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CHRONICLES OF CHAOS e-Zine, October 12, 1999, Issue #43
http://www.interlog.com/~ginof/coc.html
Editor-in-Chief: Gino Filicetti <mailto:ginof@interlog.com>
Coordinator: Adrian Bromley <mailto:energizr@interlog.com>
Contributor/Copy Editor: Pedro Azevedo <mailto:ei94048@fe.up.pt>
Contributor/Asst. Copy Editor: Paul Schwarz <mailto:saul@cwcom.net>
Assistant Copy Editor: John Weathers <mailto:anguish@mindspring.com>
Contributor: Alain M. Gaudrault <mailto:alain@gaudrault.net>
Contributor: Brian Meloon <mailto:bmeloon@math.cornell.edu>
Contributor: Adam Wasylyk <mailto:macabre@interlog.com>
Contributor: Aaron McKay <mailto:aaronm@trxinc.com>
Contributor: David Rocher <mailto:el_rojo@dial.oleane.com>
Contributor: Gabriel Sanchez <mailto:sanch1g@mail.cmich.edu>
Contributor: Alex Cantwell <mailto:alex@netmdc.com>
Contributor: Matthias Noll <mailto:matthias.noll@updatemarketing.de>
NOTE: For more Chronicles of Chaos information, check out the
'Details' section at the end of this issue.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #43 Contents, 10/12/99
----------------------------
- Loud Letters
- Deadly Dialogues
-- Cannibal Corpse: Bloodthirsty Veterans
-- Vader: Cutline
-- Nile: Preparing to Again Burst Their Banks
-- Angel Corpse: Relentless Angelic Cadavers
-- Turmoil: Upholding the Process
-- The Chasm: Diabolical Deathcultic Devastation
-- Depresy: Cheering Up The Lepers
-- Anorexia Nervosa - _Sodomizing the Archedangel_
-- Autumn Tears - _Absolution_
-- Behemoth - _Satanica_
-- Beyond Dawn - _Electric Sulking Machine_
-- Centinex - _Bloodhunt_
-- codeseven - _Division of Labor_
-- Control Denied - _The Fragile Art of Existence_
-- Deathwitch - _Monumental Mutilations_
-- Demoniac - _The Fire and the Wind_
-- Dillinger Escape Plan - _Calculating Infinity_
-- Dog Fashion Disco - _The Embryo's in Bloom_
-- Doxomedon - _Evanesce_
-- Drakkar - _Quest For Glory_
-- Ember - _Chapter III: Concession (& Anthology)_
-- Fallen Empire - _Shadows_
-- Feast Eternal - _Prisons of Flesh_
-- Gardenian - _Soulburner_
-- Hate Eternal - _Conquering the Throne_
-- Iced Earth - _Alive in Athens_
-- Impiety - _Skullfucking Armageddon_
-- In Extremo - _Weckt Die Toten_
-- Jane Doe - _Scars_
-- Kaos Rain - _Killogram_
-- Lacrimas Profundere - _Memorandum_
-- Melissa - _In Peace...?_
-- Miscreation - _Miscreation_
-- Mortification - _Hammer of God_
-- Necrodeath - _Into the Macabre_
-- Night to Die - _All Evil Crying_
-- Neurosis - _Times of Grace_
-- Obscurity - _Damnations Pride_
-- Of the Fallen - _Of the Fallen_
-- Prophecy - _Contagion_
-- Samael - _Eternal_
-- Satyricon - _Rebel Extravaganza_
-- Soilent Green - _Sewn Mouth Secrets_
-- Solefald - _Neonism_
-- Suicidal Winds - _Winds of Death_
-- Theory in Practice - _The Armageddon Theories_
-- Tulus - _Evil 1999_
-- Tumulus - _Wodureid_
-- Withered Earth - _Something So Pure_
-- 420 - _Reality_
-- Anaal-Nathrakh - _Anaal-Nathrakh_
-- Core Device - _God & Man_
-- Lupus - _After the Geniirising_
-- Pagan - _Heathen Upheaval_
-- The Chasm - _Promo 1999_
-- Taming the Beast of Milwaukee
- What We Have Cranked
- Details
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
M""MMMMMMMM dP
M MMMMMMMM 88
M MMMMMMMM .d8888b. dP dP .d888b88
M MMMMMMMM 88' `88 88 88 88' `88
M MMMMMMMM 88. .88 88. .88 88. .88
M M `88888P' `88888P' `88888P8
MMMMMMMMMMM
M""MMMMMMMM dP dP
M MMMMMMMM 88 88
M MMMMMMMM .d8888b. d8888P d8888P .d8888b. 88d888b. .d8888b.
M MMMMMMMM 88ooood8 88 88 88ooood8 88' `88 Y8ooooo.
M MMMMMMMM 88. ... 88 88 88. ... 88 88
M M `88888P' dP dP `88888P' dP `88888P'
MMMMMMMMMMM
This is the column where we print those lovely letters our readers
decide so graciously to write us. Whether they be positive, negative,
ignorant or just plain spelled wrong, you can rest assured that
they'll be here in their original form. If you'd like to see your own
letter here, e-mail it to <mailto:ginof@interlog.com> and enter
'Attention Loud Letters' in the subject field. Hopefully all letters
received will be featured in upcoming issues of Chronicles of Chaos.
Date: Thu, 12 Aug 1999
From: sasanborn <sasanborn@micron.com>
Subject: Attention Loud Letters
Just gotta show my support and give a mighty "Hail!" to all of you at
CoC for putting out an excellent ezine that covers all areas of the
scene. Keep it up. I'm also interested in finding some cool people
that would be interested in trading tapes with me. I like all styles
of extreme musick, but lean more towards Grind, Black and Doomy
stuff. I have a pretty big list I can email if anyone wants to check
it out. Thanx and Stay Brutal! Steve
Date: Fri, 13 Aug 1999
From: Brad <metalurgy@home.com>
Subject: coc
Your Metalfest articles almost made me cry - it was the first one
I've missed since 90... hey - an 11 hour drive is nothing - try
driving 26. But thanks for the articles. I had to laugh because this
is the first COC I've disagreed with so many of your reviews...
hehe... but I respect the balls to give an established band 0/10 -
ya, ya... Mortician isnt that original, but check 'em out live
sometime... it might change your mind. Keep up the good work. Best
quote I ever heard at Metalfest - "Rock out, with your Cock out!" (El
Duce'92)
See ya at Dynamo next May !!!
BRAD
Metalurgy CFCR90.5FM
Saskatoon
Date: Fri, 13 Aug 1999
From: Norman Doll <Sorg@webtv.net>
Subject: Fwd: Christian Metal "letter in CoC" ezine
Greetings CoC... love the zine! this is a letter I originally sent to
"S.R.Prozak" regarding his statements about Christian metal in the
newest issue... Thanks for your time, Norm
Date: Fri, 13 Aug 1999
From: Norman Doll <Sorg@webtv.net>
To: prozak@anus.com
Subject: Christian Metal "letter in CoC" ezine
Hi, I listen to and play Christian metal. It is art my friend. If you
want it to be. Yes, I agree that there is a segment of the Christian
music industry that churns out "clones" for the masses, but where I
dwell in the true underground of Christian metal we create art. Metal
has always been about feelings, beliefs, aggression... Well, as a
Christian i have Strong feelings, beliefs, aggression, and sorrow...
Sorrow a feeling that we all must experience.. I suffer from clinical
depression.... In my lyrics I cry out to God for answers.. At times I
question Him... Or even (gasp) get angry with God... These are my
true feelings and I express them along with my reverence to my
creator... I sometimes may question Him but I also have respect for
Him. Do bands like ICED EARTH not express their views on God and
Evil? Am I not doing the same? It is not all about cloning and
"happy" Christians. It s about art, feelings... etc.. Does the fact
that I am a Christian make me any less of a guitarist than another
person who is atheist, Buddhist, agnostic, Satanic, or whatever? I
think not.... I play the blues with feeling... probably some of the
exact same feelings are in my music that Stevie Ray had in his.... I
play metal like I own it (even though all things rightfully belong to
God), I have the same anger and hatred flowing in my veins that FEAR
FACTORY has... The only difference is that my "hate" is usually
directed at something worth hating... like the decay of this once
great nation...or my personal fears. I have gut feelings, fears, ...
I could tell you some more personal things but they are so screwed up
they might tend to scare someone.. I have felt as if I have no
soul... traveled outside my body (without trying, no drugs or
witchcraft involved man)... some seriously scary stuff... You don't
think that is worth writing about?? How about the majesty contained
in the lyrics of bands like HAMMERFALL? Is Gods majesty not worthy??
I ask you to examine a few of these facts and let me know what you
conclude...PS- I can hook you up with some "true" Christian"
metal.....PSS- By the way .. Christianity is not about religion (only
those who have perverted it make it that way) it is about a
relationship. Thanks for your time, Norm aka SORG
Date: Sat, 14 Aug 1999
From: "Jonny Bergstrom" <silke@mindless.com>
Subject: Coc #2: Reply to one of your mails
In reply to Todd Crawford in "Loud Letters" about "music is dying".
You could try Dan Swano and his CD "Moontower". It's progressive...
Of course, if it rocks, is for you to decide.
Date: Sun, 15 Aug 1999
From: Conformity@aol.com
Subject: ATTENTION: Loud Letters
This is my response to Spinoza Ray Prozac's letter to a one,
"Gutterboy".
Personally, I think Christian Metal is a horrid pile of gay shit. I
honestly don't give a fuck what the lyrical content really is, but
more of the musicianship of the band. Sure, good lyrics can add a
hell of a lot to a release, but I wouldn't make it the determining
factor in whether or not I like the album. I'm not too fond of
"Gutterboy", just by reading his letter, but at least he presents his
ideas and concerns in a respectable form. I'm even less fond of S. R.
Prozac. This guy seems like he's stuck in his own egomaniacal fantasy
metal world, where everything must be protrayed by some sort of
emmaculate wording. As for his webpage, Anus.com, I respect it even
less than I respect the band STRYPER. That's pretty low, folks. In
addition to the page looking like chicken scratch, it's rarely
updated, and Prozac spends countless hours peddling his useless metal
sociology that no one honestly gives a shit about. The man strikes me
as some sort of heroin-addict poet, wearing a frilly shirt, possibly
living in a shack, writing manifestos on technology. I don't doubt
that he's most likely above average as far as intelligence, however,
his own mind will be his undoing. As for Prozac's "points", I'll
address those.
1) Yes, Earth turned to Black Sabbath. Neat.
"its nihilistic power chord riffs were to many an indicator of total
breakdown of social order"
Okay, that's some of the gayest shit I've ever heard spewed from
someone's hole. Ozzy, Geezer, Tony, and Bill were a bunch of doped up
hippies. I doubt any of them were familiar with the concepts of
nihilism, nor were they familiar with any music theory. Stop
over-analyzing things, you gay prick.
2) "metal bands from the heavy metal to current day have been
fascinated by any combination of the following: ancient mythology,
battle, technology, magic, drugs, hate, war, death."
Are these the exclusive concepts that metal bands are confined to
writing about? Do you even pay attention to the things you write?
Aren't you forgetting one crucial focus of a lot of metal
bands.......religion? I still don't understand how this "point" ties
in with Gutterboy's letter, but I just don't agree with it.
3) Yes, some bands are satanic. You're pretty perceptive. Once
again....how does this tie in with anything?
4) Once again, stop over-analyzing things, you self-righteous prick.
5) Uh huh, the world sucks, Prozac. We're all gradually being
poisoned. Too bad that doesn't have anything to do with the subject
matter at hand. Also, it's too bad that you can't do anything about
it. Jerk. Have fun in your shack in Montana, you fuck.
Where do you gather that metal was "founded" in 1969? Yeah, the
United States was turned into a somewhat frenzy state of morality cuz
of all the communism shit.....but different ideas can't be
contributed directly to that. If I have to explain anymore than that
last sentence, go ahead and die. Regardless of what things we felt we
were doing "right", as according to a religion, there are bound to be
those that eventually say, "Fuck it, this shit doesn't work." I don't
see how this is so monumental towards your arguement. Yeah,
Christianity doesn't work for a lot of metalheads. You know what,
Ray? Christianity doesn't work for a good majority of the world,
either. Nothing works for everyone, you disillusioned bitch. Are you
saying that all Christian-Metal is somehow funded and provided by the
Vatican, or something? They can peddle their "propaganda" as long as
they want. If it's good music, I'll listen to it. If it's bad, I'll
toss it in the sewer. If it brainwashes people, I don't give a fuck.
If satanic music brainwashes people, guess what? I still don't give a
fuck. People who become brainwashed by such a petty non-imposing
force are obviously weak-minded idiots who deserve to be guided
towards their own demise. If you go out and kill someone because Varg
Vikernes told you to in a Burzum album, that's just great. You're
obviously a fucking moron, and we don't need you in our society
anyhow.
Disrespectfully,
Bite my cock,
Give your mom oral pleasure,
Contract genital herpes,
Da Big Drew
Oh yeah, CoC, you guys are the only consistently GOOD metal zine.
Date: Fri, 20 Aug 1999
From: Ryuto Ishiwa <coalesce@jet.es>
Subject: Re: Chronicles of Chaos #41 (1/3)
In response to Prozak's letter against "christian metal". First of
all, I'm not christian nor religious in any other way. Now, I find
Prozak's arguments unconvincing:
1) Yes, metal is in a way an expression of the breakdown of social
order but so was christianism in it's origins. Jesus, as a historical
figure, was part of a movement against the order imposed by the
romans on the one hand and against the established jewish hierarchy
on the other.
2) Mythology, magic, blood, death, and the occult abound in
christianism.
3) Satanism as a "post-chirstian existence", ok. Why not also have a
"post-satanic christianism"?
4) Again, christianism can be rendered as a disident stance. In fact,
there are christians against (established) christianism. For example,
"liberation theologists" who fight in latin american guerrillas.
5) Our world is deep in shit. So? That's the same for christians and
non-christians and in many levels it's been worse in the past.
Anyway, the question is what to do: sink in shit and stay there or
use shit as fuel to empower us? To me both metal and, in a more
explicit way, hardcore do the second and any sincere christian is
compelled to do the same.
On the issue of propaganda, there is christian propagandistic crap
and satanic propangandistic crap.
Anti-christianism is most often better translated as
anti-establishment. Metal is a way of unleashing rebelious power.
There are many enemies to rebel against, so I have nothing against
christian bands fighting theirs (including those they have in their
own ranks).
PS: for non-embarrassing intelligent anti-christian lyrics see
Immolation, for a masterpiece of satanic "nihilism" check out
Mayhem's Wolf's Lair Abyss.
+ an opinion: noise and extreme black metal seem to mesh well
+ I dig Gabriel Sanchez' reviews.
-- "If you want words of wisdom read a book" (and Brutal Truth's
lyrics) --
regards
Date: Sat, 21 Aug 1999
From: Shaun McCarthy <smccarthy@effect.net.au>
Subject: Re: Chronicles of Chaos #42 (3/5)
> Skepticism - _aes_ (Red Stream, 1999)
> by: Aaron McKay (8 out of 10)
>
> ... I was first exposed to Skepticism on Red Stream's
> _To Live Is to Ever Be in Danger_ compilation. The chosen
> track for that release was "Pouring" from the _Aeothe Kaear_ 1995
"Aeothe Kaear" was actually released in 1993. "Stormcrowfleet" in
1995.
Date: Mon, 9 Aug 1999
From: NICK LORD <nlrd2@ozemail.com.au>
Subject: Where's the thrash
Hi my name is Peter Hunt I live in Sydney Australia and I am a
drummer, trying to form a Heavy\Thrash Metal Band. Unfortunately I
have had no luck, so therefore I am going to try my luck overseas. I
have obtained a passport but berfore I get a Visa and travel to
certain country I first of all have to find out if the thrash scene
is alive and well.And my opinion of the best way to find out, would
have to be a metal magazine based overseas. If you know where the
thrash scene (80's stuff, Metallica, Megadeth, Priest, Maiden etc) is
alive and well.I'd appreciate it if you could E-mail me back and let
me know which country and which city within that country where the
thrash scene is happeining the most. I'm willing to go wherever my
best chances are of finding the appropriate band members, whether
that be Britian, Europe, United States, South America etc........
Hope to hear from you soon, much appreciated! Peter Hunt
Date: Tue, 24 Aug 1999
From: 12777 <12777@email.msn.com>
Subject: Achtung Loud Letters: Hirsute Blue-garbed Loser Says "I Hate
Metal"
Greetings -
1) I'm SURE I didn't hear Mike Muir saying that every band on Nuclear
Blast "is garbage and people get beat up if they listen to that stuff
where we're from" and "I would never be on a label like that, there's
not one record on that label I would listen to, I fuckin' hate heavy
metal." Hey Mike, let me let you in on a little secret. Yeah,
psssttt, come here, lean a little closer: YOU HAVEN'T MADE ANYTHING
- BUT* GARBAGE SINCE "How Will I Laugh Tomorrow..."! I've seen you in
concert, and I don't care how "Cyco" you are, a bunch of 11 year old
brats with bandannas on their heads doing the pogo to whatever
belabored amalgam of boring funk and hackneyed So-Cal punk angst you
happen to be playing just doesn't make up a group I'd be scared of
getting "beat up" by. I'd be really surprised if mine is the only
response in this issue to the mutterings of the washed-up ingrate you
interviewed in issue #42.
2) You guys need to be more critical with your reviews. In other
words, when you look at the ratings you give the albums you review,
there should be just as many ones, twos and threes as there are
sevens, eights and nines. There's so much effluvium floating around
out there, we need your help in discerning it from the genuine
article. Kiss up ratings don't help. I don't know how you select who
reviews what albums, but I believe it should be done randomly,
provided you weed out ANY reviewers who admire the work of Korn,
Marylin Manson, Rob Zombie and their ilk.
3) And while we're on the subject of bad reviews, I just have to say
"No, no, no" to the positive review of the band Fantomas. I made the
mistake of going to see them live before I heard their "music,"
simply because I heard that Lombardo was their drummer, and "hell", I
thought "if he carried Grip Inc. (er, sort of....), he can carry
these guys." Well, I should have been a little more wary of the
presence of a member of the Melvins. Just as the roaring drumstick
heroics - sweetly reminiscent of the glorious days when Dave was a
member the allmighty Slayer - got going, the sound of a transexual
baboon getting it's goolies crushed by a red-hot blacksmith's anvil
assaulted my ears. Trust me people, do NOT go anywhere near this heap
of crap.
4) Concerning S.O.D.'s latest offering, your reviewer should have
torn into those guys for selling out (if there is a band I never
thought I'd hurl *that* eipithet at, it's them) on their political
incorrectness. I refer specifically to the new, "cleaner" version of
the song "Aren't You Hungry." I should also mention that the word
Celtic is pronounced with a "K" sound. And one more thing: Billy
Milano, though I admire the guy for his early-to-mid-eighties "in
your face" attitude, just CANNOT do a King Diamond impression to save
his life.....
-TJ
Date: Mon, 30 Aug 1999
From: Jackie/The Great One <snymancj@wwg3.uovs.ac.za>
Subject: ATTENTION: LOUD LETTERS
Greetings CoC!
First of all, let me begin (as most writers to this column do) by
congratulating you on a tremendous e-zine. It seems to just get
better and better with each issue, and since I live in South Africa,
your e-zine is my main buying guide when going on my CD excursions.
One thing that did bother me in Issue #42 was a certain person named
Mike Muir. First of all, I'd like to say that Suicidal Tendencies is
not that brilliant. In fact, they're quite lame in comparison to
Agnostic Front. However, what pissed me off more than anything was Mr
Muir's bullshit comments about the bands on Nuclear Blast. If he
didn't want the fucking CDs he could have sent them to me, but
dissing your distributor like that - I'm fucking surprised they're
still doing any business with him. There's a huge difference between
being outspoken and being an opinionated loudmouth. And what's more,
although I don't care much for some of Nuclear Blast's latest
signings (Hammerfall and Narnia immediately spring to mind), I would
take Covenant and Dimmu Borgir over that cocksucker's music any day
of the fucking week.
OK, there, I've blown off some steam.
I can not wait to hear the new Samael.
Cheers
Jackie Smit, South Africa
Date: Thu, 9 Sep 1999
From: Stanislav Derev'anko <stanislv@ire.kharkov.ua>
Subject: Attention Loud Letters
I would like to thank you guys for the great e-zine. These are not
just usual words like "Coc rules!" or "your mag kicks ass!'' which I
read in a Loud letters section in every Coc issue, no, I want to
thank personaly Gino Filicetti for carrying such a heavy burden with
putting together all this reviews, articles, interviews, and other
stuff while keeping the ball rolling. I also wish to thank Adrian
Bromley, Paul Schwarz, Pedro Azevedo and other numerous contributors
of your zine for doing great professional reviews of the metal scene
(though my opinion sometimes differs from theirs). As I can see most
of you attend various university courses and, damn, I know how much
time does it take day and night! So I think you guys are some kind of
maniacs if you still can find time to work on your mag! Just keep it
going! Great job! (In paticular, I would like to thank Adrian Bromley
for his reviews of In Flames and Hypocrisy in Coc 40 )
Stanislav
Kharkov, Ukraine
Date: Thu, 16 Sep 1999
From: Martinelli Roberto <giorgio75@hotmail.com>
Subject: attention loud letters
Dear CoC,
An exuberant thank you for putting out such a fine forum for finding
information about the metal scene. I discovered your zine 4 months
ago and have since gone back and read all of your back issues, and
loved all of them.
I regret that the first letter I write you must be centered around a
minor complaint. Around Issue #10 or so, a lot of people wrote in
requesting a section in CoC devoted to great albums of years past. It
took a bit of nagging from readers, but you finally gave in and gave
us....ONE (!) issue with some of the staff's faves, and promised
periodical installments from then on. So, why have you never done
this again? I don't mean to sound overly harsh, but I think that you
guys have no excuse to why you can't stick a measly section before
the concert reports devoted to older albums that you like. It's not
like you have to write a whole in-depth analysis like you do for your
reviews. We all know that the albums in the "picks of yesteryear" are
in the section precisely because they rule. It would take each of you
all of five minutes every month to jot down your name, and then one
pre-CoC album that you like. I look to your zine a great deal for
weeding through all the crap metal stuff out there so I can find
great albums, and you've come through for me a lot. I'd like to be
able to also find great pre-1995 albums, too. C'mon guys, let's not
forget the classics!
Another request that I have involves the grading system for your
reviews. I noticed that when you first started CoC, an album that got
a 6 was deemed a decent album. In the past year or so, however, it
seems that anything under an 8 gets no praise. What's the point of
having a scale of 1-10 when the way your staff grades is practically
on a scale of 1-4, where 0-4 is a 1, 4-7 is a 2, 8-9 is a 3, and 10
is a 4. Take a lesson from your old issues and please make some
distinction between a 2 and a 4, and a 4 and a 6, for example, or
your 1-10 scale has little meaning.
Enough math. The subject I'd like to bring up this letter is how
disappointed I've been to discover how generally crappy the metal
scene is in the US. I'm from San Francisco, but mostly got into metal
while I've been at university here in Tokyo, Japan. I took it for
granted that it seemed that every month a major metal band would come
to the area (although the ticket prices are exorbitant- but that's
the norm for everything in Tokyo), CDs, new and used, are in great
abundance (no need to order off the web!), and almost always include
extra tracks. The underground scene here is doing quite well, and
there are quite a few good Japanese bands, Intestine Baalism being
the latest one I've discovered. So why is it that the scene in one of
the most important death metal and metal countries in the world, the
US, is so poor? Or is it just San Francisco? People here think
nothing of spending 60 bucks to go see one major band and one or 2
lesser known or local ones, yet in the US people complain about
spending 12 dollars to see Vader AND Cryptopsy and Gorguts and 2
other more minor bands.
One last thing. Iron Maiden should be lashed. I postponed my trip to
Thailand just so I could go to their shitty concert in San Jose on
the 28th of June. For all of you who don't know, the entire show was
cancelled because Adrian Smith reportedly broke a finger on his
playing hand dicking around on the stage in LA or something. i
normally love A.S.'s work, but in this instance I have to say "what a
moron". Why couldn't they have carried on with J. Gers and D. Murray
playing the guitar tandem that they've always needed and foregone the
superfluous 3rd guitar? It's not like they were going to play any new
material that necessitated a third guitar. I'm only this upset
because I love Iron Maiden; well, up until Seventh Son, anyway.
Thanks
Roberto Martinelli
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B L O O D T H I R S T Y V E T E R A N S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Cannibal Corpse
by: Adrian Bromley
It takes a lot of things to keep music fresh for a band. Imagine
how hard it must be for a band with more than ten years, two singers
and seven albums under their belt? Needless to say, veteran death
metallers Cannibal Corpse are still bloodthirsty and going for broke.
The band's latest assault on our ears, the gritty and powerful
_Bloodthirst_, is a solid concoction of veteran know-how and producer
Colin Richardson's (Machine Head / Fear Factory) ingenuity. When band
and producer see eye to eye, the results can be worthy of attention.
This album shines for all to take hold of.
With cut-throat agility, Cannibal Corpse pace themselves this
time with _Bloodthirst_, reaching out to take in an experience, yet
still showcase that they've got it. Working crushing guitar riffs to
the max and vocal stylings that would please any metaller's ears,
_Bloodthirst_ helps Cannibal Corpse paint a picture of wretched
doings and violent images. Those with weak hearts, please step aside.
Songs like "Ecstasy in Decay", "Unleashing the Bloodthirsty" or
"Condemned to Agony" are Cannibal Corpse at their finest.
Could this be their best LP to date? Some might agree, but some
might disagree, calling out albums like _Tomb of the Mutilated_ or
_Butchered at Birth_ as classics and their best work. Some might even
say _Vile_. Whatever comes about one's perception of this album, the
bottom line is that Cannibal Corpse have slightly altered their sound
over the past decade and it is still good. Fans are still around and
things seem to be going all right. Bassist/founder/lyricist Alex
Webster is happy with the way things are going at the moment.
"I think with what we got here, it just seems to be a solid
piece of work", he begins on the topic of the new record. "It just
all fell into place. It just seems as though our way of writing has
changed over the years, especially with George ["Corpsegrinder"
Fisher] replacing Chris [Barnes, now in Six Feet Under]. I think when
Chris was in the band, with a lot of the lyrics and music he wrote,
it had to be a certain way. The way he wanted it. With George now in,
we've all become a little tighter at writing things, working as a
team, rather than following what was being dictated to us."
"I am just feeling a bit stronger about what I am doing now,
too. My songs that I write and do the lyrics for are sounding as I
had planned them to. With Chris in the band I knew that when I took
ideas to him they would come back sounding just a bit different. It
was never a problem, just an altered idea that did come noticed to
me."
So what's the catch? Why do people keep coming back to the band?
"I think what people like about Cannibal Corpse [rounded out by
guitarists Jack Owen and Pat O'Brien and drummer Paul Mazurkiewicz]
is that no matter what has happened over the years, not a lot has
changed with us. We really like playing death metal and we try to
keep working ideas around the basis of what we started the band on.
We want to make a brutal death metal record all the time and we have
done that. It all goes back to a band like Iron Maiden who knew how
to keep a formula going, but change a little bit each time out, yet
still keep the fans interested. I think that runs true with Cannibal
Corpse. Bands like Morbid Angel and Deicide have changed over the
years, but have kept true to the original formula instead of
drastically changing. If someone liked your first record, they liked
it for a reason, and every time you put out a new record they are
going to keep coming back to get what you provided them with before."
About the new record, which was recorded in Tornillo, Texas (at
Village Productions) instead of Morrisound Studios in Florida where
the band has done most of their recordings, he says, "Hopefully
people will see just what a difference there is in what we did. I
think it has added to the sound of the record, a step ahead of what
we have done in the past, I think, and that does seem to come from
where we did the record. It's an experience. I think with this being
our seventh album, this may have our hardest songs ever and the
hardest songs to play", he quips. "It's just good to be able to go
out and offer the fans something new with Cannibal Corpse."
"We tried a lot of different things on the last record [_Gallery
of Suicide_]; some songs were a bit slower -- and I hope it was still
heavy for all the fans -- and this time we just went in and wrote
faster material. We figured, why use talent to write slower music
when you can use talent to write heavier and faster music? We're all
improving over the years and I think we should go out and use those
improvements to make the best brutal death metal each time out."
"We had a lot of fun with this record. It was great to get away
and work at the new studio in Texas, 'cause it seemed that every
album that we were recording at Morrisound over the last few years,
we were experiencing deja vu with our music. We needed to just find
something new with our music and we found it."
And seeing that they found luck with the new studios, luck must
have been dished out twice with the band working with Colin
Richardson for the first time. Right? "Yeah... we had such a blast
working with Colin. He knew what we wanted. We felt that we got as
brutal as we could from Morrisound, which was pretty brutal, but we
wanted to try something different and see how far we could go with
our music. We'll have to see how it goes. It's hard for me to be
objective about this record right now. Come back to me after a year
and I'll tell you how I feel about the record's sound then."
The band have paid their dues over the years. Band turmoil,
controversy over album artwork and lyrics, criticisms -- you name it,
they've experienced it. Says Webster, "It all gets old to us real
fast when people take shots at the band. People who think we don't
know how to play haven't really given the music much of a listen. As
for the name and what has come from it? We knew what we were getting
into when we named the band Cannibal Corpse. We wanted a horror-type
name to go along with the brutal music we were playing. We had such a
great cause for wanting to do this band. Our music inspired and
excited us and you have to understand that when you get all excited
over something, you know there is always going to be that one person
(or persons) who won't like the situation. I look at all these bands
who play it safe. I think a lot of death metal bands play it safe
when it comes to their images, music, lyrics and even band names.
You'd be surprised who I thought played it safe. I won't name any of
them, but you can see the ones who won't go out of their way to do
crazy shit."
He continues: "Not many bands would do a song like "Hammer
Smashed Face", but we did. We were like fuck it. We didn't care what
other people thought. If you start to care about what other people
think when it comes to writing music or lyrics, or anything for that
matter, then you become their prisoner. Fuck it! Some people are
going to hate you, but fuck them too. I'd rather do something great
that only a few people like than something mediocre that a lot of
people like."
Let the sickened, bloodthirsty ways of Cannibal Corpse spread to
the metal community once again. Indulge, metalheads, as this is a
worthy slab of metal to chew on as we head into the year 2000. Once
again, Cannibal Corpse deliver.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
C U T L I N E
~~~~~~~~~~~~~
CoC chats with Piotr Wiwczarek of Vader
by: Paul Schwarz (David Rocher also present)
Though their last full-length album (1997's _Black to the Blind_
[CoC #27]) was released nearly two years ago, Vader have not been
soundless in terms of output, as has been their tendency since the
release of _De Profundis_ (1995/6 [CoC #17]). An extended EP
(_Kingdom_ [CoC #32]) and live album (_Live in Japan_ [CoC #36]) have
satiated hungry fans along with the band's rigorous and extensive
touring schedule. However, it is finally coming again to the time
when a new, full-length Vader creation will be gracing humanity. This
coming January is the appointed time, so if the prophets of doom are
wrong about the apocalypse, we won't be waiting too long; the
alternative is literally waiting an eternity.
This interview takes place on the last show of the band's most
recent European tour with Six Feet Under, Enslaved, Cryptopsy, Nile
and Thyrfing [see CoC #42 for double review] and includes the
contributions of fellow CoCer David Rocher, who here represents his
own Descension 'zine (and is noted as "D" in the transcript). I hope
this satiates the hunger of all you Vader maniacs out there, and
encourages the truly unfortunate out there who have never checked out
this godly band to do so with all haste.
CoC: How has the touring been going? Are you happy with how the
line-up of bands turned out, and that people turned up to the
gigs?
Piotr Wiwczarek: In general it was a good tour. Good bands, good
response, good crowd. Not bad conditions.
CoC: Have Pavement / System Shock given you any tour support for this
one or are you still doing it on your own?
PW: No. I think this chapter is finished, with System Shock. _Live in
Japan_ was the last release [with them]. So, now we have already
signed with Metal Blade for the next release.
Descension: That's good news.
PW: It's good news? I hope so. It's what we need. Vader never got
enough promotion; that's what we really need, as a band.
D: That's something that's really striking about Vader's career,
actually. You always got massive recognition from the fans and
from audiences and other musicians...
PW: That's the best! <laughs>
D: ... but labels always studiously ignored you.
PW: Yeah. To be honest, though, we don't need somebody who ignores
us, we need somebody who is really loyal with us. That's why
System Shock did a good job for us in the past, so we started to
co-operate. That was real co-operation there between us, as a
band, and them, as a record company. But the story was, they do
not have enough potential for us. We've still got to do
something... better. That's why we need promotion. That's why we
decided to sign with Metal Blade. It's not like new news because
Metal Blade was asking us for some deal, seems like a year and a
half ago or something. It took a long time to decide.
D: What do you think of the bands that are signed to Metal Blade,
generally? They have some pretty good acts, like Amon Amarth
and...
CoC: Immolation, which he [David] doesn't like.
PW: To be honest, I don't really care about the death metal bands who
are signed to Metal Blade. As I said, we need a guy who will try
to be loyal with us and promote the band. The regular work. We
don't expect something special, we just expect regular promotion.
CoC: What is the plan with the new album? Are you recording anything
or planning to record?
PW: We already booked the studio for the middle of October, so we
should be done with the next album by the end of November,
probably. The problem is that Metal Blade don't release any
albums in December, which I was sad about. So they will release
our next album in January or February next millennium.
CoC: Where are you recording this time out?
PW: In Poland. Red studio. It's almost the same studio but much
better equipped. The same studio we had recorded _De Profundis_
in [then called Modern Sound --Paul]. So, the sound should be
better; I hope so.
CoC: Who's the producer this time, is Andy Bomba doing it again or
are you producing yourselves, 'cause you produced _Live in
Japan_?
PW: We're going to work with the guy who helped us to record _De
Profundis_ [Adam Toczko --Paul], the same guy. We'll do it
together.
CoC: Are the lyrics in a similar vein?
PW: I think it's going to be the way it was on _Black to the Blind_.
We will also be working with the persons responsible for that,
also a friend of mine, and... we'll see, you know. I need more
time, 'cause I'm still waiting for a couple of lyrics. Maybe I'll
write like two or three of them, maybe. It depends, if we have
enough time and there's still lots to do... We're still busy, we
don't have so much time left, but we still need to put ideas into
notes and everything, for myself and the band for the studio.
D: Concerning the lyrics, you often include notes to the lyrics
within the booklets...
PW: Yeah, it's kind of -- not even an explanation, just kind of a
note about the source of the lyrics, you know? There's a few
persons responsible, so I just ask them to write something from
themselves. 'Cause lyrics are mostly like a personal expression,
so it's easier to understand for somebody who doesn't always know
what's going on. It's just a close-up, it's nothing like
explanation, because that's impossible. Lyrics are personal. They
should stay personal, but you know, many people just wanted to
know, "What the fuck is up, man? The source." So that's why we
try to write down the notes about that. Sometimes it's about
influence, sometimes it's a few words taken from a source. It
depends on the author. I think that it's best if the author can
decide how to explain it.
CoC: Musically, are you going in the same sort of direction as
_Kingdom_ [CoC #32] was? Are you heading for a sort of mid-paced
direction or is it going faster again?
[Note: I meant the direction of "Kingdom" and "Creatures of Light and
Darkness", the two original new tracks, not any of the other material
on this extended EP. --Paul]
PW: _Kingdom_ is not the "new way" of Vader creations, it is nothing
like that. _Kingdom_ was specially recorded for guys who were
looking for the extra song, the bonus tracks for _Black to the
Blind_. I know what the problem is, you're thinking about those
remixes, right?
CoC: No, no, I was actually thinking about -- not the remixes, I
didn't think you'd be going in that direction --, I meant with
"Kingdom" and with "Creatures of Light and Darkness" it had a
more mid-paced feel.
PW: The remixes are something different. It's not even Vader; it's
made from Vader, but it's not even Vader. Vader is Vader, we stay
Vader. The next album also is going to be Vader, which means
having speed. So, take it easy.
CoC: I'm okay.
D: What was basically the idea behind the techno remixes, as a matter
of fact?
PW: To be honest, we had to do it because nobody wanted to release
the album with like fifteen minutes total time [Pavement / System
Shock do not release EPs as a matter of procedure, thus EP-type
products like Malevolent Creation's _Joe Black_ and Vader's
_Kingdom_ are made longer and priced and sold as "rarities
compilations" --Paul]. So, we had a couple of remixes made with
different friends and there was even an idea to make a full album
just with remixes, but we found out it's not a good idea, we
don't need it. We're Vader and... it's not good. It's not bad to
put two songs as bonus tracks, to kind of experience something,
but nothing more, I guess.
CoC: I was going to mention you're wearing a Marduk shirt [a
particularly unusual brown/orange camo one, too --Paul]. I was
wondering whether you'd talked to them about tanks, because I
recall you liked tanks, and they're big into tanks?
PW: I'm a freak of that, I'm a freak of that since like two or three
years ago. I started that with making plastic model kits, and I
also get books, uniforms, weapons, replicas and that sort of
things. I'm crazy about that.
D: I think it is particularly Morgan [Hakannson, Marduk guitarist]
who's into this.
PW: I never got the chance to talk to him, but we are probably going
to play with them soon, so it would be nice to talk about that.
D: What do you think of their music?
PW: Heavy. Heavy. It's a little bit different, but it's still heavy
and brutal: that's the way it should be.
D: Were you never approached by Osmose at some point, concerning
signing to them?
PW: Osmose? I don't think -- they -were- interested in signing a
deal, but for the demos, and it was too late: Hammerheart already
had it [and re-released Vader's two demos, _Necrolust_ and
_Morbid Reich_, as _Reborn in Chaos_ --Paul]. I think they
[Osmose] have a different way. I wish them good luck, but it is
something different, I guess. They have too many bands to care
about.
CoC: To what extent do you think that being the biggest band in
Poland, pretty much ever, has changed your perspective on music?
Has it changed your perspective on music?
PW: I told you, we see the same, I guess. Not the same as we used to
be like ten years ago, or more, but we've still got the same
passion, the same feeling, and I think that's what's most
important. Because you know, the feeling is the most important
thing if you are creating music. And of course we have more
experience, we have spent more time on this Earth, so we're more
grown-up, but it doesn't mean we think of something different. We
still play the same music and we're going to keep playing it in
the future. Vader is Vader.
D: Talking about the Eastern death metal scene, seems that the
Eastern countries have a pretty strong scene rising.
PW: Yeah, it is.
D: Have you noticed any bands in this?
PW: Well, you know, maybe I am too busy now to follow what's
happening in the underground at all. But I could recommend a
couple of names from Poland, like Devilyn, like Decapitated. This
[Decapitated] is a new band and some pretty young guys, like
seventeen, eighteen years old. Fucking heavy and fast, man:
unbelievable. I was like, that was the first time in my life I
was the producer of a band and that's why I can recommend...
<laughs> I'm kidding, man, it's a really good band. And there's
more bands, not just death metal or heavy metal or black metal,
but I just don't remember all the names now.
CoC: A couple I know, Yattering...
PW: Yattering! The guy who is drumming for Vader now is from
Yattering. He joined about two weeks before we started the tour.
D: Is Doc no longer...
PW: No, no, no. He got like a break. For a couple of months, because
of some problems, I think like the drugs, and he needs to do
something with himself and with that. We've got time, we can help
him to do that. But if nothing changes, Doc probably will never
come back. But I hope he will do something with that and
everything is going to be alright. For now, this guy like saved
the tour for us, 'cause we were close to cancelling the tour,
'cause we didn't have enough time to prepare the songs [with
another drummer]. This guy prepared ten songs in two weeks, from
the beginnings, which is a good job. And you're going to see
tonight, he's also good. He's a little different, but the same
speed, the same craziness.
CoC: Well, the Yattering album [_Human's Pain_, CoC #36] is pretty
insane. <laughs>
PW: Those guys are friends of mine. _Human's Pain_ was the last
album? [I acknowledge this --Paul]. Those guys, they work pretty
hard with what they're doing. So I think they should have
something more just for music. In this fucking business, you
know, sometimes you need just the record company with the money,
to feel the success. We work in a different kind of way, we work
hard, and we have, and I think just to have money is not enough,
it shouldn't be enough, to do something.
D: What do you think of the bands with whom you're on tour this
evening?
PW: Great bands, especially Nile; they've just started. Cryptopsy, we
used to tour with them in the States, you know, March, that was a
great tour also. Enslaved, we met those guys in Oslo for the
first time when we were on tour with Morbid Angel, also pretty
much surprised with them, 'cause I hear lots of shitty words
about Norwegian bands. So, that was the first band I was in touch
with and they're a good band and good guys, you know, friends.
Thyrfing, they're a new band, the guys are alright. Six Feet
Under also, there were no problems with them on the tour, they
were the headliners. Not tonight [where Mayhem took their place
--Paul], though.
CoC: Okay, I think we should all go watch Nile.
PW: Yeah, you should.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
PREPARING TO AGAIN BURST THEIR BANKS
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Karl Sanders of Nile
by: Paul Schwarz (David Rocher also present)
Those of you out there who have not yet been exposed to the
power and inventive musical brilliance of Nile have been sorely
deprived of one of the greatest creations the death metal or extreme
music scene has brought forth in the last five years. _Amongst the
Catacombs of Nephren Ka_ [CoC #32] was, on average, the most favoured
record by CoC writers in last year's round-up, and quite rightly so.
Nile came from nowhere as far as all but the most ear-to-the-ground
undergrounders were concerned, and proceeded to effortlessly shame
established acts and upcoming bands alike with the inventiveness and
brutality delivered by _AtCoNK_.
Nile recently made their first trip across Europe, beginning at
the long-running and exalted Dynamo Festival [CoC #40] and continuing
their rampage (on a package resplendent with talents like Vader,
Cryptopsy and Enslaved [double live review in CoC #42]) across
Europe, finishing up in the medium-sized city of Rennes in Brittany,
France. It was here that myself and David Rocher (who was also
interviewing on behalf of his Descension 'zine and whose
contributions are noted as "D" in this interview) talked to Karl
Sanders about Nile's current position, possible progression and
pre-emptory past.
CoC: You guys are set to record a new album, I believe. It's planned,
at least?
Karl Sanders: It's planned. We have songs written, but we still have
more to write.
CoC: So what is the schedule for the album coming out now?
KS: When we get back home from this tour we'll take a few weeks off.
Then we'll start working on the material and hopefully record and
have it out by January.
CoC: That's cool. Any working title for that at all?
KS: Well, we tossed one about, and I'm hesitant to mention it.
Everybody asks me this and I usually don't tell them but...
CoC: ... You're cracking under pressure.
KS: Yes. <we all laugh> We've thought about _The Black Seeds of
Vengeance_. Don't quote me on that, it might get changed at the
last minute, you know how these things are.
CoC: Don't worry, I won't get anyone too hyped up for that. How do
you think the material that you have been writing differs from
the material on _...Catacombs..._?
KS: It's faster, more brutal, more epic. It's on a more grand scale
in the sense that the "Ramses Bringer of War" track is very...
CoC: Big, and all that sort of thing?
KS: Yes. I would say a lot of it is in that vein.
CoC: Would you say it's as big a step as from _Festivals of
Atonement_ to _...Catacombs..._?
KS: That was a big leap.
CoC: That's a big -speed- leap.
KS: There will be another speed leap. We've been playing these songs
now for a year and a half on tour, so, to play the material on
_...Catacombs..._ is like...
CoC: Pretty easy?
KS: ... fucking drinking tea. <I laugh> So, the next album we'll go
faster just... because we can.
Descension: Is it going to be just on a really death metal vein, or
are you going to sort of borrow speed elements from black
metal bands, or the black metal style anyway?
KS: I would say that we are continuing on our same path, only more
highly progressed. Simply because there has been a couple of
years between the writing of _...Catacombs..._ and the stuff
we're writing now, but it is on the same path. Are we borrowing
from black metal? I would say "no, we're borrowing from
ourselves".
CoC: I was going to ask about your trip across Europe. It's your
first time over here?
KS: Yeah, it's our first trip across the pond.
CoC: How has it been and how do you feel the response has been
considering [_...Catacombs..._] has been out for a year, and
it's on a US label and what have you?
KS: I would say it's been a great trip. I'd always wanted to come to
Europe. I'd always wanted to see it for myself. You know, you see
it on TV and magazines: whatever, you know. I wanted to see it
for myself and I had heard that metal was alive and well on the
continent.
CoC: You think that's true?
KS: It's true. People here genuinely love metal. In the States it's
trendism, it's fads and when that fad dies it's replaced by
something else. Right now it's hardcore. Hardcore is big; if you
don't play hardcore you're not "the shit". So we don't really
feel appreciated in the States. Everywhere we've done here,
except for a show or two in Germany where people just stood there
like this <folds arms> waiting to drink beer, people have treated
us like we're human beings, and that feels fucking good.
CoC: And that would include Dynamo, I assume?
KS: Oh, Dynamo <makes explosion noise>, wow! There's nothing like
Dynamo.
D: What do you think of the package of bands that has been offered on
this tour?
KS: I think it's a good mix. There's something for everyone. Six Feet
Under are a more popular kind of death metal, accessible to a
wide range of people. Vader, they're a classic death metal band.
Enslaved, they're a classic Viking band, with a lot of black
metal elements. Cryptopsy: total brutal technicality. There's us,
we do our thing. Thyrfing is melodic Viking metal. There's
something in there for everybody, and I've seen that there is a
lot of people coming to these shows, every show has been jammed
with people. So many people you can't breathe at the fucking
gigs. Some of them, literally, we were worried about running out
of oxygen on stage. It was that fucking hot, that many people.
D: That's amazing.
KS: Yeah. When we finished our clothes were as wet as if we had
jumped in a swimming pool. It's that fucking hot on stage on this
tour.
CoC: What is your inspiration for creating the very warlike kind of
music of Nile? Where does it come from, either musically or
literally?
KS: Well, that's a pretty fucking deep question.
CoC: Is it something to do with where you live?
KS: We live in a very religiously oppressive part of the country. In,
say, Berlin, there's a -bar-, a pub, on every single corner,
alright? Where we live there's a fucking church on every corner.
There's a church across the street from where we practice. You
can walk out the door of our rehearsal room, pick up a rock, and
hit the church with it. So, that's what we do, literally and
figuratively.
D: And where did the interest for Egyptian mythology arise from?
KS: Well, that's one of our hobbies. As a child I'd always seen the
great classic films: "Ben Hur", "Sodom and Gomorrah",
"Cleopatra", "Land of the Pharaohs", on and on. And that was
always fascinating to me. When I met our drummer, Pete, who is
from the Lebanon, his family always had Middle-Eastern music
around the house. So it was something I was introduced to and
grew to love. And since Pete and I have played in bands together
for like thirteen, fourteen years -- playing metal --, we'd
always wanted to figure out a way to combine the two things that
we love. So, that's what we have with Nile.
CoC: Did you choose that because it is a particularly original
approach to death metal? A lot of people have combined Satanism,
gore lyrics, this and that, but no-one had combined Egyptian
mythology. Was that part of your inspiration?
KS: Well, that's kind of like after the fact. We knew what we wanted
to do and at that point, time wise, Nile -- we did not foresee
any fucking success anywhere down the road anyway, because death
metal is pretty much... you know, there's nothing in the States,
metal is dead in the States, almost, except for a few people who
keep it alive. So, at that point we were like, "Fuck it, we're
never going to become successful anyway, why don't we just
fucking do the shit we like?". So that's what we did. And then,
later on, we kind of went "Hang on, wait a minute, this kind of
kills two birds with one stone, because every other band is doing
the same fucking boring shit that everyone else is doing, and
we're tired of it, let's do our own thing."
D: We were talking about spiritualities earlier on with the guys from
Enslaved. What I noticed was the lyrics were extremely warlike,
like Paul was saying, and very dark, too. Do you actually stick
with the Egyptian religious beliefs, or...?
KS: Well, everything you're going to find on a Nile piece of work is
going to be -- fuck, I haven't used English words in so long, of
more than two syllables... -- able to co-exist side-by-side and
in harmony with all the religious and historical/mythological
themes of ancient Egypt. No matter what we're talking about, it's
always going to have that base. It's going to be congruent -- is
the word I was looking for. I think Enslaved are doing something
different from what we do in that they are singing about their
heritage. To them it's very real and they actually live and
breathe their beliefs; the beliefs of their parents, ancestors
and forefathers. It's something very real to them. We're one step
removed. Since we have no fucking culture of our own, in America,
South Carolina, we're pretty fuckin' bored and -somewhere-
looking for other things to fascinate us.
D: That's something striking about America in particular, because it
is such a young culture. It's a culture which is maybe two hundred
years old. So I don't know if there's actually an American
history.
KS: That's very profound. The thing that I love about Europe is there
are so many old things. You can go to any town and see something
five hundred years old. If you're lucky, here in France there's
stuff a thousand years old.
D: Quite easily.
KS: To me that means something. In America everything is new, you
know, nothing has any inherent worth. The Africans have a word,
"ken". It means "the soul of an inanimate object". And a lot of
the places I have been to here, walking around during the day
visiting, you walk in them and you feel something, you know.
There has perhaps been bloodshed, people lived and died there,
hundreds of years ago, hundreds of lives crossed it. You can feel
it, it's old. That's so cool [for me], 'cause everything we have
is Coca Cola. <we all laugh>
CoC: -That's- pretty profound.
D: Well, obviously you were saying you were going to go ahead and do
your shit regardless of whether you got success or not, but as it
seems Nile is getting success with _Amongst the Catacombs of
Nephren Ka_. So, I'd like to know how things are going and how you
feel about this, the way things are turning out?
KS: Well, I guess things are going okay. We're able to tour.
Everywhere we go kids know the music. It was quite mind-boggling
to go to Slovenia and have kids singing the lyrics to me when I
know they only speak English as a second language, and here they
are fuckin' singin' the lyrics back. Woah! That's a dedication
you don't see where we live. So I've been quite pleased. I would
have been happy if we'd sold five thousand copies and just be
able to pay for the record, whatever.
CoC: What are the sales figures for _...Nephren Ka_ now?
KS: Well, that's a tricky one, because I don't believe any record
company ever tells you the absolute truth <I laugh>, and from
what I've seen out here all the kids have it already. So we must
be selling some records. Before we left for this tour they were
telling us seventeen thousand or so. I don't know.
D: That's pretty good, seventeen thousand is a good start.
KS: It's a break even point. We'll be able to make another record,
we'll do another one and then maybe the one after that we'll
actually see some money. In earnest, I doubt it.
CoC: So how are Relapse going with budgets, 'cause obviously you've
been doing quite a bit in Europe just recently, so they've
obviously got some kind of tour support of some description?
KS: The tour support is minimal, it's just enough to get you here and
then you're on your own.
CoC: So petrol, food, all that kind of upkeep stuff...
KS: They're not a large company, they're not like a major label who
can bankroll everything, no. If you're on a metal label you're
still doing the hard work yourself.
CoC: Sure.
KS: The benefit is the bigger distribution, the advertising, those
things are worth a lot. 'Cause if you're working a day job and
you're trying to play your music at night, and you're trying to
send out your demos, your CDs and do your... You know, fuck,
dude, there's only so many hours in the fuckin' day. It is just
not possible to blanket the world with your music, if you're
doing it all yourself. It's really important to have that
distribution, the promotion, the power, to get your album in all
corners of the globe.
D: How are things going in general with Relapse?
KS: Well, it goes pretty well. I can pick up the phone, talk to them
and work things out, and it's pretty good. The boys in the front
office who actually do the hard work, Carl, Pellet, Coz, Gordon
who used to work there. He's now with MIA. Gordon was like a
brother to me, I could call Gordon any time or hour of the day
and say, "Gordon, help me understand this, help me figure this
out, what's going on, what's the best thing for me." And those
guys fucking kick ass, I love them and I would do anything for
them. They bust their ass on a daily basis for every band on that
label.
D: What do you think of their band roster, bands like Morgion?
KS: I happen to love Morgion.
D: _Solinari_ is a killer.
KS: They sent me a copy of it, when they first finished it. Quite
impressive. Incantation -- they're metal touring brothers. Trial
of the Bow is another one of my favourites. Disembowelment.
D: And what do you think of a band like Mortician?
KS: <long-ish pause> I think Incantation are my -touring brothers-.
<we all laugh loudly>
CoC: Good answer.
D: Good answer.
CoC: I was just going to ask one thing: _...Nephren Ka_ has got you
to a point, much further than _Festivals of Atonement_ did;
you're on a bigger label. I was wondering what you're hoping the
new album will do for you [as a band]?
KS: Well, I don't care what it does. The important thing is we have
music that is important to us, that we love, that we want to
bring to the people. And what it does is irrelevant as long as
people have the chance to hear it, to come to the shows: that's
the important thing.
CoC: And obviously the more sales you have the bigger budget for the
next one and the better you can make that.
KS: Oh, obviously. I would like to be able to make a record and have
everything be right, you know? _...Nephren Ka_, the budget was so
small, if I told you, you'd just fall on the floor dying
laughing. And there was a lot of fucking work put in, in order to
make the album come in on budget and on time.
D: And it did. I mean, the sound of it is really good.
CoC: Yeah.
D: The packaging is nice, too.
KS: Yeah. We made it happen.
D: I'd like to know, I believe you had a power metal outfit before,
something like that, no?
KS: Well, that was back in the eighties. Sure, I've been playing
metal for nearly twenty years and [playing in] shitty local bands
my entire life. I've done a lot of things. I've been in a thrash
band, I've played in a Metallica cover band. I've done all sorts
of metal things. I love metal.
CoC: How long then have you been playing guitar?
KS: Twenty, twenty one years.
D/CoC: Last words, then?
KS: Well, I'd just like to say thanks for the opportunity to talk
with your readers, and that I've had a really good time in this
interview.
D/CoC: Same here.
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R E L E N T L E S S A N G E L I C C A D A V E R S
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CoC chats with Gene Palubicki of Angel Corpse
by: Paul Schwarz
As far as I can see, one of the most intense, violent, brutal
and just plain unrelenting acts to emerge from the death metal scene
in the last five years is Angel Corpse. Their focus on creating death
metal which is as pure in its violent force as _Covenant_ (Morbid
Angel) or _Legion_ (Deicide) but also not a meaningless, bludgeoning
blur of low-tuned guitars and uncharacteristic vocals, makes them one
of the few death metal bands around today who are truly a force to be
reckoned with. They have just released their third album, the aptly
titled _The Inexorable_, and it continues where last year's
_Exterminate_ left off, shifting topics and adding dynamics but
essentially preserving Angel Corpse as the musical equivalent to "60
tonnes of steel rolling across the battlefield", in the words of
another Osmose artist. So, grab _The Inexorable_, start the warpath
with "Stormgods Unbound", and find out the ideas which conflagrated
to create such a testament to unrelenting extremity.
CoC: What led you to choose _The Inexorable_ as the title for the new
album?
Gene Palubicki: Well, we wanted that for the title because -- since
it is the third album and we're -continuing- what we
started with [previous albums] but adding new
elements with each album -- we've done the same thing
with this album. We've kept everything that we've
always done and we've just added more dynamics to it,
you know, and I thought the title of _The Inexorable_
had a really ominous sound. Plus, it means like
relentless, merciless, unforgiving, unyielding. So I
thought that worked really good. Plus, it a little
more vaguely fits in with the cover concept as well.
The expansion of the demonic forces into more of a
universal thing instead of a very worldly type visual
that was on our last album.
CoC: You have changed the cover artwork and in general on the album
in terms of song titles it's moving away from the modern, battle
sort of lyrics and into some slightly more demonic,
supernatural, spiritual things?
GP: Right, so that way it's more universally encompassing. Instead of
just being, you know, your next door neighbour; it is more of a
universal approach. That [way] it is not just so singular.
CoC: So that was an intention, to sort of expand...?
GP: Well yeah, I mean, for the purpose of lyrics and topics why
should we repeat ourselves? Surely ideas should push forward,
move on to bigger things. For ourselves personally, we've already
conquered all the ground that we needed to with the topics and
everything that we did on our previous albums. Now, we have new
ground to cover, and in the future it'll be the same way, we'll
have something, we'll try to come up with something that goes
beyond, or at least along a somewhat expanded variation of what
we've already done. So, I mean, lyrically and musically we've
tried to evolve it together.
CoC: Musically-wise, what do you think you, Angel Corpse, contribute
specifically to the death metal scene, what do you think you
have which is either new or which is needed in the present day
scene?
GP: I think [the music of Angel Corpse] has a stronger mix of ideas
within songs, because a lot of death metal, black metal,
everything nowadays is very genre-oriented, and it kind of
focuses on one point and beats it into the ground. You know, some
bands will just have an entire album where every song is
basically a reiteration of every other song. And some people
really enjoy that, you know, that non-stop -drone- of sound
throughout an album which -- I mean I can -appreciate- that, but
for my own writing of music I want to have something that has
powerful ideas, but ideas that vary, like variations on a theme.
The theme is to create overpowering death metal, but you don't
have to just make it a blur all the time. You can still have
gigantic, powerful riffs, but it doesn't have to be a blur all
the time, and that's how we experimented on this album. I think
that the new dynamic that we have on the new album is the fact
that we don't have riffs that are just a constant blur, there's
more articulated rhythms on this one which are somewhat different
and in some cases non-existent on some of our previous albums.
But the point still comes across just as strong.
CoC: I see what you're saying, I mean with stuff like "Begotten
(Through Blood & Flame)" and "Wolflust" things are more
pronounced, they're less whirlwind than some of the songs on
_Exterminate_ were. So that has added some definition, I think,
and makes the structure as an album slightly better. Talking
again about lyrics, do you think spiritual or political beliefs
of yours or any other member's, in your actual lives, affect
what you write for Angel Corpse, or are you kind of detached
from your own personal feelings when you're writing lyrics?
GP: Well, I don't write the lyrics, I mean I haven't written lyrics
for any of the stuff. As far as that goes, it's pretty much
between me and Pete [Helmkamp, vocalist]. We'll come up with
maybe a topic, then he'll come up with some lyrics to go -to-
that topic. You know, but in most cases with lyrics, he'll just
come up with his own stuff. That's pretty much how it goes. But
no, I wouldn't say we're detached at all, you know, it's not just
-- I mean, there's definitely a lot of personal emotion involved,
with what the lyrics are about. You know, it's not just a fantasy
excursion into lyric writing just for the sake of having words to
go over the music.
CoC: In terms of label, are you happy with Osmose Productions, do you
feel they have done well for you so far and do you intend to
stay with them for the next album, and the album after that,
etceteras?
GP: Well, up to this point, the relationship with Osmose has been
really good. We've had problems with American distribution, so
for the American and Canadian release [of _The Inexorable_] we've
moved to the Chicago-based Olympic Records. So, we hope that
works better for us over here, especially for facilitating, you
know, better promotion for a tour if we do one, whereas
previously that did not exist.
CoC: You didn't get tour support?
GP: Well, we got tour support, but it was more of the promotional
thing for America [that was the problem]. The Osmose office in
America wasn't really capable of the type of things that we
needed to have. So there was no bad blood there, but we have made
the move, for the licensing, to Olympic Records for the US and
Canada. So now we have a good relationship with both labels.
CoC: Cool. Neither of them are worried about the fact that you're on
different labels in different territories, then?
GP: No.
CoC: For you personally, then, what inspired you, or drives you to
create music for Angel Corpse, because in all likelihood it is
not a band you're going to be able to live off, like a pop band
could. So, what in particular drives you to spend your free time
doing this kind of music and what you do specifically in Angel
Corpse?
GP: Well, I've always been into this kind of stuff, ever since about
'85 or '86 when I picked up a guitar and started listening to
metal records. I was always really wrapped up in the sound of...
you know, right off the top it was Judas Priest. That was one of
the very first metal bands that I listened to and also
hand-in-hand with that was Iron Maiden. But then beyond that it
was around the time of _Hell Awaits_ and _Reign in Blood_ [both
Slayer]...
CoC: _Seven Churches_ [Possessed]?
GP: Of course _Seven Churches_ and what not. Those came out and I
really liked the sound of the guitar played with just that really
fast picking, making that kind of really ominous <mimics fast
palm muted picking sound>. That speed picking type sound.
CoC: Yeah, thrash picking.
GP: Yeah, -thrash picking- or whatever. I don't know, I mean, I
suppose you could say <laughs> it -possessed- me or whatever, but
then again at the same time I was always into -- I mean, I
suppose if you could call Judas Priest and Iron Maiden "the more
melodic bands".
CoC: Of metal.
GP: And I like that stuff equally as much as I like the thrashing
stuff. That's why with a lot of the stuff I write I try to have
it as speed oriented and blazing as possible, but yet in its own
way, in its own unique Angel Corpse way, I try to make it melodic
in its own sense.
CoC: You have a little melodic definition behind there.
GP: Yeah.
CoC: Which is something that Deicide or Suffocation don't actually
aim to do.
GP: Right, that's exactly it. Which would be how we would differ from
about the majority of American death metal, which -- history has
shown that American death metal is very anti-melodic.
CoC: Why have you chosen, more or less constantly, to record at
Morrisound? Not that I think it's a bad studio, but out of
curiosity: is it the history of the place, the albums that have
been recorded there, or is it just a good studio?
GP: Well, like in the case of the guy that we worked with, Jim Morris
-- I mean for the second album, _Exterminate_. After we recorded
the first album -- we recorded it in Kansas City, which was a
-fucking- inferior studio, and the engineer was atrocious as
well, but we didn't have a choice then. But for the second album
we had a better budget, so we're like, "Well, what can we do?"
But, then again, we were from Kansas City, I mean, where did we
know to find anywhere? But I knew people, I had friends down here
[in Tampa], and of course people are going to say, "Yeah, there's
Morrisound, you can do good stuff there", and of course I'm
familiar with the place. This time around we did it again because
here, in the city, for doing this kind of record with people who
have any kind of experience at all doing this kind of record,
Morrisound really is the only place because they have the two
inch tape machine, which is -crucially- important in my opinion;
to be able to record on two inch tape. And none of the other
studios around really have that same kind of capability.
CoC: I know very little about studios; what is the difference between
two inch tape and other tape?
GP: Well, physically you can look at it as a one inch tape to a two
inch tape: the one inch tape doesn't have as much space on it as
the two inch tape. So each individual strip of a track has more
room to breathe on a two inch tape. So therefore you can get
-bigger- sounds on a two inch tape, whereas on smaller stuff and
even smaller yet on an A-Dat tape, basically your sound begins to
shrink a little bit, you know what I'm saying?
CoC: Yeah, it makes a lot of sense. Can you ever see Angel Corpse
changing your sound to include distinctly less aggressive
elements like keyboards or female vocals or particularly melodic
or harmonic guitar solos, or is Angel Corpse any kind of
deliberate attempt to avoid these kind of things?
GP: It's always been a deliberate attempt to avoid those kinds of
things. I mean, if we've done three albums and we've been around
for almost five years, you know there's never even been a hint of
that kind of element in our music at all. I mean, someone would
have to almost be a fool to consider that we ever would. Either
that or they have wishful thinking that we'd be a different type
of band. Maybe some people don't like us 'cause we don't have
those elements, you know, which [means] they're not fans for us
then.
CoC: [They'd be] missing the point?
GP: No, I mean, if they want that stuff, if they enjoy that, they can
find that from another band. That's not our prerogative. The
sound that we make is the sound that we want people to hear, and
if people don't want to hear it then they just won't listen to
us. But we're not interested in what opinions people have of what
we're doing and what we're not doing. We're only going to do what
we think are the best songs, and that's where it stops.
CoC: So the kind of music that you're doing is what you consider to
be the best kind of music that you could do?
GP: The best kind of music that I'd want to write.
CoC: Do you believe there is any kind of ideology in metal, like when
people have to dress, act and think in a certain way to listen
to metal, do you think that has any sort of relevance
particularly?
GP: Well, I think there is definitely a type of personality that
somebody needs to really be attracted to this kind of music at
all. I mean, if you come from a very sheltered lifestyle or a
-self-imposed- sheltered lifestyle, you may not have the same
kind of fire to want to do something that's really aggressive.
You know, whereas if, I don't know, you choose a lifestyle that's
not so tamed and housebroken, it adds to your personality to give
you an understanding of the kind of music you want to write. I
mean, when you try to put together the kind of ideas of what you
have for a lifestyle and what you'd write as music -- which are
pretty unrelated, but they do relate in that one is going to
affect the personality for anything you're going to create. So
when it comes to music it's going to come out in what you're
doing.
CoC: To an extent, if you're not angry, then there's no reason for
you to write aggressive music or aggressive lyrics?
GP: Well, in some cases I don't even think it's really like that so
much -- you know, there can definitely be an anger element but it
doesn't even really have to come from that. I mean, aggression
doesn't absolutely have to mean anger. It's just... it's a fire
thing, you know, if you got the fire, if you're fired up about
doing something that's really over the top and powerful, then
that's what you're going to do and you're going to be able to do
it, 'cause you're going to write something that you're
understanding. If you're trying to write something that doesn't
suit your personality, you're not going to be able to do it
right, because through the process of writing something, you're
going to become confused 'cause you're stepping into unfamiliar
waters.
CoC: To conclude, if there's anything in particular you'd like to say
about the album or about your touring or your band, then you're
welcome to do that now.
GP: Well, we definitely hope to get some kind of a US and Canadian
tour definitely by the beginning of next year. We don't have
anything concrete yet, but we definitely hope to play all the
places in Canada we played before, and at least as many as we
can. On the last tour with Cannibal Corpse, we did, I think,
about eight or nine dates in Canada. It was central, west and
east: we even did Saskatoon and Winnipeg, and all of them were
really great shows, so we hope we can get to all of those places
again.
CoC: Any last words for fans of the band who may not have picked up
_The Inexorable_ yet?
GP: ... Because it's not even released yet, it doesn't even come out
for a couple of days <laughs>, nobody would have picked it up
yet.
CoC: That's a point, but for the purpose of this interview which will
come out a few weeks after the record does...
GP: Everything we've done musically, and what we've always talked
about that we do, the new album is exactly all of it. Everything
that our music has promised and anything that we have said and
done, this new album is basically it. It's the next step, it's
the new record. Everything they could've expected is there.
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U P H O L D I N G T H E P R O C E S S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Turmoil
by: Adrian Bromley
Philadelphia hardcore/noisecore outfit Turmoil have definitely
evolved over the years. Not only has the band managed to intensify
their sound, but they've also managed to win critics over with their
unapologetic rampaging of noise. Their latest burden to the music
world's ears? _The Process of_. Say "sayonara" to your ears, suckers.
"It's definitely cool to see where we have taken our music. This
is quite an accomplishment, I'd say", starts guitarist Jonathan
Hodges about the band's obvious evolution through the years. "When we
started out we just wanted to play loud and aggressive music.
Throughout our past few releases [early European EP _Who Says Time
Heals All Wounds_ and 1997's _Anchor_] we have focused on being heavy
and all that shit and I think people have come to expect that from
us. Now with this record we wanted some catchier stuff. We wanted a
mood as well."
"_From Bleeding Hands_ [their US debut] was a great record for
us because it really helped introduce us to the music fans out there.
But it was all just grouped together as hard songs and all that
aggression. We took our time with this record, and took the songs
into consideration when we were in the studio. We wanted to get
something out of these songs rather than just blasting them out one
at a time."
He continues: "It's a lot harder nowadays to put together
material. I mean, each time out you want to outdo yourself on each
record and make it exciting to listen to. The last record we started
to see it becoming a bit more difficult, but we managed to get
through it and on this record as well. We have a lot of ideas as to
where we want to go right now."
Unlike a lot of other bands out there who tour frequently,
Turmoil (rounded out by other guitarist Jim Winters, vocalist Jon
Gula and bassist Jamie Getz) is -always- on tour, playing every nook
and crannie that they can. It's about exposure and showing that you
are dedicated to your profession and music. Hodges explains: "We have
been going strong for the last little while, but to be honest, you
don't make a lot of money doing hardcore and it's hard to pay the
bills when you're not home. That is the unfortunate thing about doing
this. But we have had a great time touring and a great response from
the crowds. We can't wait to tour more and go back to places where
people know us now."
I ask Hodges to explain the significance of the album title. He
responds: "It's actually pretty simple. It just describes the amount
of work we have put into the songwriting and how difficult it has
become to carry on with what we do, to have to reinvent or carry out
our particular sound. Songwriting sounds easy, I guess, but it is far
from it. It also signifies hard work, how many say that artists
suffer for their work."
And suffer they have. With numerous tours and a lot of work
going into the band, it took a long time for things to actively start
rolling for Turmoil. They eventually conquered the scene, gaining
solid support from bands and fans alike. "I think we have a lot of
support now and that is a good thing", quips Hodge. "It was tough for
us to get things going because we were out so long and bands out less
time than you have a better response. [Turmoil's label] Century Media
isn't really a hardcore label. I think it would be a lot easier if we
were on Victory Records or something like that, but we're happy with
Century Media. We get a lot of exposure, so we can't complain. They
certainly did help us out in that aspect. They opened us up to the
European market, something a smaller hardcore label would not have
been able to do. I just wish they would push the records harder
sometimes. It seems as though with a roster as big as theirs, they
only seem to spend a few months pushing a record before they move
onto another current release."
"I'm still enjoying what I do", he says. "The thing that keeps
me going right now is that I have the ability to create some cool
music. I am constantly working hard making music. I like the fact
that I can try to bring the music I like into the music we play. I
mean, we play hardcore and are around hardcore all the time. It gets
boring sometimes. We all listen to a variety of music styles that
goes from oldies to old school thrash metal. It just keeps it
interesting to try and work our influences into what we do and still
make it sound like ourselves."
"It's hard to play music and be happy with it", finishes Hodges.
"I mean, we have really worked hard to get where we are doing things
our way. Sure we have tried different things and so have many other
bands. Some bands add a pop element to hardcore, others death metal.
You have to do what you want to do with your music or you'll just
fade away. If you have the dedication and commitment to a band then
your music should be able to stand the test of time and be something
that someone can look back on and still get excited about."
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D I A B O L I C A L D E A T H C U L T I C D E V A S T A T I O N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to Daniel Corchado of The Chasm
by: Paul Schwarz
Mexico is not one the countries people usually associate with
the world of quality extreme music. However, two bands from this
country have come to my attention in the last two years and have
grown to become some of the most favoured bands in my musical
collection. The first I came across was the now defunct Cenotaph, who
produced three albums, their final being 1996's _Epic Rites_ [CoC
#26], before splitting up in late 1998. The second is the very much
alive and flourishing The Chasm. Interestingly enough, The Chasm's
mastermind, Daniel Corchado, was originally the singer and guitarist
for Cenotaph, whom he left after their first album _A Gloomy
Reflection of Our Hidden Sorrows_ (recently re-released by Oz
Productions). With The Chasm, Daniel helped create the complex and
unusual _Procreation of the Inner Temple_ and _From the Lost Years_
[CoC #13], but was next heard singing and playing guitar on
Incantation's last masterpiece, _Diabolical Conquest_ [CoC #33]. When
things failed to work out with Incantation, and also for his own
reasons, Daniel went back to full-time work in The Chasm, releasing
_Deathcult For Eternity: The Triumph_ [CoC #40], which was recorded
before Daniel joined Incantation, soon after leaving The Chasm.
_Deathcult For Eternity: The Triumph_ was just that: a triumph, a
record which proved The Chasm could match most more well-known death
metal bands on their turf, and beat them hands down in terms of sheer
creativity.
Finally, The Chasm now seems to have a stable line-up (allowing
them to crush audiences in the live arena) and future, with the
planned recording and release of the fully written new album,
_Procession to the Infraworld_, slated for this fall.
This update interview is to introduce The Chasm to those of you
who may not know them, and give recent or long-time followers some
insight into where the band are on at present and where they are
headed.
CoC: Could you give a brief history of how The Chasm came to be
formed?
Daniel Corchado: The darkened force known as The Chasm was procreated
in January of 1993. After I split from my former
band Cenotaph (RIP), I decided to keep raising the
flag of metal and death. My inner self wanted to
progress to an extreme and darker level of musical
experimentation. So, I asked a few people to help me
in this new concept. After several years of
existence the only original members that remain in
this Deathcult are Antonio [Leon] on Drums of Doom
and myself on guitar and vocals. Almost a year ago,
two extremely talented and dedicated warriors joined
forces with us, they are Julio Viterbo on lead
guitar [of Cenotaph and Shub Niggurath fame] and
Roberto Valle on bass. I definitely think and feel
that this is the most devastating and coldest
line-up ever for The Chasm.
CoC: You've previously played in both Incantation and Mexico's
Cenotaph. How are your experiences from these bands reflected in
the music you create now, in The Chasm?
DC: Well, I have been creating music for The Chasm since long before
I joined Incantation; my stay with them didn't really affect or
influence the way I compose music at all, I think. The style of
death metal that I was conceiving with Cenotaph was of a very
high calibre of heaviness and extremity. We were really getting
to the limits in those days, but I wanted to taste the darker and
more bizarre side of death metal, to have more freedom and
experimentation in my own personal way. That's why The Chasm was
born. This is the ultimate way of expression for me and for the
other Sons of the Mictlan. We play music from and for our spirits
and will continue to... loud and proud.
CoC: How did you feel about how _Deathcult For Eternity: The Triumph_
turned out and the reception to it? Were you satisfied with that
last album?
DC: _Deathcult For Eternity_ is a total triumph for The Chasm. The
aura and feeling that we procreated in this album is sometimes
beyond words for me. I'm very proud of what we have done in the
past and _Deathcult..._ is like the end of an era (since our
change of members and move from Mexico, etc.) and the beginning
of a fresh, more destructive and obscure one for the band. The
critics for the album have been really good. If I could change
one thing, it would be the production. The sound is really weak
and it doesn't capture the real essence of The Chasm. The people
that have seen us in a live attack will know what I'm talking
about.
CoC: What have The Chasm been doing in the year and a bit since the
release of _Deathcult..._?
DC: Basically, we were really concentrated and working hard on new
music. We have nine new songs and we recorded six of them for a
promo CD which we gave to several labels at the latest Metalfest
[my promo had four tracks --Paul]. We have played a few shows,
too. Since we moved here to the USA we have shared the stage with
Cianide, Scepter, Morbid Angel, Skullview, Corpsevomit, Nile,
Exciter, Sorrow Bequest, Macabre and a few more. We are working
on a tour for the last part of the fall. We'll see what happens.
CoC: Do you have a new label yet, have any labels you can tell us
about shown interest in signing you?
DC: It seems that being a band from Mexico and really underground is
like a curse for us. We have been in the underground since '93
(personally I have been playing since '88) and never got a
serious offer from an American or European label, and that hasn't
changed yet. It's kinda depressing and disappointing for me, but
it doesn't surprise me anymore. I'm used to it, and my main
priority is to keep creating metal of death for myself. We have
just had like two or three propositions, but of course we still
have a lot of talking to do. If nothing happens with any label
we'll release the next CD by ourselves, fuck it!!
CoC: When do you hope to put together and record a new album? Has a
title been decided upon?
DC: We have all the stuff ready. The songs we recorded for the promo
plus one more will be a part of this new opus macabre. Our goal
is to release it somewhere between October and November; the
title is _Procession to the Infraworld_.
CoC: Could you explain how the title _Deathcult For Eternity_
reflects your ideas about the music you create?
DC: Since I can remember, my personality and inner temple have been
really strange and complicated. The way I feel and see my
existence is full of questions without answers. I feel trapped in
this cage made of flesh and bones. I want to reach the Portal and
find all the answers and visions that I have been looking for
since a long time ago. I really pray for death. I think that the
extinction of my human being will bring me eternal peace of soul.
That's why I decided to create this cult to the Death, the old
rider, the master reaper. My cult and my devotion to metal and
Death are my ultimate motivation to keep me alive on this rotting
earth. Until I complete my preparation to start my long cold
journey I will be keepin' alive and well The Chasm. We are
overlords of the Infraworld...
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
C H E E R I N G U P T H E L E P E R S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interrogates Roman Spatny of Depresy
by: Alvin Wee
It's hard to imagine any metal band from the former
Czechoslovakia not sounding like Root, Torr, Amon Goeth or Master's
Hammer. But as Roman, axe-wielder and frontman of Slovakia's
brightest jewel, flatly denies, "None of the bands you mentioned
influenced us in any way. We are walking the way we chose from the
very beginning of our establishment, and it is true that in Slovakia
there is no other band producing a similar style to that of ours."
While that may sound presumptuous, it's undeniable that
Depresy's virtuostic blend of highly melodic Gothenburg harmonies and
traditional death-stylings on _A Grand Magnificence_ [CoC #32], their
latest opus, appears unique among other bands from the region, like
Krabathor and Azathoth. It's also disappointing that, despite
boasting blazing leads, razor-sharp hooks and irreproachable
tightness, the album doesn't seem to be receiving the exposure
outside the underground it deserves. While other neo-Gothenburg
clones eclipse legends like Eucharist, and seasoned vets like In
Flames are steadily declining into radio-heaven, Depresy's boldness,
aggression and pure emotion bring to mind the days when Dark
Tranquillity still had the raw passion and feeling of truly
underground genius. The bonus MC tracks (which, incidentally, make up
most of the CD) hint at a much heavier, more aggressive past, though,
but at the slightest suggestion of Depresy wimping out into yet
another sweet, radio-friendly "Goth-metal" band the way many others
are, Roman stoutly retorts, "First, I don't think our production is
somehow soft. We are children of darkness, walking the infinite
kingdom of sadness where death gives immortality. That's what our
music is about. But there is something I agree with you. It's true
that the Swedish scene finds expression not typical for death bands
from these regions, but it doesn't mean that they are bad. There
cannot exist gentle and unexpressive metal, just because it's metal,
and I think you shouldn't be forgetting other bands besides Swedish
ones. There is also Cryptopsy, Kataklysm, Pyrexia, Mortician, Morbid
Angel, Deicide and so on."
Despite the remarkable success of their 1996 cassette-only
release, _...And There Came the Tears With Christ_, selling well over
a thousand copies, the band developed, gaining in melody and
maturity, even as their bassist left the band for good. But why the
progression from an already rewarding formula? "It is natural",
explains Roman patiently. "The more interested you are in some
activity, the more experienced you become. All former skills help us
to progress. After we realize we have nothing more to say, we'll
quit. With the increasing number of years [playing], however, we are
getting stronger and so that time is still far away."
With the reception they had in the underground, it isn't
surprising to find the band still immensely proud of their previous
material. "There were a lot of people who were interested in the CD
version and when this possibility appeared, we agreed with it",
elaborates Roman on the reason for including the bonus MC tracks on
the otherwise too short CD. "It is definitely the best way of
presenting the material to people abroad as well, because there is a
rising number of those who are not respecting bands that only present
on MC", he adds intently.
My sentiments exactly. Many cassette-only bands, regardless of
quality, stay that way in the underground, because try as we might,
we just can't resist the look of a gleaming silver disc. Add to that
the relatively isolated status of a scene like Slovakia's and it's a
wonder how Depresy have managed to come so far since their inception
in 1991. "In the beginning, we did not think about asserting
[ourselves]. We got together mainly because of our need for musical
expression. We did everything for music. The fact that our work has
interested people is a secondary product. A small amount of our
releases spread over and people started to know the name Depresy. We
know many bands have succeeded because they had good promotion, but
we never looked at promotion from that point of view and that is
maybe why we don't feel any problems regarding asserting [ourselves].
We are a band that has its origin in underground music and in this
style we will stay forever. I like the way things work in underground
music and I am happy with the pretty strong base we have established
in our country."
A large contributing factor to their reasonable success must
have been the numerous tours they've done so far. "We have been going
on tours since the start. We did about 100 to 120 tours in our
countries so far. We haven't played a bad tour yet." At my suggestion
of playing with bigger names like In Flames or Sentenced for
exposure, Roman retorts: "We don't plan any bigger tours in the near
future, for it demands a lot of money and nowadays people are lazy
anyway; they'd rather stay at home and listen to their CDs
comfortably. We never differentiated the importance of tours. From
this point of view every tour is important to us and we don't care
where we play and with whom we play. We always try to play our best."
Readers interested in obtaining all 51 minutes of _A Grand
Magnificence_ on CD (it's highly recommended, by the way) can drop a
line (and $1O) to: Shindy Productions, Sadova 17, 679 04 Adamov,
Czech Republic.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_____ .__ ___.
/ _ \ | |\_ |__ __ __ _____
/ /_\ \| | | __ \| | \/ \
/ | \ |_| \_\ \ | / Y Y \
\____|__ /____/___ /____/|__|_| /
\/ \/ \/
_____ .__
/ _ \ _________.__.| | __ __ _____
/ /_\ \ / ___< | || | | | \/ \
/ | \\___ \ \___ || |_| | / Y Y \
\____|__ /____ >/ ____||____/____/|__|_| /
\/ \/ \/ \/
Scoring: 10 out of 10 -- A masterpiece indeed
9 out of 10 -- Highly recommended
7 out of 10 -- Has some redeeming qualities
5 out of 10 -- You are treading in dangerous waters
3 out of 10 -- Nothing here worth looking into
0 out of 10 -- An atrocious album, avoid at all costs!
Anorexia Nervosa - _Sodomizing the Archedangel_
by: Pedro Azevedo (8 out of 10) (Osmose, September 1999)
Quite a change in direction for a band that used to combine death
metal, industrial and dark ambient elements. This MCD, follow-up to
_Exile_ [CoC #26], consists of keyboard-based symphonic black metal
that tends to remind me somewhat of Hecate Enthroned; and regardless
of whether Anorexia Nervosa are jumping on a bandwagon or not, they
are quite good at this style (better than most of what Hecate
Enthroned have done). They were able to add their own unique touch to
the music, giving it a sharp and bombastic sound and keeping it very
dynamic and effective. I have no idea whether this MCD is a
reasonably accurate indication of what Anorexia Nervosa will be doing
in the near future, since they have already proven to be quite
unpredictable, but _Sodomizing the Archedangel_ regardlessly stands
as an interesting collection of material which, despite certain
similarities to very well-known bands, contains enough good elements
of its own to avoid becoming a more or less irrelevant release like
it could otherwise have been.
Autumn Tears - _Absolution_ (Dark Symphonies, July 1999)
by: Pedro Azevedo (7 out of 10)
_Absolution_ is, on one hand, a product from talented musicians who
have already proved their qualities with the first two Autumn Tears
full-length releases [CoC #23 and #37]. On the other hand, however,
it's very short (just over 12 minutes) and perhaps there isn't enough
material here to fully justify the release. Having said that,
_Absolution_ does feature one of Autumn Tears' finest moments: the
first minute or so of "The Never", which is a new track featuring the
excellent new lead vocalist, Jennifer LeeAnna. "The Absolution of
What Once Was", originally recorded for a compilation, is a normal
Autumn Tears song, as is, for the most part, "The Never", which is
the highlight of the MCD. There is, however, one new element in both
"The Never" and the MCD's other track, "The Dance": some percussion.
Though I don't find the relatively small percussion section of "The
Never" an actual improvement, it doesn't ruin the song, either. On
"The Dance", however, the whole style is quite different -- the track
is described as "an experiment" by the band -- and percussion is
present during most of the song, which only retains some of the basic
characteristics of Autumn Tears' previous material. An enjoyable
song, though excessively chorus-based and certainly not the direction
I hope Autumn Tears will follow in the future. "The Absolution of
What Once Was" and especially "The Dance" -- both more the usual
Autumn Tears style -- are quite good and may justify the purchase for
followers of the "Love Poems For Dying Children" series, even though
this MCD doesn't seem to be directly related to the series. It does,
however, judging mainly by some of "The Never", promise a highly
interesting third chapter for the series.
Contact: mailto:darksympho@aol.com
http://www.borg.com/~lordxul/tears.htm
Behemoth - _Satanica_ (Avantgarde, August 1999)
by: Pedro Azevedo (9 out of 10)
Few, very few opening tracks have ever managed to blow me away like
"Decade of Oepion" did. Would all the album have been as
devastatingly excellent and it would have definitely received full
marks from me. However, the previous sentence should not be seen as
indication that _Satanica_ contains one superb track and then just
some more or less average material; in fact, the following seven
tracks are all very impressive as well and there is plenty of
material on _Satanica_ well worth a 10 out of 10, even though the
amazing power of "Decade of Oepion" is the definite highlight of the
album. _Satanica_ is a hugely intense and powerful album throughout,
thanks to a superb rhythmic backbone, devastating guitar work and
tremendous vocals, all this delivered through equally talented
production. For some reason, I had never really noticed this Polish
band before, but the nearly 25 minute long live CD that comes with
the limited edition version of _Satanica_ for a slight increase in
price got me in touch with some of their more than likely impressive
back catalogue. The live CD features decent sound and a competent
performance from the band. Though as far as I know Behemoth have been
known to this date as a black metal band, _Satanica_ has a venomous,
sharp and brutal sound that contains plenty of high-speed death metal
elements which the band really takes to very unusual heights. And
since Behemoth are from Poland, there's one more thing that may be
relevant for this review: I found _Satanica_ quite superior to
anything I've heard from Vader so far.
Beyond Dawn - _Electric Sulking Machine_ (Peaceville, August 1999)
by: Pedro Azevedo (5 out of 10)
Though Beyond Dawn have released some more material since then, I
hadn't heard anything from them since their 1995 release _Pity Love_,
an album which contained some material I found quite interesting,
mainly for its atmosphere. Sometimes during _Electric Sulking
Machine_, in tracks such as "Violence Heals" and "On the Subject of
Turning Insane", I can still find some of that atmosphere which I
liked in _Pity Love_, and I can still enjoy what Beyond Dawn are
doing these days in this Peaceville debut of theirs. However, though
sometimes capable of creating a relatively sombre and melancholic
atmosphere like they did before (which is occasionally vaguely
similar to what In the Woods... have done with some of their _Strange
in Stereo_), Beyond Dawn are also capable of excessively repeating
themselves and of inserting too much material which is neither
musically remarkable nor suitable to what the overall album
atmosphere could have been -- this concerns the happy-ish beats,
sounds or choruses of "Addictions Are Private", "Fairly Liquid" and
"Aage", for example. Overall, an album with some good moments but a
major lack of consistency and direction, which Beyond Dawn really
need to find one of these days if they are ever to be remembered for
more than some interesting passages.
Centinex - _Bloodhunt_ (Repulse Records, May 1999)
by: Paul Schwarz (4 out of 10)
Centinex have certainly been prolific over the last two years, this
being their third release since _Reflections_ [CoC #26] saw the light
of day in the Spring of 1997. Unfortunately, Centinex have done
exceptionally little in terms of improving their songwriting or
adapting their style since last year's _Reborn Through Flames_ [CoC
#35]. _Bloodhunt_ is unfortunately just what I expected out of
Centinex: more of the same. _Bloodhunt_ is better value for money
because it is a six track EP instead of a seven track (with cover
deducted) album. It is also more succinctly written on the whole and
thus possibly more listenable. However, Centinex are doing the same
thing as on _Reflections_ and _Reborn Through Flames_ (again, with
the help of a well-programmed, but ultimately crippling, drum
machine) and seem to have jumped on the "war metal" band wagon to
drum up support, since the cover of this EP features tanks, but none
of the songs seem to fixate on the subject of war. The reason I have
reduced Centinex to a four this time is firstly because the band are
really pushing it with how much they are repeating themselves, and
secondly because I recently checked out their _Malleus Malificarum_
CD from 1995, and it's better than any of their last three releases,
so I now know that the band have potential they are not living up to.
codeseven - _Division of Labor_ (TMC, 1999)
by: Adrian Bromley (8 out of 10)
It's hard to pinpoint just where on the new codeseven record
_Division of Labor_ the band makes a definite statement within their
music. For the most part, the new record is a solid showing of
potent, aggressively fuelled numbers that lash out with intense
clubbings of dexterity and uncertainty. There is a lot going on and
to actively try and sort through the selection of numbers is quite
hard. With a solid set of musicians crafting their sound and two
singers belting out raging lyrics, it's quite impressive to note that
codeseven bring a sound to their music (as they did with their debut
_A Sense of Coalition_) that few bands can do in this genre and that
is most definitely a compliment. The winning points most definitely
on the new disc are numbers like "How Many Miles to Babylon", "Steady
State" and "Leaches of Karma".
Control Denied - _The Fragile Art of Existence_
by: Adrian Bromley (8 out of 10) (Nuclear Blast / PHD, 1999)
I know there is a high contingency of metal critics out there who are
not at all impressed with Chuck Schuldiner's new band Control Denied.
Well, I am. For years Schuldiner has fronted Death, a truly
inspirational and highly influential band for death metal music, but
it's been very noted that in the past few years he has somehow grown
tired of what he has done with Death. For years word spread of
Control Denied, a new, much more technical project he was working on.
It was something new and fresh, far from what he had ever done with
Death. Finally the band is seeing the light of day in a time where
Schuldiner needs all the good news he can get, having recently
(within the last few days of finishing up Control Denied) been
diagnosed with a brain stem tumour. The music of Control Denied is a
skilful and technical set of material, superbly played and wilfully
guided by the hearty vocals of singer Tim Arymer. Whether Death fans
may or may not be into what they hear here, Schuldiner's guitar style
is all over the place, helping shape solid guitar passages that bring
out emotional sides to many of the tracks here. With a very classic
heavy metal style running throughout the music of Control Denied,
Schuldiner and co. play their hearts out here and the end result is
nothing more than magical. With a few misguided moments on the
record, it just goes to show that much like life (as Schuldiner has
recently discovered), it's not always a smooth ride to your final
destination. If Death has actually been put to rest by Schuldiner, so
that Control Denied becomes a full-time gig, then Schuldiner may have
some hard work ahead of him to move past the stunning grouping of
accomplishments he did with Death. In due time we shall see how this
all pans out.
Deathwitch - _Monumental Mutilations_ (Necropolis, July 1999)
by: Paul Schwarz (3 out of 10)
The description, in one review I read, of Deathwitch's music as being
"shitty Brazilian death metal" certainly seems apt when attempting to
describe _Monumental Mutilations_. It also provides some explanation
as to the material presented here is both raw and simplistic. If I
look at _MM_ from the perspective that it is trying to recreate the
"shitty" feel of _Morbid Visions_-era Sepultura, it doesn't surprise
me that creativity or variation aren't on Deathwitch's agenda.
However, that the aim of this was not ambitious does not excuse its
mediocrity. The material here is structurally simplistic, repetitive,
tedious and unoriginal, and though the Andy LaRocque production gives
the guitars a somewhat fierce roar and the drums a decent bite, the
style in which this potential beast conducts itself results in it
being a rather tedious and tiresome creature to witness in
performance. Further, _MM_ is not really great value for money, being
more of a thirty-six minute compilation than an album. Songs left
over from the sessions of their last album (1998's _The Ultimate
Death_) along with two covers (of Bathory and Sepultura) and two
re-recordings accompany the four original songs. When you add the
excessively uninspired lyrical content ("Possessed by fire / My
morbid desire / The flames reaching higher / I'm lost in fire" are
the opening proclamations of the "interestingly" titled "Fire Fuck")
you're left with virtually nothing to encourage you to pick up this
release.
Demoniac - _The Fire and the Wind_ (Osmose, May 1999)
by: Paul Schwarz (8.5 out of 10)
This is my first real taste of Demoniac. I saw them perform live in
London nearly two years ago, and they sucked [CoC #28]. Thus, though
I heard a number of tracks on samplers, I didn't check out their last
record, _Stormblade_ [CoC #23]. Not that it would have helped much
for serious comparison in this case, since Demoniac have almost
entirely changed their line-up and have totally re-thought their
sound. Where previously the band retro-thrashed their way through
rather uninspiring cracks at black/thrash metal, they have now forged
a way with very few to keep them company by opting to play speed
metal with some thrashing involved, and about six tonnes of melodic
riffs, fills, and insanely lengthy solos. What is weirder than the
transition is that somehow it works. Even the fact that Lindsay still
expresses himself vocally in all his hoarse black metal anguish
succeeds in elevating rather than reducing the record's overall
quality. The blazing solos come thick and fast and the
muscular-though-simple drum backing gives guitar widdling Sam all the
space he needs to weave his indulgent magic. The chorus and lead
melodies will be stuck in your head for weeks on end and Lindsay will
even have you tuning in to his intense delivery as a way to play the
two opposing considerations of heaviness and melody off against each
other. Unfortunately, however, Demoniac have a rather rash sense of
humour and rather low-brow view of people's feelings, a quality which
has got them into trouble with people via the lyrics of certain songs
on _The Fire and the Wind_. The particular culprit is "Myths of
Metal", which originally laid claim to the moniker "Hitler Metal".
The chorus of this song ends in the words "...Hitler metal, zeig
heil!" Though this is sure to be mistaken by countless people in the
future as a truly racist proclamation, close to the issue as we are
at present, we can find an explanation. Demoniac have stated that the
reason they chose the song title was because the music in the song
sounded like old German speed thrash. Thus, the lines in the chorus
translate to "German metal, hail!". It requires idiocy to be that
unthinking, but considering the alcohol quantities Demoniac consume
and the laid back syndrome of pure enjoyment which _The Fire and the
Wind_ represents, I think it is possible not only to forgive
Demoniac, but also to lie back and enjoy _The Fire and the Wind_ in
all its undiluted metal glory.
Dillinger Escape Plan - _Calculating Infinity_ (Relapse, 1999)
by: Adrian Bromley (9.5 out of 10)
Few bands out there have ever really blown me away on record and
live: Dillinger Escape Plan is one of the few. Hell, ask any CoC
member who has seen them live. They slay all. Like a knife-wielding
mugger in an alleyway, pummelling you black 'n' blue till you cough
up your money, DEP never let you go till the satisfaction of knowing
you'll be scarred for life is running through their brains. Heartless
and showing no remorse, the band's latest full-length _Calculating
Infinity_ (a follow-up to _Under the Running Board_) is a detonating
time bomb of hardcore/noisecore/metal numbers ready to go off. Run
for cover, 'cause with these guys on the loose there is no telling
when you'll get your beating. Brutally powerful, this comes HIGHLY
recommended. This is an experience.
Dog Fashion Disco - _The Embryo's in Bloom_
by: Adrian Bromley (7.5 out of 10) (Outer Loop Records, 1999)
Strange band name. Strange album title as well. And the music? You
guessed it... strange. With some of the most bizarre song ideas since
the early days of Strapping Young Lad, DFD is a unique set of
individuals setting out to make not only heavy music, but music with
enough diversity to not allow a genre tag to be placed upon it.
Bingo! They succeeded. The closest band I can pinpoint them as being
similar to is the ultra heavy 'n' cool outfit System of a Down, as
well as maybe a touch of Faith No More. Will the hard rock / metal
world be open to the music of DFD? Probably not. I mean, can you see
denim 'n' leather metal heads welcoming the baggy shorts and Hawaiian
shirt wearing freak into their fold? I don't think so -- but anything
can happen. Best of luck to DFD, 'cause they seem to have a blast at
what they do and they sure let me onto some weird musical numbers
such as "Leper Friend", "Toothless Dream" and "Pervert". Who said
heavy music couldn't be weird?
Doxomedon - _Evanesce_ (Dark Artz, 1999)
by: Pedro Azevedo (7 out of 10)
This Singaporean band certainly looks ready to impress if they can
release a full-length album that shows enough progression from this
MCD. _Evanesce_ is a well-produced MCD which, although only 16
minutes long, already makes it clear that Doxomedon have plenty of
potential and enough present ability to put together consistent and
interesting material. Their style has elements of both death and
mostly mid-paced black metal without sounding remarkably like any
particular band and the songs are dynamic enough to avoid becoming
repetitive, which is something not every young band achieves. There
is still room for improvement, of course, but the band can already
get some very interesting sequences together and I shall certainly be
looking forward to hearing a full-length sequel from Doxomedon.
Contact: Azli, Apt Blk 130, Pasir Ris,
Street 11 #01-291, Singapore 510130
mailto:doxomedon@operamail.com
http://www.bigfoot.com/~doxomedon
Dark Artz, Blk 95, #10-521, Aljunied Crescent,
Singapore 380095
Drakkar - _Quest For Glory_ (Dragonheart, 1999)
by: Alvin Wee (8 out of 10)
It's always pitiful to see a highly talented group of musicians
failing to overcome an obstacle which greatly mars their creativity;
similarly, it's sad to observe this excellent Italian four-piece
joining the multitude of new, vocally sub-standard power metal bands.
Good throats aren't exactly disposable assets anyway; I can name
offhand musically stellar combos: Heimdall, Gorgon, Days of Yore,
etc., all of which have failed to find a singer of similar standards.
As with most other developing Italian power/prog bands, Drakkar's
music is virtually a collage of their more firmly rooted
predecessors' work; more than a hint of Running Wild comes into play
alongside the ubiquitous metal crunchiness and suspiciously Blind
Guardian-esque group choruses. While little on the album may sound
even vaguely original, the group's impeccable ear for pure, honest
heavy metal pays ample dividends; "Wings of Fire" almost rivals the
finest power-ballads, and few, if any, complaints could be fairly
made on the remaining songwriting. Still, the incurably anal vocals
never rise above being barely tolerable, and if there isn't an
improvement on future releases, this otherwise brilliantly talented
quartet will never attain the elevated status they deserve. Lovers of
traditional metal and epic Manowar cliches ("blood was spilled, many
were killed") shouldn't pass up an opportunity to lay their
sword-arms on one of the better releases in the genre this season.
Ember - _Chapter III: Concession (& Anthology)_
by: Paul Schwarz (8.5 out of 10) (Shadow Play, July 1999)
Well, Ember have changed, that is for sure. Their cover art and
personal appearances (as many of us CoCers witnessed at the Milwaukee
Metalfest) have all changed quite considerably, and their musical
approach has followed suit, as this EP shows. _Concession_'s opening
song, "A Grave Misinterpretation of Life", kicks off with a
pummelling double bass run which is then accompanied by vitriolic,
thrashy riffing with a distinctly hardcore punk delivery. Any of you
who know Ember's previous demo outputs (all of which are included on
this MCD) will probably be scratching your head by this point and
wondering whether you're reading about the same band who made _The
Gate_ and _Within the Realm of the Snowqueen_. Well, you are, so read
on. Ember have essentially abandoned the mid-paced, build-up
atmospherics of _The Gate_ and have instead chosen to embrace black
metal's thrash roots in Destruction and Celtic Frost more closely,
adding a big dose of Slayer and a considerable dose of the punk
attack The Misfits and their contemporaries specialised in for good
measure. One thing Ember have cleverly retained and combined into
their drastically sped up new approach is their use of black metal's
repetitive, slowly changing melodic guitar passages, which the likes
of Immortal and Emperor helped pioneer the use of, and thus keep
their credibility and dark feeling, avoiding becoming an entity which
merely deals out aggression. With Jeff Islinger's help, the band have
capped things off with a great production. The verdict: Ember's third
chapter, and first step into the world of CD recordings, has pretty
resounding success.
Contact: PO Box 2177, Darien, IL 60561, USA (send stamp/IRC)
mailto:ember@heavymetal.com
mailto:emberr@gateway.net
http://www.impaled.net/ember
Fallen Empire - _Shadows_ (Fallen Empire / Dark Embrace, 1999)
by: Adrian Bromley (7 out of 10)
Few bands out there nowadays are sure to hit a solid stride within
their music with ease. It takes time for a band to gel into a certain
mould or style, something that gets enhanced as the experience seeps
into their craft. Fallen Empire is a true, sturdy example of that. A
good band from all corners, it's just the band really lacks fire
where it's needed most. With a certainly good black/speed/atmospheric
sound coating the six songs found on this release, I found some of
the material lacking some substance, something to push them into the
spotlight rather than sounding derivative like many bands coming into
the scene. I like their gritty, banshee-like vocals a lot and feel
that with enough hard work, and maybe a bit more money to invest into
production, the darkened ways of Fallen Empire will no doubt send out
a fierce wail of metal into our paths. As for now, take it with a
cautious listen, as they do have certain good ideas inserted within
what they do.
Contact: B.J. Cook, P.O. Box 409, Ward, AR 72176-0409, USA
http://www.fallenempire.com
Feast Eternal - _Prisons of Flesh_ (<Independent>, 1999)
by: Alex Cantwell (8 out of 10)
This band is definitely not for the elitist, art/prog metal people,
and although I too embrace the flood of creative and different metal
that the scene is currently experiencing, sometimes I just need some
full-on death metal and Michigan's Feast Eternal have totally kicked
my rump with their debut CD. Most assuredly, _Prisons of Flesh_ will
fit right in with one's Bolt Thrower collection, and is a huge
progression from their lacklustre demo of several years back. Feast
Eternal use the simple formula of downtuned, chugging riffs, low
register growling and double bass to get their point across, and they
use it to their advantage because they do it so well. A blast beat
surfaces in "Of Service and Suffering" a few times and sounds killer
with the tremolo guitar picking, setting this song apart from the
others, which move along at a steady pace for the most part. They are
also not afraid to pick through real chords, instead of relying
solely on power chord riffage, but that same intense riffing almost
ruptured my bowels several times while listening. An added note:
these three guys look like they have been through the line at a
"feast eternal"; not to rip on the lads, though, because who would
want to see some 90 pound mamby pambies playing crushing death metal
in a band called Feast Eternal?
Contact: Feast Eternal, P.O. Box 88, Grawn, Michigan, 49637, USA
Gardenian - _Soulburner_ (Nuclear Blast, 1999)
by: Matthias Noll (9 out of 10)
You think you already had a sufficient share of great melodic death
metal with In Flames' _Colony_ and Arch Enemy's _Burning Bridges_?
Wrong! Out of nowhere (not really, but I've never heard or even seen
their debut album) comes Gardenian with the excellent _Soulburner_.
The surprising thing with this record is the range of styles and
elements Gardenian have incorporated into their music while still
remaining focused and consistent -- from faster death metal tracks in
the _Death Metal_-era Dismember vein, to In Flames style mid tempo
crunchers with bits of melodic female vocals, to the incorporation of
a classic heavy metal voice. The latter vocals are provided by Eric
Hawk, singer of the long disbanded Swedish power metal group Artch
(if you're into power metal, check out their record _Another Return
to Church Hill_), whose vocal range and phrasing is similar to Bruce
Dickinson's. While one track is completely sung by Hawk, death metal
grunts dominate this record and the other styles are mostly used for
the choruses. Admittedly, neither clean nor female vocals in
combination with death metal grunts are revolutionary and countless
other bands have used these elements with varying success, but
Gardenian manage to take the bits and pieces and combine them beyond
the point of simply offering more variety, thanks to their
songwriting skills and their ability to write catchy material. Death
metal purists might shy away from the word "catchy" like the devil
from the holy cross (attention, Marduk and Deicide fans: of course
I'm aware that the devil can simply pulverize all christian symbols),
but don't get me wrong: I'm talking about songs in the league of
Paradise Lost's "As I Die", not Britney Spears material. The final
strong point of _Soulburner_ is the phenomenal production done by In
Flames producer Fredrik Nordstrom, who managed to combine the
professionalism of his work on _Colony_ with a rawer and heavier
guitar sound. In summary: this record does not innovate the genre but
offers a surprisingly big chunk of great, heavy music.
Hate Eternal - _Conquering the Throne_
by: Paul Schwarz (8.5 out of 10) (Wicked World, September 1999)
I figure any self-respecting death metaller, with ears, must be
between mildly upset and utterly devastated at the fact that
Suffocation have passed away and seem unlikely to return; I certainly
know it is a sore point among many of us CoCers. With this in mind,
Hate Eternal, on paper certainly, looks like an answer to your
prayers of sorts, for near the core of this project is old
Suffocation guitarist Doug Cerrito. Here, he has joined another
familiar face, Morbid Angel live guitarist, and a member of the
crushing Ripping Corpse back in the day, Eric Rutan. Add the talents
of Jared Anderson and Tim Yeung on bass and drums respectively and
you complete a fearsome package. _Conquering the Throne_ is the first
full-length offering this motley crew have produced, and the overall
verdict is definitely positive. There are strong echoes throughout
the record of both Morbid Angel and Suffocation, with the complex,
spiralling style of the first combining with the to-the-point
brutality of the second and creating a straightforward though lively
blend of the two, but Hate Eternal is not merely a blend of the
members' other musical engagements, previous or otherwise. When the
boys get the right mix of crushing brutality, a variety of riffs, and
some spirited solos, we get tracks of the likes of "Dogma Condemned"
and "Spiritual Holocaust", which are among some of the best death
metal songs you'll hear this year. Unfortunately, a few too many
tracks here get a little mired in their death metal
straightforwardness and there are thus patches of the album which are
a little unengaging. Overall, a worthy purchase if your tastes seem
to run with the style, but not a release which breaks through all
boundaries of individual taste. If you like death metal, this is sure
to put a smile on your face; how big that smile is and how long it
stays there depends on your personal preference.
Iced Earth - _Alive in Athens_ (Century Media / St. Clair, 1999)
by: Adrian Bromley (8 out of 10)
This is too cool. With the actual domestic release of this Iced Earth
live release being two CDs worth of live material, I was blown away
by what you got, but what got me really going was the European
import, which was three CDs (!!!) of live material. Wow! So even with
a copy of the new double-disc sent to me, I still opted to buy the
three-CD release. Good call, I might say. With the initial
double-disc being a solid sounding array of Iced Earth material both
past and present, it's the added bonus of the heavier tunes on the
third disc (i.e., "Disciples of the Lie", "Violate") that make this a
hearty investment. With a grandiose production and abundant
ultra-tight musicianship (something guitarist/mastermind Jon Schaffer
points out was always the key to this release), Iced Earth rock as
hard as anyone could have over the two nights this material was
recorded in Athens, Greece. Fans of the band and even fans of live
material will be thoroughly impressed by the way Iced Earth weaves an
energetic live show and passion into one blinding fury. This is so
good, you actually feel as if you are there. Iced Earth have had a
pretty good track record over the past few years and this big release
is testimony of that. Hail Iced Earth!
Impiety - _Skullfucking Armageddon_ (Dies Irae, 1999)
by: Alvin Wee (9 out of 10)
The Singaporean scene has been growing exponentially, and Impiety may
have been a bastion of the scene since their inception in the late
'80s, but nothing prepared me for the sheer power of this second full
length of theirs. Judging from their past catalogue, it's
unsurprising that _SA_ harks back to the days of Sodom and Sarcofago,
their present incarnation far exceeding their previous efforts in
ferocity and tightness. Transcending most of their countrymates,
Impiety more than adequately display their years of experience;
dropping much of the moderate death metal influence on their early
works, they unleash a scorching torrent of old-school black metal
speed and bone-crunching thrash riffs. As tracks like "Ironflames of
Hate" amply demonstrate, Impiety show no lack of talent for combining
pure aggression with aptly blazing solos; the blistering leads on
this killer record must rank among the best I've heard in the genre.
Lyrically, the band has traditionally been the butt of many a
reviewer's joke, and this album is no different. While not offering
much in the department of originality, Impiety's flowing stream of
fury more than makes up for their shortcomings, and like retro-greats
Aura Noir, they manage to get away with not-too-blatant plagiarism
without sounding like Bewitched. "Torment in Fire" is undoubtedly the
winning track, with the headbang-inducing "Ironflames of Hate" coming
a close second. If _Black Thrash Attack_ is a modern classic for you,
then _SA_ will definitely hold its ground in your collection.
Contact: Dies Irae, PO Box 337, Yishun Central, S(917612), Singapore
mailto:dayofwrath@mailcity.com
In Extremo - _Weckt Die Toten_ (Metal Blade, 1999)
by: Adrian Bromley (0 out of 10)
Let me get this straight. <shaking head> These guys are minstrels,
vagabonds and outlaws interpreting old minstrel tunes, some 1000
years old. <shaking head again> What the fuck? What are these German
metalheads trying to be? Is this show and tell? Possibly a theatre
workshop production in its working stages? Who knows? Stand clear,
metal heads, as there is nothing metal or "extreme" about what these
drunken imbeciles do -- they just make bad, annoying music. Cover
your ears and save your sanity. Pure crap.
Jane Doe - _Scars_ (<Independent>, 1999)
by: Pedro Azevedo (5 out of 10)
The start of opener "Unbroken" sounded interesting and made me expect
something different from what _Scars_ turned out to be -- soon the
excessively clear Sepultura influences and vocal Korn-isms started to
appear. Despite being an independent release, this nearly 17 minute
long MCD is competently produced and the band certainly shows very
reasonable skill and potential throughout its duration. In fact, for
its musical qualities only, I could have given _Scars_ one more mark,
but the influences I mentioned above are just too blatantly exposed
throughout most of the music. The fact that a band's influences are
somewhat visible isn't necessarily terrible, but I feel there has to
be more creativity and a stronger personal touch from Jane Doe in the
future. That way, the potential that they do show on _Scars_ may well
evolve into something more interesting.
Contact: Jane Doe, Ohrapolku 6, 14200 Turenki, Finland
mailto:janedoe_69@hotmail.com
http://www.geocities.com/sunsetstrip/cabaret/7382
Kaos Rain - _Killogram_ (<Independent>, 1999)
by: Adrian Bromley (7 out of 10)
I was pleasantly surprised and intrigued by the work of this
relatively unknown solo act (Joseph Lucifer) called Kaos Rain. From
the opening number of "The Sickness Unto Death", I knew I was in for
an uneasy ride of crafty music that meshed together death metal with
electronics. Not in the vein of Fear Factory, but much more
explorative as what Godflesh or, to a certain degree, Skrew have
tampered with. Even with a somewhat simplistic take on things at
times, Kaos Rain still manages to keep the listener interested in to
the direction each song travels. With enough ingenuity and bizarre
ideas rumbling within this project, there is no telling just what
Kaos Rain will conjure up next time out. And that's the fun of it --
not knowing. Interesting release for sure.
Contact: mailto:kaosrain@hotmail.com
Lacrimas Profundere - _Memorandum_ (Napalm Records, September 1999)
by: Pedro Azevedo (9 out of 10)
As Autumn arrives and rain starts to pour from the grey skies
outside, Lacrimas Profundere have released the right album for the
season, both for those who are struck by melancholy at the coming of
Autumn and those who feel Autumn inside all year long. _Memorandum_
was easily one of the best surprises I have had in a long time as far
as the fulfilling of musical potential goes. _La Naissance d'un Reve_
was one of those albums that have several really interesting
passages, but overall the band was still too inexperienced to make a
consistently good album. _Memorandum_ turns out to have the
consistency that _La Naissance d'un Reve_ lacked, while retaining and
improving all the qualities of its predecessor. This is something
that could be described as lovelorn doom. Both clean and death vox
are very well used, as are some female vocals, acoustic guitars,
violin, harp(!) and, of course, keyboard -- all this while still
being very clearly metal-based. Anathema's masterpiece _The Silent
Enigma_ occasionally comes to mind, as well as Sculpture's MCD _Like
a Dead Flower_ [CoC #30], both essentially because of the guitar work
and emotion, and _Memorandum_ manages to get very unusually close to
the best. Beautiful, highly emotional, very well crafted; definitely
one of the very best doom releases of 1999.
Contact: Oliver Schmid, Rosenstrasse 23, D-83329,
Waging am See, Germany
mailto:lacrimas.profundere@t-online.de
http://home.t-online.de/home/lacrimas.profundere
Melissa - _In Peace...?_ (Matek Records, 1999)
by: Pedro Azevedo (5 out of 10)
Before writing this review, I visited Melissa's homepage, where they
are described as a "Russian doom/death/heavy metal band". After
listening to _In Peace...?_, however, I am left wondering what
motivated such a description. They may be Russian, but there's not
much doom besides a My Dying Bride longsleeve on one of the band
members, not much death besides the usually semi-growled vocals and
not that much traditional heavy metal, either. This isn't an easy
album to describe, though. All the band members show considerable
skill throughout the album, except for the generally rather mediocre
vocals, and display a wide array of progressive and mostly
non-metallic influences. At their best, during tracks like "Innocent
Peace" and especially "Doncha Feel the Sky?", the consistently good
playing is joined by a sense of musical direction that does make some
very enjoyable material, but the rest of the album has a strong
tendency to lack the second half of that combination. Besides the
rather pathetic "Pizza Song" (during which Melissa get quite close to
being the complete opposite of a doom/death band like their homepage
described them) and the commercial-ish "Down and Fall", the rest of
the album is equally well played and produced but generally not very
remarkable. Melissa have enough skill, but their music still needs to
become a lot more interesting.
Contact: http://listen.to/melissa
Miscreation - _Miscreation_ (<Independent>, 1999)
by: Adrian Bromley (5 out of 10)
With enough gritty guitar riffs and tuned down vocals to satisfy any
death metal fan's fancy, Aussie outfit Miscreation spew venomous
concoctions of violence and anger to the masses. Too bad it's all
sounding way too similar to these ears. Think Cannibal Corpse meshed
with Malevolent Creation and you've got a solid take on where
Miscreation is guiding their music and sound. While the four songs
here do pack a wallop, it's a shame that the intensity put into their
aggressive sound couldn't have been spread around to find some new
ways of playing death metal. It's adequate, but nothing a die-hard
fan of the genre would search out and buy with all the other good
treats out there.
Contact: Miscreation, c/o Scab 63 Production, P.O. Box 830,
St. Marys 1790 NSW, Australia
mailto:odo@mpx.com.au
Mortification - _Hammer of God_ (Metal Blade, August 1999)
by: Paul Schwarz (2 out of 10)
I'm sure there are people who will say that my marks and judgements
on records such as this one and Narnia's _Long Live the King_ [CoC
#39] are based not on my honest musical judgements of what I hear,
but on my personal opinions about their religious stance -- which, in
both the cases in point, is Christian. I have wondered myself whether
this might be the case. I have come to the conclusion that it is not.
It's a strange thing, but as far as I have heard, the Devil does, in
the great majority of cases, have the best tunes. I am not implying
by this that my favourite bands correlate with the most
anti-Christian or Satanic bands in my collection, or that there is
any shortage of music that I love which has no Satanic or directly
anti-Christian agenda. What I am indicating, however, is that the
vast majority of the music I enjoy does not lyrically support
Christianity specifically or religious belief in general (yes,
Satanism is religious belief, but not much of the music I enjoy is
religiously Satanic) and is, more often than not, music which many
Christians, especially those belonging to groups similar to the PMRC,
would have objection to on some level. Immolation, Autopsy, Kreator,
Manowar, even Black Sabbath are not bands whose shirts you could walk
into a church wearing, and not draw some, at least slight,
disapproval from most people. Coming back to the point of reviewing
this record, Mortification seem to have two main fall-downs which
make enjoying the albums of theirs I have heard an impossible
undertaking. The first and less important of these is their lyrics,
which are rather dumbly written, comparing in writing quality to the
childish, proclamatory bluntness of early Possessed or Slayer lyrics
(though Mortification's advanced years and obviously serious agenda
means that this makes them look unintelligent, rather than simply
young and thoughtless) and, as we covered earlier, voice sentiments
which I do not agree with, thus attempting to back up a system and
even history which I have a number of serious issues with. The second
and very central fall-down of Mortification is, quite simply, the
quality of the music they create. _Hammer of God_ churns out
countless -- no, scratch that -- very few boring riffs over its 50
odd minute duration, but this is because the song structures are
tediously and gratuitously repetitive, not because there are any
seriously good riffs in residence. The vocal performance of Steve
Rowe is similarly unspectacular and lacks both character and punch.
The rhythm section which implants itself behind this pitiful musical
tapestry is similarly repetitive, boring and uninventive. In
summation, Mortification are a bit Sinister (definitely capitalised),
certainly seem to have found Benediction, and are ultimately nothing
more than a weak, behind the times death metal band, running out of
ideas faster than many frustrated teenagers lose their faith in God.
Necrodeath - _Into the Macabre_ (Scarlet, 1999)
by: Pedro Azevedo (6 out of 10)
The retro-thrash that Necrodeath play throughout _Into the Macabre_
may sound rather dated, but they certainly can play it well enough to
keep things enjoyable. On one hand, decent production and playing
skills together with reasonable songwriting and consistency; on the
other hand, the feeling that you could pick up one of many classic
thrash albums and find that time hasn't brought any new elements to
what Necrodeath do. Listenable? Sure, displaying enough skill to make
a solid thrash album, but unable to add anything new to the mix --
one would think that all these years since the most productive times
of the thrash genre would have brought some musical or technological
innovations of some kind, but that's not the case here. Although far
from the quality of something like Aura Noir's _Deep Tracts of Hell_,
_Into the Macabre_ is still a very competent album, better than what
such a remarkably poor band name might suggest, and therefore this
may still please some dedicated fans of the genre who aren't worried
about originality or innovation at all.
Night to Die - _All Evil Crying_ (Repulse Records, 1999)
by: Adrian Bromley (8 out of 10)
With a definite Spanish feel to their melodic death metal style,
Spanish metal quartet Night to Die are not afraid to lash out in
anger, while at the same time drawing back into a softened state of
affairs as they go about their business. In other words, they play as
they see fit. With just three songs to really get into their work --
an EP sometimes provides little idea of what a band is about --, the
listener gets a varied sound emanating from the rather abrasive yet
melodic outfit, with the band on one end coming out like vibrant
heavy hitters on "A Piece of Soul" and softening their attack with
the truly mesmerizing ways of "A Storm Is Coming". A bit of both
worlds from Night to Die and quite superbly leaving the gate open as
to where they can go for future releases. I await their new effort.
Contact: Night to Die, c/o Francisco Rey Manzarro Ceballos,
14 1 Dicha, 11003 Cadiz, Spain
mailto:souldevourer@ctv.es
http://www.repulserecords.com/nighttodie
Neurosis - _Times of Grace_ (Relapse, 1999)
by: Adrian Bromley (9 out of 10)
While this record has been out for a few months now, I am finally
giving it a shot and reviewing it. This hasn't been and easy one to
take upon as a reviewer. Since this record first came into my
possession, I have been perplexed, disturbed and equally blown away
by the band's continuing evolution as a truly harmful nightmare. With
brutality served on a grandiose scale, Neurosis dig deep into their
emotional bag of goodies and let loose a rollercoaster ride of
feedback, distortion and widespread anger. It's not a pretty picture,
but when has the music of Neurosis ever been heartfelt and shining
with passion? Never. And that's the way it stands for _Times of
Grace_, probably the most punishing release the band has ever served
up. With numbers like "The Doorway", "Exist" and "Descent" keeping
this runaway train plowing down the tracks, it's no wonder why
Neurosis have garnered such press for the follow-up to _Through
Silver in Blood_. It pushes the boundaries and musical styles a bit
more, managing to ravage our psyche and bring down cascades of
intensity upon our souls. This is powerful stuff and a truly gifted
offering from one of the best bands out there today.
Obscurity - _Damnations Pride_ (Scarlet, 1999)
by: Pedro Azevedo (3 out of 10)
Coming from the same label as Dominance (whose rather interesting
_Anthems of Ancient Splendour_ I reviewed in CoC #42), I expected a
lot better from Obscurity. Similarly to their other labelmates
Necrodeath [reviewed in this issue], Obscurity play in the
retro-thrash league, but they're bound for relegation unless they
dramatically improve after _Damnations Pride_. They share
Necrodeath's lack of new ideas, but not their skill and consistency.
Even if the vocals weren't so damn terrible (which they are),
_Damnations Pride_ still consists solely of unremarkable, poorly
written and performed thrash, the sound of which often varies from
track to track without ever actually being good. Low quality stuff.
Of the Fallen - _Of the Fallen_ (<Independent>, 1999)
by: Adrian Bromley (7.5 out of 10)
With a blistering opening number in "From the Depths", Texas
blackened metal warriors Of the Fallen show off some impressive
guitar work and heavy vocals, blistering the song's structure with
some ungodly pressure and ramming a fist of metal into our craniums.
With just six songs on this self-titled effort, these guys don't hold
back any punches as they crush all in sight with their strengthened
charge. This is the kind of incinerating guitar riffs and vocals that
seem to make this scene seem so alive and vibrant. With a touch of
style all their own, OtF manage to break away from standard guitar
work and black metal tendencies and add their own take on crafty song
writing, relying somewhat on melody and complex song ideas (ie:
"Shores of the Damned" and "Spirits of the Black Waters"). In the
end, after nearly being run down with their 28-minute opus, OtF move
onward, leaving us cold, battered and confused as to what juggernaut
just mowed us down. One of the stronger indie acts to submit stuff to
CoC in some time, especially from Texas, since the last band from
there to kick our ass was Death of Millions. Check out Of the Fallen.
Contact: P.O. Box 203213, Austin, Texas, USA 78210-3213
mailto:ofthefallen@hotmail.com
Prophecy - _Contagion_ (Pavement, 1999)
by: Adrian Bromley (8 out of 10)
While starting out like a complete clone of many CoC writers' fave
band Fear Factory (think _Soul of a New Machine_-era FF), Prophecy
redeems itself early on with a solid and well-executed record. This
is a very promising act. With enough industrial/death metal mixings
to add diversity to the record's material, it's the keyboard work and
atmospheric ways of the band's song ideas that really give
_Contagion_ its highlights. While machine-gun styled drums blast
away, the guitar riffs stay heavy. A masterful array of keyboard work
adds haunting qualities to each and every song. With each listen, I
can see how many metal fans might see this as a Fear Factory clone,
but it must be pointed out, this band lacks the brutality of FF, and
that is their saving grace. Any band could have gone out, mixed the
two styles and played heavy till the cows come home, but Prophecy
plays it smart and brings a definite likeable feature, that being
their crafty ability to add atmosphere to each number. Highlights
include: "Sexual", "Digit Contagion" and "God Wrath".
Samael - _Eternal_ (Century Media, August 1999)
by: Paul Schwarz (8 out of 10)
_Eternal_ proved to be one of those albums which initially (as in up
to about the sixth listen) left me with a very bitter, unsatisfying
taste in my mouth. To be honest, if I'd written this review only
having absorbed _Eternal_ a few times, it would probably have been
negative not only from the point of view of my personal taste, but
also in assessing the progression of Samael since their last album,
1996's _Passage_ [CoC #14]. Why am I bothering to tell you my
defunct, discarded opinions on _Eternal_, you may ask? So that you
yourself don't make the mistake of discarding this record after only
a few listens. _Eternal_ doesn't grab you on the first few listens;
it may never grab some of you: Samael's chosen progression is certain
not to be unequivocally pleasing either amongst long-time followers
or those to whom _Eternal_ will act as an introduction. What is
certain, however, is that _Eternal_ has had hard work and thought put
into it, and deserves a fair hearing before judgement on it can be
accurately passed. There is a sense in which _Eternal_ is a natural
progression from _Passage_. Samael continue to use and experiment
with programmed drums and the constant, somewhat avantgarde and near
over-the-top symphonic and choral augmentation is, if anything,
heightened rather than reduced on _Eternal_. The central and key
difference between the Samael of _Passage_ and that of _Eternal_
seems to be that now the music is, for the most part, led by piano or
keyboard and not guitar riffing. However, two other important
differences are that the vocals are less harsh, though still avoiding
the melodic, and the percussive backbone has a bouncy, technotronic
feel which infuses the record with a distinctly non-metal air. With
these key alterations to Samael's song structures comes a slew of new
or more fully utilised sounds and techniques which give _Eternal_ its
complex and absorbing texture. Vinyl scratching, electronic sound
loops and an increase in leading keyboard melodies, as already
mentioned, mean that _Eternal_ breaks away from not only the sound of
past Samael records, but also their feel. This new opus is distinctly
more catchy, and though avoiding poppiness, is certainly far from
being something the death or black metal scene could take sole credit
for creating. There is, all the same, a serious downside to this
expansion. _Eternal_ lacks the dark atmosphere which imbued _Passage_
and its predecessor _Ceremony of Opposites_ with the power to
emotionally affect and infect listeners with a slight feeling of
uneasiness. _Eternal_ exudes a vague malevolence well concealed
behind the catchy symphonics and sombre, proclamatory vocals, but it
doesn't compare in impact to the dark atmospheres the band have
previously created, particularly on _CoO_. This seeming shortcoming
accepted, however, _Eternal_ does possess its own character and is
convincing and consistent thematically, without lacking variation.
Samael's new direction is a considerable amount to take in. You may
not like all the changes and progressions, I know I don't, but it
certainly is complex and inventive, and I think you have to give
Samael credit for that in a period for music where tribute records
are a dime a dozen, and rip-offs and rehashes pass quite unnoticed as
"new" albums.
Satyricon - _Rebel Extravaganza_ (Nuclear Blast, September 1999)
by: Pedro Azevedo (9 out of 10)
In a time when many claim that black metal is dying and progression
only seems to continue in its more symphonic side, Satyr has decided
to show a different path that is likely to be followed by plenty of
bands in the coming months. With very few exceptions, the music on
_Rebel Extravaganza_ has been stripped of all the keyboard components
that were usually part of Satyricon's music and of classics like
"Mother North". This is all guitar, rhythm and voice. Though many
bands these days might collapse without the aid of a crutch like an
easy background keyboard melody can be, Satyricon have produced an
outstanding album thanks to the remarkable performances of all three
components I mentioned before. Innovative guitar work is the
highlight, very aptly produced and combined with vicious vocals and
highly effective and varied rhythmic structures. While "The Scorn
Torrent" features one of the most intense album finishes I've ever
heard, tracks like "Tied in Bronze Chains", "Filthgrinder" and
"Supersonic Journey" consecutively introduce new, and often
surprising, elements through complex song structures, while remaining
able to keep very high interest levels. Complexity, subtlety,
innovation and quality are very seldom combined as well as on _Rebel
Extravaganza_, an album which is equally able to be very brutal,
melancholic and catchy. Satyricon show that they are treading their
own path, and with remarkable results.
Soilent Green - _Sewn Mouth Secrets_ (Relapse, 1998)
by: Matthias Noll (8 out of 10)
We are very, very late with reviewing this record. Frankly, that's my
fault, because initially I offered Gino to review it when it came out
and then did not deliver. The reason for this is not laziness on my
behalf but the fact that _Sewn Mouth Secrets_ is one of the ugliest
bastards of a record which ever managed to creep inside my CD player.
And as it is painful and irritating to listen to it, it's also no fun
at all to review this beast. The impact of this record is like a
blunt weapon repeatedly hitting your skull while in between the blows
a rabid dog mangles your ankles. Musically, this approach manifests
in the various styles incorporated by the band. Crowbar's
sluggishness and fusion of Black Sabbath with southern rock meets
grindcore meets over-the-top Pantera. On top of that rages singer Ben
Falgoust, who alternates between grunts, a 95% Phil Anselmo
impersonation, black metal rasping and delirious spoken parts. While
a singer with four different styles seems to guarantee the ultimate
degree of variety, this turns out to be a two edged blade and one of
the reasons why I can't get totally into this record. Far too often
does the vocal style follow the music too closely: fast part, rasping
vocals; slow part, growls; chaotic part, spoken words. With the
variety becoming predictable, this starts to get annoying soon. What
turns me off most is the delivery of the spoken sections, which
sounds weak, like a drunkard babbling some nonsense above a
background of equally senseless noise. These parts can ruin a whole
otherwise great song for me. Lyrically, _Sewn Mouth Secrets_ comes
across quite disturbing, dealing with rape, torture, depression and
other related topics in a frighteningly personal way. The sound is
good, heavy and crisp, but there's enough room for improvements the
next time around (like Crowbar's _Time Heals Nothing_ in comparison
to _Odd Fellows Rest_). I haven't been able to identify any standout
tracks on _Sewn Mouth Secrets_ and the heaviness, insanity and
intensity is kept on one level through all the tracks, which can be
quite exhausting and makes listening to the whole record in one
session a challenge. So, if you think that is exactly how you like
your metal, this is the record you should buy immediately. With the
review being done now, I'll immediately put on _Whisper Supremacy_ to
finally relax a bit.
Solefald - _Neonism_ (Avantgarde, September 1999)
by: Pedro Azevedo (6 out of 10)
"The hard will be harder, the passion will be more passionate, the
ecstatic more ecstatic." Thus wrote Cornelius about what he expected
the successor of _The Linear Scaffold_ [CoC #29] to be like when I
interviewed him for CoC #30. I wonder what happened in the mean time,
because _Neonism_ isn't any harder, more passionate or more ecstatic
than _The Linear Scaffold_; quite the contrary throughout the vast
majority of the album, actually -- and that's not just because of the
disappointingly inferior production. What's worse is that I often get
the impression that Solefald didn't even especially strive to achieve
those objectives I quoted before with most of the material on
_Neonism_, which often just completely lacks direction. They have
excellent moments during "Fluorescent (The Total Orchestra)" and
"Proprietors of Red", reminders of the music they used to make, but
then they have atrocious tracks like "CK II Chanel N.6", "Omnipolis"
and some of "Third Person Plural", and some things can even sound
rather silly at times. "Speed Increased to Scaffold" and "Backpacka
Baba" are two good examples of the sort of weirdness one can expect
from Solefald producing reasonable results, but almost everything
seems to lack the intense emotion that was present on _The Linear
Scaffold_ and never get anywhere as good. There, the unexpected
weirdness was present, yet the results almost always seemed great or
at least something great would follow soon. That doesn't happen with
_Neonism_; often emotion-lacking misguided weirdness dominates most
of the tracks, producing poor results. Solefald should have been able
to focus their hugely varied musical influences and talent into
interesting music far more consistently than they have done here,
especially taking _The Linear Scaffold_ into consideration. It really
is a grief to listen to that debut of theirs and compare it to most
of _Neonism_, which overall isn't in itself a bad album at all, but
really, -really- pales in comparison to its predecessor.
Suicidal Winds - _Winds of Death_ (No Colours Records, August 1999)
by: Alvin Wee (6 out of 10)
There's a limit to how much retro-thrash even a hardcore Destruction
fan can take, and this one's pushing the limit already. Breaking
lotsa heads and little new ground are Swedish thrashers Suicidal
Winds with their debut slab of Sodom-esque ragings. Spewing forth
mandatory Destruction and Sodom riffs at hyperspeed just doesn't cut
it in today's saturated "retro" scene, and the pedestrian delivery on
_WoD_ doesn't do much to alleviate the monotony of the album. While
boasting some remarkable leads (on "Destroy") and killer hooks on the
slower sections, much of the music fades into the background once the
speed picks up. To be fair, their demo _Definitely War_ received few
unfavourable comments in the underground, and this very album
impressed a few who heard the pre-release promo. Still, I'd stay with
labelmates Urgehal, and, just to prove that retro-thrash can be
interesting, Swordmaster's _Deathrider 2000_. Either it takes more
than these boys have to attain an Aura Noir ferocity, or they're not
prepared to unleash it with their sophomore effort. Either way, only
time will tell... (The vinyl version contains two extra tracks, and
might be more worth your gold: CD 25DM, LP 22DM + postage.)
Theory in Practice - _The Armageddon Theories_
by: Alvin Wee (8 out of 10) (Pulverised, Autumn 1999)
I'm usually put off by excessive "progression" or technical elements
in music: I see it as a poor excuse for poorly written melodies.
There are instances, however, when such can be forgiven, even
welcomed, as in the case of TiP's brand of highly technical thrash.
Twisted, disharmonic bludgeoning segue seamlessly into incendiary
solos, painting upon a mystical canvas a trans-dimensional
soundscape, complex and entrancing. I must admit, I'd first
approached this band with a distinct distaste brought about by
reviews of their earlier work on the label. It would be unfair to say
my first listen wasn't without unpleasantness, but subsequent efforts
did the job of exposing my rash judgement. Only a short-sighted
reviewer would brand the music pure progressive thrash a la
Meshuggah; a distinct black metal influence pervades the entire
album, not so much a concrete sequence of riffs or melodies, but more
a subliminal suggestion latent in the structure midway through
"Departure" or the opening of "Dehumanised". To pull off the barrage
of convoluted riffage and the numerous blazing leads as smoothly as
these boys do is no mean feat, and TiP display no lack of the innate
ability and honed virtuosity needed to produce and perform such. I
may be no expert in the genre, and no doubt some others will probably
find more in this than I can, but suffice it to say that _TAT_ is
good enough to tear this purist from his old-school cravings for a
time, at least.
Tulus - _Evil 1999_ (Hammerheart Records, June 1999)
by: Aaron McKay (9.5 out of 10)
I am inspired by this supreme black metal manifesting itself as
Tulus! The Norwegian band known for transforming into the live
line-up for Old Man's Child has struck the mother lode of elemental
iniquitousness. Coming off an apparently less than adequate
relationship with Hot Records due to budget and promotional concerns,
I understand, Tulus inked a deal with Hammerheart to kick out _Evil
1999_. First, the core of this spectacular effort is the musical
craftsmanship. The instruments, all powerful and all bludgeoning, are
also separate and imaginatively distinctive. Second, the bass work is
absolutely incredible. Black metal, in my opinion, does not have the
world's best track record for astounding low-end bass manipulation,
but Tulus changes that completely. As evidence, listen to track
three, "Draug". Without a doubt, one of the most inspired couplings
of bass and guitar riffing I've heard in recent years. My personal
favourite is "Salme", song six on this masterful release. A perfect
blend tilting towards the harmonious in the track's aggressive black
metal approach. I assure you, with each listen, I am sucked deeper
and infinitely deeper into the furious and pandemoniac world Tulus
creates with _Evil 1999_.
Tumulus - _Wodureid_ (No Colours Records, August 1999)
by: Alvin Wee (7 out of 10)
A full four years since their unintentionally obscure debut with
_Mock_ on Dutch Hammerheart Records (who apparently ripped them off
big time), German trio Tumulus ride forth with a new mini-opus of
medieval Germanic folk and metal. Unsurprisingly Odinnistic,
_Wodureid_ could prove to be yet another vehicle for No Colours to
launch forth their infamous nationalistic/Pagan spiel. Dogma aside,
though, this four-tracker is far from something to set your drink on;
despite being chronically undecided in the realm of musical
direction, the three medieval tracks evoke the Pagan/Heathen
atmosphere as effectively as any Ulver instrumental. Strangely
enough, the album begins with the raw heavy/black metal track
"Wodan's Jagd" ("Odin's Hunt"), musically reminiscent of old epic
Bathory circa _Blood on Ice_. Quite good, really, if a tad passe.
What follows is a truly medieval heathen war-hymn replete with
droning flutes, martial drums and clear singing. Things take yet
another turn with "Sunnwend", an epic chorus more evocative of
Middle-Age cathedral chanting than the previously hinted-at pagandom.
Suitably lush with nicely penned keyboards and choirs, this one
should prove a hit with fans of Raison d'Etre et al. Rounding off
festivities is the instrumental outro which smacks roundly of Ulver's
early acoustic work, less ritualistic, more folk now, leaving this
listener thoroughly confused as to these bards' musical intent. All
said, this somewhat incomplete release should see Tumulus making the
rounds in the tape-trading scene (if one still exists), but as for
long-term enjoyment, more discerning listeners will find more
pleasure in _Kveldssanger_. Don't give up on these boys yet, though,
word's out they're working on new stuff; in the meantime, 17DM plus
postage should see this one winging its way to you.
Contact: No Colours, Postfach 32, 04541 Borna, Germany
Withered Earth - _Something So Pure_ (White Noise, May 1999)
by: Paul Schwarz (8.5 out of 10)
Withered Earth's debut, _Forgotten Sunrise_ [CoC #36], impressed me
quite considerably after I received it from their then record
company, Italy's Cryptic Soul. The band's inventive craft of mixing
the types of breakdowns, repeated circular structures and catchy
grooves which are more commonly associated with the hardcore style of
bands like The Dillinger Escape Plan or Vision of Disorder with a
dark and guttural death metal core which owes its debt to the
sludgily atmospheric likes of Incantation and Immolation provided a
sufficiently fresh perspective on death metal to make me stand up and
pay close attention. _Something So Pure_ is an EP which follows much
the same vein musically but adds an improved production, by Bill
Koreckie (Incantation), and somewhat tighter songwriting to Withered
Earth's list of pros. Withered Earth are steadily honing their craft,
and I think it wouldn't be a considerable stretch to expect their
upcoming second full length to be something worthy of considerable
attention.
Contact: 5 Beechwood Drive, Rochester, NY 14606, USA
mailto:witheredearth@hotmail.com
http://www.witheredearth.com
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If you have a band, don't forget to send us your demo with a bio if
you want to be reviewed; our address is included in the zine's
header.
Scoring: ***** -- A flawless demo
**** -- Great piece of work
*** -- Good effort
** -- A major overhaul is in order
* -- A career change is advisable
420 - _Reality_ (2-track demo)
by: Paul Schwarz (**---)
I am getting pretty sick of receiving demos which I can so easily,
and justifiably, file under the heading "typical uninteresting
American death metal". The music here embraces the Cannibal Corpse
school of death metal most thoroughly. 420 stray from the CC path
somewhat, but never attain any of the recent and worthwhile heights
of Dying Fetus, Angel Corpse or Pessimist (to name but a few) and
essentially seem content to repeat the tried and tested musical
formulas of the past, which, let's be honest, most of us don't need
to hear any more of. It's not that 420 are the only ones, or the
worst ones, but someone has to get it in the neck for not trying hard
enough, and today it's them. If you can tolerate unnecessary,
sub-standard rehash, you might enjoy this. I would rather listen to
my old records.
Contact: Matt, 62 Sprucewood Dr. Levittown, NY 11756-3814, USA
mailto:chaos1417@aol.com
Anaal-Nathrakh - _Anaal-Nathrakh_ (4-track demo)
by: Pedro Azevedo (****-)
Brutal, harsh and furious -- and the same can be said about the
insane vocals. Anaal-Nathrakh's first demo reaches excellent levels
of intensity during the first couple of tracks as the band
mercilessly attacks with their own sort of harsh black metal (which
they call "necro metal"). What Anaal-Nathrakh managed to do
remarkably well for a band who has so little experience was focus all
the fury and aggression with which the music is delivered into
enjoyable songs through smart guitar work that occasionally rises
from amidst their wall of sound to keep things really interesting --
all this backed by an intense rhythmic section and complemented by
the vocals I mentioned above. The music therefore manages to remain
catchy in its very own way and the production achieves a very
interesting balance between harshness and power. A cover of Mayhem's
"Carnage" very appropriately ends the tape. Simple, but very
effective and highly devastating. A new tape from Anaal-Nathrakh is
supposed to be nearly ready, and I can't wait to hear it.
Contact: Necrodeath Studios, 15 Standlake Avenue, Hodge Hill,
Birmingham, B36 8JR, England
mailto:dbanger@globalnet.co.uk
http://www.mp3.com/necrodeath
Core Device - _God & Man_ (5-track demo)
by: Paul Schwarz (***--)
With an unusual combination of melancholic doom-esque melodies,
elements of groove-core (a la Machine Head), and a more traditional
metal side comprising their chosen musical style, Core Device bring
us this very well produced five track demo. I am not the greatest fan
of their style -- the more shouty vocals they use particularly put me
off at times -- and my enjoyment of _God & Man_ as a whole is
certainly patchy, but I must admit that the band do seem to be trying
to do something original instead of just ripping off others. There is
also some accomplished musicianship on display and a well-managed set
of dynamics (from heavy, chugging riffs and angry vocals, to melodic
guitar runs and well-written acoustic passages with appropriately
mellow vocal lines for accompaniment) in action. In a
non-condescending way, I would say that fans of the style of heavier
Iced Earth material like "Disciples of the Lies" will probably be
quite enamoured with this. I myself respect the band's talents,
though I don't take much pleasure in consuming their art.
Contact: 14 Field Avenue, Red Bank, NJ 07701, USA
Phone: (732) 487-6138
mailto:CoreDevice@aol.com
Lupus - _After the Geniirising_ (5-track demo)
by: Pedro Azevedo (**---)
This tape of forest-bred "Slovenian misanthropic black metal"
certainly has a promising start, with opener "A Walk Into Unfriendly
Summits" easily being its best track. The production is very raw; the
vocals are mixed too loud, to the point where the remaining
instruments tend to lose some strength (not that they had much in the
first place) whenever the vocalist enters the scene. But although the
production could have been much better while still retaining a cold,
raw feel, it doesn't ruin "A Walk Into Unfriendly Summits", which has
enough quality to overcome that. It does, however, start to become
annoying as the tape goes on and only occasionally does anything get
anywhere nearly as good as the opening track. The fast sections are
especially harmed by the poor production, while the slower or more
atmospheric passages are nothing really special anyway. Nevertheless,
if Lupus ever manage to create a whole tape with the kind of musical
and atmospheric quality of the opening track and achieve a better
kind of raw production, they may well double the rating above.
Contact: www2.arnes.si/~sopagost/lupus/Index.html
mailto:tormenthor@hotmail.com
Pagan - _Heathen Upheaval_ (7-track demo)
by: Pedro Azevedo (***--)
What this Turkish band really lacks for now is power and aggression.
Their mostly mid-paced melodic black metal is well played, the songs
are reasonably well written, the production is decent and the
packaging was well taken care of. The problem is that they tend to
lack the ability to create really powerful riffs, some intense
drumming, faster passages that actually work or anything with which
they can build a -really- powerful sequence. The music tends to be
somewhat tame, though far from ridiculously so and always reasonably
good in its own way (especially during "Marching of the Hordes" and
"The Ascending"), but the overall lack of power isn't compensated
enough by remarkably great melodies or darker atmospheres. As a
result, _Heathen Upheaval_ is still a decent effort and features some
interesting passages, but overall it remains unable to impress as
much as it could have.
Contact: Pagan, PK. 2 Baglarbasi, 81150 Usk Udar, Istanbul, Turkiye
mailto:heathen_dominion@usa.net
The Chasm - _Promo 1999_ (4-track promo)
by: Paul Schwarz (*****)
Of course it's a little unfair to review this as a demo, since it's
really a sampler by a band with two full-length albums under their
belt, but I feel that giving exposure to this unusually excellent
band is more important than pedantically enforcing "the rules".
Daniel Corchado (ex-Incantation/Cenotaph) and his bandmates seem to
have lost none of their talent or drive for creating intoxicating
atmosphere with a traditional death metal band setup (two guitars,
bass, drums and vocals). On the three songs, fronted by an
instrumental intro, of this promotional EP, they showcase the same
style as was in evidence on their _Deathcult For Eternity: The
Triumph_ [CoC #40] record, and while the rage and depth is still very
much present in their material, this new stuff is not a big step on
from the sound of _DFE:TT_. To be honest, though, a big step on from
_DFE:TT_ is not necessary at this point, as the various avenues that
record wandered around have yet to be exploited to their full. In any
case, the indication is that once the band find a new label (they
have left Oz productions and are currently in search of a new deal)
and record a new full-length, hopefully with more money and time at
their disposal, the results could be pretty spectacular. Here's
hoping the right label pick up The Chasm and the band thus get the
help they need to take their art to the next level. I wish them all
the luck in the world and urge all of you to keep a close eye out for
this gem of a band.
Contact: Daniel Corchado, 6240 S. Kedzic Ave. Apt. 204,
Chicago, IL 60629, USA
mailto:chasmcult@juno.com
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\/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/
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\ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\
\ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\
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T A M I N G T H E B E A S T O F M I L W A U K E E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC covers the Milwaukee Metalfest XIII
at the Milwaukee Auditorium in Milwaukee, Wisconsin
Friday and Saturday July 30th & 31st, 1999
by: Aaron McKay (supplemented by Jerry Hrdina)
Whew! Quite a motherfucker Jack Koshick puts on every year in
the not-so-quiet city of Milwaukee, Wisconsin. Plagued too close for
comfort toward the show's concert date of July 30 by location changes
-- the venue moved from last year's Eagle Ballroom to the state
fairgrounds (thank god it wasn't held there), ultimately
materializing at the Milwaukee Auditorium. For all the location
questions prior to the event, I might say the strife was worth it due
to the fact that I think that the Milwaukee Auditorium was as close
to perfect as one could hope. I say this due to the fact that, for
the most part, my fellow metal advocates tend to be a touch more
rowdy than we are tidy! At any rate, here is what unearthed itself
over the two-day sheer blur of metal sequence...
Upon a natural path of familiarizing ourselves with the
Milwaukee Auditorium, my ol' college chum, Jerry Hrdina, and I
navigated a course to absorb The End Records' Epoch of Unlight. EoU
was, without a doubt, one of the biggest reasons for me attending
this year's fest. I was -not- disappointed! The group sounded
flawless performing as a three piece unit. Vocals were clear (both
the gruff and serpentine voices handled by EoU's guitarist) and Tino
LoSicco's incredible drumming through the twenty minute set was
honestly stunning. As a worthy side-note, look for EoU on tour with
Dimmu Borgir and Samael later this year. Right after Epoch of Unlight
came the masters of crunch. "You know what time it is! Jungle Rot
time", articulated Dave Matese, guitarist / lead growler for the
band. Damn fine riffing, crushing and pulverizing, going down here
from JR in the concert room, Kilbourn Hall, that will soon prove to
house the -vast- majority of acts worthy of Metalfest attendees. I
was blessed to hear a track or two from the impeccable _Slaughter the
Weak_ as Jungle Rot thrusted their way through another all-too-short
time allotment.
I slipped into Juneau Hall to stare at the laughable stage
antics of St. Madness for a few moments. Unknowingly, this little
manoeuvre cost me valuable time in which I could have been seeing
Candiria in the main hall. This, in retrospect, steams me to no end.
Live and learn. Another little faux pas I made was standing around a
touch too long (out of earshot, I might add) of The Gathering. I did,
however, manage to wrap myself in the last song performed by the
band. Musically and vocally spectacular -- so much so that my friend
accompanying me to the Metalfest, Jerry, spent a large portion of the
ensuing hours attempting to track down a copy of -anything- by The
Gathering. Jer's exercise in futility fuelled solely by the power of
-one- song should tell you something about this performance.
"Unfortunately I only caught the last song of The Gathering's set,
but what I did hear was very impressive. Solid performing and
songwriting plus the bonus of Anneke van Giersbergen's soaring,
soulful vocals makes this band stand out of the crowd", Mr. Hrdina
articulated.
Before I get to the dregs of Friday, I want to regale the yarn
of the most impressive band of the Metalfest -- Neurosis. As Jerry
said, "Neurosis brought psychedelic influences into their style both
musically and by visual stimulus. The movies they projected behind
the stage captured the eye and the music's hypnotic passages drew the
listener into the performance. It was a good contrast to the speed
driven bands that populated the festival." Personally, I am forced to
admit I was -never- a fan of Neurosis' style, that is until I saw
them perform live. I did a complete 180 degree turn with regards to
my opinion of them. The set was magnificent! Excellent film/movie
footage showing behind the band in the main hall. The crowd was
appreciative of the more than striking musical spectacle going on
before their eyes, as was this writer, honestly. A wonderful set that
was -almost- worth me missing out on In Flames' first show in the
United States. Keep in mind, I said -almost-. I am still very
hacked-off that I was not able to see both groups.
Now, to wind-up Friday night's fulminating experience was a band
that I have seen previously on tour with Cannibal Corpse, Anthrax and
Life of Agony. This band, of course, is The Misfits. Let me state
first and foremost, what a bunch of glorified, pompous, pretentious
prima donnas! Their fuckin' sound check took longer than the set.
Let's face it, folks, The Misfits' music is pretty same-y, so why
spend an hour hammering out a sound for a guitar, drum, bass, and
vocal mic when some of their best material sounds infinitely better
when it drips with an unpolished, rough rancor-laced edge anyway? Oh
well, The Misfits' attitude at the 'fest surfaced a taste in my mouth
last experienced upon hearing Metallica's last three humiliating
releases -- _Load_ (of shit), "Refund" and "Garbage Inc.".
Saturday brought both Jerry and myself to the Milwaukee
Auditorium at about 11am to see Gang Green. Unknown to either of us,
the band cancelled. Nice fuckin' luck, huh? I saw Gang Green twice in
the days of my youth opening for Social Distortion. I was hoping to
recapture some of that vibe to kick-start my energy for the day like
a double cappuccino a la Gang Green-style. Sucks to be me, I s'pose!
The first band that I was able to witness Saturday was the British
group Chelsea. Hoping for Gang Green and seeing Chelsea instead is
the musical equivalent to a groin pull! Damn, I lasted five minutes
in Juneau Hall before running out the door struggling to remember the
theme to Barney as to block the sound emanating from Chelsea. Even a
singing purple dinosaur is preferable to Chelsea's shit. Jer and I
killed a bit of time by watching Step Kings, for a brief second or
two, in the main hall, while talking things over with the mighty
Andreas from The End Records at the label's booth... Next we saw
October Thorns in Kilbourn Hall at 2:00 in the afternoon. OT had a
clear, crisp and professional sound, but I could list off a hundred
bands that these guys sound like and none of those one hundred groups
would be an awe-inspiring comparison.
Here's where things got moving... D.O.A. ripped up Juneau Hall
at 3pm. To articulate how stunned I was by D.O.A.'s edgy and gritty
sound is almost unimaginable. So energetic, pummelling and
masterfully executed was D.O.A.'s set that I was monumentally
overwhelmed. What a killer band.
Immediately following came the long-time hardcore outfit D.R.I..
A stroke of genius putting these two back to back on the same stage.
I did see the D.O.A. bassist catching some flack from the stage
manager for the Milwaukee Auditorium due to D.O.A.'s set running five
minutes longer than scheduled. Apparently, five minutes means life
and death when trying to keep 150-plus bands on time... D.R.I.'s
sound was not quite as undiluted as D.O.A's, but still next to
effulgent as I've seen punk/hardcore metal come. The band managed to
work in a song slamming Jerry Garcia of The Grateful Dead --
something about "...you're shit, shit, shit, shit, shit" and
"...dead, dead, dead, dead, dead!" Very precise and humorously
fitting. Judging from the crowd reaction, I don't think many of them
displayed a "Deadhead sticker" on their vehicle.
After almost the entire weekend, about this time, I met up with
my CoC brethren. Some of us retreated upstairs to the Relapse stage
for Benumb. This room was very agreeable for concerts, although maybe
not -metal- shows. Red carpet covered the floor here and red padded
seats fanned-out across the room. It still made a nice space to see
the masterful Benumb. I have always been reminded of Brutal Truth
when listening to Benumb's recorded material, but, naturally, this is
a good thing. In concert, Benumb comes across a lot more chaotic,
disjointed, and free-form than Brutal Truth. Both groups, however,
focusing on concentrated blasts of power. Benumb did an incredible
job.
After some much needed rest and food, we all prepared for the
massive onslaught of bands in the eminent future. Being gluttons, we
started this evening of punishment off early, dancing off presently
to hear the Japanese band Defiled. Jerry had this to say: "Defiled
attracted my attention by being the only Japanese band at the
Metalfest that I am aware of. However, they held their own and
delivered a bitchin' set instead of just being a novelty from Japan.
They received a good response from the crowd despite their apparent
technical difficulties."
Now for a group that had -as much- to do with me attending the
Metalfest as any reason that I can think of: Dying Fetus. These
gentlemen are ace connoisseurs of thrash tempo changes! Fantastic
effort on DF's part and they honestly worked magic in the
twenty-minute time allotment they where restricted to. A killer blend
of material from _Purification Through Violence_ and _Killing on
Adrenaline_. These guys were currently on tour, making the MMF part
of the band's schedule. The following night, Dying Fetus took part in
a show in Chicago at the House of Blues with Immolation, Rotting
Christ and Sinister. If given the chance, do yourself a favour and
-see- DF live. They -won't- disappoint!
Lorde of All Desire was on the docket next in Juneau Hall,
across the way. They were given a half an hour and I took in most of
their show on the suggestion of Adrian (good call, brother!).
Keyboards dove-tailed beautifully with placid guitar and bass work.
Jerry comments that at first Lorde of All Desire seemed like they
might be another generic medieval warrior type band, but they
actually delivered some noteworthy songs.
Dashing back and forth between Juneau Hall for Mexico's The
Chasm and Kilbourn Hall for Monstrosity proved to be worthy of the
energy I expended to do this. I found both groups to have the
potently crunchy and powerful sound that I have come to expect at
this festival, but about this point in the evening I began to
anticipate Nile's performance, so it was difficult, at best, to
concentrate on any group other than Nile. Due to Kilbourn Hall
getting off their agenda by almost a half hour, I was forced to wait
for the mighty South Carolinians to arrive. Not using their technical
effects live, by choice or otherwise, I am unsure, Nile executed song
after song from _Amongst the Catacombs of Nephren Ka_. Musicianship
like this could only have been perfected through the next to non-stop
touring Nile has done. Jerry thought they delivered an aggressive and
very potent set.
Due to the schedule getting all fucked-up, I busted a move to
the main hall for Immolation. These venerable masters of their domain
tore up the awaiting fans. The band was appreciative of the support
for _Failures For Gods_, the group's second Metal Blade release. Ross
Dolan's incredible low, intense vocals came across flawlessly as the
band whipped through an awe-inspiring, but all-too-short, half hour
set.
The next two hours of the Metalfest substantiated the most
hectic of the two days. I greeted myself both coming and going
between Sinister, Cradle of Filth, Mortician, Gorguts, Pissing Razors
and Rotting Christ. Appreciating Cradle of Filth's music and stage
presence like I do, I watched with Jerry transfixed as Dani and the
band took to the main hall. Jerry commented to me that Saturday's
headliners, Cradle of Filth, did not disappoint at his first exposure
to them. Swirling lights, gothic chicks, massive black metal, it was
all there. CoF often come across as grandiose, but that night they
were merely -grand-! Once again, due to the Kilbourn Hall being
behind, I ran upstairs to admire Gorguts. Luc Lemay and Gorguts
demonstrated a skill and vehemence almost unattainable to most other
groups of like experience, playing to a crowd not even worthy of
their time. Once again, we have scheduling to thank for this.
Pissing Razors graced the Relapse stage next, sounding in fine
form for the two songs I could stay for. Having seen PR open for
Pro-Pain in the past, I felt Mortician calling me downstairs.
Mortician supporting the new release, _Chainsaw Dismemberment_, was
something I needed to see. Even though Mortician are old hat at the
MMF, they -never- fail to communicate their brutally exceptional
style to the audience in a fashion belonging to Mortician alone. I
was floored by the performance and have to say, if Dying Fetus got me
to Milwaukee, then Mortician was the reason for staying!
To end this event that eludes proper description, Greece's
Rotting Christ hit at about 12:30 or 12:40. Killer tracks from _A
Dead Poem_ rang across Kilbourn Hall. This sublime musical menagerie
was cut short due to the police calling it quits to RC's set at 1:00
due to, I believe, a sound ordinance for the city. Knowing what was
to transpire, I watched with interest as the stage manager informed
the band that the last song they just played would indeed be their
final one. After a bit of bickering, Rotting Christ forced the stage
manager to be the bearer of bad news, as to save them the
responsibility of such a duty. Some commotion ensued, but soon died
away. I retired to my hotel room that night exhausted, but pleased
with myself for not only surviving the 13th annual Milwaukee
Metalfest, but also comfortable in the notion that Dani of Cradle of
Filth could not have been accurate in stating this was the last MMF.
With support like I saw at this 'fest, Jack Koshick would be insane
to let something this good simply come to pass forever.
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W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Gino's Top 5
1. Various - _The Swamp Kult Kompilation_
2. Future Sound of London - _Lifeforms_
3. Brutal Truth - _Goodbye Cruel World!_
4. Chemical Brothers - _Surrender_
5. The Who - _Who's Better, Who's Best_
Adrian's Top 5
1. Dillinger Escape Plan - _Calculating Infinity_
2. L7 - _Slap Happy_
3. Iced Earth - _Alive in Athens_
4. Turmoil - _The Process of_
5. Control Denied - _The Fragile Art of Existence_
Alain's Top 5
1. Monstrosity - _In Dark Purity_
2. God Dethroned - _Bloody Blasphemy_
3. Marduk - _Panzer Division Marduk_
4. Angel Corpse - _Exterminate_
5. Dimmu Borgir - _Spiritual Black Dimensions_
Adam's Top 5
1. Type O Negative - _World Coming Down_
2. Rammstein - _Live Aus Berlin_
3. Satyricon - _Rebel Extravaganza_
4. Samael - _Eternal_
5. Darkthrone - _Ravishing Grimness_
Pedro's Top 5
1. Summoning - _Stronghold_
2. Satyricon - _Rebel Extravaganza_
3. Lacrimas Profundere - _Memorandum_
4. Behemoth - _Satanica_
5. Nile - _Amongst the Catacombs of Nephren Ka_
Paul's Top 5
1. Thin Lizzy - _Jailbreak_
2. Judas Priest - _Unleashed in the East_
3. Nevermore - _Dreaming Neon Black_
4. Testament - _The Legacy_
5. The Dillinger Escape Plan - _Calculating Infinity_
Aaron's Top 5
1. Gordian Knot - _Gordian Knot_ (Thanks, Paul!)
2. Atomic Bitchwax - _Atomic Bitchwax_
3. Alas - _Engulfed in Grief_ (demo)
4. Summoning - _Stronghold_
5. Therion - _Crowning of Atlantis_
David's Top 5
1. The Kovenant - _Animatronic_
2. Amorbital - _Invidia_
3. Iced Earth - _Alive in Athens_
4. Godless Truth - _Burning Existence_
5. Wallachia - _Wallachia_
Alex's Top 5
1. Mortification - _Hammer of God_
2. Gorguts - _Obscura_
3. Stretch Arm Strong - _Compassion Fills the Void_
4. Extol - _Mesmerized_
5. Persevere/Phanatik - _Split Demo_
Matthias' Top 5
1. Gardenian - _Soulburner_
2. Social Distortion - _White Heat, White Light, White Trash_
3. Black Sabbath - _Vol. IV_
4. Megadeth - _Killing Is My business_
5. Satyricon - _Rebel Extravaganza_
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e-mail: ginof@interlog.com
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DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a monthly magazine electronically distributed
worldwide via the Internet. Chronicles of Chaos focuses on all forms
of chaotic music including black, death and doom metal, dark/ambient,
industrial and electronic/noise as well as classic and progressive
metal. Each issue will feature a plethora of album reviews from a
wide range of bands, as well as interviews with some of the
underground's best acts. Also included in each issue are demo reviews
and indie band interviews.
HOW TO SUBSCRIBE
~~~~~~~~~~~~~~~~
You may subscribe to Chronicles of Chaos at any time by sending a
message with "coc subscribe <your_name_here>" in the SUBJECT of your
message to <mailto:ginof@interlog.com>. Please note that this command
must NOT be sent to the list address <coc-ezine@lists.colorado.edu>.
AUTOMATIC FILESERVER
~~~~~~~~~~~~~~~~~~~~
All back issues and various other CoC related files are available for
automatic retrieval through our e-mail fileserver. All you have to do
is send a message to us at <mailto:ginof@interlog.com>. The
'Subject:' field of your message must read: "send file X" where 'X'
is the name of the requested file (do not include the quotes). Back
issues are named 'coc-n', where 'n' is the issue number. For a
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End Chronicles of Chaos, Issue #43
All contents copyright 1999 by individual creators of included work.
All opinions expressed herein are those of the individuals expressing
them, and do not necessarily reflect the views of anyone else.