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CHRONICLES OF CHAOS e-Zine, November 7, 2004, Issue #79
http://www.ChroniclesOfChaos.com
Co-Editor / Founder: Gino Filicetti
Co-Editor / Contributor: Pedro Azevedo
Contributor: Brian Meloon
Contributor: Paul Schwarz
Contributor: Aaron McKay
Contributor: David Rocher
Contributor: Matthias Noll
Contributor: Alvin Wee
Contributor: Chris Flaaten
Contributor: Quentin Kalis
Contributor: Xander Hoose
Contributor: Adam Lineker
Contributor: James Montague
Contributor: Jackie Smit
Neophyte: James Slone
Neophyte: Todd DePalma
The individual writers can be reached by e-mail at
firstname.lastname@ChroniclesOfChaos.com.
(e.g. Gino.Filicetti@ChroniclesOfChaos.com).
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #79 Contents, 11/7/2004
-----------------------------
-- Rotting Christ: Back Into the Abyss Once More
-- Agalloch - _The Grey_
-- Astriaal - _Renascent Misanthropy_
-- Aura Noir - _The Merciless_
-- Behemoth - _Crush.Fukk.Create_
-- Behemoth - _Demigod_
-- Cradle of Filth - _Nymphetamine_
-- Finntroll - _Nattfodd_
-- Goatwhore - _Funeral Dirge for the Rotting Sun_
-- In Extremo - _7_
-- Malleus Maleficarum - _Des Bibles, des Hymnes, des Icones..._
-- Nehemah - _Requiem Tenebrae_
-- Noisecore Freak - _Corner Itch Theory_
-- Pig Destroyer - _Terrifyer_
-- Samael - _Reign of Light_
-- Sigrblot - _Blodsband (Blood Religion Manifest)_
-- The Amenta - _Occasus_
-- The Dillinger Escape Plan - _Miss Machine _
-- Vader - _The Beast_
-- Various - _Fenriz Presents... The Best of Old-School Black Metal_
-- Velvet Cacoon - _Genevieve_
-- Virgin Black - _Elegant... And Dying_
-- Delirium X Tremens - _Cyberhuman_
-- Mors In Tabula - _Promo CD 2004_
-- A Beauteous Riot
-- Back From the Dead (For Good, We Hope)
-- Slipknot vs Slayer 2: Mandatory Maggotcide
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B A C K I N T O T H E A B Y S S O N C E M O R E
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Sakis of Rotting Christ
by: Jackie Smit
"Hey bro, what's up?"
It's great being able to speak to one of metal's most affable
and friendly front men once again, following our first meeting
in February earlier this year. Sakis -- guitarist, vocalist and
songwriter extraordinaire for Greece's Rotting Christ -- is almost
disarmingly down to earth, particularly when you consider that his
band's star has been on the ascent for over a decade and a half and
still shows no sign of slowing down. Their new album, _Sanctus
Diavolos_, is easily their most powerful effort to date; and then
there's the small matter of a tribute album being put together in
Brazil. Sakis explains:
Sakis: We had absolutely no say in anything that went on to the
tribute album. Basically, the label just called me and asked
for my okay for them to go ahead and make the album, and I
said "Of course". It's something that I'm really proud of,
because it indicates that we have really die-hard fans in
South America. I have always liked the people that come from
there, because they are really true in their feelings toward
this kind of music. We are really glad and proud that they
have paid us this respect and as soon as we're there we'll pay
the respect back.
CoC: The last time you and I spoke, we were talking about the plans
that you had for the new album, and you mentioned that you had
been working on the album for nearly nine months. Tell me more
about how this record was actually written.
S: The writing process took quite a while, because I was looking
after the recording, the production -- everything, really. So it
took a lot of time. To write a song for me also isn't just about
picking up a guitar and suddenly having a new song. I will spend a
few days running over it in my mind, thinking about how it will
come out and about all the different ways in which I can do it.
Then I'll pick up a guitar and see whether or not I can express my
expectations for the song, and if it doesn't work, then I'll go
back to the beginning again. I normally run through the process
very slowly. With this album, I had actually been working on
different ideas for over a year before I got the final ten songs
together for the record and went to the studio in Greece. There
were also a few songs that I threw out because I didn't think they
fit into the atmosphere of the album.
CoC: Is this the first time that you've taken charge to such a great
extent of everything that Rotting Christ does -- the writing,
recording, etc.?
S: Well, this was the first time that I had recorded in Greece and it
was really calm for me. It was really secure for me to be able to
record in my hometown, because I didn't have the pressure of
having to go and record for eight hours a day. I could just go to
the studio and take my time and take things really slowly. I think
being able to record at home also influenced how the album turned
out, because I could, for instance, go to the studio on a bicycle
and that way I could relax and have a few drinks before I started
working. I think that from now on, this will definitely be the way
that I will do things. But to get back to your question: because
this album was recorded at home, I did take more control of things
and that was a first for me.
CoC: You've said in earlier interviews that you weren't happy with
the production job you did on _Khronos_ back in 2000. What made
you decide to take a similar risk this time round?
S: Because this time round, I felt that I knew the job, you know?
It's our ninth album, and at this stage I have worked with so many
different producers, and I have also learned from my own mistakes.
I just prefer to work with myself, because that's the only person
I trust professionally. Outside of work, there are many people,
but when it comes to the band, I just think that no one would
really know the band like I do. That's my opinion. So when I
decided to do the production for this record, I took some lessons,
I worked really hard, read a lot of things and just basically did
whatever I could to make a proper album. And in the end, I think
that it has worked -- it's definitely okay.
CoC: One of the things that really surprised me about _Sanctus
Diavolos_ is the amount of synths that you used on this record,
especially after a lot of sources were hinting at this album
being rawer and more old-school.
S: Yes, I know a lot of people were expecting old-school stuff, and
of course, we are still inspired by our roots and by the early
days. But we're also logical, you know, and we believe that we
live in zeros and we should create something that makes sense for
people to listen to. When it happens one day that Rotting Christ
start to repeat themselves, then we will split up. So, because our
old keyboardist [George] had left the band, this time I spent more
time working on the synths myself. I also recorded with a choir,
to add a more realistic element to the music. I think George's
leaving also inspired me, and because I was doing the producing
myself and I know how to play the keyboard, I just decided to take
the risk. I do believe that I know what's best for how Rotting
Christ should sound.
CoC: There's a definite theme that runs through _Sanctus Diavolos_,
and considering how long you worked on it and how involved you
were in how it turned out, it's obviously a very personal album.
What inspired you from a creative point of view?
S: Well, I think for me this album was almost like a visit to a
psychologist, because I got to express my darkest thoughts and my
darkest energy through it -- to just give life to all the
bad things I had in my mind. To look at what inspired it
specifically... This album definitely comes from a different side
of me. If I had to point my finger at any one thing in particular,
I'd say maybe conservative society, because this album, for me, is
a revolutionary cry against religion and against society in
general. Nothing on the album ever happened on purpose -- I never
woke up and said "I'm going to record a dark or a Satanic album".
It just happened, you know. When I write music, I never write
happy songs. And that's just how I am -- that's just my DNA.
Whatever you find in our music comes from deep inside of me. Like
I said to you, Rotting Christ for me is like visiting a
psychologist, because all the bad energy I have inside of me, I
can get out through making this music.
CoC: It wasn't only George that left since you brought out _Genesis_
though: you also lost Kostas [guitars] a few months ago. What
thwas e story behind the two of them leaving the band?
S: Well, when you're thirty years old, it's not the safest thing to
play in a band. And when you play for a band like Rotting Christ,
you often have to be away from your home for three or four months.
So both the guys just chose a more normal life, and a more safe
existence. We broke up in a really amicable way, because we
understand and respect where they were coming from in their
decision to do something different with their lives. But the core
of this band remains -- my brother, Andreas and myself -- and we
are also currently working with a new guitar player.
CoC: Want to give us an exclusive on who the guitar player is?
S: <laughs> Well, he played with Septic Flesh for a few years, but I
wouldn't like to give away who it is just yet. It was really hard
to find someone who was close to our age, and who didn't want to
be tied down to a job -- someone who wanted to be punk like us!
It's very easy to work with someone who's younger, but it's very
hard to find something in common -- especially on a professional
level -- with someone who is fourteen years old. But we're happy
to have found this new guy and we'll announce who he is through
our website very soon.
CoC: I take it that he's going to be a permanent member of the band.
S: Yup: permanent. There's no other way.
CoC: Just talking about your brother -- it's not really something
that's very publicized about your band, but I was wondering how
the dynamic changes for you when you're working with someone
you're related to, as opposed to someone you merely have a
professional working relationship with.
S: A lot of fights. Do you have a brother? <laughs>
CoC: I have a sister.
S: And do you two ever have any fights?
CoC: All the time.
S: So there you go, and when you incorporate something professional
into that, then I think it ends up causing even more fights. But
on the other hand, I think it makes one feel really secure to know
that there's a member in your band who you share the same blood
with. If you're ever in a difficult position, you know that person
will always be there to help you out. So, even with all its
drawbacks, it's really good to have my brother with me in the
band.
CoC: Now from a creative point of view at least, the focus of this
band is almost squarely on you right now, but how do you think
the departure of Kostas and George will end up influencing this
band?
S: Technically, I don't that it will affect Rotting Christ. Maybe in
the eyes of people the impression might be created that there's
trouble in the band, or that some of the members are fed up with
the music. But the truth is that this will not affect us at all
tand he answer is in the new album, because George was not there
tdoing his thing and many people think it's our best album, which
tmeans hat Rotting Christ could work as a trio.
CoC: Coming back to the way that songs are written in this band: is
Rotting Christ a creative dictatorship?
S: <laughs> No, maybe it would seem that way from the outside, but
things are really different on the inside. I think that there is
no band that allows more freedom than Rotting Christ. There have
never been any set rules in this band. I may be in control of the
music, but that is because they have other jobs and they don't
have the time to be involved in music all the time -- especially
my brother, who has a family now. So, I end up doing most of the
things in the band, but that has nothing to do with any set rules
or hierarchy in the band; not at all.
CoC: When you look at the Rotting Christ discography retrospectively,
what do you think separates _Sanctus Diavolos_ from the albums
that you have made before?
S: It's more massive. It has elements from all of our albums. It's
also a really organic record: there's no triggers, no studio
effects; even some of the keyboards I replaced with choirs to make
it feel more alive and more real. Same goes for the production on
this album: it's more lively and more organic than anything we've
ever done before.
CoC: So where next to for this band?
S: We'll hit the road as soon as the new album comes out and we'll
try to go to places like London and all over Europe. After that
we'll also try and maybe go to the States, but we'll see what
happens. It's really difficult with the cost of living: when
you're on tour, the bills don't stop and I get really fed-up
having to contend with that when we're on tour. But like I said,
we'll see what happens.
Sakis on Sanctus:
~~~~~~~~~~~~~~~~~
"Visions of a Blind Order": This song really takes me back to the era
of _Thy Mighty Contract_ -- just really fast with a very dark vibe,
but still melodic. Lyrically, this song is about how religion has
created visions of an eternal calm and peace, which they use to
mislead the masses.
"Thy Wings, Thy Horns, Thy Sin": For this one, I wanted to use really
fast, downtuned melodies in combination with a real chorus that would
make the song stand out. The song talks about the variety of good,
bad and false interpretations the human race has developed for the
word "sin" -- many of which often have nothing to do with "the
horns", if you know what I mean!
"Athanatoi Eisthe": This is just a classic mid-tempo Rotting Christ
song with some well established melodies and the use of Greek lyrics.
The basic idea in the chant in the song basically translates to: "You
are immortal. You that follow the left hand path are immortal. You
that follow your sinful will that sometimes is on the other side of
what society taught are immortals. Your freedom-addicted soul will be
delivered to immortality."
"Tyrannical": A very heavy down-tuned song that turned out to be
really different to anything that has written by this band before. I
think it's definitely one of the heaviest things that we have ever
recorded. It talks about two schools of thought -- good and bad --
that converge and how each one's will to be superior over the other
is tyrannical.
"You My Cross": Another faster song that was written with a really
avantgarde feel, and also more use of downtuned melodies and
stand-out chorus. It examines some of the symbolism and history
behind the cross as one of the greatest cheats in contemporary human
history. Too much has happened and too many promises have been broken
for the cross to have any sort of true meaning anymore.
"Sanctimonius": This was meant to be an atmospheric break in the
album, using samples and reverse melodies. I do think it has a very
subtle, diabolical feel to it.
"Serve in Heaven": This was inspired by aggressive, old school German
thrash, but with the addition of Rotting Christ-style melodies. The
title pretty much tells the tale of this song: choose to serve in
heaven or rule in hell!
"Shade of Evil": Another fast, evil and melodic song. I love the
chorus in the middle. The song examines how God desired to reign with
the flame of human fear. But humans on the other side have started to
wake up to the idea and are beginning to slowly extinguish that
flame. Evil is the freedom and not the ticket to hell.
"Doctrine": This song was created to be simultaneously powerful and
orchestral, whilst maintaining a very classic Rotting Christ feel. It
is another statement about the need to continue searching and not
accept blindly any religious stereotypes.
"Sanctus Diavolos": The right song to say good-bye to the listener at
the end of the record. The lyrics talk about the possibility of so-
called devil's work being the conduit of freedom, if we only were to
rise up and strike out against our fears. This is one of the songs
where we used a real choir and I think that gives it a really
nightmarish atmosphere -- perfect for anyone to sing themselves to
sleep to. <laughs>
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~ ~ ~~~ ~ `~' ~ ~ ~
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!
Agalloch - _The Grey_ (Vendlus, 2004)
by: Quentin Kalis (5.5 out of 10)
This is intended as the final part of a trilogy that preceded _The
Mantle_ and _Tomorrow Will Never Come_. I admit that although I have
heard Agalloch before, this was the first time I actually sat down
and listened to them. I seriously doubt that _The Grey_ would have
been the ideal introduction, as it consists of only two songs which
are complete opposites in terms of quality.
Opener "The Lodge (Dismantled)" is simply amazing. A repetitive and
hypnotic riff forms the basis of the song, creating a spellbinding
atmosphere, allowing the not insubstantial twelve minutes of its
playing time to simply drift by.
By comparison, the eight minute long "Odal (Nothing Remix)" can't go
by quickly enough. While I am not averse to experimental electronica,
this amateurish abortion of ambience and static soundscapes is
unlikely to receive any accolades. It couldn't possibly be clearer
that this is filler material even if it were explicitly labelled as
such. Coming after the mesmerizing splendour of the first song this
is a massive letdown.
I'd award the two songs a 9 and a 2 respectively, providing an
aggregate score of 5.5 out of 10. This score is not really an
accurate reflection, as it suggests a CD composed largely of mediocre
music and doesn't quite convey any subtle distinctions that may
exist. On the other hand, I can't award a higher score because of the
more positive implications that may have. Nonetheless it is worth
obtaining for "The Lodge" alone -- though given that only 1000 copies
were printed, it is unlikely that any remain.
Contact: http://www.vendlus.com
Astriaal - _Renascent Misanthropy_ (Aftermath, 2004)
by: Alvin Wee (10 out of 10)
Finally unleashed internationally after simmering in the Aussie
underground for too long, Astriaal's first full-length simultaneously
encompasses and redefines the entire black metal genre. Starting
with the celestial intro courtesy of Abigor's Tharen, _Renascent
Misanthropy_ oozes dark cosmic grandeur while crafting elaborate
firestorms of melody and violence played back at hyperspeed.
Reminiscent of the boundless energy on Thy Primordial's early works,
each track takes off with a blinding fury, all the while building
in complexity and scope. Brooding acoustic passages are deftly
intertwined with the raging holocaust of the main body in a
miraculous show of dexterity, never once breaking the momentum, only
adding to the intricacy of the soundscape.
Astriaal's talent for composition seems boundless; tempo-shifts and
counterpoint are used to amazing effect, while the sheer brilliance
of the melody exudes an emotionality that stands in glorious contrast
to its violent backdrop. Musicianship is equally stellar: drum rolls
are executed with inhuman precision and vigor, the blazing leads
sweep effortlessly past and the occasional clean vocals are delivered
with piercing clarity and force. Remaining true to the base elements
of classic Scandinavian black metal while adding a hefty dose of
peerless ingenuity, Astriaal have managed to produce a masterpiece
that promises to rock the very foundations of black metal. An
essential purchase if there ever was one.
Contact: http://www.aftermath-music.com
Aura Noir - _The Merciless_ (Tyrant Syndicate / Peaceville, 2004)
by: Pedro Azevedo (6 out of 10)
Six years have passed since Aura Noir's last studio effort _Deep
Tracts of Hell_; and while that seems a long time to wait for a
follow-up, fans of the band's late '90s revivalist black/thrash are
likely to be instantly interested. Aura Noir produced a couple of
entertaining full-lengths back in the day, and in this latest
incarnation the line-up is the same as on their first full-length,
_Black Thrash Attack_ (i.e., Mayhem's Blasphemer has returned),
except Appolyon now shares drumming duties with Aggressor. Both
sound and focus remain largely unchanged: raw, uncomplicated and
very metal. So, it's all good news for _The Merciless_, right?
Theoretically yes, but the album turns out to be a bit of a letdown.
_The Merciless_ is the first release of the recently formed Tyrant
Syndicate label -- created by none other than Darkthrone, and
distributed through Peaceville. While Aura Noir may be a reasonably
obvious choice for the label, _The Merciless_ achieves much of what
it sets out to as far as giving listeners a first impression
of what the label is probably going to be about stylistically.
Unfortunately, I find the music lacks the ferocity required to carry
its occasionally inspired riffing and drumming to a higher level, and
ultimately its ability to succeed is considerably limited. Given the
record's brevity, I'd say selecting the four best tracks out of the
eight on the disc and making a fifteen minute EP instead would
probably have been a better option. This is a decent effort, but not
the crushing return I had hoped for from Aura Noir.
Contact: http://www.peaceville.com/tsp.html
Behemoth - _Crush.Fukk.Create_ (Regain Records, 2004)
by: Todd DePalma (7.5 out of 10)
This two-disc DVD set comes with characteristic quality packaging,
swathed in suitably organic and vile artwork, with a fourteen page
photo booklet and expected hagiography of the band up to the present.
Disc one is comprised of two uninterrupted concerts as well as the
music videos for "As Above So Below" and "Christians to the Lions".
Usually, the most entertaining concert videos are those that are shot
professionally enough to capture the scope of the venue as well
as transport the viewer on stage with the band themselves. The
production quality of the first show ("Party San Festival 2003")
horribly sidesteps this formula, for the most part favoring a shoddy
camera rig in back of the crowd, giving a full stage shot, with
occasional close- ups on stage, still marred by cheesy slow motion
frames that are introduced repeatedly, always to an awkwardly
distracting conclusion -- save this type of amateur shit for
bar-mitzvahs and public access television. The line-up for this
show features Nergal, Havoc, Inferno and new bassist Orion. The
performance and set list are decent, although the sound quality
leaves more to be desired. Behemoth closes out the show with an
encore of "Pure Evil and Hate" that actually feels more exciting than
anything occurring before, perhaps for its briefly nostalgic riffing,
perhaps for the pyro which shortly annihilates the bloated red stage
lighting as the band starts thrashing following Nergal's call to "see
some fuckin' riots"; either way this show is pretty lame, and may
leave some feeling this release is already anticlimactic.
The second concert, "Live at the Mystic Festival 2001", begins
somewhat abruptly as the band drills through "Christians to the
Lions", captured with infinitely more professional camera work that
-- despite the re-appearance of the mitzvah cam and some odd focus
shots -- enhances the show till its climax. Splendid pans and crystal
clear close-ups feel as if as much effort was put into the filming
and editing as into the outside packaging. The sound and performance
are equal to the visual upgrade, and as the setting sun creates a
ceiling of darkened night over Behemoth's set, a polarized disc one
ends its final half in a gratifying show.
Disco two features the documentary "Speak With the Devil" and begins
with Nergal sitting casually on the floor with tea candles and a
hookah, discussing the origin of the band (cut to a shot of a baby-
face Nergal recording vocal and solo tracks in 1994). There is some
discussion of influences; early live clips and footage of Behemoth's
first tour follow. From here on, the documentary basically turns into
a Pantera-style film diary with the band and sound engineer Malta,
featuring plenty of pranks (Novy seems to be the band's whipping boy
most of the time, leading up to a hilarious spell of cataleptic shit-
talking later on) as well as bowls of vomit, alcohol, balls and bare
ass (no tits).
While performing, the band holds an aura of rock stardom; their
theatrical brand of performance is not quite over the top, yet still
can't shake a hint of choreography to it. Much of the footage here
frames the band completely demystified: silly and down-to-earth off
stage; stupid, frankly. But it provides an entertaining jackass-esque
90 minutes of metalheads interacting within and out of their habitat.
Contact: http://www.behemoth.metalkings.com
Behemoth - _Demigod_ (Regain Records, 2004)
by: Jackie Smit (9 out of 10)
There's a stark urgency to the acoustic intro that greets the
listener at the start of this effort that is almost ironic
considering the position that Behemoth currently find themselves in.
Seven albums into a career that has seen the band go from primitive
black metal upstarts to a progressively more threatening death metal
juggernaut, it's apparent that for the Polish quartet this is going
to be the record that either sees them relegated to mid-level
contenders for good, or the one that finally elevates them to the
upper tier, where they get to play with the big boys.
Notwithstanding of course the daunting precedent set by their last
effort, _Zos Kia Cultus_, the aforementioned task is one which
Behemoth seem to have taken very seriously, breaking out the big guns
in order to scale its lofty heights -- the first of which is the
recruitment of Daniel Bergstrand (Strapping Young Lad, In Flames,
etc.) to man the producer's chair. This proves to have been a
thoroughly inspired decision from the moment that the mayhem kicks
off on "Sculpting the Throne Ov Seth", as Bergstrand obviously has a
much clearer understanding of what makes Behemoth such an alluring
beast. Subsequently, this record is not only heavier on the guitars,
but the overall mix has also been beefed up considerably, giving the
band a more layered and ultimately more crushing sound.
The immediate impact of _Demigod_ is not merely down to clever
production however: Nergal's searing rasp steamrolls songs like
"Conquer All" forward ruthlessly, while Inferno's drum performance is
nothing short of inhuman. The band's widely documented (and often
criticised) musical connections to Morbid Angel and particularly Nile
are still very evident, but here as well Behemoth's greatly improved
sense of dynamics goes some way toward denegrating the presence of
these influences. "The Nephilim Rising" is a prime example where the
band successfully manages to drop things down a gear or two, whilst
still keeping every ounce of the album's intensity intact.
That said, the pointless meandering of "Mysterium Coniunctionis
(Hermanubis)" does stunt the album's momentum somewhat, and it is
only two songs foward on "Slaves Shall Serve" that the band seem to
regain focus properly. Likewise "The Reign Ov Shemsu-Hor" may not be
as epic as it would like to imagine it is, although it does
nevertheless succeed in rounding off the album on a suitably heavy
note.
There's certainly no denying that _Demigod_'s fourty minutes make a
strong case to argue Behemoth's breakthrough to the next level.
Indeed this record is easily one of the death metal highlights of
2004, despite the band's increasing battle to keep the momentum going
during the record's latter half. Now let's hope that Nergal and co
are able to realise the higher stakes next time round.
Contact: http://www.behemoth.metalkings.com
Cradle of Filth - _Nymphetamine_ (Roadrunner Records, 2004)
by: Adam Lineker (7.5 out of 10)
Almost exactly four years ago, Cradle of Filth changed my life. The
dramatically dark _Midian_ was the first metal record I bought that
could be considered "extreme". It marked the beginning of a huge
upheaval in my appreciation of music. Having previously confined
myself to Maiden, 'Tallica and classic rock in protest against the
dominant rap metal of the era, Cradle of Filth showed me that there
was a lot more to heavy music than I knew; all I had to do was look
underground for it...
Cut to 2003 and I'm eagerly awaiting _Damnation and a Day_,
the long awaited follow-up. It turns out to be an overwrought
and ill-conceived disappointment. As a result, I've been seeing
_Nymphetamine_ as a probable let down for a long time now. The good
news is that _Nymphetamine_ is a solid and enjoyable metal record.
However, before I elaborate on this, I feel I ought to address some
lingering issues regarding the band's commercial direction. Many
self-acclaimed "purists" have been screaming "sell out!" at the Filth
for quite a while; such an activity has long been pointless, because
Cradle of Filth have never really cared. _Nymphetamine_ is a
testament to this, as it is an immediate and easy listen, quite
removed from the relatively harsh and brooding _Dusk... and Her
Embrace_. This should really be expected, as the present incarnation
of Cradle is an almost completely different band from the one that
created that classic opus. _Nymphetamine_ sees the modern Cradle of
Filth honing their melodic side into a cutting edge. The songs on
this album, thankfully free of extra conceptual weight, are primarily
composed around melodic figures, often driven by conventional riff
progressions and guitar licks. The album has an abundance of piano
lead sections, and these prove to be some of the more enjoyable
moments: "Absinthe With Faust" and "English Fire" both stand out from
the crowd on the first spin. The title track itself is an epic
metalwork, packed with memorable motifs and peaking with an emotive
clean vocal passage; arguably the most defining moment of the album.
Production wise, the drums hold everything together while maintaining
punch and clarity. The guitars cut through nicely, while the bass has
begun to resemble the nocturnal pulse of old. As usual, Dani sits
high and proud on top of it all, although this is one of his least
intrusive vocal mixes. Most remarkably, this is the first Cradle of
Filth album to not be swamped with keyboard fog or orchestral sweeps;
it is telling that there are only two brief orchestral interludes on
this record. The result is that Cradle of Filth sound effectively
stripped down, and this allows the work of guitarists Paul Allender
and James McKilbroy to shine through.
My greatest criticisms of this album are leveled at the song writing.
The band deserve some praise for tightening up their arrangements as
well as they have done, but they occasionally stumble through
excessive recapitulation. A fair few of the songs, though they are
progressively crafted, return too often to motifs that have already
been used. The main offender here is "Nemesis", basically one good
song played twice over in the same arrangement. Aside from this,
the only other quibble would be Dani's propensity for diving
headlong into lyrical lunacy; album opener "Gilded Cunt" is all the
justification I need in making such an criticism.
Overall _Nymphetamine_ sees a healthy return to form for Dani and the
boys. There is nothing mind blowing or shocking on this record,
but there is plenty to enjoy. This opus will probably serve a
greater role in the live environment, hopefully reinvigorating the
band's tired sets with some versatile new material. Ultimately
_Nymphetamine_ isn't perfect, but the dynamic and engaging metal
songs that Cradle of Filth have offered are a breath of fresh air.
[Jackie Smit: "Despite the death metal-like heaviness of songs like
"Gilded Cunt", _Nymphetamine_ is little more than Cradle of Filth
playing it safe and doing what they've always done. It may be to
less coma-inducing effect than on _Damnation and a Day_, and it may
appeal to an audience for whom wearing too much black eyeliner and
dressing in fucked-up looking clothing constitutes an embrace of
the underground spirit, but this effort leaves me thoroughly
unconvinced."]
Finntroll - _Nattfodd_ (Spinefarm, 2004)
by: Quentin Kalis (6 out of 10)
Originality is one of the most important criteria I consider, both
when I review albums and when I buy CDs. Originality is evaluated not
only in relation to other artists, but also in relation to an
artist's previous work, and often this is where they fail miserably.
Finntroll have stumbled into this cul-de-sac on their fourth full-
length. It is still impossible to mistake Finntroll for virtually any
other band, but their music has become stale, having evolved little
since the days of debut _Midnattens Widunder_. There are no surprises
on _Nattfodd_, just the same quirky folk melodies rapidly approaching
their sell-by date. They do have a new vocalist, who was also present
on the previous full-length -- but although his impact on the overall
Finntroll sound is noticeable, it is of little consequence.
To be totally honest, I initially enjoyed this album; but as the
realisation dawned that that this had all been heard before, the
appeal quickly faded and within a week I had moved on to other, more
interesting and more substantial music. This can be seen as the audio
equivalent of a McDonald's meal: it provides a quick fix, but within
an extremely short period of time something with more substance is
required.
Contact: http://www.finntroll.net
Goatwhore - _Funeral Dirge for the Rotting Sun_
by: Todd DePalma (5.5 out of 10) (Rotten Records, 2003)
Goatwhore's second release holds fast to the concept born on 2000's
_The Eclipse of Ages Into Black_, displaying a large Celtic Frost
influence that begs a comparative nod to Obituary, though the sound
is still tighter and less beefy. Eliminating the more generic black
metal attempts of the first release, this album is propelled by
traditional death metal with several Bathory overtones ("As the Sun
Turns to Ash", "Bloodguilt Eucharist", "Sky Inferno") and capped by
the blunt halt/start for each new track (the last note of every song
ending in synch with the last lyric, in punkish no frills fashion).
Guitarist Sammy Duet again invokes a unique cadence of epic melodies
within the mudslide of well studied thrash churns, providing an
extremely catchy (if somewhat academic) background of riffs to catch
the screech of vocalist Ben Falgoust. Falgoust's voice is less varied
here than his recordings with Soilent Green -- altering only between
his weirdly accented rasp and spoken word, which induces memories of
Duet's former project Acid Bath, though the similarity may have as
much to due with location as it does direct influence and development
of sound. Despite the obvious attentive focus on song writing over
image (the bands aesthetic truly lies within the music, overriding
the ordinary appearance of the musicians as well as bland cover art)
and the execution of such, my fundamental criticism against Goatwhore
is that their music is primarily a re-introduction of past musical
breakthroughs; left-overs spiced by the ideas of somewhat tempered
creative lions, whose most impressive work still lay outside the
walls of emulation and refinement.
Contact: http://www.goatwhore.net
In Extremo - _7_ (Motor Music, 2003)
by: Brian Meloon (6 out of 10)
This is the seventh studio album from Germany's In Extremo, and those
familiar with them will find no real surprises here. Their brand of
medieval/celtic folk mixed with industrialized metal and infused with
'80s pop influences has changed little since at least their third
album, _Weckt Die Toten_ [CoC #43]. Their sound has retained
its signature elements, featuring bagpipes and other traditional
instruments and having a generally upbeat and happy tone. Of course,
with so many albums under their belts, they've had a lot of time
to polish their sound, so the playing and production are very
professional. Fans of the band's earlier work, or other similar bands
like Skyclad, should get some enjoyment out of this. If you haven't
liked their previous recordings, then this will not change your mind.
Contact: http://www.inextremo.de
Malleus Maleficarum - _Des Bibles, des Hymnes, des Icones..._
by: Pedro Azevedo (8 out of 10) (Oaken Shield / Adipocere, 2004)
On this, Malleus Maleficarum's second full-length effort, the band's
style is unchanged from their very impressive debut _Taedium Vitae_:
raw-sounding, but actually pretty intricate, fast black metal. The
pace is kept high most of the time, but the music is never a
blur; the drumming stays interesting, and the guitar work is busy
throughout, with appropriate vocals on top. When the music does slow
down, the band hold their own equally well. Having mentioned the
vocals, unfortunately the original screamer left the band and was
replaced by two of his bandmates; the result is not quite as good,
although it does the trick. The guitar work remains one of the
band's strongest points, as it displays great ability for engaging,
semi-melodic riffs and leads. The rhythmic backdrop stays equally
busy, audible bass included. With a knack for writing songs that
remain simultaneously aggressive and musically interesting -- in
spite of a lack of studio polish that keeps proceedings quite raw --
Malleus Maleficarum have created another damn good album. _DB,dH,dI_
sees a considerable rise in playing time compared to its predecessor,
and it is simultaneously a bit more consistent -- though perhaps the
sheer impact of their first attack cannot be expected to remain the
same after the listener already knows what to expect from them. The
greater length also causes some problems as far as a certain lack of
variation, but nothing too serious. There isn't any great originality
here either; but there is good songwriting and a combination of
elements that come together really well.
Contact: http://www.adipocere.fr
Nehemah - _Requiem Tenebrae_ (Oaken Shield / Adipocere, 2004)
by: Pedro Azevedo (8.5 out of 10)
Now reduced to a three-piece, with Sorghal taking up all guitar
duties, the long-standing Nehemah return to the fray with their third
full-length album, _Requiem Tenebrae_ -- and this time there are no
demo or cover tracks to be found. Nehemah's black metal remains a mix
of pretty fast and rather slow, more atmospheric passages, with a lot
of mid-'90s Norwegian black metal feeling thrown into the music. Yes,
Norwegian black metal from France -- it's a bit like Swedish death
metal from Germany, but France has produced a considerable number of
remarkable black metal bands already, so it shouldn't come as a
surprise. The brilliant opening riff is a clear indication that
you're in for something good; and when first track proper "The Great
Old Ones" slows down into an atmospheric break before building up
speed again, there shouldn't be any doubt left. The doomy slower
sections, aided by the background synth (e.g., "The Elder Gods
Awakening"), bring to mind the majesty of Emperor circa _In the
Nightside Eclipse_; while the faster sections are usually good, some
of the slower ones are just chilling. There seems to be an icy breath
from the past about Nehemah's black metal, as if some ancient tomb
half-buried in the snow is being opened before your eyes. (Whether
this fictitious site is located in France or Norway really is
irrelevant.) _Requiem Tenebrae_ is not an innovative album, but it is
well produced, very well written and drenched in atmosphere, and has
definitely been earning a lot of time on my CD player.
Contact: http://www.adipocere.fr
Noisecore Freak - _Corner Itch Theory_
by: Todd DePalma (4 out of 10) (Deadsix Communications, 2003)
With the hollow pulse of a mechanized heartbeat, _Corner Itch theory_
begins its transmission of seventeen tracks that constantly re-
introduce a hammer and flesh approach that pulverizes the very
idea of traditional structure. Combining the all-inclusiveness of
industrial music with grindcore minimalism, Noisecore Freak packs as
much sound and story as possible within epileptic tracks that are
spat out like as much distortion from a broken television box.
Ironically, one has to have a certain patience for this sort of
thing. The short tracks (mostly ranging from forty seconds to over a
minute) leave little to grasp by themselves and seem to drastically
switch gears at those moments where the brief stability of rhythm
becomes attractive, leaving the listener drowning in a sea of chaotic
motion which also enables the album to be viewed as a single flowing
concept.
A digital bank of extensive sampling, keyboards and an electric
screwdriver are paired with the conventional ensemble of guitar, bass
and drums conducted by the project's solo pilot, Chris Stepniewski;
an abstract recipe that involves mixing often cinematically (or video
game influenced) dreamlike interludes with punkish, though coldly
metallic riffs to form the core (loosely) of Noisecore Freak's sound.
The guitars on "Wall Mannequin", "Harsh Bedwire" and "Stitch Collar
Radio" particularly seem to have a more "classic" grind influence
(Napalm Death's _Scum_) manifested in style as well as the rough
but not muddy production. The number of tempo changes here are
incalculable (at times defined wholly by the pace of the samples),
though track eleven offers a break, slowing things abruptly as well
as shaving the layers down to a lulling atmosphere of clean guitar
strumming along ocean waves.
Stepniewski's vocals are uniquely abrasive: a language of sharp
pitches that split through the air like a swift knife or whip,
verbalizing stream of consciousness lyrics like the following:
"...Bring ch'ching don't blink turn me on you stink mommy doll torn
ragged daddy faggot shiny metal finger..." Whether this absurdist
poetry is sly parody or immature cut-up is open to debate, and though
the technique is a theoretically perfect match with music, I prefer
to take in this album with the booklet closed.
Often confusing and indulgent, there is an admirable quality to the
inventiveness of this static architecture, but also much that is
silly. Like the sediment thoughts from a psychic cathode, _Corner
Itch Theory_ attempts all possibilities in search of innovation,
finding a small handful of interesting movements amidst the studio
wankery.
Contact: http://www.noisecorefreak.com
Pig Destroyer - _Terrifyer_ (Relapse Records, 2004)
by: Jackie Smit (9 out of 10)
With the exception of Inhumate's thematic effort (_Life_) and the
forthcoming Nasum opus, things have been pretty reticent on the
grindcore front this year -- at least in terms of releases that were
actually worth more than five minutes of anyone's time. So leave it
to Virginia's favorite nihilistic sons to come along with thirty
minutes of barb-wired brutality to remind everyone that they're the
proverbial pit bulls of the extreme music yard. _Terrifyer_ isn't
pretty. In fact, one a scale of one to ten -- ten being Jenna Jameson
and one being Linda Blair in the finale of The Exorcist -- this
record notches up a solid minus fifty. From start to finish, the band
are utterly relentless in their assault, although it must be said
that unlike _Prowler in the Yard_, the band do seem set on combining
their increased brutality with a more visceral and coherent approach
to song structure. So, where "Towering Flesh" swirls toward you with
enough vitriol to power a small town, it also sports the beatdowns
and grooves sure to result in more than a few bloodied noses, come
tour- time. Reputed to be over two years in the making, _Terrifyer_
is about as good as grindcore gets. It won't be everyone's flask of
rum -- not by a long-shot -- but I can think of no superior example
of sheer, unrestrained musical bedlam to have hit the shelves in 2004
so far.
Contact: http://www.pigdestroyer.net
Samael - _Reign of Light_ (Regain Records, 2004)
by: Jackie Smit (8 out of 10)
So, this is what Samael fans have waited five years for. Actually
check that -- this is what we have waited eight years for, because no
matter to what extent the band themselves seemed to be enamoured with
1999's _Eternal_, there is no doubt that its predeccesor took a dump
from a dizzy height on its mainstream baiting efforts. It is
encouraging therefore that this time round, Samael have drafted
Waldemayer Sorytcha (often referred to as the band's fifth member)
back into the fold to oversee the record's production.
Almost unsurprisingly, this union bears fruit right from the start
when the markedly heavier guitars on "Moongate" hint at the
groundbreaking majesty of the band's coupe de grace, _Passage_.
Similarly, the veritable wall of sound that characterized said opus
is back in full force, with every single element in the band forming
part of a musical gas cloud that completely envelopes the listener
for the duration of the album.
Problem is that there's very little on _Reign of Light_ that we
haven't heard Samael do before -- and to far greater effect, I might
add. Sure the female vocals on "High Above" add an interesting touch
and the sitar-led Eastern flavour on "Heliopolis" is a diversion from
the band's usual astral forays, but ultimately this is just another
Samael album, rather than the stunning and evolutionary return to
form we had hoped for. And even if, like me, you feel that this is
the record that should have been the rightful successor to _Passage_,
one can not silence the nagging voice in the back of your mind that
says that this is simply a case of Samael being a bit lazy.
Then again, as anyone who is familiar with what the band is capable
of would tell you, even when they're not quite operating at 100%,
this is a band that is still capable of outshining damn near all
their contemporaries.
Contact: http://www.samael.info
Sigrblot - _Blodsband (Blood Religion Manifest)_
by: David Rocher (9.5 out of 10) (Nordiska Forlaget, 2003)
The secretive Swedish outfit Sigrblot's first release is intricate
indeed, on both the musical and ideological fronts; although the
presence of a disputably subtle cover of Fortress' "Commie Scum"
on a Nordiska Forlaget release could legitimately induce hasty
"NSBM" tagging, Sigrblot's first release cleverly enough evades the
grotesque pitfalls which Graveland's, Nokturnal Mortum's and similar
bands' releases launch themselves with fanaticised abandon. Revolving
around an ideological rather than political concept, _Blodsband
(Blood Religion Manifest)_ unfurls over eleven tracks, plus the
aforementioned Fortress cover -- alas providing a rather basely
political closure to _Blodsband_'s ideological manifest -- and a
slower, mildly experimental and rather unconvincing ghost track.
Playing intricate, powerful and varied black metal overshadowed by
the distinctive trademark of the early Norwegian scene (along the
lines of early Satyricon, Gorgoroth and Storm recordings), Sigrblot
move with impressive ease from speeding raw black metal onslaughts
(as on "Manifest (Blood religion part II)") to slower segues
influenced by traditional and/or medieval music -- as the incredible
chorus on "D�ende Generations Dom" or the glorious Storm-hailing
bridge on "�desjord" testify to. Tastefully interspersed appearances
of various acoustic instruments, samples or non-black metal musical
components grace this release with a welcome spectrum of varied
emotions and atmospheres; in addition, _Blodsband (BRM)_ also
benefits from an excellent production, striking a fine balance
between raw black- metallic harshness and power. Judging from this
first release, Sigrblot's most impressive ability is this enigmatic
band's capacity to fuse lyrical concepts, music and production into
a coherent entity, which writhes and seethes with enthralling
homogeneity in its black metal-tinged fury.
I'll eagerly be looking forward to hearing more epic black metal from
Sigrblot in the future, and can only hope that the band's political
outspokenness will not make this raw musical gem impossible to come
by via reluctant mailorders.
Contact: http://www.sigrblot.se
The Amenta - _Occasus_ (Listenable, 2004)
by: Jackie Smit (10 out of 10)
There's a sense of grand discovery that comes along with uncovering a
band like The Amenta: a sort of exhilaration similar to that felt
during those moments where you first stumbled across _Reign in Blood_
or _Altars of Madness_. It's one of those bands that after only a few
listens, causes you to start judging any other entries to the genre
from a decidedly more critical stance, purely because you know what
can be achieved.
While it is a largely redundant excercise to attempt a thoroughly
accurate description for this Australian quintet, connections to the
cold-blooded violence of Nile and Cryptopsy do apply. But, in much
the same way, The Amenta also dabble in the surreal, pitch-black
ambience that marked albums like _In the Nightside Eclipse_ and
_Psalm 69_. And indeed, it is this remarkable penchant for creating
unique and involving atmospheres that provides The Amenta's debut
with its unearthly appeal.
_Occasus_ is much more than merely the sum of its influences,
however. "Zero" presents the listener with strains of digitized
hatred that shows of near impossible technicality. "Senium" is
a nightmare soundscape that sounds as though it was expressly
commissioned for David Fincher's "Se7en". The open, crisp production
makes the build-up and ultimate aural explosion of "Nihil" sound like
the trumpet call of the apocalypse.
But these are only a few examples of what _Occasus_ offers its
listeners. It is quite unlike anything that you have ever heard. With
a background of over fifteen years in extreme music, I can honestly
say that in my humble opinion, this is one of the most revolutionary
releases -- not to mention astounding maiden efforts -- to be
unleashed since _Scream Bloody Gore_. It transcends the boundaries of
conventional extremity, and it is the preemptive kick in the teeth
that death metal was inevitably going to need at some point.
Without a single, solitary shadow of a doubt, this is my album of
2004.
Contact: http://www.theamenta.com
The Dillinger Escape Plan - _Miss Machine _ (Relapse Records, 2004)
by: Jackie Smit (9 out of 10)
Finally it's all starting to make perfect sense. When The Dillinger
Escape Plan hooked up with eccentric oddball and one-time Faith No
More frontman Mike Patton two years ago for the _Irony Is a Dead
Scene_ EP, it left many people speculating as to the extent of his
creative input in the effort. This was mainly due to the fact that up
until said effort, Dillinger's relationship with melody had at best
been whimsical; but as it turns out, the four songs recorded with Mr.
Patton were the stepping stones to bigger and arguably better things,
as is amply evidenced on _Miss Machine_.
In case it wasn't clear enough, _Miss Machine_ introduces a very
different Dillinger. Although the mathcore mayhem of _Calculating
Infinity_ still occupies a seat at the head of the creative table,
DEP have taken a more measured and mature approach this time round,
juxtaposing liberal amounts of groove against the sonic madness. That
is only the half of their progression though. On "Setting Fire to
Sleeping Giants", new boy Greg Puciato shows off his Patton-esque
crooning skills to great effect on a chorus that is as simple as it
is mind-bendingly ingenious. There's simmering electronica that leads
the listener down the coal-black wind-tunnel of "Phone Home". And,
lest one forget -- the (arguable) highlight of the album in the
chugging grit of "Van Damsel".
Of course, it's almost unavoidable that ten steps forward for this
band are going to equate to twenty steps in the wrong direction for a
few elitists -- afraid that -their- band is going to be heard by more
than five people. But if burning a few bridges is what it takes
to produce something of this extraordinary quality, then I say:
"Blowtorches at the ready!"
Contact: http://www.dillingerescapeplan.com
Vader - _The Beast_ (Metal Blade, 2004)
by: Jackie Smit (7 out of 10)
Let's face facts here: a new Vader disc is no longer the event it
used to be. Hark back to the days of _Black to the Blind_, and it was
a different matter entirely. Like their heroes in Slayer, the band
were clearly at the peak of their powers three albums into their
career, and (as with Slayer) they have been riding a steadily
declining creative slope ever since. But where their last effort,
_Revelations_, was a lazy, misguided attempt, _The Beast_ actually
kicks things back into gear for the Polish quartet somewhat. Similar
in sound and style to their coup de grace, _De Profundis_, this is a
record with a lot to prove in terms of the band's staying power and
the continued legitimacy of their daunting reputation -- and it
certainly launches an impressive attempt at doing so, with tracks
like "Dark Transmission" and "Insomnia" presenting a welcome change
from the blast/chug/blast formula of their last studio outings.
Despite the uncharacteristically soothing opening to "Choices" and
the quasi-epic "The Sea Came In At Last" however, _The Beast_ is
simply not up to building the momentum necessary make this a bona
fide return to form for the band. A fine example of traditional death
metal without a shadow of a doubt -- but simply not in the same
challenging league as bands like Behemoth and The Amenta.
Contact: http://www.vader.pl
Various - _Fenriz Presents... The Best of Old-School Black Metal_
by: Pedro Azevedo (7 out of 10) (Peaceville, 2004)
As a prelude of sorts to Darkthrone's recently formed Tyrant
Syndicate label (whose releases will be distributed through
Peaceville), Darkthrone legend Fenriz has put together this
compilation -- which is actually getting released by Peaceville
rather than Tyrant. The premise seems interesting: take one of the
metal underground's most respected names, and get him to pick a bunch
of tracks that he views as "the best of old-school black metal",
which is just his area of expertise. If you already are into
old-school black metal, then this review can probably be reduced to
the track list: Blasphemy - "Winds o the Black Godz"; Sarcofago -
"Satanic Lust"; Celtic Frost - "Dawn of Megiddo"; Nattefrost - "Sluts
of Hell"; Mercyful Fate - "Evil"; Sodom - "Burst Command Til
War"; Tormentor - "Elisabeth Bathory"; Aura Noir - "Blood Unity";
Destruction - "Curse of the Gods"; Samael - "Into the Pentagram";
Bulldozer - "Whisky Time"; Mayhem - "The Freezing Moon"; Hellhammer -
"The Third of the Storms"; Burzum - "Ea, Lord of the Deeps"; Venom -
"Warhead"; Bathory - "Dies Irae".
A couple of politically correct decisions seem apparent: Fenriz's own
band Darkthrone does not feature in the comp, and Bathory's "Dies
Irae" was chosen to close the disc (one can assume this was done as a
tribute of sorts to the recently departed Quorthon). On the other
hand, Burzum and Mayhem appearing in the same track listing may be
somewhat surprising. Most of the tracks will be familiar to those who
are firmly into the genre, with the glaring exception of the more
recent Nattefrost and Aura Noir tracks. While Fenriz does have some
link or another to both bands, their songs do provide a good
representation of old-school black metal being done today. As for the
classic tracks, several of them are difficult to argue with, while
some fans will make a case for some missing tracks or bands; but
generally a good view of old-school black metal is provided in the
compilation. The flow of the compilation is hardly very smooth, which
isn't surprising given the diversity of material it contains; the
actual listening experience, much as it has a number of historic
highlights, is only average. The main problem, however, is that if
you're already a genre connoisseur, then you are unlikely to find
much (if any) relevant material to add to your collection here -- and
in that case, the rating above does not apply. If, on the other hand,
you simply want to find out more about this genre, then this is a
good place to begin your quest -- you'd struggle to find a more
trustworthy guide than Fenriz in this matter.
Contact: http://www.peaceville.com
Velvet Cacoon - _Genevieve_ (Full Moon Productions, 2004)
by: Todd DePalma (9 out of 10)
_Genevieve_ is the first officially sanctioned release of this
Portland, USA based group that has been the subject (more than the
cause) of much (online) speculation and conversation. One hopes this
autumn release can now control the faceless storm of housewife's
gossip that has centered around who they are, their unconventional
recording techniques, and what they stand for -- oddly, the most
ripples have been created by this last small "mystery".
Upon release of this album the band has openly described itself as
"Eco-Fascist"; this alluringly recursive term is subjectively applied
to different environmental groups' activities, but is primarily
affixed to the writings of Finnish philosopher Pentti Linkola.
Without steering too far from caveat into lecture, I'll note only
that it is a unique ideology based on curtailing humanity for the
purpose of a holistic preservation. Suffice to say, anyone who owns
an album by certain and numerous black metal, folk or Pagan metal
artists from Norway, Poland or the Czech Republic for starters, yet
is still irked by the romanticism of nature within their grim
microcosm, has let little else but their wallet absorb the totality
of the past decade. But this description, which has turned out to be
more loaded than it should be, is only legible from the Full Moon
Productions website (fmp666.com); there are no interviews as of yet
that the band has used to promote their viewpoint and there are no
lyrics within the purposely minimal design of the CD booklet, which
leaves any arguments or propaganda therein represented purely by
sound.
Ultra-fuzz distortion flows throughout seven tracks in contemplative
mid-tempo chord progressions that are defined by the warm crackle of
the "Dieselharp": a guitar that is literally fuelled by gasoline.
This invention produces something like a cross between Abyssic Hate's
_Suicidal Emotions_ release and the bleak reverb of Mayhem's _De
Mysteriis Dom Sathanas_. The actual compositions reflect a similar
minimalist influence.
It is not long into the opening piece, "1", before the listener is
brought into contact with Velvet Cacoon's most bizarre musical
adjustment, which dissolves the song's more traditional rhythms into
an ambient void that has little in common with black metal or any
other genre -- it's more like sonar. If there was anything I could
immediately compare this atmosphere with, it would be Burzum's
"Rundgang Um Die Transzendentale Saule Der Singularitat", but this is
something much more unique and refined; as the second track "P.S.
Nautical" further hints, the direction is concentrated on achieving a
new kind of elemental effect, something that the band succeeds at
remarkably with their strange hydrophonic blend.
The vocals, which often sound like some kind of vampiric gurgle, are
featured relatively low in the mix, periodically interjected within
the sea of steadily programmed drum machine and static riffs
traced by a soft hue of keyboards, influencing a tasteful aura of
submerging, or weightlessness (there is a one-word key to the band's
narcotic affinities written inside the cover sleeve giving more
insight into the themes this album is predicated upon). Midway
through _Genevieve_ a more tragic design surfaces in "Laudanum", an
intricately brooding piece with an unsung chorus of crashing moods
very reminiscent of Blut Aus Nord's style renovation on _The Work
Which Transforms God_. The more "black metal" portion of this set
ends in the title track; sinisterly creeping but forceful, the song
violates with a stealth grace that affirms itself while paying
tribute to the second wave (of which it is one of the few
consequences to be appreciated today). Seventeen minutes of further
marine-like drifting conclude the album.
The fusion of these numerous developments generates a deep, living
structure of music (more classical than most) that contains a basic
melody riding over an assemblage of furtive noises and deviations
within the whole, each harmonizing to create an orchestra that
smoothly vibrates only a small percentage above non-existence. The
charm of _Genevieve_ then, for this reviewer at least, is contained
in the lingering state of imagination induced by both its direct and
apparent sound -- whose formation approaches the cosmic.
Contact: http://blazing.ws/main/legions/velvetcacoon/
velvetcacoon-main.htm
Virgin Black - _Elegant... And Dying_ (The End Records, 2003)
by: Alvin Wee (7 out of 10)
Attempting to approximate the monstrous grandiloquence of early My
Dying Bride, these Aussie doom-troopers have crafted a sophomore
album brimming with musical refinement, if not innovation.
Songwriting is heavy on orchestral elements (particularly the
piano and cello) and, coupled with the obligatory steamroller
riffs, creates a very elegant gothic ambience bordering on the
sophisticated. Drawn-out phrases and minimalist acoustic sections
make proceedings feel somewhat lethargic, but passages of magnificent
orchestral bombast often come to the rescue at the right moment,
drenching the listener in gothic veils of emotion.
Of particular note is guitarist Samantha Escarbe's poignant playing;
her expressive lead passages a perfect unity of lachrymose passion
and shimmering brilliance. Rowan London's lugubrious wailing might be
an acquired taste, but his mediocre impersonation of Messiah Marcolin
somehow seems to bolster the album's air of forsaken grandeur very
well. It's a very atmospheric album overall, but its eccentricities
make listening to it in anything other than the perfectly attuned
state of mind futile.
Contact: http://www.theendrecords.com
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Scoring: 5 out of 5 -- A flawless demo
4 out of 5 -- Great piece of work
3 out of 5 -- Good effort
2 out of 5 -- A major overhaul is in order
1 out of 5 -- A career change is advisable
Delirium X Tremens - _Cyberhuman_
by: Jackie Smit (3.5 out of 5)
It's just a tad presumptious of Delirium X Tremens to bill themselves
as "technological death metal hate", particularly when you consider
that save for an odd vocal effect or two, there's very little on this
demo to actually drive home their theme of man's increasingly
parasitic relationship with the machines. Instead what we have here
is prototype old school death metal, played with enough technical
chops and conviction to convince one of Delirium X Tremens' ability
to get the job done in the near future, but at the moment is somewhat
uninspired.
Contact: http://www.deliriumxtremens.com
Mors In Tabula - _Promo CD 2004_
by: Jackie Smit (4.5 out of 5)
The stunning cover artwork might have tipped me off to the quality
contained on this preview of the band's forthcoming full-length --
_Blemish_ -- but the truth of the matter is that this Greek outfit is
definitely more substance than style. Playing what can only be
described as traditional death metal as reinvisioned by a group of
electro terrorists, Mors In Tabula's music is so sweeping and
expansive that the CD's rather flat production hardly begins to do
the music justice. Nevertheless, with the exception of the hokey "Eye
of the Abyss", this is pure aural hatred at its most eclectic and
inventive, which may not quite please those of more conservative
tastes, but it has most definitely impressed the hell out of me.
Contact: http://www.morsintabula.com
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A B E A U T E O U S R I O T
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Krisiun, Behemoth, Incantation & Ragnarok
@ The Underworld, London, 25 October 2004
by: Jackie Smit
It's a clash of the demigods indeed, as the Camden Underworld is
literally packed to the rafters this evening to see the long overdue
return of Krisiun and Behemoth to English soil -- the high turnout
being particularly surprising in light of the fact that current metal
darlings Mastodon are performing a headline show just a few minutes
down the road.
But this is about brutal death metal after all, and it is therefore a
rather curious decision of the promoters to stick pagan black metal
quartet Ragnarok at the foot end of the bill. Predictably their brand
of extremity is not quite on the same page as that of the audience,
and the reception is subsequently rather vapid. But none more so than
for veteran deathsters Incantation -- a band who seem perpetually
incapable of penning a decent song. Regardless of how technically
virtuous the Philadelphian collective may be, the fact of the matter
is that they have and seemingly always will be heavily lacking in the
all-important x-factor; a point which their latest effort, _Decimate
Christendom_, proves ad infinitum -- and tonight's set never once
looks toward bucking that trend either.
Not so with Behemoth however. The roar of approval that greets
Poland's new favorite sons is deafening, as they kick things into
gear with "Antichristian Phenomenon". Unfortunately, what turns out
to be on-stage monitor woes dampen the potentially devastating effect
of "Here & Below", "Decade Ov Therion" and "Conquer All", with the
band turning in some uncharacteristically sloppy performances. Still,
even at a level below their usually impeccable standard, the crowd
lap up every bile-soaked moment, and an ever-inimitable Nergal repays
in kind with a performance that borders on aberration.
But tonight -- despite the fact that a sizeable amount of the
audience follow suit after Behemoth's departure -- belongs to
Krisiun. Given that this is my first live experience with the
Brazilian trio, I'm unsure of what to expect until the band launch
into "Thorns of Heaven" and almost have me convinced that I am about
witness the greatest death metal spectacle of my 24 years. Of course,
any doubts that remain are immediately obliterated when the band
follow this up with the skull-crushing numbers like "Ominous", "Slain
Fate", "Eons", "Murderer", "Dawn of Flagellation" and "Ethereal
World". Intentions are made clear early on: Alex Camargo proudly
announces that the band are here to play "the brutal death metal".
Not that we ever doubted that, mind. But it's when Max Kolesne
delivers a stunning impromptu drum solo that you realize that Krisiun
are possibly one of the most vital forces in extreme music right now
-- a band who perhaps more than any other plays for the sheer
incandescent love of playing and nothing else. And say what you will
for their recorded output -- a topic which continues to divide fans
across the globe -- but to quote a great man: "I piddy the foo's who
have to follow a Krisiun set!"
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BACK FROM THE DEAD (FOR GOOD, WE HOPE)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Obituary, Master & Visceral Bleeding
@ The Electric Ballroom, London, 20 October 2004
by: Jackie Smit
Hindsight may be 20-20, but I've always predicted that Obituary would
one day decide to cast their lots back into the death metal game.
Considering the preference for technical over groove-based these days
though, one may be tempted to say that their reunion has come a year
or two late; but for tonight at least, the Electric Ballroom is
filled to capacity with punters ready to see whether the Tampa
collective can still cut the mustard.
Sweden's Visceral Bleeding has first dibs on kicking the crowd into
gear however, and unfortunately the brunt of their ultra-technical
attack ends up being lost beneath a very muddy mix. Which is just as
well, since the likes of "Fury Unleashed" and "Clenched Fist
Obedience" are remarkably devoid of even the slightest bit of
originality -- to the point where the band's departure is a relief
rather than a fond farewell?
Chicago veterans Master fare no better. Their staid brand of death
'n' punk brings about the same level of exhilaration as one gets from
watching the grass grow. Their 40-minute set covers the majority of
their back catalogue aptly, and at least half the crowd seems to be
quite taken with their efforts, despite guitarist Alex Nejezchleba
looking less than thrilled to be on stage. But as far as I'm
concerned, when you're mentally balancing your monthly domestic
budget halfway through a band's performance, something is most
definitely amiss.
Thankfully, very little is missing from Obituary's performance. From
the moment they take to the stage this evening, the 600-strong crowd
is left in awe as the band shred through the likes of "Threatening
Skies", "Cause of Death", "Download" and "Turned Inside Out" like
they never left us for the better part of a decade. John Tardy is all
smiles as he snarls his way through a surprise rendition of
"Dethroned Emperor", and with absolutely stunning airings of "By the
Light" and "Back From the Dead" adding to an already pleasing
setlist, one could argue that the band sound even tighter than they
did on their 1998 live effort _Dead_.
Sure, tonight's performance doesn't include any hint of what
Obituary's next full-length will offer; but this is sure to provide
ample reason for another tour in the near future, which is hardly a
bad thing considering the aural pummeling the band unleashed on
London this evening.
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SLIPKNOT VS SLAYER 2: MANDATORY MAGGOTCIDE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Slipknot, Slayer, Hatebreed and Mastodon
October 10th 2004, Hammersmith Carling Apollo, London
by: Adam Lineker
There are many angles from which one can view a metal gig, but I was
taken aback to find myself at the very top of the Apollo, a semi
comfortable theatre with a dull red paint job. I had never quite
looked down on a performance from as high as this before, and I could
barely hear the music leaking out of the PA, so it was with some
trepidation that I waited for Mastodon to take to the stage.
They appeared fairly early and were met with a mix of half hearted
cheers and ignorant booing from the young and Slipknot friendly
audience. Mastodon didn't even appear fazed by this, and after giving
a brief wave they plugged in and bludgeoned the crowd into silence
with a crushing opening number. By the time they segued effortlessly
into "March of the Fire Ants" the crowd were warming up; by the end
of the song they were cheering. Oh fickle young moshers. Being
restricted to a criminally short set, Mastodon performed competently
and with an enthusiasm obvious even from my lofty seat. Bassist
frontman Troy Sanders proved to be the band's physical focal point,
mixing charisma with vibrant shape throwing. Brann Dailor's almost
freeform drumming didn't cut through as well as I'd hoped, but it was
still audible enough to marvel at. In no time at all the foursome
chugged out _Leviathan_ opener "Blood and Thunder" and vacated the
stage, leaving the crowd evidently wanting more. As disappointed as I
was to see them go so soon, I couldn't help but see it as a triumph
for Mastodon, who must have made a lot of new friends on this tour.
Are Hatebreed really dull and obvious or am I missing something? I've
never been so bored at a gig as I was waiting for Hatebreed to
finish. Not only did they carve out a set of monodynamic, one trick
material, but they went on for over twice as long as Mastodon. I
couldn't get into their semi-hardcore metal groove. To me it was just
boring riffs and a man in a cap shouting a lot, but rest of the crowd
were really up for it, giving the band a hero's reception and
interacting with the material. I can't really explain why, but as
people got up and began to throw shapes, I sat down in my seat and
waited for it to end. Maybe it was because Slayer were on next, or
maybe it was because Hatebreed were uninteresting. This bill would
have been so much better if someone had invited The Haunted along
instead.
Last time I saw Slayer, they left a bad taste in my mouth with their
arrogant stage conduct and complacent demeanour. I had no such
complaint tonight. As the lights went down and "The Darkness of
Christ" hissed from the PA, the atmosphere climbed to fever pitch and
broke as three distinctive figures strode out onto the smoky stage
and slammed into a crushing "Disciple". The opening couplet of this
number and "War Ensemble" is a tried and tested attack, but it still
took my breath away, Dave Lombardo's drumming reducing me to tears
for the second time this year. The band maintained their momentum
with an awesome rendition of "Mandatory Suicide" and then threw
out a total curveball with the rarely played _Hell Awaits_ cut
"Necrophiliac". Unfortunately the sound became rather mushy and I
couldn't appreciate this as much as I'd have liked. The airing of
lame ducks "Stain of Mind" and "Bloodline" momentarily took the wind
out of my sails, but this was quickly restored with a gripping "Dead
Skin Mask". The rest of the set saw Slayer thrash out a selection of
classic cuts, and ending with a _Reign in Blood_ triple onslaught,
during which they actually rained blood (red liquid?) from the roof
of the stage. This was one of the finest performances I have seen
from Slayer, and special mention goes to Tom Araya, who delivered the
best vocal performance that I've ever heard from him; I think he even
hit the falsetto shriek at the start of "Angel of Death". My faith in
Slayer has been well and truly restored.
So, how were Slipknot going to follow such a life-affirming
performance? I'd already given my all during Slayer, but it was
nauseatingly apparent that Slipknot had the majority of support in
the crowd. Unfortunately Slipknot just couldn't cut it and, despite a
faithfully ecstatic response, they seemed to flounder amongst the
awkwardness of their setlist and an appallingly muddy sound. The
gremlins were clearly at work on this night, with one of the members
losing their mask (and running off stage) and one of the band
actually not being there due to illness; I'd be lying if I said that
I could notice the difference. The band tried hard, and the
performances of Corey, Joey and Mick were commendable, but something
about the Slipknot spectacle seemed half hearted; the band were
having a rough time and they knew it. The onstage chaos was
definitely dumbed down, with only Sid's repeated flying head butts
into The Clown worthy of mention. Worst of all, Slipknot were victims
of the dreaded 'new material' problem. Of course they have to promote
their current album, but missing out a plethora of fan favourites in
favour of some more 'sensitive' songs was never going to be a good
idea. When the roadies rolled out the timpani for a rendition of
"Iowa", a punter behind me got an audible laugh, as he loudly
exclaimed "Oh fuck me! It's Pink Floyd!". Prog pretensions or not,
the prime cuts of Slipknot's set had the impact sucked out of them in
the mix, while the quieter songs were simply uninteresting. Bereft
of any vibe or soul, the Iowan nonet looked like a bunch of
confused men at a Halloween party, rather than important mainstream
representatives of heavy music. And I actually like Slipknot.
Tellingly, the loudest cheer of the night was reserved for Slayer,
when Corey paid a fitting verbal tribute. An unsatisfying end to a
concert, maybe, but I left a happy man, having witnessed Slayer stamp
their undeniable authority all over heavy music once again. And the
hordes of Maggots present knew it too.
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W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Pedro Azevedo's Top 5
1. Katatonia - _Viva Emptiness_
2. Skepticism - _Lead and Aether_
3. My Dying Bride - _The Angel and the Dark River_
4. Burzum - _Filosofem_
5. Mastodon - _Leviathan_
Aaron McKay's Top 5
1. Hanzel und Gretyl - _Scheissmessiah_
2. Bethlehem - _Mein Weg_
3. The Amenta - _Occasus_
4. Ancient - _Night Visit_
5. Napalm Death - _Leaders Not Followers: Part 2_
Alvin Wee's Top 5
1. Astriaal - _Renascent Misanthropy_
2. Derniere Volonte - _Commemoration_
3. Jag Panzer - _Casting the Stones_
4. Mysticum - _Lost Masters of the Universe_
5. Absurd - _Raubritter_
Quentin Kalis' Top 5
1. Therion - _Lemuria / Sirius B_
2. Nokturnal Mortum - _Twilightfall_
3. The Meads of Asphodel - _Exhuming the Grave of Yeshua_
4. Various - _The Night and the Fog II_
5. Changes - _Fire of Life_
Jackie Smit's Top 5
1. Marduk - _Plague Angel_
2. Krisiun - _Bloodshed_
3. Pig Destroyer - _Terrifyer_
4. Agnostic Front - _Another Voice_
5. Obituary - _Dead_
Todd DePalma's Top 5
1. Belphegor - _Lucifer Incestus_
2. Encrimson'd - _Agrarian Menace_
3. Velvet Cacoon - _Genevieve_
4. Heldentum - _Waffenweihe_
5. Bathory - _Blood, Fire, Death_
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Web Site: http://www.ChroniclesOfChaos.com
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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
number of independent acts.
HOW TO SUBSCRIBE
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End Chronicles of Chaos, Issue #79
All contents copyright (c) 1995-2004 by individual creators of
included work. All rights reserved.
All opinions expressed herein are those of the individuals
expressing them, and do not necessarily reflect the views of anyone
else.