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CHRONICLES OF CHAOS e-Zine, March 13, 2001, Issue #52
http://www.ChroniclesOfChaos.com
Editor-in-Chief: Gino Filicetti
Coordinator: Adrian Bromley
Copy Editor / Contributor: Pedro Azevedo
Assistant Copy Editor / Contributor: Paul Schwarz
Contributor: Brian Meloon
Contributor: Adam Wasylyk
Contributor: Aaron McKay
Contributor: David Rocher
Contributor: Alex Cantwell
Contributor: Matthias Noll
Contributor: Alvin Wee
Contributor: Gabriel Sanchez
Contributor: Chris Flaaten
Spiritual Guidance: Alain M. Gaudrault
The individual writers can be reached by e-mail at
firstname@ChroniclesOfChaos.com ("firstname" must be replaced by the
respective writer's first name, e.g. Gino@ChroniclesOfChaos.com).
NOTE: You may unsubscribe from Chronicles of Chaos at any time by
sending a blank e-mail to <Unsubscribe@ChroniclesOfChaos.com>.
For more Chronicles of Chaos information, check out the
Details section at the end of this issue.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #52 Contents, 3/13/01
---------------------------
- Editorial
- Deadly Dialogues
-- Sepultura: Their Nation, Their Voice
-- Novembers Doom: Embrace the Knowing
-- Skyclad: Purveyors of the Bizarre
-- Aurora: Danish Dynamite
-- Soilwork: Predators for Pain
-- Clandestine Blaze: Fanning the Unholy Flames
-- Pain of Salvation: Salvation for the Metal Mind
-- Kalmah: Warriors on the Metal Path
-- Darkwell: Suspects in Darkness
-- Destroyer666: Devils Ride Again!
-- Mythological Cold Towers: Spreading the Faith, Spreading the Word
-- Angelcorpse - _Iron, Blood and Blasphemy_
-- Arise From Thorns - _Before an Audience of Stars_
-- Aube - _Sensorial Inducement_
-- Brighter Death Now - _Obsessis_
-- Cannibal Corpse - _Live Cannibalism_
-- Catastrophic - _The Cleansing_
-- Various - _Chamber Metal: Neo-Classical Metal Guitar_
-- Compos Mentis - _Quadrology of Sorrow_
-- Coronach - _The Gift of Foresight_
-- Dimmu Borgir - _Puritanical Euphoric Misanthropia_
-- Dio - _The Very Beast of_
-- Driller Killer - _And the Winner Is..._
-- Epoch of Unlight - _Caught in the Unlight_
-- Evoken - _Quietus_
-- Gandalf - _Rock Hell_
-- Goatsblood - _Goatsblood_
-- Graveland - _Creed of Iron_
-- Green Carnation - _Journey to the End of the Night_
-- Groinchurn - _whoami_
-- Gulch - _When It Rains... It Pours_
-- Impious - _Terror Succeeds_
-- IRM - _Oedipus Dethroned_
-- Katatonia - _Teargas_
-- Katatonia - _Last Fair Deal Gone Down_
-- Kreuzweg Ost - _Iron Avantgarde_
-- Manilla Road - _Mystification_
-- Mob Rules - _Temple of Two Sins_
-- Molasses - _Trilogie: Toil & Peaceful Life_
-- Nargaroth - _Amarok_
-- Negura Bunget - _Maiastru Sfetnic_
-- Nicodemus - _Tales of the Lovelorn & Necromantic_
-- Various - _Overload 2: Tribute to Metallica_
-- Pig Destroyer - _38 Counts of Battery_
-- Sepultura - _Nation_
-- Shalabi Effect - _Shalabi Effect_
-- Soilwork - _A Predator's Portrait_
-- Soul Erosion - _Furious Mind Degeneration_
-- Spaceboy - _A Force That Holds Together a Heart Torn to Pieces_
-- Society 1 - _Slacker Jesus_
-- Sophia - _Sophia_
-- Sunn O))) - _OO Void_
-- The Forsaken - _Manifest of Hate_
-- Thy Majestie - _The Lasting Power_
-- Tsjuder - _Kill for Satan_
-- Vader - _Reign Forever World_
-- Vanishing Point - _Tangled in Dream_
-- Wicked Innocence - _Opium Empire_
-- Witchcross - _Fit for Fight_
-- ZAO - _ZAO_
-- Czort - _Waiting For_
-- Descent - _Pity_
-- In Grey - _...And Once Again the Same Mask_
-- Kaos - _Vision Beyond_
-- Soulscar - _Abandoned_
-- The Snow in Their Hearts: My Dying Bride, Katatonia and more
-- The Delta of Death Descends: Nile in Scotland
-- Sirens Singing Soothing Songs: The Gathering in Norway
-- The Four MusCoCteers, Episode 2
- What We Have Cranked, Top 10 of 2000
- Details
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by: Gino Filicetti
Greetings readership, welcome to another installation of
Chronicles of Chaos. As I'm sure many of you noticed, we haven't been
able to release a new issue every month as I so boldly promised.
Seeing as the demands and pressures of our writers' daily lives have
increased over the past few years, it is getting harder and harder to
muster up the kind of material that we could in the past; a time when
many of our writers could afford to dedicate 100% of their lives to
CoC (myself included).
Well, times change, and that's not necessarily a bad thing.
Therefore, I would like to rescind my earlier promise of returning to
a monthly release schedule. To keep our promise would mean releasing
issues that pale in comparison to our usual fare.
So what we are going to do is release an issue whenever we have
enough material to make it worthwhile. This will roughly correspond
to a bi-monthly release schedule. I believe the care and quality that
goes into Chronicles of Chaos is much more important than the
frequency with which we release issues, and I'm sure many of you will
agree.
One thing I want to make clear is that in no way does this mean
that our staff or myself have lost interest in CoC. It is just that
the inevitable has happened and our "real" lives have begun to
interfere with our duties.
On another note, I would like everyone to join me in welcoming
Chris Flaaten to the position of full time staff member. Chris has
been writing for CoC on a trial basis since August 2000 and has
proven to be an invaluable member of the team. I'm sure everyone is
looking forward to his material as much as I am. Also, we are
welcoming Gabriel Sanchez back to our staff as a full time writer.
After a long hiatus meditating in the mountains of Nepal, Gabriel is
back with a vengeance and hungry for the life of excess that each of
us here at CoC enjoy.
Also, on the new writer front, we have had a few more
applications for contributor positions that we are currently
assessing, so keep an eye out for some new names appearing soon. One
of those names could even be yours, if you think you've got what
it takes to knock our socks off. Please feel free to e-mail
auditions@chroniclesofchaos.com and show us what you're made of. We
are looking for people with an exemplary command of the English
language, and optionally some contacts in the scene which can be used
to procure new material. When e-mailing for an audition, please tell
us a little about yourself, why you think you'd be a good fit on our
staff, and don't forget to send along a few samples of your writing.
Lastly, I want to comment on a sad state of affairs manifesting
itself this issue. This is the first time in recent memory
that we will not be running a Loud Letters section. The reason
being that no one has mailed us any letters worth printing. Our
loudletters@chroniclesofchaos.com e-mail address has become flooded
with mailing list e-mails, requests for banner exchanges and pleas
for advertising space. This is utter nonsense, people. We want you
all to send in Loud Letters when you feel you've got something
constructive (or destructive) to say about Chronicles of Chaos or the
state of the scene in general. Loud Letters is not a forum for cheesy
advertising or self-promotion. If you are not writing a "Letter to
the Editor", then think twice before sending it. That being said, I
am saddened by the fact that no one seems to have anything to say
these days. It wasn't long ago that the "War on Christianity" thread
was raging on. I'm not saying I'd like to see it resurface again, but
that kind of heated discussion is what our Loud Letters section lives
for. Let's make sure this is the first and LAST month that we're
forced to omit our Loud Letters section.
It's about time that I bid you all farewell. A lot of
issues have been raised here today, and we would really like
to hear your take on matters. If you have anything to say,
whether positive or negative, please feel free to e-mail
loudletters@chroniclesofchaos.com and let it all out. As always,
we promise your letter will be printed unabridged (spelling and
grammatical errors included). Until next time...
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T H E I R N A T I O N , T H E I R V O I C E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Andreas Kisser of Sepultura
by: Adrian Bromley
"You know, this is where they filmed a scene for the movie
"American Psycho" [the serial killer film based on Bret Easton Ellis'
disturbing novel]", I comment to Sepultura guitarist Andreas Kisser
as we shake hands at Montana's restaurant in downtown Toronto.
"Really?", he relays to me with a smirk. "I haven't seen that movie,
sorry."
I add, throwing in the scene that stems from the shots within
Montana's, "You should, it is pretty good. Just make sure I don't get
you drunk and cart you back to my place and cut you into pieces." We
both laugh.
And so begins my conversation with a relaxed, though obviously
jet-lagged Kisser who is in Toronto doing press for the band's ninth
recording, _Nation_. He's been in Europe for two weeks to promote the
album, while other members are in the US and Australia to discuss the
new material. This being his last interview before catching a flight
back to Brazil, it is obvious he is relieved his busy day has come to
an end, but he still has the stamina to talk.
He sips from his glass of Guinness and begins about _Nation_.
CoC: The band has obviously changed quite a bit over the years,
whether it be the direction of the sound and style of the band
or replacing your lead singer. Change has happened and the band
has evolved. Does Sepultura [rounded out by drummer Igor
Cavalera, singer Derrick Green and bassist Paulo Jr.] feel
comfortable with the way Sepultura is now and with the new
record -- this being the second record with Derrick singing?
Andreas Kisser: We feel very good about everything that is going on
with Sepultura these days. _Against_ [1998] was
a very difficult experience for us and it was
definitely a difficult time for us. It was actually
the biggest challenge of our lives to keep the
band together. We didn't just lose our singer [Max
Cavalera], but also our manager. And that made the
structure of it all really weak and unsure of what
was going on for us as a band. It takes time for us
to develop new ideas and songs with Sepultura and
right now Derrick is very involved with what we do as
a band in every aspect: the music, the songwriting,
lyrically and as a friend and part of the band. We
are feeling very comfortable right now.
CoC: With _Against_ you had to really introduce Derrick to the sound
of Sepultura, but with this record there seems to be a lot of
diversity and varied ideas going on. That must make you happy.
Is it all just coming together a lot easier now?
AK: Definitely. It is a great feeling to have the entire band working
together. With Derrick, it is just allowing him to become a lot
more involved now on this disc. With the last record, it was just
the three of us writing the record and Derrick came in at the end
to help complete everything and get the arrangements set up to
finish the record. The way it happened, it was very confusing. We
really didn't have any bigger ambitions for that album other than
to keep the band together.
CoC: That record was definitely a turning point for Sepultura's
career. Am I right?
AK: Yes, you are. It was a transition period for us. You can't really
compare that record to any of our past records or any of the
future works we will produce as a band. It was a specific record
that kept us together -- and that is all it was.
CoC: What differences do you see between the last disc and the new
one?
AK: I think this new record is really showing a new way for us to
develop new styles and ideas for the band, because Derrick can
really sing and use his voice in many different ways. That has
allowed us to be able to bring new directions for Sepultura.
CoC: You went back to Brazil to record the new album, the first time
in many years that you did so. How was that experience like?
AK: It was great. It was good to be home and near our family and
friends. The studio work was pretty relaxed and we felt like it
was a band again. It felt as a band working together to get the
record done. It felt like it did for us with _Roots_ or _Chaos
A.D._. We were confused during _Against_ and had to use our time
very carefully in the studio. We weren't thinking too much, we
just wanted to do it. With this record we wrote the album in Sao
Paulo and just took our time to develop our demos and took the
time to see what Derrick could do for the band and just grow and
enjoy the experience of it all.
CoC: A lot of people will say that most bands lose their stride after
five to eight years. But Sepultura has managed to stay focused
and in form for more than fifteen years. Sepultura has managed
to stretch their sound, but not lose momentum. Just how much
further is Sepultura willing to stretch the sound and explore
new ideas within metal music?
AK: It is hard to say or plan what we will do. We as a band have
always felt strongly about the present 'cause the future is
nothing more than a consequence of what you do today. We don't
look too far ahead, really. We are enjoying what we are doing as
a band and that inspires us to try new things and carry on with
Sepultura. It keeps the ideas and the sound of the band fresh.
CoC: The thing that I think has been Sepultura's biggest gift to the
metal community is your initiative to do interesting things with
each record. Why is that important for the band?
AK: For us, we naturally want to have this kind of mutation or
movement in what we do. Even if we wanted to make the same record
as last time, we couldn't do it. The spirit of this band is
really to be open-minded and learn from your experiences, and in
the future, maybe bring those ideas into the band's music.
CoC: What about Max Cavalera leaving the band -- do you have any ill
will towards him or any regrets with what went down?
AK: I have no regrets at all. We learn from our mistakes. That is the
spirit of life. You don't always do the right stuff all the time
and you learn from it. But the stuff we did with our manager
Gloria [Max's wife] was the right thing to do at the time. Then
it came down to those two thinking it was to be another way and
they chose to part ways with us and do something else. It is
unfortunate how it all happened, it was a very bitter split, and
up to this day we don't really talk to him. It is very hard for
Igor, being from the same blood and being his brother. It is a
very stupid situation.
CoC: And from this incident with max going off to form Soulfly and
you guys carrying on with Sepultura, many music fans have pitted
the bands against one another.
AK: I know, I know. But both bands are slowly starting to fade away
from each other musically. We are in two different worlds. I
think it is probably difficult for Max because he is constantly
changing musicians around him. It is very hard to create an
identity with so many musicians coming and going. I think Soulfly
is still very confusing. I don't really know what a "Soulfly"
sound is. I think there is too much stuff going on. And having
too many guests is making it hard to really find a sound to work
with. It must be difficult to maintain a direction.
CoC: On the topic of direction and being inspired to create music and
just go with it, what inspires you to stay at this work with
Sepultura? What inspires you to do this after all of these
years?
AK: I think music does. That is the beauty of it all. Everything you
do in life eventually turns into a routine. Our routine is very
special. We travel, we learn new things every day and we record
music. Music just keeps us excited and inspired to grow. All the
rest of things we deal with in life, we learn to live with. It is
getting hard now, with me being away from home and away from my
kids, but if I don't do this I won't be able to support my
family. There is a balance between the two and I need both to
keep things interesting.
CoC: I want to talk to you about your thoughts on each Sepultura
record up to _Roots_. Tell me your thoughts on how they were
made, anecdotes or whatever you wish to relay. Let's start from
the beginning:
- _Bestial Devastation_ [1985] - This record was a really big
surprise for Brazilian metal fans in the underground, especially
because of the state the band came from, which was very catholic and
traditional. It made a great impact.
- _Morbid Visions_ [1986] - This was the record where I started to
like them, as I hadn't joined the band yet. They had a full-length
album and even though the recording sucked, the aggression was there.
That was something that really moved the underground scene in Brazil.
- _Schizophrenia_ [1987] - I joined the band right after _Morbid
Visions_ was released and I brought more of a traditional heavy metal
influence to the band's sound, while learning a lot about punk and
hardcore from the others in the band. That mixture was such a great
thing for us. It was a big record for us, a double LP with lyrics and
big pictures. Recording-wise, it was a good recording and it allowed
us to sign with Roadrunner.
- _Beneath the Remains_ [1989] - This was the first time we had ever
had an American producer to work with us and work the sound. We were
able to work in a sound we had never been able to get with a
Brazilian producer. We recorded in Brazil with Scott Burns and he
really developed out sound. This record really opened up the world to
us with this being a worldwide release. We toured Europe and the
United States and it was great to have this feeling of breaking down
the barriers and letting us expose Sepultura to the metal fans
throughout the world.
- _Arise_ [1991] - _Arise_ was everything that we couldn't do with
_Beneath The Remains_. We had a booklet with lyrics, we had more of a
nice layout and we recorded outside of Brazil, in Florida with Scott
Burns. We toured for two years with that record. We played with Ozzy
Osbourne, we played in Russia and Indonesia -- all over the place. It
was a great experience that we would bring into _Chaos A.D._.
- _Chaos A.D._ [1993] - It all started to really develop for us. It
was something new. We worked with Andy Wallace in the south of Wales.
This record really put Sepultura in many places, not just in the
metal scene. It allowed us to play with bands like Rage Against the
Machine and to just be a part of various festivals.
- _Roots_ [1996] - When we had recorded _Roots_, we had been away
from Brazil for a long time. We were looking towards Brazil with
different eyes and ears and really exploring a lot of the things that
we had denied before. We brought in African percussions, the sounds
and inspiration from the Indian tribe [Xavantes] and also our urban
experiences. It was a very rewarding experience for us all and we all
got a lot of out it. We really established Sepultura not only as a
metal band but also as a metal band with a wider audience. But
unfortunately, we had a lot of problems going on within the band at
the recording of _Roots_ and after a year of touring Max left the
band. We just had to start all over again with _Against_.
CoC: I think a lot of metal fans know that with Sepultura you never
get a half-assed job when it comes to a recording. Even with
problems in tow, or long lapses between records, the band always
seems to deliver the goods. How has fan reaction been towards
the band's music and with Derrick in the band?
AK: It has been great. Very positive. The tour for _Against_ was just
a great tour for us to get the ball rolling again. We were really
facing our fans and trying to show what we were all about. And
also, at that time, Max was saying a lot of stuff in the press
about all of what was going on and we were just trying to stay
out of it and not respond. It was just a bad vibe all around and
we didn't want to feed that vibe. Only the magazines would profit
from that, not us or him. Our intention was really to learn about
ourselves again on stage and to keep this band going. Things had
changed for the band and we just wanted to get grounded. Right
now we are very much in form and our fans know it. Everything
seems to be in place. This is something new for us and we are
prepared to work with it.
CoC: What does _Nation_ represent to you?
AK: This album really represents a beginning. _Against_ was a real
transition record for us. This record is really about being a
band and working together. It is also great having this really
beautiful concept and a real positive message in the album that
inspires us to make music, write lyrics and still have a vision
for Sepultura. We have a wide range of ideas that we can do as a
band and it is a great feeling knowing that as a musician. It is
great to have inspiration.
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E M B R A C E T H E K N O W I N G
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Paul Kuhr of Novembers Doom
by: Pedro Azevedo
There are bands that just seem destined to strive for success against
all odds, overcome adversity and, in the case of Novembers Doom,
reach out of a market impregnated with pretty much anything -but-
doom metal and make themselves noticed. _The Knowing_ [CoC #51] is
the band's third full-length record, and its quality, together with
the fact that it's being distributed by Dark Symphonies in America
and Pavement in Europe, should guarantee at least some of the success
they thoroughly deserve for their talent and perseverance. Vocalist
Paul Kuhr tells us about the latest developments concerning Novembers
Doom.
CoC: A lot seems to have happened with Novembers Doom since our last
interview [back when _For Every Leaf That Falls_ was released;
see CoC #31], including label and line-up changes and the
release of two full-length albums. Would you like to tell us
more about this sequence of events?
Paul Kuhr: Sure. It's a long story, but I'll pick it up from where we
left off, a couple years back. From the mini-CD, Maria
Abril came to us and said she was starting a label, and
wanted to sign us to it. We did get other offers, some of
which I regret not signing to, and waited it out to sign
to Maria's new label. We then signed with her new label,
Martyr Music, and at the time we felt it was the smartest
thing we could have done. We were good friends with Brian
Griffin, and he was signing Broken Hope and his side
project Em Sinfonia to them, so we figured, with a band
like Broken Hope signing to them, and just coming off of a
Metal Blade contract, it could mean good things for the
label. The thought was Broken Hope's name would raise all
eyebrows to the fledgling label, and the recognition would
be there. Martyr started placing ads in the magazines, and
started to work the press. They got the buzz going about
the label, and it was exactly what we thought would
happen. We knew going into a new label, that they didn't
have the distribution yet, and there was almost none when
_Of Sculptured Ivy and Stone Flowers_ was released [CoC
#42]. By the time the distro was in place, the CD was
seven months old, and the advertising had already taken a
back seat to the Broken Hope release. We have always felt
that a band has the job of writing and recording a CD that
is to the best of their ability. We did that job, and
handed in a great disc. The label's job is to then work
the advertisements, press and promos for the CD in order
to sell as many copies as possible. To this day, I get
e-mails from people telling me they can't find the disc.
So, none of us wanted the next CD to come out on Martyr,
with the possibility of the same thing happening. We
worked hard for years in this band, and no way did we want
nothing to come of it. We all felt we deserved to be
treated better than the red-headed stepchild, so we asked
for our release, which was turned down. We wanted off
Martyr. It was no secret. We felt it was best for the band
and the label for us to part ways. We were not getting a
clean break from Martyr, and we were under contract for
two more CDs. I spoke with Dark Symphonies, who wanted us
on his label, and explained our contract situation. He
immediately went to bat for us, contacted Martyr, and
purchased the remainder of our contract from Martyr Music.
_The Knowing_ was then released on Dark Symphonies. Ted
and DS is the very best that could have happened to this
band in a long time, and we're now at home where we
belong. He's already done so much for us, and I can't
begin to tell how nice it is to be on the top of someone's
priority list. The CD is in its third pressing, and it
will be released in Europe through Pavement Music.
CoC: Exactly how has your signing with Dark Symphonies helped you,
what have they done to improve your situation?
PK: Dark Symphonies is amazing. The promotion has been amazing, and
they work so hard for their bands. Everyone is treated equally,
no matter how much you sell. They like to create an all-around
impressive package, and it's all helped the movement of the CD
greatly. We're being pushed in the right areas, to the right
people, and we don't get pushed to the bottom of the totem pole.
It's all about the love of the music, and not about being rich.
Like I said, we're at home with DS.
CoC: I heard your bassist Mary Bielich had left the band, but then I
recently read in your website she might be staying after all.
What can you tell us about this situation?
PK: Mary moved to Pittsburgh, PA (about five hours from Chicago) and
as a band we all decided to give it a try, and remain a band,
hooking up to rehearse a few times a month. It's been difficult,
but Mary has come though for us with shows and such. I guess you
could say she's filling in for us until we find a solid
replacement (which won't be easy).
CoC: You have several doomy labelmates now on Dark Symphonies, but
you're actually the only doom/death band on the label... any
particular favourites of yours among those bands?
PK: I'm a fan of Rain Fell Within [CoC #46]. I think the band is
amazing. DS made a perfect choice when they signed RFW. Autumn
Tears [CoC #45 and #48] is another killer group on the label.
Their songs really touch emotion. Dark Symphonies is very smart
in who they sign. No two bands sound alike.
CoC: How do you think doom metal has generally evolved in the US
since we last spoke?
PK: I'm not really sure that it has. The popularity may have grown in
the style, but without the support of the American scene, it will
never be as accepted as in Europe. The States love their grinding
death metal, so doom is hard to move. It's gotten better with the
popularity of "stoner rock", and it's a nice link to our style,
but American doom bands still struggle to keep moving forward.
This style of music is not as accepted in the States like it is
in Europe, but we do get a positive reaction when we play. There
is a good amount of fans who enjoy this style, and enough bands
these days to have a few great shows. Of course, a show like
Milwaukee MetalFest is the best for it, because you can play for
people who you would never have the chance to, and it's a show
like that where you can "turn" people on to a style, or to your
band. Will we ever be a "big" band in this style? Most likely no,
but we love what we're doing, and as long as there are people
around the world who will buy and appreciate our music, we're
happy.
CoC: _The Knowing_ has been out for a few months now; retrospectively,
how satisfied are you with this latest record of yours?
PK: I think anytime you complete an album, you listen back and always
hear things you would like to change. It goes for the whole band.
The CD is great for all of us, and the overall mood and vision is
right on the money, but if we could change a few things to the
overall sound, we would. Just things we will make sure we fix on
the next recording. It was very long, and at times very
frustrating. It took us about a year to complete the writing for
the CD, and in that time we struggled with writing within a
concept. Different moments of the CD needed different sounding
songs, so we weren't as free to create. We had guidelines to
follow, which made it a bit difficult. The final product made it
all worth it, though. Much more thought went into this CD, and we
took time to work on little things like background sounds, or
something to enhance a moment, which we didn't do in the past. I
feel this is a perfect release to follow _Of Sculptured Ivy and
Stone Flowers_, and all the reviews we've seen so far are calling
this our best work to date, and I have to agree. The next goal is
to make a better CD than this one, so we're back to the drawing
board.
CoC: You seem to have strived to increase variety and perhaps also
the atmosphere itself in your music with _The Knowing_. You used
some female vocals before, but this time you have also utilized
some more piano, acoustic guitars and more clean male vocals as
well, whilst keeping the basis of your traditional style intact
(your death vocals and Eric Burnley's guitar style being the
most recognisable elements). Do you agree with this analysis?
What do you feel led to these options?
PK: I would agree with you 100%. It took us a bit over a year to
write _The Knowing_. We are all perfectionists, and wanted
everything to be exactly as it was envisioned when writing. One
of the goals we set for ourselves was to make sure no two songs
on the CD sounded exactly alike, but maintain the sound that is
our own. It's not an easy task, but we worked hard towards our
goal, and I believe we reached it.
CoC: I understand you are already writing new material, and judging
by the direction on _The Knowing_, I'm tempted to ask you
whether the music is becoming yet more atmospheric than
before... I can imagine contrast increasing even more in your
music because of that -- or will you reduce the heavier parts a
bit more in the future to keep that contrast more under control?
PK: I don't think we'll ever get too far from what you would expect
from a Novembers Doom CD. I can tell you, the new material is
much like _The Knowing_, only at times heavier, and catchier.
It's still way too early to tell, but we're all very happy with
the new material so far. It's coming out faster and better than
we all expected, and we're looking for a November 2001 release.
CoC: Lyrically, the "I want to live my life once more" part in the
chorus of "Silent Tomorrow" seems to be quite important in _The
Knowing_. Do you agree? Would you like to tell us more about
that?
PK: It's a bold statement. If you could go back, and re-live your
life, fixing the mistakes, and doing things differently the
second time around, would you? I would. There are many things I
would change in my life. Many mistakes that I would avoid. It's a
thought that takes its own life in the story.
CoC: What meaning do you find in _The Knowing_'s somewhat unusual
cover art? How much of a connection do you feel it has to your
lyrics?
PK: The booklet cover is a shadow of a person, reaching for a key.
The key is knowledge, supreme knowledge. It will open "The
Knowing". The best way to understand is to sit down and listen to
the CD from front to back, and read along with the lyrics. It
will all make sense then. After you read the concept, the artwork
all ties in with the story. Travis [Smith] did an amazing job for
us, and caught the essence of the story with his artwork.
CoC: What are your plans and hopes for the future? Touring? Releasing
a new album in the near future?
PK: We would love to hit the road for a tour, and it may happen as
soon as 2001. 2001 will also bring the re-release of our first
CD, _Amid It's Hallowed Mirth_, with a bonus CD of live songs,
cover songs, and some rare music not many have heard. Also look
to November for a new CD from us. We're staying busy this year!
CoC: Please conclude this interview in any way you'd like...
PK: Pedro, as always, thank you for your time, and for this
interview. It's great to see CoC is still alive and kicking
after all these years. It's one of the more respected online
zines in the scene today, and I'm glad to be part of it!
Thanks again! For updates check out www.novembersdoom.com. To
hear music, www.mp3.com/novembersdoom. And to buy merchandise,
www.darksymphonies.com.
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P U R V E Y O R S O F T H E B I Z A R R E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to Martin Walkyier of Skyclad
by: Adrian Bromley
"You're my first interview today", starts Skyclad frontman
Martin Walkyier. "I'll be going for another few hours, way into the
early morning, maybe 2:30am. I guess you're pretty lucky, as I am
still awake to talk to you... <laughs>"
And so starts the interview with the ever polite and jolly
Martin Walkyier to discuss the band's new platter titled _Folkemon_.
It has been a bizarre revolution of metal mastery and some odd ideas
thrown in for good measure over the years (just check out the bizarre
Pokemon a la cat minstrel cover art), but the band has endured time
and their fans are still around to cherish their music.
We begin.
"I think with this record, seeing that it is somewhat of a tenth
anniversary of Skyclad, we wanted to release an album that brought in
all of the elements that we have tried to bring to the band over the
years. We wanted to offer a bit for everyone. We changed so much over
the years and had to adapt to what was going on, and we wanted to
bring those good ideas into this record."
"We spent a lot of time trying to make a record that was fresh
and full of inspiration, especially for our debut for Nuclear Blast.
It all turned out well, I tell you."
Knowing quite well that he and his band -- guitarists Kevin
Ridley and Steve Ramsey, bassist Graeme English, George Biddle on
fiddle and keyboard/piano, and drummer Jay Graham -- bring a lot of
fun and creativity to their sound, does Walkyier find that just
familiar terrain to work with? Or is there more to Skyclad than what
people might expect?
"I think our lyrics are very dark indeed if people really take
time to look past the music that we play", confesses Walkyier. "I
think some of our stuff is a lot heavier and more disturbing than
most of the death metal bands out there. We deal with a lot of modern
social problems like pollution, unemployment and stuff that we have
dealt with, but yes, there are times we throw in a song about
drinking or rock 'n' roll to lighten things up a bit. I think that
lyrically we are quite intense for the most part. It is good to be
light-hearted at times, but regardless if it is that way or darker in
idea, we always give the most that we can to what Skyclad does. It is
always 100%."
Listening to the new album, there seems to be a lot of
references to the modern age of mankind, most notably the song "When
God Logs Off" -- no doubt a reference of sorts to the Internet.
Right, Martin?
"Actually it is a reference to man's obsession with technology",
he explains. "Technology is a fantastic thing when it is used
properly. But if you look at most inventions that man has created in
the last few hundred years, they have been used in the wrong way, to
bring forth death and destruction. Or exploit the environment. The
song really goes to show that even though technology has taken us
forward as a species, we should never forget where we came from and
keep a strong hold on our ancestral past. Only from doing that can we
have a firm grasp of where out future will take us."
Seeing that Skyclad have been known to bring a lot of diversity
to their sound, what is Walkyier's take on many bands over the last
few years working hard to bring multiple sounds/styles to metal
music? Is he impressed? Does he care?
"I think it's really good when people try and mix different
types of music together 'cause innovation is what music is all about.
People should always try to break new ground. I admire anyone who
tries to do something different with music nowadays and experiment.
I'm not too fond of bands that follow trends and jump on bandwagons
and follow what is fashionable at that time. I like those who take
chances."
So would Martin agree when I call Skyclad "weird"?
"We certainly are", he says. "And we are certainly proud of it.
I am glad that people see us that way, really. If weird means
actually trying to pass a message off with your music, a very
important message about what it means to be a human being in the turn
of the millennium and in a world where we are racing onwards faster
than our minds can grasp, then I'm proud to call what we do weird. We
are trying to make unique music, a modern metal band trying to use
traditional instruments, and just be proud of where it takes us and
the heritage of where we came from. You have to embrace your heritage
or it will be forgotten."
And knowing of Walkyier's background, I can't end this interview
without asking a few questions about his old metal act Sabbat, a band
who produced one of metal's most prized gems: 1988's _History of a
Time to Come_.
"Actually I am reforming the old band as a tribute to that
band", Walkyier reveals. "I am actually intending for this band to be
much better than the original band -- hopefully. It'll be interesting
to see how it all works out. The name of the band is Return to the
Sabbat. The reason I am doing this is because I feel that we weren't
able to do as much with the band back then because of the band
members at the time", he reveals. "It was a bit of a personality
clash back then and it didn't work out. The band, which we plan to
play a few shows with, will be comprised of myself, Frazer Craske
(bass) and Simon Negus (drums). They both also played on the second
Sabbat album (1989's _Dreamweaver_) but not the third one. We had all
left by then. <laughs> We'll also have another guitar player (who
will be in place of ex-guitarist and now producer Andy Sneap) to help
mend it all."
He ends: "We are trying to make a record that'll be a good one
for all those that went out and bought the third Sabbat record
(1991's _Mourning Has Broken_) at that time and were disappointed. I
think we just owe those fans something."
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D A N I S H D Y N A M I T E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Anders Vestergaard of Aurora
by: Pedro Azevedo
Some of our European readers may look at the title I chose for this
interview and remember the Danish supporters' chants following their
victory in Euro '92, but if you already know Aurora's _Devotion_ you
will probably be able to think of a couple more reasons why I chose
this title. One of them could simply come directly from Claus
Froelund's rather unusual lyrics ("It's Just..."). More significant,
however, is the Danes' ability to conjure subdued, painfully tense
passages in their music akin to a premonitory near-silence preceding
a dynamite blast -- and mold the ensuing blast into some of the best
aggressive, technical and somewhat Swedish-sounding metal around
(think Dark Tranquillity's _The Gallery_, Opeth and At the Gates).
Furthermore, _Devotion_ is also a very emotional album, something in
which Froelund's tortured vocals play an important role, teaming up
with the creative guitar work and rhythmic patterns. You may also
want to know that _Devotion_ was my choice for best record of 2000.
Interested? Then read what guitarist Anders Vestergaard had to say
and go get yourself a copy of _Devotion_.
CoC: How did this group of musicians become Aurora?
Anders Vestergaard: Aurora's history goes way back to the early '90s.
A lot of different persons have been involved
under a lot of different band names. Anyway,
Aurora as you know us today leads back to the
mid-'90s when Thomas Broberg (guitar), Morten
Soerensen (drums) and Carsten Terp (bass) over a
period, joined Claus Froelund (vocals) and Allan
Iversen (guitar). At that time the band was
named Aurora Borealis. After the demo _Childhood
Memories_ was recorded, Borealis was removed
and Aurora signed a record deal with Serious
Entertainment. After the release of the debut
album _Eos_ in 1998 and the recording of the
mini-CD _Sadiam_, Allan and the band parted ways
and in the end of 1998 I took over the empty
slot.
CoC: What is the main element you possess that you feel can make you
stand apart from everyone else in the metal scene?
AV: Well, it's really hard to say. I guess we can be labelled as a
melodic death metal band, which isn't that original, but we work
with a lot of alternative elements not normally used within this
genre, which definitely makes us different! Another remarkable
thing is that our music is "pure", we have never followed any
musical trends. It may sound like a cliche, but it's really the
truth.
CoC: I find your rhythmic section quite remarkable, because it shows
both plenty of creativity and a lot of skill. But despite not
sticking to easy, conventional solutions, I think it all still
works very well and the result sounds very tight indeed. Can you
describe the songwriting process that leads to this?
AV: We basically write most of the music as individuals. Then, when
one of us has finished a song, he introduces it to the rest of
the band and we rehearse it together, and ideas like different
leads and fills and stuff are just thrown in along the way. A lot
of the time the final result ends up sounding a lot like the
basic scratch; we sometimes however rearrange things as a band.
Carsten, our bass player, has actually written almost all the
songs for _Devotion_, even though he can't really play guitar
(and I'm supposed to be able to do so). I actually play a lot of
the riffs exactly as he showed me to. I will, however, be a lot
more active when it comes to songwriting on the next record and I
guess that Thomas will also be so again.
CoC: The vocals are quite varied as well, not to mention rather
extreme at times, but always really emotional. As a guitarist,
how do you combine your work with that, how does it all come
together?
AV: Hmmm, a good question, but I don't really have an answer to it!
Basically, the different musicians in the band are just playing
what they feel like and are able to. As mentioned, the vocals and
lead parts are typically put into the song during rehearsal,
after the basic songwriting has taken place. We usually never sit
down and plan things, we basically just wait and see what happens
along the way.
CoC: How important is it for you that the final result contains
emotion as well as musical skill? And what sort of emotions
would you say you try to convey with your music?
AV: For me, and I also think that I'm speaking for everyone in the
band now, good and emotional songwriting is much more important
than the showcasing of technical skills. Of course, technique
often makes music more interesting, so it's worth trying to
combine those two things. The technical elements within the songs
aren't really planned, but we also try do things in different
ways, so sometimes things just evolve. There is no point in
playing technical stuff just to do it, but if it fits the songs
then it's just fine. About the emotions within the songs: when
writing music, I guess that you always put some specific emotions
into the music, but other people can interpret them in many
different ways. I know what emotions I normally work with when
writing songs, but the songs can make people feel in a different
way than I did when writing them.
CoC: The lyrics are quite out of the ordinary throughout, but work
really well once you get used to them... how do you think they
fit with what the band tries to express? Can you provide us with
some more details about their meaning?
AV: Claus Froelund, our vocalist, is responsible for all the lyrics.
The lyrics are basically based on his experiences with and views
upon relationships, especially the malfunctioning ones. I think
his lyrics are different from the standard, cliche-like lyrics
that a lot of metal bands write, and emotionally they definitely
work together with the sad and at times twisted feel within the
music. Some people may find his lyrics a bit too weird, but I
guess that's just because they don't know Claus -- if they did,
they would know the true meaning of the word "weird"! <laughs>
CoC: In my opinion, one of _Devotion_'s highlights is the way you use
really atmospheric passages, sometimes of considerable length,
followed by a very aggressive sequence that sounds all the more
aggressive in that specific context. What inspires the creation
of such contrast in your music?
AV: Well, we always try to combine different elements in the songs.
That way it becomes more original and interesting to listen to.
It also allows us to express a wider range of emotions, rather
than when the music is just blasting away for four minutes or
something; it creates a certain feeling of wild mood swings.
CoC: The last song on _Devotion_ actually reminded me a bit of
Anathema, which was rather surprising. Do you find you have
anything in common with them at all, musically or in terms of
what you try to express? What bands would you say you relate to
the most?
AV: I take that as a compliment! I, however, don't think that Carsten
has been directly inspired by Anathema, or any other bands, when
writing "You" or any of the other songs on _Devotion_. We have
been compared to Anathema before and it's no secret (at least not
anymore) that they are one of my favourite bands. I think that we
have the same sad and at times frustrated emotions in our music,
which Anathema expressed very well especially on _The Silent
Enigma_, _Eternity_ and _Alternative 4_. It's always hard to
compare your music to other bands. As mentioned, we don't try to
sound like other specific bands, but a lot of reviewers have
mentioned that they hear inspirations from Dark Tranquillity,
King Crimson, Opeth and The Cure, among others, which are all
bands that all or some of us listen to a lot.
CoC: The record features rather special, eye-catching cover artwork.
What's the story behind it, and how does it fit with your music?
AV: The piece used for the front cover was made by American artist
Chad Michael Ward, who has also provided covers for Soilwork and
Crest of Darkness, among others. We got a big variety of his
works to choose from and the picture we used was the one we liked
the best! There isn't any direct connection between the cover art
and the music; we had never even been in contact with Chad when
he made the picture. But of course the creative mind will always
be able to find similarities between those two things, especially
as there is a dark and a beautiful side to both.
CoC: Regarding the demise of your label Serious Entertainment -- what
happened, and what is your situation now? Is there a new deal in
sight yet?
AV: Well, Serious Entertainment went more or less bankrupt almost
right after the release of _Devotion_. It wasn't really a
disaster for us, as _Devotion_ will still be printed and
distributed, but it spoiled the promotion work quite a bit! I
guess SE just weren't able to pay their bills anymore. A couple
of labels have already showed interest in us, but at the moment
it's too early to come up with any specific news yet. We, the
band, all agreed on not releasing any more CDs on SE even before
they closed down, as we all felt that it was time to move on. A
small label like SE couldn't really get us any further than where
we are standing right now. In many ways, SE was a good and fair
label that just wasn't able to put enough work into its bands,
and further on didn't have the necessary funds for tour support,
etc..
CoC: Assuming you do get back on track label-wise quickly (and I have
no reason to doubt that), what are you planning to do next?
AV: We have just decided to enter the Aabenraa studio with Jacob
Hansen in early 2001 to demo three or four of the new songs,
which we are currently working on. The recordings will not be
released; we will only send them to interested labels, etc..
After the recording we will of course continue writing songs for
our next album, so hopefully we will be ready to record an entire
new album when we finally sign a new record deal. We will of
course be going for a better contract this time, so hopefully we
will be able to tour some more. Nothing planned right now, as
usual we must wait and see what happens.
CoC: Regarding the new material you've been writing, can you disclose
some information on how it sounds like at this stage compared to
_Devotion_?
AV: I think that it is a bit early to make a judgement about that, as
we are yet pretty early in the writing process, with only a
couple of songs being totally finished. I guess some of the new
material is a bit more melodic and catchy than _Devotion_, but
emotionally it's probably in the usual vein. Don't expect some
happy party-tunes from us... <laughs>
CoC: Any special messages or final thoughts you'd like to share with
us?
AV: Thanks for offering us this interview, Pedro. It's been fun
answering your questions. Hope that some of you readers who are
into music that is a bit out of the ordinary will check us out
eventually by visiting our homepage www.aurora.ms. Well, see you,
hopefully! Cheers!
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P R E D A T O R S F O R P A I N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Bjorn Strid of Soilwork
by: Adrian Bromley
It is nice to talk to a musician every now and then who just
seems to be totally excited about the new disc, even if he has
already done ten interviews that day prior to yours. Case in point:
Soilwork singer Bjorn "Speed" Strid. He's proud of his band's new
disc, the solid and ultra-dexterous _A Predator's Portrait_ (their
Nuclear Blast debut), and he wants to talk about it -- and with a lot
of enthusiasm to boot.
"The biggest change about Soilwork's sound on this record is
that it is very melodic, but still very fast and intense. I think
there is a lot more atmosphere within our music right now, and we are
also working in the clean vocals", beams Strid down the line trying
to throw in a lot of his thoughts when asked about the makeup and
direction of the band's third offering to the metal world. "I think I
am very proud that we made an attempt to use clean vocals more on
this record. And why not? Why not ask the other guys in the band to
try and find new scales and ideas to do with their guitar sounds? It
is hard to stay happy and within your area of musicianship without
wanting to explore other options. You just feel the need to expand
and try new things and we did just that. I decided to use a sound
coach to help me get a lot out of my clean vocals and I think the end
result is pretty good. I'm very happy with the way we used those
vocal styles to make the choruses very powerful."
Along with the other members in the band -- guitarists Ola
Frenning and Peter Wiches, bassist Ola Flink, keyboardist Carlos Del
Olmo Holmberg and drummer Henry Ranta --, Strid notes that the band
really hasn't made an attempt to change their sound over the years.
They just let it evolve, allowing the music of today's Soilwork to
sound a bit different from their two previous opuses, 1998's _Steel
Bath Suicide_ [CoC #34] and 1999's deadly _The Chainheart Machine_
[CoC #42]. Strid comments, "This record is a very personal one. I
think this record has a more personal sound, though there are
similarities between this record and the last one. This record is a
lot more atmospheric, dynamic sounding and varied opposed to the last
record, due to the use of clean and harsh vocals. I think that is
really only the most notable change. We're growing and it shows."
About the studio work, Strid says, "Most of the lyrics and ideas
for the album were pretty much known going into the studio, but there
are things that happen spontaneously in the studio, and they help
guide it into another direction sometimes. Once you are in the studio
and you have some of the songs down, other ideas come into your mind
and you act on them."
On the topic of the final product, knowing well what the ideas
for this disc were when heading into the studio, is Strid happy with
the final result? Does he think the band were able to capture their
ideas on the new material?
"I think this disc was supposed to be a certain way in our heads
and on paper, but the final result is much different and much better
than expected. When studio work starts, everything you play and work
on sounds like shit and it is up to you to mix the ideas and get it
to flow together. It is your job as musicians to help make all the
pieces come together and turn into something worth showing off to the
metal fans."
"It is hard sometimes to get a certain sound or idea down on
record", he adds. "That easily explains why some bands spend long
periods of time working in the studio." For anyone familiar with the
music of Soilwork, the fast-paced guitar riffs and supersonic vocal
cries bring out a truly hypnotic pattern, speeding up at a second's
notice. It is fast and furious. How does Strid keep up with the
guitar riffs?
"I don't know how it all works, but it does..." He pauses. "The
way I bring my vocals into the band, they compliment the style and
sound quite well. As for keeping up, it takes practice. When both my
vocals and the band's momentum get going, it is powerful stuff."
"A lot of the songs on the record are very important to me. I
love the way the songs are and just the sound they deliver. They are
great songs. I am very fond of the songs "Like the Average Stalker",
"Needlefeast" and "Structure Divine". Those songs really make a
statement for Soilwork."
Does Strid still listen to the other records they have put out?
"Yeah", he notes. "I still like to listen to those records and I
am very proud of what we did with those recordings. I am glad that we
did what we did with those discs and it's great to see how everything
for the band up to this point -- with the music we are creating -- is
all coming from a natural development."
Another thing I ask Strid is how the band is dealing with the
success they have been receiving lately. The band's new disc has a
lot of hype behind it and Nuclear Blast is pushing the album real
hard. Is the pressure on their end? Are they nervous about it all?
"Seeing that this is our first disc for Nuclear Blast, of course
we are nervous, but we are proud of what we have with this album. The
label has done a great job and it seems like we are a high priority,
so there is also some pressure. I think we are just glad to be in
this position with a great label backing us and a solid disc to play
and tour with."
Looking at the album cover and reading the song titles (even
taking note of the album title), it is quite obvious this is a dark
record. Why so dark and gloomy? Is the world really that bad? What
inspires these ideas for the Soilwork material?
"I'm not a very destructive person", he starts. "But these are
just tales that I sing about and come up with. Songs and ideas
inspired by violent and neurotic people with sick minds. I read up a
lot on the subject of psychology and the human behavior -- maybe that
is where it all comes from?"
He finishes, "I think we all need to explore ideas within our
music. I have decided to go this route with this record. Who knows?
It may be a different idea next record. We'll have to wait and see,
won't we?"
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F A N N I N G T H E U N H O L Y F L A M E S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Clandestine Blaze
by: Alvin Wee
Long known for melodic, commercially-oriented acts like Sentenced and
Amorphis, the frozen wastes of Finland conceal much darker treasures.
Joining the ranks of Barathrum and Diaboli are Clandestine Blaze,
purveyors of grimly unmelodic, "true" black metal. _Night of the
Unholy Flames_ is the band's second outing, and while boasting
slightly better distribution than the first, promises to be equally
obscure and -- in the words of the diehards -- "cult". Despite their
desire to remain underground, the band's Darkthrone-inspired material
deserves better exposure, so I decided to hook up with Clandestine
Blaze for a little introductory chat... which turned out longer than
expected and somewhat controversial too, but here goes.
CoC: _Night of the Unholy Flame_" has been out for some time now...
how has the response been so far, in Europe and the States? How
much promotion have the labels done for you?
CB: Response has been very good. One could say it is also because --
like all the releases -- album has been only sold. Therefore
people who buy it mostly know what they will get, and they buy it
because they like this type of material. There has not been free
copies sent to magazines etc., so there hardly is any journalist
criticism received. The little there is, has been positive.
CoC: How about sales-wise?
CB: LP is sold out. There is little more than 100 CDs available at
Northern Heritage. I don't have details of how sales in USA have
been, but rather good, I suppose, as I have not heard complaints.
This is achieved with almost zero promotion. There were 1000
flyers, and that is all besides the blackmetal.com web site. No
advertisements, and like said before, no free copies.
CoC: Speaking of labels, the companies releasing the album are pretty
obscure, with the exception of the US distributor. Aren't you
worried that this will affect the sales of the album?
CB: All CB releases are intentionally limited editions. There have
been no problems to sell a couple hundred vinyl and a thousand
compact discs. As I'm in charge of Northern Heritage, there is no
better label to be. Naturally NH is exactly my taste, but if we
count that out, End All Life productions from France is the world
best black metal record label. Their non-commercial and 100%
dedicated attitude for the true underground makes it best label
to co-operate with. Blackmetal.com has been supportive and honest
from the beginning, since the release of CB's first demo. And
very easy to work with. They do good work spreading the material
over USA, which otherwise would not have Clandestine Blaze, nor
Northern Heritage records distributed at all. Also they have done
great releases, and special support for vinyl as well.
CoC: But one must sell albums to keep on creating music... this is
unavoidable, isn't it?
CB: Selling albums is not necessity for creating music. I have some
material which has not, and probably will not be released, it's
only given as tapes to some people. I feel it is good to show
people that black metal underground is alive, and releasing
records is a good way to show it. But it is not an absolute must.
I'm creating music for myself. Music that I like to hear and
words I like to hear. It's not essential how much the album
sells. Existence of a vinyl version that will hold my creations
'till a distant future, that is a good point in releasing
records.
CoC: A great idea... but I'm still not sure... Anyway, on to the
music itself. You play a very primitive style of music, with
very few technical elements. One might attribute this to a lack
of skill/experience rather than a conscious choice. Simplicity
has long been an excuse for immaturity. How would a listener
differentiate between your music and that of the countless
immature bands nowadays?
CB: Music of CB is intentionally stripped down of unnecessary
elements. It would be no problem to change riffs more often, put
some fancy fills and different drumming styles and tempo changes.
But I usually dislike black metal like that. I like it to be
solid, in a right way monotonic, cold and barbaric. Music of
Clandestine Blaze is what I want to hear. If I liked some other
type, I would make it that way. When you look at the situation in
Finland, I think it's the immature kids who play the technical
and sophisticated black metal. I think it's the older generation
who enjoy the harsh and primitive music more. If you play
Hellhammer, Bathory or even Darkthrone to a youth of today,
they'll laugh and go back to latest Mayhem or Dimmu Borgir CD.
Kids who can't play, and therefore do primitive music, they'll
learn soon and bands become different and deny their "black metal
roots". It doesn't take many years to see which bands are worth
paying attention to. I'm not in a hurry here.
CoC: What then are your musical influences? I would guess Darkthrone,
Burzum, etc.?
CB: You're right about musical influences. Bathory, Beherit... you
might add to the list.
CoC: There's a small but strong movement today playing this raw,
primitive style. Bands like Judas Iscariot, Urgehal and some
German acts like Katharsis, etc.. What do you think of these
bands? Any recommendations or preferences?
CB: There are plenty of good bands out there who play raw black
metal. Finland alone has Bloodhammer, Warloghe, Helwetti, Pest,
Annihilatus, Uncreation's Dawn, Incriminated, Musta Surma, Horna,
and the list goes on. The rest of the world also has many good
bands, Deathspell Omega being among my favorites, also being
released on Northern Heritage. I'm not worried about the future
of black metal as music. Good music will always exist, despite
being minority. Lack of right attitude is frustrating.
CoC: Indeed, but I guess labels have a hard time surviving by
supporting such music. I know: my own distro carries only such
obscure bands/labels, and it's difficult to sell more than a few
copies of anything. Is there anything we can do to keep the
tradition alive?
CB: I am used to small amounts of sold items. When I work with
Northern Heritage, even bigger names (in this case meaning
Graveland and similar scale) don't sell more than a couple dozen
copies. Therefore I find it worthy to take unknown bands' rough
demo tapes, even if it would sell three copies. I don't want to
push things artificially. All worthy things are noticed if they
deserve it. It might be difficult to sell something that every
label has and that is available easily, but when you have
exceptional releases, they will sell. I see many labels pushing
hard to grow bigger and when they face difficulties and their
plans don't come true, they are frustrated. I'm satisfied to stay
small. That way those people who get stuff from NH can always
trust good and fast delivery and honesty. Not this "fill out the
form and show us credit card" style that big labels are now
using.
CoC: Do you think it'll be able to continue for long?
CB: Underground will always be there. You can count on that. If
wannabe mainstream bands go to mainstream, that is only healthy
for the true underground. Getting smaller doesn't mean the end.
CoC: Maniac Butcher is famous for their slogan "No female vocals...
etc."; you follow the same tradition. What is the reason for not
including these elements in your music? Don't you think that
music with these elements can be considered good black metal at
all?
CB: When you look even as little as ten years back, there wasn't much
synthesizers in metal, nor female vocals. If you would have asked
some metalhead back then, would you buy this metal album which
has flute and violin as main instruments, he would have smashed
your face.
CoC: So what do you think of the bands that have turned "strange",
like Dodheimsgard, Satyricon, etc.?
CB: I do listen to very experimental music, but what comes to black
metal, it's good when it is pure. Metal is supposed to be ugly,
filthy and raw. Metal scene swallows all what is given. Can you
go to disco and convince people that metal is actually disco
music? No, you can't. But when introduced some disco music for
metal crowd as "new style of metal", they'll soon dig it. I have
not heard Dodheimsgard since their _Satanic Art_ MCD, which
sucked hard. New Satyricon is not so "strange". It's actually
based mostly on traditional metal instruments and elements. Their
MCDs are shit, if you mean those?
CoC: That's what I was referring to. I feel (like you, probably) that
today's scene is but a shadow of what it was in early '90s.
Black metal was created to be feared and hated, not embraced by
kids like it is today.
CB: In a very short period of time there came an explosion of bands
in several countries. It was already early '90s when there were
so many followers. You can ask who is trendy -- the guy who in
2000 gets interested in black metal or the guy who jumped in the
bandwagon one month after he read some shocking article from
Terrorizer. Early '90s had its good things, but it's often full
of romanticized things as well. Black metal still is all that it
was in the early '90s, but besides it, there is press and labels
who try to convince us that some pop music is actually black
metal. People are naturally stupid enough to believe that. I
don't think that any punks believe that radio-rock like Offspring
is actually punk. Metalheads should also see when someone tries
to feed them bullshit. In early '90s you have small groups of
bands which made black metal into big news. Even Euronymous
declared that Mayhem should aim to be big. When it finally is,
see what it became. Stories around the mystical band is full of
legends which often are not so close to truth we can read between
lines. Burzum, another influential name. He did his thing and
is now preaching family values. Then you have Emperor, with
eyeliners and black nail polish, telling how immature kids they
were back then. And the list keeps going. I would not say that
it's essential to reach the same hype it was back then. There's
no need to have these people pretending they're extreme if
they'll change their views as soon as their little fun and
excitement is over. Bands who remain strong and keep going like
unstoppable force. I think that is what we need.
CoC: But do you believe that this popularity can be used in achieving
your objectives?
CB: Popularity does have its advantages. But there are limits. I
personally did not know any "metalheads" in my youth. If metal
would have been 100% underground, I don't know how long it would
have taken to find it. Luckily there was some metal played in
radio, so it gave first touch for this type of music, and after
that I found my way to the underground by myself.
CoC: Speaking of which, what exactly do you wish to achieve with your
music? Can it ever be done?
CB: Purpose of music itself is to satisfy my need to hear something
that is suitable for my ear and musical taste. Outside simplest
meaning of "music", Clandestine Blaze lyrics and attitude are
tied closely to this. I see no reason to make music that doesn't
express anything. If people are influenced by my views, and see
new ways to think, that is quite a lot achieved.
CoC: Which brings us to your lyrics. Much of it is openly
anti-christian. Why do you harbor so much hatred for religion?
What is it about religion that you hate so much? Are there no
positive points about it at all?
CB: Christianity tries to feed us false values. It starts from the
beginning when you are born. In Finland, state and religion walk
hand in hand. As member (to a certain extent) of society you are
stepped over by values which are grotesque and bullshit. They
have love and empathy taken to absurd level, they have worship of
the non-existent and enslaving yourself under it. It doesn't end
there, they try to take everyone else with it. Rules that should
only mean something to those who are christian, are forced upon
everyone. To get some trivial examples: if you own a company, you
pay tax to church even if you don't belong to one. If you commit
some crime during the christmas season, you'll get a harder
sentence, because of the supposed birth of the bastard jew. If
someone is in coma waiting his death, you can't pull the plug as
all life is said to be valuable gift from god. Etc., etc., there
are so many details, but we all know it. When christianity teams
with state, it all turns to: shut up and work. You reduce
yourself as part of lords great plans and serve with a smile on
your face. If you want that, be my guest. Your lord, he is not
mine. When they force their religion at me, I don't turn the
other cheek. It's made clear that I'm not one of them, I'll never
be. I blaspheme their "valuable" world for my own satisfaction.
It's not a matter of making the world a better place, when absurd
christ lovers and liberal humanists are hunted down. It's a
matter of individual doing what he wants and what has to be done,
not following expectation that outside world has.
CoC: But does it really affect you that much?
CB: I hear someone say "why waste your time, christianity doesn't
affect my life at all, I just don't care about it". Well, today a
friend told me he was attacked by a couple of junkies last
weekend. If christian values would not be so deep in our system,
those guys could now be stabbed to death, so they won't bother me
or my friends ever again. But no. This absurd christian origin of
"brotherly love" makes system to help the lowlife who himself
made all the decisions. If you respond attack with force and harm
or kill someone in process, you'll be punished and jailed. You
should just shut up and turn the cheek, take what is given, pray
and wait that those people will be helped and guided back to good
christian life. Small things like this prove you're still under
the siege of christian values. To know and then show people what
YOU stand for can not be bad.
CoC: Whew! OK, so where do you draw these sentiments from? Childhood,
perhaps? Or maybe some bad experiences you had? I mean, what
made you decide to follow the left hand path?
CB: I follow my own path. Time that I have spent on this world has
proven it to be right. I do see myself above the regular people.
There's absolutely nothing wrong admitting that. People say
"you'll get over this" and "you'll grow up and become a good
member of society", but I don't believe that. How can I can
possibly respect and learn from people who have not lived one
single day in their lives? Their physical age does not give value
to their preaching. My way is the right way, it would be absurd
to believe otherwise. Why continue if you think you are wrong?
CoC: Some of your lyrics and propaganda is strongly anti-Semitic
as well; in fact, even the labels you're on seem to have
anti-Semitic connotations. What do you have to say to this?
CB: When I as white man make lyrics of killing other white men, no
one sees it as a problem. If I write the same about jews, it
makes several people to ask questions. Then I can ask: who is the
racist, me or them? Look around in Europe. You can come here from
any different culture and practice your religion and form your
own cultural movements, but -if- you are white man, in some
countries you can't even salute others in a way it was done a few
decades ago without getting problems with authorities.
CoC: Is all this expressed hate actually racially motivated, then?
CB: I don't have special deep hatred for some race. I don't
necessarily like gypsies or street niggers here, but in general,
I don't like average Finns or Swedish speaking minority either! I
never write pure fantasy. "Tearing Down Jerusalem", b-side of 7",
received some criticism. Look at what jews are doing in Israel?
How jewish bankers have acted since times of Napoleon? Should I
shut up only because after WWII holocaust jews are taboo subjects
which should not be touched? Look at news couple of months ago.
United Nations condemned Israel of "large scale and systematic
violations of human rights" but European Union and USA openly
disagreed with this judgement! We see the obvious, but cowards at
our z.o.g. infested governments can't admit it. Zionism, what
above mentioned track speaks about, has been declared racial
prejudice by United Nations already decades ago. So how the
FUCK can Clandestine Blaze give people so many problems when
human-loving United Nations have made similar conclusions?! I
only have less respect for value of man, therefore I can say kill
the scum, while others dream of artificial and unjust peace. Jews
are target because of their religion and what comes along it.
It's not racial issue for me.
CoC: It's a fine line indeed... haha! The track "Chambers" deals with
gas chambers, Zyklon-B, etc.. Are you saying that the Holocaust
was actually a desirable event? Does this have anything to do
with why your lyrics aren't included on the CD version?
CB: Why lyrics are not included on CD version is because originally
thought was to not print lyrics anywhere, but only give them to
people upon request. That way it could be seen how many actually
valued lyrics and wrote and asked for them. End All Life
suggested LP version should have lyric sheet in each copy, and I
thought why not, as vinyl buying people are a little different
from average CD black metal fan. Anyone who wants lyrics can
write or e-mail to get them. All lyrics are available. There is
nothing to hide.
CoC: About the song then? Perhaps you'd like to explain it then?
CB: The song "Chambers" does not talk about the past, but it's
statement for the future. But it includes influences from past
too. Look at second verse, it tells about the fact that most
people just submit to this. They dig their own graves, they help
the enemy. While they know they will be executed, instead of
showing last resistance and either get killed or break free, they
choose only to get killed and even help enemy to do it. Groups of
people can easily run over one or more armed men, but if people
just don't try to change their position, only follow orders and
submit quietly, don't they deserve what they get? Third verse
talks about the fact that when chambers are filled with gas,
people sure won't be nice and full of religious brotherly love.
They'll rage and try to find clean air to breath, climb over each
other to get oxygen from higher (even if it's not there),
violently crush other people to survive themselves. It takes this
long to reveal true nature of humans that they have artificially
tried to hide. But it is too late then.
CoC: You know it's always tempting to use the label "Nazi"...
CB: Clandestine Blaze is not nazi band. Nazi = national socialist.
First of all: I'm not socialist of any kind, and I don't think
any black metal should be. Nationalists think that their country
or people in it are somewhat special, but I tend to think
most people are just meat. Useless flesh, often stupid and
unimportant. I don't think any state is different, but as I live
in Finland, I can only comment on that. How can I be nationalist
in state, where state and religion walks hand in hand? How I
could join army when majority of people give oath in the name of
god? How could I be nationalist in a state that does not even
respect itself, but prostitutes itself and spreads legs with
every other nation. How could I be nationalist in a state which
is against many things I stand for? Nazism is about conservative
values, family values, endless and unquestionable love for white
race and your country brothers. You see ns/pagan movement in
metal, and sometimes they try to convince they are black metal.
But since when was this socialist garbage classified as black
metal?! Ten years ago every black metaller from Norway to Poland
remembered to tell how LaVey sucked because of his humane and
life-loving ideology. Now same people are making "14/88" slogans
-- which simply means "save the kids, make good future for our
kids". So what has happened? I don't know, but I'd rather
masturbate on the bible, shit on the cross and burn the flag.
Anti-social and anti-christ. If that doesn't make things clear
and I hear once again people saying CB as "nsbm", I must ask how
low can man's intelligence go?!
CoC: OK, I'd like to take you back to your previous material, which I
haven't heard, unfortunately. How do you feel you've progressed
so far from your 7" days? And what direction are you headed in
the future?
CB: 7" was third release. It came after debut LP [and one demo --
Alvin]. All the releases are a little different, but still, you
could take any of the songs and put it in some other CB release,
and it still fits there like fist in the face. There are no plans
for new direction. I will keep doing material and everything
comes naturally. Simple, raw and primitive black metal from
beginning to the end.
CoC: I'm sure you have some plans for your next release... Enlighten
us fans: what can we expect from the band in the near future?
CB: Clandestine Blaze / Deathspell Omega split LP, vinyl only,
limited to 300 copies. Four songs by CB, three by DO. Total
playing time over 40 minutes. All exclusive songs that aren't
published elsewhere. After you hear Deathspell Omega music and
read the lyrics, there is no doubt who is best French black metal
band alive. Soon exclusive track is released on End All Life's
compilation LP, vinyl only, 300 copies.
CoC: Do you plan to play live at all? For promotion and exposure,
maybe?
CB: No live shows or tours. I have made some plans that could be done
on stage, but on the other hand I think CB music is not so live
show type of music. No guitar heroes, no exciting drum work to
watch, etc.. This music is for special audience, and live shows
have a lot of regular metal fans and teenagers. To not play live
is not the final decision, but when and where, that's up to many
things. Not very soon, that is for sure.
CoC: OK then, that's all for now. Anything to add? Merchandising info
etc., maybe?
CB: No merchandise, no web site, no MP3, no free stuff. Contact at:
NH, PL 21, 15141 Lahti, Finland. clandestineblaze@hotmail.com.
Future lies in hands of the strong .
CoC: Erm... OK. You heard the man...
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S A L V A T I O N F O R T H E M E T A L M I N D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Daniel Gildenlow of Pain of Salvation
by: Adrian Bromley
Pain of Salvation singer/guitarist Daniel Gildenlow loves his
music. He also loves the fact that it isn't perfect. He loves that
there is room for change.
"Every album we do has its own personality and sound, but in a
way I am never really satisfied with how an album turns out. You
can't always be satisfied", he declares about the new progressive
metal / hard rock-tinged opus _The Perfect Element Part 1_. "I don't
think you should be satisfied completely because it is one of the
things that should push you forward so you strive to make a better
record each time."
"I just always feel that I could be a little better on each
disc, but it is a good thing that I want to do more as the years go
on. It gives me initiative to make a better record than what I did
with the current one." He adds, "I am satisfied at this point of time
with the band and its music."
He and his band -- comprised of drummer Johan Langell, bassist
Kristoffer Gildenlow, keyboardist Fredrik Hermansson and guitarist
Johan Hallgren -- are pleased with the studio work and ideas that
went into the new record. "This record I think we did a lot of great
work. There was a lot less compromising in the studio this time and
that was a great thing to have. It was a very relaxed environment as
well. I felt as the work in the studio went along, it all seemed to
go along well. When you first really start to do studio work, there
is the intimidation factor for you to deal with. But it wasn't there
this time as it was with our first disc _Entropia_ (1997). We just
had this relaxed feeling going on and I was at ease and free to try
different things and knew that people wouldn't judge me on what I
wanted to do. They just felt that whatever came naturally would work
best for the recording."
"Something in the studio doesn't feel right when you try things
a certain way, so it only seems right to go out and try to expand
your ideas and do new things. It feels good to have people working
with you that will let you try to bring things into the band and see
how they play out."
It has been a long road for Gildenlow, who started playing at a
young age back in 1984. Plus, as the years have gone on and Pain of
Salvation took shape, Gildenlow has managed to keep focused and make
the best of everything that came their way. What has been the secret?
"I think one of the reasons we have lasted is that we try to
work out the differences within the band. You know? Try to fix any
problems or situations that come to the surface. It isn't good to
silence any problems. That is one thing because we talk it out when
we need to. I think we are all very strong supporters of one another
and that helps. Musically I think it all has to do with the changing
of the band and the evolution of the band. When I started out, when I
was eleven, I had a whole other sound and idea going on for the band.
Band members have come and gone with the music I have made and from
out of all the changes came Pain of Salvation in 1991."
He adds, "There is a lot of inspiration in our music and that
makes it all the more enjoyable to digest and play."
One strong factor in the corner of Pain of Salvation is the
respect and praise many critics and fans have for the band. How does
Gildenlow feel about all of the good words being spoken about he and
his Swedish comrades?
"Stuff like that makes me feel good. It is true, after all" --
he laughs. "I have mixed feelings about all of that. I feel that in a
way I have always been fighting the music norm, which makes it
difficult to get our music out to the people. We are flattered that
people like our music, but it is sad that we are "only" in the
progressive metal genre. I think our music is a lot wider than the
progressive metal genre. When we are labeled that, a lot of people
who would like our music don't give us a chance 'cause they see the
label tagged on us. I think a lot of people who -really- like
progressive metal are into what we do because we aren't "Dream
Theater" enough for them or play progressive music the way it is
meant to be played."
It seems as though over the last few years, progressive metal
bands have come out of the woodwork, almost saturating the market. It
seems as though everywhere you look there is some new progressive
metal band making the round with rehashed ideas and so-so song
structures. What is Gildenlow's take on all of this hoopla?
"I think every genre is like that. I think when Dream Theater
came out with _Images and Words_ (1992), it was a miracle in a way",
he says. "But at the same time, it really drained the inspiration
from the genre, because so many bands were inspired by their sound
and they aimed to sound like that and/or did everything they could to
be like them. Dream Theater was unique -- why copy it?"
"That is one of the main reasons why this genre can be boring.
It is supposed to be progressive. It is funny when you go to all
these progressive metal websites and there is the tag that says
"music for the intellectual" and I just have this feeling that
repetition is going on. I think that one of the main problems is that
there is a lot of repetition. It has to be stopped. It is just
derailing the genre."
Gildenlow finishes, "Bands of this genre really need to be
open-minded. That's why we have tried to maintain our own sound and
tried to make progressive music the way we want to, rather than try
to impress people by being what they expect."
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W A R R I O R S O N T H E M E T A L P A T H
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to Antti Kokko of Kalmah
by: Adrian Bromley
Having been an avid metal fan for almost two decades, I always
find it exciting while listening to metal music to just sit back and
enjoy it as it unfolds. The chemistry of abrasive sounds, passionate
rhythms, and the occasional melody flowing through me, transports me
to a plane of existence that leaves me full of excitement.
I had one of those experiences while listening to Kalmah's debut
disc, _Swamplord_ (Spinefarm Records) [CoC #51], late one night. It
wasn't some huge religious experience, but I did make note of the
qualities that Kalmah were able to create within its melodic death
metal sound. I enjoyed the music and I wanted to get in touch with
the band and find out what makes them tick. So what's the secret of
the debut disc, Antti?
"Our main goal had always been about playing skillfully on this
debut disc", starts Antti Kokko, guitarist for the Finnish outfit.
"We had five months to prepare for this record, and both Pekka
[Kokko, brother/guitarist/singer] and I made sure that we used the
time wisely. Everything was ready about a month before we went into
Tico-Tico Studios, so we had lots of time to polish these eight songs
we recorded. We had an extra song, but we dropped it off the album
because it wasn't complete and the studio time we had planned had to
be used efficiently. I mean, we only had three weeks to finish up the
record in the studio. That also included the mixing process."
One listen to Kalmah (the band is rounded out by bassist Altti
Vetelainen, drummer Petri Sankala and keyboardist Pasi Hiltula) and
it is quite obvious the band draws a lot of their sound and
inspiration from the likes of Iron Maiden, Helloween and other '80s
veterans. Melody and metal collide quite nicely on _Swamplord_. As
the guitar player, what kind of sound and style did Kokko try to
bring to Kalmah?
"As a guitarist I have aimed at bringing something new to the
metal music", he states. "It is hard to do that, you know, but I
think the way I play is different from others. I play guitar with an
extreme hard touch when it comes to rhythm guitar riffs. Listen to
the solos and melodies of the music and you can see what I bring to
the band."
When asked to explain the meaning behind the _Swamplord_
moniker, Kokko replies: "_Swamplord_ as the album's title is
something that we considered to symbolize an inner warrior feeling.
We wanted a different album title, different from what you usually
see out there in the metal scene. We wanted a title that describes
our metal path from the very beginning to this day. We live in the
middle of a barren swamp landscape here in Pudasjarvi and many of our
songs got their inspiration from this kind of environment. We just
think the album title arouses and gets people thinking about what
type of music we might play."
The band in their earlier days used to go by the name Ancestor.
They released a few demo tapes before they eventually changed their
name and sound. Does Kokko notice a big difference in each band's
ideas and musical inspiration?
"The line-up has been the same for both bands, but of course we
have changed over the years", explains Kokko. "First of all, our
musical development as individuals has certainly changed to a better
direction, but I'd have to say that the sources of inspiration have
been pretty much the same all this time. Our music really didn't
change until we brought keyboards into it. The keyboards brought a
huge expanded sound to the music we were playing and it really opened
our eyes. We finally found -the- sound and -the- style we wanted to
have! At the same time we changed our name. We somehow wanted to
express this change and came up with a new band name."
Kokko mentions how their culture and surroundings have somehow
dictated how the band has grown and evolved. Does he really see a lot
of culture in what they do?
"Our name Kalmah and some of our song titles have cultural
traces. Kalmah is taken from a Karelian dialect, which was spoken and
is still spoken by people who lived or live in Karelia. Karelia
belonged to Finland before the Second World War, but nowadays it
belongs to Russia. Anyway, Pekka and some of my relatives speak this
language. Their parents were evacuated to Finland during the war.
It's a fading traditional language, so we want to keep it up although
we don't speak it very much.
"There are also elements of traditional Finnish folk tunes in
our music too", he concludes. "We offer a bit of everything."
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S U S P E C T S I N D A R K N E S S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Roland Wurzer of Darkwell
by: Adrian Bromley
Austrian act Darkwell are indeed a gem in the genre of gothic
metal music. Not to say that their music is far from the standard
gothic metal sounds and style, it's just that the band's debut record
_Suspiria_ (on Napalm Records) has something really magical and
hypnotic about it. They, in my books, are better than the rest of
bands in this genre that have surfaced in the last little while, save
for fellow labelmates Tristania. They too have taken gothic metal
music to new realms.
The record by Darkwell -- a wonderful assortment of gothic
overtones, dark and broody guitar riffs, haunting keyboards and
enchanting vocals -- just reeks of passion. The songs meld together
so fittingly, rarely coming to a standstill, as the emotional visions
of darkened ideas and spirits rain down upon us through soulful
numbers. The darkness is there no doubt, but there is a lot of beauty
to be found within Darkwell.
Spokesperson/bassist Roland Wurzer talks to Chronicles of Chaos
about the inspiration for the band's debut effort and the music they
create.
"We have always just wanted to create music that we felt good
about. Music that was emotional. Music that was gothic. Music that
sounded like Darkwell", starts Roland down the line late one night in
Austria. "It was very important for us when we made this record to be
able to just be ourselves and let the magic within the band happen.
We are all very talented musicians and we are capable of doing some
great work. _Suspiria_ is proof of that."
Has it been easy for the band -- made up of singer Alexandra
Pittracher, guitarist Roman Wienicke, drummer Moritz Neuner and
keyboardist Christian Filip -- to make a name in the music industry?
"Naturally it has been quite difficult, especially in Europe,
because a lot of the smaller labels have realized that there is such
an influx of black metal albums in the market that they are now
focusing on signing bands that use female vocals. There are a lot of
bands getting placed in the gothic metal category and it makes things
difficult for us to push the band and our music. We are always
getting compared to bands like Theatre of Tragedy and other bands
like that."
I too don't get the comparisons that Roland says the band gets
pigeonholed with. I think Darkwell are a unique entity in the gothic
metal realm. And I'll admit while they are not the most original
sounding gothic band out there, they at least make an effort to do
something fresh and inviting.
"For me, music is a great way to express myself. I think
everyone in their lives tries to find a way to express how they feel
and the emotions inside. Music was my way of doing it. Ever since I
was thirteen or fourteen years old I tried to find many ways to
express myself. At first I wrote lots of lyrics and poems, and later
on I started putting them together with my skills as a musician. I
worked hard with my instrument and combined it altogether and thought
the whole thing through and started up a band in the early '90s."
"At first I wasn't very skilled at what I did, I'll admit that,
but as the years went on I got better at it and it was becoming a lot
easier to express what I was trying to get out of me. Nowadays I
think we, as a band, are really able to work as a team and display
our emotional efforts quite effectively."
He adds: "To be honest with you, making this type of music is
not a very good paying job. It is hard to really get a lot of money
from this, but for me being able to get up on stage and play and
express our feelings is payment enough. Music comes deep within our
hearts."
And while gothic metal music has done very well in the
underground, with many bands out there doing quite well over the
years, the gothic music scene hasn't really seen a lot of success on
a much grander scale, say the exposure of Metallica. Why does Roland
think that is?
"I think that has to a lot to do with the people in the gothic
music scene being split up. Some only really listen to industrial
music, while others listen to really depressing, morbid stuff. Then
some only listen to black metal music and/or the type of gothic metal
music that we play. Because of that, and the styles and visions not
really combining with one another, the scene stays underground
because no one is really making and effort to expose it, I think."
"I think one exception might be the success of Type O Negative",
he comments. "But while they did see some success, it didn't go over
with such massive success as would a mainstream music band. I really
like Type O a lot. I'm a big fan of Peter Steele and what he has
brought to the scene. It is also great to see how his band's work has
gone over the years. They started off with some success and gradually
went on to record a very commercial sounding record [1996's _October
Rust_]. But because of all the stuff he dealt with in regards to
label problems, success and life in general, he brought his sound and
vision back into the underground with the last record [1999's _World
Coming Down_]. I appreciate him for that and that is why I admire his
work."
So in light of our conversation about the success of gothic
metal music and how it has relatively stayed underground, where does
Roland see the next release of Darkwell? Will it be more of a
mainstream sound? Will it be similar in sound/style?
"I am not sure where we will go. We are currently working on the
new record. We don't really say something needs to go or this needs
to be harder, we just try to be as natural as possible. But already,
with the three new songs we have started, there have been some
changes. We didn't really change too much, I've noticed, but things
have sped up in comparison to _Suspiria_. That record is very
mid-tempo. This new material is indeed much faster. So it seems the
new album will offer some new ideas, but none that are forced."
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D E V I L S R I D E A G A I N !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC talks to K.K. Warslut of Destroyer666
by: Adrian Bromley
Most bands throughout their career seem to follow a certain
pattern with their music. They surface in the scene, shift things
around throughout their careers, try new things and fade away. It's a
pretty simple procedure, with few bands ever really making and effort
to try and start over again with their sound and style.
But some bands make an effort to re-invent themselves, not just
for a certain album theme or concept, but an all-encompassing change
to help bring a renewed life, if you will, to the fold.
Australian metal regime Destroyer666 -- made up of
vocalist/guitarist K.K. Warslut, guitarist Shrapnel, bassist S.
Bezerker and drummer Deceiver -- are one of those bands that have
made an effort to get the ball rolling once again. They have made an
effort to break away from any set genre and explore music how D666
wants to. Trends don't stick to these Aussies.
Chronicles of Chaos hooked up with metal avenger K.K. Warslut to
discuss their new album for Season of Mist, tiled _Phoenix Rising_
(how fitting, eh?), the metal scene and tour plans for 2001. He even
offered up some sightseeing ideas, as well.
Here is how it all unfolded...
CoC: I personally think that this is your best work to date. It is
quite easy to see the growth of the band since your inception up
to _Phoenix Rising_. Why do you think D666 sounds this way?
K.K. Warslut: Evolution, I'd say. _Phoenix_ is a very experimental
album for Destroyer666. We wanted to break away from
genres. D666 will never be experimental to the extent
of many bands out there, but nonetheless I've always
felt a great need to distance myself from others. That
shows in D666, despite in many ways being a traditional
metal band. We don't fit neatly into any one specific
genre. The worst genre for me, of course, was the
so-called "retro" genre. In fact, now that we have
experimented a little and stirred the pot, D666 shall
resume the course taken earlier and proceed stronger
than ever. The next album is composed as we speak.
CoC: What was the reasoning for the album title? Has the band been
reborn, as that is usually taken from the idea of a phoenix
rising?
KKW: Yes, I think that's the case in many ways. We now have our
strongest line-up ever, with all members contributing to the
wall of sound: S. Bezerker on bass and Erik on drums. We played
New Year's Eve 2001 and it seemed unanimous that this was our
strongest line-up ever. The phoenix symbol is just another form
of the same philosophy that is inherent in D666. The idea of
eternal recurrence. It's a philosophy necessary in order to
start deprogramming and destroying the world.
CoC: How do you think you guys hold up to the other bands playing
black metal inspired music in North America or Europe? Do you
really care or follow what other bands are doing?
KKW: I only follow bands I'm interested in. There's far too much out
there now to even think about keeping up with every release that
comes out. Fuck the world, I say.
CoC: Tell me about the Australian metal scene. It seems to me that
there is a lot of good acts out there right now, and it always
has seemed to be that way. Am I right? What bands do you like?
KKW: Yeah, the Aussie scene is great. Fucking loud and proud. Very
traditional. I love it. For me, Aussie metal started with Hobbs'
_Angel of Death_ LP from '88, then Mortal Sin, Sadistik
Exekution, Disembowelment, Incubus and Slaughter Lord. There's
no denying that Australia never produced the amount of bands the
US and Europe did, but that is more to do with population than
anything, I think. But the bands we did produce were always
heavy and there are a few world class gems in there, I think.
Some of the best bands to look out for at the moment are Long
Voyage Back, Gospel of the Horns, Grenade and Vomitor.
CoC: The production on this new disc is top notch and the playing
seems to have been captured in all its might. Was there any new
way you went into recording? Do you like studio work?
KKW: We recorded differently this time around. We needed a more
sharp, defined sound. The songs demanded a different sound, so
we recorded differently than we normally would, which was to
record the rhythm tracks live and overdub vocals and leads
later.
CoC: Was there certain material omitted from this disc because it
didn't suit the flow of things? If so, why were they cut?
KKW: Yeah, that happens a lot. Some just weren't part of the picture,
you know? But some of those cut pieces will appear on the next
album _Cold Steel for an Iron Age_. This next release will see a
mix of _Unchain the Wolves_ and _Phoenix Rising_.
CoC: Why do you think most bands don't last more than a few albums?
What has kept D666 alive and going after all of these years?
KKW: Plain and simple: FIRE! Fire has kept me with an up, and 'till
now, an inexhaustible thirst for metal and the things you can do
with it. The ideas and concepts that come with being part of an
underground extreme music scene are large. You know that extreme
sounds generate extreme emotions. When that emotion is tempered
with discipline, the real war can begin. I think musicians and
artists today are simply messengers. That's how I feel, at
least, and the magnitude of the message I'm relaying never
ceases to inspire and amaze me. It's feeding me. Some would call
that SATAN. I'd certainly call it heresy. What you attach to it
doesn't bother me. It's that you see it! Hear it! And Believe
it! And then act on it.
CoC: Mainstream music seems to have grasped onto a concept that they
call heavy metal (Korn, Soulfly, Metallica) -- how do you feel
about that?
KKW: I don't feel anything. I turned away along time ago. No one
should waste energy on things that are not important.
CoC: What bands inspire or inspired you in the beginning? Do you
still listen to those records? Any specific albums?
KKW: My influences for Destroyer666 are everything from Black Sabbath
to Burzum onto Destruction and to Beherit. I listen to
everything. I guess I've never sat down and thought I want to
sound like any one particular band. The only band I want to
sound like is Destroyer666. Here's a few of my faves:
Iron Maiden - _Killers_
Black Sabbath - _Mob Rules_
Beherit - _Dawn of Satan's Millenium_ 7"
Destruction - _Infernal Overkill_
Celtic Frost - _To Mega Therion_
CoC: You seem to have quite the say in the album material -- in terms
of writing and playing. Do you like to have control of the music
and where the band is headed? Does it just make it easier to
keep things focused?
KKW: I agree that one man will usually have a lot more focus than the
group. But that is something that is slowly changing, the next
album will see S. Bezerker singing a few songs and maybe even
Shrapnel will belt out a few tunes. They are both writing more
material than ever, so I think D666 will be an ever-changing
beast.
CoC: Has the band ever toured North America or Europe? Hopefully you
will one day if you haven't. Any ideas what you want to do
should you visit out shores? Any particular landmarks or
sightseeing destinations?
KKW: No, we haven't toured anywhere beyond Australia at this stage.
2001 will hopefully see us in the States. Of course I'd love to
go see all those friends I'm in contact with over there, but
also I'd love to try to see Sandra Good, maybe Lynette Fromm if
that were possible. I'd really love to get in safe proximity to
your reptiles and other predators before they're gone, I guess,
particularly the pumas, bears and of course, wolves. I think I'd
like to go tripping out in one of your deserts as well, maybe
near the Grand Canyon. Oh, and the fucking old cars? Hell, I
love the old US Steel policy, big fucking cool long cars with
huge fucking engines. I own a '69 Pontiac Grand Prix 400 at the
moment, so I'd really love to get into a left hand drive one.
You know? As they were intended. Yes, I do admire the Americans'
pursuit of freedom and power through the automobile, up and
'till the early '70s, that is. After which the aesthetics and
designs seem to be taken over by fag-arsed poofters. Pontiacs
and Harley Davidsons are the horse and coach of our age and
every outlaw needs a fast horse, eh? On a more ghoulish note,
I'd really love to get to the Plainsfield Cemetery. It's just
south of Chicago, I think? I know that it's where Ed Gein was
buried next to his mother. I love that tale of that man, a true
tragedy of the modern age. Very disturbed. If someone were to do
a real life movie of the man, that would be unbelievable! And
don't give me that fucking "Silence of the Lambs" movie.
CoC: What makes you want to be a part of the ever-evolving metal
scene? Why do you play music? Will it eve come to an end?
KKW: Satisfaction and the pursuit of perfection. Metal is the
greatest medium there is for conveying stronger than usual
emotions. It speaks loudly to what is known as someone's
"heart". With that we can do anything for the silent satanic
revolution. Will it ever come to an end? Everything ends
someday. I'm hoping to be burned in the fire long before that,
though.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
SPREADING THE FAITH, SPREADING THE WORD
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Shammash of Mythological Cold Towers
by: Adrian Bromley
Ah, the power of the Internet. The power of e-mail. It is a
wonderful world we live in, much better in my mind since the
invention of the Internet. Don't get me wrong, I used to love writing
letters and mailing them to my parents and relatives all over the
globe, but those days are long gone. The power of the Internet allows
me to reach them in matter of seconds, hours or possibly a day --
opposed to a week or more via snail mail.
Even more amazing in my books is the amount of friends and
acquaintances I have met since Gino and I started up Chronicles of
Chaos many moons ago (geesh! Almost six years!). Countless bands,
fans and labels have come and gone, but the real power of metal music
is alive and well. Music binds us all in some way or another and
indeed there is a true brotherhood in the world of metal music.
A few issues back [CoC #49], I came in contact with a Brazilian
outfit calling themselves Mythological Cold Towers, an epic-sounding
band that was full of creative energy and masterful songwriting. A
real definite crowd pleaser if there ever was one, a band capable of
providing the listener with powerful metal numbers that shined with
varied sounds and intricate song structures on their sophomore effort
_Remoti Meridiani Hymni -- Towards the Magnificent Realm of the Sun_
for Somber Music. I was interested in talking to the band, to expose
them to the masses that read Chronicles of Chaos, so the e-mail went
out to the band. Guitarist Shammash was kind enough to respond back
promptly by e-mail. Here is how it all went down...
CoC: Tell me about the ideas and inspiration for the work of _Remoti
Meridiani Hymni_. What ideas fueled the work for this set of
material? Are you happy with the end result?
Shammash: Our initial proposal was born from the need that all we
have to look for our roots and where we came from. To try
and track down and understand the past that was left behind
over time. Some of these roots are as inexplicable as the
ancient Inca Empire. Then we took the histories and
mythological legends, the ones wrapped up in mystery and
desolation, and we [the band is rounded out by vocalist
Samej, keyboardist Flagellum, guitarist Nechron, bassist
Leonard and drummer Hamon -- Adrian] came up with the idea
for a conceptual album dedicated to pre-Colombian America
and the people that influenced this culture.
CoC: While not in abundance, but quit obvious, the band has managed
to bring a lot of your culture into the work of MCT. Do you
think this works in your favour? Why do these elements play such
an important part in your music? Do they?
S: Those elements are as important to our music as oxygen is to us.
We were one of the first bands in Brazil to do this type of
conceptual work, and at this time the South American people are
the basis of our work.
CoC: I am wondering if you guys were influenced by any other artist.
I don't hear much influence (in terms of style and sound), but
it is quite obvious you are adept at creating long epic pieces.
What bands/musicians inspire you?
S: Many bands go out and try to play music a certain way and try to
have an original sound. Our sound comes from a whole bunch of
influences: heavy metal, classic music, ethnic music, pagan music,
epic soundtracks, progressive, etc...
CoC: Why do think people should listen to MCT? What more do you have
to offer than countless other bands?
S: I think our music is full of some great lyrical concepts and
ideas. I think these songs interest people and provide them with
curiosity about the culture and the sacred places found within
South America. We tried to show people around the world the
feeling of value of all the races of the world. That means showing
support for those that came before us, like the Egyptians, Mayans,
Celts, Incas, Greeks and many more that left traces of their roads
of wisdom to allow us to stay alive and understand why we are
here.
CoC: How hard is it to get noticed in Brazil? What is the scene like
there?
S: Here in Brazil the scene is very strong and we have many quality
bands playing various styles of music. Some good bands include:
Miasthenia, Crux Caelifera, Serpent Rise, Morcrof, Dragonheart,
Silent Cry, Evilwar, As the Shadows Fall, etc.. And even though we
are all very different in the music we play, all of these bands
support other bands when it comes to playing shows together, etc..
The scene is very strong and everyone works together to help each
other out.
CoC: The band seems geared at working hard at spreading the word of
MCT. Do you get a lot of press and exposure?
S: Claudio at Somber Music has been doing a great job at spreading
the word about MTC. We have been getting many positive reviews
back about the new album. I think it comes as a surprise to us to
see that a band coming from a country that doesn't export too many
bands having a lot of good response. It is great to know people
like our work.
CoC: What is in store for MCT in the future? Will the sound change?
What do you have in the works -- new material ?
S: We have been pushing the new album _Remoti Meridiani Hymni_ for a
while now, and it was just recently that we were able to stop and
actually start working on new music for the band. We have already
started on some ideas, but their sounds and styles still lack any
real definition. What I can say is that our music will be pretty
much the same for the next record, though we may highlight some of
the better points of our music and try to evolve the sound a bit
further.
CoC: Do you think metal music is getting boring? What bands do you
like?
S: I believe that the metal scene is going through an evolution
period where everything that was done before is coming back into
the music scene. I see bands increasing other elements of their
sound and style, and from that they are enriching metal music, and
that's good. Personally, I have grown tired of hearing bands
playing the same style of music over and over again and not bring
anything important or different to the heavy music scene. I like
creative bands that look to renew and develop their sound with
each release. As for the many bands I like, here is the list. I
like: Black Sabbath, Candlemass, Mercyful Fate, Venom, Bathory,
Dead Can Dance, My Dying Bride, In The Woods..., Primordial,
Absu, Celtic Frost, Voivod, King Crimson, Gentle Giant, Manowar,
Borknagar, Hades Almighty, Elend, Die Verbannten Kinder Evas, The
Soil Bleeds Black, Ulver, Empyrium, Arcturus and so many more.
CoC: Seeing that music fans in Central and South America are quite
rabid about your music, how long have you been a fan of the
metal music scene? Why?
S: You are right, Adrian. Here in Brazil, the boys are very
rabid, perhaps that is why we have generated extreme bands like
Sarcofago, Sepultura and Mistifier. As fans of metal music, we
know what we want to hear and we support the bands. Those of us in
MCT have been a part of the music scene for a long time, almost 20
years! Since my childhood, I have always hated popular and futile
types of music like samba. I found that through metal music I
could transmit my feelings and it has allowed me to look for new
horizons and find my identity. Metal is my way of life!
Contact: mailto:mythological-cold-towers@mailbr.com.br
Contact: Somber Music, P.O. Box 2089, Osasco/SP 06114-990, Brazil
mailto:somber@albnet.com.br
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
_____ .__ ___.
/ _ \ | |\_ |__ __ __ _____
/ /_\ \| | | __ \| | \/ \
/ | \ |_| \_\ \ | / 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!
Angelcorpse - _Iron, Blood and Blasphemy_ (Osmose, January 2001)
by: Paul Schwarz (8 out of 10)
Why is it that so many great bands in the metal underground die
so young? Not even mentioning the frustrating number of great demo
bands who never even get a deal, just think of all the bands who
start promisingly, get progressively better, and then split up just
after their last album became among the most excessively rotated
discs in your collection. During the Fall of 1999 I went no longer
than a week at any one time without listening to _The Inexorable_
[CoC #44], Angelcorpse's third and final album -- and I must admit
that it was a daily need for a good few one to two week stretches
within that. But it wasn't because _The Inexorable_ was the year's
most original album: it wasn't even close. What made Angelcorpse so
great wasn't originality. However, if that stopped you liking -- no,
make that -loving- -- them, then you definitely missed the point. The
classy covers of thrash and death metal legends like Morbid Angel,
Slayer and Possessed which are included on this CD may brutally
expose just how many -stylistic- debts Angelcorpse owed to such
seminal bands, but what Angelcorpse brought to death metal was not --
and was never meant to be -- stylistic innovation. Angelcorpse
brought the storm, they reaped the whirlwind, they showered pure,
molten fury on their listeners in near-unsurpassable abundance and
intensity. Angelcorpse made music which showed its influences, but
also left the band's individual character fiercely stamped onto their
brutal, devastating and impressively quality-potent compositions.
Pete Helmkamp's spite-filled, raw-throated vocal attack
completed the circle of which the frenetic attack of Gene Palubicki's
guitar and Tony "Now in Nile" Laureno / John Longstreth's drums were
the largest constituent parts. Angelcorpse would not be morphine-like
addictive without Helmkamp. They would also not have been quite such
an uneasy prospect as concerns their personal views. Angelcorpse
-were- a band where many people -- I was certainly included -- chose
to forget about what personal views and agendas might be held or
advanced by the members, and just got on with enjoying the music.
There was no way -I- was going to miss out on such a potent
expression of power for the sake of (arguably) bigoted personal
opinions only vaguely reflected and aspersed to in Helmkamp's lyrics
-- whether clever or cowardly, the skinheaded ex-Order of Chaos
frontman with the vocal venom of a horde of vipers kept his
references fleeting and vague. This compilation is not a recap of
the band's career, it is instead a collection of the rare and
demo material they left behind, totaling 17 tracks in all. Their
o-so-_Altars of Madness_ _Hammer of Gods_ debut [CoC #17] is
represented by an alternate version of "When Abyss Winds Return", two
killer live tracks and the _Goats to Azazael_ demo, featuring demo
versions of four of _HoG_'s songs. The production-advanced but
songwriting-inconsistent _Exterminate_ [CoC #33] has merely two live
versions from it presented -- and more unfortunately it's two of the
more average tracks on the record --, while near-perfect final opus
_The Inexorable_ is only represented by an the earlier-recorded
"Wolflust" from the 7" of the same name. Aside from this there are no
less than seven covers of various metal bands: ranging from the
excellent (Morbid Angel, Slayer, Sarcophago, Possessed) to the
average (Judas Priest, Iron Maiden) through to the frustratingly
flawed version of Kreator's "Pleasure to Kill" -- it should have
whipped.
_Iron, Blood and Blasphemy_ itself is not spectacular; although
it's 65 minutes long, only about half of it is really stuff that
you'll bother listening to for more than mere first-time curiosity.
However, _I,BaB_ remembers a great, great band who may have had a
narrow focus, but exploited every angle of their chosen character to
finally develop its infectious, fury-filled brutality to its logical
conclusion. They will be missed.
Retrospective rating of Angelcorpse releases:
1. Angelcorpse - _The Inexorable_ (1999) [9.5]
2. Angelcorpse - _Hammer of Gods_ (1996) [9]
3. Angelcorspe - _Exterminate_ (1998) [9]
4. Angelcorpse - _Iron, Blood and Blasphemy_ [8]
Arise From Thorns - _Before an Audience of Stars_
by: Pedro Azevedo (7 out of 10) (Dark Symphonies, January 2001)
This is the re-release of Arise From Thorns' second self-financed CD,
consisting of progressive acoustic music led by female vocals.
Varying between the tranquil and the upbeat, AFT's very melodic music
is based on the synthesis of vocals and keyboards. Technically very
good, Arise From Thorns (who for some reason have decided to call
themselves Brave from now on) manage to become quite catchy at times
and soothing at others. However, the album lasts for nearly an hour
and for me it starts to drag somewhat before midpoint. It tends to
become too atmospheric and a bit repetitive, and the enjoyment of the
first few tracks (which are reasonably different from each other)
doesn't really extend to the rest of the album. Three bonus tracks
(one of them live) are also included in this remastered re-release,
taking the total length of the record to 67 minutes -- so if you
really like this, you'll certainly get plenty of material to enjoy.
And the fact is this -is- enjoyable and technically interesting, even
if for my taste there should be more variation and a much darker
atmosphere surrounding the music. If you think that a more acoustic
and progressive version of The Gathering might interest you, however,
then _Before an Audience of Stars_ should definitely be worth your
time.
Aube - _Sensorial Inducement_ (Alien8 Recordings, 2000)
by: Gabriel Sanchez (8 out of 10)
I suppose if Merzbow can release a jazz album (_Door Open at 8 AM_),
then Aube is perfectly capable of getting down and dirty with a
synthesizer. _Sensorial Inducement_ is Aube the atmospheric, ambient,
structured noise artist without the noise. While I hesitate to label
the contents of this LP as "music", it is undeniably more so than
anything previously spit out by this Japanoise master. The blending,
fading, and transfiguration of synthesized tones as they overlap,
collide, and ultimately collapse is to be applauded for not only its
originality but near-perfect execution as well. There is a twang of
repetition of certain electronic themes in parts coupled with my own
personal annoyance at a number of tones heavily utilized being
synonymous with that of my telephone. Such a subjective bias aside,
there is little room for criticism here if one is to see this
recording for what it is (an exploration into synthesizer ambience)
and not a failed attempt at noise. Still, to be fair to all parties
who may possibly be reading, it should be noted in boldface,
18-point, Times New Roman font that this will disgust about 90% of
noise listeners out there. This album is to noise what a Depeche Mode
recording is to heavy metal. The style is simply not comparable with
the genre (no matter how well associated in the past, as is the case
here). It is a recording that is undeniably infectious, however, and
one that I would encourage any fan of the electronic avant garde (and
non-snoody noise heads) to grab hold of quickly. Given the limited
LP pressing of 500 and Alien8's knack for selling out of Aube
recordings, this one is certain to disappear soon.
Contact: http://www.alien8recordings.com
Brighter Death Now - _Obsessis_ (Cold Meat Industry, 2000)
by: Adrian Bromley (8 out of 10)
There has never really been a band as weird or as bizarre as Brighter
Death Now. Read on and you'll know what I mean. Once you get past the
cum-shot splattered girl adorning the cover, Hell awaits. In a
frenzied outburst of some of the sickest displays of noise and
electronic mayhem I have heard in some time, BDN pours it on thick.
With songs like "Intercourse", "You Got Sperm on Your Jacket" and
a truly fucked up rendition of the Rolling Stones' classic "I
Can't Get No Satisfaction" (aptly titled here as "I Can't Get No
Sadisfaction"), BDN are once again in top form. The music? Powerful.
The message? Disturbing. Fans of the band will no doubt enjoy what
BDN has to offer. For the rest of you who have no idea who these guys
are, this will no doubt have your jaw hitting the ground and either
a) you'll run screaming or b) you'll want to hear it over and over.
_Obsessis_ is addictive.
Cannibal Corpse - _Live Cannibalism_ (Metal Blade, 2000)
by: Matthias Noll (8.5 out of 10)
For some Cannibal Corpse are representatives of stagnation in the
death metal genre. A band that keeps going, even if they have nothing
to offer but variations of the same old formula. A former flagship
which is now outdated, out-performed by younger, better acts. There's
a certain amount of truth in that point of view, but there's some
energy left in this death metal dinosaur, which, when gathering all
its strength, is still able to deal out some vicious blows. 1999's
_Bloodthirst_ [CoC #44] was already proof of that (I would have rated
it 8.5 out of 10) and _Live Cannibalism_ turns out to be one of the
best live albums in the extreme metal genre. Featuring 18 songs,
covering CC's entire career back to 1990's _Eaten Back to Life_,
_Live Cannibalism_ omits one of the typical live album flaws: the use
of too many tracks from the current album. Only four tracks are from
_Bloodthirst_ and they're well embedded in a great set list, which is
perfectly balanced and makes this album a worthwhile buy even for
those who gave up listening to CC after _The Bleeding_. The band's
performance is almost inhumanly tight, but as far as I can determine
not overdubbed, and some very slight timing inconsistencies offer
evidence that this CD was not recorded in the studio. The sound is
unpolished and tremendously heavy; Corpsegrinder's vocal performance
is extremely powerful, guitars and bass are brilliant, while the
drumming, like on their studio releases, is tight but repetitious and
sometimes dull. Overall, this is a very good, enjoyable release which
perfectly portraits CC's outstanding capabilities as a live act!
Catastrophic - _The Cleansing_ (Metal Blade, 2001)
by: Matthias Noll (3 out of 10)
From an imaginary letter to Trevor Perez: Dear Trevor! I want to
thank you for creating two of the best death metal records of all
time: _Slowly We Rot_ and _Cause of Death_. Looking back over more
than ten years it must be extremely painful to realize that your
creativity was entirely spent on these two masterpieces and witness
that Obituary has been slowly becoming the boring old fart of death
metal Now you're back with Catastrophic and I wonder about a couple
of things. Where the hell did you find a lead guitarist who
is capable of reproducing the two guitar solos Allen West has
alternatingly used on each of his appearances? Even more interesting:
how deep did you have to dive into the toilet which was used to flush
away the riffs considered too crappy for mediocre Obituary tunes? I
hear that you successfully found and used them on _The Cleansing_. I
assume the smell was horrible. Metal Blade states that "Catastrophic
infuses the brutal sounds of Death Metal with intensity of New York
Style Hardcore". Does that relate to the average drumming or the
occasional appearance of faster-than-Obituary parts in the songs?
Finally, you managed to get a vocalist who, style-wise, is an exact
copy of John Tardy. Unfortunately, he doesn't have John's incredible
voice. In that case you could have named your band Cause of Death, or
maybe Executioner. Pretty good idea, huh? Trevor, I'm really sad to
have to say this, but this is as bad as Deicide's latest. And, quite
contrary to the Metal Blade info which claims "one will be left
wondering what hit them", I pretty well know what hit me: a boring,
below average CD. On the other hand, I'm sure there are some old
school lunatics out there who, confused and bewildered by bands
like Nile or Cryptopsy, look for something less complicated, more
familiar, something which brings back warm and fuzzy memories of days
long gone. I'll put on _Slowly We Rot_ now and think about those days
too, but frankly, I don't think you should make another record. Best
regards, Matthias.
Various - _Chamber Metal: Neo-Classical Metal Guitar_ (Dwell, 2001)
by: Aaron McKay (4 out of 10)
At times this compilation would put you in mind of Yngwie Malmsteen's
1988 _Odyssey_ or even _Trilogy_ from 1986. Other cuts are more in
tune with movements and riffing comparable to the Trans-Siberian
Orchestra. The rest of the gaps are filled with, from what I am able
to tell, mostly guitarists reaching out to the US market from Czech
Republic by way of a tremendous amount of Tony MacAlpine, Adrian
Belew, Vinnie Moore and Ritchie Blackmore worship. Stuart Hamm, a
personal favorite, is also observed here with the welcome addition of
some very imaginary bass playing on _Chamber Metal_. If you own every
Yngwie CD, you wish Jake E. Lee would invariably release monthly, and
you beat up your cousin for not recognizing Blackmore's diatonic
minor scales layered over modest blues riffs, add another three
points to this score. For me, my GTR album and David Lee Roth's
_Skyscraper_ (Steve Vai and Billy Sheehan) will suit me just fine.
Most inspired cut: "Stormy Winter Nights" by Stanislav Berka. That
not just because we know what snow is here in Iowa either!
Compos Mentis - _Quadrology of Sorrow_ (<Independent>, 2001)
by: Pedro Azevedo (8 out of 10)
Having been contacted by this Swedish band through our demo
submission e-mail address, I really didn't expect such a
professional-looking and sounding MCD as this. _Quadrology of Sorrow_
just hits the spot with its mixture of a melodic Swedish death metal
basis, bits of symphonic black and more than a strong hint of doom as
well -- highly appetising for me. Indeed, a very well crafted MCD
this is, both in terms of musicianship and production. Good guitar
work, keyboards well blended into the music, competent drumming and
powerful, anguished vocals -- Compos Mentis sound like anything but a
demo-stage band to me. They sometimes remind me somewhat of early A
Canorous Quintet, then In Flames, then they apply a heavier dose
of keyboards, and then slow it all down to an anguished dirge
-- _Quadrology of Sorrow_ is dynamic, well balanced and varied
throughout without sounding inconsistent. Apparently a label deal is
already in sight for the band, and indeed I'd be very surprised if
they didn't get one soon. Very promising independent debut.
Contact: mailto:composmentis@mailme.dk
http://www.geocities.com/composmentisband/
Coronach - _The Gift of Foresight_ (Splatter Tribe, January 2001)
by: Adrian Bromley (7 out of 10)
I think it would be safe to say that Coronach could be called a
"mutt" when it comes to describing the style of metal music that this
outfit plays. Drawing from a vast supply of influences, the death
metal vibes of _The Gift of Foresight_ are pretty straightforward,
but at the same time a little bit off-center. Musically, the record
is a harsh death metal attack, but with a slight dark metal vibe
bringing up the rear, not to mention a classic metal guitar style
encompassing some of the songs. I am not too fond of the production
here, but seeing that this is their first release, it is quite
obvious that'll change come album number two. And plus, the overall
rawness of their death metal sound kind of works off the mediocre
knob-twirling (i.e "By the Sword" and the title track). Overall, a
good debut that while not top of the heap, fits nice and neat in a
batch of numerous unknown bands that could make something of their
band in the next year or so.
Contact: 1769 Bethlehem Academy Rd. Box 2 Cecilia, KY 42724, USA
mailto:eroxthis@aol.com
http://www.coronach.da.ru
Dimmu Borgir - _Puritanical Euphoric Misanthropia_
by: Chris Flaaten (9 out of 10) (Nuclear Blast, March 2001)
Every time I read a review or an article about Dimmu Borgir, a
discussion of whether it is black metal or not always seems to be in
place. I couldn't care less, but I'll choose to call it extreme metal
in a diplomatic effort to avoid the wrath of black and death metal
purists. There really should be a third genre, as more and more bands
use elements from both death and black metal to form something new...
Nevermind. Back to the matter at hand: Dimmu Borgir have returned
with a new album. For the sake of accuracy and to avoid charges of
plagiarism I'll quote some lines from Paul Schwarz' review of
_Spiritual Black Dimensions_ [CoC #38], where he compared their then
newest album to the previous one -- the reason why is that the exact
same thing can be said when comparing _PEM_ to _Spiritual Black
Dimensions_: "The key difference is an increase in speed and
brutality (...) The main thing about <new album> is that it is better
than its predecessor. The guitars churn out nastier riffs, the drums
blast harder, the keyboard lines are more interesting and (the most
important factor) the arrangements are -much- better." In other
words, their new album is an exact continuation of what they did on
_SBD_. Let's explore this statement. Galder has replaced Astennu on
guitar and this is quite obvious on some songs. However, I am not
certain that Galder is the sole source of the vast amount of quality
riffs or of the increased guitar orientation on this album. Nick
Barker has taken over drumming duties from Tjodalv and although he
sounds like a machine on some parts, his precision and intensity go
well with Dimmu's "new" sound. The keyboard lines are more in the
background now but remain an important part of their sound. But here
comes the treat: Dimmu has hired a twelve-piece symphony orchestra to
play a substantial amount of the keyboard lines. Therion and
Kamen/Metallica eat your hearts out, 'cause their presence is
impressive! At the same time they have also added a more modern
aspect to the album with some Kovenant-esque arrangements and vocal
effects. The production is superb and you can hear each instrument
clearly. I choose not to describe any songs. Expect everything and
enjoy!
Dio - _The Very Beast of_ (Rhino/Warner, January 2001)
by: Adrian Bromley (8 out of 10)
It was only time 'till this release was to make its way to record
stores and into the hands of Dio fans worldwide. Finally someone has
decided to document Ronnie James Dio's stunning career as a solo
singer, and yes, folks, it rocks. From the opening surge of "Stand
Out and Shout" or the hypnotic metallic groove of "Holy Diver", this
disc just flows with passion and true metal mastery from Dio himself.
Few singers have ever been able to deliver with such caliber. Listen
to tracks like "Rainbow in the Dark", "Rock 'n' Roll Children" and
"The Last in Line" and you too will bear witness to the voice that
rocked the metal world and never really let go.
Driller Killer - _And the Winner Is..._ (Osmose, November 2000)
by: Kirsty Buchanan (7 out of 10)
This album can be summed up in one word: "RAW". After one listen I
didn't ever want to punish my aural nerves in that way again. But a
faulty stereo which will only read certain CDs forced me late one
night to enter into the world of Driller Killer once more. And I'm
very glad it did. "Fire in the Hole" is a truly fast, frantic track
which grew on me the more I heard it, as did the rest of the album.
Humour is one thing I'm always hunting and when the sample before
"B.O.F.G." made me laugh till I cried for no real reason, I was very
impressed. The samples and subtitles to the songs are a work of
comedic genius and original creative skill. "Legalize Murder Now":
"Save tax money, have a get together, burn childmolesters at your
local store". This, although possibly intentionally inflammatory,
seemed to me to embody the open sense of humour Driller Killer
display. The percussion, after a number of times through, ceases to
be as raw and jarring to the senses, and I could recognise the
inherent skill of it. No compromise indeed!!!
Epoch of Unlight - _Caught in the Unlight_ (The End Records, 2001)
by: Aaron McKay (10 out of 10)
If you are not familiar with this band -- GET familiar with them,
because I believe they embody all that is American (intense/melodic)
black metal. Currently an abysmally strong and tight three-piece
outfit, Epoch of Unlight (Tino LoSicco -- drums; Jason Smith --
guitar and vocals; Joseph Totty -- bass) have captured all that
is melodious and exacting in the essential core of the black
metal milieu. This invaluable ten song release of near priceless
proportions is next to essential in any metal-lover's collection.
Allow me to explain why: have you ever heard a Proscriptor (Absu)
lyrical detonation wrapped up in a diamond-clear Gates of Ishtar (a
la _A Blood Red Path_) veneer? Me either, not really, until now. "At
my signal -- unleash Hell", begins the sample at the start of the
maliciously executed track six, "Ululant Cries". I'm willing to say,
you've heard nothing this labyrinthine in a -very-, -very- long time.
Epoch of Unlight, needless to say, is -hard- to sufficiently paint
vividly on a canvass comprised of merely words. If you haven't heard
Epoch of Unlight before, seek this uncompromising effort out if you
have any determination at all to envision sublime perfection. This
may be as close as you'll get.
Evoken - _Quietus_ (Dwell/Avantgarde, 2001)
by: Aaron McKay (8.5 out of 10)
It sometimes is hard to escape comparisons. I would think Evoken will
draw their fair share of My Dying Bride parallels. Anathema bubbles
to mind here too, churning over and over a quagmire of doomy sludge
that Evoken seems to have indulged in frequently. Dark and saturated
in painful lamentations, _Quietus_ could sure stand toe-to-toe with
the dirge-iest side of Crowbar's _Broken Glass_ yet never release you
from the thickest shroud of its black requiem. This release is
Evoken's third and I have nothing else by the band to compare
its lethality to, but _Quietus_ certainly captured my attention.
Excruciatingly melancholy and dismal, "Embrace the Emptiness", track
six, is wonderfully discouraging. The release is nearly gothic in its
heaviness. I would have to say that song would totally embrace all I
have come to appreciate from this group. If any day you feel like you
could just run your car off a cliff, don't spin this disc; you don't
need Evoken in the vehicle behind you honking the fuckin' horn!
Absolutely a respectable effort.
Gandalf - _Rock Hell_ (Wicked World / Earache, January 2001)
by: Kirsty Buchanan (4 out of 10)
Exceptionally catchy from start through to finish, _Rock Hell_ is at
best a consistently themed "classic rock" album with impressive hooks
and standout drumming, and at worst a "spot-the-influences" game
which lasts no longer than it takes to spell "AC/DC". It's not just
in the actual riffs and percussive style that the similarity
arises, but also in the stunningly simplistic and formulaic song
construction. The opening track "L8X Queen" is a catchy little beast
which draws you further into the album, and inevitably to "Geysir".
"Geysir" is singularly the reason to own this album. Although simple
and of standard structure, it caused me to employ the usually
redundant "repeat" function on my stereo -- and why not? AC/DC have
managed that way for many years. Gandalf further evolve a ballad
based style towards the end of this unspeakable tirade, displaying
their unoriginality. Except for "Geysir" -- a true ROCK HELL.
Goatsblood - _Goatsblood_ (Rage of Achilles, November 2000)
by: Kirsty Buchanan (9 out of 10)
If this is the product of the "rotten social underbelly of Vacouver",
then I feel we owe a debt of gratitude to the Canadian nation. This
is the first release I've ever heard described as "heavy grinding
crust sludge metal", but I am now compelled to seek out more.
"Bitterasbile" opens the album as it means to go on, with fierce
grating vocals and cymbal crashing percussion. Heavy guitar work
complements the mighty drumming and both support the amazing vocal
style of singer Blair. There is not a single track present that does
not justify its existence. Amazing lyricism and song construction
simply add to the reasons why I love this album. The artwork too,
although simple, is effective. Goatsblood: an extreme experience.
Canada: quite scary!!!
Graveland - _Creed of Iron_ (No Colours Records, 2000)
by: Alvin Wee (7 out of 10)
By now, most informed black metallers won't even have to read a
Graveland review: like many of the bands on No Colours Rec.,
Graveland have carved a small (albeit hardcore) niche of fans from
the underground for themselves, and the rest just think they're crap.
Admittedly, it's hard to maintain objectivity in the face of such
material; while the music isn't exactly award-winning, it has a
certain charm in the face of more commercial Viking/Pagan acts like
Mithotyn or (the terribly degenerated) Einherjer. Taking their
somewhat groundbreaking mix of folkloric black metal on _Immortal
Pride_ one step further, _Creed of Iron_ trots along at a much more
satisfying pace than _IP_, while retaining the dense, highly wrought
epicness of the previous album. For those unfamiliar with the
Graveland's new direction since _Follow the Voice..._, the band have
been described in terms of Falkenbach and latter-day Bathory. Truth
is, there's little out there to compare the uniquely Polish style
against; suffice it to say that _CoI_ is a colorful tapestry
of folk-influenced black metal (with all the requisite synths,
clear "singing" and gong-smashes), the underground nature of which
belies its surprising complexity and immenseness. Though sounding
suspiciously like their label-/country-mates Juvenes, Graveland boast
a far tighter and more experienced crew, resulting in a complex album
that opens up with each subsequent listen. A vast improvement on the
draggy _IP_, and certainly a good break from the hordes of faceless
"pagan" bands out there. Available on LP and digipak CD.
Contact: mailto:info@no-colours-records.de
Green Carnation - _Journey to the End of the Night_ (Prophecy, 2000)
by: Pedro Azevedo (7 out of 10)
With the influential In the Woods... having recently been laid to
rest, Green Carnation had all the potential to be quite the surprise
for those who mourned the loss of ItW. The work of the Botteri
brothers (ex-ItW) will sound familiar, and even main vocalist Rx
Draumtanzer tends to sound somewhat similar to Jan Svithjod of
the departed ItW. However, Green Carnation also features Tchort
(ex-Emperor bassist) on guitars and a list of guests including
vocalists Synne Soprana (also ex-ItW) and Vibeke Stenne (Tristania)
and also a part-time violinist, among other guest vocalists. The
general style isn't far from the very atmospheric doom metal that you
might expect, and the album runs for 70 minutes. Sounds good if you
like ItW, doesn't it? Too bad it doesn't quite live up to all the
expectations. Hardly any of the material here is as good as most of
what ItW have done (though it's often quite similar). The song
structures themselves tend to go on and on for a lot longer than
their contents seem to justify. In addition, the production is below
average. Draumtanzer's vocals are often simultaneously too close to
Svithjod's for comfort, yet at the same time never anywhere near as
good as his -- and pretty much the same can be said about most of the
music compared to ItW. But then again, despite the feeling that not
really as much planning and maturing went into the making of this
record as should have, it still avoids sounding like a horrible
caricature of ItW because the musicians involved are talented and
still pulled off a very decent album. In my opinion more likely to
make you miss ItW even more than to provide much solace, this is
mostly a somewhat flawed but still reasonably good record that in my
view just doesn't live up to its potential and the expectations one
might have about it.
Groinchurn - _whoami_ (Morbid Records, November 2000)
by: Kirsty Buchanan (5 out of 10)
Opening with the stirring "Everything You Know Is a Lie", this
release is somewhat inconsistent. The quality of the tracks undulates
from "Quiet Please" -- a piece of genius -- to the overtly poppy and
"sample-tastic" "Blown Off Course". The guitar work on some of the
lesser tracks is what disappoints. It has the potential to be so much
stronger, and yet the band allow it to be overshadowed by a merely
proficient drummer. Then, in contrast, Groinchurn produce such
riff-heavy noise as "Coughin'". This track is truly original and the
extended period of roaring white noise as it finishes serves only
to emphasise the possibilities lurking beneath the surface of
Groinchurn's work. Unfortunately, before they manage to maintain any
period of consistency, the level of the release drops again into the
poorly structured "Killkillkill". This could have impressed me were
it a twenty five minute EP consisting of _whoami_'s better tracks,
rather than being the forty five minute, variable quality saga it
actually is.
Gulch - _When It Rains... It Pours_ (MowDownMusic, January 2001)
by: Adrian Bromley (5 out of 10)
It is amazing how things happen in the music business. Gulch
(originally an aggressive hard rock outfit named Hostility on Century
Media) have been dropped from the label and changed their name and
their style. The end result is a new stoner / southern rock outfit
that meshes together the sounds of Corrosion of Conformity and Queens
of the Stone Age. This is not the same band I interviewed way back in
CoC #6. The band has changed too much, and the commercial angle to
their music, not to mention the kind of monotonous songwriting,
really serves a letdown to Gulch. They've moved on, no doubt, leaving
old fans at the wayside and trying hard to pick up new fans as they
continue down the road.
Contact: P.O. Box 523, Andover, Kansas 67002, USA
mailto:gulchworks@yahoo.com
http://www.gulchworks.com
Impious - _Terror Succeeds_ (Black Sun Records, 2000)
by: Alex Cantwell (6 out of 10)
This is the latest installment of what some are beginning to call
"turbo metal". Impious' history dates back seven years now, but aside
from demos and compilation appearances, this is but their second
release. Through this time the band has survived several line-up
changes as well as members switching instruments. Their current sound
is one that is deeply rooted in death and thrash, and is plenty
aggressive with catchy hooks and creative instrumental interplay.
Obviously, since they are from Sweden, it is easy to sit back and
point out parts that sound like this or that Swedish band, but no one
could blame them for drawing upon such rich history, and they don't
sound like any one band in particular at all. The lyrics are the
thing that bum me out about this release, because they are the same
mindless drivel about terror and pain that you would really never
want to go through in real life that have been corrupting the death
metal scene for 15+ years. Some people could care less about lyrics,
but I like a complete package, and this band has come up short.
Contact: mailto:blacksun@dolores.se
IRM - _Oedipus Dethroned_ (Cold Meat Industry, 2000)
by: Adrian Bromley (5 out of 10)
Trying to decipher the visions of IRM is not as easy as one might
assume, even when you know of the band's thirst for abstract
soundscapes and haunting ambient numbers. As _Oedipus Dethroned_
unfolds, the sounds are rather subtle, no big guffaw of abrasive
ideas thrown at our faces. As the disc continues on, the madness
becomes a bit more apparent, as IRM begins to take up a frenzied glow
of creativity, though I'll admit, I didn't really find it all too
interesting. While IRM does create some solid surges of soundscapes
and ambient passages, their music this time out goes on with one less
supporter of their current drive.
Katatonia - _Teargas_ (Peaceville, March 2001)
Katatonia - _Last Fair Deal Gone Down_ (Peaceville, March 2001)
by: Pedro Azevedo (both 9 out of 10)
As the brilliant title track opens the _Teargas_ EP with its _Sounds
of Decay_-like guitar work and heartbreaking chorus, one is likely to
have a strong premonition that _Last Fair Deal Gone Down_ may
turn out to be a significantly superior album to its full-length
predecessor _Tonight's Decision_. The preview EP then goes on to
unveil its two exclusive tracks: first the equally emotional "Sulfur"
(also rather reminiscent of the _Sounds of Decay_ and _Discouraged
Ones_ era guitar-wise), and "March 4". _Teargas_' playing time of
less than 15 minutes will most likely seem claustrophobically short
as you play it over and over again waiting for _Last Fair Deal Gone
Down_ to become available. And then the remaining 50 minutes of music
Katatonia have to offer this time (including a repetition of
"Teargas") will stare deep into you and challenge you to repeat the
mistake you made by allowing the EP to sink its claws into your
heart. Katatonia have always had a knack for producing records that
have all the potential to become something of a soundtrack to a
period of one's life, and they have done so again with _LFDGD_ --
much more so than with their comparatively less inspired _Tonight's
Decision_. _LFDGD_ is of course in the same vein as the _Teargas_ EP,
although a few of its tracks deviate more from what you might expect
from Katatonia. "We Will Bury You" is based on an electronic rhythm
section, and, even though it isn't a bad song, the chorus does
become rather annoying with time. "Sweet Nurse" is highly unusual
both musically (almost cheerful to begin with, even if perhaps
sarcastically so) and lyrically. Also, after a few seconds of "Clean
Today" you may be expecting a half-growled shout of "Jump!!" rather
than the relatively typical Katatonia riff that follows. This
brings me to the new drummer, Daniel Liljekvist, whose style is
rather different from what I expected. Nonetheless, he is clearly
a talented drummer and was probably partly responsible for the
enhanced and increased dynamics found in _LFDGD_, which features a
hard-hitting drum sound and Katatonia's trademark thick guitar
backdrop (occasionally enhanced by a touch of violin-like synth).
Even catchier than _Discouraged Ones_ while every bit as emotional
and musically more intense and dynamic than that first record of
their clean vocal era, _LFDGD_ is an outstanding return to top form
for Katatonia. Renske's vocals are better than ever and truly
remarkable, even if occasionally somewhat sweeter than might be ideal
(which is especially true of Nystrom's backing vocals). _LFDGD_
contains a considerable amount of material worth a 10 out of 10 on
its own, and is one thoroughly listenable, enjoyable and affectingly
emotional record.
Kreuzweg Ost - _Iron Avantgarde_ (Napalm Records, January 2001)
by: Adrian Bromley (8 out of 10)
Trying to find words to describe the work of the bizarre project
Kreuzweg OST is hard enough. Trying to get through the disc in one
listen is even harder. From the minds of Silenius (Summoning) and
Martin Shirenc (Pungent Stench) comes Kreuzweg OST, a militaristic
soundtrack that in the band's own words is an "interpretation of the
themes and facts surrounding World War II". Using samples from both
English and German propaganda during the war (as well as hundreds of
other loud and odd samples -- even a cool "Dark City" clip), Kreuzweg
OST roll onward for more than 65 minutes of brutality and sheer sonic
mayhem. Be prepared! I can see how many might be confused about the
work of the band and/or put off by all of the sounds and happenings
throughout the disc. But those who have enough patience to sit
through a full spin shall be rewarded with a truly unique experience
that'll surely stand out from everything else they have heard in the
past few months.
Manilla Road - _Mystification_ (Sentinel Steel, 2000)
by: Alvin Wee (9 out of 10)
OK, confession time. As cult as Manilla Road might be, I'm hardly
familiar with the band's previous material, apart from their _Dreams
of Eschaton_ demo. Expecting the mid-paced melodic epicness of their
earlier material, I was rather put off by the unexpectedly thrashy
nature of _Mystification_ at first, despite having been warned before
about the band's new direction on the album. The trademark atmosphere
isn't as evident as before, but still shines through in slower
segments of tracks like "Children of the Night" and "Spirits of the
Dead", and becomes more apparent in the album when listened to in its
entirety. In fact, the entire masterpiece is a brilliant mix of
aggression and melody; the highly atmospheric, Poe-inspired lyrics
and Mark Shelton's uniquely mournful vocal delivery wrap up the
musical package in shrouds of rich atmosphere. It's a pity that
classic albums like _Mystification_, _The Deluge_ and _Crystal Logic_
had to wait so long for the slew of re-releases this past year, but
it was worth the wait considering the quality of Sentinel Steel's
re-issue. The lavish, full-color booklet boasts remarkably impressive
artwork inside and out, offering not only the lyrics but extensive
liner notes on the band and album history. Equally splendid is the
sound: exciting and bold, without any hint of '80s fuzz surrounding
it. Takes away some of the nostalgia, some might argue, but the sheer
power and intensity of the music are all the more apparent for its
crystal clarity. The only thing remaining is the label's adamant
refusal to handle overseas orders, a strange decision considering the
European market for metal...
Contact: mailto:metal@sentinelsteel.com
http://www.sentinelsteel.com
Mob Rules - _Temple of Two Sins_ (LMP/SPV, January 2001)
by: Adrian Bromley (4 out of 10)
While I didn't mind the band's debut disc _Savage Land_ (1999), I
find the new release by this talented German progressive metal outfit
a tad bit ego-driven. Majestic intros and pompous guitar riffs and
vocal melodies flow like a raging river as the band hits a solid,
"high-on-our-horse" stride and never let go. This is a tad cheesy as
well, with musical segues that could be part of some lavish Broadway
musical. I dunno, I'm being a little harsh here, but how come bands
like Blind Guardian and even Vanishing Point (reviewed below)
are full of creativity and enthusiasm and don't come across as
prick-like? Just an observation. No doubt Mob Rules has the talent,
they just don't need to flaunt it as excessively as they do here.
Molasses - _Trilogie: Toil & Peaceful Life_ (Fancy, 2000)
by: Gabriel Sanchez (10 out of 10)
In the Gabriel Sanchez tradition of bringing to CoC music that its
target audience would likely not touch in a thousand years, I present
my exposition of Molasses' _Trilogie_. To me, extreme music was never
about being loud (necessarily) nor pushing the moral limits through
overt offensiveness in lyrics and style. It has been, and continues
to be, the production of music that is as challenging to the ear as
it is to the heart and soul. Molasses intertwine traditionally
non-intersecting styles to produce an outlaw brand of music that is
as atmospheric, dark, and richly poured over with beauty as anything
I have ever encountered. "Saint Catherine", perhaps the finest track
on the album, could invoke an internal stir from even the most
hardened, emotionally desolate listener. The group's awe-inspiring
rendition of "Amazing Grace" brings the touch of a non-existent deity
into the empty soul of an atheist; if but only for a moment. By no
stretch am I too proud to admit there is something frightening about
the way Molasses scratches across my heart. The atmospheric noise
backdrops to the acoustic instrumentation mesmerizes while the
lyrical content penetrates the emotions; filling them with pain and
sorrow track after track. There is an impeachment of ideologies
throughout _Trilogie_ that seeks to poetically deconstruct any
listener's prejudices to style, form, and life itself. I told myself
repeatedly that I would never dare review this for CoC, but the
internal pressures are too great. The music has opened up and
resealed too many wounds not to share. My aserious approach to music
antithetical to the CoC norm has been shattered. There is nothing but
the strongest encouragement on my part for all to give this one its
fair due. Anything less would be to sinfully deny the personal impact
of this recording and my total regards for its majestic qualities.
Contact: Fancy, PO Box 493, Place du Parc, Montreal,
Quebec H2W 2P1, Canada
Nargaroth - _Amarok_ (No Colours Records, 2000)
by: Alvin Wee (6 or 8 out of 10)
You're probably wondering about the dual rating I've given this "new"
album; fact is, it's an indication of most Nargaroth material: if
you're already a fan then you'll love it, if not you'd need lots of
persuading. Being primarily a collection of old and unreleased
material, _Amarok_ is all the more catered towards pleasing the
band's small but hardcore group of supporters. Nargaroth is still an
unbelievably underground act, and for those unfamiliar with the band,
this one-man act lies in the realms of old Burzum (names like
Mutiilation, Abyssic Hate, etc. come to mind). The back cover shows a
Mystic Circle shirt being torched to cinders; 'nuff said! The
familiar title track of their first LP "Herbstleyd" kicks things off,
and despite it being a "different version taken from Promo", I'm not
really convinced of its inclusion here. A fine song nonetheless,
taking us to a melancholic rendition of Burzum's "Black Spell of
Destruction". Somewhat raw around the edges (the way it should be),
it's surprisingly convincing, with Kanwulf's shrill cries adding an
almost tangible anguish to the song. Things go way downhill after
that with the inclusion of two demo tracks: slow, unsophisticated and
downright boring. A peek into the booklet reveals the abysmal quality
of the English lyrics, but the title track, an unreleased studio
recording, proves him a better German poet by far. As mentioned
before, this one will appeal to hardcore supporters of the band (8
points), but for newcomers to the "No Colours scene", the previous
album _Herbstleyd_ would be a far better intro to the band (6
points).
Contact: mailto:info@no-colours-records.de ($20)
Negura Bunget - _Maiastru Sfetnic_ (Bestial Records, 2001)
by: Pedro Azevedo (8 out of 10)
The darksome Transylvanian trio have returned, and this time they
seem to have realised a great deal of their potential. They have
clearly been busy since I interviewed them [CoC #47], judging by the
spirit they managed to imbue _Maiastru Sfetnic_ with, in terms of
both music and packaging (hand-made black digipak). During its six
tracks, which add up to nearly an hour, _Maiastru Sfetnic_ can take
you on a journey through grim mountains and chasms -- and misty
forests as well, or something would be seriously amiss in the
record's black metal spirit. You may need to be in a very specific
frame of mind to fully enjoy this, but that's precisely the key to
the album's essence: the atmosphere and feeling it contains; the way
the stripped-down guitars, drums and occasional basic touch of
keyboard all gel into cold, majestic compositions drenched with a
primordial, mystical feeling. The abstract vocals further contribute
to this rather unique result that transcends objective musical value.
Negura Bunget won't be winning any awards for outstanding technical
prowess, but they do manage to balance spontaneity and execution so
that it hardly harms the album at all. A very impressive record that
definitely seems to contain a lot of belief and dedication.
Contact: http://www.members.tripod.com/~NeguraBunget/
http://www.bestial.ro
Nicodemus - _Tales of the Lovelorn & Necromantic_
by: Adrian Bromley (5 out of 10) (Dark Throne Music, 2001)
Listening to Nicodemus' offering, I couldn't help but hear work of
Cradle of Filth, most notably their latest offering _Midian_. While
_Midian_ is a great record, I am having trouble digesting _Tales..._
for the sheer fact that it comes across as a CoF clone. While the
band experiments with some cool keyboard work, softly sung vocals and
some bizarre industrial-tinged arrangements, it is hard to drop the
thought that they are just rehashing CoF and the numerous other
modern black metal bands ravaging the black metal scene (Dimmu
Borgir, etc.). Place a red flag on Nicodemus and their offering, as
most black metal fans will say exactly what I am implying with this
review: "This is nothing new. I've heard this before."
Contact: Dark Throne Music, 5098 Foothills Blvd. Suite 3 PMB 307,
Roseville, CA 95747, USA
http://www.darkthronemusic.com
Various - _Overload 2: Tribute to Metallica_ (Dwell, 2001)
by: Aaron McKay (6.5 out of 10)
For whatever reason, I never heard the original _Overload_ tribute. I
may possibly have enjoyed Steel Prophet's version of "Fade to Black"
and "The Eye of the Beholder" by Sickness. As it turns out, I never
had the pleasure. Anyway, the newest in this line of infernal
offerings to Metallica, Dwell feeds us its usual gathering of mostly
underground groups. Solarisis ("Nothing Else Matters"), Last Chapter
("Escape") and Blasphemy Divine ("Welcome Home (Sanitarium)") are all
suitable covers. Toward the middle of this disc, with the addition of
Noctuary's version of "Leper Messiah" and From the Depths belting out
"For Whom the Bell Tolls", is where my interest peaked. Both are
excellent renderings and could very easily make one believe they were
the original authors of these tunes due to the effortlessness with
which each track is played. The disappointment of the tribute was
unfortunately at the hands of Diabolic butchering an already bad
song, "The God that Failed". The dual vocals on the song were almost
insufferable. On the other hand, an unknown-to-me Kentucky quintet
called Abominant absolutely ripped on their version of "Battery" in a
fashion I thought not possible. Killer! The sixty-five minute, twelve
track compilation ends with a fine hail to the not-so-recently
lackluster outfit known as Metallica by virtue of Coffin Texts doing
the always irreproachable "The Call of Ktulu". Purchase this only for
the fact that most of the bands on here do a fine job and -not- for
the reason Metallica needs any more indulgence. For those of you
who've been to www.romp.com, you'll know what I mean when I say
"Prunes BAAAADDDD!"
Pig Destroyer - _38 Counts of Battery_ (Relapse, January 2001)
by: Adrian Bromley (9 out of 10)
Reckless and out of control, the music of Pig Destroyer will surely
throw many for a loop and others just running. Molded from the
various music stylings of grind, metal and noisecore, Pig Destroyer's
Relapse debut (an amalgamation of other their previous releases up to
this point) just detonates on impact. No time for music fans to
prepare for the onslaught. Right for the jugular. With 38 tracks in
just under 40 minutes, it isn't that hard to figure out just what
kind of wallop these boys pack. Do the math, Einstein, and see if you
can take the sonic assault.
Sepultura - _Nation_ (Roadrunner, March 2001)
by: Adrian Bromley (9.5 out of 10)
I applaud the new Sepultura disc for not only overflowing with
brutality and intelligence, but also for managing to add another
level of creativity to the band's fold. With a diverse discography as
Sepultura has, it is great to see _Nation_ bringing out yet another
era of Sepultura unlike their past work. Back for his second outing
with Sepultura, singer Derrick Green shines on this, the band's
9th(!) recording. Whether he's screaming his head off on opener
"Sepulnation", "The Ways of Faith" or the brilliantly executed "Uma
Cora", or subduing us with his vocal range on "One Man Army", Green
brings a lot of range to Sepultura. Matched with the rhythm
section of drummer Igor Cavalera / bassist Paulo Pinto and the
ever-resourceful guitar work of guitarist Andreas Kisser, Sepultura
returns to the scene with a much better disc than their last offering
_Against_ (1998). It isn't better per se (I loved _Against_), just a
lot more focused and much, much more intense. This record is really
emotional and really focuses on educating the listener. Check out
some great guest stars on the disc as well, most notably Jello Biafra
(the weird "Politricks"), Hatebreed's singer Jamey Jasta ("Human
Cause") and Dub-Reggae star Dr. Israel (the cool track "Tribe to a
Nation"). On a closing note, I must comment: isn't it funny that both
Soulfly and Sepultura's (with Green) debuts were good, but their
sophomore efforts just hit the target dead on? It just goes to show
that bands can break apart and good things can come out of it.
_Nation_ is definitely worth traveling to.
Shalabi Effect - _Shalabi Effect_ (Alien8 Recordings, 2000)
by: Gabriel Sanchez (7 out of 10)
It would seem that my reviews are growing more and more fringe to the
associated CoC musical style as I now explore the psychedelic works
of Shalabi Effect. Comprised of two CDs which clock in at 131
minutes, it has taken me nearly three months of on/off listens to
properly formulate my thoughts on this recording. Psychedelic music
is by no means my forte. In fact, it comes as not even a fringe
interest. Perhaps due to my disdain for hallucinogenics and narcotics
(the key, I hear, to finding Jefferson Airplane an "intensely
interesting and fulfilling listen"), I wrote the genre off as being a
nice compliment to drug culture and spiritualism through a needle.
Shalabi Effect has helped alter my view on the matter considerably as
they construct warped sculptures of sound that borrows as much from
the electronic as it does the acoustic. Noisey in parts, musically
transcendental in others, there is a battle of light and dark which
finds synthesis in a sea of blinding color. There is nothing harsh
about the works contained on this album and it is quite enjoyable
that it be the case. "Harsh" and "extreme" are words too often seen
as synonymous in the evaluation of music. While there may be appeal
in the darker side of that which is extreme (especially to the CoC
reader), no soul is so absent of color that nothing but the blackest
of the black come crashing out of one's stereo all the time. There is
nothing maddening about the sounds here and the delight (even if
it be an idiot's delight) walks hand-in-hand with the music.
Recommended.
Contact: http://www.alien8recordings.com
Soilwork - _A Predator's Portrait_ (Nuclear Blast, 2001)
by: Chris Flaaten (8.5 out of 10)
The follow-up to _Chainheart Machine_ [CoC #42] is here, and it is
everything I expected it to be. Soilwork continues with their melodic
and intense thrash/death metal, adding a dash of new elements while
maintaining most of the winning formula of _Chainheart Machine_. The
album kicks straight off with intense riffing on "Bastard Chain", but
it is on the next nine tracks that they really show what they're good
at. Weaving in melodic guitar harmonies, soothing background synth
and, for the first time, clean vocals in their riff-attack GTI(tm)
engine, they squeeze in the last grain of variation such music needs
to never grow repetitive or tiresome. I am unsure who is behind the
clean vocals; I've heard some say it is Strid himself while others
have mentioned Mikael Akerfeldt from Opeth. My guess would be that
they're sharing the melodic vocal duties. It sounds great, whoever it
is. Soilwork have a few qualities about them that really shine, now
stronger than ever. First, they are extremely talented musicians.
Furthermore, they do not go overboard with technicality, although
they surely could. Instead, they make music that simply kicks human
bacon and is a blast to play. The result is superbly played music
that flows smoothly from one killer riff to another, from one killer
song to another and yes, from one album to another, it seems. Anyone
into intense metal should be able to thoroughly enjoy this album.
Soul Erosion - _Furious Mind Degeneration_
by: Pedro Azevedo (7 out of 10) (Shock Wave Records, 2001)
Brutal death metal with a technical edge is what Soul Erosion offer
with this debut MCD. Allegedly influenced by styles ranging from
metal to jazz and classical, this French band has made an enjoyable,
though somewhat derivative, debut with _Furious Mind Degeneration_.
Looking at the very typically '90s death metal band photo, one can
identify the logos of bands such as Morbid Angel, Deicide and Death
depicted in the textiles, whilst the cover art is also typically '90s
death metal. Fortunately, Soul Erosion don't turn out to sound quite
as predictable as these visual elements might indicate, even if
they're hardly remarkable for their originality. In addition, they
deliver their material with a considerable degree of conviction and
tightness, and the music is also unhindered by the competent
production. A very decent debut MCD from a band who still have a long
way to go before really becoming remarkable, but also seem like they
might have the potential to do so.
Spaceboy - _A Force That Holds Together a Heart Torn to Pieces_
by: Adrian Bromley (8 out of 10) (Howling Bull, January 2001)
Listening to cosmically charged stoner rock outfit Spaceboy is like
watching an episode of "COPS" on Fox TV: you never know what is going
to happen. And while Spaceboy has a bit of everything for everyone
(metal, stoner rock, jazz drumming), the music of the band is
actually quite easy to follow, though after a first few listens you'd
disagree. But as time goes on, the sounds and barrage of noises start
to take shape and the sound of the band becomes more obvious. Chaos
reigns within, but the ideas and creativity shine with sincerity.
Spaceboy need not worry about what we think. They should just make
sure not to lose that spark of what seems to be a winning element.
Also, producer Billy Anderson (Neurosis, L7) did a stellar job of
keeping the live feel so grandiose.
Contact: Howling Bull America, P.O. Box 40129, San Francisco,
CA 94140-0219, USA
http://www.howlingbull.com
Society 1 - _Slacker Jesus_ (Inzane Records, January 2001)
by: Adrian Bromley (5 out of 10)
I admit, I like what lead singer Matt Zane (Yes! The porn director
for those in the know) is doing with his band Society 1. The ideas
are there, I just don't think the music really stands up to the
amount of creativity Matt Zane has in him and how he actually wants
to approach the structure of the song. Sounding like a (weaker) cross
between Fear Factory, Psychotica, Marilyn Manson and newer era
Ministry, the music of Society 1 is flat, uninspired and not really
going anywhere. Zane tries to make things work, and they do on some
numbers (i.e "Get My Back" and "Look at Your Life"), but overall this
is a wasted cause, as it could have been ten times better. Here's
hoping the new record (tentatively titled _Exit Through Fear_) is a
much better sonic ride for us to digest next time we meet up with
Society 1.
Contact: Inzane Records, 4570 Van Nuys Blvd. Suite #303,
Sherman Oaks, CA 91403, USA
http://www.inzanerecords.com
Sophia - _Sophia_ (Cold Meat Industry, 2000)
by: Adrian Bromley (7.5 out of 10)
Fans of Arcana, take note. The new solo instrumental album by
Peter Pettersson has been released into the world, and while it
is a far cry from the beautifully sculpted sounds of Arcana
(this is much darker), the overall feel is pretty much the same.
Brandishing a real classical theme to the music, Sophia transcends
from subtle soundscapes into darkened chimes of fury. And in tow with
Arcana, Sophia also manages to bring forth numerous ideas into song
structures with such simplicity, making them all forge together quite
nicely. The production as well is impressive, with each note sounding
so vivid and full of life. At times, it seems fitting to say that
Sophia's music could serve as a soundtrack for a war between kingdoms
during the chivalry period. The music of Sophia is an interesting
departure for Pettersson, and I hope this is not just a one-off
release for him, because I'm anxious to hear more.
Sunn O))) - _OO Void_ (Hydra Head, 2000)
by: Paul Schwarz (9 out of 10)
With its four tracks comprising nearly an hour of music, it
should not be deeply surprising to learn that _00 Void_ is
essentially ambient as an "album". The style of the three originals
and re-arranged Melvin's track on offer here centres around a
spectacularly low, overdriven bass-line/hum. This is the only
constant throughout all the tracks, progressing with treacle-like
rhythm and speed -- slow, slow, slow and slower is the name of Sunn's
game. If you allow yourself to relax and let this soporific sonic
experience wash over and into you -- whether with the help of illicit
substances or merely a quiet, dark and focussed atmosphere -- you'll
find all sorts of ambient sounds floating about in _OO Void_, subtly
hidden beneath a sea of the lowest rumbling bass tones. The effect on
your mind can make you hallucinate sounds that aren't or weren't
there -- or were they? --, or it can merely set you off into a
dream-like state of recollection or vivid imagination. Sonically, if
you liked Sleep's _Jerusalem_ or other records of its ilk, then the
sloth-like pace of _OO Void_ may very well appeal to you. _OO Void_
is certainly not "normal" or "average", it's more or less a love or
hate record -- either you "get it" or you don't -- which seems
doubtful to ever be in constant rotation on your stereo, but will no
doubt be treasured, even if it be as a novelty, to those who are into
its sound.
The Forsaken - _Manifest of Hate_ (Century Media, January 2001)
by: Adrian Bromley (9 out of 10)
There is no doubt in my mind that The Forsaken's debut for Century
Media will be in my Top 20 of 2001 come next year. This is such a
punishing and brutal release, full of strong songwriting and powerful
delivery. The Forsaken is also the most brutal band on Century
Media's roster, save for maybe Krisiun and Cryptopsy. These Swedes
pack an aggressive spirit that prospers from some melodic overtones
and technical prowess. The first week I had this record, I couldn't
stop spinning it. It just seemed so fresh and inviting. The
Forsaken's death metal assault, thanks to ever-skilled producer Tommy
Tagtgren, has managed to present itself with some real admirable
qualities, while still not afraid to scare the bejeezus out of us
with its violent edge.
Thy Majestie - _The Lasting Power_ (SPV, 2000)
by: Aaron McKay (8.5 out of 10)
I can't really understand why it is I enjoy this as much as I do.
Very close to a power rock album (yuck!), but there is also much more
there -- more interesting for certain. I know nothing of this band,
so all that I give you here is completely subjective and somewhat
blind and crude. Fifteen tracks total, but some of these cuts are
more or less build-ups or precursors to the longer songs. Intense
guitar work with clean but very appropriate vocals spin the musical
yarn of medieval triumph, tragedy and tears. Most notable comparisons
sound-wise would perhaps be HammerFall, but certainly Demons &
Wizards. I have to admit, "Under Siege", the fourth song, not only
gives the listener a good feel about where Thy Majestie is coming
from, but takes things a step farther by condensing pretty much
everything on _The Lasting Power_ into one track. A nice intro,
catchy riffs and solid playing, softened interludes, all at a lengthy
clock time of just over eight minutes. If you are a hardened power
metal skeptic like me, give Thy Majestie a try before selling the
whole genre down the proverbial river forever. They did wonders for
my outlook.
Tsjuder - _Kill for Satan_ (Drakkar Productions, 2000)
by: Alvin Wee (8 out of 10)
Despite their notoriety for horrendous service and laissez-faire
attitudes, Drakkar Productions has an admittedly uncanny knack for
signing quality bands. After stirring up more than a buzz in the
underground, Nordic blacksters Tsjuder finally show up on the French
label with an impressive debut. Touted as "Chainsaw Black Metal"
(with "an Isvind member"), _Kill for Satan_ effectively ignores the
recent descent of Norwegian black metal into techno/industrial
hybrids, recalling instead the glory days of "true" raw black
metal. Nothing less than a full-on assault of flesh-ripping riffs
and sulphurous, Immortal-style shrieks, _KfS_ reeks of _Diabolical
Fullmoon Mysticism_ spirit; in the true Norwegian style of old,
chainsaw-wielders Draugluin and Co. belch up a packed 31 minutes of
harsh, unmelodic hellfire and brimstone. Nothing too spectacular
considering the mid-nineties' deluge of such bands, but in today's
scene, such an album takes on a far greater significance in upholding
the traditions of primitive, no-nonsense black metal. Die-hards
missing the good old days where a single keyboard note was anathema
will enjoy this blast from the past, and progression probably isn't
in this quartet's dictionary at all. Still, with the incredible
tightness and intensity on offer here, this makes for one helluva
listen in between all the symphonic kitsch.
Contact: mailto:drakkar2@wanadoo.fr ($18)
Vader - _Reign Forever World_ (Metal Blade, 2001)
by: Matthias Noll (6 out of 10)
Vader's follow-up to the blistering _Litany_ [CoC #47] hits the
stores a lot faster than expected. It's a beefed up EP with a playing
time of just over 30 minutes -- about as long as their normal albums,
but fortunately sold for a lower price and therefore more quantity
for money than usual. What we get is three new songs, three covers,
two live tracks and the two bonus tracks from the Japanese version of
_Litany_, one of which is a short intro-type instrumental. All three
new tunes are very convincing, offering some more variety than the
heads down, blasting from start to finish approach used on _Litany_.
The amount of breaks and tempo changes has increased considerably
while still remaining in the typical 1986 Slayer-on-steroids vein.
When it comes to cover versions there aren't many bands in the death
metal genre that I consider less interesting than our Polish friends.
What Vader usually do is speed things up slightly, present sometimes
sloppy-sounding reproductions of the original riffing in the guitar
department and basically rely on the strength of the original
material beefed up by their tremendous drummer Doc. This, in my
opinion, only works occasionally and "Total Desater" (Destruction)
and "Freezing Moon" (Mayhem) -- the latter with some vocal effects
similar to the recording on _De Mysteriis dom Sathanas_ -- are
forgettable. "Rapid Fire" is quite OK, mainly because of greater
differences between Vader's version and the Judas Priest original.
The two live tracks are good, again with a highly impressive drum
barrage on "Carnal". The bonus material from _Litany_, however, isn't
really spectacular and, if included on the original album, would have
added nothing to it. Too bad that the band has not worked with
engineer Adam Toczko this time around and the sound, especially the
drums, is nowhere as devastating as on _Litany_. Overall this is a
mixed bag and only the good three new songs prevent _Reign Forever
World_ from being superfluous.
Vanishing Point - _Tangled in Dream_ (LMP/SPV, January 2001)
by: Adrian Bromley (7.5 out of 10)
While Australia's Vanishing Point remind me a bit of Dream Theater --
with their melodies and guitar paying --, they are no doubt one of
the more promising progressive metal acts I have heard in some time.
Rich melodies and tight musicianship keep the "dream" alive here as
the band's momentum never loses a step. Intriguing ideas and
passionate vocals echo throughout _Tangled in a Dream_. It is nice to
see a young band (they formed in 1997) have such a mature sound after
just a few years working on it. Ace production as well makes this
record, and most notably songs like "Surreal", "Closer Apart" and
"The Real You", stand out and glisten with intensity.
Wicked Innocence - _Opium Empire_ (<Independent>, 2001)
by: Adrian Bromley (7 out of 10)
While I am familiar with the band's name, I can honestly say I have
never really heard much from Wicked Innocence 'till now. The new
disc, titled _Opium Empire_, is a pretty charged-up death metal
record with shades of Cannibal Corpse running rampant throughout the
tracks. But while there are numerous death metal acts going through
the same route of doing things, Wicked Innocence add a bit of
dexterity and technicality to their death metal playing. Songs like
"Breed", "Territory of Wickedness" and "The Playground" are monstrous
numbers that not only hit you with a gripping death metal groove, but
also a swift array of stylings to add some substance to the material
at hand. I heard once from a friend that the only good thing that
came out of Utah was desperate Mormon girls looking for some action.
I'll have to correct him next time he mutters that joke. Wicked
Innocence do some nice damage with their death metal assault.
Contact: 2131 West Theckson Road, Salt Lake City, Utah 84119, USA
http://www.wickedinnocence.com
Witchcross - _Fit for Fight_ (Old Metal Records, 2000)
by: Alvin Wee (8 out of 10)
Undoubtedly a classic like this one (obscure as it may be) deserves
more than an eight rating, but as a re-release, the somewhat
lacklustre production values of King Fowley's Old Metal Records drag
the score down a full point. As usual, OMR fail to capitalize fully
on the release, providing their usual one-piece card cover instead of
a nice thick booklet. Then again, we thank them for exhuming this
long-lost slab of traditional NWOBHM-tinged metal. From red-blooded
rock anthem "Rocking the Night Away" to the heavier "Killer Dogs",
this Danish outfit prove there's more to the '80s than Venom or
Destruction. A few listens later and you'd be hard-pressed not to hum
along to a memorable tune like "Fight the Fire" or tap your feet to
the excellent opener "Nightflight to Tokyo". Fans of heavier stuff
like Exciter might find this a tad too "hardrock-ey", but if you've a
soft spot for "real" NWOBHM, then Witchcross stands proudly among the
ranks of Jaguar, Praying Mantis and Tokyo Blade. By the way, I'd
safely recommend OMR's entire catalog of re-releases, just drop them
a line at:
Contact: Old Metal Records, 5953 N. 10th St, Arlington, VA 22205, USA
ZAO - _ZAO_ (Solid State, February 2001)
by: Aaron McKay (8.5 out of 10)
Chunky, thick like a hardy and wholesome winter beef stew -- these
boys know their metal -and- they make it interesting. Keeping
the fascination factor in high gear these days is becoming an
increasingly difficult task for most bands to pull off. With all that
I am exposed to through the industry, I often ask myself why that
is... I've come to a relatively conclusive hypothesis that everyone
seems to be pushing the "horror" or "speed" envelope of brutality.
Some if not most listeners and fans have become numb and desensitized
because of this, I feel. ZAO will fix that! Shakespeare penned in The
Tragedy of Hamlet, Prince of Denmark, Act III, scene ii, "For in the
very torrent, tempest, and as I may say, whirlwind of passion, you
must acquire and beget a temperance that may give it smoothness".
ZAO is both a tempest and an exercise in smoothness. For the
speed-freaks, that end of the spectrum is totally filled with the
superior track ten, "At Zero". Wait 'till you hear it -- ZAO probably
meant zero room for velocity escalation on that song. Otherwise
_(Self-Titled)_ is compelling riff after compelling riff. This band
explores every avenue to pull the listener into their music, leaving
no stone unturned. The mid-ranged throaty death shout is effective
and enticing. A redefinition of metal is at hand. Robust and
beefy, _(Self-Titled)_ is nourishment rationed for the music-lover's
well-being. The soup line forms at www.solidstaterecords.com for your
portion of ZAO. It'll sure as hell stick to your bones!
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/ \/ / _ \ \ /\ / / / \/ / _ \| / __|/ _ \
/ /\ / __/\ V V / / /\ / (_) | \__ \ __/
\_\ \/ \___| \_/\_/ \_\ \/ \___/|_|___/\___|
If you have a band, don't forget to send us your demo, including a
bio, if you want to be reviewed. We accept demos either on
traditional media or MP3 format. E-mail us at
<mailto:Demos@ChroniclesOfChaos.com> to know which is the most
appropriate postal address for you to send your CD or tape, in case
you are sending one, or to indicate the location of a website from
which we can download the MP3 files of your entire demo (but do
NOT send any files attached to your e-mail).
Scoring: ***** -- A flawless demo
**** -- Great piece of work
*** -- Good effort
** -- A major overhaul is in order
* -- A career change is advisable
Czort - _Waiting For_ (8-track demo)
by: Alvin Wee (*****)
Proving that Poland isn't just about deluded pagan warriors and
unlistenable NS black metal projects, Czort play a bold mix of brutal
thrash and traditional heavy metal on their second demo tape. Opening
with the infectious metal anthem "This What Is the Best", the band
then charges into all-out assault mode on "Stony Joke". Musicianship
is impressively tight for a demo band, and the blazing solos
littering the songs prove the band's musicianship isn't something
to laugh about. The outstanding "Magic Embrace" is remarkably
atmospheric and intense at the same time, having got the old German
technique down pat, and I'm not exaggerating when I say it stands
alongside the work of old heroes like Deathrow or Necronomicon.
Almost every track is unique and exciting, and by the end of the
tape, I'm thoroughly convinced of the band's competence. Good thrash
like this doesn't turn up everyday, and with jokes like Machine Head
tarnishing the once-formidable Bay Area, Czort certainly deserve a
shove in the right direction in the form of a label deal. The band,
now called Chort, is currently working on a new demo, so drop them a
line at mailto:chort@poczta.onet.pl -- you won't regret it.
Descent - _Pity_
by: Adrian Bromley (*----)
It's a "pity" that these guys didn't really try to get better
production for their five-song offering. Descent's disc is good for
what it is (thrash/death metal), but the cluttered and definitely
weak production easily brings this sucker down. The production offers
up a continuous echo sound and that doesn't really stick well to
metal assault. I also think the singing on the record isn't very up
to par with the style they are trying to play. The pieces aren't all
in place yet for Descent, so let's hope 2001 brings about some
changes for their new material.
Contact: 298 North Military Road, Fond Du Lac, WI 54935, USA
mailto:jotun_138@hotmail.com
http://www.geocities.com/descent_fdi/
In Grey - _...And Once Again the Same Mask_ (3-track demo)
by: Pedro Azevedo (**---)
More goth-sounding and especially a lot closer to Paradise Lost's pop
era than their previous output _Seasons Change_ [CoC #42], this new
demo CD from these Swedish gothic metal hopefuls turns out to be
quite a bit of a disappointment. I felt a label deal and possibly an
interesting record might follow _Seasons Change_, but In Grey have
unfortunately achieved neither. Far too simple and repetitive for its
own good, the opening track "Once Again" seems to try to force its
way into becoming a hit single of sorts without having much to back
that up, and the result is quite annoying. A little bit more movement
and a touch of gruff-ish vocals at least add some variety to second
track "Mask", but the overall quality doesn't improve. Instrumentally
and vocally unremarkable, trying to be catchy but just being
annoying, this demo CD is going nowhere fast at this point. "The
Same" finishes things off -- a somewhat better, generally slower and
doomier track with a poor chorus that seems to have been taken
straight from some other upbeat song and pasted onto this one.
Overall a disappointing effort, lacking originality and positive
progression since their previous output -- the low rating I'm giving
it is also partly due to the fact that I expected a lot better from
In Grey after their previous demo.
Contact: http://www.in-grey.com
Kaos - _Vision Beyond_
by: Adrian Bromley (***--)
It is totally true that you can't really judge a book by its cover.
Looking through the inner sleeve of Kaos' CD I saw the picture of a
band that could have easily passed for an alternative rock band. I
was not sure what I was getting into, but I was worried. Needless to
say, my worries scattered like a bat out of Hell after the first few
killer guitar riffs from opener "Sound Mind, Body & Soul". This Bay
Area thrash/speed band just ignites on impact, playing catchy guitar
riffs and screaming vocals. And while speed is the key to this
release, the band slows things down at times and even funks up a few
numbers to add some diversity. Masterful playing is everywhere as
Kaos keeps the sounds of the '80s alive and well in 2001. Choice
cuts: "Levitate" and "Eye of the Mind".
Contact: http://www.kaosamongus.com
Soulscar - _Abandoned_ (6-track demo)
by: Adrian Bromley (****-)
As the band has done in the past with their demos that we have
reviewed here in Chronicles of Chaos Vancouver, BC act Soulscar
once again ignites their passive death metal assault with solid
production. The end result this time around is the wickedly addictive
six-song offering titled _Abandoned_. A good mixture of technical
death metal, melody, thrash metal and creative songwriting help make
_Abandoned_ into a record worth caring about, rather than just
blowing it off for being standard death metal music. This is far
from that, much higher than your average generic death metal.
Guitarist/bassist/vocalist Andrew Staehling and his partner in crime,
drummer Chris Warunki, are a dynamic team in the studio and it shows.
Tight and in control, _Abandoned_ rarely loses the listener as it
glides from song to song. Also, nice cover of Megadeth track "This
Was My Life".
Contact: Andrew Staehling, 4450 Valencia Ave., North Vancouver,
BC V7N 4B1, Canada
mailto:andreweurope@hotmail.com
http://www.mp3.com/soulscar/
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\ \ \/_/_\ \ _ `\ /'__`\ / __`\ \ \/\/\ \ /'___\
\ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/
\ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\
\/___/ \/_/\/_/\/__/\/_/\/___/ \/__/ \/_/\/____/
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/\ _`\ /\ \__
\ \ \/\_\ ___ ___ ___ __ _ __\ \ ,_\ ____
\ \ \/_/_ / __`\ /' _ `\ /'___\ /'__`\/\`'__\ \ \/ /',__\
\ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\ __/\ \ \/ \ \ \_/\__, `\
\ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\ \ \__\/\____/
\/___/ \/___/ \/_/\/_/\/____/\/____/ \/_/ \/__/\/___/
T H E S N O W I N T H E I R H E A R T S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My Dying Bride, Katatonia, Soundisciples, Beyond Dawn and Thine
at Rio's, Bradford, England, March 2nd 2001
by: Vicky Anderson <mailto:blackroseimmortal@hotmail.com>
To go, or not to go -- that had been the question for some weeks
regarding the PeaceFest, which featured all five bands currently on
Peaceville's roster. Would it be worth it? Would Thine sound like
they did in the good old days? Are Beyond Dawn and Soundisciples at
all interesting? Would Katatonia do a good live show, and would My
Dying Bride be as "boring" as some reckoned at their recent London
appearance? Peaceville would have to woo us old fans, somewhat
perturbed by the recent cheap and bonus-tracked re-issues (swines),
with something pretty damn good.
I'll go anyway, I decided, truly not knowing what to expect and
fearing the worst from a bunch of bands I was secretly suspicious of
having seen better days. I made detailed and intricate plans to
keep my journey running smoothly, plotted to meet pals, found
accommodation addresses... and promptly fell foul of the evils of
consumerism when I got to Liverpool and found all my cards had
expired and I couldn't access any money. To go, or not to go, I
pondered miserably, even at the eleventh hour. But thanks to a last
minute loan I boarded a bus for Bradford, surely the coldest and most
perplexing city on earth. Due to the monetary hold-up I had missed
the friend I was supposed to meet, was freezing cold and couldn't
find my way around the city. Once again I felt like packing it all in
and turning around and going home, adamant My Dying Bride weren't
going to be worth all the misery and hassle.
Upon arrival, though, it became a different story and I was
cheered up greatly by finally meeting whom I was supposed to meet
earlier, and finding more old friends besides. Add beer and free gift
and I was chilled. This ain't so bad, I thought, glad the hard work
was over and ready to be entertained for all my troubles.
The first band came on, and my hopes faded fast that we would
see any of Thine's old material. Despite their debut _A Town Like
This_ [CoC #32] being sold at the back of Rio's for a fiver, it was
like watching an entirely different band. Sure, any band is going to
sound different after four years between releases, but, I kid ye not
-- something has gone horribly wrong with Thine. What had once been
the most promising act in Bradford�s doom hotbed has suddenly turned
into a Therapy?-type pop-rock band, and a bland and forced one at
that. Out are the classy, meandering songs about love and death, and
in is an altogether more mainstream outfit. It is unfortunate that
their output has been so sparse, so that those of us who were
impressed with _A Town Like This_ could have seen this disaster as it
evolved, and not been so damn shocked at the transformation. Alan
Gaunt's unique vocal work is still impressive, but alas wasted now on
a band I can't see any old fans willing to embrace. May they go
far with this sell-out ruse, but frankly, they were an utter
disappointment.
Beyond Dawn and Soundisciples were the two bands on the
Peaceville roster I knew little about, and, like Thine, they suffered
from the sort of low profile that doesn't interest people who just
want to see My Dying Bride. Amiable Norwegians Beyond Dawn were
playing to the same passive crowd as Thine had just suffered, while
the few people in attendance stayed at the bar. Their decidedly lo-fi
ditties roused little interest and suffered from atrocious sound,
which admittedly wasn't their fault. This, unfortunately, was the
kind of music I'd put on to relax, and as a result Beyond Dawn,
professional shoe-gazers, faded into the background. The Scandinavian
components of the Peacefest seemed very shy this evening, as verified
by Katatonia's later performance.
Soundiciples intrigued those who fancied a bit of a mosh, as
they were the first band of the evening to actually have the attitude
to draw attention to themselves. They got off to a confident start,
using a funky sample of the theme from "Where Eagles Dare" to rouse
some anticipation. Although hardly original, they were a breath of
fresh air to the crowd, who finally felt like something was going to
happen. Myself, I know when I've had enough of that rap-metal stuff
and headed for the bar, anxious that the time was coming for what I'd
been waiting for for weeks... the next legendary band.
Katatonia, now a five-piece, emerged to a truly ravenous crowd
looking terrified. Starting out quiet and self-conscious, Jonas
Renske's beanie hat pulled so far down it's doubtful he even let
himself see the crowd in front of him, the band got off to a shaky
start with "No Good Can Come of This". My main apprehension about
seeing this lot live was that a band that the listener makes such a
powerful connection with at home alone wouldn't be able to share this
gift with the masses. But the choruses of songs like "Strained" ("I'd
like to try to live my life again / I'd like to see where I was going
wrong") and "For My Demons" ("You would never sleep at night / If you
knew what I'd been through"), that seemed so heart-wrenchingly
personal on CD, actually worked very well live. It was a rather
cathartic experience to know such emotional lyrics weren't wasted,
and were truly appreciated. I'm paranoid, but I keep expecting those
loons in red baseball caps and nu-metal shirts to turn up and ruin
everything as usual. Happily, some things are still sacred.
The band soon felt at ease, although they remained quiet between
songs. Fans shouted out for older material, requesting mostly "Brave"
and "12" from _Brave Murder Day_, but unsurprisingly there was
nothing from that era or before _Discouraged Ones_ [CoC #31], from
which they showcased "Nerve" and "Deadhouse". Once comfortable,
Katatonia went from strength to strength. They previewed new single
_Teargas_, and received rapturous applause for "I Am Nothing" and
"For My Demons" from _Tonight's Decision_ [CoC #42] in particular.
And when finished they tootled off into the night, no doubt for a
stiff drink, leaving a delighted crowd. They gave a formidable and
moving performance, so modestly that I doubt they even knew what
they'd done.
Up until then the gig had been a sometimes strange, yet
reflective showcase of the state of European metal in the year 2001
(like it or not). Peaceville is now a very varied label. Gone is the
corpsepaint, the hair, the death vocals, even the standard uniform of
black. The bands on previously had dumped all that to look as
indistinguishable as possible. Image is no big deal (I myself have
hit the "gotta get a job" stage and know all about that), but seeing
My Dying Bride amble on stage, clad in black with plenty of hair, was
a satisfying sight. Well and truly forgiven for the _34.788%_ debacle
[CoC #35], the band swaggered on and showed everybody just how these
things are done.
With an enthusiasm I repeatedly miss by not attending enough
small-scale gigs, MDB got down to business. A mixture of the intimacy
of the venue, and the band being back home at Rio's for the first
time in five years gave an electric atmosphere -- to be honest so
enthralling I can't even remember the run of the setlist. All I know
is that each song chosen was an unexpected delight, because with
nothing to promote but a "greatest hits" of sorts [CoC #51] (which
no-one in the crowd ever need buy), the band were free to play a
mixture of every release to date. They even previewed a new song,
"The Cruel Taste of Winter".
The newest additions to the band brought two necessary elements.
A female keyboard player reproduced Martin Powell's greatly-missed
violin sound, and new guitarist Hamish Glencross (ex-Solstice) was a
joy to watch. In fact, the whole band seemed to be enjoying
themselves immensely, and that made for a highly exciting gig, with a
setlist including "The Cry of Mankind", "Turn Loose the Swans", "Your
River", "A Kiss to Remember" and even "Symphonaire Infernus et Spera
Empyrium". Only two songs from the last album, _The Light at the End
of the World_ [CoC #44], made the gig: "Edenbeast", the powerful
opener, and "Fever Sea".
There was much moshing and even stagediving to be had, adding to
a real air of celebration. Early on, singer Aaron Stainthorpe slashed
open his finger, which left his hand bloody for the rest of the set,
but so immersed in the performance was he that he didn't even seem to
notice. This gig was a joy because not only did the band sound as
powerful as they do when you're at home, but they managed to share
this intimacy and not compromise, still creating the atmosphere of a
true spectacle. Quite unexpectedly, the set had a vibrancy and energy
even during the longer tracks that left me properly gobsmacked. Yet
it still moved me, with poignant lyrics and those wonderful riffs,
for example with one of my favourites, "The Snow in My Hand".
As for all the deliberating, all the "should I, shouldn't I"
pre-gig pondering -- more fool me for underestimating in the first
place. I reckon calling it PeaceFest wasn't such a misnomer at all. I
found myself feeling actually peaceful afterwards, like I'd been
starving and just been given a bloody good feed. An extremely
rewarding night, and a true credit to My Dying Bride -- they've
certainly still got it. Although I doubted it would be a worthwhile
endeavour, there's nothing like that feeling when you know something
has all been worth it -- and then some.
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T H E D E L T A O F D E A T H D E S C E N D S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Nile, Sleath, Regorge and Co-Exist
at the Cathouse, Glasgow, Scotland, February 6th 2001
by: Paul Schwarz
Opening one of the finest nights of extreme musical
entertainment I have yet had the pleasure of witnessing was Glasgow's
own Co-Exist. These purveyors of blasting and slamming grindcore
(with a hint of hardcore), like every band on this bill except
Sleath, are prime Relapse Records material. Fair enough, neither
Co-Exist nor Regorge, both coming from Glasgow, would necessarily be
best advised to choose a label so far flung from their home country
to reside on, but in terms of musical quality, attitude and
individual intensity either would fit snugly onto the Relapse
roster, as headliners Nile already do. Formed recently of members
of long-running and much revered demo act Confusion Corporation,
Co-Exist are, to its members at least, a fun band -- a release from
what became a relatively thankless and time-consuming venture, I am
told. That they are a fun band in the eyes of their members took
nothing away from Co-Exist's performance. In fact, the band's light
hearts and comparable humour added much to it. I would have been
impressed and invigorated by Co-Exist's half hour set of quality
grind if it had been played with straight faces -- when a band can
intersperse blasting speed with moments of Today Is the Day and
Neurosis-like dissonant intensity like these guys can, it's hard not
to get drawn in. However, the humour element injected combined with
the band's markedly physical performance -- featuring such carefree
antics as the band's bassist sprawling on the floor in Spinal
Tap-like comedy fashion -- made Co-Exist a more than usually
memorable support act. One example of their knife-like spontaneous
humour came at one point in the set when the drummer announced that
the band's next two songs would be their last for the evening.
Greeted by vocalised disappointment from the crowd, he quipped, "You
fuckin' wanna see Nile or not?", and launched Co-Exist into their
next lurching and blasting song. As profound an example of a group of
proficient musicians who know how to write songs -- however simple
and short they may be -- and get into the groove of what they do in
the raw, live arena is rarely found in signed or unsigned bands, and
though Co-Exist aren't yet musically on a level to challenge the
bigger guns of their stylistic approach, their rounded performance --
possessing energy and humour and displaying formidable technical
ability -- reminded me pleasantly of the all-round experience it used
to be to see Brutal Truth live when they were still in business.
Co-Exist may not be a band of the same level, but they have the same
balanced elements as the masters of grind used to have in their live
shows, and that is something not only to be thankful for, but to make
seeing Co-Exist a priority on my list of things to do in the next six
months.
Promising local death/grind hopefuls Regorge followed. As had
been the case when I last saw them, supporting Dismember [CoC #48] at
this very venue, Regorge had done anything but stand still since my
last encounter with them. The furious, blasting crush the band
brought forth after their militaristic intro had finished was let
down only by a minor murkiness of sound which clouded its subtleties,
and the fact that the band's new lead vocalist had to date only
clocked up a meagre few gigs with the band. By the time Regorge had
begun their second song, I was better tuned into to the rushing
intensity of their music, and began to notice that the band's
compositions had become yet more vibrant and involved, while the
musicians playing them had obviously been practising hard of late.
The tightly controlled speed and fury of the percussive assault laid
down by the band's drummer suggested he'd recently been locked in a
room with just his kit and a week's food for company. The band's one
real mistake was attempting to cover At the Gates' "Blinded by Fear".
They made a noble attempt to do justice to a great song, but neither
their sound nor their playing either mimicked the song's original
sound effectively, or framed it in another, still positive, light. It
wasn't the right song to play and Regorge humbly admitted as much
before playing it, but the band should have trusted their instincts
over their exuberance, and given us another one of their own
compositions for delectation in the place of this faint shadow of the
work of a greater band. At present, the band's new vocalist is the
only noticeable chink in the band's increasingly rock solid armour,
and he can be forgiven for his performance this evening. Nonetheless,
taken solely on its own merits, his low death growling and grunting
did not have the character and conviction to it which the former
bassist/vocalist who now handles the backing vocals possessed. The
new boy should improve with time and practice, but I for one hope
Regorge won't be taking the road of milking the brutal American
death/grind market by leaving his vocals as characterless and solely
brutal as they came out this evening. Despite my few misgivings,
Regorge put on a stunning performace, and one showing that the band
continue to strive towards greater things. None of their classy new
material is yet available -- their unremarkable _Decerebate_ demo is
the last thing the band officially offered up --, but very soon a new
demo will see the light of day, and I would strongly advise any of
you favourable to fresh death metal and grindcore to keep an eye out
for it. I certainly will be.
Do you remember Dearly Beheaded? Well, if you do then you can
approximate the sound of Sleath by estimating how much DB would have
progressed their metalcore groove by now. Composed partially of
ex-Dearly Beheaded members, Sleath may not sound exactly the same,
but its certainly not hard to believe that this band is ex-DB.
Unsurprisingly, the band's style destined them to be tonight's odd
ones out in terms of speed. It didn't help Sleath's case that as they
began, all I could hear was their snare drum and their singer pushed
the band yet lower in my esteem when he began repeatedly and angrily
demanding the crowd to come down the front and mosh -- crowds should
mosh of their own accord, not 'cause you tell them to. It's fair
to say that Sleath deserve some respect for evidently throwing
themselves into their performance, but ultimately on grounds of
musical quality as well as style, not to mention the quality of
performance offered, I'd rather have had more Regorge and Co-Exist
and forgone Sleath's lengthier performance, and from the looks of the
crowd -- not many takers for that offer of moshing -- I wasn't the
only one.
Nile were of course the band that everyone present, ultimately,
was waiting for, this being their first ever appearance on UK
mainland, and specifically in Scotland. Despite the feel of tension
building up on Nile's intro, their initial assault of "Black Seeds of
Vengeance" did not start their set as the band would inevitably
continue. A mild murkiness of sound muddied this initial assault and
the "Pestilence and Iniquity" that followed, but by the time Nile
were throwing "Serpent Headed Mask", "Stones of Sorrow" and "Ramsees
Bringer of War" our way there was nothing technically amiss either in
band or sound-system, and consequently nothing that could halt
Nile's warpath of destructive and infectious musical carnage. The
"Libation..." intro provided a brief respite before a crystal clear
"Masturbating the War God" came hurtling forth and Nile followed this
on with a collection of _...Nephren-Ka_ favourites: "Opening of the
Mouth" and "Howling of the Jinn". "The Black Flame" brought things
back to a deceiving calm for the last time before its explosion into
chaos and "Smashing the Antiu" closed the forty-odd minute set. Nile
were intense, infectious and enjoyable to an extent I have rarely
experienced with any band or event. I'd banged head and fist
furiously, I'd air-guitared to riffs and solos and shouted myself
near-hoarse echoing the lyrics to songs or suggesting additions to
Nile's setlist. But I was still not satisfied; my work as a screaming
lunatic was not done; Nile had left the stage without playing
"Defiling the Gates of Ishtar". As the band finished with "Smashing
the Antiu" and made to leave I screamed the missing song title at the
top of my voice and, furiously and frantically, joined the rest of
the crowd in attempting to chant Nile back onto stage. Who knows
whether it was our efforts that made the difference or whether Nile
were just testing our mettle (or metal?) by leaving, but they did
indeed returned to the stage -- and within only a few minutes too.
They proceeded to play "Defiling the Gates of Ishtar" -- my voice
almost died with the cry of pure joy I let out as they did -- with
what was probably the cleanest, most powerful sound of the night. I
can hardly conceive of how the evening could have been better or more
enjoyable, and I certainly would have been content with much
less than the utter brilliance Nile (and some of their support)
delivered. Nile were enrapturing; they may not have been flawless in
performance, but a minorly flawed Nile performance amounts to a
downright -amazing- performance from just about any other band. Like
Cryptopsy, Nile are in a different league to the general melee, and
though I could have seemingly improved their performance for my own
tastes and in minor ways by changing it, this does not detract from
the fact that this is the best gig I've been to in years.
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S I R E N S S I N G I N G S O O T H I N G S O N G S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Gathering and Pale Forest
at John Dee, Oslo, Norway, on February 16th 2001
by: Chris Flaaten
John Dee is a small club and seemed sold out for this concert. I
do not think The Gathering sells a lot of albums in Norway. Limited
sales would at least explain why they chose such a small venue (250
max) and why they have never made it over to Norway before. Now they
were finally here and I looked forward to finally seeing them live,
although I would have preferred to have seen them six years ago on
their _Mandylion_ tour.
Pale Forest acted as support. Earlier that day I had, by chance,
learned that they are from Gjovik, Norway, and that they played
"hard, melodic music". The music they presented was mellow hard rock
with female vocals. Many of the songs had similar structures and the
order in which they were played also seemed... wrong. The first three
songs were all very slow, while their last was the most dynamic one.
Perhaps this made more sense to the non-extreme metal loving part of
the crowd. It was quite obvious that some of the members were
nervous, but except for a couple of minor mistakes from their second
guitarist it didn't affect the musical aspect of their presentation.
The female vocalist delivered a strong performance and saved the
audience, at least the metal-loving part of it, from utter boredom.
Well rehearsed, good sound, but still very easy listening.
The Gathering opened with "Rollercoaster", one of the best and
most energetic tracks from _if_then_else_ [CoC #48], and it sounded
amazing. John Dee is an awesome place for gigs, as both the sound and
atmosphere are always top notch. The Gathering, lead by my favourite
vocalist Anneke van Giersbergen, presented a set with few surprises.
The focus was mainly on their two latest albums, with "Shrink" and
the title track from _Nighttime Birds_ [CoC #21] and "Strange
Machines" from _Mandylion_ [CoC #7] also making the cut. As I said,
the set was almost as expected, but I had hoped they would at least
play "Sand and Mercury" since it is on their recent live album,
_Superheat_. "Probably Built in the Fifties" was the only track I was
surprised they didn't play. The songs from the new album worked very
well live, especially the faster tracks like "Shot to Pieces" and
"Colorado Incident". The performance was almost flawless. The drummer
drifted away from the background sampling for a brief moment in one
of the songs, but he looked deeply regretful about this and therefore
I'll be generous and call them -very- professional. Anneke was as
amazing as I had hoped for, a vocal genius. Their concert was rounded
off with a breathtaking performance of "Travel", and although it made
me want more, I was perfectly OK with going home as it had gotten
quite late. I hope they decide to come back in the future.
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::.: ::: : : : : : : : : : :
Here is where things get ugly. Writer's Wrath gives our writers a
chance to voice their own opinions about certain hot topics in the
scene today. Check out this column for the most obscene and
controversial ramblings this side of the National Enquirer.
T H E F O U R M U S C o C T E E R S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
by: Paul Schwarz
Episode 2: COMING TO A JOURNEY'S END
~~~~~~~~~~~~~~~~~~~~~~~~~
Wheels of Spiel: No Sleep Til Brittany
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Matthias woke me as planned at around 9am, and after a fleeting
breakfast and a stop-off at a petrol garage for munchable in-car
supplies, the two of us were off on our 700km journey: deserting
Deutschland to ravage Rennes. We trawled through the acceptable
Frankfurt traffic to the sound of Iron Maiden's _Brave New World_.
Matthias expressed his doubts about the record's overall quality, as
did I, and we both agreed at the time that ultimately, the only
really worthwhile song was opener and first single "The Wicker Man".
It reminded me of one of the conversations I'd had with Matthias when
he'd come to visit me in London a few month before: he'd pointed out
that 'Maiden had no power in their guitar sound, an observation with
which I heartily agreed. It was thus appropriate that as we hit the
autobahn and Matthias floored the car until he was above the speed
limits of all other European countries, our musical soundtrack
changed: Vader now ruled our airwaves! "Wings" and "The One Made of
Dreams" flew by as rapidly as the scenery before "Xeper", _Litany_'s
crowning glory, was assailing our ears. "Those drums are pure power",
comments Matthias when I mention that the near-techno sound of its
bass drums has been an objection I've heard levelled at _Litany_.
"...When we come to do our albums, or songs, of 2000 to 2010, I think
this'll be in it", Matthias adds. I think Matthias was right on
the ball with both those comments; "Xeper" is a timeless metal
monstrosity which I'll bet money I'm still willing snapping my neck
to it when I'm thirty.
A roadside stop, Death's _Symbolic_, _Individual Thought
Patterns_ and _The Sound of Perseverance_ and Exhumed's _Gore Metal_
later, and Hypocrisy are attempting to _...Destroy Wacken_ from
Matthias' car stereo. Unfortunately, they fail to destroy anything as
I can hear -- one speaker and a production sound at the same
frequency as a car engine does Tagtren & Co. no favours. As
Angelcorpse's _The Inexorable_ becomes our soundtrack, conversation
turns to the views and character of frontman Pete Helmkamp, after I
commented that guitarist Gene Palubicki made a somewhat arrogant and
unimpressive interview subject, in my view. Matthias recalls an
article in Metal Maniacs which exposed what a poser Pete actually
seems to be. In the article, the skinheaded frontman is quite happy
to rant about how many "so-called death metal band(s) (...) need to
be shut down and shut down hard!". He claims many such bands "have no
connection with the real essence of metal! Aggression! Ferocity!
Hatred!", and bemoans the fact that "Most kids are unaware of great
bands like Abominator and Krisiun." He further believes that "People
are going to pick our album [_The Inexorable_, CoC #44] up and it
will (...) become clear just who is riding the metal name on looks
alone". That's all well and good; everyone is entitled to their
opinions, and I for one would echo some of Pete's noted above. But
when you are so vocal in criticism, it would seem weak to fail to
name names, instead pointing the finger at a supposed, unspecified
multitude who cannot then counter you personally. You'd think someone
so full of disgust and contempt would at least have the decency to
tell us which bands to avoid as well as which to check out, wouldn't
you? Pete, however, is reticent when asked to do so, replying first
with a flat "No", before adding that "The list would go on way too
long." Metal Maniacs asks him for just five names, but Pete still
maintains that he'd "prefer not to at this point in time." Metal
Maniacs provoke him by asking whether he feels "warlike" and when
Pete gives the affirmative insist that he "name some fuckin�names!"
The response is a sinister laugh. I think no more comment is needed
on that one...
Words of War
~~~~~~~~~~~~
God Dethroned's _Bloody Blasphemy_ dents my ears as Matthias and
I move onto the subject of war in the context of passing the famous
Second World War battlefield at Verdun. The battlefield where tons of
arms and armour are still supposed to reside due to the volume
discharged during the war sparks conversation about war films. I
remark on the merits of "Saving Private Ryan"'s first 25 minutes of
realistic bloodshed as a message against war, Matthias praises the
whole film, somewhat disagreeing with my characterisation of it as a
bit too Hollywood and emotionally manipulative. Talk moves on to Sam
Peckinpah's "Cross of Iron" (called simply "Steiner" in Germany)
which I comment as meritorious for featuring heroes who are also
German soldiers -- a group often unnaturally demonised. Matthias saw
my point -- that simply because people were German in the time of the
Nazis, they were not automatically evil -- but points out rightly
that "Cross of Iron"'s heroes are anti-Nazi Germans. We both agree
this is a bit of a copout from making the point I was driving at,
though I remark that though it might have been a deliberate bias of
the filmmakers, it may also have been the result of studio politics:
non-evil but politically neutral German Second World War soldiers
might have been just a bit too much for popular audiences to accept.
Matthias concludes by pointing to what he believes is the best film
at demonstrating that soldiers are soldiers (or sailor-in-war in this
particular case), people typically in unpleasant situations who
ultimately tend to more be doing a job than furthering a specific,
political cause: "Das Boot". I haven't seen the film, but judging on
what I've heard said about it, and the people who've said that it's a
very good film, I'd recommend it.
The Arrival of the Demons From Deutschland
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
After a few confusions navigating Paris, Matthias and I are soon
close to Rennes with Lock Up's _Pleasures Pave Sewers_ blasting and
massacring its way to our ears. As we park the car in Rennes train
station's underground car park, the project's origin -- Terrorizer's
_World Downfall_, an undisputable grindcore classic -- is halted so
we can go meet Pedro, due to arrive any minute, and Dave, who is
driving into town for the meet. After a few minutes waiting, Matthias
and I meet Pedro, and as we are walking towards the main foyer, Mr.
Rocher ascends the escalator, burnt to crisp by the sun and wearing
his distinctive Primordial shirt, which Pedro rapidly expresses his
admiration for. Pedro is introduced to Terrorizer for the first time
-- to my astonishment -- and after locating Dave's car we all head
off for food. You'd never believe it (at least not until you taste
it!), but the best Pizza I've ever tasted -- and, I estimate,
existent in the world -- is in Rennes. After picking up some of this
fine food and some of what we christened "Summoning beer" (the brand
was called Loburg) we speed back to David's abode to commence an
evening of talking (and laughing), mostly about metal.
In part 3 we'll get to the really good stuff; be prepared to
laugh and think about the music you love and the scene behind it, not
to mention about some of the amusing things that occurred while we
were all together which were without any relation to music. I must
apologise for not getting further in this second instalment of The
Four MusCoCteers, but I have been quite amazingly busy the last few
months, and really haven't had a great deal of time to spare. I will
do my damnest to make sure the next instalment is more punctual, and
more expansive.
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W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Best Albums of 2000
Overall CoC Writers' Top 10
~~~~~~~~~~~~~~~~~~~~~~~~~~~
[Based on each of the writers' personal top 10]
1. Nile - _Black Seeds of Vengeance_
2. Nevermore - _Dead Heart in a Dead World_
3. Dark Tranquillity - _Haven_
=. Immortal - _Damned in Black_
5. In Flames - _Clayman_
6. The Crown - _Deathrace King_
=. Vader - _Litany_
=. Venom - _Resurrection_
9. Spiral Architect - _A Sceptic's Universe_
10. Immolation - _Close to a World Below_
=. Mayhem - _Grand Declaration of War_
Gino's Top 10
1. Immortal - _Damned in Black_
2. Nasum - _Human 2.0_
3. A Perfect Circle - _Mer de Noms_
4. Venom - _Resurrection_
5. Red Hot Chili Peppers - _Californication_
6. Radiohead - _Kid A_
7. Hypocrisy - _Into the Abyss_
8. Cradle of Filth - _From the Cradle to Enslave_ [1999]
9. Impaled Nazarene - _Nihil_
10. Nile - _In the Beginning_
Adrian's Top 10
1. At the Drive-In - _Relationship of Command_
2. Blood Duster - _Cunt_
3. earthtone9 - _arc'tan'gent_
4. Mayhem - _Grand Declaration of War_
5. The Haunted - _The Haunted Made Me Do It_
6. Snapcase - _Designs for Automotion_
7. Deftones - _White Pony_
8. Drowningman - _Rock and Roll Killing Machine_
9. Amen - _We Have Come for Your Parents_
10. Cryptopsy - _And Then You'll Beg_
Brian's Top 10
1. Martyr - _Warp Zone_
2. Lethargy - _Discography '93-'99_
3. Weakling - _Dead as Dreams_
4. Spiral Architect - _A Sceptic's Universe_
5. Symbiosis - _Crisis_
6. Symphony X - _V_
7. Quo Vadis - _Day Into Night_
8. Ancient Wisdom - _...And the Physical Shape of Light Bled_
9. Extol - _Undeceived_
10. Nocturnus - _Ethereal Tomb_
Alain's Top 10
1. Punchdrunk - _Music for Them Asses_ [1999]
2. Mr. Bungle - _California_ [1999]
3. Immolation - _Close to a World Below_
4. Deeds of Flesh - _Path of the Weakening_ [1999]
5. Immortal - _Damned in Black_
6. Devin Townsend - _Physicist_
7. Cephalic Carnage - _Exploiting Dysfunction_
8. Mayhem - _Grand Declaration of War_
9. Burzum - _Hlidskjalf_ [1999]
10. Cryptopsy - _And Then You'll Beg_
Adam's Top 10
1. Nile - _Black Seeds of Vengeance_
2. Der Blutharsch - _Track of the Hunted_
3. Carpathian Forest - _Strange Old Brew_
4. Rotting Christ - _Khronos_
5. Discordance Axis - _The Inalienable Dreamless_
6. Immortal - _Damned in Black_
7. Impaled Nazarene - _Nihil_
8. Vader - _Litany_
9. Mayhem - _Grand Declaration of War_
10. Morbid Angel - _Gateways to Annihilation_
Pedro's Top 10
1. Aurora - _Devotion_
2. Thy Serpent - _Death_
3. Dark Tranquillity - _Haven_
4. Rapture - _Futile_ [Dec 1999]
5. Enslaved - _Mardraum - Beyond the Within_
6. Discordance Axis - _The Inalienable Dreamless_
7. In Flames - _Clayman_
8. Nile - _Black Seeds of Vengeance_
9. The Crown - _Deathrace King_
10. Primordial - _Spirit the Earth Aflame_
Paul's Top 10
1. Nile - _Black Seeds of Vengeance_
2. Cryptopsy - _And Then You'll Beg_
3. The Chasm - _Procession to the Infraworld_
4. Immolation - _Close to a World Below_
5. Vader - _Litany_
6. Napalm Death - _Enemy of the Music Business_
7. Nevermore - _Dead Heart in a Dead World_
8. Discordance Axis - _The Inalienable Dreamless_
9. Drowningman - _Rock and Roll Killing Machine_
10. Aghora - _Aghora_
Aaron's Top 10
1. Venom - _Resurrection_
2. Morbid Angel - _Gateways To Annihilation_
3. Wumpscut - _Bloodchild_
4. Dark Tranquillity - _Haven_
5. Nile - _Black Seeds of Vengence_
6. Fleshgrind - _The Seeds of Abysmal Torment_
7. Viking Crown - _Innocence From Hell_
8. In Flames - _Clayman_
9. Nevermore - _Dead Heart in a Dead World_
10. Himinbjorg - _In the Raven's Shadow_
David's Top 10
1. Nevermore - _Dead Heart in a Dead World_
2. The Crown - _Deathrace King_
3. Throne of Chaos - _Menace and Prayer_
4. Nile - _Black Seeds of Vengeance_
5. Ominous - _The Spectral Manifest_
6. Napalm Death - _Enemy of the Music Business_
7. Decapitated - _Winds of Creation_
8. Kalmah - _Swamplord_
9. In Flames - _Clayman_
10. Finntroll - _Midnattens Widunder_
Alex's Top 10
1. Extol - _Undecieved_
2. Overcome - _Immortal Until Their Work is Done_
3. Underoath - _Cries of the Past_
4. Ultimatum - _The Mechanics of Perilous Times_
5. Narcissus - _Newwave Techno Homicide_
6. Enslaved - _Mardraum - Beyond the Within_
7. In Flames - Clayman_
8. Oil - _Refine_
9. Rotten Sound - _Still Psycho_
10. AC/DC - _Stiff Upper Lip_
Matthias' Top 10
1. Nevermore - _Dead Heart in a Dead World_
2. Vader - _Litany_
3. In Flames - _Clayman_
4. The Crown - _Deathrace King_
5. Entombed - _Uprising_
6. Dark Tranquillity - _Haven_
7. Napalm Death - _Enemy of the Music Business_
8. Cradle of Filth - _Midian_
9. Cryptopsy - _And Then You'll Beg_
10. Venom - _Ressurrection_
Alvin's Top 10
1. Desaster - _10 Years of Total Desaster_
2. Tierra Santa - _Tierras de Leyenda_
3. Axel Rudi Pell - _The Masquerade Ball_
4. Cradle of Filth - _Midian_
5. Mayhemic Truth - _In Memoriam_
6. At Vance - _Heart of Steel_
7. Zemial - _For the Glory of Ur_
8. Thy Primordial - _The Heresy of an Age of Reason_
9. Mayhem - _Grand Declaration of War_
10. Running Wild - _Victory_
Chris' Top 10
1. Spiral Architect - _A Sceptic's Universe_
2. Nevermore - _Dead Heart in a Dead World_
3. Embraced - _Within_
4. Dark Tranquillity - _Haven_
5. Immortal - _Damned in Black_
6. Borknagar - _Quintessence_
7. Spock's Beard - _V_
8. Morbid Angel - _Gateways to Annihilation_
9. Enslaved - _Mardraum - Beyond the Within_
10. Mayhem - _Grand Declaration of War_
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DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a FREE monthly magazine electronically
distributed worldwide via the Internet. Seemingly endless interviews,
album reviews and concert reviews encompass the pages of Chronicles
of Chaos. Chronicles of Chaos stringently emphasizes all varieties of
chaotic music ranging from black and death metal to electronic/noise
to dark, doom and ambient forms. Chronicles of Chaos is dedicated
to the underground and as such we feature demo reviews from all indie
bands who send us material, as well as interviews with a select
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All back issues and various other CoC related files are available for
automatic retrieval through our e-mail fileserver. All you have to do
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End Chronicles of Chaos, Issue #52
All contents copyright 2001 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.
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