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SAMUS
Desengano (Crucial Blast)
Ughhhhhhh…what is going on here? I don’t know how to react
to the debut offering from Pennsylvania’s Samus. The band’s
album consists of low, dirgy spaced-out concoctions that just inch
forward for 70-plus minutes. Lots of samples, distortion and weird
humour abounds as Samus fucks with the listener from start to finish.
So who’ll like this? People who have a sense of humour and
sense of adventure when it comes to dabbling with bizarre music.
Everyone else who comes in contact with it will be begging for it
to turned off right away. In a nutshell, Desengano is as heavy as
wrestler Andre the Giant when need be, but as loony as Richard Simmons
at a second’s notice. There is no downtime between mood swings
here.
<A. Bromley> -7.5-
SATANIC SLAUGHTER
Banished to the Underworld (Black Sun Records)
I hate to use the term "beautiful" to describe an otherwise
prophetically profane and violent death metal album, but ‘Banished
to the Underworld’ possesses a certain underlying classiness
that is difficult to describe. On the surface, the band is as ferocious
as Angelcorpse and as blissfully anarchic as God Dethroned, but
digging a little deeper, you find the subtle exuberance and vibrancy
of a Dissection or a youthful Edge of Sanity. Although Satanic Slaughter
has been around the block a few times and have influenced probably
a plethora of Scandinavian bands, they still prove there is a lot
to educate today’s budding masters of oblivious heresy. Speed,
always a factor in the band’s sound, is harnessed with a gripping
control, so the meshing of instrumentation does not become chaotic
or unlistenable. ‘Banished to the Underworld’ is incredibly
aggressive and militant in presentation (à la the aforementioned
Angelcorpse), but it ventures beyond the confines of standard "War
Metal" by implementing sinuous harmonies, thus defining the
band as scene-hardened musicians (though not pushing them into the
realm of arrogant). I could go on about the band’s history,
but that’s what the Internet is for. Satanic Slaughter is definitely
selling ‘Banished to the Underworld’ on its own intriguing
and gut-splitting merit.
<M. Morton> -9-
SEAR
BLISS
Forsaken Symphony (Red Stream)
Though I am not overly familiar with Sear Bliss’s long history,
the little I have heard from them has always left a welcome impression.
‘Forsaken Symphony’ is their latest release after having
signed to Red Stream, and it presents a lengthy, obscure jaunt into
the netherworlds of raw, fast black metal. What I find especially
great is the production, which has been left in an intentionally
uncooked state, making this unquestionably the harshest release
the band has ever recorded. But what good is a harsh production
without worthwhile music underneath? In this sense, Sear Bliss excels,
and there are several tracks here in particular that convey a feeling
of majesty and pomp that to my ears is well in the realm of extraordinary.
Listen to the raging fire of "My Journey To the Stars,"
the mystical breath of "She Will Return" (my favourite
on the release), or the crushing pomp of "Eternal Battlefields."
You would never imagine that throwing a trombone and baritone into
a work of this kind, not to mention keyboards, would ever create
any kind of synergy evocative of emotions beyond the realm of comic…but
here—surprise—it works! It really does! The trombone isn’t
shouting in your ear, forcing one melody while the guitars grind
away at another, but the trombone rather accents the noise with
its own peculiar musical timbre. The keyboards, handled by Oliver
Zisko, also fit the same mold—a very tasteful, very level-headed,
intelligent incorporation of diverse instruments. Although I would
not push ‘Forsaken Symphony’ into any sort of hall of
fame for its invention and originality, Sear Bliss have crafted
in this 63-minute journey a very individualistic and even unique
interpretation of the black metal ethos. Got that? A recording I
can readily recommend to people seeking something a bit different
in black metal, still firmly lodged in the beloved realm of ugly,
dark, evil, and everything else that makes life interesting...
<Y. Arkadin> -8.5-
SENTENCE
War (Goodlife)
Technically a hybrid between the brutality of hardcore and the musical
precision of metal (think Darkest Hour), Italy’s Sentence performs
an aggressive style of music that works pretty well overall. The
vocals are good and angry, the beats are strong and fist-pumping,
and the guitars are cranked right up to the top. The only problem
with Sentence’s sound is the lead guitarist, who painfully
picks out the same three-note fill over the entire nine-track album.
Mix the guitar fills up, and Sentence becomes a pretty attractive
package.
<P. Silbiger> -6-
SHATIZAR
Nanotech Or Global Wreck (Independent)
Bizarre stuff here. A disjointed, prog-rock/jazz trio with dashes
of metal throughout is the best way to describe this music. The
band seems to be more into their image than their music however.
Check out their official Web site (weird stuff here), and you’ll
see a group of characters that are like a Mad Max movie come to
life. According to various fans on the net, they are respected for
their live show, I’m guessing mostly in part to the way they
present themselves visually. I could also imagine some people getting
into this experimental music, but not me. It doesn’t go anywhere,
and once it starts to, it quickly goes back to being indecisive
sounding. Some bands take the experimental approach to sound unique,
throwing all sorts of notes and beats at you in random order to
make themselves sound different than the rest of the pack, but that
has always annoyed me. Don’t get me wrong, they know how to
play, but I need decent song structures, and I haven’t found
them in this mess.
<L. Savage> -2-
URL: www.shatizar.com
SILENT VOICES
Chapters of Tragedy (Low Frequency Records)
The sound? Progressive. The execution? Flawless. The end result?
Been there, done that. Let’s start with the obvious. Most progressive
metal bands that start with a debut album these days contain some
excellent playing by all members involved. And unfortunately, more
often than not they contain more incredibly obvious influences than
necessary. Bands that come to mind include Dream Theater, Symphony
X, and to a non-metal extent, Rush. It’s unfortunate that Silent
Voices have followed this exact blueprint with this album. I guess
it’s not totally their fault, seeing as it gets harder and
harder to try anything different in progressive metal, just because
of how limiting the sound can be. Sounds strange that I would say
it’s limiting, in what seems like a limitless sound on paper.
Unfortunately, the typical key ingredients of tight and adventurous
guitars, keyboards for a backdrop and occasional solo, over-the-top
drumming and high-pitched singing are all too prevalent in this
mix. I think I’d just like to hear a more adventurous and daring
offering in the world of prog-metal these days. The band has come
up with some great songs and a mature songwriting approach; unfortunately
it’s flawed by the unoriginality. Nice try, guys, but let’s
make the next attempt not so obvious.
<L. Savage> -5.5-
SINNER
There Will Be Execution (Nuclear Blast)
It’s always interesting to hear a new album by Sinner, as the
band experiments with new songwriting techniques with each release,
evolving the band to an ever-underrated force in the power metal
stream. ‘There Will Be Execution’ launches the band into
2003 with rhythmic, captivating sing-along choruses (similar to
Stratovarius or Deris-era Helloween) added to their inherently Priest-like
brand of metal. Fist-pounding anthems abound—Sinner presents
itself as a more updated version of Running Wild. Sorry to do so
much name-dropping, but Sinner is just one of those bands that conjures
multiple tastes from the proverbial "melting pot"…not
that it’s a bad thing, really, as in this day and age, music
fans (for some unknown reason) are drawn to familiarity. That is
also not to imply that Sinner are playing it safe, as the band plays
their balls off, specializing in easy-to-swallow gelcaps of molten
steel. Some bands exist to prove something to the world, some strive
for artistic integrity, and some wallow in the marsh of uniformity.
Sinner appears to have simple goals—create impactful metal
and have a good time doing it. True metal indeed!
<M. Morton> -8-
SIRENIA
At Sixes and Sevens (Napalm)
Gothic, romantic, tragic…all words that spring to mind within
the first few seconds of former Tristania frontman, Morten Veland’s
new project. Easily marked as "Tristania re-imagined,"
Morten’s vision moves beyond the niche Tristania had carved
for itself, and births a new kind of metal/rock beast, one without
boundaries, where all influences and vibes are accepted. ‘At
Sixes and Sevens’ honestly has it all—new wave textures,
gothic atmosphere, symphonic metal elegance, black metal spite—bound
in romantic, mythological veneration. Sirenia could be described
as the aural love child of Fields of the Nephilim and Paradise Lost;
that is a loose interpretation of the band’s sound, for, as
previously mentioned, Veland’s musical revelation does not
fit within the suffocating confines of an easily labeled package.
The female vocal performances of Fabienne Gondamin and choir backups
enhance the passionate sensation of the album; while Morten’s
characteristic blackened howls and DM snarls give each composition
a rabid bite. Traditional violin citations provide a classic, Old
World connotation, further adding to Sirenia’s unique persona.
‘At Sixes and Sevens’ can be best described as eclectic,
diverse and imaginative songwriting, focused on atmospheric resonance
and stylish panache.
<M. Morton> -8-
SOLACE
13 (Meteor City)
There have been very few records I have reviewed for this issue
that have hit me square in the face, thus knockin’ me on my
ass. Solace’s sophomore release ‘13’ is one of those
albums that clocked me right between the eyes with a meaty slab
of Black Sabbath-inspired doom/stoner rock. A tad more aggressive
than their past work, Solace has managed to incorporate a real feisty
attitude on ‘13,’ dishing out sinister riffs, maniacal
fuzzed-out vocals and lots of bottom-end groove. Solace singer Jason
does a fine job leading his troops through heavyweights like "Indolence,"
"Sled Heavy" and the sinister-sounding "King Alcohol"
but the highlight of these mood swings has to be guest star Wino
adding lead vocals and guitar on "Common Cause"—what
a killer track! For some strange reason I am getting visions in
my head of older-era Monster Magnet as Solace’s new disc plays
along and that isn’t a bad thing, as all Monster Magnet rules!
It’s quite possible the tinges of psychedelia peppered throughout
are what brought back such memories. Regardless of influences or
what the band has brought to the table, the main thing here is that
Solace has served up an album that rocks the foundations of the
stoner rock genre and it’ll be a while before any other band
will be able to take it on. Stellar in every sense of the word!
<A. Bromley> -9-
STAVESACRE
s/t (Nitro)
On their first two albums, ‘Friction’ and ‘Absolutes,’
Stavesacre drew heavily from Tool in defining their sound. Moving
away from this less-than-subtle influence, "Staves" wrote
a very emotional but at times too sedated third album, ‘Speakeasy.’
Now with their fourth release (and first on a secular record label)
it seems as though Stavesacre have finally pieced together a sound
they can call their own, taking all the finest ingredients from
their first three releases. The power is there, the emotion is there,
and the two fit together in an incredibly unique and compelling
way. "Blind Hope," the album’s second track, demonstrates
exactly what this band is capable of: a wall of distorted guitars
picking out definable melodies, a beat that you can comfortably
nod your head to, and Mark Salomon’s powerful vocals belting
out over the wall of noise. Other standout tracks on the album include
"Alice Wishlist," with its haunting, echoing guitar sound,
and "A Place Where I Can Breathe," featuring a rapturous
chorus and Mark’s soul-searching lyrics. The only difficult
moment on the album is "Yes," with its lullaby tempo and
sotto voce vocals, but small disappointments can be forgiven when
the overall package is absolutely superb.
<P. Silbiger> -9-
THE SUNSET BLACK
Common Ground (Bieler Bros)
Billed as a heavy, emotional band, it seems as though The Sunset
Black is paying too much attention to their emotions and not enough
attention to communicating them properly. The point of creating
emotion-driven music is to show your listeners the entire emotional
cycle. On ‘Common Ground,’ The Sunset Black is only showing
you an introspective, personal search that doesn’t go anywhere.
There is little variation from song to song, every tune sounding
like a Sevendust ballad. While "Next In Line," the album’s
fourth track, shows promise that the album could get better, nothing
does. Too many of the album’s 12 tracks are reminiscent of
modern metal tunes that have been performed time and time again.
Back to the drawing board, guys, and next time show us some anger!
<P. Silbiger> -3-
THERION
Live In Midgard (Nuclear Blast)
A near impossible undertaking, and one that ensures fans would both
love and loathe this release, ‘Live In Midgard’ shows
that Therion can pull off their expansive, complex and bombastic
sounds in a live environment, but also succeeds in only whetting
the appetites of their legion of followers, and leave them craving
for more, but in a bad way. For one, they have many albums, ensuring
that a set list of hits is nearly impossible. And even making a
double disc out if this isn't enough to alleviate that problem,
as with concept and pseudo-concept albums under their belt, how
the hell do you appease fans who want to hear the entire version
of ‘Secret of the Runes’ or "To Mega Therion"?
The answer is, you can't. ‘Live In Midgard,’ at its best,
only represents bits and pieces of this group's career, and although
there are 24 tracks, this is one time where you can honestly say
"it’s not enough." Of course, that’s the pessimistic
view of the album, but seeing as how only hardcore followers of
Therion are going to be dropping the coin for what is sure to be
at least a $20 to $25 (monumentally more outside of the U.S.) release,
it can be deemed a fair view. There is good news though, as you
may not get entirely what you want, what you get is at least done
well. The songs are culled from various locations of their 2001
tour in support of ‘Secret of the Runes,’ and indeed,
you are getting the best individual efforts of each song, with crisp,
clear sounds, great crowd interactions, and all the little things
going right that could surely cripple a show of the magnitude that
the band puts on. Those choirs they put on their albums, with tons
of people and guest vocalists, replicated in a live environment,
with a real live chorus of backup singers, lead vocals, et cetera,
with everyone sounding spot on, and hitting the original notes of
the original songs. The various emotional soundscapes that the band
creates on disc are no different, with ominous sounds still coming
out ominous live, the same with the doomy aspects, operatic aspects,
the straightforward metal aspects, and pretty much everything else.
Either this band is the best lip-synching, effect-laden, live group
ever, or they put on damn good show, and at the very least, although
not perfect, ‘Live In Midgard’ gives you a taste of that
show and the knowledge that you will indeed be impressed by them
live.
<A. Ristic> -8-
TUSK
Get Ready (He Who Corrupts)
I didn’t know how to react when Tusk’s ‘Get Ready’
was blaring out of my speakers. At first I wanted to run and hide,
cover myself from the barrage of the noisy mayhem that Tusk dishes
out, but another part of me wanted to stay and fight the fry of
their music. I did a bit of both to tell you the truth and in the
end my perception of the band is mixed. I love the trashy, noise-filled
angst the band exudes (on songs like "Blood" and "Uptown
Nights," but felt the arrangements (and production) a little
lacklustre. Too much going on or possibly too much not captured
properly? Whatever the case may be, Tusk is worthy if you want to
scare the shit out of your neighbours or give your parents a heart
attack. For those of you who like your music more straightforward
and not as chaotic, stay clear.
<A. Bromley> -6-
Web site: www.hewhocorrupts.com/inc
TWELFTH GATE
Summoning (Crash)
The debut release by Chicago’s Twelfth Gate is a hearty dose
of heavy metal know-how and progressive metal styles, accompanied
by towering riffs, powerful vocals and a tight rhythm section. From
start to finish ‘Summoning’ showcases the band’s
dedication to their craft, a band on a mission to get the best out
of their creativity, leaving little detail unattended. With a sound
reminiscent of, say, Fates Warning/Queensryche meets Nevermore,
Twelfth Gate showcase some diversity with numbers like "Mortal
Coil," "Flames of Anger" and "Wheel of Life."
The fact that the band has not let their influences run the course
of their music is the saving grace for this debut. I mean, while
the band does have a sound reminiscent of those bands mentioned,
Twelfth Gate does chalk up some cool ideas they can call their own,
and thus the future will no doubt see them venturing onward in their
creative process, thus establishing a working sound to etch into
future recordings.
<A. Bromley> -7 –
V/A
Into the Blizzard…Chapter II (Skyscraper Music)
I love when I come across compilations highlighting Canadian acts.
There is so much untapped talent in the country that never gets
its name known, and Skyscraper’s second volume in their ‘Into
the Blizzard’ series showcases their impressive roster of some
of the talented Canuck metal scene. The compilation is highlighted
by great acts like Blood of Christ, Martyr, Quo Vadis, Anonymus,
Devin Townsend, Disciples of Power, Moonlyght, and Reckon With One.
The CD also showcases bands from other labels being distributed
under Skyscraper (namely Galy Records). The label does not submit
to just one type of metal sound, but offers bands with varied styles
including power, death, progressive, traditional, et cetera. Interesting
to note is the stronghold of the metal talent focused in Quebec,
which accounts for 14 of the 19 bands on the CD. I always knew there
was something in the water out east! Definitely pick up this loaded
compilation if you’re looking for a great dose of Canadian
metal, or if you’re just curious as to what the scene holds
talent-wise.
<L. Savage> -9-
V/A
Rise Above: 24 Black Flag Songs To Benefit the West Memphis Three
(Sanctuary)
Briefly, the WM3 were all jailed for murders they did not commit,
with no evidence to show their guilt. Outspoken punk legend and
former Black Flag singer Henry Rollins has been an adamant supporter
of the West Memphis Three’s innocence. So Rollins has brought
together some of music’s elite to re-record some of the very
best Black Flag songs with all proceeds going to the WM3 defence
fund. Listing highlights of this tribute/benefit album would take
up a lot of room, so I’ll just say the main attention getters
are the title track, Neil Fallon (Clutch) on "American Waste,"
Hank III on "No Values," Mike Patton on "Six Pack,"
and Ice-T on "Police Story." Rollins also contributes
vocals to seven of the 24 tracks, and his backing band, Mother Superior,
replicates the energy and conviction found in the original versions.
What a better way to hear old favourites redone in an album that
benefits a worthwhile cause. This is one of the few CDs you could
buy knowing that your money has gone to benefit and raise awareness
for a situation that should never have gotten to the level it has.
<L. Savage> -8.5-
V/A
The Keepers of Jericho: A Tribute To Helloween Part II (Arise)
Most people are bored to tears hearing about another tribute album,
and rightly so, because 98 per cent of the tribute albums produced
since the inception of the novelty consist of talentless drivel
that mock their so-called inspiration more than emulate it (who
can forget that "wonderful" ‘Rebellion: A Tribute
To Queensrÿche’? Rather, who can remember it?). Once in
a while, however, a label will carefully select artists who can
accomplish the most heartfelt and "true" interpretations
of their idols’ work. This is where Arise Records comes in.
Two years ago, they compiled an effervescent compilation of largely
established artists paying homage to the fathers of modern power
metal: the immortal Helloween. The result was a mixed bag of faithful
renditions and versions assimilated into the covering bands’
own styles. That is probably the most (and best) anyone can expect
from a tribute album. However, the one flaw in said tribute disc
was that it only acknowledged the Kai Hansen era of the band (up
to 1988—between ‘Helloween’ and ‘Keeper of the
Seven Keys Part II’); of course, most of Helloween’s defining
tracks were represented on the first compilation. This new disc
ventures further and includes bold material from the lesser known
‘Pink Bubbles Go Ape,’ Deris-fronted ‘Master of the
Rings’ and ‘Time of the Oath,’ and less obvious (but
equally potent) heritage material. The artist lineup is also interesting
in that, with the notable exceptions of Iron Savior and Steel Attack,
spotlights a host of burgeoning (yet immensely talented) youthful
acts, like Celesty, Arwen, Axenstar, and Vhäldemar. Sure, some
may see this as a cheap advertising ploy for Arise Records (as many
of these juvenile bands are signed to the label), but considering
the variety of Helloween classics represented herein, the bands’
strengths were heavily considered when choosing appropriate cover
songs. Granted, as with any tribute album, you cannot please all
the fans, some of whom may deem tribute discs as blasphemous, but
I, for one, find that breathing new life into near-forgotten blasts
from the past help to raise new appreciation for the original artist,
while offering a glimpse at the probable talent of new bands. Such
is the case with ‘Keepers of Jericho: A Tribute To Helloween
Part II.’
<M. Morton> –9-
VISIONS OF THE NIGHT
Envisioning the New Age (Independent)
Hyper grindcore is the order of the day for the trio hailing from
Toronto. Unforgiving and brutal, with an almost industrial feel
to it. Can’t say I’m a huge fan of either genre, so this
album isn’t doing much for me. It’s well executed in the
playing and delivery, but the drumming sounds too artificial to
me. I think the main problem I see is that every song is super-fast,
and they never take a moment to slow things down. I guess that’s
the point, but I need some variation. I know, it’s grindcore,
so it should be as brutal as possible, but I guess I’m just
more into diversity. The production is another problem—too
distorted for me. Again, I guess this was the point. I will say
that the background sounds in "Besieged By Demons" are
pretty eerie. This album is too in-your-face for my liking, but
if you’re into grindcore with an industrial edge, check it
out.
<L. Savage> -3-
URL: www.visionsofthenight.net
ZERO BASED PERCEPTION
Existential Hypocrisies (Independent)
Hmm… something isn’t working right for Aurora, Ontario-based
band Zero Based Perception and I can’t really figure it out.
I could point out the obvious poor production flaws, but given that
this is an indie release those traits most usually pop up on any
indie release. With a heavy guitar sound (at times in the vein of
Entombed) and a death metal demeanor, ZBP try their best to get
through the material here, only really sounding strong on stomper
"The Outsider." Personally I think most of the trio’s
material is either weak or doesn’t sound completely congruent
with the other songs. Perhaps a little more fine tuning is needed
before the band opts for another release.
<A. Bromley> -4-
URL: www.angelfire.com/band2/zbp/
ZWANGSLAGE
Zwangslage (Independent)
Typical review vocabulary falls short in describing the maniacal,
cross-genre sonic torture tucked away on this unassumingly packaged
demo disc sent over by The Rectrix head honcho Matt Gibney. Whether
he and the ‘Beh’thro Zwang-shrafffk’ credited on
the sleeve are one and the same person is open to debate, but the
maelstrom of crude black metal, demoniac grind and a smattering
of crisply fried electronics certainly fits in with the label-boss’s
eclectic taste for the weird and esoteric. Whatever the case, opener
"Tyrannical Irony" sets the tone for the entire album
with demented black/grind passages repeatedly segueing into a droning,
twisted sludgefest as seriously unbalanced vocalizations swing from
anguished screams to tortured moans. Like the mother of bad acid
trips, the rest of the demo jerks the listener through similarly
treacherous dreamscapes where rabid hellhounds snarl viciously at
your heels as lumbering zombies beckon you onward to doom and dementia.
What Zwangslage clearly accomplishes is the bringing of truly unspeakable
sonic torment familiar to noise/power-electronics listeners into
a metal setting, putting the typically overrated genre of black
metal back where it belongs. All of 12 minutes is just about long
enough to induce catatonic fits in most weaker-willed creatures,
and this disc will surely interest only the sickest, most twisted
minds in the scene.
<Alvin Wee> -6.5-
Contact: hollow@therectrix.com
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