Suffocation - Souls to Deny (Relapse - 2004)

When I got the promotional copy of this in the mail, the first thing I noticed was the stunning nature of the artwork. The album itself is constructed extremely well in terms of layout and it seemed for once, as if a comeback record was being given the time and effort it deserved - at least from the standpoint of the band and label co-ordinating the record and trying to make it fully stocked, and relevant to the era it was being released in. It's obvious that this is not just a group of lost (*cough*any 80's thrash reunion*cough*) musicians who decided to "throw down" just because they couldn't figure out anything better to do. This record, to my pleasent suprise, is a masterwork from the death metal legends.

Thankfully, the music was just as stunning as the artwork. The Voivod-ian jazz runs, triple-speed drum hits and thick-and-brutal guitar work is all in place...but this time with a stronger production than previously heard. It's obvious that this is a band that isn't willing to slow down, dry up or sell out. The lyrics are typically constructed, the riffwork complex, the production well-spaced (and lacking the crap Scott Burns ideology) and the drumming diverse and battering...Suffocation are back humans!

My only complaint with the record is a slightly odd vocal mix that finds the vocals being a tad over-compressed and seperated from the rest of the mix. This though, is a minor issue compared to the beastly performance given by the vocalist. If the mix on these vocals had been slightly more explosive this might have been marked about all the technical death metal albums released in the past few years. (The award going suprisingly, to Cannibal Corpse this year for their stunning comeback.) Take nothing away from the band though, Suffocation are here to break faces and take names.

It's been a long time, has it not?

This was a nessecary record for both Suffocation and death metal genre in a broad sense. It challenges a past legacy without even attempting to rewrite it. The vibe, the musicianship and the intelligent construction that existed in the early years is alive and well on this release.

http://www.suffocation.us

~Aerik Von

Cannibal Corpse - The Wretched Spawn (Metal Blade - 2004)

This is the brutal death metal comeback that nobody expected. Hands down. With Jack Owen starting a side project, and the trend of CC releasing "brutal" but mostly ummemorable albums it seemed as if this new release would simply be another retread of hammering beats and pointless lyrics. Thankfully, for the death metal community and longtime fans of the band, it seems as if the band has finally awoken from their gore-splattered slumber.

One of the most debated items regarding CC's recent records, the vocals, have finally fallen into place. The vocals on "The Wrectched Spawn" spit with machine gun fury. The guitars and bass shudder through odd, yet memorable time changes and the production is spot-on to the sound these guys have needed for quite some time. While many praise Corpsegrinder, this may be the first CD in which his vocal styles are actually used to any positive affect. We can debate for years as to why Chris Barnes is better or worse, but on this CD the vocals are front, center and perfectly matching to the music. The songs, the production and the vocals are all here…

Cannibal Corpse are relevant again. (I'm still stunned that I am typing these words, as I never thought I'd have anything of this sort to say about the band post-"The Bleeding".)

Lyrically, this CD is dumber than a brick. Barnes, despite his brand of strange lyrics, at least had a sense of humor. In the end, this cannot distract from the well constructed riffs that shudder like cannon-balls smashing into your skull. I still wish though, that these guys would try to write something interesting lyrically, as they are the most popular band in the genre, making us all look like a bunch of illiterate morons. Even so, few death metal bands play bigger crowds, sell as many records or have made half the impact on mainstream culture as Cannibal Corpse have. This record, thankfully, will back up the hype and finally prove to the world that they belong in that vaunted position that the media have pushed them towards.

This CD, despite it's few flaws in the lyrical department (as if anyone was paying attention aide from those three guys in Kansas), this CD is a comeback. I stand humbled.

http://www.cannibalcorpse.com

~Aerik Von

Countess - Heilig Vuur (Barbarian Wrath - 2004)

COUNTESS!!!

COUNTTTTTTESSSSSSS!!!

Yes! The legendary cult act is back with the stunning Heilig Vuur record that I thought would be a terrible display, in all honesty. The band has not been the classic Countess we've all known for many years and despite a few enjoyable tracks that were released during the Barbarian Wrath era the band has simply been sub par as of late. (I mostly loathe the Barbarian Wrath era of the band, being a fan of the more inspired N.E.P. released work...until now...)

It must be noted that the performance is the bands single most violent to date. Orlock hasn't snarled and howled with this much rage in years. The songwriting/musicianship has vastly improved, bringing the band back to their NEP-era prime. The songwriting has also progressed, adding more harmonies, melodies and speed to the mix. This record may be the record to convert non-fans as it is very accomplished musically, while retaining the simplicity that marked many of the earlier Countess albums. Progression, without decay is rare in many black metal acts, yet Countess has finally proven that it's not only possible, it's mandatory.

The production also must be noted for having a large part of the records charm. The misty and atmospheric sound reminds one of a cross between "Filosofem" by Burzum and the traditional Countess sound. (Though, the drum sound is still a TINY bit awkward for me...but this is a minor complaint among such genius work.) Though many loathed the sound on "Filosofem" the end result for Countess is wicked, vile, twisted and listenable all at once. It may not reflect the "clean" values that were originally presented on classic records such as "Book of the Heretic", but this new sound is twice as violent as those records could ever have been. The production adds to the mood, making the record impossibly tense and fiercely melodic. In many ways, I see this as the record the Filosofem was SUPPOSED to sound like. Leave it to ole' Orlock to perfect this style.

Orlock, you have finally given us the record that matches with your legacy. After the tired affairs that were the "Revenge..." albums and the sloppy (yet interesting on an entirely different level) "Swords..." you've come back to pure form. The legions that follow your career could not be happier.

Countess have managed to re-ignite the "Heilig Vuur" ("holy fire" in Dutch) in my heart for the band and thankfully remind me as to why I worship. Buy this or die, as this embodies all that is great about black metal and all that is great about the Dutch underground.

HEILIG VUUR!

(Kudos also, for the bonus tracks as we have so few examples of the band live in concert!)

http://www.barbarianwrath.org

~Aerik Von

Black Label Society - Hangover Music: VI (Spitfire - 2004)

I must say, Zakk Wylde is quite good with an acoustic guitar. Normally, I would have no interest in a softer project like this but the overall affect of the record is haunting and contemplative. While I've come to find much of the Black Label Society material to be substandard sludge-core I am happy to say that this CD does much to entertain. The tricky, yet haunting guitar work on many of the tracks is appealing to the deepest corners of the mind, where you tend to drift when sitting back and trying to forget the world is as bothersome as it always is. Zakk has certainly found more to say than "fuck this", and "death to that" finally. The cartoon has faded, exposing a man with a lot to say…and the overall affect is one of moodiness, sorrow and pain being conveyed through an acoustic-tinged haze.

One might note also, the warm production and intelligent lyrics that drive this CD along. Far from the "f-bomb" dropping early works in which Zakk tried to prove his "tough guy" imagine this CD is much better at conveying "weight". The heavy nature of this CD is delivered in its mood, not second-rate hammer-along sludge riffs. This CD will probably not b e the one to outsell the rest of his works, but damned if it should be. I didn't expect Zakk to take any risks at this point in his career, or to lower his guard to the caustic metal media as this CD may garner more jeers than cheers. I applaud this though, as he is challenging a formula that has brought him a great deal of success as of late. (Fuck formulas....give us originality, purpose and exposing art!) This album, more than any other he has released since "Book of Shadows", will gain him the respect of those who actually wish to respect Wylde as a musician, and not just a big mouth delivering Pantera styled records tailored towards a somewhat underground audience. He has succeeded on all counts…

Zakk Wylde is a fascinating fellow, it's good to see him attempt a more thoughtful and intelligent form of music, over the typical "sludge-and-moan" nothingness that he has been working on for so long. Unlike most of his current records, which contain three-four classics along with heavy-handed filler…this CD is considerably more enjoyable, thoughtful and inspiring.

This is most certainly what I'll be playing when I'm alone in the apartment downing a beer…

http://www.zakkwylde.com ~Aerik Von

Death Beast - Apocalypse Metal (N/A - 2003)

(For anyone who is asking how I received this and where I can get one, I have my sources - don't count on receiving one through me or through anyone else. If the band decides to release this material then it will be available to you.)

Well kids, this is the kind of violent thrash that has been missing for the past ten years or so. While I am not the largest "thrash-fanatic" this is the kind of thrash I can dig. The thick and meaty guitar tones pound at you from every angle with heavy-handed riffs that leave you feeling as if you lost three street fights in a row. The compositional values make you think of Slayer and Exodus at the top of their game and the production is quite solid. These boys are competent musicians, and solid songwriters at the least. (I will address the issues of originality and trend-setting later.)

The strangest, and best part of this, are the vocals. The varied screams and groans throughout do their bit to lift the material above the average thrash-pack. Ironfist groans and growls like a madman being tortured with acid. (Needless to say, his vocal performance is top-notch.) With his departure, one can only imagine how the band will eventually sound. With the roar of an extremely dark and skilled thrash band churning the well used goods that somehow seem fresh with these coffin-creak vocals.

All in all, Death Beast may not bring anything that new or revolutionary to the table, but at the same time they rock like a bus fucking a tractor. This demo is a good luck into "what could have been" but we can hope the new vocalist Juggernaut can bring the same quality performance that we've heard from this quality demo.

These guys and Toxic Holocaust may be the only true thrash bands left...

http://www.barbarianwrath.org

~Aerik Von

Phoenix Reign - Demo '03 (N/A - 2003)

Phoenix Reign (formerly known as Phoenix when I first encountered them) happen to be one of the many New York city power metal bands popping up though the morass of crappy metal-core that seems to be currently overrunning the scene. The first two demos I received were exuberant but not exactly complete. The first demo featuring an old singer was quite, well, and crappy and the second featuring new vocalist Terri showed a lot of potential but suffered from a poor mix and a timid performance. Still, thankfully the band soldiered on and continued to attack on the live front as well as preparing for a third assault that does much to fix the material presented on the first two demos in terms of performance and production! The songs, this time around come across with a solid and crisp mix of guitars and vocals as well as decent packaging that will do a lot to help the band be taken seriously in comparison to the earlier CD-r presentations.

All of this history aside though, the band has some solid songs, and the songs are the most important part of this aren't they? Since the demo is comparatively short I'll make a point to address each and every song on its own merit…

- - -

1. Another Night Alone

This song is the best song on the demo without a doubt, the nimble-fingered riffery and strong vocals carry this song to a memorable spot that can keep playing in the mind long after putting the demo away. The solos, the riffs and the vocal melodies are all perfectly solid and make this the standout track on the CD. This is thoroughly enjoyable music in the style of Iron Maiden's early recorded material. Killer's with a female singer? I think this is a fair comparison, as Paul Di'Anno's vocals would have made this a lost track off of the first two Iron Maiden records.

2. Power

This song is a tad bit slower in many ways, and does not stand out as much as it's predecessor. It's not a bad song, as the vocals carry it in many ways but it's hardly the exciting blast of the opener and allows the CD to breathe a little. Overall, it's not a poor song but I would have preferred the epic Constantinople to this song as an inclusion, though somehow that great track was left off the final demo. Oh well though, as the lead guitar work and vocal melodies on this towards the middle more than justify this songs existence.

3. Shredder

This song is another in the vein of Another Night Alone and it is equally as exciting. The vocal mix could used a little more chorus but overall the song has catchy melodies, pumping guitars and a solid beat to get behind. I think this song, buffering the excellence of Another Night Alone makes this demo extremely strong. I can't figure out what the lyrics mean for the life of me still, though they seem to follow a stronger pattern than the original, but it matters little - the Iron Maiden styled riffs are full of piss and vinegar and the song simply rocks. This song marks a massive improvement to the version presented on the last demo.

4. One More Rendezvous

The title may seem a little silly but the song is the slowest and most pensive on the CD. This is not a bad song at all, but rings more like a semi-ballad than an intense metal number. I can't complain about the softer nature of the song, but some might not be able to relate to this side of the band after hearing Another Night Alone - though this should be given a fair chance. The lead-work and the melodies ring like a sad love song in many ways.

- - -

This demo was an extremely large step for Phoenix Reign and should be given a chance by all fans of traditional metal and Iron Maiden styled metal. I am a little disappointed in that the song Constantinople wasn't included but hey, maybe next time! Rumor has it that they are an excellent live band and that continues to make an impact in the New York club circuit. The only critique would be that they need someone with more skill at mixing vocals, but that is a minor complaint compared to the quality of the material contained within.

I give this release a solid "B" since the metal songs crunch and the ballads avoid being total cheese in a power-ballad sort of way. For the two songs I love, and the two I merely like I find nothing to worry about in the future with this band. Check them out if you can at http://www.phoenixreign.com. You won't regret the decision…

http://www.phoenixreign.com

~Aerik Von

Voivod - Voivod (Chophouse Records - 2003)

This CD is good and has many unique ideas but it's not the Voivod we've come to know, and possibly love. It's a straight ahead rock n' metal release with some catchy parts and some amazing technical parts. The CD is hardly a powerful statement of thrash metal like in the past or the prog metal of most recent releases. The comeback of Snake and the addition of "Jasonic" on bass has done little to metalize the group. (Let's face it, even the hype of Jason Newstead being with the band wasn't going to turn these old, ugly thrashers into rock stars…so I figured they'd release this and release some killer tunes. Well, these are bruising at best.)

Despite my overall reaction of "who cares" some of the catchy songs like "We Carry On" and "Gasmask Revival" are lots of fun. Even so, they are hardly traditional Voivod. I always have come to expect more and more from a band with such skill. People can blame this on age, but if you're old and tired why are you still pulling on? I expected at least a harsher sound considering much of the work Newstead has done on the side of Metallica. If you like antonal guitar blasts, low key yet skilled drumming and all of that stuff, this is the CD for you. If you want a classic Voivod relelase, you might be a little dissapointed.

I geuss I expected more…but at the same time they've avoided making a terrible release.

Mediocrity.

http://www.voivod.com

~Aerik Von

Agnosis - Demo '03 (N/A - 2003)

This self-produced effort (self-titled) is fine first steps from the quirky NYC outfit we all know as Agnosis. Three songs in all, featuring a mix of the old and the new make this CD a unique offering of sonic palettes ranging from Alice in Chains style grunge, Misfits styled punk and odd experimental music in the vein of Tool and Black Sabbath (possibly?). The standout number of the bunch is the punchy "Leaky Faucet" which takes a lyrical shot (with wit) at whine-rockers Korn in the like while the expansive "Elegant" references the relative oddness of women. The songs crunch, weave and drift through various melodies as well as kicking in with the drums.

The production, being the only weak spot, is not terrible - but it hardly does the songs (which I have heard live twice) the justice they deserve. The vocals are timid in comparison with the ferocity delivered live as well. This demo is a good listen despite these facts though, and the songs stand on their own. This is to be expected though, as it was done in many "non-studio" locales on a Mac with borrowed gear. Considering the circumstances this sounds DAMN good.

Agnosis may stand out as "better live" but if this is as close as you can get you'd be foolish to pass this demo up.

http://www.agnosis-music.com

~Aerik Von

Slayer - God Hates Us All (Island - 2001)

This is one mixed bag of a record. While being HIGHLY well produced (much better than the awful sound on the last record) and interesting on the ears, the song writing cannot decide on a consistent idea OR a consistent level of quality. Slayer managed to catch up in terms of production to the almighty new days but some of the songs seem sloppy. It's almost as if Slayer wants to charge somewhere as quickly and devastatingly as possible but somehow got distracted along the way. (The flow of the album is that stunted sadly...a new song order could have helped!)

The band cinches in with its now typical thrash attack on such songs as "God Send Death" and "Bloodline" while others such as "Threshold" and "Seven Faces" try new styles before evolving into useless toxic crud. Other high spots are the descending "Cast Down", the smashing "New Faith" and the thrashing speed of "Exile". All these songs have strong points and should not be overlooked by any Slayer fans. (Sadly tracks like "Here Comes the Pain" and "Seven Faces" offer the fan little to crow about at all.)

Pick it up if you like the newer sounds Slayer have been pumping out such as "Divine Intervention".

http://www.slayer.net

~Aerik Von

Aborym - Fire Walk with Us (Scarlet Records - 2001)

I will not try to pick out the different parts of this album, since it is one flow of music pretty much, presenting one idea after each other.

Aborym is described by most people as black metal, but seeing the label of black metal is too broad, I will try to describe what they have conceived with this album.

Their music is made up of minimalist black metal riffs, repeating ideas over and over, to create a wave of music assaulting your ears. They add samples and odd electronic sounds to their music, which may seem a little lame on paper, but fits perfectly with the music after a few listens. They even go as far as incorporating techno beats in one of the parts of the CD. This seems very odd and out of place the first listen, but it becomes more obvious, as they are just trying to portray direct aggression through their music, and the raw beats of techno are definitely a way to do that effectively.

The music consists of two guitars, bass, keys, samples and a drum machine (AAGGGHHH!). The drum machine bothered me quite a bit at first, but you can at least drown it out, unlike with certain other bands (*cough* Mortician *cough*), and they are not annoyingly precise, with some taste left still.

The cover of Burzum's Det Som Engang Var is beautiful, and retains its original feel very well, congrats to Aborym.

Not for the weak of heart or the black metal hater. Try this and be open, and you will have another type of music in your head.

~Vincent Verweij

Sigh - Imaginary Sonicscape (Century Media - 2001)

To describe Sigh is to limit them. The elements of their music are so diverse, you would always forget something. One label you can give them is progressive, or "on crack", as some people would say. Sigh manages to put elevator music in their songs, and make it seem like it is in place.

Consisting of three people, Mirai, Shinichi, and Satoshi, this band from Japan started their career making black metal and covering venom songs. They soon grew out of this, keeping the harsh vocals and the dark metal guitar riffs. Sigh added keyboards to their music, creating an image of epic proportions with Imaginary Sonicscape. The guitars riffs are inventive and unorthodox, but do not let go of a certain groove that drives the music. The keys and orchestration create ideas in the middle of a song that nobody else would have tried out of fear of seeming pretentious. I am not sure how Mirai comes up with this stuff, but let's just call it "outside inspiration".

From the fast-paced first few songs, to the epic 10 minute "Slaughtergarden Suite, the album is very diverse, but stays metal.

I wish more bands would create music out of nothing like this, without becoming overly pretentious. Awesome album!

~Vincent Verweij

Iced Earth - Horror Show (Century Media - 2001)

This CD is a mixed bag from the get go. For this band the concept is questionable and the timing quite bad as they could be capitalizing on the fame brought to them by the slightly more commercial "Something Wicked this Way Comes" album. Even so, the band tries to make the most of their limitations and make an inspired album. They do succeed on the production end with a crunchy sound that often lets the bass (DiGorgio forever!) dance in and out of the guitars adding some much needed weight to the often repetitive guitar style of Jon Schaffer. (How the hell Richard Christy and Steve got into the band I shall never know…) Matt Barlow does a bit better than on previous releases and lays off on the melodramatic delivery that he is often know (as well as being LOVED or HATED for) on this record. Larry Tarnowski is a decent lead player in the mix…but seems to lack something in his delivery which does not assist Jon's constant triplet hammering any during some songs. (I shall not mention the closing track that contains vocals that make me start to boil with hatred.)

The songs themselves are an odd breed. The opening "Wolf" starts off with a fire then creeps into being a "ho-hum" styled Iced Earth song. Other songs that suffer from the "killer-intro-average-song" are "The Phantom of the Opera Ghost", "Im-Ho-Tep", and "Jekyll and Hyde". The song "Ghost of Freedom" is lyrically a wonderful tribute but the music often lags into traditional power ballad style of times gone by. The songs I found to be highlights though worked upon the bands strengths as far as speed and drum sound. The hammering "Jack" wastes no time nor does the (shockingly) slow and grinding "Frankenstein". The track "Dragons Child" contains some moody riffs and a sound that matches the lyrics while the lead single "Dracula" also has a nice pound and some screaming vocals to chant with.

All I can say about this CD is that longtime fans will love and it and outsiders like myself may still find about 3-4 likable songs. I really cannot endorse this as a legendary slab of metal but I can say that the band at least TRIED to pull out some new tricks for the trade. If their style interests you though…go for it.

http://www.icedearth.com

~Aerik Von

Gomorrah - Night of the Blackened Pentagram (Unsung Heroes Records - 2001)

This CD is the first and probably least interesting of the Gomorrah trilogy. The recording is better than the following effort but the songs themselves suffer from a "half baked" sense of structure and practice. Not to say that the riffs are not top notch though, in fact - these riffs are quite the reason to buy this CD. It is sloppy on the drumming - but the riffs and tortured vocals certainly make for an interesting listen.

This is not the most solid statement of purpose by Gomorrah - but it's certainly interesting and worthwhile nonetheless. If you are a big fan of strange and hateful black metal (with a doom edge) that reflects the feel of the Black Legions material. You're right at home with this. It doesn't get much more "kvlt".

HAIL SATAN!

http://unsungheroesrecords.cjb.net

~Aerik Von

Megiddo - The Devil and the Whore (Barbarian Wrath - 2000)

Well, I got this CD from the king of Germany himself (the esteemed Black Goat - Tyrant of Barbarian Wrath records!) and too my great surprise this is a murderous classic in the annals of Black Metal history. ChorazaiM's satanic brainchild is nothing short of a shocking masterpiece.

The riffing is quite aggressive (but not without lacking melody) as the guitars carve up and down the sides of the mind like two Grim Reapers late for the harvest. Not one song suffers from having bloated jams, solos or song structures as the writing is, short, direct and quite slicing (to the bone). This blood feast is quite pleasing and maybe favorite tracks so far include "The Heretic" and "Blackened". (Though someone would be hard-pressed to choose a favorite among these tracks.) This of recording, is of course is all aided by the well spaced and attacking production (while lacking the poor sound of a rehearsal recording) provided by a well-handled PC system.

All in all, a healthy worship of Venom, Bathory and many other great bands has paid off in what could be one of THE most important Black Metal albums in the black Millennium. Not one bad original song (and two killer covers of the bands Razor and Exciter) and not even one AVERAGE moment. This CD is a must.

http://www.megiddo.cjb.net

~Aerik Von

Cannibal Corpse - Live Cannibalism (Metal Blade - 2000)

This live album is an interesting document of music from an interesting (and controversial) band. The one thing noticed is the amount of standout tracks and absolute filler (the worst filler being "Dead Human Collection" and "I Will Kill You"). The production is passably live (clear yet not idiotic editing done to "fix" any wrong notes or the like. The band play as if there is no tomorrow (though I still prefer Barnes silly croak this Corpsegrinders as was a bit easier to hear what he was saying) and the tone on the guitars is quite brutal.

The songs themselves are a mixed batch with "Stripped, Raped and Strangled", "Hammer Smashed Face", "Gallery of Suicide", "Unleashing the Bloodthirsty", "Covered in Sores" and "Staring Through The Eyes of the Dead" all tear like nobodies business. Unfortunately songs like "Gutted" and "Blowtorch Slaughter" just have a sad similarity that kills a lot of the record... The beefy mix on this also benefits the overall presentation as the bands technical death-till-you-drop sound is thick and crushing, so despite the weak song choices you at least can lose yourself in the double-bass drama that is Cannibal Corpse live.

...but if you are a hard-core fan you might just eat this up!

http://www.metalblade.com

~Aerik Von

Death - Human (Relativity Records/Roadrunner - 1991)

Death is a band that has had many of metal's greats in its ranks. This album probably has the best line up in Death history. Steve Digiorgio basses away, around the riffs of both Chuck Schuldiner and Paul Masvidal, who create patterns of off-time angular aggressive riffs. Sean Reinert, one of my favorite drummers creating insane drum lines and fills under all this madness. Chuck sounds great on vocals too, with a mid range death vocal, not the bellow, but not the scream, it is perfectly balanced.

The mix may sound a little too bass-oriented for many people, but it grows on you after several listens, and you may get a more trained ear from it, trying to discern the little specialties in Digiorgio's playing. The album is Death, The songs well-arranged and the lyrics magnificent. Chuck does not play the music around the lyrics; he adjusts the lyrics so they fit, and thus creating an odd sound that is unique to death, with start-stop vocals everywhere. Song like Vacant Planets and Lack of Comprehension stand out as vocal songs, while of course the instrumental Cosmic Sea with its keyboards is amazing. Oddly Chuck has a knack of creating only 4 minute long songs mostly on this album, but it is not much of a problem, it just makes it sound like the songs are the same in structure, due to restricted time.

The overall album is a nice listen, but needs time to grow, like many Death albums.

~Vincent Verweij

Black Sabbath - Dehumanizer (Reprise - 1992)

This is an odd reunion for Sabbath in the early nineties. Odd because they did not choose to reunite with Ozzy, instead they reunited with one of the other fathers of metal, Ronnie James Dio. Unlike the two albums (and a live album) Dio did with them, this album is not very uplifting. The darkness of the lyrics combined with an arsenal of new riffs and bass lines by Iommi and Butler create a beautiful album full of attacks on society.

The album starts off with "Computer God", a song about how the world is taken up by the computer society. "Program the brain, not the heartbeat" is a favorite line of me… I thought they had exhausted the topics to write about with all their former albums, but they go on with songs about the afterlife (after all (the dead)), corruption in the church through money ("TV Crimes"), loneliness ("Letters from Earth"), and more. All the lyrics are very well-written, as you would expect from a power trio like Butler/Dio/Iommi.

The music is typical Sabbath material. Deep cutting riffs, virtuosic bass lines escaping the guitar line any time they can, and Vinny Appice puts some great drums under the crushing aural attack. Dio lowered his vocals from his solo stuff, which tends to be a little more hopeful, to low-flying wails (from hell ;)).

I really enjoyed this album, but people might say that Sabbath should come up with something new, instead of just combining their old successes, which seems to me what they are doing now with Ozzy and the horrid Ozzfest.

http://www.black-sabbath.com

~Vincent Verweij

Pantera - Metal Magic (N/A - 1983)

Between the idiotic album cover and the whiney vocals I don't know where to begin on thrashing this record. The songs are tripe-filled 80's bombs and the lyrics are just amusing. I can't believe that this is the band that released "Far Beyond Driven". Lord, it's a good thing Phil Anselmo avoided this disaster because the record is not worth the plastic it is printed on. How many people own this? Too many. It's just amusing, and then irritating.

BADASSES?!?! I think not, if this record is any sign of the bands talent - sure - they can play. But goddamned if this isn't one of the silliest outings ever put together by a band. I can't even extend to this review any longer. There is no point. Pantera, it's a good thing you managed to sell so few of these that when the "prison inmate" gimmick came along it was as if these CD's never existed.

Even Kryst the Conqueror had less cheese than THIS.

http://www.pantera.com

~Aerik Von

Cannibal Corpse - Vile (Metal Blade - 1996)

This musically talented but creatively flaccid record goes nowhere. "The Bleeding" showed a band that was trying to mix the US death-metal chaos into something that not only pummeled you, but something you would remember after you listen to it. Simply put, Vile blasts, beats and gores through the violent motions but in the end the record goes nowhere. The songwriter, lyrics and all of the trimmings simply lack personality. With Barnes, you got the sense that the band actually ENJOYED putting together these death-epics but now one only thinks of a tired rehash machine slopping out the albums because the band members simply had nothing better to do. I am shocked at the bored style of writing that rears its ugly head on this release. All I can is "wow". This release made a huge impact for death metal by impacting the top 200, and then it made the genre look stereotypically dumb by losing all of the wit and taste that Barnes brought to the table. (It wouldn't be until the recent "the Wretched Spawn" that the band would again wake from its gore filled slumber.)

The new vocalist "Corpsegrinder" isn't any better than Barnes as his growl/scream are typical. Maybe he has more diversity or a better range but I can't tell him apart from hundreds of vocalists. Barnes you at least notice. This CD is poorly composed, the vocal melodies go nowhere and it's just brutality for brutality's sake. I love speedy fills and playing as much as anyone, but it has to all build to a point. This CD couldn't be more pointless. This is well played and produced, but compared to anything going on in Europe at the time it's strictly second tier. Only the drama produced by Barnes leaving, and the quality of the earlier albums lending old fans to be curious could even begin to explain how this middling death cliché of a record made it to the Billboard top 200.

Cannibal Corpse have decayed from a legend into a cliché. This release, at best, is amusing. I am saddened to see the band fall like this, but it was obvious that without Barnes working the band in new directed as shown on "The Bleeding" that the band would lose much of their focus.

http://www.cannibalcorpse.com

~Aerik Von

Unleashed - Where No Life Dwells… (Century Media - 1991)

I really enjoy this CD for being one of the more aggressive Death Metal CD's out there that never weakens or bends to any form of "commercial" idealism...yet still manages to be highly enjoyable. The production is dense and warm but also captures the sharp spots in the drumming. (The guitars have quite the bass oriented sound…nice and thick.) Johnny Hedlund's growl is deep without sounding totally "cookie monster" which helps the mood of things greatly.

The songs themselves are wonderful avoiding many Death Metal pitfalls. It is not too bass oriented and simple, nor is it too technical/dull. Its fast - yet controlled to fit the nature of the song. The blasting songs such as "Dead Forever" and the KILLER gallop of "Before the Creation of Time" kill. The thick tone compliments the march influenced grooves immensely. The clanging drums add a much night bright sound balancing the attack with perfect aplomb.

I say that this CD is DEATH METAL and this CD is GREAT. If you like the OLD school of classic death metal this is a CD you simply MUST own. It's technical enough for the tech-geeks to enjoy while keeping the bloody nature of death metal true to itself. Five beers for these men!!! No GO…BUY IT!!!

http://www.unleashed.no

~Aerik Von

Venom - Eine Kleine Nachtmusik (Neat/Combat - 1986)

Well folks, the double Venom LP of a lifetime. Two CD's filled to the brim with well-recorded (yet shoddily mastered) tracks spanning the first wave of blasting Venom. This record is taken from two shows (the Hammersmith Odeon show from 1985 and the New York Ritz show from 1986) and represents Black Metal's first master-blasters quite well.

The first disc is the stronger of the two (featuring a better recording and better mastering) with it's blasting renditions of "The 7 Gates of Hell", "Leave me in Hell", "Nightmare", the classic "Countess Bathory" and a SLAYING "Die Hard". Only the track "Too Loud for the Crowd" leaves me feeling less than unholy. Each song shows the classic Venom sound (best described as Black Sabbath meets Judas Priest's guitar wanderings meets a jackhammer being channeled through the blood gargle of Motorhead) in fine form with even drummer Abaddon holding his own with the solid and aggressive playing. (This...can be rare for the man if you've heard enough recordings.)

Disc two has some burning moments but unfortunately features many songs that do not show the band at an artistic peak. The classic tracks such as "Black Metal" (a WRECKING ball version), "Bloodlust", "Warhead" and "The Chanting of the Priests" all blast out like firebombs let loose in Times Square...but the remaining tracks such as "Satanachist", "Fly Trap" and "Love Amongst the Dead" all seem to fade in comparison to the joys of disc one.

http://www.venomslegions.com

~Aerik Von