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BACK
NAER
MATARON
River At Dash Skalding (Black Lotus)
Continuing in the vein of their excellent-and largely overlooked-debut,
this
Greek horde return with yet another paean to the (recently) much
neglected
Swedish style, sounding like a venomous resurgence of early Thy
Primordial
and latter-day Dawn. Indeed, 'River.' easily holds its own against
anything
the aforementioned pioneers have ever put out. Opening with a foreboding
symphonic intro, the album rushes headlong into a blazing fury of
melodic
guitar leads and blindingly dextrous drumming, with the vocalist's
vitriolic
snarls adding the final satisfying blast of brutality. The occasional
quirky, stop-time power chord passages recall Sorhin's unique knack
for
utilizing bizarre yet deliciously nerve-tingling riffs as transitions
within
songs, and the band's mastery in melding melody and aggression sounds
as
fresh today as it would have eight years ago. There's surprisingly
little
Greek influence in the music despite the band's nationality, but
as much as
they draw their inspiration from the melodic, treble-heavy Swedish
style, it
would be unfair to label them as clones. In fact, this is one hell
of a ride
brimming full of hyperspeed, aggression and unrestrained melody,
and
considering that bands stopped copying this style years ago, is
a must for
any black metal warrior missing the classic Swedish sound.
<Alvin Wee> -8.5-
NIGHTRAGE
Sweet Vengeance (Century Media
Yet another supergroup for the metal world to digest-this one
featuring
ex-Exhumation guitarist Marios Iliopoulos, vocalist Tomas Lindberg
(ex-At
the Gates), Tom S. Englund (Evergrey) doing clean vocals and drummer
Per M.
Jensen (The Haunted). Quite a who's who, eh? Anyway, Nightrage's
debut disc
is a stunning display of melodic death metal done to perfection
with all
these master musicians bringing in their own talent to create a
wonderful
assortment of numbers. And the kicker is not only does this album
have such
a powerful flow to it, you also have Lindberg and Englund trading
off harsh
and clean vocals. Very cool indeed! While some may consider this
to be your
average run-of-the-mill melodic death metal act (and they may be
right), at
the same time Nightrage also shows shades of what may be coming
down the
road come album number two. Grand ideas will be explored I am sure,
as we
have not heard the last from Nightrage.
<A. Bromley> -7.5-
NOCTURNAL FEAR
Sterilize
and Exterminate (Unholy)
No slight on Nocturnal Fear at all, but you could rightfully
place my Gospel
of the Horns review right here; the only actual cosmetic difference
being
that Nocturnal Fear are from the States' best worst city: Detroit,
a
sprawling crapopolis rife with slumlords, art-fags, welfare abusers,
mongrel
hordes, and casinoholics, among other more savory characters. "What
does it
mean, you douche-bag?" I hear you mutter, rightly so. The root
of all ire,
that is. Meaning, there's gotta be some fucking force driving this
Detroit
four-piece, some ill-will toward their environment and society at
large,
something tangibly contemptible to.well, direct their contempt toward.
The
day/month/year death metal turned "brutal" would be my
vote, and seemingly
that's a vote of NF's, too, since their 'Sterilize and Exterminate'
debut
album RAGES onward and slumward to a thrashed-to-the-gills pace,
a right ol'
raping of that moment before DM turned-yep, Einstein-"brutal,"
when thrash
was still alive 'n' kicking 'n' acne-scarred.my pre-teens to a T.
But
fucking A, the Fear's pretty tight, too. Yeah, no Retro Show here-even
though they cover Sodom's "Outbreak of Evil", but that's
beside the
point-and that's a good thing, both. "Bad" thing-in others'
eyes, not
necessarily mine.I'm staying out of it-might be the title and its
make-no-bones-about-it cover, exacerbated by lyrical mentions of
heathens,
pagans, and "the folk," which is then made all the more
logical considering
the record comes courtesy of the NS-affiliated Unholy. Whatever.
Good music
is good music, and non-gay metal's good music to me: finally, an
album fit
to sit next to Pestilence's 'Malleus Maleficarum' on my (frequently
exterminated) record-racks.
-8- <Nathan T. Birk>
NOTHINGFACE
Skeletons (TVT)
Three
years in the making, 'Skeletons' is an incredible follow-up to 2000's
critically acclaimed 'Violence.' In fact, this new release leaves
their 2000
effort in the dust. 'Skeletons' shows more of everything that Nothingface
impeccably offer, such as ear-bleeding power, superb musicianship,
ultra-addictive hooks, unique song variety and saccharine-coated
harmonies
and melodies. One of the most omnipresent components of the Nothingface
sound is vocalist Matt Holt, who demonstrates a range of vocal styles-from
clean to distorted-and does everything extremely well. In fact,
on songs
that emphasize the distorted vocals such as "I Wish I Was a
Communist," you
can actually hear the microphone crackling under the sheer intensity
of his
belting vocals. The band's identity has also acquired a spooky persona,
obvious through the album's title and art direction, but also hovering
in
the background of some of their songs. "I Am Him," the
ninth track on the
disc, is an instant favourite, and its ghostly cadence and brooding
guitar
lines make it the perfect backdrop for some Hallowe'en chicanery.
While the
first track on the album, "Machination," is the least
exciting tune, the
final track, "All Cut Up," is the most impressive, boasting
a range of vocal
styles, an addictive chorus, and that spookiness poking its head
out through
the distorted murk. While Nothingface tend to get lumped in with
the general
Ozzfest nu-music crowd, these guys indisputably transcend the clichéd
trappings of that scene and produce music that is truly refreshing
and
unforgettable.
<P. Silbiger> -9.5-
OPUS ATLANTICA
s/t (Regain)
Offering a rather classy take on traditional power metal come Swedes
Opus
Atlantica. Obviously from Sweden, they employ the same atmosphere
to their
craft as fellow countrymen HammerFall, though Opus Atlantica addresses
their
vision with symphonic complexity and vintage Helloween-isms, as
opposed to
HammerFall's rugged, in-your-face, Priest-like assault. Opus Atlantica
tends
to placate the heartstrings with fervent balladry and a sense of
the epic
without venturing into the pretentious or progressive. The band
is exquisite
in its grandeur, unyielding in its passion and highly capable with
the
instruments the members brandish. Most closely reminiscent of contemporaries
Mastermind and Sonata Arctica, Opus Atlantica offers the genre an
interesting sentiment of ceremony, as each song seems designed to
be
observed in a sort of rite, commanding of attention, rather than
a
background accessory. I'm not sure if I've ever actually heard a
band like
this before, and I honestly hope this band is not a one-trick pony,
because
I'm definitely hooked.
<M. Morton> -8.5-
PASSENGER
Passenger (Century Media)
It's
interesting that the In Flames fan base has gotten really defensive
towards their latest material, with some fans going as far as saying
that
they are being influenced by nu-metal and bands like Slipknot. Whether
this
is the case or not is irrelevant, because to my ears and eyes, I'm
not
recognizing it. Vocalist Anders Friden has decided to make a more
accessible
and commercial band that wouldn't cut into In Flames infamous Gothenburg
groove. What you'll find on this debut album from Passenger is metal.
However, if you're a fan of Friden for his work with In Flames,
you might be
on the fence as to what to think about this album. In the 40-plus
minutes of
this album, we are treated to a somewhat lighter version of the
aforementioned band-not incredibly original or daring, but enjoyable
nonetheless. Friden's presence on this recording shows mostly clean
vocals,
with some of his trademark growls featured in the heavier parts.
His clean
vocals are coming along a lot better than when he first experimented
with
them about four years ago. And the rest of the music? Well, it's
highlighted
by simple, yet very present guitar riffs and a warm backround. The
opener
"In Reverse" sets you up for this description and is a
great start-off
point. There are some throwaway tracks, but not enough that you're
left
thinking that they could write only a few decent tunes. Melodic
death this
isn't, but it was never intended to be this way, so judge this album
on its
own merits.
<L. Savage> -7-
REDEMPTION
s/t (Sensory)
I'll cut right to the chase with this one, because there is just
too much
background info to cover the formation of this "supergroup."
If you are
familiar with Sensory, then you probably have an inkling of the
kind of
music that is presented here. However, while definitely an acquired
taste,
Redemption offers a film score-like thematic quality to its music
that
allows it to extend beyond the confines of general progressive metal.
"Epic"
is an appropriate term, because once the CD begins, you are swept
from
soundscape to soundscape, experiencing a bevy of emotions while
reading into
the intended story arcs. The band features members of Symphony X,
Steel
Prophet, Engine, and Fates Warning, so you can get an idea of the
calibre of
musicianship presented. Again, it's not for everyone, but I was
enthralled
by the intensity of the disc, as well as the 20-minute disc closer
"Something Wicked This Way Comes," and yes, it's based
on the Ray Bradbury
story, and even includes audio samples from the film of the same
name-it's
somewhat of a cult film, so I forgive you if you've never heard
of it.so go
rent it. While I am usually put off by progressive supergroups,
I find this
one quite interesting, not because of the musicians on the disc
(hell, the
only band I like from the list of members is Symphony X), but the
passion in
which the material is presented and the Ayreon-ish, complex quality
of the
disc really attracts me like an electromagnet. I don't get it, but
I dig it.
So if you're feeling adventurous, I'd definitely advise checking
this out,
for with as much intellectual musicianship as the band wields, there
is
enough shred-ability within to appeal to even those with shorter
attention
spans.
<M. Morton> -8-
RICKSHAW
Down the Road & Still Burning Fuel: The Greatest Kicks of Rickshaw
(Devil Doll)
Comprising
the highlights of all the 7-inches and albums Rickshaw has
released over the last four years, 'Down the Road.' is a 16-track
summary of
this European rock 'n' roll band's greatest work. The Rickshaw sound
is
typical of current rock 'n' roll, and really offers nothing that
separates
them from any other r'n'r band. The vocals, which sound like a less-polished
Rob Halford, dominate their sound and get a little distracting.
As this CD
is a compilation of several recordings, there is an inconsistency
in sound
quality and production values. While many of the songs on this disc
are
pretty good, only the opening track, "Temple of Your Choice,"
is above
average. The rest of the CD makes for energetic background music,
and the
background is really where this band should stay.
<P. Silbiger> -4-
SCARLET
Something To Lust About (Ferret)
Not
only does Ferret Records have such high-calibre bands as Blood Has
Been
Shed and Every Time I Die putting out quality records this summer,
they also
got a secret weapon: Scarlet. Having seen this band at this year's
NEMF I
knew that they were gonna be just as good on record. Insane live,
that also
comes across loud and clear on disc, a mammoth swirl of emotions,
high-octane energy and aggressive spurts of intensity all nicely
packaged
for this six-song EP. Give the band points for the bizarre electronic
frenzy
of "Sell Yourself" nestled mid-point before all hell breaks
loose with the
wild rampage of "Erotic Antibiotic"-a pain-numbing experience
to say the
least. One of my only complaints about 'Something To Lust About'
is that
this is not a full-length release. I need my face kicked in some
more.
<A. Bromley> -7.5-
SOFA KING KILLER
Lust Crime and Holiness EP (At a Loss)
Boasting one of the best band names in the biz, this four-song EP
provides a
very fine demonstration of what these sludge-mongering worshippers
at the
altar of Ugly are capable of crafting. Sofa King Killer revels in
grossly
obese blues-based sludge riffs and snarling, rabid vocals that will
have
fans of Electric Wizard, Bongzilla, and Eyehategod salivating more
than
usual. The rhythms are thick, heavy, and slow, but the blues influence
removes any potential for tedium to set up roots, as the band knows
how to
ride a groove for all that it's worth and has a better sense of
song
structure than many of its peers. The vocals are harsh, tortured
snarls that
sounds like the singer Ryan Burgy swallowed a scouring pad prior
to stepping
up to the studio microphone, while the sludge-filled morass that
is the
guitar tone feels akin to guzzling a litre of spoiled milk while
still
dealing with a nasty case of hair of the dog from last night's hangover.
The
band shows a different side on the second track, the appropriately
titled
instrumental "Blues Couch," where the lazy twang of the
slide guitars cannot
obscure that ominous sense that of something foreboding and Deliverance-like
lurking around the next bend. And, while the next track, "CLE,"
may not call
upon the hapless listener to "squeal like a pig" (thankfully),
it does offer
a mighty repellent experience in its own right. Sofa King Killer
may not be
reinventing the sludge genre, but the band has a knack for keeping
its
material interesting and dynamic-a frequent pitfall of the style
that Sofa
King Killer capably surmounts. The EP format fits the band rather
well,
though it will be interesting to hear what the band does within
the much
different context of a full-length album.
<Tate Bengtson> -7-
SONATA ARCTICA
Winterheart's Guild (Spinefarm/Century Media)
The frustrating thing about Sonata Arctica is that you know they
are a band
capable of much more than they're doing now. I keep hoping that
with every
new album, they'll somehow take the next step as far as elevating
their
sound, yet it only comes in small, minute doses. For a band with
so much
talent, they tend to take the easy power metal road. Upon first
listen,
opener "Abandoned, Pleased, Brainwashed, Exploited" starts
off with the
typical double-bass and fast riffery. This is already a warning
sign that if
you were to base this album's sound on that track, you'd see no
progression.
And unfortunately, this rings true with listening to the rest of
'Winterheart's Guild." There are the odd songs that you can
tell they want
to try and express something more than their base sound, namely
"Silver
Tongue," "Champagne Bath," and "The Ruins of
My Life." However it all comes
back to no progression, and a sound that sounds almost the exact
same as
their first album. I'm hoping that the next release won't be as
predictable
and formulaic as this, but I've hoped this for the last couple of
releases,
so I won't hold my breath.
<L. Savage> -5-
SOUL EMBRACED
Immune (Solid State)
>Soul Embraced, made up of Living Sacrifice members Lance Garvin,
Rocky Gray,
and Chad Moore, have a band that shouldn't be looked at as a mere
side
project, but as a full-on regular group. This group takes from the
savagery
of Living Sacrifice and adds their own flavour of clean melodic
vocals
served over a rough atmosphere of equal rough vocals, and a meshing
of
progressive hardcore and death. That makes for a welcome metal atmosphere.
There are rare scattered nu-metal riffs on this album, but they're
hardly
noticeable and don't take away from the sound at all. It's got an
emotional
yet heavy sound, which is harder to accomplish than it sounds, especially
with any conviction. Few bands can pull that off. One of the standout
tracks
for me was "Seems Like Forever," near the end of the album,
which gives off
a mid-era Faith No More quality, which I welcomed with open arms.
These guys
rule, no doubt about it.
<L. Savage> -8-
SPINESHANK
Self Destructive Pattern (Roadrunner)
Definitely one of the few albums by a band that falls under the
"nu-metal"
tag that I was anticipating in 2003. Seeming like it took forever
to get
out-thanks to a ton of studio problems, release date changes, et
cetera-here
we have 'Self Destructive Pattern,' and I'm not too blown away.
While the
album starts off with the intense stride of "Violent Mood Swings"
(a working
title for the album) and "Slavery," the album starts to
lose something after
that. Not sure if it is the sameness factor that most bands of this
genre
seem to coat their sound with, but something goes astray here and
the
massive opening numbers seem to echo in the distance by the time
the album
comes to a close. Not to say that this album is a weak effort-it
clearly isn
't as the guys in Spineshank are creative enough to make it listenable-it's
just that 'Self Destructive Pattern' really doesn't break new ground.
I'm
not going to get rid of this record; I just won't listen to it much
in
2003-which is kind of sad seeing as I was so psyched to hear it.
Life goes
on.
<A. Bromley> -6-
SUPERJOINT RITUAL
A Lethal Dose of American Hatred (Sanctuary)
I don't know what Phil Anselmo was on during the recording of
this record,
what his mindset was, or what demons he was battling, but fuck man,
is the
new SJR disc intense and malevolent. A lot punkier and more raw
(believe it
or not) than 2002's 'Use Once and Destroy,' 'A Lethal Dose of American
Hatred' is a scarred look at American society through the eyes of
Anselmo-and man, does he have a lot to say. The band, on fire as
they were
last time, are up to task as they romp through such destructive
numbers as
"Sickness," "Waiting For the Turning Point,"
"The Horror," and my personal
fave (and ass-kicker): "Deaththreat." Up there with Charger's
'Confessions
of a Man (Mad Enough To Live Amongst Beasts)' as one of the most
despicable,
downright dirty and malicious discs of 2003.
<A. Bromley> -9-
TERROR OF THE TREES
Devil Worship (Destro)
I really didn't know how to approach this solo project by an individual
calling himself His Eminence the Wicked, but seeing as Danny Lilker
(Nuclear
Assault/Brutal Truth) was involved in the production and engineering,
I
figured, "what the hell." The album, a dark and damp assemblage
of black
metal vibes and raw production, works well amongst its tracks, occasionally
highlighted by some sinister guitar wails. But while HEtW. has managed
to
get a good atmosphere going within the music of Terror of the Trees
(he also
dabbles with a cool '80s metal vibe at times), he really never gets
beyond a
certain point with the music. In short, a lot of the material sounds
the
same and we never really see much variety here. HEtW is very creative
to do
this all on his own (like Quorthon of Bathory fame) but in order
for Terror
of the Trees to get noticed, I think a bit more creativity needs
to be added
to the foliage.
<A. Bromley> -5-
TRANSPORT LEAGUE
Grand Amputation (Crash)
Transport League have always been one of my favourite "known
but not known"
bands. The Swedes have been around for many years now and have put
out
several albums full of intense death metal drive and hard-rocking
groove (I
lump them into the same genre of bands as Clawfinger and Mary Beats
Jane),
but for some reason they have never really blown up to star-like
status when
they easily could have. Despite many label switches and band member
changes,
the band's new EP delivers pretty much the same sound, save for
some cleaner
vocals tossed in here and there-especially on the infectious
"Slack/Wrist/Smack." In my mind, the band still has it,
so I'm sticking
around for a full-length sometime down the line. Hurry up, please.
<A. Bromley> -6.5-
TWISTED TOWER DIRE
Crest of the Martyrs (Remedy)
There are a lot of great bands on this side of the Atlantic that
can play
traditional heavy metal just as well as those in Europe, and one
of them is
Twisted Tower Dire. Much praised by yours truly over the last few
years, the
band returns in 2003 with a glorious heavy metal offering titled
'Crest of
the Martyrs.' If you are a fan of '80s-era heavy metal with a slight
modern
edge to it, scorching guitar work, and stunning vocals then you
must track
down the new disc. After spinning the album many times and being
blown away
by opener "At Night," "To Be a Champion," and
"By My Hand," I can also say
that this record sounds much better than any previous recordings.
It was a
wise choice to get someone outside of the band (producer Piet Sielck)
into
the studio to help to boost the production and let the band worry
about the
music primarily. Good stuff all around. I know Bruni and I will
be raising a
few toasts to Twisted Tower Dire as they deliver true heavy metal
in 2003!
<A. Bromley> -8-
VARGSANG
Call of the Nightwolves (Undercover Records)
Let it never be said that there is a dearth of quality old-school
black
metal bands in the new millennium. They may be a bit harder to find
than in
the past, and most of the new ones are admittedly pale shadows compared
to
the originators, but with some time and effort exceptional discoveries
can
still be made. For this month, and probably for the next several
months to
come, the name in this realm to keep an eye on is Vargsang from
Germany.
Consisting of one former member of Graven-another great band that
happens to
also reside on the Undercover Records label-essentially this is
orthodox
black metal stripped to the core, minimalistic, raw and "cold"
to the
extreme. The guitars and bass are what especially makes this release
worthwhile; they are recorded so raw, the sound is so dense and
black, one
would think they are being directed out of the very bowels of hell
itself.
The primitive energy that streams through these eight tracks is
a total joy
to experience. While the drumming is almost exclusively locked in
a binary
state, and the vocals and guitars, at the level of the riffs as
well as the
sound, generally stay the same throughout the entire duration of
this album,
it's a monotony that in a way really works in Vargsang's favour,
like a
hypnotic, droning river of darkness. Those seeking something innovative
and
technical can look elsewhere... Vargsang's style of self-described
"Hateful
Black Metal" is the living proof that some things truly never
get old!
<Y. Arkadin> -8-
VARIOUS ARTISTS
Sucking the 70's (Small Stone Records)
Heard any good tribute albums lately? No, neither have I. However,
Third
Stone Records have done a superb job with this release, first by
paying
tribute not to a single band but to an entire decade-the '70s-and
then by
inviting some truly righteous artists to take part. A quick survey
of the
songs covered reveals that both the label and bands involved are
connoisseurs of the era, making 'Sucking the 70's' a mostly successful
two-CD rockfest. Who wouldn't want to hear Clutch do Jethro Tull's
"Cross-Eyed Mary"? Or Raging Slab cover "We're an
American Band"? Or any
band do Rush's blue-collar Can-rock classic "Working Man"?
I know I did.
Respect is the key to the most successful cover versions here, each
band
trying their best to do the material justice either by applying
old-school
finesse or by roughing it up until it cries uncle. Throttlerod take
the
former approach with Ram Jam's (and Leadbelly's) "Black Betty"
while Suplecs
work over "Working Man" like an entire band of John Rutseys,
givin' 'er with
wild enthusiasm and some surprising ingenuity. The same can be said
of
Spirit Caravan's live and cantankerous take on Black Sabbath's "Wicked
World," which threatens to derail with reckless energy. Sometimes
the
band/song combination doesn't come off, as with Porn (the Men of)
butthole
surfing through Neil Young's "Out on the Weekend," and
The Glasspack
covering "T.V. Eye"-an unimaginative choice of what is
a tedious song in
anyone but Iggy Pop's hands. Despite the odd misstep, contributions
from
Spiritual Beggars, Alabama Thunderpussy, Hangnail, and others make
this an
invaluable retro-stoner mini jukebox for black light poster children
everywhere.
<R. Hughes> -8-
VOID
Posthuman (Nocturnal Art Productions)
I like when you can pop in a CD, sit back, and just say, "What
the fuck am I
listening to?" I don't know quite what to make of this album
by Void. The
conglomerate of sounds on this platter are varied and somewhat jumbled.
I
guess the best (if somewhat complicated) way to describe this would
be
industrial techno death metal with a prog edge. Make any sense?
Didn't think
so. The odd time I get an album that makes no sense to me musically,
I keep
my interest in it to see if I'll somehow "get it" at some
point. I like
abstract music as much as the next person, but man, this stuff gives
new
meaning to the word "jumbled." Lots of different styles
going on, but they
don't seem to mesh together, but rather confuse the listener. I
think that
the key to making original music is to take all the abstract styles,
but
mesh them together properly. Void hasn't done this, but if they
did, I think
it'd be a highly addictive listen.
<L. Savage> -3-
WATERDOWN
The Files You Have On Me (Victory)
With loads of potential demonstrated on their 2001 release, 'Never
Kill the
Boy on the First Date,' hopes were high that Germany's Waterdown
would hone
their skills and release an absolutely killer CD here in 2003.
Unfortunately, it looks like we'll have to hold onto those hopes
for the
next release. Waterdown's problem is excessive schizophrenia, highlighted
not only by two vocalists (one clean, one rough), but by writing
disparate
song parts and throwing everything together, as evidenced on tracks
such as
"A Fortress" and "Dodging Bullets." The best
thing this band has going for
them is the "clean" vocalist, and he really shines on
songs such as
"Disgrace" and "Interrogation," the latter being
one of the best songs in
2003 thus far. While some bands are able to throw together a mix
of sounds
and make them work, Waterdown lack the cohesiveness that similar
artists
such as Grade and A Static Lullaby are able to execute with ease.
Hopefully
these guys will get their sound figured out for their next release.
This one
's only half good, which will have you reaching for the skip button
on your
CD player.
<P. Silbiger> -7-
Book
review
The Top 500 Heavy Metal Songs of All Time by
Martin Popoff (ECW Press)
Reading The Top 500 Heavy Metal Songs of All Time left me with tender
eyeballs and a zillion riff fragments competing for airtime in my
battered brain. It was that good.
As the title indicates, the book is basically a big-ass list of
songs. Popoff (author of The Collector's Guide to Heavy Metal and
senior editor for that other Canadian metal mag) fleshes out each
entry with a personal analysis and (in most cases) a quote from
the artist in question. The key to the success of this book, though,
is that this isn't the author's own list. He's compiled this top
500 from lists submitted by punters like you and me.
Luckily for the reader, Popoff doesn't necessarily approve of the
results, and he expresses his dismay hilariously throughout. "Stairway
to Heaven" (#35) "would have made a good b-side,"
while "You've Got Another Thing Comin'" (#29) is Judas
Priest's "Gene Simmons tribute, sweaty leathers, percussive
retardation post-Peter Criss." His connoisseur's disdain for
the general consensus is one of the many things that breathes life
into the book.
For the metal scholar, this book is also a fascinating overview
of the entire genre. With songs spanning the'70s, '80s, and '90s
the juxtapositions within these pages will make your head spin.
Napalm Death butts up against Kiss, At the Gates cosies up to Saxon,
and it could only make sense here. <br><br>In the back
of the book Popoff breaks the list down by band, year, and so on.
His findings are extremely useful, but if you pay attention, you'll
reach some surprising conclusions yourself. For instance, I had
no idea Testament were that popular (right up there with the trailblazing
Big Four, apparently), or that an entire generation seems to have
deified Ronnie James Dio, whether he's fronting Rainbow, Sabbath,
or his own band of hired guns. If you're in a receptive mood, the
book can provide a healthy correction to your own metallic myopia.
The quotes that accompany the song analyses occasionally cough up
some new behind-the-scenes info. Dave Mustaine and Paul Dianno,
for
example, have some great stories about early classics by their respective
bands. It's also apparent that Popoff has selected the quotes with
a keen awareness of who his audience is. He knows that we'll roll
our eyes at all the Metallica quotes, which seem to have been procured
during the Load/Reload lean years, and which offer nothing but lame
excuses as to why they'll never pen anything as good as "Trapped
Under Ice" ever again.
Basically it's a riot to read, and once you're finished it you'
ll have an overwhelming urge to compile a 500-song CD-R box set
of the tunes dissected within.
But if you'd like to know what number one is, you'd better buy the
book.
<Rob Hughes>
"Sergeant P is coming and he's got a list"-the
Author Speaks
On what UNRESTRAINED! readers might learn from this book.
"I think people will realize the roots of metal. Even the roots
of extreme metal are covered quite well in here, 'cause there's
a lot of thrash, some death metal-people like Testament, Megadeth,
Overkill, Slayer, practically every Metallica album is in there.nothing
past the Black album. But I think you can get a really good appreciation
for the roots of metal-most people say that metal started in 1970
with Black Sabbath's first album, and that's a pretty good starting
point. I think the extreme fan can appreciate the book because there's
loads and loads of '80s stuff. There's less '70s than I thought
would be in it. They're going to see the roots of power metal, the
roots of thrash. The people who started extreme metal are people
like Venom and Motörhead, and there's a lot of that in there.
There's loads of Sabbath, and thrash really does well. So that I
found quite interesting. I'm very surprised at how well Anthrax
and people like Megadeth did. But I found it interesting how much
more extreme the albums book was."
On
his next book, The Top 500 Heavy Metal Albums of All Time.
"That is the best thing I've ever done. It's about 750 pages.
The reviews are longer, the quotes are longer. It's actually way
more extreme than the songs book, and I think the reason for that
is because extreme bands aren't exactly singles bands. They didn't
have MTV videos that were being pushed forward, so there's tons
of extreme stuff in the albums book. There's like five Death albums
or something, four Opeth albums. The crowning thing is that it's
way more extreme."
Web: www.martinpopoff.com
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