Runemagick – On Funeral Wings (Aftermath Music/Eternal Dark Productions)
Nicklas Rudolfsson, who’s been running the Runemagick apocalypse machine since it's 1990 inception, couldn’t give two shits about me or my opinions, but I’m such a fan of this guy and all his many projects (The Funeral Orchestra, Runemagick, et al). He’s one of the true underrated metal geniuses, preferring to reside firmly in the underground in relative obscurity. He’s like the Swedish-version of Paul Chain without the weird baby-talk.
Suffice to say, Runemagick have never disappointed with their sometimes atmospheric Autopsy/Unleashed-on-‘ludes take on heavy darkness. There is something about every album that I find compelling, interesting or just plain hypnotic. While not as unrelentingly crushing as their last release, Darkness, Death, Doom, the dynamic change-up – and pure visceral punch - in the material is more impressive. One of the best features of Runemagick is the ability to put punch in their songs – it’s the magic when guitar, bass and drum (sometimes accented with the ever-doomy church bell) all hit their mark at the same time in a particularly slow doomy passage for maximum impact as a precursor to a mid-tempo Old School Swedish Death romp before coming together again to shake the bats out of the belfry. The title track is a perfect example of the Runemagick craft – menacing negative doom riffs, plodding passages and swingin’ back-in-the-day death metal breakdowns. “In A Darkened Tomb” is sheer uptempo pure metal darkness, the epic “Wizard With the Magick Runes” incorporates some of those unsettling atmospherics familiar to fans of The Funeral Orchestra, deciphered in an Arabic scale before the supah-heavy climatic ending.
I’m a sucker for the build-up.
Visit the Runemagick website at http://www.runemagick.se (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

In Flames - Soundtrack to your Escape (2004 Nuclear Blast)
I'm not quite sure what these guys are trying to do, what demographic they are pursuing or what style their going after. I mean it seems like as each album is released they just get worse and worse. Set aside the fact that they no longer know how to play their instruments, ignore the choice of hairstyle that Anders Friden wears, ignore the fact that the album lacks any real melodies or solos, the real mystery here is that there are no good songs, not even any cheesy poppy catchy ones, the songwriting just sucks, and Anders' voice is the absolute worse, I knew all this going into this purchase, but still I had to buy it, and I have been listening to this album non-stop for the last few days trying to pound it into my brain hoping that I might "Get it" at some point, but each time I listen the more I actually dislike it. The guitar tone they use on this thing is worse than your average Nu-metal band, I mean I've heard better riffs on the last 3 Doors Down album, everything has that annoying downtuned chugga-chugga sound, that sound that Korn ditched 3 years ago. Bjorn and Jesper are just going through the motions up there, they have to be able to play better than this, can't they hear what they're doing, don't they know that it sucks? The singing on this record is just awful, Anders still growls and it sounds like the Anders of old, but when he tries to sing clean it's just downright painful almost to the point where its all I can do to keep myself from yanking the CD out and shattering it into a million pieces "I have no business wasting my time listening to this shit" but yet I continue to do so out of loyalty to a once great band... When Anders sings clean he uses this totally gay psychedelic furs/duran duran whiney voice, and he just sounds like a little bitch, this is supposed to be metal for Christ's sake, not some cheesy 80's techno ballad. Anyways this is a shitty album, with the worst songwriting that In Flames have ever done. This album makes "Reroute to Remain" look like a masterpiece. In Flames haven't sold out, they just suck, they work hard, tour constantly and put out albums consistently, but they can't write a good song and Anders just can't sing.... (Vance mccumberv@cornerstonenational.com)

Thorr’s Hammer - Dommedagsnatt (Southern Lord Recordings)
Love ‘em or hate ‘em, there’s no denying the huge contribution of the O’Malley/Anderson team to the Doom bloodline. One of them…and usually both in some way or form have been/are responsible for not only Thorr’s Hammer, but Goatsnake, Sunn 0))), Khanate, Burning Witch, Teeth of the Lions Rule the Divine, Lotus Eaters and Probot…I’m sure I’m missing a few… not to mention the Southern Lord label which has come as close as we’ll ever get to making “doom” a household idiom.
So it’s nice to take a trip back on memory lane to both Southern Lord’s first release. Dommedagsnatt features the O’Malley/Anderson doom team as well Buring Witch drummer Jamie Sykes bassist James Hale. The real star here however is Norse beauty Runhild Gammalsaeter who looks like a runway model with fangs.. Tall, slim and blonde with a voice that alternates between alluring beauty and guttural belches, you have to wonder what her childhood was like. Watching the bonus video included on the disc, it’s hard to imagine such a demonic voice emanating from such a natural beauty, which makes it all the more unsettling. Electric Wizard’s “Devil’s Bride” comes to mind in terms of a case study.
The three studio songs that comprise Dommedagsnatt take the dISEMBOWELMENT/Thergothon paradigm and give it a new twist. Gammalsaeter’s Norse poetry and alternating vocal stylings paired with Sykes beating the shit out of his kit slowly (check out the Gammalsaeter/Sykes outing on the end of the title track) and the raw, bludgeoning crawl of Hale/O’Malley/Anderson, make this an essential extreme doom classic. Keep in mind this would set the template for a ton of copy cat bands to come, not to mention O’Malley and Anderson’s own future projects. Thorr’s Hammer is the precursor to the pure unsettling evil of Burning Witch and Khanate and subsonic frequency manipulation and eclectic vocal collaborations of Sunn 0))). The band has had an indelible impact on extreme doom, much of which goes unnoticed as the genre’s bloodlines blur with time.
Really, an essential release in doom history. (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Various Artists - High Volume: The Stoner Rock Collection (High Times Records)
Right here is the reason why I don’t smoke pot anymore – it slows you down, sucks ambition right out the window. Here we are, at least three years past the peak of ‘Stoner Rock’ and High Times Records decides to push it’s largely hip hop-based output aside for this rock n’ roll compilation. Where were they in '79 when the dam began to burst? Did you check us out down at the local show? Were you wearing denim, wearing leather? Wait a sec, different era. If it’s not the pot, the Prozac will get ya.
Even though it’s Stoner Rock’s ‘classic rock’ period, this comp is living proof that this type of music still breathes life and offers a tremendous amount of variety and sound. Gas Giant’s vintage track is a textbook example of how the most creative sounds come from foreign shores – “Too Stoned” is the Buddah Thai of stoner rock; hits you hard every time you partake. Clutch clocks in with the supah-groove of “Willie Nelson” (he only gets the best weed, according to Neil.), Orange Goblin starts strong with a beautiful heavy doom riff but quickly ruin the friggin’ thing by doing that drunken way-too-uptempo thing they like to do nowadays. Shame.
Some of the best tracks are instrumentals – Suplecs “Cities of the Dead”, the Formula’s “Hello to Oblivion” (who??) and NOLA supergroup The Mystick Krewe of Clearlight are all top notch outings. Why they gave these tracks to a comp and didn’t use them for they selves, I dunno. High on Fire rules, they are the perfect cross between Sabbath, Frost and Jesus Christ. Corrosion of Conformity’s “It Is That Way” is a great reason to forget that America’s Volume Dealer ever existed, nodding way back to Blind, Deliverance and Wiseblood. Sounds like that Custer production, too. If I hadn’t smoked pot in my youth, I’d have enough ambition to look up that little fact.
High Volume… features two of the genre’s greatest talents – John Garcia screaming his head off on the unreleased Unida track “Left Us to Mold” (I take back that “Unida ‘nother guitar player” comment) and Wino in the Hidden Hand track “Falconstone”. Even though Garcia’s voice is buried in an annoying vocal effect, there’s no doubt in my mind he’s one of the most unique, powerful and grossly underrated vocalists in all of rock. As for Wino, even though he lyrically tends to spend most of his time in conspiracy wacko land, is a such reservoir of pure guitar-playing genius that it’s no wonder there’s a black market for locks of his hair. The guy is unstoppable.
The one true head scratcher on here is this… You’ve got the best of the best – Unida, COC, High on Fire, Nebula, etc… whose choice was it to add Sea of Green?? What a let down to get rocked to hell by High on Fire and then have to hear mediocrity incarnate? Of all the choices out there… someone must’ve lost a poker bet.
Anyway – this release would have been more relevant back when the ‘00’s were still new, but what the heck. An excellent sampler for those that get teary eyed thinking about stoner rock’s glory days and those that missed it all together. Let's hope this is a sign of a second wind in this scene. (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Primal Fear - Devil’s Ground (Nuclear Blast)
I’ve got to hand it to Primal Fear – they’ve managed to create an entire career reinterpreting Defenders of the Faith over and over. In their world, there was never a Turbo Lover or a Ram it Down not to mention the catastrophes that occurred after Painkiller.
And I grudgingly will admit to you that I thoroughly enjoy Primal Fear albums. OK, so Mat Sinner comes off like half a douchebag sometimes, but the band can write a metal song like Tipton, et al never went into hibernation. Sure, “Metal is Forever” and “In Metal” are goofy ‘metal brotherhood’ anthems but man, they sure packs a trad metal punch and “Sea of Flames”, “Soulchaser” and “Sacred Illusion” are unstoppable. Ralf Scheepers has vintage Halford down pat, right down to the haircut. But I have to confess, when that dude launches his pipes into the stratosphere behind that quality Sinner-penned metal, it’s damn impressive. I can’t help it. I tried to be jaded and aloof.
Funny, when I saw them live in Spain back in 2001, they did nothing for me. I guess I was going through my “Kyuss rules, everything else sucks stage.” Anyway, this is good. It’s like ’84 never ended.
Visit the Primal Fear website at http://www.primalfear.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Anthrax - Music of Mass Destruction (Sanctuary Music Group)
First off, let me say this is a helluva package (CD AND DVD) put together by a helluva band that has left an indelible mark on metal history. If you’re even a causal fan, run out and give the band some of your hard earned sheckles. They’ve earned it.
A few things occurred to me as I listened/watched this thing:
1. Joey Belladonna doesn’t matter anymore.
2. Where’s Bush’s gay hat?
3. Sound of White Noise is one of the greatest metal albums of all time.
4. Scott Ian does look a lot like Bert of Bert and Ernie fame.
5. Stomp 442 continues to be criminally underrated, I don’t care what you motherfuckers say.
6. They must have put a lot of dough into the DVD – 8 cameras, some killer editing and a ton of bonus crap. Very cool.
7. I got chills during blistering versions of “Inside Out”, “Caught in the Mosh”, “Room for One More” and “Only”. You will too.
8. How come Frankie Bello quit again?
9. They’re all my age and have way more energy than I had 20 years ago.
This is just a killer deal, from the packaging to the very Anthrax-ian take on Federal copyright laws. There
really should be a Federally mandated “Don’t Be a Dick” code, but it makes sense in this world of Napster-bred free music entitlement bullshit. Don’t rip off their shit, they wouldn’t rip you off.
Anyway, top notch in every aspect by a band that still very much matters. Get it.
Visit the Anthrax website at http://www.anthrax.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Finntroll - Nattfodd (Century Media Records)
As much as we’d like to think otherwise, buying music is usually fraught with disappointment. Putting the cash down for the promise of the big return – a collection of songs that will set off a series of intricate mechanisms within the cerebrum that will bring you to that inexplicable Nirvana-like place that only music can lead you to – just doesn’t happen that often. Thus, with it’s inherent intermittent–reward system, buying music is like gambling. Usually you ose your ass, but when you hit big…. There’s nothing like it. But usually… you lose your ass.
The marketing aspect of marketing heavy music is another problem. I’ve pretty much ceased equating music with image, expecting the big payoff. In my experience, it’s usually the other way around. Those musicians that lay low, that don’t partake in brash marketing efforts seem to defy the odds and really create magic. Those that lean heavily on image and gimmicks – let’s use Cradle of Filth or Dimmu Borgir just for sake of example – usually have a good reason to lean heavily on image and gimmicks. Because, musically, they don’t have a lot to offer. So image becomes the primary focus and they go on to base entire careers off of marketing. They sell a shit load of albums, T-shirts, lighters, backpacks, flashlights, mousepads and coffee mugs though. I call it the KISS business model.
I had heard good things about Finntroll on the periphery based on a couple of reviews and feedback from fans on various boards. Interesting, eclectic mix of native Finnish folk music and heavy metal. Then I get the promo with the pic of the Finntroll boys, dressed in Viking garb sitting at a wooden table, huge medieval mugs in front of them, a dagger casually stuck in the table. Uh oh. Then the one of them in a dilapidated house, again in Viking garb, makeup and wild, ‘metal’ expressions on their face. Uh oh. The kicker is the bio where it ends with “Let the ice cold troll blood spill forth!”. Eeeeshhh.
I suppose good things can be said about combining Finnish polka with metal music. I mean it’s certainly different. Unfortunately, it’s just not very good. Some things forms of music weren’t really meant to go together, especially when the production is so overblown, it makes the last Dimmu Borgir sound like Al Jolsen circa ’35. Ultimately, the inclusion of “Joik” and “Humppa” music indigenous to the musical history of Finland in Finntroll’s bland ‘viking’ metal just comes off as another gimmick, a way to differentiate in a market that’s becoming more and more crowded with these types of record company revenue tools in an era of declining sales.
Seriously, I feel bad for the music-buying public these days. If I didn’t get most of this stuff for fee (occupational hazard), I’d feel like I was at a high-stakes table in a backroom with a gun to my head. Nowadays you have to wade through an awful lot of shit to get the holy grail.
Visit the Finntroll website at http://www.finntroll.net (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Alabama Thunderpussy - Fulton Hill (Relapse Records)
The first track off of Fulton Hill is predictive of the entire album. Between the gentle backwoods strumming you get the sense something is in the air. Whiffs of the coming storm are translated into urgent, tense and amplified chord breaks that eventually evolve into a howling solo and the ‘pert near hardcore’ of next track, “R.R.C.C.”. The whole album has this kind of pace, culminating in the 13 minute Southern Metal manifesto “Struggling for Balance”. Calm, shitstorm, bigger shitstorm, calm, toasted metal epic so you don’t care anymore.
It’s because of this pacing that Fulton Hill will take awhile to come to terms with most listeners – not every tune is a whiskey and fistfight anthem and not every song contains the magic combo of chords, percussion and vocal inflections. What does stand out are those trademark Thin Lizzy-ish duel guitar leads, breaks and harmonies (they coulda really dragged out that solo on “Wage Slave” for another five minutes and I’d be a happy dude) and that Moonshine Metal ethic, somewhere between good ol’ boy drunken shit talk and bullet belts. For all it’s power, there is a lot to get out of this record.
Truth be told I’d buy Fulton Hill for three reasons alone – “Three Stars”, “Three Stars” and “Three Stars”. This diddy leapt right into my heart the second I heard it, with it’s gleaming Skynyrd aura, female backups, and Rhoads piano (or is that a Hammond? I can never tell the difference). “Alone Again” is a close second. It’s fucking classic rock with massive testicles.
Lastly, you might be wondering how new guy John Weills sounds on the mic. He’s very good. He’s got three different voices as far as I can tell – the first is – and I swear to God if I close my eyes I hear an angry Danny Joe Brown with a chest cold. Don’t get me wrong, he’s got a lot of power, but there’s that “phlemgy” feel. On a couple, Weill is damn near Glenn Benton on (“R.R.C.C.”, “Sociopath Shitlist”, “Infested”), and he almost out Bons Jon Bon on “Alone Again”. He’s good, and seemingly, damn versatile.
In closing, my advice on this record – don’t judge on first listen. Give it three of four good spins before you make judgment. There’s a lot here that may escape idle listens.
Visit the Alabama Thunderpussy website at http://www.alabamathunderpussy.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

UNHOLY GHOST: TORRENTIAL REIGN
Holy shit!!! This is really impressive! In less than a year after their formation Unholy Ghost has managed to write and record their debut Torrential Reign. My initial thoughts were that it would sound a little rushed but I was absolutely and completely wrong. Unholy Ghost consist of Pessimist main man and guitarist Kelly McLauchlin along with drummer Aantar Lee Coates, vocalist/bassist Paul Ouelette and guitarist Jerry Mortellaro who all three are formerly of Florida based death metallers Diabolic. Unholy Ghost has created a fierce and a relentlessly brutal album that delicately balances between utter brutality and beautiful melodic harmonies.
Of course the similarities to Diabolic are striking but seriously I would have found it kinda odd if they weren't. Regardless similarities or not Torrential Reign is an unrelenting album that proves it's possible to create savage and extreme death metal without compromising the dynamics of the music. Right from the opener "The Calling of Sin" Unholy Ghost makes it clear that they are a band that shouldn't be taken lightly. They simply annihilate everything that comes within range of their dark and sinister blend of black and death metal. Throughout the entire album they show their incredible flair for composing. Each song has a diversity and fierceness that I cannot recall having heard in quite a while. But the common demeanour is the godlike leads that are scattered all over the entire album. They really help to lift Torrential Reign to a monumental level that most of the other death metal bands only can admire. The incredible guitar work of Kelly McLauchlin and Jerry Mortellaro are screaming towards the majestic divine. Most of the songs are extremely fast but instead of straining the listener with endless blastbeats Unholy Ghost vary their tempo so it never tends to sound the same. Drummer Aantar Lee Coates more than ever before deserves his "Blastmaster" title. Paul Ouelette pushes his vocal chords to the utmost, sounding as dynamic and evil as ever. All this combined makes Torrential Reign to a flawless release.
Torrential Reign is an absolutely devastating death metal album that leaves nothing whatsoever to be desired. Fans of Diabolic, Vital Remains or Brutality should have no problems digesting this! Torrential Reign is definitely the highlight so far in 2004. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Blut Aus Nord - The Work That Tranforms God (Candlelight Records)
Plucked from near-obscurity by extreme metal behemoth Candlelight Records, France’s Blut Aus Nord has done the near impossible… making Black Metal interesting again.
We’ve seen the genre taken to cartoonish-like levels thanks to the like of Dimmu Borgir and Cradle of Filth – all fluff and no filth. More a commercial venture than a musicians serious about it’s music or the cause behind it. Then there’s the polar opposite – bands that are using the same two chords pioneered in Pure Fucking Armageddon, where the word “Progression” holds equal footing with “Catholic”.
Blut Aus Nord, instead of simply meeting in the middle between tradition and progression simply hang a sharp left down the Devil’s highway… marrying truly disturbing ambience and frozen blast all into one discordant project. This sucker is dark… a suffocating kind of dark that borders on making this almost unpleasant. The unearthly howls permeating “Devilish Essence” are unsettling, and the lurching, sickening guitar on “Destiny” doesn’t exactly bring bright sunny days to mind.
But credit is due in that The Work… isn’t the same ol’ same ol’ – space and pacing is used exceptionally well, juxtaposing soundscape with frostbitten rhythmic fury in equal measure. Its ambiance is truly a case study on how texture within the a composition can a powerful force within the realm of music. The overall effect is sort of like hallucinating on mescaline while being buried alive.
It’s not a party, but artistically it's a unique and compelling work.
Visit the Blut Aus Nord website at http://www.blutausnord.fr.st (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Act of Gods: Stench of Centuries- Osmose 2/6
A thing that has bugged me for quite awhile is how Osmose Productions is able to continue signing all those mediocre bands. With the exception of a handful of bands the majority of the Osmose rooster seems very dull which often results in standard or sub-standard releases. And to be totally honest French death metallers Act of Gods does absolutely nothing to change that impression.
The music is pretty standard death metal which leaves absolutely nothing to the imagination. Most of the riffs sound like they could have been dished leftovers from a Cannibal Corpse record. Most of the songs tend to sound alike adding nothing positive whatsoever to the soundscape. However the band does try to set them apart by incorporating some elements from black and thrash metal in a half-hearted attempt to vary the music but the result does not come across very convincing. They still sound like a third rank clone of Cannibal Corpse and that's definitely not what the scene needs.
After having heard Stench of Centuries over and over again it struck me as still sounding the exact same as it did with the first listen. It did not change; it just kept sounding the same making it a boring sub-standard affair that I don't feel I justifiable can recommend anyone to check out. Hopefully Act of Gods will succeed in adding some identity to the music next time 'cause they have failed miserably with Stench of Centuries. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Eyes of Fire: Ashes to Embers Century Media 5/6
First thing that came to mind when I pushed play and the debut full-length album Ashes to Embers from Eyes of Fire sounded from the speakers were Anathema. Eyes of Fire's music have more than a few things in common with the aforementioned Anathema and in particular how Anathema sounded on their Silent Enigma album.
But Ashes to Embers doesn't sound like an exact copy of The Silent Enigma 'cause Eyes of Fire combine their pulsating, melancholic and dreaming music with elements of hardcore and even some nu-metal riffs a la System of a Down. The more spins I gave Ashes to Embers the more it grew on me. Somehow their music was a like a flower leaning towards the sun and slowly unveiling its inner beauty. It's very clear that the musicians in this band are not newcomers and both bassist/vocalist Matt Fischer and guitarist/vocalist Dan Kaufmann do actually also have a past in the now defunct doom/death band Mindrot who released two full-length album and three EP's through Relapse records.
Ashes to Embers is a beautiful journey into the melancholic and despairing emptiness. A journey I challenge you to take if you're willing to expand your musical horizon a little and explore the enchanting musical universe seen through eyes of fire. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Malevolent Creation: Warkult Nuclear Blast 4/6
My expectations were sky high to the new Malevolent Creation release Warkult still having fresh in mind their previous album The Will to Kill which was a phenomenal combination of both brutality and catchiness. My first impressions were that the new album didn't quite live up to it's predecessor but now I'm not so sure anymore 'cause the more rotations I give Warkult the better it becomes and it darn close to being equal to The Will to Kill.
The opener "Dead March" does in a way remind of "Memorial Arrangements" from their debut The Ten Commandments I guess it's mainly due to the slow and spoken piece in the beginning of the song but from there on there's absolutely nothing slow about the music. Malevolent Creation doesn't really surprise in any way this time either. The band continues to deliver their somewhat unique blend of old school death metal with a few references to thrash metal like they've done for the past thirteen years. And seriously this doesn't bother me the least 'cause why should you begin to tamper with a well oiled machine that runs steady and smoothly 'cause that's exactly what Malevolent Creation does. Warkult is some sorta concept album obviously dealing with war but the topic war isn't exactly a new one within the framework of the band so there's really nothing surprising here either.
Like the previous effort Warkult is produced and mixed by Kataklysm guitarist Jean Francois Deganais and this has naturally resulted in an impressive production that obviously isn't really any different from The Will to Kill. All the material on the album is fairly diverse and memorable but in my opinion songs like the opener "Dead March", "Supremacy Through Annihilation", "Murder Reigns" and "Shock and Awe" are the ones that stick the most out and therefore also the best. The band have chosen to finish it all off with cover of "Jack the Ripper" who was originally written by Australian thrashers Hobbs Angel of Death.
Warkult may not surprise at all but it still lies in the better end of the scale and there's no doubt that Malevolent Creation consist of competent musicians and the album does also seem pretty flawless. If you like the previous works from the band then I see no reason why not to purchase Warkult 'cause it's far from being a bad release. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

GRAVE: Fiendish Regression 4/6
Lately there hasn't been much music that has caught my attention right away and the new album Fiendish Regression from Swedish death metallers Grave was no exception either. However it quickly began to grow and suddenly I found myself more or less addicted to the musical escapades on the album.
Fiendish Regression is pretty much a straight continuation from where Back From the Grave left off. So basically we're dealing with slightly groovy and yet brutal old school death metal that people familiar with the back catalogue of the band would recognize as being some kinda mixture of their debut Into the Grave and their third album Soulless. The music is very organic, catchy and varied without ever becoming too much. The band has found a beautiful balance between the brutal and the mellower and groovier parts. But no need to worry we are not talking Nickelback mellow here and the music is still brutal as f**k but it's just not the typical brutal endeavor from start to finish that so many bands often tends to go for. All the songs on Fiendish Regression is strong and has their own identity but if I should mention anyone that sticks out it would probably be the slow opener "Last Journey" because of it's somewhat Slayer-like inspired approach. But also the heavy and brutal "Breeder" and the heavy and mid-paced "Trail by Fire" sticks out and last but not least the fast and brutal closer "Heretic" which perfectly brings Fiendish Regression to an end.
The album may not bring anything unheard but what it may lack when it comes to this it certainly have in variation and I didn't even found myself bored at any point while listening to Fiendish Regression. So if you like your death metal varied to the utmost but still without it losing its appeal then I wouldn't hesitate in purchasing this one 'cause Grave have this time delivered their most diverse effort to date. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

BLOODBATH: Nightmares Made Flesh 4/6
If some one by any chance should have missed the news awhile back I'll repeat that Swedish all-star death metal combo Bloodbath have revamped their line-up. Gone is Opeth front man Mikael Åkerfeldt who has been replaced by none other than Hypocrisy/Pain main man Peter Tägtgren. Furthermore Dan Swanö has switched to guitar. Replacing him behind the kit is Witchery/Satanic Slaughter drummer Martin "Axe" Axenrot. So the line-up hasn't become any less impressive with the exit of Åkerfeldt.
At first I found Nightmares Made Flesh somewhat disappointing but I also had the predecessor Resurrection Through Carnage fresh in mind but then again it's also close to impossible to outdo such a flawless effort as Resurrection Through Carnage. Obviously the band is aware of this 'cause the new album doesn't sound like the aforementioned album even though it still bears all the characteristic trademarks of Bloodbath. But to people who have followed the band since the Breeding Death EP it shouldn't comes as a surprise that the band once again have changed their sound a little.
For those unfamiliar we're this time around dealing with old school Swedish death metal combined with the brutality and technical edge of US death metal opposite to the somewhat simplistic style that the band had on their previous releases. The music seems far more technical this time and at the same time the pace have also been quickened quite a bit compared to the past material. The deep roaring growls from Tägtgren leaves absolutely nothing to be desired proving that he's a worthy successor. Peter is sounding as intimidating as ever even though his vocals aren't quite as deep as the obscure growl from Åkerfeldt. The music is as usual very organic, diverse and memorable but this time without having quite the same catchiness and accessibility that Resurrection Through Carnage has. The production this time around seems somewhat clearer and dry opposite to the ultra thick and juicy sound that the band had on the previous record.
Resurrection Through Carnage is a darn hard album to beat and Bloodbath doesn't quite succeed in doing so but somehow it seems like the band already knew this. But this being said Nightmares Made Flesh is still far better than most other releases so far this year. However here's a little advise; "Don't expect to find Resurrection Through Carnage Part II like I wrongfully did at first 'cause then Nightmares Made Flesh will most likely disappoint". (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Forsaken - Anima Mundi (Golden Lake Productions)
Lordy, the Maletese Fivesome have outdid themselves on Anima Mundi. There was promise on there Iconoclast EP, but this is in another league. There is some serious Doom-Prog going on here, a amalgam of Candlemass's From the 13th Sun, Solitude Aeturnus' Downward Spiral with the bombast, flourish and four-car garage production of any Blind Guardian album. It's doom metal polished to a blinding, brilliant sheen.
Grant it, there is a chance that Anima Mundi might be a little too slick for some of you, but that's a chance worth taking in the ears of Old Man Barnes.
The production lends a gut-wrenching crunch to Sean Vukovik's negative riff (especially on "Carpe Diem" and "All is Accomplished" but also brings out the subtleness in the softer transitions. Mario Ellul's keyboard work lends a Tony Banks-on-downers like proggy-flair to everything, but not in a way that can be considered obnouxious ? this isn't Rhapsody. The keys remain tasteful, and add a certain amount of depth and emotion to the songs. The percussive team of Simeon Gatt and Albert Bell perform with a certain air of authority (as should in any Doom recording) and vocalist Leo Stivala has never sounded better. You though 'arry wrote tongue twisters for Dickinson, try to sing this:
The oneness immemorial heals my rupture In the trial of opposites I meet my sepulcher Sephiroth, daughter of the vampire sun I am one with the forgone leviathan
I can't feel all that sorry for Stivala, I mean he helped co-write many of the lyrics on Anima Mundi. What a sadist? hahahaha?.
This is quite a majestic and sweeping work from the band and certainly will be one of the Doom Metal releases that all the heads will be discussing. The scope of these songs is so technically challenging and varied ? not to mention I have no idea how Stivala will remember all those lyrics - I honestly have no idea how they'll pull this off live. That's what happens when you set the bar so high with a recorded release. Everyone wonders how you'll live up to the legacy live. I have faith in these guys though. Nice work.
Visit the Forsaken website at http://www.cru2.net/forsaken/ (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Exodus - Tempo of the Damned (Nuclear Blast)
Even though I'm the last person on the planet to hear this and you've read 5 zillion reviews of this thing, I still feel like I have to weigh in. It's the obsessive-compulsive thing.
I really haven't read a bad review on this long-awaited, post-Baloff comeback album. I can see why for the most part. Tempo of the Damned is the best U.S. thrash metal album since Testament's The Gathering, to my ears, anyway. I know Sweden is on the downward life cycle slope of a renewed interest in thrash metal and frankly, there has been some good ones from the land of the Constitutional monarchy. Where Exodus leaves 'em in the dust can be explained in three parts: They have a vocalist that doesn't sound like every other vocalist with a sore throat; they made at least two great albums so you know they can do it again... hell, they helped originate "Thrash" back in the day; and last but not least, they're all off drugs now and very angry. It shows.
The two openers may be among the best two openers I've heard ever in thrash - "Scar Spangled Banner" would get you jailed in most countries (and just might happen here in the good ol' US if the FCC gets it's way) for it's scathingly blatant criticism of a heavy handed U.S. Foreign policy. Plus, it rocks. "War is My Shepherd" is a thrash classic, don't let anyone tell you different - that thing scorches both musically and lyrically in a way that most only dream. Speaking of which,Exodus have no problem in the lyric department, they comes up with some of the most biting and creative vocal lines I've heard. It would be a mistake to not listen to the lyrics here. "Cruci-fucked"?!! That just entered the pantheon of my personal vernacular.
Not everything is wonderful on Tempo... though. "Sealed with a Fist" is a lyrically poignant take on spousal abuse but musically it's as flat as Redondo Beach surf. Same with "Culling the Herd". Man, I'm all for vigilantism in the face of a justice system with no teeth, but I've had naps that are more exciting. That's OK though, because the first two tracks, the title track and a reworking of "Impaler" (Keyrist!! Can you get enough of that hyperspeed break??) make this a must buy for any self-respecting metal head on this wacky planet of ours.
Visit the Exodus website at www.exodusattack.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Mithras - Worlds Beyond The Veil (Candlelight Records)
I don’t know anything about Mithras outside of a Terrorizer review I breezed through that basically heralded them as the Second Coming. If I were a musician and I got a review like that, I’d quit figuring that it’d be all downhill after that. After I supplied the writer with top shelf hookers and rad tootskie.
Worlds Beyond The Veil is the work of Leon Macy (guitars/drums) and Rayner Cross (vox/guitar) and is certainly the most interesting release I’ve heard this year. I’m not even going to try to go into the lyrical concept behind the album because I don’t have a clue what the fuck they are on about. Something about heaven, evolution and telepathy. If the plot line doesn’t read like an episode from Everybody Loves Raymond, I’m lost.
Musically, man oh manoschevitz, this is something. Lush hypnotic space-synth interludes lead into death metal ditties that’ll rip your head clean off… then back to the space rock, repeat. This all comes to a head with the 13 minute opus “Beyond the Eyes of Man” which has a little of both. Unconventional to say the least, I can’t really recall anything I can compare this to for a baseline. Trey Azagtoth and Phil Sandoval on the Hawkwind tip? Dunno. Best I can do.
The overall sound is very different for a death metal release as well… at times you get the distinct impression that Worlds Beyond the Veil was recorded live at Royal Albert Hall -it’s huge - the guitars, drums and bass have a hint of reverb, almost like the acoustic echo in a large hall designed for a symphony. Definitely different and I dig it but if your looking for Neil Kernon-like production, might wanna try the new Deicide instead.
I can highly recommend this if you’re an open-minded sort. I know that doesn’t come easy for the died-in-the-wool Death Metal fans that want to hear Covenant over and over again. To you I say this.. try it, you might like it. (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Force of Evil - Force of Evil (Diamond Records)
I've waffled more than John Kerry on this album. On paper, this thing has capacity to smoke... Mercyful Fate guitarist Hank Shermann pulling Michael Denner out of retirement to record a new album... I mean these were two guys that had a big part in writing Melissa and Don't Break the Oath (among others) for crissakes. That's some kinda street cred.
So, for the first listen I was underwhelmed. The second listen I thought it was brilliant. The third listen I thought it was mostly brilliant but flawed. As it plays in the background, the soundtrack to my typing, I've settled on my final judgment: It's a damn good traditional metal album. Not great, but good. There are indeed some tasty old school riffs on this thing, and I gotta tell you, the Denner/Shermann solos are Godly. Add some finely crafted epics ("Eye of the Storm", "Samhain" and "Eternity") and fret-melters ("Hell on Earth", "The Calling") and it's solid. Not great, but worth some of your hard earned shekels.
What keeps me from enjoying this more is really my own damn fault, but I can't help it. Vocalist Martin Steene (on borrow from Euro-metalers Ironfire)mid-range sounds like gawdamn Jon Bon Jovi and I friggin CAN'T STAND the man or his "music". Steene even claims that Bon Jovi was the very first concert he ever attended and that the Bon man inspired Mike to grow out his locks. Don't tell me that. That really doesn't help matters. And Bret Michales inspired you to wear tight pants? I will give credit to Steene in that when he gets wound up and lets out that high-pitched metal roar, it's pretty damn impressive. Unfortunately for me, he spends most of his time in Bon Jovi land. Essshh...
But look, not everyone is as hung up on vocals as I am and it doesn't look like we're going to get a Mercyful Fate record anytime soon. So you might wanna jump in.
Visit the Force of Evil website at www.forceofevil.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Anata - Under A Stone With No Inscription (Earache Records)
Who, in the world of death metal, end a particularly brutal barrage of hypertechnical death metal with a trill?? A trill, I say. Hammer-on, pull-off, end of song. Anata does and this is how "Shackled to Guilt" ends it's time. Non-conventional ending to be sure, but then just about everything regarding Anata defies at least some sort of convention.
Under A Stone With No Inscription arrives just as the death metal world appeared to run short of ideas and fall into an endless cycle repeating itself. Anata save the day, arriving with a calculator, an uncanny ability to enslave tempo and warp it into weird, wonderful and awe-inspiring things at very high speeds, and a belly full of aggro. The riffs created by this band make your head spin - circular, angular in a way that would make an Escher drawing like fingerpaint-time at preschool. Couple this with a percussive powerhouse that is nothing short of jaw-dropping in it's technicality (as in, can someone really do that without ProTools??) and a raw, innate instinct to convey aggression within the framework of a musical arrangement, and you got something pretty special. No wonder most Death Metal bands gig in sweat pants. It's a fucking workout.
Still, being the pisser I hate myself for being, Under a Stone... isn't perfect - the frantic tempo of the record left me feeling like I just spent 45 minutes in the spin cycle of a giant Maytag once track 10, "Any Kind of Magic or Miracle" ends. All that speed and multitude of calculus riffs delivered at hairpin turns will turn you grey before your time. The only time Anata slow down is in the midsection of the last, aforementioned track. More attention to dynamics certainly couldn't hurt.
Honestly, aside from my bellyaching, Anata is taking this art form to a new level. Nice work, fellas.
Visit the Anata website at www.anata.se. (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

THE END - Within Dividia Genre: Noise/hardcore Label: Relapse Released: January 26th, 2004
This is to my knowledge the second full-length album from Canada's The End and I must confess that I'm not familiar with their previous material so I really can't tell in what way they've evolved and progressed since their previous album Transfer, Trachea Reverberations From Point: False Omniscient but what I do know is that this is definitely not my kinda music The End plays. I'm having a really, really hard time dealing with the screaming vocals that really seem to get under my skin and therefore tends to ruin this album completely for me. The music is a strange mixture of hardcore and noisy rock which I'm sure in its own way is appealing to a lot of people and that's really cool but they certainly have turned me off. When it comes to sounding a little different than the rest then The End hasn't really anything to offer, I swear if I put on a CD with December or The End I seriously could not tell the difference - that's how close they sound. I'm sure it's probably just me who doesn't know how to appreciate this kinda music but to me it's just a complete wall of noise that would be more than useful if you have intentions about driving your surroundings insane. Within Dividia is a release that of course probably will please most of the fans of this genre. But if like you like me are unfamiliar with this subgenre of metal then I wouldn't suggest you start you exploration here. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

KATAKLYSM: SERENITY IN FIRE Nuclear Blast 5/6
I clearly remember when I bought my first Kataklysm album back in '95; it was their debut full-length album "Sorcery" and frankly I wasn't impressed at all, so I kinda lost interest and ignored them for quite some time, but I kept hearing their name mentioned over and over again so it sparked my curiosity once again and I decided to buy their previous album "Shadows and Dust", and I was immediately blown away so I went out right away and brought their two albums prior to "Shadows and Dust" and they both possessed the same energy and vitality so I was hooked.
Now Kataklysm is ready with the successor to the aforementioned "Shadow and Dust" and the new album "Serenity in Fire" continues almost exactly where "Shadows." left off so basically there's really nothing new under the sun here. We're still dealing with high quality and very diverse death metal with a few melodic and black metal elements built in, but "Serenity in Fire" is also an album that despite it heavy reliance on the now well-known formula that Kataklysm have been building up over the course of their last three albums still manages to sound very fresh and full of vitality. "Serenity in Fire" ranges from being ultra-fast over to slower and very catchy mid-paced songs, and prime examples of this are "The Resurrection" and "Blood on the Swans" only to name two, but the album is actually perfectly and equally divided between the fast and mid-paced part, proving this is a really worked through effort. Some personal favourites are "The Ambassador of Pain", "The Tragedy I Preach" and "Under the Bleeding Sun", but all in all there's really not a single bad song on "Serenity in Fire".
A small minus with the album is the over-exaggerated use of drum triggers, which makes the drums seem very artificial and sterile, but all in all this is a minor thing that in no way spoils the overall experience. If you liked K ataklysm's previous works, then you can in no way go wrong with "Serenity in Fire" which stays true all the way to what we've come to expect from the Northern hyper blasters. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

DEICIDE: SCARS OF THE CRUCIFIX Earache 5/6
The last Deicide album "In Torment In Hell" wasn't really anything special; it seemed kinda rushed and boring. The band also stated that they weren't happy with it, but they were just so eager to get out of Roadrunner's straightjacket that they rushed the whole thing. I must confess that I tend to believe them 'cuz their new album and Earache debut "Scars of the Crucifix" is a whole different story.
Of course "Scars of the Crucifix" is typical Deicide all the way and does really not add that much new if anything to the already known Deicide sound. Front man Glen Benton sounds as pissed as ever and all the bible lovers out there should have plenty to take offence from with titles such as "Mad at God", "Fuck Your God" and "Go Now Your God is Dead". Somehow "Scars of the Crucifix" sounds a lot fresher, more aggressive and brutal than some of their later releases. It's like the split with Roadrunner and Glen Benton's collaboration with Vital Remains have pumped renewed energy into the band. It's in no way a new "Legion" but it might possibly be their best since "Once upon the Cross" or even the aforementioned "Legion". A thing that really sets it apart from most of the previous Deicide material is that the leads seems a lot more dominant and almost haunting this time around adding a lot of diversity to the sound.
My only complaint about "Scars of the Crucifix" is the length of the album it doesn't even clock twenty-seven minutes but I guess I should have been used to used to this by now since almost none of Deicide's releases exceed thirty-five minutes. This is just me rambling 'cuz it doesn't change the fact that "Scars of the Crucifix" is a great release that proves that Deicide still have what it takes to create hellish and truly blasphemous death metal. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Wolverine - Cold Light of Monday (Earache/Elitist)
Maybe it's me, but prog-influenced bands seem get more interesting the older I get. I guess some of that youthful, visceral rush of an aural pummeling displaces a bit for more cerebral stuff as the metal fan matures.
I like this album quite a bit - a surprise because I actually put this in my CD player by accident. I stuck it in a Decide promo cover by mistake. Silly. I was thinking I was going to get an adrenaline fix by some wacko with an inverted cross branded in his head and I get something completely opposite. I get a brilliant, lush, techically-impressive concept album about an abused young woman...
Wolverine remind me of somewhat of Dream Theater and Green Carnation, allied with some of the more ethereal overtones and pure emotional impact of the last two Anathema albums. Emotionally, it's not a party album. It's an intense story of an abused young lady, the music rising and falling from rushing climaxes to melancholic passages as we follow her story. The musicianship is superb, as is the production - every instrument is crystal clear in the mix, the whole package giving the listener an extreme feeling of texture and space.
Of considerable note are the stunning vocals of Stefan Zell - truly a find as he explores a huge range and delivers lyrics with palpable emotional conviction. In short, the fucking guy rules.
You don't have to be a prog-head to dig this - but it does help to be open-minded. Give it a spin if you get the chance, I really don't think you'll be disappointed.
Visit the Wolverine website at www.wolverine-overdose.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Swarm of the Lotus - When White Becomes Black (At A Loss Recordings)
Somebody hipped me to an MP3 of these guys a while back, heard it and thought it was pretty impressive stuff - highly rhythmic pummeling in the vein of Mastadon and Meatjack with an occasional burst of Sonic Youth sound frequency exploration and Neurosis subtlety. Then I deleted a bunch of files by mistake, SOTL being one of 'em and promptly forgot about them. What a music fan I've turned out to be.
Thanks to the fine people at Earsplit PR, SOTL is back on my radar with their first full length album, When White Becomes Black. It's the same SOTL that I remember, although they sound a little more high-strung , a little more apt to rip off your face than say "pardon me". The first four tracks are multi-textured forays into sonic pounding, drummer Jon-John being especially compelling as he busts the fuck out of his set but does it with such technical dexterity and aplomb that it's frightening. Pete's shriek of largely party-pooper lyrics are highlighted by his and fellow guitarist Bob's jagged, almost angry artrock guitar work. Everything anchored down (almost) by the low-end of John the Bassist, used much less as an instrument of rhythm as an instrument of pure, unadulterated impact. The kind you feel in your ribcage.
The epitome of the SOTL experience occurs on 'From the Embers' and 'Seeing Truth' - both songs that let the band breathe a bit, get in touch with their subtle side by drenching the listener in some forgiving space after the first four punishments. "Episode Infinity" gets high marks too, for no other reason then I love hearing the drummer go ape-shit at the end. Damn that was good.
There are only two things that keep When White Becomes Black a totally satisfying listen: The first is the length of the record. At 51 minutes and change, it gets kinda long to listen to this sort of music - this is a 35 minuter, tops. The other is that I enjoy SOTL more when they aren't simply intent on kicking my ass... when they explore a little bit, get in touch with their subtle side and let the songs breathe is where they shine. Admittedly, small nit-picky complaints but when you sit and listen to music all day for a living, what the hell else are you going to do? Other than that, a nicely done album that should leave Mastadon, Meatjack and Nuerosis fans with a post-endorphin rush glow.
Visit the Swarm of the Lotus website at www.swarmofthelotus.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Herod - For Whom the Gods Would Destroy (LifeForce Records
Old School metal is getting a second wind of sorts... not as the main course so much as a main ingredient in a...erm... casserole of metal stylings. Casserole. That may be the lamest metaphor I've ever come up with but my email and internet access is down and I'm in a real pisser of a mood. So it stays. Casserole.
There are a number of bands incorporating old school stylings into their sounds, Tirivium comes to mind immediately as an excellent example of how new and old can meet and even get along. Buffalo, NY's Herod lean even harder on metal of yore for an interesting mix. Dammit if the opening of "We Are Those People" didn't take me back to Delirious Nomad-era Armored Saint, and "The End", "Winter's Bane" and "Look Beyond" have more Killers-era Maiden-isms than Maiden at this point.
The interesting kicker is that Herod incorporates all of this into a hardcore salmagundi. Salmagundi. Another lame metaphor. Judah Nero lays down the hardcore bark n' chant like a pro. Interesting. Breakdowns and solos, not your typical classic metal OR hardcore fare. And truth be told, given my classic metal background (I grew up on the stuff) the blending of the two fucks with my frame of reference. It doesn't stick to the tried and true and ultimately throws me for a loop. That's a good thing though. It's like having a younger nephew with those ridiculous body piercings and pants belted mid-ass. He looks like a miscreant but if you spend enough time with him, you love him anyway.
And that's the deal with Herod. This kinda style of blending old and new is still fresh enough where I'm not annoyed and actually enjoy the change in dynamic. It helps that the band write some killer riffs, hooks and have the guff to bust out actual SOLOS... something unheard of only a year ago. The kids are raiding mom and dad's vinyl collections it seems, and so far the results are pretty impressive.
So for you young 'uns, give it a whirl. Trust me it rocks way better than Blink 182 ever could. And for you oldies, give the kids a chance. Try it, you might like it.
Visit the Herod website at www.herod.cc (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

EXODUS: TEMPO OF THE DAMNED Nuclear Blast 5/6
When Exodus released their last studio effort Force of Habit in 1992 it quickly came to serve as a painful reminder that this was the same band who in the 80's had released thrash metal classics such as Bonded by Blood and Fabulous Disaster. The band also split up shortly after the release of Force of Habit, but in '97 the band reformed with original vocalist Paul Baloff and recorded the now-classic live album Another Lesson in Violence. Being among the innovators of Bay Area thrash metal, it's not undeserved that Exodus possesses a certain legendary status in the metal community.
Now seven years later, the band still mourning the loss of Paul Baloff, who passed away on February 2nd, 2002 after suffering a massive stroke, have been rejoined by Baloff's replacement Steve "Zetro" Souza and are ready to release their first studio album in almost 12 years on the two year anniversary of Baloff's death.
Tempo of the Damned opens up with a typical aggressive up-tempo Exodus track "Scar Spangled Banner" that sounds like something that could have been straight of one their 80's releases with the typical Zetro vocals and Gary Holt/Rick Hunolt riffs. "War is My Shepard" is another aggressive up-tempo song that just as well could have been on their earlier albums. "Blacklist" is a classic, catchy mid-tempo Exodus tune with a great chorus and heavy pounding groovy riffs. "Shroud of Urine" is one of the album's absolute highlights and features the classic guitar attack from Gary Holt/Rick Hunolt, and likewise "Blacklist" it has a very catchy chorus and bears the classic dual guitar trademark of Holt and Hunolt. "Forward March" is more of the classic Exodus fretwork and contains vocals that range from being typical Zetro vocals over to something that borderline rapping (and NO, we' re not talking nu-metal style here). "Culling the Herd" is more classic Exodus extravaganza with a slight change in pace but still sounding typically like Exodus. Next up are the two tracks "Sealed with a Fist" and "Throwing Down" which was originally written by Wardance, the ill-fated mid- '90's act formed by Gary Holt and drummer Tom Hunting. Both tracks have been reworked and in my opinion it works out well even though they stand out a little from the rest of the material but still sounding like Exodus. "Impaler" is an old Exodus classic written when Metallica's Kirk Hammett was still in the band; it was supposed to have been on their debut "Bonded by Blood" but never made the cut. So now Exodus has chosen to give it the proper recording it deserves. It sounds really cool even though it doesn't possess the aggressive edge the rest of the material has and therefore it stands alone. The final track "Tempo of the Damned" is an aggressive experience that doesn't sound like typical Exodus but none the less is a great ending.
Tempo of the Damned is an impressive comeback that proves that Exodus still know how to create thrash metal the classic way. Exodus' long absence from the studio has really done them well. With Tempo of the Damned they have delivered an inspired and fresh effort that stays true to their pioneering sound. Hopefully we'll be hearing a lot more from Exodus in the future. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

CANNIBAL CORPSE: THE WRETCHED SPAWN Metal Blade 5/6
I was staring out the window on a dull Sunday morning, trying to come up with a great idea as to how I should start this review, but my mind was completely blank, totally drained of logical thoughts. I'm not sure if it was the nerves that were beginning to have an effect on me since I had to talk to bassist Alex Webster later that day. But the more I came to think about it, the more I realized that Cannibal Corpse is a band the really doesn't need any introduction cuz' most people know their name, no matter if they like the music or not. Cannibal Corpse is simply an institution in death metal.
I must admit that the last couple of Cannibal Corpse CD's haven't had much play time in my CD-player; not that they were bad in any way but they just weren't that exciting compared to their earlier material such as Tomb of the Mutilated and Eaten Back to Life. But The Wretched Spawn is a whole different story. I might go as far to say that The Wretched Spawn is possible their best album since the aforementioned Tomb of the Mutilated.
The opener "Severed Head Stoning" is a good hint of what is to come. It takes off in a fierce pace, bearing all the usual trademarks of Cannibal Corpse, and from there on there is really no turning back. Next up is "Psychotic Precision" and "Decency Defiled", two equally great tracks both with catchy and simple choruses that quickly get stuck in the head. Up next is "Frantic Disembowelment", another fierce and brutal song that does what it's supposed to do: eliminate. The title track is one of the slower tracks and it works as the perfect link between the previous song and "Cyanide Assassin" which is yet another malevolent attack. "Festering in the Crypt" is a pretty slow song according to Cannibal Corpse standards but still a gut-ripping tune. Next up is one of my personal favourites, "Nothing Left to Mutilate", which of course is typical Cannibal Corpse with a catchy riff that really sticks out. "Blunt Force Castration" is yet another merciless assault of speed and precision. The last four tracks tend to remain a little anonymous, but still this doesn't mean they are boring in any way. They are just not quite as dominant as the rest.
The Wretched Spawn never seems to become monotone or dull, and most of the material is catchy and memorable due to the structure of the arrangements that range from being ultra fast to mid-tempo parts and even slower ones as well. The Wretched Spawn bears all the familiar trademarks of Cannibal Corpse, so if you like any of their previous releases or if you're just looking for some quality death metal, then don't hesitate in getting The Wretched Spawn. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

ANATA: UNDER A STONE WITH NO INSCRIPTION Earache 4/6
Sweden's Anata is ready with their third full-length CD Under a Stone with No Inscription. A CD that is full of free-thinking and experimental elements but this without compromising their death metal sound and approach. Under A Stone with No Inscription is a CD that's hard to categorize and Anata can definitely not be accused of playing the typical brand of death metal. The music is a strange compound of a wide range of influences from both the American and Swedish scene all bonded together by dozens of weird harmonies, breaks and hooks. At first it all sounds a little weird but the further you dig down and investigate, the more compelling the music gets. Just listen to the main riff in "Sewerages of the Mind" and tell me it's not compelling! Under A Stone with No Inscription is a CD that demands multiple listens before it can be really appreciated properly due to the complexity and the technical approach of the songs. With every listen you'll discover new and interesting things. Of course, it's not all rosy and wonderful and there are a few annoying things here and there, but they are minor things that doesn't do much to the overall experience so I won't dig any deeper into those in this review.
Under A Stone with No Inscription is a CD that definitely won't appeal to everyone, but if you're open-minded and looking for something a little different than the usual, then you shouldn't hesitate with getting this album. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

HATESPHERE: Something Old, Something New, Something Borrowed and Something Black 4/6
Something Old, Something New, Something Borrowed and Something Black is the fitting title on the new seven track mini from Danish melodic death/thrash metallers HateSphere. A mini CD that's made up, as the title suggests, of something new, something borrowed and something old.
First up is the new track "Release the Pain" which is very cool and sounds like typical HateSphere and is best described as aggressive melodic death metal with some thrash elements. Next up are two cover songs in the shape of the old Ozzy Osbourne classic "Bark at the Moon" and the classic Anthrax song "Caught in a Mosh". HateSphere's rendition is done with a perfect balance so they do sound like HateSphere but still remaining true towards the original recording. Finally, there are four live tracks recorded live at Voxhall in Aarhus, Denmark during their European tour with The Haunted and Mastodon in 2003. The sound on those four tracks is excellent and illustrates evidently what 'HateSphere live' is all about.
Something Old. is a very good appetizer while we wait for a new full-length release. Fans of Hatesphere or melodic death metal in general shouldn't hesitate in getting this! (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Negative Reaction/Ramesses - Split CD (PsycheDOOMelic Records)
I'm reminded of Negative Reaction every time I have to reactivate the desktop on the computer. The same exclamation point in a triangle symbol that says to me, "Warning! You're computer fucked up!!" and is the precursor to a negative reaction of a completely personal sort.
We all know about Negative Reaction by now.... NY's principal trust in old school sludgecore. The band always lulls me into a hypnotic sludge stupor. I love 'em. I like Negative Reaction in that they don't fuck around and pretend to be anything OTHER than sludgecore. There is a definite lack of pretense hear, a sentiment that sticks even when the band bust out the Native American flute for a spell on "NOD" - instead of coming off like a too-clever add on, it's a nice juxtaposition to Ken's wail-from-hell. It might be me, but I think that NOD may be the most intense Negative Reaction track to date.
The big news on this split is that it's also the musical debut of Ramesses - the new project of ex-Electric Wizard members Tim Bagshaw and Mark Greening. It's not fair to compare 'em to Electric Wizard, but what in life is fair when it comes down to it? Where the Wiz take things down a more psychedelic path, Ramesses hang a severe right. It's much more straightforward pummeling, more Venom-y and Frost-y then their previous employer. Tim moves from bass to guitar, Mark on drums (and a nice turn on the Hammond at the beginning of "Master (Your Demons)")while new guy Adam Richardson provides bottom-end anchor and guttural bark. Is it good? Hell yeah! Is it the second coming of Doom as we know it? .... nah. There are some other bands doing this type of thing (Atlanta's excellent Tualatin come to mind) and although these two Ramesses tracks provide a damn good deal of visceral appeal, I need more to getter a better idea of how the band will place in the long run. An earnest debut though, off to a good start. Nice work, lads.
Purchase the Negative Reaction/Ramesses Split at the Hellride Music Superstore (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Probot - S/T (Southern Lord Recordings)
First off, the Probot promotional disc contains a new form of copyright software embedded in the disc making it difficult to play on your computer. I found out it's also difficult to play on my car stereo as well. A big thanks to all you douchebags who love to download music you don't want to actually pay for. Fuckers. You've now stuck us with half-ass technology.
For those not familiar with Probot, it's famed Foo Fighter/ex-Nirvana drummer Dave Grohl's tribute to the metal gods he grew up on. Mighty nice of Dave to tip his hat to the masters and to Greg Anderson of Southern Lord Recordings to get this out to the public. It's been awhile and we've all been waiting.
Two things that strike me right off the bat - Dave Grohl is a helluva song writer and must be a helluva metal fan because he writes each song according to the vocalist's style. For example, the magnificent "Centuries of Sin" track featuring Cronos sounds like a lost Venom track. Same with "Sweet Dreams" featuring Danish high-note hero King Diamond (with some guitar help from one Kim Thayil... where you been, dude??!). Same goes for the rest of the songs on the album, except for "Big Sky" with Tom G. Warrior which we'll get to in a minute. . The second thing I notice is a lack of guitar solos. I mean none, except if you count Wino doing 12th fret bends for 10 minutes. I dunno if it's because Dave can't solo or because... well, I dunno.
The one thing you should know about Probot is that it's well worth your money, whatever you pay for it. If you are even a casual fan of metal, you'll find at least one track that will stick in your memory like your first love. For me, the Cronos, Kurt Brecht, Wino and Lee Dorrian tracks are done exceptionally well, enough for me to play 'em over and over again on constant and incessant shuffle for an entire afternoon. The Eric Wagner track is also amazing, and it's about time that Mr. Wagner is recognized for the true talent he is and not just another Howard Stern lookalike. The only track that disappoints is the aforementioned Tom G. Warrior track "Big Sky". What the hell happened here? It sounds like a Marylin Manson outtake. Stinky.
The real disc and matching double vinyl offering will offer a bonus track. I have no idea who it is, because it wasn't included in the promo. Someone said it was Jack Black. That would bum me out in the worst way. How anticlimactic would that be? All I need to say is "Shallow Hal". Go back to hell where you belong. Hopefully these rumors are unfounded and we get someone cool, like Dickinson, Bobby Halford, Ron Dio or someone of that ilk.
Cool cover art and design by Voivod's Away too, for you detail junkies. (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Anathema - A Natural DisasterAnathema - A Natural Disaster (Koch Entertainment)
"In a split second the foundations for peaceful fulfilling life can be blasted away to the four corners of reality...almost as if it were an act of a truly evil god.
It's succinct reflections like the above that draw me to Anathema. More than once I've been blown away by the Cavanagh brother's ability to mesh beautiful prose with everyday emotions and then put them to lush, hypnotic and haunting music.
I know a lot of long time Anathema fans were thrown for a loop with 2002's A Fine Day to Exit as the band introduced a whole new sound. Half cried "Sell out!" while the other half embraced the bands change in sound a true progression. I loved that damn album and continue to spin it quite frequently. In a word, brilliant, and a huge step in defining the band with it's own unique sound.
2003's follow-up, A Natural Disaster, continues where A Fine Day to Exit left off, albeit with a bit more f ire in the belly. Nothing on this album captures the urgency and beauty displayed in A Fine Day to Exit's "Pressure", Release" or the title track, but A Natural Disaster comes damn close and close enough not to disappoint. Again, Danny Cavanagh's ability to write songs that highlight the Anathema hallmark of rich melodies and hypnotic dynamics is what really drives this releas. Brother Vincent's haunting emotive vocal delivery gives the whole affair palpable life that's hard to come by in music alone.
With this release, the band revisit their heavier moments, albeit briefly, with the midsection of amazing first track "Harmonium" and the downright blasting (and surprising given the tone and mood of the other songs) panic-inducer "Pulled Under at 2000 Metres A Second". The band further throw convention to the wind by enlisting someone outside the Cavanagh circle to sing the title track in the form of the prodigious vocal talents of Lee Douglas (wife of drummer John). "Flying" is not only catchy, but defines melancholy beauty as only Anathema can do and further attention must definitely be given to the climatic instrumental "Violence" which recalls Sonic Youth and Pink Floyd in both intensity and trance-inducing capability.
Really, another incredible work from this band. In my ears, they have absolutely succeeded in reinventing themselves.
Visit the Anathema website at www.anathema.ws (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

GORGASM: MASTICATE TO DOMINATE Label: Unique Leader
Chicago's Gorgasm continue from where they left off with their previous CD "Bleeding Profusely" and they haven't exactly slowed down or made any compromises on their second full-length "Masticate to Dominate". A CD that shows Gorgasm still know how to create savage and brutal death metal which brings to mind bands like Suffocation and Gorguts.
The arrangements and structures are based upon the classic formulas, making much of it predictable. But nonetheless the CD is full of cool breaks, fast grinding riffs, slower heavy parts and of course plenty of blast beats making it a varied and deadly effort. The songs are kept fairly short making them even more intense and brutal. "Masticate to Dominate" is a lesson in pure and utter violence; a lesson that will not soon be forgotten. Just listen to songs such as "Stitched Oral Asphyxia", "Concubine of Despise" and "Deadfuck" and don't tell me you're not convinced. The production is fairly clear, yet heavy and brutally raw, accompanying the music perfectly.
"Masticate..." is among the better releases of 2003 and fans of sickening and twisted death metal shouldn't pass on this one. (Per/Supreme Bruality Zine http://www.supremebrutality.net/)

Gorerotted - Only Tools and Corpses (Metal Blade)
I just read the lyrics to "Fuck Your Arse With Broken Glass". I shouldn't have done that but the lyrics to "Zombie Graveyard Rape Bonanza" had me in a horrified trance. I'm admitted puss when it comes to gore. I can't even watch "ER" reruns.
I know you can't take song titles like "Hacked in the Back and Dumped in a Sack" seriously and if "Her Gash I Did Slash" didn't metal me like a mofo with that hellishly tight midsection and Hell-bred guitar solo, I'd be tempted dismiss this thing altogether on the basis of sick fuck lyrics alone. The fact is, Only Tools and Corpses is a death/grind combo of the highest order - tighter than Nemo's butthole 20,000 leagues, more grooves than a vinyl copy of Mozart's Requiem. The topper is a triple vocal threat that alternately mimics an un-anesthetized tracheotomy, sudden gas escaping a bloated corpse, and violent vomiting.
My advice, skip the lyrics and go right to the music because you can't understand what the hell they're singing about anyway. Musically, more high-speed twists and turns than an out-of-control rollercoaster. Very cool.
Visit the Gorerotted website at www.deadagain.fsnet.co.uk (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Extol - Synergy (2003 Century Media)
Haha, you can tell which label has the best distribution by these last few reviews that I've done, I bought 5 new CDs this weekend and all but one are Century Media. This is a Christian progressive death metal band from Norway, and it's heavy on the Christian overtones, but that's okay, because the music more than makes up for the shortcoming of their choice in beliefs. The music is progressive and the dudes can play their asses off, they use a mixture of clean and death growls, this is just some good complex death metal with a pretty good variety of songs. This is a pretty decent band with some decent skill, I really don't know who else I could compare this too, maybe Farmakon as far as some of the strange melodies and intricate riffs, there also seems to be some thrash elements here and there. (Vance mccumberv@cornerstonenational.com)

Children of Bodom - Hate crew deathroll (2003 Century Media)
You guys keep talking about how Opeth and Doom metal are boring, well I think Children of Bodom is boring, if it wasn't for the far out ripping solos I'd never listen to this band. I thought their last album was better, this one is just too much of the same, Alexis' voice is better that's for sure, but the songs all have that same identical formula and frankly is just kind of tiresome. The band photos don't help for me, there's just a little too much posing going on. This is a good record and I can see how so many people like it, and it is metal, I guess I'm just into different things right now and this just isn't doing the trick for me, I'd rather listen to the new P.O.D. I know that sounds harsh. The good thing is these guys will sell a lot of records and keep gaining popularity whether I like them or not, and they are one of those bands that really don't need to be reviewed in the first place because you pretty much know what you're getting before you even open the CD case. (Vance mccumberv@cornerstonenational.com)

Into Eternity - Dead or Dreaming (2003 Century Media)
This is one of those bands that can get lost under the radar very easily if your not keeping an eye out for them, I stumbled upon this by accident and then remember the list and decided to give it a spin. The sticker on the front of the CD was touting this as being a mixture of all forms of metal, progressive, death, doom and hardcore. I'll admit the hardcore part kind of turned me off, I am getting really sick of the crossover hardcore metal genre right now.
After hearing this a few times I think it's safe to say that this is mostly a crossover hardcore metal band with some sparse Dream Theater like keyboards. The riffs are nice the song structures are quite odd, the clean choruses are cool and catchy, there are a million different vocal styles, but the one that prevails is the hardcore-ish shout, that's the one that you hear most and to me that's kind of a let down, the clean singing is very good, but at times might seem out of place. These guys can really play, but I think they need to settle on a genre and stick with it, I betting that the band has one Hardcore Hatebreed fan, a Blind Guardian fan and a Cannibal Corpse fan. It's just hard to pinpoint where this band fits in. It is a very interesting and at times hard to follow album, that I think will take several more spins to truly understand.
I'm glad I bought it, I just need some more time to let it sink in. (Vance mccumberv@cornerstonenational.com)

Reverend Bizarre - Harbinger of Metal (Spinefarm Records)
It may be a little cavalier of me to say this, but it's my belief that Reverend Bizarre played a great part in ushering this new Doom Renaissance with their 2002 masterpiece In the Rectory of the Bizarre Reverend. A perfect synergy of occult-driven power, emotion and volume that has already created a classic and inspired a multitude of bands to plug in and slow down.
Obviously I wasn't the only one to think that the band was on to something special, as they quickly were swept up from relative obscurity by Finland's Spinefarm label, landed a spot in the high profile spots in the Tuska festival at Helsinki (among others) and recorded an EP (albeit a 70 MINUTE EP!).
Lightning strikes twice, the doom-laden wunderkinds have created another epic - although this time the lyrics and music take a decidedly darker turn, sucking the any and all light right out of the room. The band eschew any trace of psychedelia and the popular "groove-laden" breakdown that might lighten the mood, for the addition of "atmosphere": various audio snippets, and occasional Hammond-ish keyboards and vocalist Albert's distant wailing and gnashing of teeth to augment bass/percussion trance-inducing jams. What a record.
"The Wandering Jew" is the instant standout - an epic length tale of Christ's tortuous journey to Golgotha and what happens if you happen to be amongst those in the crowd that spit in the Saviour's face as he carries his deadly burden. The take is much different than anything you've heard - Christ as Son of God or martyr for the lower class? Christ as an occult figure, casting spells?? Whoa.
Albert's vocals are still the tested trademark of the band - they could go country and you'd still recognize that clear yet ominous timbre, perhaps the best built voice for doom metal since Ozzy picked up a microphone.
Another doom metal classic, you'll soon realize.
Visit the Reverend Bizarre website at www.reverend.shows.it (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Revelation - Frozen Masque (Miskatonic Foundation)
I often associate places and times with the music I was listening to at a particular moment. The first time I gave Frozen Masque a proper spin was on a the way to a conference at UCLA. I remember the morning being crystal clear and the music playing on my car stereo being incredibly awe-inspiring. What leaped out at me was incredibly written songs, each loaded with a multitude of not just one, but several amazing riffs, delicate midsections and iron heavy passages - a multitude of dynamics. When the band launched into a particularly intense moment toward the middle of the title track "Frozen Masque" (Branagan, Cornelius and Hunter in perfect harmony), I sat in the parking lot, playing that over at least five times. I repeated a listening on the way home and I sat in the garage playing the midsection of "Finished With You" and the entirety of the immaculate "Little Faith" another multitude of times (Jim Hunter's bass lines as that baby winds up). Experiences like that I really treasure. The rare and perfect integration of music and mind.
For those of you that aren't hip, Revelation recorded the Frozen Masque demo in late 1996, flush with success from the pivotalYet So Far album and a subsequent tour with double doom legends Saint Vitus and Solitude Aeturnus. Unfortunately, the album never came to be, but the demo made the rounds within doom circles, garnering just and due praise.
The Captain Supreme of true metal and Doom, Richard Walker (Solstice, Warning) saw fit to release Frozen Masque in conjunction with 1994's Mourning Son demo and two live tracks, all in one package. The icing on the cake is the comprehensive 12-page booklet with liner notes by drummer Steve Branagan replete with lyrics and band photos (including the vintage mighty mullets of singer/guitarist Dennis Cornelius and aforementioned drummer!). An excellent package, and a worthy snapshot of the seminal Branagan/Cornelius/Hunter songwriting team.
Also of note is the development of Cornelius as a vocalist between the Mourning Son and Frozen Masque demos - the difference in chops and confidence is striking. And then that signature guitar tone (listen to that solo in "Eternal Search" for Gawd's sake!!!) - both voice and tone he'd carry with him to his criminally overlooked OverSoul project, whose Seven Days in November is also worthy of your attention.
If you're a fan of doom metal in any regard - or heavy music in general - this is a must for your collection. (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Destruction - Metal Discharge (Nuclear Blast)
It actually took me a little while to warm up to Destruction's 2001 thrashterpiece The Antichrist . Looking back, I can't really pin down what the initial hesitation was. I mean, let's be honest, that fucker brung it. Hard. That Germanic raw thrash aggression coupled with solid thrash rhythmic fury and choruses that were actually CATCHY. How many times have I caught myself singing "Nailed to the FUCKING cross!!" or "Bullets...Bullets from HELL!!" while driving or wandering around the house?? Either those tunes have sticking power or I'm retarded. Or both. From that standpoint, their latest release Metal Discharge already had big shoes to fill.
And to a large part, those shoes remain unfilled. Metal Destruction comprises two discs - the first is all new material and the second one is covers and demos. When the cover/demo disc outshines the one with new, original material, it's a little disconcerting.
Metal Discharge starts off strong all right, both the first neck-snapper, "The Ravenous Beast" and the title track are absolutely stellar Destruction compositions - fast, gritty, aggressive and catchy. The third song, "Rippin' the Flesh" starts a decline (aside from the fine guitar bridge in that aforementioned track) that will last until the last two offerings on the disc "Made to Be Broken" and "Vendetta". So what happened to those six middle tracks? They aren't horrible and "horrible" is not an option with a band of this caliber - they're just....boring. Standard issue thrash tunes devoid of any memorable riffs or choruses. They'd be acceptable for a middle-of-the-road band, but these are the Teutonic legends Destruction we have here! Maybe I'm being a bit harsh... To their credit, Destruction have shit more top-shelf tunes in their long career than most bands can even begin to hope to create at their peak.
All is not lost, however. Disc 2 contains some absolutely stellar covers of Maiden's "Killers" and Metallica's seminal "Whiplash" as well as killer demos of "Bestial Invasion", "The Butcher Strikes Back", "Nailed to the Cross", and the "Metal Discharge" title track. Unnecessary, but good listening.
Unfortunately for the new material, 4 solid tunes out of 10 does not make a great album and that's what we're left with. Not horrible, just not living up to the legacy of this incredibly talented band. I'm disappointed, but there's always next time.
Visit the Destruction website at www.destruction.de (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Doomsword - Let Battle Commence (SPV/Dragonheart)
There's a good reason Terrorizer magazine's Chris Chantler lauded a "9/10" on Italian cult metalers Doomsword's latest release, Let Battle Commence. The album is Heavy Metal at it's finest; an epic piece recorded with abundant doses of true metal grit.
Doomsword have always been an anachronism in time, eschewing the current ostentatious keyboard-laden Eurometal movement for something more authentic. Something more related to Saxon than Rhapsody. "Battle Metal" has always been the band's forte, conveying a strong sense of storytelling and approach to lyrics as it does to it's dark brand of metal. Let Battle Commence, the band has hit it's stride.
The band has a keen sense of "epic" when it comes to songwriting - from vocalist/guitarist Deathmaster's sub-operatic delivery style, to the sword n' steel clashing sound effects to the keen sense of dynamics pioneered by early bands (and admitted Doomsword influences) such as Warlord, Viking-era Bathory and Candlemass. The climatic speedy passages are always tempered with slow, atmospheric flourishes, and vice-versa. Despite the Metal bombast evidenced on Let Battle Commence, one walks away from the whole experience convinced that Doomsword are all about the metal, any evidence of pretension (thankfully) is kept to a minimum.
I agree with Chantler. What we have here may be a metal classic.
Visit the Doomsword website at www.truemetal.org/doomsword (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

The Meads of Asphodel - The Excommunication of Christ (2003, Supernal Music)
Damn what a strange band, these guys are from England and play a very unique form of black metal, this is black metal without all the frills and fluff, it's almost like Medieval Black Metal, stuff that you could imagine the crazy Knights and Gestures would play back in the old days, you know if they even knew what metal was, The album art and photos are almost ridiculous, like some leftover press clips from Monte Python's holy grail. You go to their website and the guys are all dressed up as Knights with shields displaying coat of arms and the whole works, it almost looks like a joke, but then you hear the music and it just blows you away. The dynamics of the songs and the excellent multi-faceted vocal delivery is really cool, the old school traditional metal mixed with the folkish black metal really works well together, there's nothing at all hokey about this music, it's just some extremely well done black metal with lots of interesting touches thrown in..
I've seen a lot of mixed reviews on this album, The Metal Observer gave it a 10/10 and then Tartarean Desire gave it a 6/10. http://www.themeadsofasphodel.com/ (Vance mccumberv@cornerstonenational.com)

Moonspell - The Antidote (2003, Century Media)
Some might say that Moonspell suck the high hard one, and others might say they've lost their way with all the goth metal stuff they've been releasing over the last couple of years. I only have one other Moonspell CD "Darkness and Hope" and I too thought it sucked pretty hard. This new one however is pretty damn cool, lots of growling and screaming, there's also a copious amount of double-bass drumming, I'm very, very surprised at this return to the old style, even though I don't really know what that style was, all I know is that this is a solid metal album with lots of aggression and creative song writing, there are times when the vocals get all Italian Count Dracula-ish, you know when he uses that gothic deep Type O voice, but I think it adds to the variety and overall scope of the album. I think the best tune on the CD is "The SouthernDeathstyle" which features some pretty cool death growls. This is a pretty good CD...... I couldn't be happier (Vance mccumberv@cornerstonenational.com)

Sun of Nothing - ...And Voices, Words, Faces Complete the Dream (Blast Beat Mailmurder/Damaged Productions)
The first track of Sun of Nothing's full length debut will weed out the weak right away. "Thank You" is comprised of a good 13 minutes of frequency squall and drone. Hang in there though, and the listener is rewarded with a truly intense amalgam of noise, grind, black metal and oozing Sludgecore like you've never heard.
Athens, Greece is the true metal capital of the world, where Manowar fills stadiums and classic metal is the staple in youth diet. The four members comprising Sun of Nothing turn their collective backs on the popular in favor of something completely aurally devastating, totally void of crowd-friendly anthemic chants, melody, harmony and pyro guitar solos. Sun of Nothing create one helluva dark piece of work whose pure visceral impact can only be matched by U.S. contemporaries like Hellblock 6, Rwake, Noothgrush and Mugwart.
Ilias Apostolakis' vocals are unnerving (and unintelligible) shrieks and screams through a veil of scar tissue - even in songs like the Southern groove-driven "Kick", Ilias's obtuse utterances darken what could be a riff straight out of an ATP song with a breakdown worthy of the song's title. It's a weird, unsettling combination. "Purge Reality (The Revenge)" pits sludgecore riffs with black metal blastbeats and speedcore breakdowns. "Diablo" starts with a menacing, acoustic intro and just as suddenly as it begins breaks into riff that could be right at home in Norway, circa '91 and a midsection that slows to a dead crawl... all plodding bass riff and percussion before the whole cacophony begins again, this time with a steady muted crunch that sounds as it were played on steel cables.
"....And Voices" is steeped in anarchistic brilliance and DIY ethic. All that is good in extreme music, compiled in 60 minutes.
Visit the Son of Nothing website at www.sunofnothing.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Tartharia - A Secret Device (Crash Music)
Tartharia represents unifying spirit of the Northern countries, half the members of Finnish descent, the other Russian in origin. On paper it sound compelling. Both countries represent hot beds of extreme music, genre breakers to be sure. Unfortunately, there isn't a whole lot here that would satisfy that premise. Reality overrides theory once again.
This record isn't bad, per se... it's just not something I'd likely go out and spend money on. A Secret Device takes run-of-the-mill black and death elements and peppers the whole platter with the omnipresent Finnish penchant for keyboard-driven atmospherics and supa-slick production. The whole thing sounds like an angry Children of Bodom with ADD and less guitar pyro.
This actually might perk more ears with a production job that was a little more...necro... in scope. Impaled Nazarane/Children of Bodom producer Anssi Kippo made this record sound crisper than a burnt toast, but to these ears anyway, it sucked the life right out of the music. These guys play brutally...you can hear the potential, yet the production makes 'em sound like they left their left balls in the desk drawer somewhere. Drummer Ville Huttunet might as well have been a drum machine given the enhancements I hear and a anywhere else, Tahvo Kenonen's Banshee-in-vice-grip vocals would have peeled paint. The dude gives it his all, but dammit if the production and mix make it sound like he's fronting a band comprised of well-oiled machines. Kinda disappointing from that standpoint.
The cover art is certainly different from the skulls, blood and blasphemy we've come to expect in this type of music. I still haven't figured it out. It's disturbing but I'm just not sure how. Anyway, much credit to the band for doing something out of the ordinary packaging wise. Still doesn't save the record, but nicely done nonetheless.
Visit the Crash Music INC website at www.crashmusicinc.com (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

The Frozen - Zero (Independent Release)
Heartache and alcohol. Throughout human history, the two seem to go together like peanut butter and jelly. Austria's The Frozen not only were formed by a common bond catalyzed by wretched suffering and booze, they put it to music. Rock for the suffering soul. A great spin for when the female species takes a mind to ripping your beating heart out. And working up a good parting spit in the vacated cavity for good measure.
The Frozen harbor a truly remarkable sound, soulful and melodic borrowing a bit from the vintage Gothic bands of yore (remember fellow Austrians Jack Frost?) while still immersed in aggressiveness of hard rock. Tough to categorize and tough to compare to anyone else out there. To these ears at least, a good thing. Guitarist/vocalist Dennis Panholzer has a somber croon somewhere between Glenn Danzig and Pete Steele. Actually, Danzig and Type O Negative might be good touchstones for The Frozen's sound. Add in a little Rumours -era Fleetwood Mac, and you'd be there. That's right, Danzig, Type O Negative and Fleetwood Mac. Told you it was different. Definitely molded from hard rock cast, but performed in a laid back manner, infused with melody and a knack for the catchy.
I should also mention that this is an EP comprising four songs, the third release in the band's history since it's formation in '98. I should have mentioned that earlier, but it's getting late, I'm typing this after a heavy meal and I'm feeling a little fuzzy in the head.
The only problem I have with this release is the cover. Looks like one of the band members got the band logo tattooed on their chest and are looking for anyway possible to show it off. What better way than to slap it on the cover of their CD? Maybe a little self-indulgent and between you, me and the lamp post, looks kinda.... erm... gay. Not that there is anything wrong with that, but I'm not sure if that's the vibe the band is looking for.
OK, I'm clearly rambling and it's time to end this review.... four solid songs, check 'em out.
Visit The Frozen website at www.thefrozen.net (Chris Barnes/Hellride Music hsp90277@yahoo.com; http://www.hellridemusic.com)

Denata - Art of the Insane (Arctic Music Group)
Frequent Hellride forum and review readers know that many of us denizens of Hellride culture have a soft spot for good, ol' fashioned thrash metal. Something about the mix of aggression and speed that satiates like no other.
So it's with great pleasure that I get the chance to say a few words about Denata's fourth release and third full length album - a no bullshit, low-to