Track one, "Deformities" is an instrumental mix with strategically placed sampling that adds to the song and doesn't detract from it as some sample-heavy industrial bands tend to do. Track two "Fragments" starts with a pensive monologue by Francis - almost tragically goth in nature, backed by neo-romantic synths. He sings, "Another day has come and gone, another dream has died, a thousand times I've lied alone, a thousand screams I've cried..." before the song breaks into industrial mayhem and computerized vocal effects.

"Darkness & Fear" is a track heavy in special effects and synthesized vocals. This could have gotten stale but he brilliantly adds ethereal female vocals to counter act the harsher edged cyber sounds. "Rest in Pieces" is a ominous track where Francis's vocals come across as an evil story-telling of love gone bad. Again, there's a bit of neo-classical themes going on in the background with the melodies which adds wonderful texture to this song. Track five is one of my favorites because it features samples from the movie "Legends".... lovely and dark! And finally another dark track accented with obscure sampling, "Reflection in the Wind," rounds out this CD.

Kudos for twisting the electronic/industrial genre a bit. The inclusion of neo-romantic goth melodies and vocals make this CD a potential favorite for many, no matter what genre you're partial to.
www.deathsdoor.com/thirteen13
Thirteen13 is:
francis giovanni (lyrics, arrangments)
Mort Rigdon (music, engineering)
Additional vocals by: DJ Dark Angel

Acts Magdalena
S/T  ~reviewed by Steph
Remember when listening to music felt dangerous? Like many music reviewers, I have been listening to music for so long that I sometimes run the risk of becoming jaded, of thinking that I've heard it all. Bands like Acts Magdalena, who hail from New York City, remind me of the savage power of the human voice when melded with stirring, primitive guitar strains.

Every review of Acts Magdalena speaks with awe, and not a little fear, of singer Christian Merry's unique vocal style. Think PJ Harvey with her vocal chords ripped raw, or even more appropriately, Diamanda Galas with all her force unleashed. Christian herself calls their style etherkore.

The bands debut CD teases us with four songs that showcase not only the range of Christian's voice, but the bass guitar skills of her bantam and co-songwriter Rick Van Benschoten.

"Elliptical Mind's Eye" starts with slow organ note made on Rick's Bass, like a beginning of a mass, and Christian's deep voice rises over it at a steady pace until three quarters of the way through the song, when without warning, her voice descends into a savage growl that sounds barely human.

"The Only Thing" is a song that speaks of a love that feels more like menace as Christian's voice slinks between the guitar chords, inviting the listener to "Tarry longer dear/haven't got a thing to fear".

"Bullet" has a more conventional rock structure than the other songs, but it works well with the band's heavy sound. This time we're barely one minute into the song before Christian is snarling her contempt of "big strong men" with their "fucking guns".

The band let up on us a bit at the end with the haunting ballad "Wasteland", where swampy guitar chords simmer gently in the background as Christian muses sadly on the ephemeral nature of love.

A disturbing, edgy debut from a band that should be turning heads very soon.

Track listing:
1. Elliptical Mind's Eye
2. The Only Thing
3. Bullet
4. Wasleland

Acts Magdalena are:
Christian Merry - vocals, lyrics, co-primary songwriter
Rick Van Benschoten - fretless bass, co-primary songwriter, producer
Brandon Miller - Drums and percussion
Dave McConnell - Guitar
Email: ActsMag@aol.com
Released by:
Acts Magdalena
#7-500 East 11th Street
New York, NY 10009

Agathodaimon
Higher Art Of Rebellion ~reviewed by Matthew
What better place for a black metal CD to be recorded than beneath the spooky castle speckled horizons of Romania? Well, that is where this German outfit recorded this second opus. They chose this location not only for the inspiration of the country but mainly because their original vocalist Vlad was unable to leave Romania due to some mishap with the law. Interesting, eh? With all the satire aside, Agathodaimon are certainly one of the more interesting and talented bands within the genre. What sets them so much apart from their contemporaries is that their focus is not so much on speed and high shrieking vocals, but more so on technique and musicianship. Their aggression bleeds through the agonized sand paper vocals, the discordant crunch of their guitars, and the dense mid-paced rhythms that keep the blast beats reserved for only the perfect moments. They opt for a warm and full production rather than the usual icy blur of cymbals, shrieks, and distortion.

By no means is this octet (yes, there are indeed eight contributing members) weak and ethereal in their atmospherics. They still present music that I can comfortably refer to as black metal. However, when comparing their sophomore effort to the debut CD, "Blacken The Angel," this music is a greater celebration in musical diversity, leaving the debut to be weighed heavier with black metal. This album is much more eclectic in its tones, its riffing, and its overall composition. I wouldn't say that the music groundbreaking in originality but there is an enjoyable element of unpredictability, which is nice being that a lot of black metal is so sickeningly formulatic.

There are three different vocalists, each contributing their own personality. Both Vlad and Akaias spew forth ungodly rasping and vampyric grumbles, while guest vocalist Byron boasts an arrogant clarity that brings to mind traditional metal vocals similar to those found in bands like Nevermore. It is an overwhelming contrast that takes awhile to get used to, but is quite cool actually. The track entitled, "Body Of Clay" is quite a surprise being that there are no daemonic vocals whatsoever and the crunching guitars are scarce. However, Agathodaimon have already earned the power to experiment with their sound and it yields a great deal of promise.

Certain passages are reminiscent of the earlier Venom-styled, while the majority of the passages sound like a fresh and refined and expansion upon the current styles of black metal. The classical orchestration is plentiful being that there are two keyboardists, however, Agathodaimon have attained a coherent balance and rarely does the band seem overwhelmed by their baroque tendencies and they are still guitar driven.

Lyrically, they seem to have also found a comfortable medium. The lyrics are penned in several different languages and reflect a variety of moods and emotions, from anger and rage to a reserved romantic despair, such as in the track, "When She Is Mute." The lyrics are perfumed with decay and bleakness, and blooming with an epic quality that truly is memorable.

The band also has a wonderful sense of artistic presentation, not only in their music but within the beautifully packaged CD booklet, which is chalk full of stark black and white photography. Very reminiscent of the grandiose lyric booklets that Valor designs for Christian Death.

It is clear that Agathodaimon are proud and passionately focussed upon their work and I praise them highly for their sincerity and the fact that they perform dark music in so theatrical a vein and possess such an air of integrity.

Track list:
1.) Ne Cheama Pamintul
2.) Tongue Of Thorns
3.) Glassul Artei Vittoare
4.) When She Is Mute
5.) A Death In It's Plentitude
6.) Body Of Clay
7.) Novus Ordo Seclorum
8.) Back Into The Shadows
9.) Les Posedes
10.)Neovampirism
11.)Heaven's Coffin
12.)Ribbons/Requiem '99
13.)Body Of Clay (remix)

Agathodaimon is:
Hyperion: guitars
Sathonys: guitars
Vlad: vocals/keyboards
Vampallens: keyboards
Marco T.: bass
Matthias R.: drums
Akaias: vocals
Christine S: keyboards
Byron: guest clean vocals

Black Daimon Promotion:
C/O Wickler
Westrin 18
55120 Mainz, Germany

Official Web Site:
www.agathodaimon.de
Be sure to check out the Agathodaimon Romanian photogallery!
Nuclear Blast Records:
www.nuclearblast-usa.com

Bauhaus
Gotham   ~reviewed by Vassago*
Bauhaus were formed in 1978 and have been one of the major influences in the dark/Goth scene. 1983 was the year for the band to end after composing – in this short period- many songs that now are legends of the underground scene such as "Dark Entries", "Bela Lugosi’s Dead", "Terror Couple Kill Colonel", "Telegram Sam", "She’s in parties", "Double Dare", "Passion of Lovers", "Mask" and many more. Fifteen years later and with the band's continuously growing popularity, Bauhaus were back to make a last tour (is it?), and of course as it was expected the sign "sold out" was everywhere they went. Gotham is a taste of what these lives sounded like during the 1998 tour.

The tracks of the two cds were recorded at four different locations, Hollywood Athletic Club- July 9,1998, Hollywood Palladium- July 10-11,1998, San Francisco Warfield Theatre- August 18,1998 and Paris, La Mutualite- November 1,1998. What I first realized after listening the CDs was that Bauhaus are a professional group who sounds better in a live show than a CD. Peter Murphy and all the other members of this legendary band are in a great shape and managed to transfer all the power and atmosphere that are noticeable on their CDs to theselive shows, as exactly as they sounded back in eighties, making Gotham a complete success as a release. Gotham made me bring them again to my mind and my heart, and I believe that the same thing will happen to you.

What surprised me (and believe me it will surprise you too) was the song "Severence", which is originally a Dead Can Dance song, in a live and a studio version. I prefer the live over the studio version, though they are different, neither bad, in fact I was impressed.

The release is packaged in a fantastic double pack with some photos (few, to be honest I was expecting some more). I suggest you listen loud in order to be jealous if you never had the opportunity to see this band live and wish that the day will come.

Various Artists
Gothabilly: Wakin' The Dead ~reviewed by Blu
Here it is folks - the one CD that will quench that zombie-sized thirst you have for Gothabilly. Skully Records have put together one of the best, all-encompassing Gothabilly/Deathrockabilly CD comps out there. What a ghoulish treat! You can't HELP but love this outrageous CD with the impressive line up of artists. Even our beloved Brickbats donate a track. Every song on this CD kicks ass. There's enough ghouls, funky bass lines, western tinged fat cat blues beats, monsters, plenty-O-VooDoo and zombies to keep your mud-encrusted boots a-tappin' all night long. Rip out your heart , wrap it in barbed wire and toss it on the cow-print sofa... this is the shit. Extremely fun and nicely put together - this is must have for every DJ and party host.

Track Listing - Check out these BANDS!!!!
-Cult of the Psychic Fetus, "Dead Bride"
-Mr. Badwrench, "Gasoline"
-Psychonauts, "Devilshake"
-Deadbolt, "Crime Scene"
-Phantom Cowboys, "Transylvanian Girl"
-Deen Enyde, "13th Floor"
-Agent X and the Kill Villians, "Bad Girls Go to Hell"
-The Independents, "Death Notice"
-8 Ball Grifter, "Thigh Highs"
-Phantom Cowboys, "Voodoo Bunnies"
-Thee Hallowteens, "Evil Doer"
-Cult of the Psychic Fetus, "You Can Make It If You Run"
-Empress of Fur, "Johnny Voodoo"
-The Brain Bats, "Oblivion"
-Barnyard Ballers, "Skitzo Family"
-Mr. Badwrench, "Dark Passage"
-The Witching Hour, "Burn Witch Burn"
-Deadbolt, "Creepy World"
-Psychonauts, "Ghoulfriend"
-The Brickbats, "Undead Rock & Roll Music"
-Electric Bird Noise, "Lazy Tumbleweeds"

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

Agent X and the Kill Villians
contact@erols.com

Barnyard Ballers
www.globalnet-music.com/barnyard-ballers/index.htm

The Brain Bats
info@cyclonrecords.com

The Brickbats
www.brickbats.com

Cult of the Psychic Fetus
http://www.ravenworldwide.com/cultof.htm
Ravenmsuic@ravenworldwide.com

Deadbolt
www.downinthelab.com

The Deep Eynde
www.jps.net/deepeynde

Eight Ball Grifter
Grftr8Ball@aol.com

Electric Bird Noise
ENAT21213@aol.com

Thee Hallowteens
Hallowteen@aol.com

Mr Badwrench
http://members.aol.com/MBadwrench/page1.html

Phantom Cowboys
www.megz.freeserve.co.uk

The Psychonauts
http://www.psychonauts.com

The Witching Hour
dingo666@aol.com

BOBBY BEAUSOLEIL
Mantra   ~reviewed by Kirin
Bobby writes:
"A prison is a noisy place. The clanging of bells announcing the prison routine, the whir and ratcheting, banging and slamming of electric gates and mechanical metal doors, the ebb and flow of human vocalizations as hundreds of people caged against their will respond to their conditions in myriad ways - to express their loneliness, or discontent, or rage, or insanity, or merely to cheer or boo a play in a football game on television - punctuated by the shouts of guards who must enforce their authority to maintain what passes for order in such places . . . all of this and more is amplified within the confines of reverberant concrete walls, conspiring to make it difficult to find, much less preserve, one's peace of mind. I composed Mantra: Soundscapes for Meditation in response to several requests from some of my fellow prisoners. I was asked to create some gentle music that they could listen to on their personal cassette players as an aid in practicing meditation and relaxation techniques widely accepted as valuable tools in the process of healing mind, body and spirit. The challenge was to produce a musical composition that would help to mask the noise of the environment without being intrusive or demanding too much of the listeners attention, while incorporating combinations of tones and textures that may aid an individual in achieving a relaxed, meditative state of consciousness. By all reports, including my own experience, Mantra succeeds in its intended mission. As environmental music, it also seems to work well as a focusing agent when doing some types of creative work, or when reading, and to enhance the restfulness of sleep when set to play continuously through the night at low volume. You may find other uses for it as well. For all I know, it may help plants to grow more healthy, or soothe a teething baby. We are all doing time in one way or another, and the stresses of day to day life make it imperative that we find ways to generate harmony within ourselves from time to time. I hope that Mantra will serve you in this regard as well as it has served some of my friends in prison. Peace, Bobby BeauSoleil."

This CD is everything it's purported to be, and then some. I have, for some time now, beeninterested in the effects of music on the human body, mind, and spirit. There are, of course, whole genres dedicated to and studied for this notion that music changes matter and aether; from brutal noise and black metal, to ambient soundscapes and New Age music. The moniker "New Age" is quite often said with disdain, and, in some cases for good reason, but Bobby BeauSoleil's "Mantra" is high quality New Age music, if it can be called that at all. I'd just as soon file it under "ambient." The soothing waves of sound are neither insipid nor trite, which are the complaints and associations most people have about "New Age" music. This is not music that is merely a product of yuppie luxury and malaise, as you can see from Bobby's writings above. There is tenderness to this music; a tenderness borne of great sorrow and nearly overwhelming tribulations. This is the brave song of the Darkling Thrush, who sings, even in the bitterest and darkest days of winter. Very highly recommended.

To order, contact:
http://www.whitedogmusic.com/

More information about Bobby and his music:
http://www.beausoleil.net/bobby.html

Also, be sure to check out Michael Moynihan's interview with Bobby in the current issue of Seconds Magazine. Additionally, there is, as I understand it, a new "Apocalypse Culture" book in the works from Feral House, which will contain writings by Bobby BeauSoleil!

Black Ocean Drowning
Negative Life
~reviewed by Admortem

A Michigan based band; Black Ocean Drowning is a black metal goth combination with enough diversity to please everybody a little. From the song One Foot of Sky - dark metal sounding with heavy guitar and vocals to match - to the more gothic sounding and danceable song The River, this goth rock band emits many different sounds, all very black.

Everything on the CD reflects the anger and frustration of the band in some way. The song Babylon features lead vocalist Jeremy Tomkinson yelling out words hate-filled and energetic, yet the very next track utilizes intense guitar and drum changes to express the same emotion. The title of the CD is definitely a fitting theme: Negative Life seems to be exactly what every song is about. Raging for whatever you've got, rebellious and expressive, Black Ocean Drowning is Metallica meets Christian Death. Listen at your own risk…

Track Listing:
1. One Foot of Sky
2. The River
3. Babylon
4. Transparent
5. I Can't Breathe
6. House of Cork
7. Crash

Members:
Jeremy Tomkinson - Vocals, samples
Chris Hamilton - Guitars
Toby Wolff - Bass
Michele Pafalvi - Keyboards
Jeff Windhorst - Drums

Band Email: masterpvc@earthlink.net
Snail Mail: PO Box 7011 Dearborn, MI 48120 USA
Label: Medea Records
Web site: http://home.earthlink.net/~medearecords

Breather
a slow red whisper of rain...
~reviewed by Wolf

The Illinois based band Breather had me instantly enchanted with their cd A Slow Red Whisper of Rain... Six beautifully performed songs fill this album with fragile intimacies, sure to please anyone with a liking for The Cure, Mazzy Star, Heather Nova or yet The Cranes. Breather's music is minimal, while at the same time nothing short of rich emotion and lyrics that will stay with you long after the cd has ended.

Alicia Skala and Jessica Cook formed Breather in 1995, with Scott Gockerman completing the current line-up when he joined them a year later. His guitar work is the perfect addition to Jessica's vocals and Alicia's guitar, bass and programming, forming a band that definitely seems to be in tune with one another as far as musical vision and realizing it are concerned.

Words are rather inadequate when attempting to describe intimacy and beauty such as this, and so I leave you with the lyrics to the albums absolute pearl, Lovely & Bloody. Breather deserves nothing but praise and recognition. My deepest admiration for this immensely talented band.

"There is no forever
isn't that what she said
it hurt to hear her voice
answer where I should
stop messing with my head
and I will make you see
the way I feel inside
lovely & bloody

and I just wanted to touch
your velvet shoulder
to dry your drowning lips
oh just to hear your voice
my pretty pale prince
you would sell your stars
for anyone else
anyone but me"

Band members:
Alicia Skala
Jessica Cook
Scott Gockerman

Additional info:
Official site: http://www.breather.com
Artists Bureau: http://www.artistbureau.com/Breather.htm
Riffage: http://www.riffage.com/Bands/0,2939,11366,00.html

Bush
The Science Of Things
~reviewed bu Matthew

Once again exhibiting my schizophrenic taste in dark music, I proudly admit to being very Goth as well as a huge fan of Bush. Lynch me if you will, but I care not! I adore them! They have a sincere sense of gloom and angst yet they have the same mass appeal today as The Cure and Depeche Mode did in the eighties. Only a small percentage of their material is what I would call ‘commercial,’ if even that. Case in point: their cover of New Order’s “In A Lonely Place” that appeared on the second Crow soundtrack. I am very partial to the Gavin Rossdale's smooth and unique voice, and I have always enjoyed the way they incorporate string arrangements into many of their songs. To me it seems the band is becoming more and more morose and less and less commercial with each release. With this one, their third full-length, they seem to be incorporating a lot of electronic drum loops and their sound has developed into a full and multi-textured blending of alternative grunge, gloomy Brit pop, and occasional tangents of punk.

The album opens with the melancholic guitar harmonies of “Warm Machine,” a nice and mellow track with a cool chorus and warm, fuzzy guitars that in some ways sound like a grungier Cure. “Jesus Online” opens with driving, dancey drums, with a low synth hum. “Whatever she wants from me/Whatever divine” Gavin admits helplessly as a lulling Goth rock bass line follows and the song flirts between a moshy grunge groove and a sinister snakelike sludge. “Perfect black dress/Perfect grave” Gavin describes his dominatrix; I mean, come on! They’re Goth! :P “Chemicals Between Us” follows, a song most of you have probably heard on the radio, a playful dancey song that gets stuck in your head for days.

As commercial as that song maybe, the fourth track, “English Fire” follows and is a grating, intense exorcise in punk inspired claustrobic chaos. A very tight and thumping song, with abrasive guitars and chanting vocals, and its on this track where orchestral strings first appear, as an eerie, discordant string passage ghostly slides through the end of the track. A song that undoubtedly scared most Bush fans but made me smile very very wide.

“Spacetravel” follows, another darker song with a tight beat that loosens into a swaying, sensual groove and back and forth. A song very minor in key with a dark post-punk kinda feel but obviously a little more commercial. The song has sort of a sweetened chorus, with sadder melody and some neat artificial guitar harmonics. Gavin is accompanied by real life flame Gwen Staffani for this part of the song. I would have never known this had I not looked at the liner notes but yeah, she sounds cool actually. Wouldn’t have even recognized her and that is a surprise because I HATE No Doubt.

Anyway, “40 Miles From The Sun,” the album’s gloom masterpiece follows. Dirgey watery guitars, subtle electronic rhythms and an exquisite orchestra arrangement combine to compliment Gavin’s expressive and emotionally unstable English vocal performance. This song is just so damned cool. I programmed the CD player to repeat this and the album’s other gloomy Goth ballad “Letting The Cable’s Sleep” for like two hours straight one night and I was so mellow for the rest of the week. People thought I was going through another Current 93/Death In June phase but no, it was Bush, strategically programmed to torture.

“Prizefighter” is another driving, upbeat song that exhibits an obvious Cure meets Sonic Youth in a blender sort of vibe. “The Disease Of The Dancing Cats” is a catchy, playful song with a cool grungy bridge and a moshy, heavy guitar riffs popping in between verses and at the end of the track. A strange little electronic breakdown splits the song up, but it’s a fun song, not one of my faves though. “Altered States” begins with very strange hypnotic keys, and then breaks into another groove oriented type song with a great bass line and drum pattern, but a somewhat odd rhythmed chorus. “Dead Meat” starts off with distant drums and over-chorused guitar, and it sounds like its going to be another of Bush’s signature ballads but explodes into another burst of disharmonic grunge and then back again. A very cool track with a nice eerieness to it. “Letting The Cable’s Sleep” is the second single from the CD and is an awesome track with slow jazzy drums, piano, strings, and a despondent and saddened Gavin pleading “Silence is not the way/ We need to talk about it/If Heaven is on the way/We’ll wrap the world around it.” A great track, certainly one of their greatest tracks ever.

The album closes with “Mindchanger,” a track that starts off kind of weak but soon changes and picks up to be one of the strongest most sincere songs on the entire CD. A great chorus “It’s so hard to let you go/I will change your mind” with sort of an obsessive vibe to the lyrics and a very desperate edge to the music.

A damn good CD that wasn’t too well received by the public, so therefore, it will probably remain a classic amongst the darker side of Bush’s fans. They plan on releasing a remix CD of this material, much like the vastly underrated “Deconstruction” CD that was released after “Razorblade Suitcase,” which will without a doubt be very interesting and will hopefully yield a few more Goth club friendly tracks. So keep an eye out for that as well as an American tour if you are interested.

Track List:
1.) Warm Machine
2.) Jesus Online
3.) The Chemicals Between Us
4.) English Fire
5.) Spacetravel
6.) 40 Miles From The Sun
7.) Prizefighter
8.) The Disease Of The Dancing Cats
9.) Altered States
10.) Dead Meat
11.) Letting The Cables Sleep
12.) Mindchanger

Bush Is:
Gavin Rossdale – vocals, guitar
Nigel Pulsford - guitar
Robin McGregor - drums
David Parsons – bass

Official web site
www.bushnet.com

Trauma Records site:
www.traumarecords.com

Cloud
A Demonstration
~reviewed by Matthew
This newly formed Pittsburgh trio succeeds in blending elements of dark emotional shoegazing alternative with popular hooks and upbeat, memorable melodies. This four song EP is just as the title suggests, a demonstration of what Cloud are capable of, a shade of the many colours the band can invoke with their music. With the opening track, "Chemistry," and the groove oriented "Please," Cloud exhibit a radio friendly sense of melody and style that would appeal to a vast arena of listeners. Interestingly, they utilize that catchiness with a balanced influence of subdued Goth that is reminiscent of an upbeat lovesong from Siouxsie or The Cure.

Vocalist Sarah Siplak leads the band with her strong and sensual voice, and also offers her viola talents on the last track "Sun & Moon." The guitar sound is a well-mixed variety of reverberated chords, watery arpeggios, and the occasional discordant accent here and there. The synths and the electronic drumming is mid paced and dance friendly, but similar to the newer styles of Tori Amos, Bush, and Garbage.

My favourite track is the third track, "The Prayer," due mainly to the angelic vocal harmonies and the heavily processed clean guitars. This is probably the most melancholic track and more akin to the band’s unreleased material. Whether it is the crisp production on the CD or just the particular tracks they recorded, when performing live, Cloud come across as much more Goth friendly. Sarah fiddles with her viola much more often and the guitars are absolutely DRENCHED in reverb, chorus, and delay which yields to a very hypnotic and entrancing effect.

However, I believe that Cloud are attempting to conquer wider pastures, and with the hooks and magick appeal of their music, I believe if the right breaks come their way, they could make a considerable impression in the music scene.

Track List:
1.) Chemistry
2.) Please
3.) The Prayer
4.) Sun & Moon (Just A Little Bit)

Cloud is:
Sarah Siplak: vocals, viola
Jeff Babcock: guitar, effects, programming
Kirk Botula: sampler and sequencer

Official Website:
http://members.xoom.com/_XMCM/cloudonline/index2.html

CHILDMAN
Apathy Vein
~reviewed by Kirin

Hm. Well. I guess there are a few different ways to look at this. There's nothing remotely groundbreaking on this album that hasn't previously been covered well and good by the likes of Corrosion of Conformity, Pantera, Voïvod, Prong, and so on. On the other hand, this DOESN'T suck. So, if you're craving some good old "kick yer feckin' head in" metal, this will most certainly satisfy. Furthermore, something tells me that these guys would be KILLER live, so if they're still alive and kicking somewhere in Texas, give 'em a visit and let 'em leave you bloody and smiling!

Track Listing:
-Apathy Vein
-Forgive Me
-Undecided
-Sullen
-We Become One
-Kelsey's Lament
-Too Many Long Stories
-God's Eyeball
-Full Moon
-Screaming
-Fucking in Tongues

To contact and purchase CDs, visit the following site:
http://www.manipulate.net/skan/cman-bio.html

The Cure
Bloodflowers
~reviewed by Matthew

Yet again, the Cure has returned with their final album. They have been saying this and touring on their final tour since 1982’s Pornography, so I really am not going to get too excited and hysterical and think that they are at last sincerely retiring.

I am without a doubt a rabid Cure fan. I doubt there are many dark music fans that are not, or at least few that don’t recognize the impact this band has had upon so many genres of music. With Bloodflowers, The Cure continue to exhibit the timeless appeal of their style, and the fact that the same formula can continue to be effective by only adding a few moderate polishes or elements to it is simply an amazing example of talent or witchcraft.

This new album is emotionally consistent, very much the opposite of the aptly titled previous release Wild Mood Swings. Though Bloodflowers is not at all a steady dirge fest, the music is all linked by a similar depth of somber moods. The material sounds a lot like a collective sequel to the darker tracks from Wild Mood Swings such as “Want,” “This Is A Lie,” “Treasure,” etc. They possess a very similar mix as well as the same deeper vocal quality.

Several press releases cite this album to be the final piece in a trilogy which started with 1982’s Pornography and continued with 1989’s Disintegration. Whether or not I am just missing something or not, the only thing I see that really links them is the fact that those albums were emotionally intense and the most personal. Lyrically, I see no specific connection, because quite frankly, the lyrics of the Cure have ALWAYS seemed to be linked by a universal theme of romantic frustration, loss, and outright silliness in some more of the more frightening cases (“Mint Car,” “Wendy Time.”)

It seems to be that since Kiss Me…, The Cure have been composing very strong material and epic length albums chalk full of memorable tracks. Bloodflowers is certainly no different, and I am uncertain if it is just because I am hearing new and fresh material from a band that I am almost too familiar with, I think Bloodflowers could be among the band’s best material. There are albums from the Cure that have certain tracks that could be omitted while other releases that in their entirety are perfect.

This is one of the ones that as a whole is listenable and there are no songs that I dislike even slightly.The title track is one of the greatest songs the band has ever done, and if I ever had to chose a song to represent The Cure, I would cite this one without hesitating. I am very partial to the first single, “Maybe Sometimes,” which is commercial Cure at their best, though without getting overly sappy and keeping the bounce factor to a minimum. The opening track is a nice mid-paced number with strummed acoustic guitars and a haunting electric harmony that subliminally carries on throughout the song. A characteristic watery guitar doodle accents the space between the verses and is very reminiscent of the Disintegration ballads.

The epic length “Watching Me Fall” plays the part of the “...Edge Of The Deep Green Sea” or “Disintegration” of the album, being a lengthy- groove oriented song with more of an edge than most of the other material.

Soothing tracks such as “Where The Birds Always Sing,” and “The Last Day Of Summer” are very reserved, yet completely Cure. In no way uninteresting, yet they do nothing more than compliment the absorbing listenablity of the entire album as a whole. “There Is No If…” is about as close as the band gets to being happy, and when you hear this song, you will think I am crazy. ‘Cause its not happy, but it is a lot more upbeat and hopeful than the rest of the material.

“The Loudest Sound” has some slow trip hop inspired beats to it, about as electronic and dance-tainted as this album is going to get. “39” is another groove oriented track, with that apocalyptic edgy feel in the “…Deep Green Sea” school of Cure-ography. A great song, indeed one of the best ones in years. The album closes with the title track, which is again, a simply divine track with lovely lulling bass, several layers of multi-voiced guitars, mournful drums that at first slowly thud but soon swing out in a morose tangent, complimenting Robert’s bleak insistence that “flowers always die.” Gloom at its best!

This is definitely going to be hailed as a classic contribution to their discography, and if by some strange chance this IS their last CD and tour, it will be a triumphant closing to this drama that has now spanned three decades. Certainly, this band continues to provide what they promise, and help us cope with the things we cannot avoid in life. They just make it easier by supplying the appropriate ‘cure’ and giving us a warm shelter to reflect and gain the strength we need.

Track Listing:
1.) Out Of This World
2.) Watching Me Fall
3.) Where The Birds Always Sing
4.) Maybe Someday
5.) The Last Day Of Summer
6.) There Is No If…
7.) The Loudest Sound
8.) 39
9.) Bloodflowers

The Cure is:
Robert Smith: voice, guitars, 6 string bass, & keyboards
Simon Gallup: basses
Perry Bamonte: guitars, 6 string bass
Jason Cooper: drums
Roger O’Donnell: keyboards

Official Website:
www.thecure.com

Elektra Records:
www.elektra.com

The Cure
Bloodflowers
~reviewed by Vassago*

Epilogue or not, Bloodflowers is a wonderful creation for all Cure fans. When I listened their previous album Wild Moon Swings I couldn’t believe that it was a release from a band with a roster of cult albums like Seventeen Seconds, Pornography, Faith, Disintegration etc. Now with Bloodflowers, The Cure gives their fans exactly what they want from them, and believe me they do it with quiet success.

The entire album is good with moments mixed from the old good days of the eighties like Pornography and from the end of the same decade like Wish. They keep moving with the same style they used to and with Robert Smith, achieving only what David Bowie, Andriew Eldricth and Peter Murphy have, keeping his voice performance through all these years in great shape and even better than anybody would expect or imagine proving that it was not just a shine but a legend. The truth is that this is the kind of music that The Cure can do best: dark, desperate, sad, and painful feelings in each song . I hope this isn’t their end, and I am sure that a band like Cure does not have to prove anything to anyone.
*text edtied by m. otley

DER BLUTHARSCH
The pleasures received in pain
~reviewed by Kirin

Like so many of the "apocalyptic folk" bands I've come to adore, the music of Der Blutharsch quite often moves me to either goosebumps or tears. Anton La Vey used to talk about the importance of music being evocative and emotive; few people understood the concept the way the likes of Tony Wakeford (Sol Invictus,) Douglas P. (Death In June,) Michael Moynihan (Blood Axis,) Robert Taylor (Changes,) and Albin Julius of Der Blutharsch do. This music is highly emotional; it stirs the soul (mine, anyway,) the way that most other popular or modern music simply does not.

I'd also just like to take a moment to comment on something that has continued to both grieve and aggravate me. I have, in past days, seen Der Blutharsch used as an example of a "Nazi band". A reporter on National Public Radio recently asserted that bands like NON and Changes are the "avant-garde" of the white power movement. I continue to be disturbed and insulted by comments like these, firstly because they are naïve and irresponsible, and secondly, because they are not true. I will say again, as I always say, that a focus on the historical past of one's "bloodline" is not racism. Hating OTHER people for THEIR bloodlines is racism. (You want racism in music? Check Sistah Soljah, NWA, Ice Cube, etc.!!! Racism is racism, no matter who it's coming from. Ice T did a great song with Body Count on this very subject, called "Momma's Gotta Die Tonight.") Never EVER have I heard ANY of the members of Sol Invictus, Death In June, Blood Axis, Changes, Strength Through Joy, Ain Soph, Der Blutharsch (and so on,) mention a hatred of any other group of people because of their race. (Let alone refer to a woman of any race as a "cave bitch"!)

Regardless of the artistic merits of rap music, of which there are many, it remains a fact that if you're looking for RACIST music in America, you don't have to go far to find it, and you WON'T find it amongst the "apocalyptic folk" bands that are most blamed for it. Irony is not always amusing.

To clear up other myths, "Der Blutharsch", literally translated, means "blood-encrusted snow" or "dried blood stain." Der Blutharsch was also a name used to describe the front-line mercenary soldiers of the 14th and 15th centuries; these were the men who fought the hardest and suffered the most. Apparently the notion of these men bore heavily on the mind of Albin Julius during the time of his solo work with The Moon Lay Hidden Beneath A Cloud, and so, when he was ready to move on from The Moon Lay Hidden, it was this image of passion and dedication that he carried with him, by name, to Der Blutharsch. Lastly, speculation as to what the "WKN" of Albin's new label means, is easily answered: "WKN" stands for "Wir Kapitulieren Niemals," meaning, "We never give up."

Furthermore, the notion that these bands are "Nazi" or racist because they use militaristic symbols, runes, oak leaves and the like, is frankly absurd. Investigation into any one of these bands (and especially Der Blutharsch,) will lead the logical mind only to the conclusion that the members of these bands are on esoteric and extremely personal spiritual journeys, which are being expressed by and through their music. They use these symbols as metaphors for intellectual and spiritual struggle; nothing more, and nothing less.

Additionally, it remains quizzical to me why it would be that the audiences for these bands at live shows are so consistently diverse. If you've ever seen the audience at a "real" N.S. or white power show, trust me when I tell you that there aren't any drag queens in attendance.

In fact, it's worth pointing out, just for the record, that when a Blood Axis show was closed down in San Francisco by rabid anti-freespeechists, (who were posing as "Marxists,") it was Annabel Lee of Blood Axis who came away physically ruffled by the people who were there yelling in her face that she was a Nazi- so who are the real aggressors? The whole situation with these bands is tragic at best and revolting at worst.

Albin Julius and Der Blutharsch are singing about many things, and conjuring many things; a call join to the National Socialist party is NOT one of them! If you have been afraid of listening to this music because you've heard Der Blutharsch were Nazis, please, I encourage you to look beyond the veil of ignorance, and introduce yourself to a world of thought and emotion that is unparalleled in the music industry today. If you let this music touch you, you may find your mind and your heart more active and more alive than they've been in years-- regardless of your race, sexuality, gender, or religion.

If you've never heard any Der Blutharsch music before, "The Pleasures received in pain" is a wonderful place to start. It is similar to the music on "Der Sieg des Lichtes ist des Lebens Heil," only perhaps a little more, dare I say, tender in its emotion? Where "Der Sieg" is brilliantly cold and smooth, "The Pleasures" has a more warm, organic and "human" feel to it. Where "Der Sieg" was the soldier at full attention, amidst the orgasm of violence and power, "The Pleasures" is contemplative, and perhaps exactly reflective of the title... this is the fag smoked afterward, the smug and melancholic embrace of, yes, the pleasures received in pain.

Track Listing:
There are no "names" for the songs on most Der Blutharsch recordings. This one included.

To contact Der Blutharsch and/or Albin Julius, write to:
WKN
c/o Albin Julius,
P.O. Box 596
A-1060 WIEN
AUSTRIA

WORLD SERPENT DISTRIBUTION ltd,
Unit 717 Seager Buildings,
Brookmill Road
London
SE8 4HL
Phone 0181 6942000 Fax 0181 6942677
http://www.worldserpent.demon.co.uk

Related websites:
Excellent Der Blutharsch site:
http://members.xoom.com/DerBlut/

Swedish goth site which documents the censorship struggles these bands endure; this time the subject is Death In June:
http://www.sanctuary.ch/report/DeathInJune/entree.htm

Compulsion: Art, interviews, etc. with bands like Sol Invictus and Death In June: http://www.callnetuk.com/home/compulsion/

EsoTerra: The Journal of Extreme Culture: http://www.sexynexus.com/esoterra/

Athanor:
http://www.multimania.com/wiligut/athanor/accueil.htm

R.N. Taylor, and Changes:
http://www.highfiber.com/~thermite/

Blood Axis, Storm Records:
http://welcome.to/bloodaxis

DISMAL EUPHONY
Lady Ablaze (MCD)
~reviewed by Kirin

No one pretends anymore that Dismal are black metal. They're "gothic/atmospheric" metal now. The truth is, I'd just about WORSHIP this band if it weren't for the terribly cheesy female vocals they always feel compelled to throw in, and the sometimes cheesy male vocals as well. (Examples: Autumn Leaves' tracks "A Thousand Rivers" and "Carven.") Lady Ablaze is even more atmospheric than "Autumn Leaves- The Rebellion of Tides." On Lady Ablaze the band continues in the beautiful and majestic vein as heard in songs like the Autumn Leaves' track "An Autumn Leaf in The Circles of Time." Again, on Lady Ablaze the black metal roots show through vocally and sometimes musically, although the drumming and guitar work continue to morph into their own sort of genre somewhere between black and death metal and power or gothic metal. Weighing in at a paltry 19 minutes, 7 seconds, this MCD is really more of a tease than anything else. Just when you're getting good and settled in, the CD ends. I look forward to seeing what new ground Dismal Euphony decide to cover, and pray that sooner or later they'll either make the female vocals sound a little more believable, (as on Mortiis' last outing, "The Stargate,") or else nix them entirely. I guess the most honest thing I can say about this CD is that I feel ambivalent towards it; it seems like a transitional album-- not quite as good, in my opinion, as what we've heard from them in the past, but hinting at some new thing that *could* be quite glorious. Thus, I'm both disappointed and excited all at once.

Track Listing:
Lady Ablaze
Abandon
Cabinet Bizarre
150 MPH
Bortgang

Napalm Records
830 Pacific Ave. Ste#200
Bremerton, WA 98337
http://www.napalmrecords.com

DAVID E. WILLIAMS
Pseudo Erotica -  4-song 12" vinyl
~reviewed by Kirin

This remains one of my favourite collections of David E. Williams songs. As always, the lyrics are humourous, disturbing, and delightful. The fact that these recordings were made in 1985 and 1986 only proves the fact that David E. Williams is and was ahead of his time.

The "goth" bards still haven't caught up with him. They likely never will. This little gem is still only $7.00 from the David E. Williams website, (address listed below,) and it's worth every damned cent. Actually, it's worth much more, but with Mr. Williams, you'll always have the uncommon experience of getting much more than what you paid for!

Track Listing:
-Charlotte's Glass Eye
-My God and My Dog
-Bad Day Anyway
-Gift

David E. Williams can be reached at:
DEWms@aol.com

-or-

DAVID E. WILLIAMS
P.O. BOX 2422
PHILADELPHIA, PA
19147 U.S.A.

website address:
http://www.davidewilliams.com/

David E. Williams
Hello Columbus
~reviewed by Matthew

Cynical and dry wit encompass the music of David E. Williams, an artist native to Philadelphia PA. In some ways, his work reminds me of Nick Cave, if not tinges of modern-day Leonard Cohen infused with a healthier dose of black humour. I think his early material was even more extreme in terms of its sarcasm and outrageous lyrical content. This one is much more reserved but definitely a nice sampler of this artist’s music that until now I had been unfamiliar with, save for his contribution of “Black Planet” to the SOM tribute a few years back. His music is a brilliant incorporation of experimental/noise, dark folk, Goth rock and some symphonic elements. Vocally, Williams reminds me of an irritable and gloomy David Bowie, which is definitely a strong point. His music is listenable yet bitterly amusing.

The opening track boasts the line, “I’d make love to you if only I knew where my gun went.” Which is a little example of what kind of sardonic jaded feelings Williams is responded for. Or better yet, “If I am Christlike in my magnanimity will it be Magdalenean what she gives to me?” as he wonders in the driving, groove-oriented “Listen Somewhat Awkward.” There are still a lot of parts in my opinion that come across as very melancholic and beautiful, the lyrics acting as a shield; a way to cope and make light of misfortunate experiences. I can see why there is a lot of buzz surrounding this guy, and I definitely want to do a little exploration into his back catalogue. I think fans of everything form Nick Cave and the World Serpent bands should pick this up, as well as the more demented Goth rockers out there. Very cool stuff!

Track List:
1.) Hello Columbus
2.) Not A Gear At All
3.) Listen Somewhat Awkward

David E. Williams: lead vocals/keyboards/drum machine
Jerome Deppe: electric, acoustic, & bass guitars/background vocals
Kenneth Brune: saxophone
Michael Scott: drums
Strings by The Academy Quartet

Official Web Site:
www.davidewilliams.com

Ospedale Records
PO Box 2422
Philidelphia, PA 19147

Decoded Feedback
EVOlution
~reviewed by Wolf

Woohoo, mindless industrial dance! No, seriously, when done with taste and filled with enough variation releases in this, at times admittedly dubious, genre can be very good. Just put innovation and experimentation aside for a moment and imagine those perfect driving and club songs no one can resist. Decoded Feedback delivers them, with conviction.

The first time I heard a track by Decoded Feedback (Corrosion) I was pleasantly surprised. The song was filled with rich strings, danceable beats and proof of a great ear for dark yet catchy compositions. Now the band is presenting us EVOlution, a collection of new tracks, remixes of tracks from their Bio-Vital album and a splendid cover of Bio-Vital by Frozen Autumn.

Part I/d.n.a. features Decoded Feedback's newest songs, six in total. Most remarkable are Endless Light and the contagious Frozen, great for the dance floors and radio shows alike. (I've already heard Frozen at a college radio's goth/industrial show.)

Part II/genetically altered gives us two remixes of Breathe (one by Decoded Feedback themselves and one by In Strict Confidence), Bio-Vital (Fictional and Funker Vogt) and Relic (Aghast View and Din-Fiv). Fictional is the synthpop sideproject of Funker Vogt, so they're delivering two different interpretations of the catchy Bio-Vital, one more synthpop, the other in Funker Vogt's recognizable style of industrial techno. ISC's remix features their usual dark and cold sound, very fitting to the song and just as good (if not better) as Decoded Feedback's own remix.

But my favorites are the remixes of Relic, with Aghast View turning the song into an aggressive and fast remix, chaotic and melodious at the same time, and Din-Fiv's version as probably the most interesting remix on the disc; crisp, catchy and pounding along with no remorse.

Part III/cloned features the last track on the album and god, what a pearl it is. Frozen Autumn covers Bio-Vital with the melancholy synthpop style they master so well. Not that I don't recommend EVOlution as a whole, but this track alone is worth buying it. Many place Frozen Autumn in the same league as Xymox, but I personally consider them the better band by far. This song is no exception, a driving track with beautiful singing and heavenly melodies.

Check this cd out (as well as Bio-Vital, if you haven't already) because in its genre it's an excellent disc with plenty variation and exciting contributions. Decoded Feedback is already hard at work on their next full-length (Mechanical Horizon) and they can also be found live throughout the US and Canada quite frequently. This band is definitely one of the genre's rising stars and I don't have the slightest doubt that we'll be hearing a lot more from them in the future.

Tracklisting:
part I/d.n.a.
1. EVOlution
2. endless light
3. infect me
4. bodies of seals
5. frozen
6. re/animation

part II/genetically altered
7. breathe (infected mix) by decoded feedback
8. bio-vital (fictional remix)
9. breathe (in strict confidence remix)
10. relic (aghast view "intense" remix)
11. bio-vital (funker vogt remix)
12. relic (din-fiv remix)

part III/cloned
13. bio-vital (frozen autumn cover version)

Band members:
Marco Biagiotti
Yone Dudas

Additional info:
Official site: http://www.interlog.com/~defcode/
Label (US): http://www.metropolis-records.com
Label (Europe): http://www.zothommog.com

Dies Irae
Dogma
~reviewed by Blu

Out of the Minneapolis, a band called Dies Irae has been slithering its way into black-clad hearts for a few years now. I'm not even sure how I came upon this CD to tell you the truth (its copyrighted in 1998) but its grown on me so much that I feel obligated to let everyone else in on the secret. Smart lyrics, genius musical progression, and velvety smooth vocals dipped in just the right amount of sexual tension make this CD a contender with the big names in dark gothic music. Upon visiting their website - I found the bands members much younger than I expected from their disarming experienced sound. If this is their beginning, I cannot wait to see where they go with it.

From track one, "Reverence," I was hooked. Opening with splendid keyboards, it rocks into a heavy beat with guitars that sing a counter melody to the sultry vocals of Civitas Hall. Suddenly it changes tempo with a funky bass line and then dives into a seductive chorus. The musicianship is incredible - from the vocal work, to the instruments and how their separate "voices" interrelate and come together to form this piece.

"Ashede" is another track I'm particularly fond of with its mysterious, almost East Orient tinged sound set to another funky beat and adorned by the commanding voice of Civitas.Through in some pretty evil laugher and you've won my soul. This is pure Peter Murphy genius - old school that is. Think back to the days when "Bella" was on all the black-lined lips and you'll begin to grasp what this sound "feels" like. Its dangerous and sexy and completely addictive.

The spooky but playful keyboard line (a la something out the Munsters) and bass make "Sealife" one of the lighter and fun songs to listen to. Its infectious and generally has me doing this silly head bobbing dance thing that I don't claim any responsibility for.

And although I'd like to rave about every track on this CD (cause they're *all* wonderful), I'll spare you the long dramatic paragraphs and skip to the song "Flatlined" which is again, another piece of musical mastery. From its tempo changes, sampling, complex bass work, dramatic vocals, and perfect keyboard and guitar accents, this song is something I'd expect from an experienced and time -tested band. To hear this sound coming from a fairly new band gives me goosebumps.

Seek this CD out if you've longed for the days when Goth was new - when Bauhaus and Christian Death brought something unexplainable, raw and succulent to the table. Dies Irae is a new sound for a new generation of goths - but the old feeling is there and it feels as divine as black satin and a windy autumn night.

*Editor's note: since giving birth to this CD, Civitas Hall and JJ Kidder have moved on to follow other pursuits. Benjamin Bacon and Jonathon Ford are back in the studio working on new material. We wish them all the best and continued success and hope to hear from them soon.

Tracks
-reverence
-postal
-unbelievers
-metamophosis
-asheade
-absence
-x-mas present
-sealife
-deforestation
-whisper
-flatlined
-unbelievers (peleth mix)
-x-mas (magi mix)
-absence version II

Dies Irae on this recording was:
Civitas Hall - vocals
Jonathan Ford - guitars, programming
Benjamin Bacon - bass, samples
JJ Kidder - keyboards, programming

website: http://www.dogma.org/diesirae
email: diesirae@dogma.org
Civitas Hall: civitas@2z.net

Various Artists
Darken My Fire: A Gothic Tribute To The Doors
~reviewed by Matthew

** CAUTION: UBER GOTHIC TANGENT FOLLOWS**

I am going to apologize now for the length and depth I have gone for this review, but I have a lot to say in regards to this particular release, which I do love despite a few ‘little’ things. I will begin by saying that I have been a Doors fan practically since the age of 3 and I have always believed that The Doors were the first Gothic band. I have been anxiously awaiting this CD, being that it was inevitable since Cleopatra has gone mad with these tribute CDs. I had very high expectations for this CD and felt a genuine rush of excitement when I found it in my mailbox.

One glance at the track listing and my heart was pounding. Some of the biggest acts in the Goth scene appear on this collection, each of them doing a song that perfectly reflected the band’s styles. So I put the CD into my player and cheated, scanning through the CD to see what awaited me. I could not believe what I was hearing.

I really would like to meet the quality control staff of Cleopatra records, because I cannot believe they were 100% satisfied with the renditions of these songs. Many of the bands departed significantly from their roots and characteristic sound to record these songs, and very few of the songs do the bands or The Doors the justice they could have done. I am not saying I disliked this album, but it could have been significantly better. The title alone is deceiving, because ¾ of the material on this album is closer to electronic and Industrial rather than Gothic, which makes absolutely no sense to me when it comes to the dark psychedelic hypnotism that The Doors’ music was known for. Which is the main problem with this disc: all the greatest traditionally Goth Rock bands have abandoned their styles for a synth-pop electronica sound or something and it sounds absolutely ridiculous. The Doors were known for an edgy and unnerving decadence that was apparent even in their most successful and commercial songs. It is apparent only at the heart of this CD and little to nowhere else.

The Mission U.K. open the disc with “Love Me Two Times.” Now, fans of The Mission can undoubtedly envision how cool this could be, with Hussey’s romantic whine and driving Goth rock pop style and the constant flirtatious and sexual themes of his lyrics. This song is a perfect choice for The Mission. But the Mission of old, The Mission responsible for “God’s Own Medicine” and “Children,” is long dead and replaced by a pseudo-electronic dance drenched outfit bearing the same name. The song lacks the power and strength of what Hussey is capable of, which he has proven on the recent come back tour. Why he chose to do this, I do not know and will not claim to.

A band sporting the moniker Eating Crow contributes a rendition of “L.A. Woman” The track was remixed by Kevin Haskins of Bauhaus/Love & Rockets. It is a very cool and hypnotic techno version of the song, but the vocalist kills me. He barely alters his voice and has little if any inflection at all. This COULD have been cool, if somebody bought the vocalist a cup of coffee prior to the recording session.

The electro-metal outfit The Newlydeads appear next with “Hello, I Love You,” which really did nothing for me. The guitars were cool, but again, dammit I love Industrial and techno but for Christ’s sake not when covering The Doors on a “gothic” tribute album.

I could have cried when I heard Alien Sex Fiend’s version of “Five To One.” I mean, I can HEAR this song! I can HEAR this performed with Nik Fiend snarling “Five to one baby! One and five! No one here gets out alive!” But see, again, I guess I am old fashioned because I remember a time when Sex Fiend were raw, edgy, brutal, grating, and violent. Now their music is a bunch of techno beats and electronic noises and samples passing as music. Yes, indeed Nik does sound cool, but the damn song is too many beats a minute and he sounds like he is rushing his way through it. I can accept ASF have changed with the times since they have always been an electronic band of sorts, but Christ, they no longer have the punk rock punch they once had which would have made this song incredible. And only THEY could have done it.

The Electric Hell-Fire Club saves the day with a sensual, erotic paced “Light My Fire.” I actually am quite indifferent to EHFC but this song really kicked my ass. They did it their way, but they still honoured the Doors and did not change the song to sound like some fucking rave or fashion show runway tape.

Spahn Ranch, inarguably the only Industrial/Electronic band on this CD did an awesome version of “Strange Days.” The original song itself was beat driven and dance-friendly, and thus, Spahn Ranch made a damn good choice and it is perfect. Athan filters his voice to have the same distant effect that produced the strange psychedelic atmosphere of the original. Perfect, exactly what I would have imagined.

Ex-Voto follow up with an explosive and wonderfully accurate “Riders On The Storm,” matching the original keyboards almost perfectly yet using synths and pianos and airy Goth rock type sounds. Plus a very dancey drumbeat keeps the mid-paced rhythm. All is well until the singer opens his mouth and he sounds like a lounge singer who took vocal lessons from Kermit The Frog. Again, if someone just would have said “hey your song kicks ass but go back and touch up the vocals a bit!” This song COULD have been another winner.

Mephisto Walz, who always do amazing cover songs, totally kicked my ass with “Peace Frog.” Utter perfection! Christine’s voice sounds great and Bari-Bari’s signature guitars hint psychedelia but scream Goth rock! The chorus is awesome, with watery guitars and perfect tribal Goth drums.

An uncanny version of “The Spy” follows, one of my all time favourite Doors songs covered here by Eerie Von of Samhain/Danzig fame. The song sounds like it was recorded in like, 1983! It is so bloody fucking death rock! I adore it!

Rhea’s Obsession come along and do a great version of another favourite track “End Of the Night.” The original version appeared on the debut Doors CD and is spookier and bleaker than most if not all the musical releases of the entire 1960s! Well, this version of it is very good, hypnotic and completely characteristic of Rhea’s Obsession at their best, however, their version lacks the intensely morose air of the original and instead has a playful and mischievous kinda vibe. But by far one of the best tracks on the CD.

Just when I though the CD only had a rocky start and improved, Controlled Bleeding and their version of “When The Music’s Over” destroys that hope. The music is identical to the Doors, almost to the point of being frightening, but again, yet again, and again: the vocals suck. No one except Brendan Perry can come close to sounding like Morrison, that I realize, but damn, sing the fucking song in key!!

Another disappointment came with Nosferatu’s “People Are Strange.” WHAT THE HELL HAPPENED TO NOSFERATU?? This is the band that got me INTO Gothic music! “Rise” was the first CD I ever bought from the Cleo label and I cannot believe this is the same band. The song starts off with a techno beat and that techno beat continues through the whole song with various electronic stuff, and then a guitar and vocal that is sort of reminiscent of Nosferatu, but damn what happened to them?!@ Their version of “100 Years” on the Cure tribute made me think that they had hope. But sadly, another early influence has obviously lost their minds.

And speaking of whatever happened to…what happened to Rosetta Stone?? They were so cool and so Goth and then they too got bitten by the techno bug. They close the CD with “The End” which is barely recognizable save for the lyrics, which become sort of lost in the mix by the end of the song. A song that had potential but was covered by the wrong band.

Ok, it comes down to this: this is NOT a bad CD. I do like every song on this CD. They all have their unique and strong points. However, I am both a fan of The Doors and a musician and I am unfortunately cursed with musical vision. I have always wanted to hear Goth bands accent the dirge like, morose, poetic, romantic and stark qualities of the Doors. The Doors can be heard in SO much of yesterday’s and today’s Goth music, but why this was not capitalized upon I do not understand.Instead of taking advantage of so great an opportunity, instead of hearing Gothic elements of The Doors accented, I have been reminded that most Gothic rock and dark Gothic music is being completely obscured and overshadowed by electronic music. But that is another tale all together.

This CD is well worth the buy; it is without question one of the best Cleopatra tribute albums. It is worth a purchase alone for the Mephisto Walz, Spahn Ranch, Hell-Fire Club, Rhea’s Obsession, and Eerie Von tracks. The rest of the CD is just there to irritate and annoy and invoke nostalgia of bands who have lost their fire.

Track List:
1.) THE MISSION U.K. – Love Me Two Times
2.) EATING CROW – L.A. Woman
3.) THE NEWLYDEADS – Hello, I Love You
4.) ALIEN SEX FIEND – Five To One
5.) THE ELECTRIC HELL-FIRE CLUB – Light My Fire
6.) SPAHN RANCH – Strange Days
7.) EX-VOTO – Riders On The Storm
8.) MEPHISTO WALZ – Peace Frog
9.) EERIE VON – The Spy
10.) RHEA’S OBSESSION – End Of The Night
11.) CONTROLLED BLEEDING – When The Music’s Over
12.) NOSFERATU – People Are Strange
13.) ROSETTA STONE – The End

Cleopatra Records
www.cleorecs.com

The Doors Official Site:
www.thedoors.com

DIE VERBANNTEN KINDER EVAS
In Darkness Let Me Dwell
~reviewed by Kirin

A truly powerful collection of songs, the likes of which I've never heard before. Take all the grace of Arcana and mix it in with the sorrow and passion of artists like Raison d'être, and you'll have an approximation of Die Verbannten. Comparisons could also easily be drawn with some of the older works by Dead Can Dance. Those who seek majesty, dignity, intelligence, and splendour from their music, will be extremely pleased by this release.

Admirers of the work of Percy Bysshe Shelly will be excited by these new, powerful, delicate monsters-- songs crafted through and around his words. If you've found yourself in awe of works by Amber Asylum, Hagalaz Runedance, Elijah's Mantle, or Ulver's "Themes From William Blake's...," definitely treat yourself to this stunning release by Die Verbannten Kinder Evas!

Track Listing:
-Intro
-Brief Even as Bright
-On A Faded Violet
-Overpast
-Cease Sorrows Now
-In Darkness Let Me Dwell
-Shall I Survive?
-Arise from Dreams of Thee
-From Silent Night

Draenor Productions/Napalm Records America
830 Pacific Ave. Ste. 200
Bremerton, WA 98337
http://www.napalmrecords.com

Original Motion Picture Score
The End Of The Affair
Composed & Conducted by Michael Nyman
~reviewed by Matthew

Another example of how schizophrenic my musical tastes are. Noentheless, there is a link of emotional exhaustion and bleak hope in all of it I suppose. Neil Jordan's tragic drama "The End Of The Affair" is the best movie that no one saw in 1999. It is a brooding period film set in World War II England, and centers around the forbidden romance of a young writer (Ralph Fienes) and his neighbour's wife (Julianne Moore.) Moore plays Sarah, the wife of a government official (Stephen Rea) who is good hearted though oblivious to her emotional needs. She finds a cure for that neglect in the arms of Bendrix (Fienes) and the two engage in an intense and passionate love affair that lasts for many months. When Bendrix is wounded severely, Sarah in her grief thinks him dead and makes a plea to God promising that if He let Bendrix live, she will no longer see him and remain faithful to her husband. Almost immediately, Bendrix comes to and Sarah refuses to see him, though doesn't reveal to him the true reason of her indifference. Of course, just to make our hearts even heavier, Sarah learns she is quite ill and her life too is threatened and the film then spirals and ascends on a crash course of somber twists and turns until its heartbreaking finale.

The film touched me deeply, leaving me speechless and in a surreal haze for days. The movie is sincerely perfect in its casting, imagery, and costumes. The intimate scenes in the film are perhaps the most erotic and realistic I have ever seen. The authenticity is astounding in the way the excitement, passion, and guilty awkwardness of infidelity is imposed upon the audience. Yet there is such an element of class to the characters and for them not to be together seems to be more an act of deviance to Fate rather than the sin of adultury. There is a concientious theme of the eternal battle of the sacred and the profane, and the lines are in no way clearly drawn, if not just outright reversed. No matter what kind of experience with love you have in life, you can't help but sympathize with the ill-fated lovers.

Though I realize that this is a CD review, I feel that from the plot, hopefully an idea can be established of what to expect musically. What makes the film even more powerful is this score, composed by Michael Nyman.

With a film like this, it is imperative that the music accompanying the movie accents the mood and is equally as moving. The film itself left me speechless and the score as well invokes the melancholic air of the film perfectly. A gorgeous and simple phrase haunts the entire composition, as an orchestra of strings and the occasional piano invoke beauty in a way that is both rapturous and uplifting and almost unbearibly full of woe. It is quite possibly the most beautiful CD I have heard in months, up there with Ivoux and the last Black Tape For A Blue Girl CD. I am in no way a collector of soundtracks, and my classical music collection is rather embarassing; however, I can say that this is without question a musical masterpiece that needs to be heard by Romantics everywhere. This is the CD to make love to, to chill out to, and above all to become lost in. I recommed this CD and strongly encourage you to see the film when it is released on video. This is the kind of drama and passion that is as rare in life as it is in art.

Track List:
1.) Diary Of Hate
2.) Henry
3.) The First Time
4.) Virgo Passage
5.) Jealous Of The Rain
6.) The Party In Question
7.) Intimacy
8.) Smythe With A "Y"
9.) Dispossessed
10.) Love Doesn't End
11.) Diary Of Love
12.) Breaking The Spell
13.) I Know Your Voice, Sarah
14.) Sarah Dies
15.) The End Of The Affair

www.sony.com/endoftheaffair
www.sonyclassical.com

EVOL
Portraits
~reviewed by Matthew

Sometimes, you come across bands that more often than naught disappoint you, but it is such a wonderful feeling to discover a band that exceeds your expectations and brings delight to your ears. I have to admit, had I seen the CD cover, had I glanced at their photos, and not dismissed some of the unforgivably cheesy theatrics, I would have passed this band off. But luckily for me, I have a friend that is into this crazy European black metal also so he makes me listen to some stuff I normally may not have listened to. EVOL are an eclectic and intellectual band, with a lot of aspiration and talent under their bullet belts. I have rarely heard such a successful blend of Goth metal/rock and Black Metal. Usually one is overshadowed by the other, but there is a nice balance and variety found here.

The CD opens with a symphonic intro with drum machines slowly tapping away behind synths and harpsichord keyboards. The song then moves to the second track, where the same style is employed though some sick and grating male vocals rasp atop the symphonic backdrop. Then track three comes in eventually and goddamn, whether it is the laid back approach on the previous two tracks or not, but EVOL absolutely SHREAD on this particular track, whipping you around in a musical maze of blistering guitars and inhuman drums. It is here where the band first exhibits its talent, and the accent-ridden voice of the lovely Suspira first appears to contrast the daemonic shrieking of Giordano. She at some times reminds me of Lydia Fortner of The Shroud of all things, but definitely a different musical backdrop to say the least.Yet not so much different through in certain passages, and even entire songs. “Inquisition Begins” is an upbeat acoustic guitar and drum interlude that is dripping black with Goth rock elements, with a heavier ending but damn…it was a nice surprise. “Once Upon A Time…”comes along, a lengthy symphonic piece mainly for Suspira, with her reciting an ode to the old ways lost, longing to return to a time before technology came and led men astray from their roots in nature. This seems to be an overall concept in the lyrics and is the foundation of the band’s intellectual, Wordsworthian approach to Nature’s superiority and man’s decline by modern fascination.

The CD continues to just amaze me, with such standout tracks as “Il Principe Di Anghisha,” my favourite track of the entire CD where it seems that all of EVOL’s elements come together to create a strong and memorable atmospheric black metal track. There are several more classical interludes with Suspira’s multi-lingual talents and even a folky tune entitled “Grigia Signora.” But fear not there are still some blistering metallic masterpieces such as “Il Chierico Grigio” and “Tower Of The Necromancer” where the band are tight, galloping, and impressive in their musicianship in uncountable ways.

I think the band needs a bit of re-evaluation in how they present themselves because it does in no way compliment the integrity of their lyrical content nor their musicianship. However, they are very ambitious and are great at what they do. With some revamping, and perhaps blending all the styles they explore to create one original style, EVOL will make a mark upon the scene with their unique and eclectic approach.

Track List:
1.) Ouverture
2.) Portraits
3.) Ancient Abbey
4.) Inquisition Begins
5.) Once Upon A Time…
6.) Il Principe Di Anghisha
7.) March For EVOL
8.) Il Castello Evitato
9.) Il Chierico Grigio
10.) Grigia Signora
11.) Tower Of The Necromancer
12.) Epilogue (Fading Back)

EVOL’s “empire”:
Giordano Bruno: keyboards/vocals
Suspiria – female vocals
Samael Von Martin: guitars, flute, and cymbal
Damian de Saba: drum machine/drums
T-Rex: bass

Official Web Pages:
http://www.intercom.no:80/~kulde/evol/index.html
http://www.mindpsring.com/~cfarmer/evol.html

EVOL
C/o Giordano B. Folin
c.p. 456
35100 Padova, Italy

Adipocere Records
B.P. 2
01540 Vonnas France

Fear Of Dolls
When the Organ Played at Twilight
~reviewed by Blu

Seattle is going to beat their scathing flannel-loving reputation yet if they keep producing such quality dark bands. Fear of Dolls, although around for almost five years, has just put out their first independent CD that is one spooky mental ride. Hard to categorize or describe, the band says it best themselves on their webpage:

"Fear of Dolls is an eclectic, ritualistic manipulation of post-murder atmospheres and eccentric propaganda through sound.

Both live and recorded, the music and emotion is a schizophrenic mixture of angelic beauty and ugly cacophony, cathartic realism and psychotic fantasy, melodic rhythm and hypnotic droning ; always slightly nervous and unsettling. Music noir with an emphasis on suspense."

"St. Dymphna" is the strong opening track on this CD. The guitars wail and the bass line curls along dangerously as the vocals of m.voilet weave like a witch's spell - bitter and vengeful and poisonously seductive. Perhaps one of the most unsettling moments of the CD occurs at the end of this song when layers of whispers and phrases are fed through the speakers, alternating from left to right against out of tune bell tones until you swear there are voices all around you in the room.

"Fragile Toy" is another favorite track of mine and probably the most "dance friendly" tune on the CD even in its minor chord progression. Its an eerie child-like tune... "pretty pretty fragile toy." Even spookier is "Broken Toy" with its backwards phrasing, catatonic chants and haunted background noises. Not recommended before you go to bed <wink>.

This CD is at times terrifying and peaceful, meditative and insane, beautiful and horrifying. Its the soundtrack to a Kathe Koja novel; its twisted childhood nightmares come alive; its layers upon layers of seductive, evil mind trips. From the the disturbing whispers, rants and reverb, to the the meditative atmospheres and sometimes eerie angelic vocals of m.violet, the originality and musicianship of this band cannot be praised enough. The visions are dark and sublime and well worth your possession.

Tracks
- St. Dymphna
-Bleeding on Her Wings
-Fragile Toy
-Show Me My Insides
-Broken Toy
-Persephone Is Scratching

Fear of Dolls is:
m.voilet - vocals, lyrics, prayer beads, percussion
Joel Bergstrom- bass guitar, keyboards
Shaun Richards - drums, percussion
Greg Forschler - guitar
additional sound excerpts from Swedish and Bulgarian folk music

website: www.fearofdolls.com
email: fear@fearofdolls.com
PO Box 20151
Seattle, Wa 98102 USA

Frolic
Perma Frost
~reviewed by Blu

If you're strange like me, you rather like the winter and kind of get depressed when the first signs of spring show up. Its the first signs of the impending horrible, miserable heat of the summer. Here in Atlanta, the sidewalks boil. My roommate and I would sometimes listen to Christmas music in mid-July just to try to trick ourselves into feeling cooler. Now I have something much better - I have Perma Frost by Frolic to look forward to.

Imagine if you will the magical land of Narnia when you were a kid from *The Lion, The Witch and the Wardrobe.* Remember how it was all covered in sparkling snow when the children first set off ? Or even better... the icy realms of the *The Ice Queen*? Take that magic and put it to music and you have this incredible CD.

With the siren-like, beautifully haunting vocals on "Seraphim Magnara," Frolic sets the stage for an atmospheric voyage through the land of winter. Enchanting bell tones on "Tonite" whisk you off into a fairytale world covered in purple and blue where anything can happen while the song "Terrain" comes alive with a persistent heartbeat echoing in the background like a slow-motion snow-flake filled dream.

All 13 tracks are equally beautiful and pensive. Kelly's delicate vocals soothe and captivate while the music succeeds in a peaceful trance. Fans of Black Tape for a Blue Girl or Lycia will adore this CD and you'd better bet I'll be lounging about in this dream world of frosty air this summer when the rest of Atlanta is sweating.

Tracks
1. Seraphim Magnara
2. In Winter
3. Drift Away
4. Tonite
5. Essence of Violet
6. Siren
7. Fields of Green
8. Aqua
9. Father
10. Terrain
11. Reunion
12. Sea
13. Skin

Frolic is:
Kelly O'Brien - vox, finger cymbals, electronics
Mathew Chinn - electronics, loops, textures, ambiences
Jon Beard - guitar, vox

website: http://www.netwide.net/users/theoryc/frolic
New site in construction: http://www.velvetempire.com/frolic
email: frolic@ velvetempire.com

Velvet Empire Records
PO Box 42188
Philadelphia, PA 19101
http://www.velvetempire.com

Look for th ehe track SKIN from Permafrost is featured on the latest compilation from Projekt, "Serieenia."

Ghost in the Machine
The Haunting Begins
~reviewed by Blu

Like something out of sci-fi action movie, The Ghost in the Machine transports its listeners into a surreal world haunted by crunching guitars, digitized voices and danger around every curb. With their unique fusion of traditional rock instruments and electronica, The Ghost in the Machine gives us a preview of what technology and rock-n-roll can accomplish together.

The CD opens with the eerie soundscape called "The Haunting Begins...", sinister with its whispering background and false sense of peace - birds chirping and undulating liquid keyboards. The scene is brought to an abrupt halt with a scream that serves as the introduction to "Everyone is Dead." The programing here is a nice meld of strong guitar riffs, industrial beats and samples. A computerized female voice repeats calmly, "Everyone is dead" throughout. Midway through, the tempo changes and the melody drops out momentarily to revisit the theme first heard in "The Haunting Begins..." before kicking back into full force tempo.

The smart sampling and fun electronic sounds continue through out the CD while all along, blending it naturally with the harder edged guitar and bass riffs to form one aggressive unified wall of music. "Supergod" is the next song that grabbed my attention because of the diverse vocals and thematic changes. The main verses are sung by a lone male vocal but female vocals are added in the background and in the chorus along with a group of vocals. This slightly reminded me to the vocal work often found in My Life With the Thrill Kill Cult - kind of "gospel" feeling in its chorus at times. Than WHAM, just when I thought I had it figured out, it takes a drastic turn in the latter half of the song and launches into beautiful neo-classical piano run. Weird! I love it.

Even though I like this CD for the most part, there are things here that don't appeal to me as much. The drum machine seems a little too repetitive and overbearing on some tracks - maybe some variance would have helped that a bit. The track, "What Dreams Are Made Of" is almost too bubble-gum pop in theme for me along with some pseudo rapping that sounds like Shaft on X (keep in mind I don't like rap in the first place so don't take that personally). I'm not sure if I should take this song seriously or as a comedic interpretation - but either way, it feels sorely out of place compared to the rest of the tracks on this CD. Kudos to the guys for trying something new though. I suppose it has the potential to become a cult favorite.

Overall, I think Ghost in the Machine has something unique and exciting going on here. They're truly creating something without the boundaries of genre. Many of these songs are worthy of being popular club songs. Their potential seems to be gleaming bright amidst a maze of possibilities and I'll look forward to seeing what comes out next.

Track Listing:
-The Haunting Begins...
-Everyone is Dead
-Lies
-Electric
-Do You Believe?
-The Shepard
-Supergod
-Death's Second Self
-Embrace
-What Dreams Are Made Of
-Big Gimmick
-Image N
-Suspicion

The Ghost in the Machine is:
Mike Kern- bass, vocals, programming
Chris Weerts - guitar, vocals, programming

Website: www.gitm.net
email: gitm@gitm.net

Graveworm
As The Angels Reach The Beauty
~reviewed by Matthew

Ah, pure bliss…Graveworm hail from Italy, and are among the elite at the top of the atmospheric metal pyramid. Honestly one of the best CDs I have heard in this genre. Despite the somewhat cheesy album cover, they have an intellect and emotion worth one thousand praises. The CD has a kick ass production, with a precise clarity in the galloping guitars and breathtaking keyboards. Deep and guttural vocals contrast between raspy screeches. The vocals are extremely intense and often overlap to create an unnerving and anguished effect. The music is fast and heavy, but not for the sake of sinister or evil atmospheres but rather a grey, melancholic sadness seems to prevail throughout this grand epic. The keyboards alone inspire the elements of Gothicism, but an authentic string quartet weaves its way into the more somber parts, and the use of bagpipes in the Celtic instrumental “Ceremonial Requiem” and the CD’s intro.

The drumming on the disc needs to be recognized, for indeed he is a talented drummer capable of blast beats and extensive double bass work, but he also uses a lot of tribal elements in some of the interludes and breakdown passages, as well as a bit of upbeat post-punk Goth drumming that sneaks its way into a few of the tracks.

Graveworm, in my mind, are a ‘gothic’ band with their lyrics, atmosphere, and mood, but are much more intense and epic in their style which makes me belief they would appeal more to atmospheric black metal buffs.

They released an EP prior to this full-length release, entitled “Underneath The Crescent Moon” which is as well an unbelievable testament to harmonic and beautiful metal. Sarah Jezebel Deva of Cradle Of Filth, Mortiis, and Therion fame contributed her voice to the EP’s standout track “Awake…Thy Angels Of Sorrow,” but the rest of the CD is an all out blistering descent into the fantasy world that Graveworm so easily can spirit us with their music. Sheer brilliance and utterly gorgeous musicianship, a seminal band to emerge into the scene.

Track List:
1.) A Dreaming Beauty
2.) Portrait Of A Deadly Nightshade
3.) Ceremonial Requiem
4.) Nocturnal Hymns
5.) Behind The Curtain Of Darkness
6.) Pandemonium
7.) Prophecies In Blood
8.) Into The Dust Of Eden
9.) Graveyard Of Angels

Track List (for “…Crescent Moon” EP):
1.) Awaiting The Shining
2.) Awake…Thy Angels Of Sorrow
3.) By The Grace Of God
4.) How Many Tears?

Graveworm Is:
Stefan Fiori – vocals
Martin Innerbichler – drums
Sabine Mair – keyboards
Harry Klenk – rhythm guitar
Stefan Unterptinger –lead guitar
Didi Schraffl– bass

Official Web Site:
http://www.musicworld.it/_images/Graveworm_new/default.htm#
www.musicworld.it

Graveworm
C/o Steffan Fiori
Lofflerweg 6
39030 Gais (BZ)
Italy

Serenades Records
In Der Vorstadt 114
73529 Schwaibisch
Germany

Hecate Enthroned
Kings Of Chaos
~reviewed by Matthew

I know what several of you are thinking, and quite frankly, if I here this band compared to Cradle Of Filth one more time, I am going to seriously snap. This band is always being labeled as a COF rip-off and I feel it is completely unjustified. There were members of Hecate Enthroned that were once members of Cradle Of Filth, way back on the “Principles Of Evil Made Flesh” album, and yes, the first Hecate CD did have a similar sound to thefirst COF CD. But Christ, what the hell can you expect, the same damn musicians were responsible for defining aspects of the both bands’ sounds?

Over the past 6 plus years, both bands have developed their sounds and have both pursued different directions. And if you really want me to open a can of worms, what newer black metal band DOESN’T have a similar sound to Cradle Of Filth these days?

Now that I have that out of the way, I can focus upon the matter at hand, and that is to praise Hecate Enthroned for this new masterpiece. I cannot even begin to stress the marked improvement of this band, it is absolutely astounding. When the quick intro faded out and the opening death growl and double bass driven “Perjurer” raped my speakers and crushed my skull, I was both shocked and proud of this band who’s potential shrieked at ungodly volumes to me in the past. Since their previous release, “Dark Requiems…” the band has replaced their sand-papered and ridiculously unintelligible vocalist with a new vocalist by the name of Dean. Dean has brought a gruffer, deeper voice that is more akin to classic death metal rather than black metal. There is a wide range of vocal styles, from breathless whispers, woeful Darren White (ex-Anathema) like doom vocals, and of course raw and raspy vocals. The guitars are crunchy and responsible for some mind blowing riffs and buzz saw grind like guitars, as well as sinister twin arrangements rich in harmony and emotion. The drums thrash and blur with blasts but more often than naught a deeper double bass driven death metal style is employed. The production on this CD is brilliant; deep, bottom heavy, and warmer than the Inferno of hell itself, when compared to the icy reverberated blur of sound characteristic of the band’s last album. And of course, the atmospheric elements supplied by haunting ethereal keyboards and watery guitar passages are smoother and more Gothic in tone than even their prior release which I felt contained some of the coolest atmospheric passages in the entire genre. Very Nephilim like guitars with keys that are subtle and spooky rather than overtly grandiose and symphonic. The swingy and rhythmic drum passages behind these parts just kick my ass! There is even a brief darkwave inspired interlude entitled “Exalted In Depravity,” which is sandwiched between my two favourite tracks “I Am Born” and “Conquest Complete.”

It is obvious they were brave enough to experiment even further with their sound. Very subtle yet all kinds of electronic crackles and pops over supremely stark keys make up this track. Then the song segues into the mind-numbing and exquisite intensity of “Conquest Complete,” and if you are into any type of aggressive metal music you will without a doubt be floored.

I cannot accurately express how much I support this band. I think they have finally released an album that will earn them the respect they deserve. Their sound is strong, heavier than all hell due to the death metal incorporation, yet still faithful to the traditional elements of black metal with the overall mood of the CD. I HIGHLY recommend this CD to fans of death and black metal, no matter what the press tries to convince you to believe about this band. Hecate Enthroned reigns supreme and will hopefully continue to release material as close to perfection as this release has come.

Track List:
1.) Miasma
2.) Perjurer
3.) Deceiving The Deceiver
4.) Malignant Entity
5.) Blessing In Disguise
6.) I Am Born
7.) Exalted In Depravity
8.) Conquest Complete
9.) The Downfall
10.) Repent
11.) Witch Queen Ascending

Hecate Enthroned are:
Dean – vocals
Nigel – guitars
Rob – drums
Dylan – bass
Daz – keyboards
Andy – guitars

Official Websites:
http://www.darknessfalls.freeserve.co.uk/hecate/
http://metalblade.iuma.com/bands/Hecate_Enthroned/

Blackened/Plactic Head Records:
www.plastichead.com

Blackened Records
Unit 15
Bushell Business Estate
Hithercroft
Wallington OXON. OXIO 9DD

Hyperdex-1-sect
Metachrome
~reviewed by Wolf

1996 was a good year, if only because it saw the release of Metachrome. The cd received tons of praise, frequent airplay and several tracks appeared quite often on compilations. Despite all of this I still recieve responses such as "Hyperdex-1-who?", which is why I'd like to put the spotlight back on this instant classic of industrial dance and dark techno.

Hyperdex-1-sect is the combined effort of Jonathan Sharp and Sevren-ni-Arb (for the novice: the musicians in charge of respectively New Mind and X Marks the Pedwalk, as well as a slew of side projects). During the course of this collaboration they supposedly never even met in person, but exchanged their compositions until the songs were done. Most of the pre-production and programming was done at Mr. Sharp's Mission Control studio and completed by Sevren at his famous T.G.I.F. facility, also adding his vocals and those of Estefania.

Aside from the four main songs the disc contains 7 remixes, most of them reconstructed by either New Mind or X-Marks, as well as one by the great Empirion and two by none other than Download. Sounds good? You bet it is.

The first track, Mind, was reason enough for me to seek out this release after hearing it on a SideLine compilation. Atmospheric, desperate, danceable and filled with incredible electronics, this track is one of the pearls in its genre. The vocals alternate between ghostly whispers and anguished singing, whereas the music is a diverse collage of infectuous beats, crisp pianos and earsplitting sequences. Irresistable would definitely be the right word.

Les Amants takes a more ravey turn, with Sevren and Estefania's vocals taking turns as the song pounds along. Not the album's best effort, but Hear Nothing makes up for this, returning to the darker feel of Mind and filled with intricate sounds.

Next up is Death Is Not The End, more in the vein of Les Amants, but so catchy that it rises above its cheezy samples and actually makes for a nice floorfiller.

Next up are the remixes, some more interesting than others, and there is enough diversity in the remixers' approach to justify filling almost two thirds of the cd with reworked material. Of particular interest are both mixes of Mind, one by X Marks and the other by Empirion, as well as two different versions of Hear Nothing by Download. Empirion use the same approach as with their remix of The Prodigy's Firestarter, driving beats and nasty sequences all the way, while Cevin Key is, as always, in a league of his own, finishing off the cd with a bit more experimental depth and his usual wizardry.

It's unclear whether or not this project will ever be continued (although a potential follow-up had been named Xenachrome) and both Jonathan Sharp and Sevren-ni-Arb have their hands more than full with all their other projects. I'm secretly hoping for more though; Metachrome was quite the surprise of 1996.

Tracklisting:
1. Mind
2. Les Amants
3. Hear Nothing
4. Death Is Not The End
5. Mind (x marks the pedwalk mix)
6. Death Is Not The End (x marks the pedwalk mix)
7. Les Amants (new mind mix)
8. Mind (Empirion mix)
9. Death Is Not The End (new mind mix)
10. Hear Nothing (download mix)
11. Hear Nothing (download dub mix)

Band members:
Jonathan Sharp
Sevren-ni-Arb
Estefania

Additional info:
Unofficial site: http://www.emptiness.net/h-1-s/hyper.htm

Jennifer Hope
Winds of Tomorrow
~reviewed by Michael Otley

Jennifer Hope's self-released EP Winds of Tomorrow is a pleasant little CD containing four songs. The purple cover includes a picture of her kneeling between candles. The rest of the imagery throughout the package is also gentle and gothic (and purple). Her music is equally gentle with a very new age approach. My largest complaint is that just as you get into her CD, it ends (17 minutes long total). None the less, I enjoy the CD very much and find it very listenable both actively or passively.

The first song, "What's Inside", begins with just a few seconds of abrupt piano and voice and then slides into a very interesting drum pattern with changing time signatures throughout the rest of the song, though never too awkward. Generally remaining gentle, moments are (appropriately) agitated as she asks, "what's inside your twisted mind?"

One of the most interesting aspects of her music is her tendencey to sing lines of lyrics in phrases of music where they don't seem to fit. I'm quite often thrown off as she sings a few syllables quickly together and then continues in time with the beat. It peaks my interest and I find it quite pleasing in a quirky kind of way.

My favorite track (also on Cleopatra's The Unquiet Grave compilation) is "The Sky is Blushing". Hope (with co-arranger Tomie Reeves) utilizes her voice in an ethereal fashion with a soft organ-like synth sound and very interesting use of drums and other electronic percussion sounds.

The other two tracks of the album have an 80's feel, remnant of lite rock from this time period with new age guitar riffs played quietly (by Lino Alessio).

I would recommend her CD to anyone enjoying the new age sound with interesting content. I also look forward to (hopefully) a full-length release in the future.

Tracks:
-What's Inside
-Passing of our Worlds
-The Sky is Blushing
-Angels Alone

Mystic Dreams Music
P.O. Box 221624
Newhall, CA 91322

info@mysticdreamsmusic.com
http://www.mysticdreamsmusic.com

Katatonia
Tonight's Decision
~reviewed by Matthew
Sweden's Katatonia have for the past five years added some of the most unique contributions to the Gothic/doom metal scene. Creating atmosphere not with grandiose keyboards, live classical instruments or female vocals but rather with bleak guitar discordance and eerie tonal harmonies. Even since their debut effort, 1995's "Dance Of December Souls," they have been boasting a unique and highly emotional guitar driven style that is a characteristic of them alone. They have taken that style and modified it over the years, crafting it to become of a greater density and gathering up bits of broken hope and unleashing it in a whirlwind of heart wrenching emotion. With their last effort "Discouraged Ones," they bridged the gap between their highly acclaimed effort "Brave Murder Day" to make way for the latest chapter in their musical drama, "Tonight's Decision." They, like many others, have abandoned harsh vocals in exchange for a cleaner, emotionally raw style of singing that compliments the now less abrasive direction of their music. With "Tonight's Decision," Katatonia may have created the CD that could crossover in some respects and draw fans of popular guitar driven alternative to the darker realm of Gothic metal.

Though the band has in no way changed that drastically, there is definitely a commercial appeal to some of the songs on this CD, most notably "Had To (Leave)" which with its thickly distorted rhythmic sludge and artificial harmonics reminds me of a darker, edgier Stabbing Westward. The vocals on the CD are clear, as opposed to the common deep baritone; rather, Tomas Renske sings with either a wavering Robert Smith-esque pleading or a smooth high tenor that soars above the wall of bleak chaos.

Though every song has its strengths, a frame of perfection is formed about the center of the CD, which starts at the aforementioned fourth track, "Had To (Leave)" through the odd time shifting psychedelia of "This Punishment," to the gorgeous guitar harmonies of "Right Into The Bliss" and "No Good Can Come Of This." The latter two of these songs sound very much like their prior album "Discouraged Ones," which will definitely appeal to fans. Also, like that album, "Tonight's Decision" is interspersed with several acoustic guitar passages and catchy choruses as heard on "A Darkness Coming." Another of my favourites is the heavily Goth rock inspired "Nightmare By The Sea," a steady song with great post-punk like bass and drums.

Overall, Katatonia are one of the bands that are proving that metal can be an intellectual, beautiful thing and are doing so without having to resort to the common formulae that other bands must in order to convey a sense of gloom or emotion. It seeps through every note they play and every breath that is expired passed Tomas Renske's lips. Without a doubt the band will continue along the winding and dimly lit path they travel ever so heavily hearted.

Track List:
1.) For My Demons
2.) I Am Nothing
3.) In Death, A Song
4.) Had To (Leave)
5.) This Punishment
6.)Right Into The Bliss
7.) No Good Can Come Of This
8.) Strained
9.) A Darkness Coming
10.)Nightmares By The Sea
11.)Black Session

Katatonia is:
Jonas Renkse - Vocals
Anders Nystrom - Electric, Acoustic, and Bass Guitars
Fred Norman - Electric guitars

Official Website:
http://www.katatonia.com

Peaceville Records
http://www.peaceville.com

Lili Roth
Self titled
~reviewed by Blu

Write this name down somewhere and keep it in a safe place - Lili Roth. You can say you heard about her here first and we'll be bragging about it oneday. Out of Atlanta's underground scene comes this inspiring new talent with self-driven ambition and inspiration. Her first independant self-titled CD is an impressive 12-song collection that showcases her diverse talent as a musician and as a vocalist.

The first track, "Plenty of Nothing" is a powerful, self-righteous, bitting flurry of a song backed by rocking guitars. When Lili sings, "Take out your needles and sew me back together now/give me a fix of something, I'm freaking out/ tell me why does she get such a good little life? Not me/ All I get is nothing/ plenty of nothing" she's not pleading, she's demanding.

The second track, "Instand Kamra" is my favorite on this CD. Opening up with a synthesized line of grandiouse brass and bell tones; it suddenly melts down, velvet smooth into a slithering, sexy, dangerous line of melody supplied by a bluesy guitar. The music is minimizeded and for a moment, Lili's unique, strong voice sails through the speakers to capivate its listeners until a very catchy chorus kicks in for the final hook. The lyrics are nothing shy of brilliant:

"My enthusiasm drains beneath me like a broken seive
my hands are gropin in the dark for new promotions to believe
This brand new catalog
Makes the whole world analog...
Cant you see I'm on the edge of something
if not my chair

I'm seven floors above it
and the floor beneath my feet
is like transparent glass
full of people in the street
they found the broken angel in the back of your car"

"I was visited by the herion fairies in the dream,
at last now there are arms to catch me when I fall off the swing
dont lecture me about virture
I know what's really gonna hurt you
My blood's so happy I can hear it sing

I was visited by my fairy godmother Christmas Eve
She had drag queen ....
spare me the "hey its getting better"
I followed HAPPY to the letter
Now I need a god to come believe in me..."

Track Listing
1-Plenty of Nothing
2-Instant Kamra
3-You're so Disturbing
4-Sunday Morning
5-Girlie Thing to Do
6-Aluminum
7-Remains of the Day
8-Annunciation
9-Magician
10-It's that simple
11-Pretty Thing
12-Ceiling to the Sky

Musicians on this disk:
Lili Roth - vocals
R. Curtis Meyer - Guitars
Joe "Lex" Luther - Bass
Mike Talbot - drums
Keyboards:
Joey Huffman on Instant Karma and Disturbing
R. Curtis Meyer on Magician
Lili Roth on piano on Sunday Morning

All songs written by Lili Roth

*audio clips from the CD can be listened to in RealAudio G2 format, and the CD may be purchased securely online at http://www.largeorange.com

email: liliroth@largeorange.com
Large Orange
email: info@largeorange.com
website: http://www.largeorange.com

Let Me Dream
Medley Rain
~reviewed by Matthew

Upbeat and catchy Gothic metal hailing from Finland. With a sound that is very akin to a harder, heavier Two Witches mixed with an aspiring sense of drama, the music of Let Me Dream remains memorable long after the first few listens. There is a sincerely prevalent Gothic Rock sensibility in their music, much more than most bands in this genre where metallics play a larger role. Some may not be too partial to the vocals, which are very similar to the vocals of Two Witches, however this is due mainly to the European accent as well as an obvious vampyric sentiment. There are a few passages of raspy black metal vocals, however they are smoother and less abrasive than most bands and it almost goes unnoticed. I enjoyed this band considerably; they are both romantic and fun and have some really cool arrangements. They are very successful at merging the genres of Goth and metal and maintaining a balance that would appeal to both sides of the fence, and in no way, do they come across as cheesy, as many snobby Goths cite the more vampire friendly Cleopatra bands of the early 90’s. Fans of Two Witches, Dismal Euphony, and early Nosferatu would adore this as much if not more so than even myself.

Track List:
1.) Medley Rain
2.) Windride
3.) Julia
4.) From Passion To Void

Let Me Dream Are:
Marko Tuominen – bass/vocals
Jani Koskela – guitars/vocals
Jari Koskela – keyboards
Janne Peltoranta – drums

Let Me Dream
C/O Jani Koskela
Leppasenojantie 243
12100 Oitti, Finland

Official Website:
http://www.letmedream.com

Succubus Records:
www.sci.fi/~gore/succubus

Mantra
Every Defect
~reviewed by Admortem

Mantra's CD Every Defect features female vocalist and composer Yvonne Neve, who writes the music and lyrics for this release. She expresses personal dilemma through both her straightforward lyrics and soulful style of singing. Not many vocalists I have heard of late have her mastery of vocal expression, which throughout the CD she makes the best of. She can be terribly sweet and gentle, yet suddenly filled with strength or even rage. The musicians accompany her style with perfection; in particular the addition of a cello and oboe complete the band's sound and give it a more gentle feel to contrast the striking sound of the vocals. Surprisingly Portishead-like groove also adds to the diversity of sounds from Mantra, thanks to percussionist Tony Harrison and bassist Phil Wallis. Yvonne's voice also takes on a Portishead-likeness, especially noticable in track 7, entitled Our Disease.

The only club worthy song on the CD in my opinion is "Of Every Defect." Very danceable and dark, I could see hearing this in a club, or even on the local alternative station. Even though Mantra isn't my style of music, it does fit in to a style of goth that seems to be becoming more popular these days. So, if you're a Portishead or 'jazzy-goth' fan, Mantra will be worthwhile for you to check in to.

Track Listing:
1. Poison
2. The Making of Me
3. Frail
4. Every Defect
5. Cry
6. Catcher
7. Our Disease
8. Lovers
9. Rage
10. Hymn
11. Of Every Defect
12. Seasick
13. I Feel Free
14. Coma

Members:
Simon Carroll - guitars
Yvonne Neve - vocals
Phil Wallis - bass
Tony Harrison - drums, percussion
Penny Holt - cello
Alex Birchall - oboe

Email: mantra@akoluthic.com
Website: www.akoluthic.com/mantra
Label: Metropolis

MOTH WRANGLERS, THE
7"
~reviewed by Kirin

The promo schpiel for this record really turned me off. It was all full of "indie pop" references and name-dropping and the like. (I've never liked music just because it someone's side project, or because they were formerly in a band I liked. I wish they'd leave that shite out of press info., because it becomes all too pretentious.) Anyway, so, as I said, I put the record on the turntable with some trepidation. I'm not a big fan of "indie pop" or "college radio." The first song, "Turnabout," really didn't move me. It's supposed to be a "Texas Swing styled love song for British serial killer/cannibal Dennis Nielson." Well, that's just a little too damned cutsie for me, and the song is as bad as it sounds. So, flip to side two. Wow. If the Moth Wranglers want to pick a direction to go, pick whatever direction Allison Faith Levy is going. Her voice reminds me so much of Claire Grogan from the band Altered Images! The song Ms. Levy graces her vocals with, is called "New Mission Terrace #47," and it's a beauty. It's a bit like carnival music meets experimental noise for a tea party in hell. It's unnervingly beautiful, and so timid in the way it enters the veins and the nerves and then delicately shreds one to pieces. It is my fervent wish that the Moth Wranglers will forget the cutsie serial killer texas swing b.s., and move headlong into the direction of "New Mission Terrace #47."

Track Listing:
-side one: "Turnabout"
-side two: "New Mission Terrace #47"

Mother West
132 West 26th Street
NYC 100001
http://www.motherwest.com
http://www.mysticdreamsmusic.com

MYRIADS
In Spheres Without Time
~reviewed by Kirin

It distresses me somewhat that this kind of music is now being titled "gothic metal." To me, "gothic metal" is and will ever be Fields of the Nephilim, Rosetta Stone, and so on.

Myriads, to me, is a band more aptly titled "gothic BLACK metal." Inspite of the fact that they have "no connection to any religion," they're still using drumming and vocal styles perfected by the black metal hordes, and so, I think "gothic black metal" more aptly describes this sort of sound. Most of the female vocals heard here, do add to the music, and enrich it, but every once in awhile, they veer into that awful treachery of "cheesiness" that can only be the result of trying to hit notes that one cannot quite hit, and worse, of attempting to make the female singing voice sound believably sinister. (Only Diamanda Galas can pull THAT one off!) My feeling on these things is that perhaps either one should learn to hit the high notes, or not try it while the tape is running. Anyway. Those few cringes aside, this is an astute and pleasurable foray into the blending of the barbarous qualities of black metal, and the shimmering gossamer elegance of gothdom. "In Spheres Without Time" is a deliciously theatrical album, and the songs are long enough to throw oneself into and become utterly lost-- by this I mean that songs such as "Fragments of the hereafter," which clocks in at 10 minutes, 20 seconds, are not simply "listened to," so much as they are absorbed. Inspite of my reservations about the female vocals, this is definite headphone fare, and will be a welcome addition to any music collection that is in need of some carefully crafted, dramatic, and atmospheric metal.

Track Listing:
-Fragments of the hereafter
-The day of wrath
-Spheres without time
-Seductive hate
-Dreams of reality

Napalm Records America
830 Pacific Ave., Ste. 200
Bremerton, WA 98337
http://www.napalmrecords.com

VARIOUS ARTISTS
True Kings Of Norway
~reviewed by Kirin

If you are even vaguely interested in black metal and what it's all about, BUY THIS CD!!! This CD is a compilation of some of the rarest tracks in the genre, (just check Ebay or Yahoo auctions, and you'll see how much you'd have to pay for all of these tracks separately, IF you could even FIND the EPs up for auction!) The EPs included on the CD are: Emperor's "As The Shadows Rise" 7", Immortal's self-titled 7" (which includes the tracks "Diabolical Fullmoon Mysticism," "Unholy Forces Of Evil," and "The Cold Winds of Funeral Frost;") Dimmu Borgir's "Inn i Evighetens Mørke," Ancient's "Det Glemte Riket," and Arcturus' "My Angel." Every EP on this CD was released between 1991 and 1994; there are no later tracks on this compilation than '94, so these songs are like a distilled history of where black metal "came from." (Minus, of course, bands like Burzum, Darkthrone, Mayhem, Ulver, and so on.) Each track is glorious; black metal's "roots" are timelessly mindblowing. The sound of each one of these bands has changed considerably since these EPs, and regardless of one's feelings regarding what these bands have become, one cannot help but be awed by where they started. They reinvented metal in a completely new way; the effects of which can only be calculated and guessed at for years to come.

There is also a brilliant "scene map" of Norway, which is basically a "black metal family tree," beginning with Faust leaving the band Thorns to join Emperor in the fall of 1992, and going through a total of 122 transitions, ending with Aphazel leaving the band Putrefaction to join the doom metal band "Dirge." It's an amazing piece of black metal history, to say the least, which includes such charismatic, talented, and controversial figures such as Varg Vikernes, Samoth, Fenriz, and Hellhammer. If you're going to spend your money on black metal, spend it on this CD; it's worth every penny and then some!

Track Listing:
*Emperor:
The Ancient Queen
Witches Sabbath
Lord of The Storms
(Evil Necro Voice From Hell re-mix)
*Immortal:
Diabolical Fullmoon Mysticism
Unholy Forces of Evil
The Cold Winds of Funeral Frost
*Dimmu Borgir:
Inn i Evighetens Mørke (Part 1)
Inn i Evighetens Mørke (Part 2)
Raabjørn Speiler Draugheimens Skodde
*Ancient:
Det Glemte Riket
Huldradans
*Arcturus:
My Angel
Morax

Ancient: http://www.ancientband.com
Arcturus: http://www.coveworld.net/arcturus
Dimmu Borgir: http://www.dimmu-borgir.com
Emperor: http://www.emperorhorde.com
http://www.nocturnalart.com
Immortal: http://www.osmoseproductions.com

Spikefarm Records:
Fredrikinkatu 71
00100 HELSINKI
FINLAND
http://www.spinefarm.fi

Distributed in the US by: Necropolis, Century Media, Relapse, and Full Moon Productions.

Necropolis: http://www.necropolisrec.com/catalog/index.htm
Century Media: http://www.centurymedia.com/default.cfm
Relapse: http://www.relapse.com/high/
Full Moon Productions: http://www.fmp666.com/index2.html

NIGEL AYERS, RANDY GRIEF & ROBIN STORY
Oedipus Brain Foil -  3 CD Set
~reviewed by Kirin

Rather than try to re-state all this, I'll just include here, the Soleilmoon press release included with this box set:

Soleilmoon is proud to announce the long-awaited release of "Oedipus Brain Foil", a unique threeCD box-set of collaborations by three long-time pioneers of experimental/ambient/industrial music. "Oedipus Brain Foil" represents the first time any of these artists have collaborated with each other, and each individual CD was created by combining the work of two of the three artists. While each musician has developed his own style in his solo work, this triptych is an attempt to uncover a new voice coming from the center of the three discs. Each album began with one artist mailing source materials or unfinished sound to the other, who then finished the pieces. For "Nail Of Pious Bride", the CD by Randy Greif and Robin Storey, Greif sent Storey electronic soundscapes which Storey then combined with his new material. "Build A Poison Fire" by Nigel Ayers and Randy Greif came about by Ayers mailing samples, voices, and bits of odd sounds to Greif, who radically altered and combined them to create a body of work using exclusively the material originally sent. "Perfidious Albion" combines the talents of Storey and Ayers who collaboration by mail was the original inspiration for the triptych. The overall tone of the recordings is edgy ambient, lush and atmospheric, but with an undercurrent of earthy decay. Electronics and altered natural sounds create textural, organic spaces that shift slowly or jarringly, creating the soundtrack to the listener's imagined film. If you are familiar with the recorded output of the individuals involved you will have a good idea of what to expect. But the fundamental goal was to create a new form of expression, so we hope you hear some surprises along the way.

•Robin Storey, AKA Rapoon, has released many solo CDs and was also a founding member of the seminal experimental group Zoviet France.

•Nigel Ayers has numerous releases under the moniker of Nocturnal Emissions since the late 1970's.

•Randy Greif has released many CDs under his own name and was a founding member of the group Static Effect "

[End copied material.]

Track Listing:

Nail Of Pious Bride
(Randy Grief/Robin Storey)
1.Indefinite Eye
2.Seven Day Galaxy
3.Delta Dome
4.Dark Blue Automatic
5.This Impossible Room

Perfidious Albion
(Robin Storey/Nigel Ayers)
1.Spiritually Appraising Things
2.Moot Toot
3.Anticipating Retaliatory Measures
4.Out!......Vainglorious Priests
5.Praising Dead Chieftans
6.Wraiths And Eidolons
7.Trafficking With Demons
8.Let Loose The Dogs

Build A Poison Fire
(Nigel Ayers/Randy Grief)
1.Morphogen
2.Stochastic Motion
3.Algorithmics
4.Cellular Automata
5.Consolation Time
6.Hyperbolic Umbilic
7.Paradoxicon

http://www.pretentious.net/Rapoon/releases/oedipus.htm
http://www.pretentious.net/Rapoon/reviews/oedipus.htm
Spyderbytes Interview: http://www.spiderbytes.com/ambientrance/intobf.htm

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

Staalplaat
PO Box 11453
1001 GL
Amsterdam
The Netherlands
http://www.staalplaat.com

ONE
Walk the Mercy Mile
~reviewed by Edwin Somnambulist

One is a new darkwave band from Australia that has a strong metal element to it. From the ashes of the promising goth/metal band Meridian, vocalist David Wilkinson decided to carry on with his own project, and so One was born.

Wilkinson's vocals on "Walk the Mercy Mile" are definitely unique. Sultry, deep, and full, this is one of the major attractions of One. I'm a big fan of good male vocalits, because they don't seem to be as common as their female counterparts.

I should probably put in that I'm not usually a fan of this sort of music. Even the hint of metal usually makes me cringe, but that's because in most metal the guitars usually drown out all the other elements of the band. One's mix is brilliant, though, amalgamating all the instruments and giving them all places of prominence.

"Mercy Mile" is the album's first track, and it starts with a heavy guitar lick and pounding drums, melding into synths after two bars and launching directly into Wilkinson's vocals.

"Temple of Your Soul" is one of the most eerie tracks on the album. I like this one a lot because of extensive synth-work. The guitar comes in strong to enforce the chorus and give it more force, while the verses are laden with strange synth lines.

"Shout" is, of course, a cover of the Tears for Fears song. Wonderfully dark take on the classic hit.

You must love this album for it's definite club play quality -- very dancable tracks on this one. One is quality modern gothic music, melding darkwave and metal sounds in a way that neither takes precedence over the other.

Tracks:
1. Mercy Mile
2. Innocence
3. In the End
4. Temple of Your Soul
5. Gods of Love
6. Dead Heart
7. Recieve the Word
8. Sometimes
9. Shout
10. Roses
11. Be With You

Band Line Up:
David Wilkinson

Band Contact Info:
Website: http://www.onemusic.com.au/
Email: axis@onemusic.com.au
Smail: PO Box 464, Brighton-le-Sands NSW 2216, Australia

Label Contact Info:
Nightbreed Recordings
Website: http://www.nightbrd.demon.co.uk/
Email: nb@nightbrd.demon.co.uk
Smail: Unit 11-17 Avenue A, Sneinton Market SQ, Nottingham, NG1 1DT, UK

Orbital
The Middle of Nowhere
~reviewed by Wolf

All music by the Hartnoll brothers should simply be purchased instantly by anyone who appreciates good electronic music. I would even go as far as saying that Orbital shouldn't be reviewed, since describing excellence like this will easily result in sacriligious failure. But I can't let it go unsaid on Starvox that there is indeed a new album and that it's once again a masterpiece.

Eight lovely long tracks with Orbital's usual recipe of danceable breakbeats, weird samples, great melodies and stellar production work make up the tracklisting for The Middle of Nowhere. It's up there with In Sides, which I had always considered impossible to beat, but now I'm not so sure anymore. Nothing can match The Box though, as overplayed as it may be.

As always, Orbital seamlessly flow from uplifting fun to ominously dark compositions, constantly true to their reputation, but never repetitive or unoriginal. My vote for best tracks would have to go to Know Where to Run, Otono and the marvelous Nothing Left part 1 and 2. And Style is bizarre, to say the least, with its bagpipes and unconventional progressions.

Nothing's as weird as Bon Jovi mixed with Belinda Carlisle in reverse, supported by the bassline for Halcyon+on+on though, but that's how they make sure that you check them out when they're playing live in your area. :)

Go buy this disc, or at least give it a listen, because Orbital is essential for any decent collection of electronic music. Excellent.

Tracklisting:
1. Way Out
2. Spare Parts Express
3. Know Where To Run
4. I Don't Know You People
5. Otono
6. Nothing Left 1
7. Nothing Left 2
8. Style

Band members:
Phil Hartnoll
Paul Hartnoll

Additional info:
The official Orbital site: http://www.loopz.co.uk/

Ophelia’s Sweet Demise
Ashes To Lashes
~reviewed by Matthew

Ophelia’s Sweet Demise is a perfect example of the dark pop aspects of Goth rock. With the ability to merge synth soundscapes, guitar, moderately dancey electronic drums, and smooth, rich male vocals, the band comes across as a leader rather than a follower. These guys are going to definitely turn some heads if they can get their name and sound heard around the scene, and without a doubt will they delight darkwave fans as much as traditional Goth rock. They use the elements etched in marble by Goth forefathers and mix it with the sound of contemporary electronic and darkwave styles in the vein of Bella Morte and London After Midnight to produce an appealing, listenable style that seems to be the type of music that fills dance floors quite easily.

The title track is a wonderful club track, though I really enjoy the melodic track “Crown In The Ground,” which is very reminiscent of the sweeter duets of Rozz/Gitane-era Christian Death. Great watery guitar and misty choirs and synths create a swirling sea of beauty in the second track, “Orion,” The male vocals alongside the lush female vocals at the chorus helps solidify the strength of the song even further.

Through the mischievous lurching of “Cobalt Blue” to the pseudo crunch and the harpsichords of “The Veil,” OSD have definitely found a formula that is going to bring them nothing but praise and success from all corners of the Gothic world. This is a band who will cast their shadows far and wide, and this a demo I stress Goth rock DJ’s and fans add to their collection.

Track List:
1.) Ashes To Lashes
2.) Orion
3.) Cobalt Blue
4.) Crown In The Ground
5.) The Veil
6.) Disappear

Opehlia’s Sweet Demise are:
Daniel Kufahl – vocals/bass
Katrine DeWinter vocals/keyboards/programming
Rik Gravens – guitars/backing vocals/programming/engineering

Ophelia’s Sweet Demise
544 East Ogden Ave.
Suite 700 PMB 120
Milwaukee, WI 53202-2698

http://www.clivebarker.com/ophelia

OSTARA
"Operation Valkrie" -  CD-single
~reviewed by Kirin

This single is from the forthcoming work titled "Secret Homeland," the first full-length album from the artists formerly known as Strength Through Joy. The song begins with a sample which says, "You miserable uneducated half-men, you're not at all what we fought for!"

Thus begins a lush tribute to fallen ideals, fallen soldiers, and broken dreams. "Operation Valkrie" is wondrously melancholy and simultaneously uplifting, as if the ruins of despair have (as seems to be always the case,) planted seeds of hope in the dark rich soil of the human spirit. The melody is breathtaking; I'm not technically astute enough to describe the chord changes which are, for me, most emotive-- (I've been told I'm fond of songs written in minor chords.) Whatever the case may be, this song, even after hours on "repeat" does not cease to grip my heart and stimulate areas of my brain that are only available to the magic fingers of sound. If this song is ANY indication of what lays in store for us on "Secret Homeland," we shall be much more than delighted. For your viewing pleasure, I've included the lyrics to "Operation Valkrie" below. Gracious thanks, as always, to Richard Leviathan and Timothy Jenn for being about their work!

Operation Valkrie:
As Siegfried sinks in the ashen storm of
Odin's screaming Muse of Death, and
Rhinegold bleeds like molten lead in the
grey descent of Orpheus

To reap the ruins and sow the graves of
Europe's tragic Nemesis, to reap the womb
and sow the grave of Europe's blackened
Holiness, to reap the womb and sow the
grain of Europe's holy name

Beneath the soil of the nations in the tepid
sea of global time, I recall the sundered
lands, the Arctic throne of Love and Pride

A white rose crowned with runic thorns for
the murdered Sons of God, a white sun
crowned with golden thorns for the
martyred Sons of God

World Serpent Distribution
Unit 7-I-7 Seager Buildings
Brookmill Road
London SE8 4HL
Telephone 0181 694 2000
Facsimilie 0181 694 2677

mailorder@worldserpent.demon.co.uk

Ostara
CD Single: "Operation Valkrie" (promoting upcoming full-length release Secret Homeland)
~reviewed by Admortem

Comprised of former member of Strength Through Joy Timothy Jenn and Richard Leviathan, Ostara combines a dark folk musical style with their unique and original lyrical stylings. Their first album, "Secret Homeland" will be released on the Osterraed label in February 1999 and is available through World Serpent Distribution.

The song "Operation Valkrie" reflects the band's talent for apocalyptic folk music. Because the lyrics of this song are so metaphorical and meaningful, they are a major highlight of the band's talent, and deserve to be quoted here:

"As Siegfried sinks in the ashen storm of Odin's screaming Muse of Death, and Rhinegold bleeds like molten lead in the grey descent of Orpheus

To reap the ruins and sow the graves of Europe's tragic Nemesis, to reap the womb and sow the grave of Europe's blackened Holiness, to reap the womb and sow the grain of Europe's holy name

Beneath the soil of the nations in the tepid sea of global time, I recall the sundered lands, the Arctic throne of Love and Pride

A white rose crowned with runic thorns for the murdered Sons of God, a white sun crowned with golden thorns for the martyred Sons of God"

Many a Death In June or Strength Through Joy fan will surely enjoy listening to this new Osterraed release.

Label Contact: osterraed@netscpe.net
Band Website: http://sites.netscape.net/osterraed/
Distribution: www.worldserpent.com

*Editor's Note: Special thanks to Kevin at Middle Pillar

Samael
"Eternal"
~reviewed by Matt Heilman
It is very interesting to observe how bands change over time. Samael, were responsible for heralding a new wave of black/death metal in the early nineties. Not very surprising from a band with album titles such as "Blood Ritual" and "Ceremony Of Opposites," not to mention they derived their moniker from the list of Infernal Names in LaVey's Satanic Bible. But their music spoke for them, being dark and brutal, coining classic thrashy elements from the Slayer, Venom, and Bathory schools and pairing it with the then-contemporary death metal sound. They also included occasional classical bits but sparsely, keeping it fresh for interludes and intros.

Then Samael released "Passage" in 1996 and it was with this album that the band began to stir things up a bit. They accented their classical inspirations with a more frequent use of keyboards and also the predominant use of a drum machine. The drum patterns were still basically metal rhythms but they still had an obvious electronic sound to them, which had offered unique effect behind the crunchy guitar riffing. They followed this release up with an EP entitled "Exodus" and keyboardist Xytras released an instrumental classical version of "Passage" which was a very interesting and innovative release.

Now Samael returns with "Eternal," a logical progression after the hints they dropped on their past few releases. But I have to be honest here.

Though I am a fan of Samael, there has always been something about them that I disliked that I just can't put my finger on. I think it is just that I think they can do better than what they do. When compared to other acts on the Century Media label and other Goth/Black metal bands, I think Samael are one of the least emotionally expressive bands out there. They seem to try and focus more on technicality, but they aren't all that technical in my opinion. Does that make sense?

"Eternal" opens up with "Year Zero" a song which is not at all a bad intro, but I think the guitars should have been pumped up a bit and maybe even a stronger riff could have been used all together. However, the keyboards and the drum programming is amazing. Throughout the entire disc the keyboards sweep and swirl with wonderfully authentic choirs, pianos, and pizzicato strings. The drums are swingy and almost even danceable, but very powerful nonetheless in every song. The second track "Ailleurs" is a much stronger track but still not enough to really grab me. The vocals are raspy, sometimes a rough pseudo vampyric grumble, but there are just too many parts on the album where the vocals are on the verge of being sloppy and too much out of key. This is especially apparent on "Together," which is a great song overall vocally, lyrically, and musically, but the chorus is where the vocals lose it. Many European bands like Moonspell and Tiamat are characterized by and loved for their vocalist's accent, but I have to say that the voice of Samael's Vorph does have the same effect.

The album picks up with "The Cross," this track being the first song I really do like a lot, with cool pianos and louder guitars and again the same majestic keyboards. The middle of the album has a powerful sequence of truly great and memorable songs. "Supra Karma" begins with fast mischievous pizzicato strings and sinister pianos, reminiscent of Bach's famous "Fugue," and then picks up into a very upbeat driving song. "I" is probably the best song vocally. Darker, gothic vocals lull and whisper through the verses until a foreboding raspy growl appears to accent the chorus.

Then we come to my favourite song, "Nautilus & Zeppelin" Samael's first and undeniably legit club hit. Though the band has been toying with subtle electronics, I never expected this. Steady techno bass backbeats and heavy guitars make for an enchanting and awesome song that show what Rammstein COULD be if they were 10 times more creepy and cooler. But again, it also shows how cool Samael could be if all their songs had this same power and thought put into them. It is a perfect balance between dark metal and industrial, and I truly love this track.

"Infra Galaxia" follows and this is the last of the 'good' tracks I guess. This number slithers along, with a nice mid-pace tempo, more enthralling orchestral arrangements, pianos, and another Bach inspired flute countermelody that pops up here and there. The guitars here are very loud and crunchy and the vocals are more reserved, and mixed in the background but they are growled and quite aggressive to remind fans of earlier material.

The album in my opinion should have stopped here. "Being" follows and this song is an odd number with a strange, semi-jazzy beat. Again the keys are cool, but the song just sort of left me cold. It is quite mischievous and almost fun, in a way, but I don't think that was what they were trying to go for. "Radiant Star" closes the album and again, it really didn't do much for me. An interesting semi-bluesy guitar part opens the song and then it kicks in to a starker heavier verse and chorus, with tight stops and starts. The song isn't bad, but I can almost divide this CD in half and it is apparent to me what songs the band seemed to focus on more and put more effort into. There are some mediocre songs here, and then the middle of the CD really picks up and kicks my ass. Not bad, but I think that they could have done better. But for me, every Samael release since their debut "Worship Him" has been that way for me. There is still something missing, but truly believe that they are closer to finding it than ever before.

If you are a fan of "Passage," you will without a doubt appreciate this. And if you are curious for something new, I will say that though there are a lot of bands out there trying to pair metal and electronics, Samael do it very well and originally. With their black metal background, there is a genuine darkness to it and a very cool unique sound that is unlike any other bands. But again, for me, there is just something not quite perfected.

Track List:
1.) Year Zero
2.) Ailleurs
3.) Together
4.) Ways
5.) The Cross
6.) Us
7.) Supra Karma
8.) I
9.) Nautilus & Zeppelin
10.)Infra Galaxia
11.)Being
12.)Radiant Star

Official Website:
http://www.samael.com

Century Media Records:
www.centurymedia.com

Scary Valentine
Gorgon
~reviewed by Blu

Lets hear it for independent musicians! Again, here is a group that's creating, developing and marketing their first CD on their own with impressive style and quality! Scary Valentine delivers a powerful set of songs which feature industrial dance beats, hi-tech creative sampling, dueling female and male vocals and a variety of themes that the bands says is a juxtaposition of "classical themes and future visions veiled with undertones of Sadomasochism, sexual tension and satirical commentary." Among their influences they list Kraftwerk, Skinny Puppy, Alien Sex Fiend, Haujobb and Garbage. Overall, Gorgon is one of the best CD's I've heard this year -even compared to label-backed, studio produced bands of a similar nature. If you're a fan of melodic industrial bands like Diary of Dreams and Collide, you'll love this. Scary Valentine stands on its own feet right up there with the best of them. (For all you technical savvy readers: they use Cakewalk Pro Audio, Alesis, Korg, Roland, MOTU, Midiman and Digitech). Now, onto the songs, shall we?

Right off the bat this band saturates the ears with a wonderful set of samples ("Arise and fulfill your destiny!") and mixing on "Gorgon." Aggressive industrial beats mixed with an exotic, almost worldly melodic theme is what makes this such a mouthwatering song. The vocals provided by Valenta are almost goddess-like while Scot Gordon's manipulated vocals provide an insistent, masculine backdrop. Tempo changes and thematic mood swings make this song very dynamic.

Fetish clubs should definitely pick up on track 7 - "Fuck Yeah." Talk about unbridled sexual appeal. Its lust served laced up in vinyl on a techno-beat platter. If that's not your scene, its still an amazing song with a groovy beat and a sometimes breathy sometimes intimidating vocal delivery from Valenta.

And while all the tracks are exciting, I'd be remiss not to emphasize my favorite track on this disc - "Agony." It opens up with a lovely, evil sample from our dear old friend Pinhead whilst neo-classical chants fill the background before breaking out into a wonderful dance beat. (Somehow this combination of Pinhead and classical music makes perfect sense!) Much to my delight, this melody is fused in and out for the remainder of the song while the vocals soar like a bewitching angel. Break beats, tempo changes, more samples and an Egpytian-sounding theme breaks in before the song is over taking you on quite an adventurous sound ride.

*Every* track on this CD is worthy of being hits at clubs. Even more praiseworthy is the dynamic layers of themes, beats and melodies that makes every listen exciting. If you're tired of the boring "thump thump thump" that lots of so-called industrial bands try to present as dance tracks, do yourself a favor and listen to this. I'd highly recommend DJ's picking one of these up - your fans will thank you for it. Its truly amazing - the untapped talent we have out there. Search for this stuff! Play it! Dance your ass of to it!

Their CD is available for purchase on the internet through many online stores including CDNOW and Amazon. Scary Valentine is not currently under contract, but is receptive to inquires. Record labels interested in contacting Scary Valentine should Email ContactSV@Scaryvalentine.com

Track Listing
1-Gorgon
2-Go To Hell
3-The Monster
4-Money Buys Sex
5-Trying To Hide
6-Bright Red Orb
7-Fuck Yeah
8-Agony
9-Quiet Mystery
10-Ophelia

Scary Valentine is:
Scot Gordon and Shari Velenta

Website: www.scaryvalentine.com

System Der Dinge
Fear Forms Function
~reviewed by Kimberly

I was really looking forward to listening to this CD, especially since the title sounded cool. The band's website was down when I tried to find out information about them, but I'm pretty sure they're Swedish.

Anyway, the best song on this industrial album was "Dreamer Without a Cause". Maybe it's because I write, but it appealed to me because it had the best lyrics sampled in-"This world provokes you/sometimes you feel too weak". The heavy but danceable beat makes it easy to stomp to. The fading in and out of volume, while the female vocalist sighed, gave it a very cool, ambient feel to the track.

Parts of other songs were really great. "Les Nuits Secret"'s opening was strangely, invitingly appealing. The lyrics, in the band's native language, shaped the song to blend ambient and industrial smoothly.

The album overall had good, strong beats and some interesting sampling. I wish I knew more about the band itself, and I'd love to listen to any of their other albums.

Soil & Eclipse
Archetype
~reviewed by Blu

A timely follow up to their superb CD Meridian (see our archives for past reviews), Soil & Eclipse delivers another lush set of songs that throb, ache and  crack open your heart in the same way bands like Wolfsheim and Diary of Dreams do. Characterized by hi-tech synths and soaring operatic vocals, this is industrial/electronic music with heart and intelligence.

Four new songs grace this CD followed by five remixes. Experimenting in styles a bit more on this CD, "Heretic" is a bitter song with cyberistic sound bytes put into contrast with the melodic vocals; "Ascension" is the perfect opener with its prime fast paced dance music; and "The Prodigal Son" employs some East Orient themes while combating spiritual issues.

By far my favorite new tracks is "Whispering Trees." The amazing thing about this band is its ability to put so much emotion in such highly danceable songs. I can be dancing away and then totally break down if I let the lyrics and vocals get to me. This is truely one of the most beautiful songs I've heard in a long while. I must have listened to it ten times by now and it still brings tears to my eyes. Also noteworthy here is the sound of acoustic guitar which act as a perfect compliment to the vocals and offset the keyboards just enough to make is seem all the more personal.

Reaching up for the sun
They say I shed my faith for a world full of solid dreams
Take your judgments and cast them away
I chose my fate and this is my destiny

Soil & Eclipse is G.W. Childs  IV and Jay Tye

website: www.soil&eclipse.com

Contact:
COP Int
981 Aileen St.
Oakland, CA 94608
cop@dnai.co
www.copint.com

SIEBENBURGEN
Delictum
~reviewed by Kirin

Now, these are exactly the kind of female vocals I was referring to in the Dismal Euphony "Lady Ablaze" review... these are the kind of vocals that Dismal would be well-served to create. These vocals are just ethereal enough to be counter-point to the metal, but also well done and strong enough not to be too saccharine or come off sounding cheesy. This band is definitely drawing from the rich history of power metal-- straight ahead (sometimes almost rockabilly) drumming, (as opposed to the deliciously off-kilter bass/snare insanity of black metal;) crunching power chords and blistering chord progression, a W.A.S.P. cover, and a whole lot of Transylvanian atmosphere. (The name of the band, in fact, is the old European name for that forested land.) The vocals are still plenty growly in places, since Siebenburgen are part of that new breed of animal that seems to have been borne from a parentage which includes Iron Maiden and Venom as much as Darkthrone or Old Funeral.

What's so cool about this album, is that it takes all of those influences and blends them into something truly dark and delectable; it's like the audio equivalent of languishing through the most wondrous box of dark and delicious chocolates, and then realising, ulp, fuck! that funny aftertaste was ARSENIC! In other words, it's so good it's to die for...

Track Listing:
Delictum
Majesties Infernal
Storms
Thou Blessed Be By Night
As Of Sin
Levande Begravd
Thy Sister Thee Crimson Wed
Opacitas (Queen of the Dark)
A Dream Of Scarlet Nights
Animal (Fuck Like A Beast)
Oculus Malus

Napalm Records
830 Pacific Ave. Ste#200
Bremerton, WA 98337
http://www.napalmrecords.com

The Shroud
A Dark Moon Night
~reviewed by Admortem

Overall, a good release from this doubtlessly goth band out of California. Lydia Fortner's soft vocals carry the music in to a realm of relaxation and coffeehouse groove. There is something very youthful about their sound, in the lyrics and in style. The emotion in the music is reminiscent of a teenage break-up. It hurts but it's also a little angry, a little careless. Guarded yet deceivingly open. And this style is evident in every single song on the CD.

The best thing about A Dark Moon Night definitely is the music itself - soft guitar, gentle beats, then suddenly a chorus kicks in and they break out of the shell a little more. Even the upper tempo songs on A Dark Moon Night have that same style of ease. Listen closely and you'll hear sounds and instruments that are almost missed, they are so gentle. My favorite song is still Roses, more dynamic than any of the other songs. More variation in the style of singing, and much more inventive musically, this is definitely still their star hit.

The only drawback for the CD is that it doesn't really show us anything new musically, and being that the band members are all educated professional musicians, I expect great things. Even though I liked the CD, in my opinion the individual professional talents of the musicians working on it could be shown more. However, The Shroud is a time tested band, I am sure that they will demonstrate and perfect their talents in the future, as any artists of quality will.

Track Listing:
1. Pixy-Led
2. Where the Wind Goes
3. Madeline
4. And Then…
5. Day and Night
6. Roses
7. Prophecy
8. Another Time
9. Let Me Hold On
10. Apology
11. Cup

Members:
Iyan Reed - Bass
Eric Dansby - Drums
Rodney Walker - Guitar, Piano
Lydia Fortner - Vocals, Cello
Hedrik Groger - Piano, Synthesizer

Email: shroud@psnw.com
Web Site: www.psnw.com/~shroud
Smail: PO Box 25112, Fresno, CA 93729
Label: Magpie Records

Siddal
The Old Songs From This Old Town
~reviewed by Matthew

Highly captivating and emotionally soothing, Virginia's Siddal compose swirling, female fronted ethereal Goth rock. With a familiar sound that descends directly from the classic work of such bands as Lush and the Cocteau Twins, this duo bring a modern freshness to this often emulated style of dark music. Elaine Winters' sweet voice is warm and melancholic, gliding upon the waves of shimmering guitar flangings, resonating bass lines, and subdued drum programs composed by her husband and partner....

Though the album is mere 20 minute, 4 song limited edition EP, it is easy to see why Siddal are certainly one of the best Goth bands on the east case. With three full length CDs and several singles under the belt, they have inspired quite a bit of shoegazing and supplied the score for many a candlelit evening to fans everywhere. One of the more amusing and memorable tracks on the album is the third song, "Yellow, Green, Red," where a child's "Speak & Spell" was sampled atop a soundscape of warm synths and moderately darkwave-ish drums. Perhaps the song may have been recorded to celebrate Elaine & " " newborn son, but I sense something a bit more spooky abrew. A silly yet mischeviously sinister voice randomly states the names of the aforementioned colours, and though innocent, Siddal have somehow captured the essence of eerieness that the sicker minded amongst us have been picking up in children's toys for quite some time now. Its kind of like how people still haven't realized that clowns are not cute and funny but rather grotesque and frightening. But nevertheless, the song was kind of neat and I played it for a few friends who looked at me like I was on crack.

In all seriousness, I would suggest Projekt and 4AD fans who like to swirl around in the dark like myself, should contact Siddal and check out this CD as well as their last few superb releases. Keep an eye out for new material later this year hopefully, as the band yet has a lot of sincerely great unrecorded material that they have been performing live. Excellent emotional compositions that will delight and dazzle all at once.

Track List:
1.) This Old Town
2.) Hurricanes
3.) Yellow, Green, Red
4.) Deserted Friend

Siddal are:
Elaine Winters: vocals, lyrics, keyboards
Richard Brinkley: guitars, bass, programs

http://www.obscure.org/~dew/Siddal/Siddal.html

Bedazzled Records
PO Box 39195
Washington, DC 20016
www.bedazzled.com

SINTZ
All Walks of Life
~reviewed by Mike Ventarola

SINTZ is the embodiment of genius married to the electronic age. On this, his 3rd DAM CD release with Mp3.com, the artist delves into some darker tones than his fans are currently accustomed to hearing. Each disc challenges the listener to probe the inner workings of their own psyche and emotions while taking an inward journey to the root of their soul. This CD goes further and asks us to purge the fears lurking just beneath the surface, challenging us to also look at the dark perimeter’s around our own soul. One can also envision a tuneful interplay between the past and the present in a ghostly dance that bids farewell to yesterday while still clinging on to the hope of today.

"All Walks of Life" opens with ominous foot steps which echo as they click against the pavement. In the distance is macabre laughter and subtle screams that is fully realized with headphones on. The music darkly broods in an almost vampire like eeriness of the hunter and the hunted. Many other sound effects are layered underneath to encompass a large element of shadows. One could easily make this out as a mental horror movie, or just the horror of life in the big cities of today.

"Dark Passage" layers very dark deep tones at the outset, then follows with an intensity that is akin to an electric shock when one is startled. Bubbling notes reflect the dendrites and synapses of the brain firing impulses to a wary traveler who must tread cautiously along the road of the dark caverns within. Timidly we cross over the edge, to peer into the unknown. It is almost sensed that the artist is smirking as we cross over into this region, for it is one that we have built ourselves. It is our own private hell that he wants us to see, root out and release.

"Child’s Play" was conceived while watching his own children at play. The song is somewhat bittersweet, as we get the impression that as precious as this moment may be, it wont last forever. It is a loving fatherly tribute he created to give to his children. Listening to this makes one highly perceptive towards their own mortality and how each minute must be made precious before it is all gone. Tones within the body of the song are reflective of tension and possible chaos ahead, but it reverts back to the bittersweet melody of the memory that one cherishes to keep them going.

"Sharp Edges" swirls like an apparition, coalescing around us within a huge room. One can envision ghosts from the past gathering at a function. The notes take on an almost harpsichord tone, reflecting the dancers of the dance who will minuet in their regal finery for all eternity within this room. Whatever may have come to be with these souls is not known, but they are locked in this macabre yet joyous moment, spinning ever so genteelly in taffeta, velvet and lace.

"Desolate Dream" takes us to that moment within a dream where we are profoundly caught up in the somnolent activity. It feels real but is it? The heart quickens the beat as we seem to be faced with avenues of choices. Do we run or is there another escape? There is no way out, so we re-dream the sequence again in hope that another version will come to the fore. The pulse quickens yet again as we find ourselves locked into the same parameters we tried to escape. What is it that nags at us to torment our dreams?

"Aragons Spector" was conceived and named in honor of renowned Mp3 artist Tom Aragon. This is an odd homage to one who has profoundly touched countless thousands with his music. It is almost as if the artist took on the embodiment of the dark side of Aragon’s soul to create this body of work contained herein. The interplay of notes also makes us wonder whose ghost is really haunting whom?

SINTZ is not only a gifted musician, but he is also quite brilliant. A few correspondences with him will make anyone sit up and take heed that he is mentally our superior. Despite his grasp for some of the most complex topics, he remains endearing and down to Earth, yet somehow you always know there is something being cogitated just beneath the surface. In some ways, this music was pseudo-biographical as we were able to peer into his own dark corners as well as our own. We learn from example that even geniuses have fears which makes the trip in life less cumbersome and lonely. The fact that dark minimalism veers away from his usual sounds, one cannot help but come away fully enriched by this body of work since we are confronted with things we seem to bury in our comfort zones, thereby creating our own living hell. He confronted his and guides us in a painless way to find our own and root it out once and for all. Some folks may not be ready to approach this realm, but can at least enjoy the work he has created. It is crafted in such a way that when one is ready to look to the other side of the mirror, the tones will carry you across to that abyss known as "your self."

Track Listing:
1. All Walks of Life
2. Dark Passage
3. Child’s Play
4. Sharp Edges
5. Desolate Dream
6. Aragons Specter
Sound Samples: www.mp3.com/sintz

TRISTANIA
Beyond The Veil
~reviewed by Kirin

The "Carmina Burana" of black metal. Astounding. Breathtaking. All those cheesy cartoonish "black" metal bands who think they're making majestic music, need to sit down, shet the feck up, and listen to this album over and over and over again, until they realise that corny female vocals and a bit of layering do NOT a majestic metal album make!

Tristania are mindblowing. There is nothing remotely embarrassing or dimwitted about this music, and if you've been told about "symphonic" or "gothic" metal and found yourself bitterly disappointed, "Beyond The Veil" will renew your faith. This is NOT Americanised watered-down made-for-jockfestivals bullshit metal. This is the real deal and I'd bet money it'll leave you speechless.

Track Listing:
-Beyond the Veil
-Aphelion
-A Sequel of Decay
-Opus Relinque
-Lethean River
-...Of Ruins And A Red Nightfall
-Simbelmynë
-Angina
-Heretique
-Dementia

Napalm Records America
830 Pacific Ave., Ste. 200
Bremerton, WA 98337
http://www.napalmrecords.com

VOLTAGE CONTROL
Higher Power
~reviewed by Edwin Somnambulist

Higher Power is the debut release of Voltage Control, an independent project out of Calgary, Alberta, Canada. Their music is highly reminiscent of the late 80's style of electro-industrial music, a highly synthesized sound with stark, minimalistic layering, original beats, and samples thrown in at appropriate times to add effect. Voltage Control's work is mostly non-vocal, relying on soundscapes and sampling to substitute for the lack of lyrics.

"Enslaved" is a plodding, rhythmic track that has some of the only lyrics on the entire disc. Dark and brooding, it's the perfect track to set the mood of the album. The track starts with a highly repetitive beat structure, slowly building into a number of soundscapes and samples, followed by Nebulous's distorted vocals chanting a mantra extolling that the modern world's concept of freedom is a lie.

"Demigod" is one of the dancier tracks on the album. Samples of Harvey Keitel from the movie "Saturn 3" dot the track. Some very interesting synthetic-alien noises in this track, adding to the overall atmosphere. Demigod builds into a heavy bass-laden track, with Keitel's samples getting angrier and darker, culminating in him shouting "Kill me... if you think you can." This is one of my favourite Voltage tracks.

"What's Real" is one of the album's more original tracks, starting without any rhythm section. A pounding beat comes into the song after a half-minute of eerie music. Samples of someone definitely panicking cap off the track.

"In Space" is a high energy track pieced together with samples of the computers from the movie "Alien" contributing most of the music.

"Battle Droid" is music taken from the perspective of a computer/robot. Samples are slowed down to reflect a computer's perspective of a human: that of its brain being able to process information on the world around it so quickly that time seems to slow down around it.

This is an interesting album in regards to the fact that it's very multi-situational. "Higher Power" is probably best for mood music, or for background listening, as a lot of soundscape discs tend to be, but it also makes for excellent radio play, and even has a few tracks that would be good for dancefloors. Voltage Control is definitely for fans of the old style industrial music, during the height of the classic bands.

Tracks:
1. Enslaved
2. Demigod
3. Train of Thought
4. What's Real
5. Terminal Transition
6. In Space
7. Split Fusio
8. Robot Requiem
9. Sub-Orbital Transit
10. Battle Droid
11. Off-World

Band Line Up:
Nebulous - Analog Synth Programming, Instrument Design, Sampling, Vocals, and Bass Lines
Rod C. Dornian - Synth Programming, Drums, and Bass Lines
Russ Magee - Synth Programming, Drums, and Bass Lines

Website: http://www.blitter.com/~nebulous/voltage.html
Email: jaredbrookes@hotmail.com

VOIVOD
Phobos
~reviewed by Kirin
My apologies, but this is NOT the newest Voivod album. The most recent Voïvod is titled "Kronik," and, if and when I get my grubby little hands on it, I'll let you know what I think. Actually, I'm not sure how we came by this 1998 treasure, but, we did, and so I'll review it.

I remember when I first heard this album a few years back, and was so happy that Voïvod had continued in the unrepentantly brutal and chaotic vein of "Angel Rat." I spent about a week straight with the song "Phobos" on repeat in my headphones. To this day, this song gives me freakin' goosebumps. Not long after that came news that bass player and vocalist Eric Forrest had been seriously injured in a bus accident. Tense days followed, but, like any good metal band, Voïvod prevailed, toured, and are now probably (cross your fingers!) in the studio right about now, working on the next album.

Track Listing:
-Catalepsy I
-Rise
-Mercury
-Phobos
-Bacteria
-Temps Mort
-The Tower
-Quantum
-Neutrino
-Forlorn
-Catalepsy II
-M-Body
-21st Century Schizoid Man

Voivod website:
http://www.oueb-design.com/voivod/

Mercury/Slipdisc Records (divisions of Polygram.)
825 Eighth Ave.
New York, NY 10019

WILL
Deja-Vu
~reviewed by Edwin Somnambulist

Do you ever wonder what would happen if all the Frontline side members formed an anti-Leeb club? It would probably look a lot like this. Chris Peterson, Rhys Fulber, and even Michael Balch form this heavy etherial project. Will's style is comparable to Enigma or Delerium, but it's darker by an order of magnitude.

The original discs, "Pearl of Great Price" and "Word, Flesh, Stone", released in 1991 and 1992 respectively on Third Mind Records are sadly almost impossible to find. Fortunately, COP has re-released all the tracks from both Will discs on one compilation.

This is a great disc for fans of classical music, or the early synth works of the likes of Vangelis and Wendy Carlos. There is a definite spiritual aspect to this sort of music, and while I can't see it going over well in most clubs, this is mood music to die for.

Tracks:
1. Summoning
2. Crowning Glory
3. Exhaust Inhibits
4. Sacrament of Penance
5. Crusade
6. Visible Second Coming
7. Furnace of Souls
8. Father Forgive (remixed version)
9. Crimson Flow
10. Epilogue
11. Measure Remedial
12. Furnace Rekindled
13. All Victorious
14. Triumph
15. Kingdom Come
16. Souls Of The Valiant

Band Line Up:
Rhys Fulber
Chris Peterson
Michael Balch - guitars

Label Contact Info:
COP International
Website: http://www.copint.com/
Email: cop@dnai.com
Smail: 981 Aileen St, Oakland CA, 94608

Various Artists
World Serpent 2000 Compilation
~reviewed by Admortem

Normally, I would never write a track by track review of a CD because they bore the hell out of me and almost everyone else I know who reads them. But in this case, World Serpent has compiled one of the most amazing conglomerates of incredibly talented and noteworthy bands, which has inspired me to describe each and every one.

First up we have the band Algiz singing "Sans Titre" from their album Claire - Voie. I found limited information on this band, but they have one of the most beautiful female operatic vocalists I have heard, combined with folkish guitar, violin, and the tapping of drums in the background. Very trademark World Serpent, also reminiscent of Stoa.

Next is Backworld with "The Devil's Plaything." Male and female vocals subtly intertwined together, honestly sounding a little like Dead Can Dance on the male end, but softer toned with his female counterpart. They tell a beautiful story that I will not even begin to relate here, it must be listened to as it should be, with their singing and the stringed instruments in the background. An enchanting folk song, ending with the words, "love sometimes steals in to a heart." My favorite of the CD (if I can really even pick one!)

Der Blutharsch composes an exclusive untitled track for this compilation. Filled with inspiring drums and a myriad of other astounding instruments combined with almost frightening distorted lyrics, this exclusive track also adds the unexpected to the compilation. Strong and beautiful, yet another release to demonstrate Der Blutharsch's undeniable multitude of talents.

Bryin Dall sings this exclusive release entitled "I'm so lonesome I could cry." Don't confuse this with Elvis - this song is eerily beautiful in its simplicity. The best way to explain it would be to imagine what it sounds like inside of the mind of an old man dying - alone.

Cyclobe's "You're Not Alone, You're Dreaming" which also appears on their Luminous Darkness release, in an ideal example of classical ambient. Layered violins droning out the same few notes, over top of the sounds of bubbling water, suddenly effected by the pounding of a low piano. Everything slowly goes askew, as the piano pounds on, the violins lose their way, and the tiny chiming of a bell can be heard in the distance.

Darkwood has composed an exclusive track entitled "Posten Vor Tag." Folk guitar, with what sounds like a tambourine, accompany dark male vocals. At times a flute can be heard above it all, with the sounds of spring birds very quietly making their presence known. A simple song, but very beautiful.

Dawn and Dusk Entwined, a long time favorite of mine, contribute their previous release "A Torch in a Dark Field." A quiet roar, then the mystical notes of chimes. Then what sounds like a low violin. A voice begins to speak…then drums…the angel of the apocalypse is speaking to you…

Leutha's exclusive, "Wind" features the sounds of winds accompanied with a keyboard and a childlike female voice, singing in a monotone fashion. This is a very ambient track, but the oddness of the vocals make it much more interesting.

The band Nobody sings their song "Maybe One Day" live. Their male vocalist sounds almost exactly like Edward Ka-spel of Legendary Pink Dots and Tear Garden. Very folkish, with subtle guitar and outstanding drums, reminiscent of Current 93 or Death In June.

Novy Svet contributes their song "La Aroma Lola." This song is just too happy and odd for me. The entire song has an organ playing the same few notes, with what sounds like maracas, and badly recorded vocals (possibly deliberately) singing in what I think is Spanish. Mainly the lyrics are "la la la la la la - hey!"

Ozymandias's Contre Le Temps is a three minute, thirty-nine second, beautiful piano piece. Strangely eerie yet very simple in composition, it also ranks as one of my favorites.

Pantaleimon has arranged this exclusive release entitled "Bowed and Parted." Another all instrumental recording, featuring meaningful guitar picking, and a jaw harp barely decipherable in the back ground. Again a simple composition, but quite beautiful. The deliberately placed gaps in between guitar strumming leads the listener to almost lean in to the music, awaiting the next sound. My only complaint is that there's over eleven minutes of the same sounds.

Regard Extreme's "Trompe L'Oeil" is an instrumental piece that features pounding war-like drums combined with mysteriously programmed airy sounds, as if taken from wind blowing through a church. Almost choral like but not vocal, light and dark at once.

Skald beautifully demonstrates what heights they are vocally capable of in their song, "Sif." Accompanied by what sounds like a harp, this is one of the best songs I have heard released from the band. My only complaint is that it's only a little over two minutes in length.

The Soil Bleeds Black never fails to disappoint me. "Solutio Perfecta" is an exclusive track sounding a little like Faith and the Muse. Harpsichord with flute and the tapping of gentle drums make this a great song to dance to for that Renaissance goth in all of us. A true old-world sound and style.

Tor Lundvall's exclusive track, "My Weakness" is a quiet track of airy soundscapes and understated vocals. It fittingly ends the CD gently with it's whispering sounds reminiscent of echoes through a deserted hall.

To get more information on any of these bands, or to contact them, please refer to the World Serpent Distribution Web site at www.worldserpent.com.

Track Listing:
1. Algiz - Sans Titre / Albums: Claire - Vioe
2. Backworld - The Devils Plaything / Albums: Holy Fire, Isles Of The Blest, Anthems From The Pleasure Park
3. Der Blutharsch - Untitled (Excusive) / Albums: Der Sieg Des Lichtes Ist Des Lebens Heil, The Pleasures Received In Pain
4. Bryin Dall - I'm So Lonesome I Could Cry (Exclusive) / Albums: 4th Sign Of The Apocalypse, Thee Majesty
5. Cyclobe - You're Not Alone, You're Dreaming / Albums: Luminous Darkness
6. Darkwood - Posten Vor Tag (Exclusive) / Albums: In The Fields
7. Dawn & Dusk Entwined - A Torch In A Dark Field / Albums: A Leftover Of Gaia
8. Leutha - Wind (Exclusive) / Albums: You Will Hate Yourself In Me
9. Nobody - Maybe One Day (Live) / Albums: Transparent Seasons, You Will Hate Yourself In Me
10. Novy Svet - La Aroma Lola / Albums: Faccia A Faccia
11. Ozymandias - Contre Le Temps / Albums: Ahara
12. Pantaleimon - Bowed And Parted (Exclusive) / Albums: Trees Hold Time
13. Regard Extreme - Trompe L'oeil / Albums: Vage A L'ame, Die Weiss Rose (Les Joyaux De La Princess)
14. Skald - Sif / Albums: Voices Of Thula
15. The Soil Bleeds Black - Solutio Perfecta (Exclusive) / Albums: Alchemie
16. Tor Lundvall - My Weakness (Exclusive) / Albums: Ice;Tursa, Autumn Calls (Lundvall/Wakeford)

World Serpent Distribution Unit 7-I-7, Seager Buildings, Brookmill Road, London SE8 4HL
Email: mailorder@worldserpent.demon.co.uk
Web site: www.worldserpent.com