an interesting track. I'm certain that the song is meant to poke fun at the prevalence of repetitive electro tracks. Featuring a loop that's off by a beat, the song sounds like a skipping broken record.

To sum up, this album has it all: it's excellent for club, radio, or
atmospheric play. It has lots of interesting and varied samples, it has something to say about the world through satire and parody, and its band members are shrouded in mystery and intrigue. How perfect is that?

Tracks:
1. Holding Pattern
2. All Hail Technology
3. They're Pumping Up that Idiot
4. For the Sake of Getting Shit Done
5. I Want to Know Everything
6. Unidentified Software
7. Distant Voices
8. Dance Hall Wall Fly
9. Hyperion
10. Auto Chiller
11. Poison All Around
12. Time to Fly from Here
13. Vanishing Muse
14. Locust (the good)
15. Nailgun
16. Waste of Skin
17. Weighed Down Intuition
18. Output
19. New Age God
20. Poisoned Trip
21. Another Gig Warm Up
22. Running Through their Heads

Theatre ov Idiots is Anal Ventriloquist, Mr. Archangel, Enoch Mirren, and A. Stalker
Band Website: http://www.hop.to/theatre_ov_idiots
Band Email: anal-ventriloquist@rescueteam.com
Label Website: http://www.interdimensional.com/
Label Email: regan@interdimensional.com

Translucent
The Tears (EP)
~reviewed by Blu

I first met Michael Donnelly at a local goth club. Personable and friendly I was quite pleased to find out that he had a local band called Translucent.

This first EP of theirs is very promising. Michael sounds EERILY like Peter Murphy -- exactly in fact. If I heard this at a club I would be under the impression I was lax in my Murphy discography as it was a song I hadn't heard before. Not many people can claim such a thing -- Peter's voice has long been complimented for the ease at which it captivates the attention of all who hear it.  Peter is a god in many a goth's handbook so this compliment should not be taken lightly.

My only criticism of this material was the over bearing crunchy guitar (and sometimes the drums) that sounded like it belonged more with a metal band and severely distracted my attention from the vocals. Michael agreed with me and said that they had already made lineup changes in the band in that regard as he had always felt their guitarist was a bit out of place too.

My favorite part of each song was the vocals of course -- "Her Sun" had some sexy whispers in it but again, the metal-head guitar really ruined it for me. "Swollen Moon" was the song that Michael had asked me to pay particular attention to and said that this was the style they were headed more towards since the lineup change. Subdued and slower, "Swollen Moon"  could be  a beautiful song - - minus the guitar solo (that sounds like a goofy Posion/Motely Crue/Bon Jovi ballad). The chorus works well and reminds me much of Peter's solo works.

The challenge for Michael will be to find a way to use that familiar voice of his and yet remain unique and new and not just a Peter copy cat. I'd like to see their music take a big departure from what was presented on this CD - something darker or deeper with more substance and feeling. I think the band members were going in two or three different directions. Firm up the lineup, get a common vision and I think they'll have people swooning the night away. In the meantime, Michael can come sing for me any time he wants too. <wink> This is defintely a band to watch.

Tracks:
Tears
Her Sun
Swollen Moon
Boys Like This

Email: trans_lu_cent@yahoo.com
website: www.L5P.com/trans
mp3 page: www.mp3.com/translucent

Ulver
Marriage of Heaven and Hell
~reviewed by Kevin

At first it sounds like a bad "Saturday Night Live" skit: William Blake's "Marriage of Heaven and Hell" set to music on a double CD by a Norwegian Black Metal band.  As Blake might have said, "What immortal hand or eye/could frame the fearful stupidity?"  Thankfully, Ulver's "Marriage of Heaven and Hell"
rises above the obvious cliches of the genre. "Marriage..." is an intelligent, well-produced work which rises above its occasional rough spots and remains consistently interesting throughout its
double-CD length.

Like Blake's visionary blend of poetry, prose and illustration, "Marriage..." defies easy classification. Tracks like "Plate 3," featuring Stine Gritoyr's ethereal soprano, wouldn't be out of place on a Projekt compilation, while "Memorable Fancy Plate
12-13" begins with a NIN-esque distorted-synth-and-guitar jam, only to segue into a dark trance/spoken word riff.  "Plates 16-17" begins and ends with scratching by Falch and a techno rhythm
track.  "Memorable Fancy Plates 17-20" has some tasty metal guitar which reminded me of Black Sabbath circa "Heaven and Hell" and "Mob Rules;" later, on "Plates 21-22," guitarist Havard Jorgenson does a credible David Gilmour imitation.

At times things lag a bit.  Blake's prose-poetry really doesn't take well to music; efforts to fit his words to the music sometimes falter.  And, in "Memorable Fancy Plates 17-20," they commit the nearly unforgiveable sin of having an angel speak in the Gravelly Slayer Voice.  (New Commandment of Hell: When Thou Speak the Words of an Angel from Blake, it shall not be in the Gravelly Slayer Voice, neither Shalt Thou Bang Thy Head Whilst Doing So..).  Still, these are minor quibbles.  While Blake's poetry may not fit the music well at times, it retains its eerie beauty and frequently adds considerable power to the proceedings.

The production, by Trickster G. and Tori Ylwizaker, is crystal-clear and professionally slick.  At times I almost wished for a little bit of nastiness and distortion to liven things up.  This one should please just about anybody BUT Black Metal fans; they're likely  to find it far too slow and melodic for their tastes. I'd give it three 1/2 stars for execution, and five stars for ambition.

TRACKS:
DISK ONE
The Argument
     Plate 2
     Plate 3
The Voice of the Devil
     Plate 4
     Plate 5-6
A Memorable Fancy (Plates 6-7)
The Proverbs of Hell
     Plates 7-10
     Plate 11
A Memorable Fancy
     Plates 12-13
     Plate 14
A Memorable Fancy (Plates 16-17)

DISK TWO
A Memorable Fancy
     Plates 17-20
     Plates 21-22
A Memorable Fancy (Plates 22-24)
A Song of Liberty (Plates 25-27)

Ulver is:
TRICKSTER G. - generation
TORE YLWIZAKER - programing
HÅVARD JØRGENSEN - guitars
E. LANCELOT - drums
HUGH STEPHEN JAMES MINGAY - bas guitar
KNUT MAGNE VALLE - cables, wires & various sound contributions
STINE GRYTØYR - femalel voice
FALCH - vinyl scratching

Guest Vocals on "Song of Liberty"
v. 1-7    Ihsahn
v. 7-13   Samoth
v. 12-20  Fenriz
Conclusion by Ihsahn

Label Website: http://www.vow.dk/jester/index.htm
Band Wesbsite: http://ulver.cjb.net/
 

Various Artists
Virion Sequences
~reviewed by Wolf

There are two kinds of songs to ensure a succesful compilation: ones by new artists and unreleased/rare versions. Canada's Gashed delivers both on The Virion Sequences, with a grand total of 14 new, remixed and (mostly) unreleased tracks. The artists range from big names to promising new acts, about half of them signed to Gashed and the rest collected from across the globe.

Gashed newcomers ncc open strong with "Weitek", a chaotic yet melodiousexplosion of frantic sequences and beautiful sounds (especially the melody that shortly appears around the 3 minute mark). Remarkable also is their combination of vocal styles; synthpop style male vocals, growling harsh male vocals and ethereal female contributions, all alternating one another. Their debut "7 Steps of Nervousness" will be out on Gashed this fall, which I will certainly review as soon as I get my hands on it. If it's as good as this track...damn.

The gentlemen of Kalte Farben appear twice on this cd, first with their track "Gone [who cares]", a harsh and pounding track excluse to North America, and later on with a great remix of New Mind's "Second Boy" (which also appeared on The O-Files part 3). Neuroactive present a beautiful remix of their track "Contempt" in a display of their trademark synthpop skills, followed by Conrete Nature's "Inside Me". This project is another new Gashed signing and is equally as mindblowing as ncc. The song is incredibly catchy, with strings that could've come straight out of a horror movie and jumpy beats that make this perfect club material. As oversampled as the Alien movies might be, this is the first song I've heard that samples Alien: Resurrection (along with a plethora of screams and moans sampled from sources unknown to me). Quite effective and highly entertaining.

My initial reason for purchasing this compilation is the track that follows next, presenting new material by Hyperdex-1-sect. Sevren ni-arb (XMTP) and Jonathan Sharp (New Mind) give us more rave-infused industrial dance in the form of "Crucifixions", which is their first release of new material under this name in years.

Gashed big boys Aghast View are remixed by Assemblage 23 in Tom Shear's usual assault of well-produced and highly danceable industrial, followed by the amazing Flesh Field and their exclusive remix of "My Savior". It's bombastic, melancholic and features heavenly female vocals in the vein of L'ame Immortelle. Very beautiful and sure to please both the ethereal and industrial audience.

The legendary Project Pitchfork appear with a live version of "The Island", demonstrating their ability to translate their music to an equal stage performance. Both Negative Format and God Module appear with exclusive preview tracks and were unknown to me until now. Negative Format's "Signal Mixer" is a crisp display of trancey electronics, taken from their upcoming Gashed release Distant Pulses, while God Module takes a rave-like approach to industrial with "Illusion". Great stuff.

Next up is Assemblage 23 with a remix of "Bi-Polar". It's a high-speed and frantic rendition, just as good (if not better) than the version that appears on Contempt.

Closing off the cd are Suicide Commando, with their harsh and distorted "Violator", and the true heirs to the industrial throne, Gridlock. Unfortunately "edit364" isn't exclusive (it appears on their most recent release 5.25), but serves as an excellent introduction for those who haven't had the pleasure of experiencing their extraordinary sound yet. Dark ambient with explosive percussion and the usual array of sophisticated sounds and effects make "edit364" the perfect closing track for the Virion Sequences.

This cd brought several amazing (new) artists to my attention, while also delivering exclusive material by big names such as Neuroactive, Hyperdex-1-sect, Aghast View and A23. It's a definite must-have for any electronica/industrial enthusiast and sure to also be very DJ's best friend. Gashed impressed once again and has all the potential to only grow stronger. Be prepared Metropolis.

Tracklisting:
001. ncc - Weitek
002. Kalte Farben - Gone [Who Cares]
003. Neuroactive - Contempt {Hardmix]
004. Concrete Nature - Inside Me
005. Hyperdex-1-sect - Crucifixionx
006. Aghast View - Groundzero [Loss Mix by A23]
007. Flesh Field - My Savior [reborn]
008. Project Pitchfork - The Island [live '97]
009. New Mind - Second Boy [c-hop mix by Kalte Farben]
010. Negative Format - Signal Mixer
011. God Module - Illusion
012. Assemblage 23 - Bi-polar [Serotonin]
013. Suicide Commando - Violator
014. Gridlock = edit364

Additional info:
Official Gashed site: http://www.gashed.com
Contact: gashed@gashed.com

Gashed!
PO Box 1176 Station M
Calgary, Alberta
Canada t2p 2k9
 

WRITTEN IN ASHES
EPIPHANY (NIGHTFEAST MUSIC)
~reviewed by guest writer Sonya Brown
 

Written In Ashes’ latest release, Epiphany, contains 11 heavenly tracks. Portland Oregon goth rockers, Written In Ashes, have finally released the long-awaited follow-up to their 1997 release Eternal.

With a new line-up for Written In Ashes, Epiphany further demonstrates the evolution and diversity of this remarkable band. For example,  the inclusion of female vocals on the track “Shattered & Gone” (provided by Lisa Stringfield from Carmina Piranha). This is the first time I have ever heard Written In Ashes use female vocals, so this was unusual (and a nice surprise). Another example of diversity is explored in the track “Sinners”. Using only vocals, stand-up bass and piano, this track is minimalistic and presents an eerie, religious experience for the listener.

My favorite tracks on Epiphany are also my favorite tracks to hear performed live. “Inauspicious” always brings me to the dance floor, and this particular mix is one of the many variations of this song that I have been fortunate to have heard. Another mix can be heard on the “Eclipse” EP released in 1999.

The track "See The Truth"  is a reprise of the Eternal track “When the Sun is Low”. While these tracks are very different, they are connected lyrically. "When The Sun Is Low" is full of dark hunger, while "See The Truth" is sentimental and beautiful. Kevyn (vocals) explains, "When the Sun is Low was a song about pure dark and dirty lust... See the Truth is more or less a reprieve from lust to love to longing and loss."

The final track on Epiphany is the epic track "Terrapin".  I find myself going back to this particular track time and time again, and I can get quite lost in the alluring darkness of this song. Written In Ashes states that they wanted to capture that “essence of displacement” with Terrapin. That is exactly the effect that this song has. Close your eyes and listen to Terrapin... visualize dreams of the past, the night sea and silver patterns on the water. Terrapin is another of my favorite tracks on this cd.

Written In Ashes offers the listener variety with Epiphany.  Every track is unique, and every track has a story. Kevyn’s deep vox is hypnotic, and the professionalism of this band is extremely evident here. I highly recommend Epiphany.

TRACK LIST:
Shattered and Gone
And the Stars Sang
(When I) Knew
Inside of You
See the Truth
Sinners
Wash Away
Will of Wills
Inauspicious
Please
Terrapin

WRITTEN IN ASHES LINE-UP:
Kevyn Douglas Hay: Vocals, Guitar
Fritter: Keyboards, Drums
Michael Draper: Bass
David Battrick: Drums
Peter Guzzardi:Guitar
Christopher Robin: Keyboards, Percussion
Mark Blewett: Sound Engineer

Additional Line-up (for Epiphany):
Nathan “Doc” Hyatt - Lead guitar, piano on “Sinners”
Lisa Stringfield - Backing vocals on “Shattered and gone”
Epiphany recorded and mixed at Supernatural Sound by Mark Blewett

CONTACT:
Written In Ashes:
www.writteninashes.com
WRITTEN IN ASHES
PMB# 164
4110 SE Hawthorne Blvd,
Portland Or 97214
503 233-3075
email Kevyn at: Bludsukr@earthlink.net

Written in Ashes
Eternal
~reviewed by Vassago

This group was not familiar to me before Blu send me the Eternal CD.  Firstly I’d like to note that this is not a new cd since the date on it is 1997….so we are talking about an older job and not a new release.

Written in Ashes is a group that bases it sound in the old school of the scene…and when I say the old school I mean groups that left history two decades ago when the meaning of gothic rock was complete different from today  with no hard/metal guitars combined with keyboards. All these elements that through time created the now so called and known gothic/gothic metal.

The atmosphere that this CD creates ( especially the song "Petals-like the night-") is something true and authentic -- something that is really missing from the scene nowadays. Something out of the industry…something true…a Philosophy.

“At a certain place and moment in time, all good things must come to an end. As the ignorance and gluttony of mankind slowly asphyxiates our very existence, from the rubble of a thousand broken dreams, a new era is born”.

The whole CD has the same tone and profile, with clean guitars -- distortion is used in some solos but rarely whic bring a more aggresive style to Written In Ashes. Influenced by the New Wave sounds of days past, Pete Guzzardi strives to breath new life into the traditional guitarist's role. Michael Draper’s (one of the founding members of Sylvias Ghost) bass playing style is both an anchor and a beacon on the dark sea of Northwest music
combined perfectly with  Kevin Douglas Hay’s voice who brings a vocal sensuousness to Written in Ashes that is richly dark
and alluring. The result  is the resurrection of a melancholic world forgotten in the past but whose name will always be Written in Ashes.

Best moments of the CD are your ghost, "Petals (Like the night)", "the promise" and "The Burden".

Written in Ashes are:
Kevin Hay : vocals, guitars, keyboards
David Anderson: guitar, violin, vocals
Eric Hold: bass, keyboard, programming
Davis Battrick: Drums, percussions

tracks:Your ghost, Nightfeats, Petals, The promised,
the burden, Heavenly host, Gossamer, Explusion from
Eden, When the sun is low, Europa.

http://www.writteninashes.com/
 

Wintermute
Vox
~reviewed by Mike Ventarola

The name of the artist alone conjures images of cold and barren Nordic lands. Imagine the surprise then to discover that all this lush music is coming from the heart of Texas, where it is like south of hell in the month of August.

Wintermute  pays homage to author William Gibson with many of his electronic explorations. There is a futuristic feel with  these selections. The textures coalesce into a blend of new age, futurism, and a touch of classical, while at other times a more bouncy edge is layered within the songs to make them destined for the dance floor. The songs stay true to a winter feel however, so for those in the midst of a heat wave, you may actually find this music soothing and as refreshing as a cool dip in a pool.

" Metropolis III" delivers a Cold Meat Industry type of cool sound married to a space/new age blend. This tune transports us over the mechanical edifices of the future where life continues under layers of ice and snow. If Fritz Lang were making the movie Metropolis today, this song would adequately reflect his panoramic vision of a world that works at a rapid electronic pace while everyone seems almost unnaturally subdued.

"Vox" is one of the more dark songs from the artist and is a musical depiction of an android gone mad. We are taken inside the head of the android, witnessing the crossed wires that are subjecting it to a type of personality revision.   Electronic vox are interspersed with angelic like choral backgrounds to make it other worldly.

":I.L.L.U.S.I.O.N:" gives a feeling of ascendance through an electronic grid. This particular piece turns the listener and the music into one entity in a Matrix like fashion.  A symbiotic connection and heartbeat join the two as you float through this myriad of melody and electronic vocals.

"Children of Paradise Lost"   really plays with the listeners head as the sounds and vocoder effects take on a 4th dimension type of feel. We are brought to the brink of a different society with a new emotional edge.  Underlying the beauty of sound is apprehension and tension as marked by the contrasting sharp and quick
tones.

"Machines" starts of f with , "in the beginning, there was the machine." The song takes musical machinery over the edge to another level of dance and combines ambient, new age, and trance. Parts of the song percolates and then segues into the recitation of the creation of machines. It is a chilling evolution of world recreated as a machine.

"Forever and A Day"  once again beautifully layers the sound effects to the 4th dimension feel. The sound bubbles from an empty void and shimmers like musical multicolored glass.

"Storm" is initiated with nature sounds in the background and a female recitation of a story of a destruction brought about by nature’s omnipresence.  Sounds of thunder and rain draw closer as the story line becomes more dramatic. The subtle musical weavings heighten the tension. It is almost as if the monologue is delivered by an android who survived the storm and awaits to elucidate the tale to any human who managed to survive the deluge.

"Blue" the vocoder and repeat reverb are utilized to once again. It seems to illustrate a machine as God ideology after a destruction by man conjoined with nature.

Wintermute creates sonic tones to recreate a whole new universe. His constant updating of musical machinery and technology are reflected in the continued body of work that he composes. The work is a continued exploration of sound for the sci-fi realm to take the listener beyond anything they have ever heard before. Despite the beauty of this work with the headset on, experiencing it through surround sound is a treasure. With the lights off, you can escape for a brief while into a futuristic world that is at times dark, other times cold and sterile. The way the music moves around the room gives the feeling that you have stepped into a time/space continuum.  For those hardy folks who enjoy science fiction, Wintermute is must for your collection.

Tracks:
1. Metropolis III
2. VOX
3.  :I.L.L.U.S.I.O.N:
4. Children of Paradise Lost
5. Machines
6. Forever and a Day
7. Storm
8. Blue

Web:
www.mp3.com/wintermute