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CHRONICLES OF CHAOS e-Zine, October 16, 1997, Issue #25
http://www.interlog.com/~ginof/coc.html
Editor-in-Chief: Gino Filicetti <mailto:ginof@interlog.com>
Coordinator: Adrian Bromley <mailto:energizr@interlog.com>
Contributor: Alain M. Gaudrault <mailto:alain@mks.com>
Contributor: Brian Meloon <mailto:bmeloon@math.cornell.edu>
Contributor: Steve Hoeltzel <mailto:hoeltzel@blue.weeg.uiowa.edu>
Contributor: Adam Wasylyk <mailto:macabre@interlog.com>
Contributor: Drew Schinzel <mailto:drew@magpage.com>
Contributor: Andrew Lewandowski <mailto:kmvb73c@prodigy.com>
Contributor: Pedro Azevedo <mailto:ei94048@tom.fe.up.pt>
Contributor: Paul Schwarz <mailto:thomas.schwarz@which.net>
Mailing List provided by: The University of Colorado at Boulder
NOTE: For more Chronicles of Chaos information, check out the
'Details' section at the end of this issue.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #25 Contents, 10/16/97
----------------------------
- Editorial
- Deadly Dialogues
-- Emperor: Thus Spake The Nightspirit
-- Obituary: Not Dead Yet
-- Vader: Within The Dark Lord's Silent Empire
-- Crack Up: Crackheads Aplenty
- Independent Interrogations
-- Death Of Millions
-- Aeturnus - _Beyond the Wandering Moon_
-- Agony Lords - _The Sun Of The Cursed_
-- Behemoth - _Bewitching the Pomerania_
-- 454 Big Block - _Save Me From Myself_
-- Biohazard - _No Holds Barred_
-- Blood Storm - _The Atlantean Wardragon_
-- Brutal Truth - _Sounds Of The Animal Kingdom_
-- Burzum - _Balder's Dod_
-- Cast Iron Hike - _Watch it Burn_
-- Christ Agony - _Darkside_
-- Desaster - _Stormbringer_
-- Dismal Euphony - _Autumn Leaves: The Rebellion of Tides_
-- Divine Sin - _Thirteen Souls_
-- Elend - _Weeping Nights_
-- Grope - _Desert Storm_
-- Hemlock - _Crush the Race of God_
-- In the Woods... - _Omnio_
-- Ironlung - _Chasing Salvation_
-- KMFDM - _KMFDM_
-- Lycanthropy - _The Veils of Sorrow_
-- Malevolent Creation - _In Cold Blood_
-- Mortiis - _F�dt til � Herske_ / Vond - _Slipp sorgen L�s_
-- The Misfits - _American Psycho_
-- Pantera - _Official Live: 101 Proof_
-- Plan E - _E Spelled Backwards_ / Irstas - _Unluck_ Split 10"
-- Salvo - _The Cult Of Speed_
-- Scanner Vs. Signs Ov Chaos - _Scanner Vs. Signs Ov Chaos_
-- Shai Hulud - _A Profound Hatred of Man_
-- Six Feet Under - _Warpath_
-- Skrew - _Angel Seed XXIII_
-- The Blood Divine - _Mystica_
-- Today Is The Day - _Temple Of The Morning Star_
-- Wallachia - _Wallachia_
-- Witch-Hunt - _Prophecies of a Great Plague_
-- Death Squad - _Death Squad_
-- Diesel - _Diesel_
-- Metal in the Mitten: The Michigan Death Metal Fest
-- Something Old, Something New, And All Things Death Metal
- Malevolent Creation with Vader and Infernal Majesty
-- Crash And Burn Baby, Burn: Crash Worship in Georgia
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
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/ /) , , /)
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(_____)
by: Gino Filicetti
Hey everyone, I'm back for a quick couple of announcements. As
you probably already noticed, the last issue was missing an editorial
from myself; the reason for this is because I've decided, in the
process of overhauling the 'zine, that a lot of my editorials really
didn't say much other than, "Yo! Here we are again...." So I think it
is better if I just stick to writing editorials when I have something
useful to say.
With that said, let me come to the main reason I've written this
editorial. There have been some changes and additions to our staff
and their respective duties over the past month. Our hawk-eyed
proofreader extraordinare Alain Gaudrault has stepped down from his
position as CoC's copy editor. However, Alain will continue to
contribute to Chronicles of Chaos with reviews and the occasional
interview. In his place, Steve, Pedro and Andrew have all volunteered
to pick up a share of the proofreading work and keep our 'zine as
error-free as possible. I'm sure these three "competent" individuals
won't have any trouble doing so....... OR ELSE!! :-)
Also of import this month is the news of our newest staff
member, Paul Schwarz. Paul is an 18 year old student of English,
History and Philosophy at Esher College in London, England. Paul's
CoC debut was last issue in which he had a few submissions. We now
have two Europeans on staff with us, and we think this will only
benefit the 'zine because of the breadth of opinion we can achieve.
Our numbers are now up to a whooping TEN people, including myself,
residing on the CoC staff. All this from a meager beginning of only
two writers, wow...
Finally, I'd like to mention that the Toronto band Solus are
currently conducting auditions for a new bassist to replace the late
Doug Regan. Please email solus@interlog.com or skinmask@hotmail.com.
Their phone number is 905-294-9331, or you can write via snail mail:
Skinmask Productions
PO BOX 271, Station 'B'
Toronto, Ont.
M5S-2W1, CANADA
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T H U S S P A K E T H E N I G H T S P I R I T
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC interviews Ihsahn of Emperor
by: Steve Hoeltzel
Emperor... I hardly know where to begin! In any case, this band
really requires no introduction. Instead, I'll just mention some of
the main things that I was hoping to learn from talking with Ihsahn.
I had always felt that Emperor's early works exhibited a spirit
thoroughly hostile to mainstream normalcy, so that conventional
musical trappings like "clean" singing could never (or so I thought)
properly express the band's intent. Hence, I was surprised by the
fairly tame vocals and flashy guitar performances on the band's new
album, and very curious about the relationship between these new
developments and the overall Emperor concept. I also wondered about
Ihsahn's feelings toward the flurry of promotional activities -
interviews like this one, for the most part - which the band's
growing fame (and lasting notoriety) requires him to engage in. As
you are about to discover, Ihsahn had interesting things to say about
these, and many other, issues.
CoC: I have quite a few questions about the new album, but before I
get into all that: There's been a rumor going around that you
guys might be planning a trip to North America with Satyricon.
Is that true?
I: Mmm, not as far as I'm concerned. I haven't heard anything about
it.
CoC: Ah, must be just a rumor then....
I: Yeah. There are so many rumors about where we're playing, where
we're not playing.
CoC: In any case, do you have any plans to come to North America?
I: Well, Century Media has been making some suggestions. We were
interested in maybe going with Venom, or in support for Morbid
Angel, but we don't know yet. I don't think it will be this year,
but perhaps in the spring of next year. We are not finished
touring Europe yet. We've been playing around... We're playing in
Athens next weekend, then we'll go on a full European tour in
October.
CoC: Who will be with you on that tour?
I: Aeturnus and Limbonic Art.
CoC: Oh, wow! Anyway, about the new album. Did you feel like you
really had something to prove with _Anthems_? And if so, what
was it?
I: Well, we haven't really tried to think much about how we should do
it, or to think of what people would expect. We tried to do it as
we've always done: as best we can, and the way we like it. But, of
course, there were thoughts of sort of proving our position as a
black metal band these days. It's been quite a few years since we
recorded _In the Nightside Eclipse_, and there are quite a few
more bands these days than there were then. So it was good to get
a new album out which has been received quite well. Based on
reviews, people seem to like it... We felt, of course, a bit of
pressure, since _In the Nightside Eclipse_ was received very, very
well, and we kind of expected people to have great expectations
for the next one, and probably to compare it to _In the Nightside
Eclipse_. But in general, we haven't thought that much about it,
really. We just had to make the album that was right for our band.
CoC: Are you satisfied with the results?
I: Yeah. Not one hundred percent, but the day I get an album out
which I'm a hundred percent satisfied with, it will no longer be
necessary to go on. You always want to make things better.
CoC: If you could change anything about the new record, what would
you change?
I: It would be minor details, really, especially in the production
and the mix. There are always things - small things, not big
things - that you could do a bit different, and maybe it would
sound better. You get experience each time you record something,
and you always know that there will be things that you might want
to change later.
CoC: Do you think it's fair to say that some of your compositional
touches don't come through in the mix as clearly as they might
have?
I: Well... having from one to seven synth layers, four guitars, the
kind of drums we have, the bass, from one to five layers of vocals
- it's very hard to get across all the details. So some things
turn out to be just subliminal notes, which you don't really
notice - but I think you would notice it if they -weren't- there.
If you first heard the whole thing and then you should take
something away from it, you would notice. Having these subliminal
notes, it's not an album that you get bored of very easily. It's
more an album that you have to listen to quite a few times before
you really get into it, and then you can get more and more out of
it and pick up more of the details after a while. At least that's
what people who are friends of mine have said. <laughs> It's
always hard to view your own music objectively, but I think it's
the kind of album which you have to sort of grow into.
CoC: You mentioned that the album has met with a lot of positive
reactions, which is certainly true. I wonder, though: have you
encountered any real negative reactions from people? In
particular, from the more conservative members of the black
metal crowd who might not feel too friendly toward the band's
slight changes in style?
I: No, not really. We got a quite negative review in the English
_Metal Hammer_, but that's the only thing I can think of at the
moment. The guy didn't say much about us. He just said, "This
album is like all black metal albums. It's been done a hundred
times before, and it's boring, boring, boring, and it's most
suitable for kids who are into role-playing." So...
CoC: <laughing> It doesn't sound like he even listened to the album.
I mean, like it or not, to say that it sounds "like every other
black metal album" is just crazy, if you ask me.
I: It was something like, "Burzum and Marduk have done this before."
CoC: <more laughter> Oh, man!
I: <laughs> So I don't think he'd like any black metal. I think it's
a bit strange, having a guy who's not into black metal reviewing
black metal albums... But we got a very good review of our live
show in _Metal Hammer_, done by someone else. So it really depends
who reviews it.
CoC: Well, as you know, there are a lot of people in the black metal
scene who are real purists about the music and the image and so
on. And I think it's fair to say that the new album contains
some new touches, new approaches, and so on, that such purists
might not really like. Have you run into any criticisms of the
clean vocals, the guitar solos, things like that?
I: Mmm, I haven't heard anything, no. Of course, there are always
those who will be critical, and I've heard of those who still
prefer _In the Nightside Eclipse_ to the new album. But that's all
really a matter of taste. It's natural for us, as a band, to
progress and bring in new elements and new approaches. We can't
base our career as a band on trying to copy ourselves because our
first album was so well-received. It's more important for us to
try to make things better, the way we feel it should be. If people
don't like the clean vocals or the guitar solos - it's not really
our problem, is it?
CoC: Okay, but just to expand on this issue a bit... The progression
is definitely there, from album to album. And one thing that I
think is great about _In the Nightside Eclipse_ is that you've
got this great and fairly original concept, and you communicate
it beautifully. Everything about that album really hangs
together. Now, on the new album, you incorporate these newer
touches that lead someone like me to think, "Maybe I was
confused about the overall concept earlier on... Or maybe the
concept has changed," and so on. [I had been thinking that the
basic concept behind Emperor was so truly outsider and extreme
that more conventional or "mainstream" musical approaches could
never adequately embody it.] So I wonder, for instance, how the
use of clean vocals fits into what you consider the overall
artistic concept behind the band.
I: Well, we tried out clean vocals with "Inno A Satana" on _In the
Nightside Eclipse_, because we thought it was an interesting
musical element to work with. The screaming vocals have a limited
form of expression; the clean vocals open forth other atmospheres.
I feel in general that the _Anthems_ album is wider, has more
variety in themes and atmospheres, than _In the Nightside Eclipse_.
CoC: I see...
I: The new album is more aggressive, but it's also more beautiful and
nicer in other ways. Lyrically, it's not so one-sided, and the
same with the vocals: there are more atmospheres on the new album.
You can say, perhaps, that _In the Nightside Eclipse_ is more
whole, as in total. It all expresses the same kind of atmosphere,
while the new songs are more individual, parted from each other.
But I see that as a positive thing, because I see the new album as
complex, and as a whole. Maybe even more than _In the Nightside
Eclipse_, because it portrays more of the concept than _In the
Nightside Eclipse_ did. It goes deeper into what Emperor is about.
CoC: So when it comes to things like clean vocals, guitar solos, and
so on - things that aren't typically associated with the more
extreme kinds of black metal performance - would it be fair to
say that you're much more interested in certain atmospheres than
in simple extremity?
I: Of course. I mean, the extremity is one side, but you have to have
contrast. The contrast between the clean vocals and the real, real
fast, aggressive parts with screaming vocals kind of makes it
black and white - a very strong contrast.
CoC: It seems to me to add to the impact of the more extreme
sections, too.
I: Yes, I think so. During the years, we've been more and more
concerned about the composition of things, trying to build
highlights into the music, as in classical music, where it builds
up to highlights with more and more voices, louder and louder, and
then comes down again. It's much more interesting music - rather
than just having very fast, screaming music for an hour.
CoC: Speaking of composition, is the new album a little bit slanted
in favor of your own compositional touches as opposed to those
of Samoth, as a result of his imprisonment? Or was it a fairly
even collaboration between the two of you? How did it work out?
I: Well, I suppose you could say that, due to his imprisonment, even
though some of the material was ready before he was in prison, and
of course we kept in contact using tapes, and so on. But,
naturally, since he was in prison (which was not a very inspiring
environment, of course), I think I might have had more say for the
composition of this album - maybe more than I would have had if he
was there all the way through as well. But, to the extent that we
were able to in that situation, I think it's still a real
compromise between the way we both create music. That's really
what Emperor has always been: a compromise between differences
that Samoth and I have.
CoC: How would you characterize these differences? Is it fair to say
that you're the more classically inspired of the two?
I: Yes - I think I am maybe a bit over-composing at times. I
constantly get new ideas for melody lines and for riffs, and if it
were only myself, I would never be finished, and there would be
too much in the end. Samoth keeps it more floating, perhaps, and
maybe more black metal-ish than I do. We have very good
cooperation. Where I kind of exaggerate things - melody lines, or
second voices, and so on - he cuts me off. And where he maybe is a
bit too simple in some ways, I might add more chords, or second
voices, and so on... It's very hard to explain, because this kind
of cooperation has been going on for eight or nine years of making
music together.
CoC: In the future, will the two of you continue to be the
compositional core of the band? Or is it possible that Trym and
Alver will begin to contribute more?
I: Well, at the moment, it seems like it will still be me and Samoth
that contribute most. Of course, Trym has a very different style
than Faust had as a drummer, and that has impact on the process.
As well, Alver differs from other bass players. But still, since
Samoth and I have been working together for so long, it's kind of
hard to bring a third or a fourth partner into the actual writing
work. But it all depends. It's hard to say at the moment. We're
still writing some music for the next album, but with the touring
and so on, we haven't had much time for other work.
CoC: How about your side projects? Is there anything new there?
I: I'm still doing Thou Shalt Suffer. Samoth doesn't have any side
projects at the moment.
CoC: Really? I guess I'm kind of surprised to hear that, just because
he's been involved in so much over the years.
I: Yeah, but he's doing Nocturnal Art Productions now, which he puts
a lot of work into. I'm still working on my first Thou Shalt
Suffer album.
CoC: When might that be completed?
I: That's also very hard to say. I've signed it to Candlelight, and I
have very much material, but nothing is quite complete yet. I've
got my own studio where we'll record it, but both musically and
also technically (programming, and so on) there's still much to
do. I was planning to release it this year, but the way things
look, I think it might take more time than that. Hopefully next
year.
CoC: Does "Opus A Satana" [the orchestral-synth version of "Inno A
Satana" on the _Reverence_ CD single] provide a kind of preview
for what Thou Shalt Suffer will sound like?
I: Both yes and no. The kind of arrangement will, of course, be
similar, as Thou Shalt Suffer (at least the first album) will be
based only on classical instruments. "Opus A Satana" was kind of a
tryout for that kind of arrangement. It was the first arrangement
that I did with just classical instruments. Of course, I hope I'm
more experienced now at how to put things together, as Thou Shalt
Suffer will also contain choir arrangements, and I'm not stuck to
the usual structure of metal songs... Thou Shalt Suffer will be
much more complex in construction, and also in harmonies and
everything else.
CoC: What are Emperor's plans for the next year, eighteen months, or
so? Do you plan to record again? Or do you want to tour a lot?
Or both?
I: Well, I don't think we'll tour that much, as we really hope to
record a new album during 1998. Of course, we do wish to go to the
States for some touring, probably a short tour. And we might go
for a short tour of Australia. Our plan is to be touring this year
and early next year, and meanwhile to try to write music for the
next album. We want to be able, if not to release it in 1998, then
at least to record it. There was such a long time between _In the
Nightside Eclipse_ and _Anthems_, and it can't be that long
between _Anthems_ and the next album.
CoC: Are you really busy doing a lot of promotional work now?
I: Yeah... Actually, today I was set up for one interview, but it
turned out to be seven. <laughs>
CoC: Wow...
I: I've just come home from two weeks of vacation, so I did like
five, six, seven interviews prior to that. I've been to England,
where I did like seventeen interviews...
CoC: Are you comfortable doing all this promotion? I mean, are you
interested in really promoting the band, or do you just get sick
of it?
I: I'm interested in promoting the band, of course. But I must admit,
doing all these interviews kind of gets a bit strange. I mean,
when I was in England, in two days, I did seventeen interviews.
You sit there with a phone and answer the same questions - again
and again and again. It soon feels like you have nothing to say
anymore, because you say so much. Well... you actually say so
little, if you get my point.
CoC: Yeah, absolutely.
I: The way I see it, the things I really want to share with an
audience, and with fans and everything... we do that through the
music we make. The interviews... Well, you know, Emperor is not
really a band of propaganda which has a special message to get
across. So I feel the interviews I do are not very exciting - and
I don't think they will be very shocking. <laughs>
CoC: Do you get a lot of dumb questions? In particular, I wonder
whether a lot of people still want to hear about the crimes and
all the other events of several years ago.
I: Mmm, not that much anymore. They rather make a point out of not
wanting to ask about these things, because they obviously know
that we are tired of it. But apart from magazines like your own,
metal magazines, and apart from _Metal Hammer_ and _Kerrang_,
these kinds of things -- the bigger media institutions still just
whine about the old things. Of course, they're not really
interested in music. They're still just interested in the
sensationalism of the church-burnings, murders, and all this...
The other day, I was also asked something about how big an
influence Euronymous had on the starting of Emperor - which I
think kind of underestimates Emperor, when you realize people
think that Euronymous just decided that we should make this kind
of band. <laughs>
CoC: Do people ask you questions that seem as if they're meant to get
you to say something shocking?
I: In a way, sometimes, and especially with politics. Some
journalists have tried to pull out some, you know, Nazi kinds of
comments - which they never get, because we are not interested in
politics at all, at least not as a band. And personally, I am not
interested in them at all. But some people have the impression
that we are strong Norse nationalists. Some journalists have tried
to pull such things out of us. Also, I think the information from
the Norwegian black metal scene - the original thing, plus all the
rumors that are added during time, and also the distance from here
to the States - it becomes very different. It makes it seem more
mystic than it really is. Some people have very big expectations
that we will be very, very extreme or very, very misanthropic and
strange... which I suppose we can thank ourselves for, having
given that impression. As if we should know everything about
magic, or magic writers... One question recently asked if I could
draw parallels between Northern mythology and vampirism. And I
must admit, I had never reckoned with possible parallels between
Norse mythology and vampirism <laughs> - even though both are
interesting subjects to discuss. But when it's a live interview,
what can you say, you know? <laughs> Of what relevance is it to
Emperor as a band?
CoC: Do you find that people - especially people overseas - have
really exaggerated impressions of what things are actually like
in Norway and in the Norwegian black metal scene?
I: Well, I get the impression sometimes that they think very
differently of me than I really am. They expect me to be very,
very different from what they get to hear.
CoC: In what way?
I: I really think they expect us to be very much more extreme than we
really are. And I think we're looked upon as having no self-irony
at all. Of course we have self-irony! But some people think that
we go around wearing all the spikes, and all the makeup, and
everything, that we sleep in coffins, all of this...
CoC: <laughter>
I: But of course, this has much to do with how we portrayed ourselves
in media earlier on. And also it's very much when we were younger,
you know - because it's very cool to be looked upon as being
totally insane.
<We both laugh.>
CoC: So that image is something you're not too interested in anymore?
I: When you're like 16 or 17, it's much more important to be extreme.
I think you need feedback from your surroundings, as well, for who
you are and what you are. When you get to know that, it's not that
important to try to make others think some way of you. When you
know yourself, you don't need everybody else's approval of who you
are.
CoC: Definitely. So does that kind of thinking play a part in the
band's toned down visual presentation? Because I'd say that, in
terms of costume and so on, you guys really don't look as
extreme (or insane, hahah) as you once did.
I: Well, you could say, I think, that both musically and in
expression visually, it's more mature. We still wish to keep an
extreme visual aspect, but we really haven't had the opportunity
to go too far with it yet... We now have, I suppose, a more
"metal" image than the usual spikes and corpse paint and things.
And if we get the opportunity to have a more professional touring
crew, with pyrotechnicians and our own light people, then we might
make more costumes, our own thing. But these things demand
capital, they demand money. I think some people are disappointed
that we dropped the corpse paint. This was really a natural thing
for us, as we hadn't used it since 1993, even though more people
have been wearing it. A few more. <laughs> It's not because we
wanted to appear more commercial.
CoC: Plus, since the time when only you and a handful of other bands
used corpse paint, there have been thousands of people wearing
it - which seems to me to have totally watered down, or maybe
even wiped out the effect.
I: Yes, it was something special when we first started using it. It
was something special. Now, suddenly, there are so many bands
putting on corpse paint and playing lousy music and claiming to
play black metal. It isn't the corpse paint that makes it black
metal. It isn't the corpse paint that makes you extreme. It's...
what can I say?
CoC: I know what you mean...
I: There are many individuals who stand quite strong in black metal,
and in the black metal scene. So why shouldn't we be able to go
away from things like that?
CoC: What is your overall assessment of the state of the scene right
now? Do you see it as healthy? Do you think there are too many
clone bands? Do you care?
I: There are clone bands. And there are bands that are just kind of a
nicer version of black metal, putting more of the energy into
central aspects of dark atmosphere. Also, there are those who tend
to go backward and play more primitive thrash and older, more
Celtic Frost-inspired black metal... What can I say? It spreads
out in more directions than it did in the beginning, and to some
extent may be watered down, and getting more commercial. It's not
as complex a scene, with as strong a bond as it once had. This, I
suppose, is due to many things: people growing up and becoming
older; bands deciding to concentrate more on being a band, rather
than on, you know, terrorism. <laughs> Black metal is known now,
so I think more of the bands work more seriously as musicians,
rather than as extremists, if you get my point.
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N O T D E A D Y E T
~~~~~~~~~~~~~~~~~~~~~~~
CoC Interviews Obituary
by: Adrian 'The Energizer' Bromley
No one can deny the impact that Florida's Obituary has had on
the metal music scene. The band changed it forever. Early on in their
career, the band helped sculpt and strengthen the death metal scene
with their past releases, especially the band's two earliest
releases, _Slowly We Rot_ and _Cause Of Death_, which are both
considered classic records that any metal fan should own. While the
band saw very little success with 1993's _World Demise_, the band has
come 'back' to the 1997 metal scene with a strong contender, _Back
From the Dead_.
But, with a rumor circulating that Obituary's latest LP may be
their final record, could it all be over following this tour?
Chronicles of Chaos contacted drummer Donald Tardy (while on tour)
about the rumors, work in the studio, and their record label.
He begins, "As long as we have been together, been friends, and
been in the same band for as long as we have, we have never let that
type of pressure bother us when it comes to writing an individual
song, a rhythm, or a whole album in general. Yes there was a
different atmosphere studio-wise when recording this album, but, as
far as songwriting went, it was pretty much the same laid-back vibe
for us. It was a different feel for us this time around because it
had been so long since we had been in the studio. We were just
itching to get back into the studio after such a long absence and
make music."
Obituary - rounded out by singer John Tardy, guitarists Allen
West and Trevor Peres, and bassist Frank Watkins - has always been
one group to live off their success within the fanbase of Obituary.
The band believes strongly in interacting with fans and avoiding a
'rock star' mentality with them. The fans make the band. "I don't
find that we lose fans with each release. I don't see it that way,"
explains Tardy. "You might see that with 90% of Metallica fans or 80%
of Slayer fans, but I think that Obituary fans stay true to what we
are doing from the first record all the way to the new one. But we
have also stayed true to them which is really, really important. I
think the important thing is that Obituary believed in so much what
we were doing and the kids understood that too. I think we have
stayed close enough to what we sound like. Sure we have changed a bit
here, a little bit of progression here and there, but we have stayed
true to what we believe in when it comes to writing songs. Album
wise, I am very happy with the decisions that went into it,
performance wise and other aspects of this album."
He adds, "Band wise, we are happy with the direction we are
always headed. You can't always be happy with where you are or what
you do because this music scene changes so much."
On the topic of their label Roadrunner, Tardy says, "We now know
that our label has more interest now than just in Obituary (i.e.
Machine Head, Fear Factory, Coal Chamber, etc...), and now we have to
promote ourselves and work as our own managers and bosses toward the
record label because if you don't stay on their asses twenty four
hours a day then things don't get done the way they should, compared
to being a band with a management company and paying them money to be
on their asses. We have realized that sometimes it gets frustrating
to see other bands paying money to a management company to get on
Roadrunner's ass, and it is working 'cause they are getting more
promotion than Obituary is being paid attention to. That is the one
thing I am paying more attention to this time out and with this
record because they have to support us and see us as one of their
bigger bands because we have been for sometime now. We made them a
lot of money and they need to see that. We just need to pay attention
to the way the label and promoters are promoting us because some of
the shows on this tour are only promoted like a week in advance,
whereas sometimes it is six weeks. We are glad of the turnout to
shows, but they could be better if there was more promotion going on."
The band has always felt that their studio work has been their
strength. The ability to bring in all their ideas and capture them on
record is important. Perfection is another quality the band takes
seriously when making their music. "We love to go into the studio to
record and we take it very seriously. We know that what we are doing
is what we want to do. When we record a song and the producer says
'Cut!' we know we got what we wanted. If it's not what we wanted we
scrap it and record it again. In terms of production, we spent twenty
days doing this record. _WD_ took about two months to record. We did
this in just under three weeks. We were very sure of the production
and knew that we had a raw groove and Obituary sound, and that was
good enough for me."
Also, how does Tardy see the sound of Obituary staying true to
their early days and not following trends like a lot of bands? "I can
honestly say that when we are home and recording the new material we
tend to stay away from outside sources or new bands that might
influence our music. We want to keep it Obituary and not let other
types of styles or bands come into what we are doing. We are focusing
on what we are doing now, opposed to focusing on 'what didn't we do
last time?', 'what would sound good right now? or 'what did sound
good last time?'"
He finishes, "We focus directly on what we are doing now.
Whatever rhythm comes to me that day, whether I am feeling slow and
blue or seeing threatening skies and feeling quick and fast, that is
the type of music that will be written that day. That is why Obituary
has stayed the unique and same style. We play what we like and what
sounds good. The worst thing you can do is follow in what someone
else is doing. We are not into that."
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WITHIN THE DARK LORD'S SILENT EMPIRE
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC chats with Peter Wiwczarek from Vader
by: Paul Schwarz
With last year's _De Profundis_, Vader really showed the world what
they could do. They produced one of the year's best albums and didn't
sacrifice one ounce of the brutality they are noted for. The reviews
were equally favourable, perfect ratings being a not uncommon
occurrence. The fact that this was only their second album just added
insult to the injuries of so many other bands who couldn't produce
something as good on their fourth or fifth attempt, let alone their
second, as Vader had. Despite all this attention, Peter Wiwczarek,
the main songwriter for the band, is not a walking ego trip. He seems
quite excited (although containedly so) that the new Vader album
_Back To The Blind_ will be out in about two months' time, and he
seems very pleased to be back on tour, and on tour with so many
great, true metal bands.
CoC: So how has this tour (with Vital Remains Infernal Majesty and
Malevolent Creation) been?
Peter Wiwczarek: We just started a week ago, and now we're in Paris.
It's the sixth gig; it's been really good. We've
played with Malevolent Creation twice before, so
we're like brothers. The package is [also] really
good: Infernal Majesty, Vital Remains... it's good,
old, true bands, and it's a really good package, a
really...Metal package. So I'm happy that we can
join this package.
CoC: Are you planning to tour the UK again? I know you played two
gigs last year with Cannibal Corpse.
PW: Yes, it was the first time we've ever played in the UK. [We
played] London and Brighton; they were killer shows, but what I
was very surprised with was the response, as it was the first
time we've been in the UK. They were really good shows.
CoC: Your album did get ranked 17th in the Terrorizer albums of the
year.
PW: Really?! Oh, I didn't know about that.
CoC: Yeah, you were above bands like Burzum and Cradle of Filth.
PW: I think what we may need now is better distribution. [Peter was
told at this gig that their album is not distributed in France,
where they are playing.] We used to be on a pretty big label a
couple of years ago, but when we joined the label there were too
many problems.
[Peter is referring to Vader's short-lived stay on Earache, who
released their debut.]
CoC: How was recording the new album _Back To The Blind_?
PW: We finished the album just the day before we started this tour;
it's brand new.
CoC: How's the sound?
PW: It's, uh...I don't know how to explain the sound. It's...it's
Vader, you know, but the sound was maybe a little faster than _De
Profundis_ was - but no, it's still Vader. It's not only fast,
though; it's got a lot of different elements in it. Generally,
though, the songs are maybe shorter and faster, with more blast
bursts.
CoC: Were you happy with _De Profundis_, 'cause you know a lot of
people worship that album?
PW: Yeah, a lot of people like that [album]. It's still the best
section of the band for me. If we can give emotions to people, to
make them happy, to make them stronger, [then I am happy we can
do that]. It's brutal music, you know; it's death metal [and] I
am very happy that people still like this, that they still need
it.
CoC: Yeah, death metal was declining up until mid '96 when your
album, Arch Enemy's album, and some other albums came out, and
then everyone started saying that death metal was back again.
'95 was a slow year.
PW: Well, death metal, black metal - sometimes it's just a name, but
it's the music [which counts]. It's brutal music; it's a kind of
expression. Every generation needs this same power, this kick.
CoC: Do you like black metal?
PW: Yeah, why not?! I think we're pretty close to black metal,
because all the lyrics [in black metal and death metal] are
talking about supernatural things - you know, generally about the
dark parts of the world, about dark things, about different
things, not about just living like this <motions to the room>. So
it's like we try to make people think...about everything about
the world, the underworld, the upper world, about every world.
CoC: Is that the reason for the title of the album _De Profundis_,
i.e., "From The Depths"?
PW: Yes and no. _De Profundis_ is about the abyss. The title is in
Latin; it used to be like a...I don't know the words in English
to explain it. It's like a word to explain the philosophy of
decadentism.* Now we are pretty close to finishing this
millennium and so the feeling is similar. People are afraid of
something [again]; they don't even know what they are afraid of.
- [I didn't quite understand what Peter meant, so I did some research.
"De Profundis" is the opening phrase of the 130th Psalm from the Old
Testament. In it, the psalmist calls to God from the depths of
despair. I think Peter is referring to this Psalm, but more to the
feeling which was felt at the time of the first millennium. When the
first millennium came, people truly feared judgment day, and the
psalm probably took on new meaning as the millennium drew closer.]
CoC: What about the lyrics to "Silent Empire"?
PW: Ah, no - you see, on the first album, I used to write 50 percent
of the lyrics; now I try to make the music, and I have friends
[who write some lyrics for me], who have more time and get much
more of a chance to study things. "Silent Empire" was written by
Paul Frelik, who is a friend of ours, has been for years, and the
same with Paul Wasilewski. On the new album, those two people
will appear again with new lyrics, and one more [person will also
contribute lyrics]. I try to show the friends I have known for
years, and they are still living with this kind of music and
listening to this kind of music. There are not so many people
left [who are like that], but they are death metal, or so called
death metal, fans from the heart, not just 'cause it's popular,
and it is a big honour for me just to make music for their
lyrics. So each set of lyrics and each song was inspired by
something different, mostly inspired by some books or the works
of different magicians.
CoC: Lovecraft?
PW: Lovecraft, Crowley - more, more, more names. Sometimes it is hard
to understand the lyrics if you don't know the book. Our way is
to..is to give people inspiration for looking for all those
books. We'd like to see them reading them, not just talking about
them; we like to make people...angry for knowledge, you know what
I mean. It's very important not be just another band talking
about shit. Just to make people hungry for knowledge...it's
dangerous, because this knowledge might be dangerous. But it's
knowledge, it's...it's a kind of risk. It's like a choice in your
life. It's a bit too hard for me to explain in English properly.
CoC: What about the covers album that you have done, _Future of the
Past_? What was your motivation to do that?
PW: It is like a tribute album to the years and the bands who
inspired us in the beginning. Apart from the Possessed, Kreator,
Terrorizer, and Celtic Frost songs, we also put all the cover
songs we'd done, so you can see the Sabbath and the Depeche Mode
covers. [This was] because those songs only appear on promo
versions, singles or whatever, and we wanted to put everything
we'd made, or all the covers, onto one CD and forget about the
covers for a couple of years.
CoC: So are they some of your favourite songs?
PW: It's hard, you know, because there were a lot of really good
bands back then, and so it was just a piece of them, just a
couple of names. When you think about Destruction or Infernal
Majesty or Necromancer, it's a lot of bands. So we had to choose,
and those were the most known bands in Europe. Kreator, Sodom is
the beginning. Slayer is a big influence for us [also], so we had
to do a Slayer cover - so we chose an unusual one: Silent Scream.
It is a pretty heavy song, but even Slayer didn't play the song
very often. I have it [live?] on a bootleg.
CoC: Are you Satanists?
PW: Satanists? That is a hard question because I can't say yes and I
can't say no, because Satanism is a kind of rebellion for me [in
my view?]. For sure: I am against Christianity from my heart,
especially against the Christian church, because I know there is
a problem in my country. It's fucking [political?]; they make
problems every day in Poland, for everybody, and I am absolutely
against the Christian church from my heart: I want to see them
destroyed. I am not a Satanist, because Satanism is a worship of
Satan, and I am into powers that are more ancient than Satanism -
because Satanism follows the same path as Christianity but is
just the opposite [belief]. I believe in things like Lovecraft's
"The Necronomicon" and things like Sumerian magic and the more
ancient gods.
CoC: Like Paganism?
PW: It's like Paganism, because it used to be at the beginning of
humanity, of human civilisation, and it is belief in the natural
powers. It is my belief. But, to be honest I don't like to talk
about it, because people usually don't understand it. It is a
personal thing. I'm against [organised/Christian] religion.
CoC: You released a live album last year which was recorded about
four years ago?
PW: We recorded the album in 1993; it was our first tour in Europe
and Poland. We did this album before _Sothis_, which was supposed
to be a mini-album before the upcoming album _De Profundis_. Last
year we signed a deal with Arctic Serenades to put this album
outside Poland for the rest of the world, but we had problems
because we haven't received a copy of it. I saw it in America; it
is really well put together.
CoC: Yeah, I've got it.
PW: Yeah, but it's too bad we haven't got it. <laughs> I wish I had
just one copy, just to see it.
[I arrange to send Peter a copy of it.]
CoC: Are you thinking of recording any more live albums - maybe one
for this tour?
PW: Maybe next tour. The original idea was to record that sort of
live album every year, after releasing each album. But it's a
problem.
CoC: It's expensive to put out as well.
PW: Maybe not expensive, but there's not always enough time. Maybe
this year when we have done a tour in Poland [we'll release one],
because it is the best time to release the album; we get more of
a chance to release this kind of album. To rent the equipment to
do that [is easiest in Poland], so maybe this year, maybe next
year, the new live album is gonna be out - like an official
bootleg, you know.
CoC: Last question. Are you going to put your first two demos
together on CD?
PW: Yeah, next month, under the title _Reborn In Chaos_. It's the
original version, maybe a little revamped.
[_Back To The Blind_ is released in November by Impact Records and
will hopefully be available in France.]
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C R A C K H E A D S A P L E N T Y
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC Interview's Crack Up
by: Adrian Bromley
As I expressed with mixed feelings in my review of this German
quartet's sophomore record _From The Ground_ in CoC #24, I felt that
Crack Up were good, but that nothing had set them apart other than
their groove. But the more and more I listened to the band's latest,
the more I was drawn into what they were doing. While the music may
not be all that original, it is the death metal-ish sounds mixed with
the crazy groove of the band's music that draws in the listener.
Songs like "Worthless", "Blood On The Floor", or the Fang (70's punk
band) cover of "Money Will Roll Right In" just do something to ya.
It's aggressive music built around solid grooves. Some may disagree,
but I think Crack Up have a future if they continue along the same
styles and grow as musicians and as a team.
I investigated the band some more, to learn of their first
record - _Blood Is Life_ on We Bite records - and to find out a bit
more (from their website) than the average bio would tell me. More
and more, I was hooked, so I fired off questions via e-mail for
bassist/singer Tim to answer. After weeks of waiting, I finally
received his replies. Here is what Tim had to say about Crack Up
(rounded out by guitarists Dirk and Helvin and drummer Frank), the
state of metal music nowadays, and the German music scene.
CoC: Tell me about the new album _From The Ground_. What were the
initial ideas behind song styles and concepts?
Tim: We recorded it in December 1996 at Andy Classen's studio (Stage
Studio One) in about eleven days, plus five days of mixing it.
We never really think much about the songs when we write them.
It is a very natural process for the band and myself. The album
was initially released in Europe in April 1997, and we got a lot
of good responses from magazines and zines. Our album was
initially supposed to be out earlier, but the label Nuclear
Blast has moved from Tampa Bay to Philadelphia, and that is
keeping it from coming out I think. At this time right now, I am
not sure if the record is available there yet. I think it is.
CoC: Do you find that over the years the band has grown, the band's
musical style/sound has altered a bit? Or do you think you have
stuck pretty true to what you initially set out to do as Crack
Up?
T: Yes, I think we have stayed true to what we wanted to do since the
very beginning. When we started the band, we were quite bad at
playing and hadn't really learned how to use our instruments all
too well. We all learned together and grew as a band with our
sound. We always wanted to take all the riffs and melodies and
include them into our music. We always wanted to create music and
not think about the other types of music out there and follow it
in anyway. We don't care if our music has a death metal riff, punk
rock riff, or hardcore riff, as long as we like what we do. We
feel that as we go along, album after album, we must be able to
express ourselves more. With each album, there must be some
natural changes and developments in the music, and we are very
open to that.
CoC: What were your influences in metal music growing up? Do you see
those influences in your music?
T: Our drummer Frank and I were very much into the early death metal
releases of the 1980's. Those records that we bought back then are
all classics now. It was a great time for metal music back then. I
remember the debut records from Obituary, Entombed, and Morbid
Angel. Those bands gave us the kick to form a band and play this
type of music. But at the time when we formed the band, we were
also listening to bands like Nirvana, Soundgarden, and Primus too.
It's funny - we like all types of music, and death metal is a big
influence for us and our music, but I still don't consider
ourselves a death metal band.
CoC: How long did it take you to write this record? Do you write
music often, or is it only when you head into a studio to record
the material?
T: We wrote these fifteen songs over a year's time. But that isn't
always the way it is for us. I mean...we could write fifteen songs
in three weeks, too. It just depends on the mood we are in. We are
constantly recording music, unlike a lot of bands that write over
two hundred songs and only record ten of them. We prefer to write
material when we are in the mood or need to, an example being
[when we are] in the studio needing material to help out the
recording process.
CoC: What is your take on the "metal industry" right now? Many people
(non-metal fans) are saying that metal is dead - gone! What do
you think?
T: There will always be metal fans wanting to hear only metal music.
Metal won't die. I don't make judgements on music because of
sound, style, or genre. All that matters to me is the quality of
the music. About metal music nowadays: metal music has had better
times, and it is very sad that most labels don't show any interest
in pushing their new bands. It's a shame, but it is happening.
CoC: Tell me about the German music scene. It's a very diverse music
scene where all types of music can be found: techno, goth, rock
and metal. How do bands compete and get exposure there, with
such a varied assortment of bands to choose from?
T: Yes, it is very difficult to get attention over here when you
play. When we started the band, there was a very good underground
death metal scene, and it helped get us a lot of exposure - but
the bigger we became with interest, the harder it was for us to
get shows. It is great to be a part of the music scene here, but
with so many CDs coming out all the time and a variety of bands to
follow, bands get neglected or don't get to play much. About all
the types of trends here? Personally, I don't like many of the
trends here, like gothic metal or black metal. I also hate the
techno scene here. I hope it doesn't get as big in the US as it is
over here. [Note: Too late, Tim. The Prodigy and Chemical Brothers
have arrived! --A.B.]
CoC: What has been the reaction to the record over there? Lots of
press? How do good and bad reviews affect you as a band and as a
musician?
T: So far we have gotten a good amount of press from Germany and
other European countries. Overall, we are satisfied with what
reviews we have gotten. Also, our first album _Blood Is Life_ got
really good reviews, so it is hard to top that too. Sometimes a
bad review is better than a good review, especially when people
are writing that we are a "pure" death metal band and give us high
points. I don't understand that. I think the bad reviews expressed
our music better, and I respect those reviews and reviewers more.
CoC: Anything that bugs you about being in this industry and/or being
on a major label like Nuclear Blast?
T: I think there are a lot of negative things about the industry. It
is flooded with them. I really don't like the industry, because
everything is so concentrated on sales, and most labels don't push
their bands like they promised when they got signed. I hope that
Nuclear Blast believes in Crack Up, and that they'll have the
power and interest in pushing us.
CoC: Do you think there is a difference between the North American
metal scene and the European metal scene?
T: Yes, I think so, but I am not too much into the US scene anyway,
because it is difficult to keep updated for me. I would say that
US bands sell well here in Europe for the most part, where a
German band would have a hard time selling copies over there. I
think European albums could sell well over there, because there
are a lot of people who like metal over there and a huge
underground death metal scene.
CoC: What are the plans right now for Crack Up in regards to
recording and/or touring? Will you tour the United States?
T: Right now, we are hoping that we get hooked up with this four-week
tour with Unleashed that is supposed to happen. We hope that
happens, as Nuclear Blast said they are trying to get us on that
tour. Also, right now we are writing on and working on our third
release, due out in the summer of 1998. About touring the United
States - that would be a dream for us. We will be able to come
over there if the record does sell well for us. We are hoping it
will, because it would be great to come over there and play.
Contact: Crack Up, c/o Donnersbergstege 56
46569 Huenxe, Germany (for CDs and merchandise)
WWW: http://members.aol.com/crrrackup/index.htm
mailto:crrrackup@aol.com
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D E A T H O F M I L L I O N S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
CoC Interrogates Texans Death of Millions
by: Adrian Bromley
Lashing out with brutal intensity and a seductively powerful
atmosphere throughout their music comes Texas' brutal music ensemble
Death of Millions. The band's debut demo _Frozen_ is a fistful of
metal of all facets: brutal death, atmospheric death, and just pure,
vicious death metal styles. Some would say such a wide variety of
styles hampers the direction of the band's music - but they are
proven wrong, as the band's demo shines with brilliance and true grit.
With numerous shows in and around Texas, DoM - singer Chuck
Salvo, guitarists Brian Morrison and Lee Ribera, bassist Brendon
Bigelow, and Mark Perry on drums - are starting to make a name for
themselves. With a solid production (by Bat Lord at Agony Column
Productions) and apparently a powerful live show, who knows - maybe
this band will be the next indie band to get label interest? I'm
hoping so.
CoC: Why was the name Death Of Millions chosen by the band? Is there
a significance to the band's name and the topics the band deals
with in the music? What topics does the band deal with? Why?
Mark Perry: Death of Millions was thought up by Chuck (vocals),
although the thought process behind it is a mystery. We
thought it sounded pretty cool. Later, while reading our
song lyrics, I realized no one song of ours depicted any
kind of mass destruction to the scope that the name
implies. Our songs tend to deal with the up-close and
personal nature of your average serial killer, depicting
graphic accounts of sadistic murder and necrophilia,
right down to the smell. Upon asking Chuck about the
relationship between our name and our song content he
replied, "It's the death of millions, one at a time."
This reflects the bulk of our song topics, but there are
a few songs dealing with very different things. We have
one song about the destruction of the planet, one about
rape, some anti-religious/Christian songs, and some about
cannibalism. As for why we write about these things, we
tend to look on our music like a really bad horror movie.
Above all, we look for pure entertainment value in our
songs. We don't have a message, we just want to deliver
good, entertaining music.
CoC: Tell me about the metal/death metal scene in Texas. What bands
are up and coming, and what bands from that scene inspired you
guys to get this band rolling? What are your influences?
MP: Our experiences in Texas have all been great, except for some of
the ones in our home town of Austin, Texas. Austin's being the
"Live Music Capitol of the World" is great because of all the
venues (literally hundreds), but it also tends to dilute the
crowds a little. It becomes difficult to get people out for your
show when there are 150 other bands playing that Tuesday night.
When the larger acts come through, however, the fans come out in
force. The scene isn't bad in Austin, but it could be a lot
better. As for the rest of Texas, we usually do extremely well in
some of the small towns around, because they are starving for
live music. Houston does pretty well on the road shows, as well,
but they tend to have the same problem as we do as far as the
local bands are concerned. We keep hearing that Dallas has this
killer metal scene up there, but we haven't played there yet. It
is really hard to say who's up and coming, but there are metal
bands like Agony Column and Force Fed, death metal bands like
Demonio and Crucifixion, and black metal bands like Thornspawn
and Absu. Local bands that have influenced us over the years are
Dead Horse, Agony Column, Devastation, Rock Busters, and some
others. The larger bands that are our influences include Deicide,
Cannibal Corpse, Sinister, Brutality, Suffocation, Neurosis,
Malevolent Creation, Slayer, Gwar, along with music like Rush,
Pink Floyd, Mozart, and even Twisted Sister. We are, after all,
going to burn in hell.
CoC: How hard is it for you to play out in Texas or surrounding
states? Do you get good support from other local acts, or is
there a lot of rivalry?
MP: It seems to be pretty easy to get a gig anywhere, just with no
guarantee of money. We don't necessarily have a problem with low
pay in this stage of our band, but getting the money together to
drive that far sometimes poses a problem. Playing out of state
seems to be no problem, except where funding is concerned. Among
the metal scene here, there is no rivalry that I am aware of,
because the scene's size is such that the clubs know that if they
book metal shows on the same night, nobody will make any money.
All of the bands try to avoid that by playing together.
CoC: Most young bands have a hard time getting their product out to
the public or even to record labels in order to spark interest.
Are you actively trying to push your material to a bigger label,
or are your waiting for the right time for the band and its
material to grow more?
MP: We are actively pushing our material to everybody we can get our
hands on. Most everything we have done has been accomplished by
networking with the right people. The more people you know, the
larger the chance that someone you know knows someone who can
help you out. Giving away most of your product at first doesn't
hurt either. I think that if you make your fan base large enough
by yourself, the record companies will come to you. Getting on
the _Frozen Dawn II_ compilation has probably done the most for
us. We are slowly becoming known across the whole continent. If
you have a chance to get on a compilation, I highly recommend it.
Also, getting to know your Relapse records mail order guy helps.
We ordered some stuff from him and met him in Milwaukee and BOOM!
We got Relapse to distribute us in their Resound catalog. This
particular guy was very cool. It really is who you know and who
knows you. Last, but not least, the Internet. As all of you who
will receive this know, it can be a great source of information
as well as a great source of exposure. E-zines like this one,
websites, and the usenet (alt.rock-n-roll.metal.death in
particular) are all great places to push your product.
CoC: How would you describe the music on _Frozen_? Do you think that
the band captured the brutal direction and sound that you were
aiming for with this recording?
MP: The music on _Frozen_ is a collection of songs we've written at
various stages in our development. The music itself ranges from
melodic to downright brutal. The first half of the album is a
collection of murder for murder's sake type songs - just random
violence and thoughtless massacres. The second half of the album,
from "Salvational Rot" on, tends to look at the violence as some
sort of a religion, as if it were necessary to maintain the
subject's existence. This wasn't done on purpose; that's just how
it turned out. I really don't think we could ever capture our
brutal direction without having it be our last album. Our music
will continue to reach for the impossible goal of perfect
music-based brutality. This can never happen, or the genre would
die - because then how could it get any better? As for the sound
of the album, I think we captured a quite brutal sound, and for
the price we paid for production we are very pleased.
CoC: Tell me about the recording process for the band. Is it a group
effort in regards to songwriting and ideas, or is it just one
individual in the band? How has the band grown since forming in
1993?
MP: Writing songs has always been a group effort, with the exception
of the lyrics, which are written by Chuck. Lee is the most
proficient at coming up with guitar riffs, so most of the music
comes from him, but Brian has written quite a few things as well.
All of the songs are manipulated and arranged by all of us
together, so no individual credit is ever given for any song
unless that person is no longer in the band. Speaking of that, we
have only had two member changes in the band as of yet. Brian
came in after our other guitar player left to start his own
project, and Brendon came in after we parted with our old bass
player. Recording the albums has always been easy, because we
spend ridiculous amounts of time practicing to get tight for the
studio. We never have much money, so we have to execute it right
the first or second time. With this and with very good studio
rates, we were able to produce _Frozen_ for a grand total of
$600. I think we did pretty good.
CoC: Is there something different that you are trying to bring out in
the music of DoM that no other bands are doing, or are you
pretty much staying along the lines of the music your peers
create? Are you influenced by outside music and ideas?
MP: One of the major things I listen for when we are writing is if it
sounds like something I've heard before. I don't like it to even
resemble anybody else's riffs, but at the same time, we want to
be on top of what is going on in the scene. We try to do things
that are different, but along the same lines of what is current.
It's hard to be ground-breaking in a style that has been here for
as long as it has, but we are trying our best. Most of us listen
to a wide variety of music, all of which influence our writing
styles. We all have pretty diverse tastes from which to draw upon.
CoC: What has been the most successful thing that DoM have seen
and/or done in the last few years since your inception? Favorite
gig played, etc.?
MP: Probably the best thing we've been involved with has been the
aforementioned _Frozen Dawn II_ compilation. This CD has gotten
us more exposure than we could have hoped for. We are still
getting letters pretty regularly because of this thing, and it
was released in the spring. The two Milwaukee Metal Festivals (X
and XI) did a lot for exposure, as well as making contacts with
many, many bands, fanzines, radio shows, etc. But our favorite
gig was in this little piss-ant border town called Del Rio. We
played for a couple hundred kids in this hall. Apparently, one of
the kids got one tape from us when we played with Deicide in San
Antonio, Texas. This tape spread like a fungus in Del Rio,
because when we played there, they knew our stuff! The hall was
tiny, but these kids were nuts! They were by far the craziest
bunch we had come across.
CoC: What lies in the future for DoM? Tours? Recording? What?
MP: Everything we can get our bloody little hands on. We would
definitely like to tour, because we need a fan base boost. Our
main goal is a record contract with touring and worldwide
distribution, but we will more than gladly do it ourselves if we
have to. We will probably let _Frozen_ ride for a while before
recording again, but we are currently writing more material for
the next one.
Contact: DEATH OF MILLIONS, 808 Chrisholm Valley Dr., Round Rocks,
Texas, USA, 78681
Bookings: (512) 441-6065
http://www.io.com/~someguy/
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/ _ \ | |\_ |__ __ __ _____
/ /_\ \| | | __ \| | \/ \
/ | \ |_| \_\ \ | / 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!
Aeturnus - _Beyond the Wandering Moon_ (Hammerheart Records, 1997)
by: Andrew Lewandowski (9 out of 10)
Finally, a band that can be described as "black death" without the
reviewer (or record company) implying that they don't equal the
quality of pure death or pure black metal bands. _BtWM_ features a
coherent synthesis of the morose, medieval melodies of modern black
metal with the low end bombastic production of a death metal act.
Aeturnus effortlessly alternate between blasting, breakneck passages
and more absorbing moments akin to latter-day Burzum, where slight
tonal variations lurk beneath a dense wall of sound. A powerful album
which is one of the few to balance corporeal anger and ethereal,
melancholic beauty.
Agony Lords - _The Sun Of The Cursed_ (Oz Productions, April 1997)
by: Paul Schwarz (8 out of 10)
Agony Lords (AL) have produced a well written debut full of songs
which are catchy but also heavy, not Deicide heavy, more a Paradise
Lost (PL) on albums 3 to 5, In Flames and Iron Maiden heavy. The Iron
Maiden influence is most evident on certain riffs, the opening riff
on "The Shadow and the Silence" being a prime example. Paradise Lost
are definitely a major player in this band's musical mind and
although lacking the edge of being (almost) the first to do the
gothic metal thing as PL were, AL do it well and retain that
essential heaviness which set PL apart from all those shite "gothic
metal" bands and also sets AL apart from them. There are slight
repetitions noticeable in the music and sometimes in the lyrical
lines - "of our lives" is used to end two songs -, and this
similarity of songs was always my slight problem with PL, but, as
with PL, AL still produce a highly enjoyable album. Although this
release doesn't surpass their influences it is still very good and
could fill the gap left now that Paradise Lost have stopped playing
this type of music.
Contact: X-Rated Records, c/o Mathias Kietzmann
Apdo. Postal 1-2023, Cuernavaca, Mor., C.P.62001, Mexico
Voice/Fax: +52-73-17 44 68
mailto:xrr@mpsnet.com.mx
WWW: http://members.tripod.com/~xrr/index.html
Send $10+($2 P+P) for a copy of this album
Behemoth - _Bewitching the Pomerania_ (Solstitium Records, 1997)
by: Steve Hoeltzel (9 out of 10)
This terrific gust of raging, engaging heathen song demonstrates yet
again Behemoth's mastery of furious black metal in the
swollen-hearted Polish style. There are three tracks, two of which
are re-recordings of old songs - but this repetition prompts no
complaints, since both old songs are great efforts which benefit from
being revisited. Rescued from the horrid sound of _Sventevith_, the
agonized, anthemic majesty of "Hidden in the Fog" now rings out loud
and clear. (I generally don't mind "bad" production, but the sound of
the original is just too lousy for material this strong.) Also
included here is "Sventevith (Storming Near the Baltic)", originally
from the mini-CD _And the Forests Dream Eternally_ - which, by the
way, is a masterpiece of ass-kicking backwoods rage. (The mini-CD, I
mean.) This time around, the song benefits from improved instrumental
technique (plus clearer sound), which adds some fluidity to the
momentum of its sustained sonic charge. Well-played melodic lead
guitar lines figure prominently, but they are not squeaky, obtrusive,
or annoying in the least. The new song, "With Spell of Inferno
(Mefisto)", is pure Behemoth: a molten fusion of impassioned riffs,
articulate vocals, and awesome percussion which alternates between
ripping speed and more rocking mid-paced sections. Great stuff - once
again.
454 Big Block - _Save Me From Myself_
by: Adrian Bromley (7 out of 10) (Big Wheel Recreation, Sep. 1997)
I was pleasantly surprised to hear the metallic tones emanating from
this release. While dabbling into the hardcore genre, 454BB manage to
escalate enough momentum and power between their potent riffs, thick
bass lines and harmonic melodies for us to see them as just a
metal/hardcore crossover band. They are more than that. While the
production on this record could use a little work, it's the groove
and overall sound of 454BB that really shows off the great
songwriting and an interesting sound. Like the works of Only Living
Witness, Living Sacrifice and Turmoil, 454BB stay within a certain
style/sound throughout, rarely leaving a comfortable vibe and bring
in more unnecessary sounds into the fold. Also worthy of mention is
Elgin Nathanial James (what a fuckin' name!?), who has a great voice
that totally complements the harshness of the material and also
provides melody when needed. Recommended if you dig the mixing of
metal, groove and hardcore.
Contact: P.O. Box 18095, Cathedral Station
Boston, MA, USA, 02118-9998
WWW: http://www.angelfire.com/ma/
Biohazard - _No Holds Barred_ (Roadrunner, August 1997)
by: Adrian Bromley (3 out of 10)
New York's favorite (and probably most popular) hardcore outfit
releases this massive 24-track recording, captured 100 percent live
(uncut and raw) in Europe. While the production sounds good, with
crisp vocals, guitar tones and drums, it's the excess of monotonous
material that is the downfall of this recording. Only so many times
can one hear about "surviving the streets" or "being true and having
respect". Am I right? But I guess that is the appeal of Biohazard and
having "street" credibility, and why the band continues to have a
following even though they were recently dropped from their label
(Warner/Elektra). Some of the songs I actually know and like; it's
just that I can only take so much Biohazard before I get bored. If I
didn't hear this record ever again, my life wouldn't be any
different. A "must have" only for fans of live albums and these
tattooed muthafuckaz.
Blood Storm - _The Atlantean Wardragon_ (Cacophonous, early 1997)
by: Adam Wasylyk (5 out of 10)
I've seen Blood Storm at the Milwaukee Metal Fest each of the two
years I've attended, but little did I know that the band were beyond
the demo stage and signed to a label, with a full-length out now. I
remember the band being unspectacular live, and not so strangely,
they were able to carry that lack of musical strength over to their
recorded material. Blood Storm is the project of Mezzadurus, who is
presently the live session bass player for Absu. But don't expect
this band to have thrash influences like Absu, as Blood Storm have a
more traditional black metal sound, a la raging drums and fast treble
guitar picking. There is nothing too spectacular or inspiring about
_The Atlantean Wardragon_; it doesn't serve up anything new to this
over-populated genre, but rather helps to clog it up. Hopefully
Cacophonous didn't sign Blood Storm simply to capitalize on its Absu
connection, but then again, I wouldn't put it past them. A couple of
listens to _The Atlantean Wardragon_ had me wanting my $15 (American)
back.
Brutal Truth - _Sounds Of The Animal Kingdom_ (Relapse, October 1997)
by: Adrian Bromley (7 out of 10)
Sporting one of the coolest album covers this year (an angry
half-man/half-ape image on a white background; simple yet cool),
comes New York's fucked-up, raging music ensemble Brutal Truth.
Twenty-two tracks of intense and brutal numbers that delve deep into
the common life and big city world in which many of us live. It's a
big city soundtrack of sorts. Like most Brutal Truth records, the
songs found on _SotAK_ dish out pure bursts of intensity and
mind-numbing lashings to our psyche. Singer/screamer/madman Kevin
Sharp lets loose some ferocious cat calls and screams on such numbers
as "Average People", opener "Dementia", and "Foolish Bastard", while
the rest of the band follow up Sharp with distorted riffs, a strong
rhythm section, and blast beats where needed. (Even the
segue/interlude of the sounds of city life in "Blue World" is an
interesting addition.) The album is very creative at times, managing
to meld grindcore, death metal and hardcore attributes into one
pounding rhythm - but after repeated listens to the new record, I am
left asking myself, "Is this 'organized chaos' getting too old or
monotonous for us?" Maybe so. _SotAK_ is a good record, though not
great and not living up to the hype that some have bestowed upon it.
While much better than 1996's EP _Kill Trend Suicide_ - the record
that scaled down the band's need for production effects, thus keeping
the music raw and live - _SotAK_ is still chock full of maniacal
exorcisms of the mind and all. Still, it just seems to be lacking
some of the momentum and craziness that garnered the band much
attention on some of their older stuff, e.g. their classic 1994 LP
_Need To Control_. Still not, a bad trip to undertake, as the ride
into the "animal kingdom" is an experience all its own. Buckle up.
Burzum - _Balder's Dod_ (Misanthropy, September 1997)
by: Adam Wasylyk (7.5 out of 10)
Another record release from the man you love to hate, Varg Vikernes.
Burzum are back, and with a vengeance! With Burzum's last record
_Filosefem_ receiving mixed reviews, _Balder's Dod_ proves that
Varg's imprisonment certainly hasn't hurt his inspirational flair.
The concept of the record is based on Norse Mythology and the death
of Balder (who was the son of Odin and the god of light). Not one
word is spoken on the record; rather, the music is left to speak for
itself. _Balder's Dod_ is full of intriguing and captivating moments,
more resembling an ambient record than a black metal record. Gone are
the guitars and Varg's screams, with keyboards now creating Burzum's
pagan-inspired ambiance. It's such a shame that such beautiful music
was created by a cowardly racist fuck.
Cast Iron Hike - _Watch it Burn_ (Victory Records, June 1997)
by: Zena Tsarfin (7 out of 10)
Welcome to the purgatory known as post-hardcore, you have two
choices: Go soft and embrace the "emo" work ethic or hone your skills
and put out a charged record that's progressive but still brutally
angry. Quite thankfully, Cast Iron Hike have chosen the latter path
for their debut on Victory Records. Listening to Watch it Burn, it's
easy to see why the Boston-based band have caused such a stir along
the East Coast with their metallic, downtuned sound and singer Jacob
Brennan's powerful vocal performance. All these elements are captured
quite nicely on tracks such as "Boxed," "Workhorse" and "Swimming
Through Sand" (picture Quicksand meets Only Living Witness). Although
some songs tend to bleed into one another, this record weighs Cast
Iron Hike in as a potential force to be reckoned with.
Christ Agony - _Darkside_ (Hammerheart Records, June 1997)
by: Andrew Lewandowski (4 out of 10)
While I do not believe that bands should remain confined to a
particular genre, the current wave of gothic black metal bands (most
notably Dimmu Borgir) have forsaken most of what makes a solid
extreme metal album. Christ Agony is the latest black metal band to
be absorbed by not only the gothic trend, but its correlating
insistence on rudimentary song structures and lack of aggression. The
epic songs of their past releases have been replaced by ten standard,
four minute long ambient dark wave songs. The ideological shift would
be acceptable if Christ Agony were capable of producing an emotive
goth song, yet Cezar, who is now the band's sole member, tarnishes
each of the more sedate tracks with his ludicrously hoarse attempts
at clean singing. Worst of all, Cezar utilizes techno percussion on
the two versions of "My Spirit Seal". The mechanized nature of a drum
machine is the antithesis of the emotive and organic gothic ideology
which Cezar attempts to follow on the rest of the album, and only
reiterates his explicit desire of pandering to the goth/industial
crowd.
Death Squad - _Death Squad_ (4-track demo)
by: Adrian Bromley (***--)
I don't know whether to really like this band (a duo comprised of
Jared Drace and Joe Beninati) or write them off as some sad
characters trying to write metal music. Well, to tell you the truth,
besides the really bad sounding production of this 4-song demo, the
music really isn't that bad. I tell ya, the production threw me off
here as seeing this initially as crap. Low guttural vocals in the
vein of Mortician burst from this demo tape with sludgy guitars and
hard-hitting drums bringing up the rear. The music, for the most
part, is fast doses of riffs and grunts/growls that effectively
create some cool grooves and stop at nothing to bash our skulls
repeatedly. This stuff is violently brutal at times and, much like
Mortician, the lower tuned the guitars are and the poorer production
is, the better it sounds. An adequate demo and a definite gamble for
most metallers giving it a listen.
Contact: 290 Collins Ave. Apt. 3B, Mt. Vernon, NY, USA, 10552
mailto:DethSquad@aol.com
Desaster - _Stormbringer_ (Merciless Records, 1997)
by: Steve Hoeltzel (8 out of 10)
Lieben sie das Metall "Thrash"? Ach! Gut!! Then you will love
Desaster, and Desaster will kicken your Arsch, Kreator style.
Especially on "Tormentor". Holy Ventor - this song sounds as if it
was taken right off of _Endless Pain_! Actually... it is taken from
that album, but Desaster's cover version fits in quite seamlessly
with their surrounding originals, such is the extent of this band's
debt to the four Altenessen headbangers. (Another squadron of
celebrity old-timers, namely Destruction, would appear to be the
source of alternative spelling inspiration.) Stomping, chunky old
thrash this is - and damn well played, too. It's the kind of music
that makes you think, "You know, if I just had a halberd or a
catapult right now - dammit, I could change the world!" I suppose the
medieval aspect of this wondrous sonic fantasy of mine derives from
the very tasteful medieval metal riffs which occasionally complement
Desaster's quite sharp old-school axe attack. The production is
great, and the vocals have that essential schnapps-for-breakfast
sneer that proudly says "Made in Deutschland." _Stormbringer_ is a
mini-CD with six songs, twenty-one minutes in length. Of the retro
bands I've heard, Desaster are my pick for the most
authentic-sounding and energetically enjoyable of the lot. I'd give
it two thumbs up - but I can't physically perform that gesture until
I get out of this plate mail and into some denim and leather. Hey -
where are my goddamn high tops?! Auf Wiedersehen!
Dismal Euphony - _Autumn Leaves: The Rebellion of Tides_
by: Steve Hoeltzel (8 out of 10) (Napalm Records, September 1997)
Another impressive release from this talented foursome, which differs
somewhat from their previous material. Like their earlier releases,
_Autumn Leaves_ is of very high quality, displaying the band's artful
blending of classically-inspired melody, gorgeous female vocals, and
semi-progressive metallic techniques, including plentiful
black-metallish rasps. Yet compared to their previous effort, the
marvelous _Soria Moria Slott_, the songs here are more compact, in
two senses. First, the production features a much more prominent
guitar, while beautifully balancing everything else in a dense and
crystalline sonic totality. _SMS_, by contrast, had a much more
wide-open sound, the faraway buzz of guitar opening up a vast
acoustic space for the wispy keyboard melodies and angelic vocals.
Now, the melodies vie with the rhythm guitar for sonic room.
Additionally, the songs here are generally shorter than the more
sprawling compositions of _SMS_ - but they arguably make up for their
lessened length by incorporating more frequent and more drastic
variations. Reactions to these changes will no doubt differ...
Personally, I prefer the band's earlier recordings, but that's not to
say that this isn't pretty cool, for it certainly is that - check out
Keltziva's awesome vocals on "Simply Dead", the musical
roller-coaster "Carven", the darkly anthemic feel of "Remembrance of
a Shroud", and so on. However, I could definitely live without the
Skinny Puppy emulation on "Splendid Horror", not to mention the ten
minutes of pointless experimentation that close out the album. But
maybe that's just me.
Divine Sin - _Thirteen Souls_ (Black Mark, September 1997)
by: Adrian Bromley (6 out of 10)
It has been more than a year since I reviewed the debut album
_Winterland_ (CoC #9) by Sweden's Divine Sin and while I felt the
record was mediocre at the time (it garnered a 6 out of 10), I still
had some interest in hearing where the band had progressed with their
music. My analysis of _TS_? Not much has changed, to tell you the
truth. Much like the debut album, which was drenched in a total
progressive metal atmosphere - but still high on intensity and
slightly death-ish growls -, so is _TS_. Changes, you ask? Well, the
band's vocals are a little rougher this time out and definitely the
musicianship has risen within the band through experience, but at the
same time the album is still plagued with some tarnished areas. The
main problem I have with this sophomore release is the band's use of
standard metal riffs and vocal styling throughout it. Not that it's
overflowing with cliches, it's just that the band sometimes showcases
a 'standard' brand of metal that we have seen over and over. I think
that with a little more originality and less flash at times (listen
to some of the riffs and you'll understand) this would be an okay
record. Some of the best tracks are: "Dreams of Oblivion" and
"Emotionless".
Elend - _Weeping Nights_ (Holy Records, August 1997)
by: Pedro Azevedo (8 out of 10)
Even though I have no religion, and indeed find the very concept of
religion to be something to which I'll never relate, I was impressed
by the atmosphere Elend created around it (or, more precisely, the
Luciferian Revolution) in _Les Tenebres du Dehors_, through lyrics,
imagery and music. (See CoC #19 - if I had to rate it, I'd give it a
9 out of 10.) _Weeping Nights_ is perhaps more subjective, not
focusing on any storyline; this isn't Elend's third chapter of the
"Lecons de Tenebres" series yet. If you already know _Les Tenebres du
Dehors_, describing _Weeping Nights_ is easy: it's a re-release of 6
tracks from _LTdD_ without any male vocals whatsoever (so both the
black vocals and narration were left out), plus three new songs (also
without male vocals). The only songs from _LTdD_ not included in _WN_
are "The Silence of Light" and "Antienne", which didn't have black
vocals in their original versions. In the older songs, the music
seems to lose some of its atmosphere without the black vocals and
spoken parts; however, it may be better for those who don't like
those shrieks of despair too much. The new songs are also much less
epic and orchestral; however, this is not to be taken as a sample of
what's to come, as the third chapter of "Lecons de Tenebres" is
supposed to be the darkest of the series. _Weeping Nights_ will allow
you to enjoy a more soothing version of _LTdD_, but if you already
have _LTdD_ and enjoy the black vocals, it may be doubtful whether
the new songs alone will be worthy of the investment.
Grope - _Desert Storm_ (Diehard, September 1997)
by: Paul Schwarz (3 out of 10)
I'd never heard Grope before listening to this album. I'd heard they
played death metal, "alternative rock/metal" was what the press
release said... I thought "another wimpout". The opening chords to
"Pacified" almost proved me wrong but although this and other songs
have good parts they are spoiled; either by a stupid lyric, a crap
riff or an irritating way of singing. The singer sounds like he is
trying to get the aggressiveness of Lemmy with the "angry youth"
tones of Silverchair's Daniel Johns, suffice it to say he fails and
ends up with a voice which is, most of the time, just plain annoying.
One reason why this gets a 3 and not lower is because "Murmur" is a
revealingly emotional instrumental. Were it not for the inclusion of
"OK For Now", which attempts to be 'weird' and ends up just sounding
silly, and lyrics like: "I'm a castout, I am social garbage, I am a
zit, On society's face, I have a bad ear, I cannot hear you" and "I
have a bad arm, I cannot reach you", this album would only be flawed,
as it is, it is fatally flawed.
Hemlock - _Crush the Race of God_ (Head Not Found, early 1997)
by: Adam Wasylyk (6 out of 10)
More unspectacular black metal fodder comes our way via Brooklyn,
NY's Hemlock. With the bass and production work being handled by
Brutal Truth's Dan Lilker, my respect goes out to the band for not
capitalizing on Dan's notoriety. Over the six tracks on _Crush the
Race of God_, one can hear Norwegian-inspired black metal in its
rawest and most primitive form. Some moments bring interest, while
others just seem to drag on and go nowhere. Even at the band's
musical height ("The Cold Twilight"), they still fall short compared
to their counterparts in the genre. This isn't bad by any means, but
for me, there will always be something better to hear.
In the Woods... - _Omnio_ (Misanthropy Records, August 1997)
by: Pedro Azevedo (10 out of 10)
_Omnio_ is one of those albums that ends up proving to be highly
rewarding, even though at first that may not seem very likely.
Compared to the only previous work of theirs I know, _Heart of Ages_,
the overall feeling in _Omnio_ is a lot doomier: there's much more
doom and less black metal here, even though it still 'feels' like
black metal sometimes. Nearly all the black vox are gone (there's a
total of three short black-like screams in _Omnio_, all very
effective), the vocals now being clean and helped by very versatile
female voices which add a lot to the result. I personally usually
enjoy distorted vocalists much better, but the vocals in _Omnio_ just
fit the music, and the result is great - for once, I must admit that
a leading distorted voice wouldn't have been a welcome change. (Some
more well-placed black vox would have been fine, though.) However,
the male singer alone wouldn't have been good enough; the backing
female voices help him very much. Like such great bands as My Dying
Bride and Opeth, ITW seem to write each song not caring about its
final length, resulting in long, complex tracks that are like
mini-albums within the album; and what may be surprising for the
casual listener is that, in the end, it all fits together, like one
huge song. The first one, "299.796 km/s", is over 14 minutes long,
and is a fine example of how good _Omnio_ can get: superb doomy
melodies and atmosphere, good harsher parts, and it all just seems to
flow and change very naturally - in fact, the whole CD is highly
varied. The instrumental quality helps as well, especially the
guitars and occasional keyboards, as well as very good drumming. The
instrumentation also presents the first appearance by the Dust String
Quartet (cello, viola and two violins), giving _Omnio_ even more
atmosphere. They show up again in the fifth song. The brilliant
artwork in "I Am Your Flesh", the second track, portrays the whole
feeling of the song, completed by the lyrics and music. Track three,
"Kairos!", is shorter, featuring only the female vocalist, and
quality is still high. Then comes "Weeping Willow", the doomiest one,
with slow, sad guitar and keyboard lines throughout its 11 minutes.
And finally, the big one - 26 minutes, split into three subsections:
"Omnio?". The reason for this partitioning is that the second piece
is a six minute long slow crescendo interlude, with the last
subsection picking up where the first left off to conclude this
outstanding CD. Quite simply, this is superb music, showing a great
amount of work and talent, resulting in a truly rewarding album.
Ironlung - _Chasing Salvation_ (Diehard, September 1997)
by: Paul Schwarz (8 out of 10)
This seemed like an odd concept to me: a former hardcore band whose
members have been in such death metal bands as Autopsy and
Suffocation produces an album rooted in heavily Black Sabbath
influenced 70's Acid Rock. Although not a classic album like those
early Sabbaths, _Chasing Salvation_ measures up to the acid rock
genre's less brilliant offerings rather well. It contains some
excellent riffs which are catchy and heavy. Although most of the
riffs could be Sabbath riffs, the band does mix in a few other
elements. The hardcore section of "Reality Check" with its Biohazard
sounding shouts and the spoken word part on "Sunblock" add spice
which makes this more than just a Sabbath rehash. The vocalist has
landed a good mix between American hardcore vocals and the Ozzy era
Sabbath vocals. A good production with all the instruments sounding
good and in their place brings the quality of the songs to life. What
lets this album down is its slight lack of variation. It is not, as I
said, a classic like _Master of Reality_ or _Sabbath Bloody Sabbath_
are. It is still a very good album and especially worth it if you
like some of the more agressive Sabbath offerings or more recent
bands like Slo Burn.
KMFDM - _KMFDM_ (TVT Records, October 1997)
By: Adrian Bromley (7 out of 10)
Why review KMFDM in Chronicles of Chaos? Why not? For one, our
beloved editor-in-chief Gino Filicetti is a *huge* KMFDM fan, and I
myself have a few copies of their past LPs (_Nihil_ and _Xtort_) here
at home too. I even think CoC's black metal warrior Steve Hoeltzel
may have a soft spot for KMFDM too?! [Think again. --S.H.] And
second, the band creates interesting and aggressive industrial/techno
music that shouldn't be ignored by the masses (even though it has
been, as KMFDM have made much of their success via the underground).
If you're at all into branching out a bit with your musical tastes,
then read on. For the last decade or so, led by singer/programmer
Sasha Konietzko, KMFDM have crafted the world of industrial/techno
music into an aural assault. It has metamorphosed itself over the
years, bringing many new styles into its musical domain: techno, hard
industrial and ambient sounds. While not straying too far away from
the band's industrial sound or other albums' ideas, with _KMFDM_
Sasha and his crew bring the music down to more of a simpleton
status. In other words, one style seems to dominate, rather than an
amalgamation of styles. The music seems to have taken on more of a
techno/ambient feel this time out: while the industrial element rages
on throughout numerous tracks, it's the techno/ambient feel that does
most of the grooving here. The key to the success of _KMFDM_ is that
the 10-tracks of the LP flow within a fixed pattern, feeding off each
other and leading us onto each new track with the greatest of ease.
Though much like past material, as stated above, Sasha's imagination
and vision have never seemed so vibrant.
Lycanthropy - _The Veils of Sorrow_ (Path to Enlightenment, 1997)
by: Steve Hoeltzel (7.5 out of 10)
In an effort to enliven your experience as a reader, I am going to
swear up a fucking storm in this goddamn review, plus fire up some
major exclamation point usage!! After all, if you can't handle some
seriously profane review action, then you are a goddamn false
metaller! Anyway, before I get carried away with this "false metal"
shit... Lycanthropy play black metal, and while their approach to the
style is pretty damn standard, the results are not fucking bad. Not
fucking bad at all! In fact, it's a hell of a lot like Darkthrone! I
mean, maybe not as good as Darkthrone's stronger material, but
similar in approach. Their songs have the same convincing blend of
straight-up, blackened starkness and plenty of well-timed variation;
plus, their overall sound has a bit of that noisy Darkthrone squawk!
(The release has the kind of rough production which often works quite
well with black metal, as it does here - simultaneously dense and
raw. I will stop swearing now. It gets boring!!!) Vocals are of the
very high-pitched, sort of yipping variety. A four-track mini-CD,
this runs for just over twenty minutes and stays pretty interesting
all the way through. A very solid first effort, I'd say - and did I
mention they're from Alabama? H O L Y F U C K ! !
Malevolent Creation - _In Cold Blood_ (Pavement Music, 1997)
by: Steve Hoeltzel (7 out of 10)
Have you always wanted to trepanate yourself, but lacked the guts?
Well, mope no longer! New Malevolent drummer Derik Roddy will gladly
ventilate your skull pan for you: just program your player to
"Nocturnal Overlord" or "Seizure", and get set to hear some of the
damnedest blast beats ever hammered out. And when I say "hammered",
children, I mean it. Roddy may not sustain the fluid, light-speed
clackety-clack of a drummer like Cryptopsy's Flo Mounier - but
dammit, this guy hits the snare drum HARD. Most impressive. And true
to Malevolent tradition, Phil and his guitar cohort (this time,
newcomer John Paul Soars) saw out some monster riffs ("Narcotic
Genocide") and nail down some ripping death breaks ("Violated").
Still, for all the excellent hammering, sawing, and drilling that
goes on, a lot of the material on this 13-track, 42-minute effort
seems rather artlessly constructed. Not that the band is anywhere
near sloppy; it's just that their sonic architecture is noticeably
unambitious. The songs have short running times but lack
unpredictable breaks; hence, most tracks have a very "by the numbers"
feel. Some kill based on the sheer strength of their riffs, but in
other cases the brutality of the instruments fails to triumph over
the conventional and repetitious structures of the songs.
_Retribution_ remains this band's finest hour; I'd rate that one at
least a nine.
Mortiis - _F�dt til � Herske_ (5 out of 10)
Vond - _Slipp sorgen L�s_ (8 out of 10)
(Dark Dungeon USA/Projekt Records, Reissued September 1997)
by: Zena Tsarfin
What the hell would possess a grown man to put on plastic ears and
pretend he was an elf? And more importantly--why am I so damn
fascinated by him? Mortiis, former keyboardist for the Norwegian band
Emperor, has turned to the gloomier side of new age music by
reinventing himself as a mystical creature who finds inspiration in a
dark dungeon rather than a burning church. The material on this
domestic reissue of his debut album consists of two lengthy (53
minutes!) and eerie, organ-based dirges which could easily function
as elevator muzak in hell. The reissue of Vond, his side-project, is
slightly more accessible with shorter and fuller compositions in the
vein of gothic chamber music. While Mortiis' image may mislead many
to expect his body of work to be black metal, his delicate
instrumentals (particularly Vond) are an eclectic addition to a goth
fan's dark ambient record collection.
The Misfits - _American Psycho_ (Geffen, 1997)
by: Zena Tsarfin (7 out of 10)
A lot of fans were ready to write off the Misfits as has-beens
regrouping only to ride the current wave of comebacks and reunions.
Signing with Geffen sure didn't help their indie credibility. Neither
did recruiting 22-year-old singer Michael Graves - who admittedly
never heard the band prior to auditioning for them - to replace
legendary frontman Glenn Danzig. Surprisingly, the Misfits' first
album in almost a decade isn't all that bad. After all, good
old-school style punk albums (especially the major label variety)
that aren't of the pop or ska lot are hard to come by these days--and
that's exactly where _American Psycho_ steps in. Most of the
quintessential Misfit-isms are present: B-horror movie lyrics,
whoa-whoa sing-along choruses, and catchy three-chord riffs are all
here. Songs like "Blacklight", "Speak of the Devil", and the title
track are ghoulishly delightful, while "Day of the Dead" proves
Graves can do almost as good an Elvis impression as Danzig. While
Graves' youthful perspective adds some freshness to the Misfits -
which includes (somewhat) original members guitarist Doyle, bassist
Jerry Only and drummer Dr. Chud - the singer's underdeveloped
charisma also hinders some of the songs' dynamics. In a couple of
years, this boy will be dangerous.
Pantera - _Official Live: 101 Proof_ (Eastwest/Warner, August 1997)
by: Adrian Bromley (3 out of 10)
What we should have gotten with this 16-track, 76+ minute CD of live
music was a good assortment of live numbers done by the always
powerful and energetic Pantera. Instead, we are led through a yawner
of a live LP with more ranting and raving from singer/screamer Phil
Anselmo than actual music. This gets annoying after a while. Examples
of his segues between songs: "This song is dedicated to all those
fuckers who think metal music is dead," or "Is everyone stoned yet?
Everyone got a beer and ready to go fucking crazy for some more?" Or
my fave and most overused comment by Phil: "You all know the
fuckinggggggg words. Sing!" Sure this record has all the Pantera
"hits" (e.g. "Walk" or "Cowboys From Hell") and two adequate new
studio numbers ("Where You Come From" and "I Can't Hide"), but seeing
that it was recorded over the course of a year at several stops along
_The Great Southern Trendkill_ tour, the flow of the record never
seems to get off the ground. It seems much more like a cut-and-paste
collection of better live versions of songs than a coherent live
recording. If they had recorded it much like Nailbomb's 1995 live LP
_Proud To Commit Commercial Suicide_ (during a single live
performance at Dynamo) and kept it raw and hard-hitting, then perhaps
this record would have at least garnered some interest from me.
Sorry, guys - you didn't score brownie points this time.
Plan E - _E Spelled Backwards_ / Irstas - _Unluck_ Split 10"
by: Adrian Bromley (7 out of 10 / 4 out of 10)
(E Records, September 1997)
More weird shit here on the first half of this split 10-inch from E
Records: Plan E with _E Spelled Backwards_ and hardcore/punk/rock
band Irstas with _Unluck_. While the Finnish outfit known as Plan E
follow up their bizarre, space-rock-esque offering _E For Your Eyes_
(CoC #20) with the equally weird and ambient sounds of _ESB_, their
sound differentiates a bit this time around, as it pretty much floats
within a simple, yet melodic atmosphere. Soft sounds, pumped up by
melodic choruses and guitar riffs take precedence over the space rock
feel of the record and help keep this offering interesting and
memorable. Those searching for obscurity with some melody, you've
come to the right place. As for Irstas, it seemed very standard and
cliche at times with its hardcore groove and rock/punk styled flow.
At times raw and rough in the punk/hardcore style (think Bad Religion
meets Madball), Irstas failed to really keep me interested from about
the third song onwards. Take your chance with that one. Note: Plan E
and Irstas' label, E Records, has an endless supply of bands and
releases in the same vein as Plan E, some even more obscure.
Contact: E Records, P.O. Box 50 90251 Oulu, Finland
Voice/Fax: +358-8-3120-558
mailto:jani.lehtosaari@mail.suomi.net
Salvo - _The Cult Of Speed_ (Smart Fist Records, August 1997)
by: Adrian Bromley (8 out of 10)
Shiver me timbers! Man is this cool. The guitar-driven, synth and
samples induced work of New York trio Salvo really hits you with a
punch that'll surely knock you off your feet. It's not that the music
is heavy, I mean it's a fact that one-time / ex-Machine Head drummer
Tony Costanza does play drums, but the sheer uncertainty of twisted
rhythms and beats delivering crushing blows at numerous intervals
really shakes up the listener. The music on _TCoS_ has some great
guitar hooks and a definite proficient use of synths and other
oddities used to spicen up and add more creativity to the Salvo vibe.
With a lot of bands using samples and synths to help bring variety to
their projects (all types of metal bands are doing so), it's only a
matter of time that Salvo could be in our spotlight more often. But
I'm not sure whether this band will break it big amongst the metal
community (obviously they cater to such crowds of KMFDM, Clay People
or Hanzel Und Gretyl) but this is an impressive attempt to do so.
Good music with a lot of creativity backing it.
Scanner Vs. Signs Ov Chaos - _Scanner Vs. Signs Ov Chaos_
by: Adrian Bromley (5 out of 10) (Earache, September 1997)
Both Scanner and Signs Ov Chaos (consisting of solo artists Robin
Rimbaud and Michael Wells) are bands that are pushing the boundaries
of extreme music as far as techno/ambient/noise outfits go. The music
on this 6-song split CD (three songs each) flourishes in the eerie
and creative department, but lacks in the variety department. Most of
the songs cater to the respective styles of each performer. We hear
the soft, atmospheric and tranquil side of Rimbaud and the vibrant
and chaotic frenzy of Wells in their material, but so similar are the
songs' ideas (in both cases) that we rarely get a glimpse of where
both are taking their music. I mean, three songs a piece makes it
kind of hard to determine whether or not someone has the talent to
keep things fresh and varied, but judging by this, I'm left thinking
that the two should have offered us more of a glimpse into their
evolving musical ideas. This is my first introduction to Rimbaud's
work in Scanner (which sounds like Soma or Fetisch Park in many
ways), but I do have Signs Ov Chaos' _Frankenscience_. I recommend
that one more, due to the fact that it contains fourteen tracks of
mind-bending and rabid techno/industrial/ambient that'll give you a
massive rush to the head and system. This newer material is mediocre
compared to what I've heard before.
Shai Hulud - _A Profound Hatred of Man_ (Crisis/Revelation, May 1997)
by: Zena Tsarfin (9 out of 10)
Combining brutal hardcore with hearty helpings of both noisecore and
metal, Florida's Shai Hulud prove that teen angst can be a veritable
muse. Their debut EP for Crisis/Revelation, _A Profound Hatred of
Man_, contains three raging songs complete with catchy metallic
guitar riffs and pit-ready breakdowns. Particularly haunting is the
first track, "Hardly", with its ominous melody and emphatic singing
by 15-year-old vocalist Chad Gilbert. Overall, this way-too-short EP
sounds like a delicious taste of good things to come.
Six Feet Under - _Warpath_ (Metal Blade, September 1997)
by: Adrian Bromley (9 out of 10)
This has got to be the biggest surprise for me this year. What a
great record _Warpath_ is. I really wasn't too fond of SFU's debut
disc _Haunted_ (1995) or 1996's live EP _Alive And Dead_, because I
felt that the band wasn't doing anything groundbreaking or exciting.
Not to say that the latest installment of SFU is totally original or
groundbreaking; it's just that singer/growler Chris Barnes and
company have totally put some life into this project. The songs seem
a lot more vibrant, in the sense that there is a killer groove
binding the tracks together, and the band seems tighter the second
time around. In other words, they have worked out their kinks. Opener
"War Is Coming" sets the tone for the destruction that is coming our
way in the form of "stoner death metal". Run and hide! With
_Warpath_, Barnes has brought a more varied singing style into SFU
(though his gargles and growls reminiscent of Cannibal Corpse are
still present), and the lyrics and subject matter seem to have taken
on more of a "real life" approach, rather than just singing about
dead corpses and gutting victims. With a lot of the music and
concepts here inspired by a lot of marijuana use (Barnes is a
"pothead"), it's no wonder the songs seem so fucked up, yet so
pounding and "in yer face". Gotta love a band that scraps all
preconceived notions about what they do or what they should do and
just turns up the amps and cranks it out loud and raw. SFU delivers
this time, and I hope they can keep this up.
Skrew - _Angel Seed XXIII_ (Metal Blade, September 1997)
by: Adrian Bromley (7 out of 10)
Texas industrial/metal outfit Skrew has been a popular outfit as far
as CoC is concerned. We have featured a story on them in the past
(CoC # 9), and both Gino and I really dug the band's last effort,
1996's _Shadow Of Doubt_, with its hard industrial delivery, coated
with metal riffs and angst-ridden vocals. While following along the
same lines as _SoD_ or 1993's sound-montage _Dusted_, the new record
by the sextet has broken down the barriers of hard-edged industrial
overtones and metallic riffs and interspersed some cool atmospheric
qualities. Don't think at once that the band has softened their sound
- that is not what has happened here. What has happened is that
songwriter/singer/guitarist/producer Adam Grossman has let go of the
sounds and ideas of where his band should be and allowed other ideas
to filter into Skrew's momentum, thus altering the sound a bit while
still maintaining a Skrew sound and style. And it has worked. As
always with a Skrew record, nothing seems to work more than
Grossman's sinister and distorted vocals piercing through feedback
and darkened tales told. While Skrew has seen some praise form many
music critics, this band has never broken big or developed a huge fan
base - say similar to a Sepultura fan base - and that is a shame.
This is a good, honest record that will see multiple listens on my CD
player in the coming months.
The Blood Divine - _Mystica_ (Peaceville, October 1997)
by: Pedro Azevedo (8 out of 10)
As you can see in my review of TBD's debut _Awaken_ (CoC #18), my
expectations for their second album were very high. While _Mystica_
is a very good album, it's not such an outstandingly great follow-up
to _Awaken_ as I had hoped for. The reason is simple: most of the
album is excellent, but a couple other tracks aren't so remarkable.
And, being a relatively short album (40 minutes), there's just not
enough here for _Mystica_ to be as great as _Awaken_. Things start
off brilliantly, from the opening track to the superb "As Rapture
Fades", all the way to the fifth song, "Leaving Me Helpless". After
this one, however, only the short "Enhanced By Your Touch" and "Fear
of a Lonely World" stand out as top quality songs - not that the
others aren't good, they're just not -that- good. TBD's sound has
changed since _Awaken_, as the guitars and drums don't sound as
strong as before and the keyboards aren't so much like Cradle of
Filth anymore. (I liked the CoF-style keyboards better.) Fortunately,
Darren White's voice is just as good as before. The overall feeling
is that _Mystica_ is more accessible than _Awaken_, but, in this
particular case, that doesn't make it any worse; in fact, despite
these changes, the musical quality is still there. Those who liked
_Awaken_ will surely enjoy this one as well. I did, but perhaps
expecting something even better than _Awaken_ was too optimistic.
Looking at _Mystica_ for what it's worth and not comparing it to
anything else, this is a very high quality album that's just lacking
in quantity.
Today Is The Day - _Temple Of The Morning Star_
By: Adrian Bromley (9 out of 10) (Release, October 1997)
By far - hands down - one of the coolest releases I have heard this
year. Saturated in total anarchistic noise and distorted lumps of
creativity, the debut album for Relapse by Today Is The Day (who had
three previous releases on Amphetamine Reptile Records) totally took
me by surprise with its mesmerizing use of sounds, samples, and
imagery flowing from the music. It's eerie, to say the least. Sounds
of satanic rituals, loud chanting, and distorted vocals/noise are
superbly meshed with an ample amount of samples, melodic riffs, and
even country/folk singer snippets (on "The Man Who Loved to Hurt
Himself"). To describe the music style or sound of TitD would be like
describing a David Cronenberg movie - you can't. Only the director
(or in this case the musicians) are the ones who know what is going
on. Sometimes even they (director or musician) don't know, as the
creativity and visions come to them as a blur - only there for them
to create and carry out the project, rather than ask why the project
must be done that way. Noise. Noise. And more noise. It's all here,
and in deafening, pounding blows for the most part. Throw in a bit of
ambience and a real clear case of intensity, and you've pretty much
got TitD. Fucked, but definitely worth investigating. I am sure - in
fact, I am positive - that all those with weekly (or even nightly)
pot parties will have something new to crank as background music.
Fans of other Relapse/Release bands like Neurosis, Malformed
Earthborn or Flux should take note. This shit smokes big time!
Wallachia - _Wallachia_ (Velvet Music Intl., 1997)
by: Steve Hoeltzel (8 out of 10)
I do not envision my main man Vlad Tepes, supreme bad-ass of
Wallachia, as a particularly mellow individual. I mean, supposedly
this guy impaled the country folk by the wain-load. In truth, the
ceramic deer and clay gnomes that populate America's front yards
today are but the feeblest echoes of my man Vlad's lawn
ornamentation... In much the same way, the Hollywood vampire legend
is but a pale simulacrum of the historical reality which inspired
Bram Stoker's gothic potboiler. So one wonders: how will this band
portray the ambience of the old stomping grounds of the man of the
millennium, Vlad? The answer is that they've opted to go the mellower
route. (For the grittier version, savor some '95 vintage Behemoth,
won't you?) In fact, Wallachia reminds me a great deal of Summoning.
The sound: an oceanic esoterica, where grim vocals float eerily atop
seas of smoothly-surging synth and guitar, stirred by mellow
programmed beats. This is neither as compositionally dense nor as
sonically innovative as Summoning's best material, but I still find
it quite enjoyable. The guitar and synth are about evenly prominent;
the melodies: simple, somber, and slow. (Fans of Gehenna's _First
Spell_, take heed.) A touch of eerie distinction is provided by the
strange vocals, which lend an edge of real extremity to the music
while differing a bit from standard underground styles. There are
four songs here, and the whole thing is over in about twenty-nine
minutes. The production is crystalline. The band is from Norway. The
man, the legend, is Vlad.
Witch-Hunt - _Prophecies of a Great Plague_ (X-Rated, August 1996)
by: Paul Schwarz (7 out of 10)
A lot of good things have been said about _Prophecies..._ in the
underground, and I'm happy to say, it's not all hype. Let's not kid
ourselves, though: _Prophecies..._ is not a breakthrough in sound or
songwriting. It has five tracks of well written and well played death
metal - no more but also no less. The bulk of the music is similar to
In Flames, Dark Tranquillity and other Gothenburg death metal (GDM)
bands, but the music has more aggression and contains less melody.
One of the best parts of _Prophecies..._ is its keyboard intro/outro;
Witch-Hunt have written truly haunting arrangements which really
complement the music. The production of the songs may be the thing
which lets this release down: the drums are slightly too clacky and
the vocals don't always come through well. For me, this is mainly let
down by poor vocal and drum production, and I think Witch-Hunt will
reach far greater heights on future releases. _Prophecies..._
certainly shows promise of better things to come.
Contact: X-Rated Records, c/o Mathias Kietzmann
Apdo. Postal 1-2023, Cuernavaca, Mor., C.P.62001, Mexico
Voice/Fax: +52-73-17 44 68
mailto:xrr@mpsnet.com.mx
WWW: http://members.tripod.com/~xrr/index.html
Send $10+($2 P+P) for a copy of this album
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If you have a band, don't forget to send us your demo with a bio if
you want to be reviewed; our address is included in the zine's
header.
Scoring: ***** -- A flawless demo
**** -- Great piece of work
*** -- Good effort
** -- A major overhaul is in order
* -- A career change is advisable
Death Squad - _Death Squad_ (4-track demo)
by: Adrian Bromley (***--)
I don't know whether to really like this band (a duo comprised of
Jared Drace and Joe Beninati) or write them off as some sad
characters trying to write metal music. Well, to tell you the truth,
besides the really bad sounding production of this 4-song demo, the
music really isn't that bad. I tell ya, the production threw me off
here as seeing this initially as crap. Low guttural vocals in the
vein of Mortician burst from this demo tape with sludgy guitars and
hard-hitting drums bringing up the rear. The music, for the most
part, is fast doses of riffs and grunts/growls that effectively
create some cool grooves and stop at nothing to bash our skulls
repeatedly. This stuff is violently brutal at times and, much like
Mortician, the lower tuned the guitars are and the poorer production
is, the better it sounds. An adequate demo and a definite gamble for
most metallers giving it a listen.
Contact: 290 Collins Ave. Apt. 3B, Mt. Vernon, NY, USA, 10552
mailto:DethSquad@aol.com
Diesel - _Diesel_ (3-track demo)
by: Adrian Bromley (****-)
I was blown away by the intensity and sheer power of the vocals on
this three-song demo. A.J. Cavalier's vocals are very similar to the
styles of new Voivod screamer Eric Forrest and Pro Pain's Gary Meskil
- and that is a good thing. Both of those vocalists have somewhat
unique styles that cater to their bands' particular style and format.
The same goes for Cavalier's singing style, as it works well with the
rest of Diesel's music. This stuff is heavy shit that tears at you
from several angles: rough vocals, juggernaut riffs, and highly
intensive adrenaline bursts. Hearing this Los Angeles quartet's
second demo tape, I am convinced that there are bands out there
nowadays putting hard work into what they do. While Diesel's take on
metal music may not be innovative or new (it's similar in style to
old Prong, Pro Pain, and Voivod), it's the attitude of the music that
makes it all seem so new once again. I am eagerly waiting to see
where the band takes its music in the next little while.
Contact: Ayres Rock Management, 6655 Wilkinson Avenue Suite 10
North Hollywood, California, USA, 91606
Voice/Fax: (818) 764-7317
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M E T A L I N T H E M I T T E N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Michigan International Death Metal Fest
August 22/23, 1997
by: Steve Hoeltzel, Adam Wasylyk and Alain M. Gaudrault
Steve says:
~~~~~~~~~~~
All in all, I had a great time at this well-organized two-day
event. The unofficial motto for the weekend: "Okay - I wanna see you
fuckin' guys get fuckin' SICK!" I swear, I must have heard those
exact words about a dozen times - once for every gore-fixated
"grinding death metal" band that I witnessed up on stage. Oh yes, it
was gore metal aplenty - a veritable pot pourri of sludge-gargle
jingles about eating and/or screwing the following: poop, fetuses,
small children, unwilling females, corpses, and/or more poop. Yawn...
Still, there were several gore-iffic bands who transcended mere
slasher-movie cheesiness by belching forth a cloud of sound so heavy
that it seemed to turn the air into a quaking mass of wet cement. The
mighty Fleshgrind deserve special mention here, as do Louisiana's
Sabbatic Feast. I seem to remember finding Deeds of Flesh pretty
impressive as well.
On the more technical and less "putrid" end of the death metal
spectrum were bands like Oppressor, Abominant, and Monstrosity. I
found the first two of these bands enjoyable and fairly original,
while Monstrosity struck me as pretty flat. The lack of a second
guitar surely weakened their delivery, but beyond that, I've always
found their material to be sort of clinical-sounding. Give me
Cryptopsy or Incantation over Monstrosity any day. For that matter,
give me Suffocation, who pounded and ground through a totally
crushing set late Saturday night. No screwing around from these guys:
first song, "Liege of Inveracity"! Suffocation struck an optimal
balance between their more straight-ahead earlier stuff and more
structurally-twisted later material, even hammering us with a few new
songs from their upcoming mini-CD. Definitely one of the peak
performances of the weekend.
Another definite high point: local black metallers Summon, who
really sounded excellent live. (See CoC #24 for a review of their
very cool debut CD, _Dark Descent of Fallen Souls_.) Given the talent
these guys possess, I'm surprised that they are not much more widely
known. Hail True Michiganian Black Metal!! Heheheh... I must say,
though... no matter how strong my allegiance to the clandestine wilds
of Michigan, if we're ranking things state by state, then Missouri
gets highest honors for spawning one of the most rapacious live acts
I have ever seen: Angel Corpse. Already highly wicked on disk, these
guys are beyond venomous in the flesh. I've never actually been run
over by a tank, but thanks to this band, I think I have a fair idea
of what that must be like. Owing to Absu's unfortunate cancellation,
Angel Corpse played a full set both Friday night and Saturday night -
blasting, fiery black death, blindingly paced by John Longstreth's
fucking UNBELIEVABLE percussive battery. (This guy is inhuman; those
of us watching him closely were outright floored.) Nuclear drumming,
relentless alien guitars, vocals dripping with heathen ill will -
this band blew me away. Twice.
All in all, then, the festival was a highly enjoyable event -
not merely on the musical level, but also on the level of just
hanging out and having a good time. Big-time hails and gratitude are
owed to Sandi "Metal Mom" Newton for putting the festival together
once again! It's a shame that every state doesn't have its own Metal
Mom, or Dad, or whoever: someone willing to put up with all the
bullshit and strife involved in organizing such an extreme event, and
able to keep things running as smoothly as this festival did. Great
show.
Adam says:
~~~~~~~~~~
My overall view of this show was positive, but next to the
mammoth Milwaukee Metal Fest that I attended not more than a month
previously - which boasted such acts as Hypocrisy, Cradle of Filth
and Venom - it just doesn't compare. However, in Michigan, instead of
having a small time slot to play in, bands were given a sizable
amount of stage time (around half an hour). This does the fans and
the band justice, so in this respect the Michigan show wins out.
Unfortunately, the quality of bands was the big problem at this show.
Read on...
I must admit that one of my motivations for going to the show in
the first place was just to hang out: to meet friends and make new
contacts, but most of all to just talk metal! And we (including CoC
writers Alain and Steve) did exactly that.
Why this was called an "international" metal fest I'll never
know, as I didn't see any acts that weren't American. Who knows -
perhaps one of the bands had a Canadian member. Or (going out on a
limb) perhaps a band member was re-incarnated from a Norwegian Viking
warrior or a Swedish tree-dwelling troll? Who knows....
One of the biggest problems I had with the show was the amount
of death/grind bands. As I've said before, I hold bands of this genre
to a high standard. If they don't meet this standard, then I just
can't appreciate them. It turned out that more than half of the bands
at the fest were pretty bad and not worth remembering. Some of the
bands in this category were: Exploding Zombies, Escalation Anger,
Production Grey, Noctophilia, Regurgitation, Enter Self, Clean Flesh,
Disfigyerd and Doom Formation.
Absu were perhaps the band I was most looking forward to seeing,
but unfortunately they had to cancel. This really sucked, as I
thoroughly enjoyed them in Milwaukee, and I had purchased their
amazing _The Third Storm of Cythraul_ and become familiar with its
material just for this show. However, Angel Corpse would make up for
this disappointment by playing two sets (one both nights), which
ended up being the highlight of the show. With razor sharp guitars
and drums that totally amazed (just ask Alain about their drumming!),
I definitely won't be forgetting Angel Corpse's live voracity anytime
soon. Vital Remains also canceled, and that sucked too.
Despite more than a few bombs, some of the 30+ bands did do a
good job and are worthy of your attention. Summon played a great set
of high speed death/black metal which had most onlookers captivated.
Fleshgrind played some truly heavy and brutal death/grind, performing
material off their _Destined for Defilement_ CD and ending their set
with my fave song "Anger". Deeds of Flesh, despite doing a horrible
job on their Repulse CD _Trading Pieces_, actually did a great job in
a live setting. Maybe it was due to their new drummer? Somnus also
played a good set of atmospheric black metal with female vocals.
The headliners obviously weren't as big as those in Milwaukee,
but they were entertaining nonetheless. Master's old school death
metal sound went over well with the crowd, including one of my
favorite tracks, "Cut through the Filth". Hometown favorites Gutted
had the crowd enthralled with their set of aggressive death metal.
Oppressor did an average job, and for doing so got a good response
from their Midwest fans. Monstrosity played a good set, mixing old
material and material off their latest, _Millennium_. Unfortunately
the band need a second guitarist to fill out their sound as live they
could have been so much better. As I said earlier, Angel Corpse
ruled, playing a whole bunch of tracks off their Osmose CD _Hammer of
Gods_, and some new tracks as well. Suffocation also played a great
set, performing a good variety of material, including new stuff off
their upcoming CD. This should be out any time now on the band's
manager's label, called Vulture Entertainment (if I remember
correctly).
What made this a great trip was the hanging out and talking; the
music was incidental. Who knows if I'll attend this fest again? I
guess it'll depend not on the bands, but on which of my friends will
be in attendance.
Alain says:
~~~~~~~~~~~
Thumbs up: Two sets of Angel Corpse, Angel Corpse drummer, Oppressor,
Malamor, Escalation Anger, Metal Mom!
Thumbs down: Poor bar arrangement, Suffocation's sound, no
Suffocation CD release party, missing (dead, I hear?)
Monstrosity guitarist.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
SOMETHING OLD, SOMETHING NEW, AND ALL THINGS DEATH METAL
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Malevolent Creation with Vital Remains, Infernal Majesty and Vader
September 3, 1997 at the Gibus in Paris, France
by: Paul Schwarz
Since it cost me �95 to attend this gig and the chance of Vader
playing the UK anytime soon appeared slim, I was hoping this gig
would be something special... it was. The concert was held at what
was usually a shitty club; a low, tiny stage, a curtain over one
corner for the band's dressing room, a communal toilet, and the
lights turned up (so that people would buy more drinks) brought home
this reality. Since I lived in London and generally went to theater
sized venues, this was not what I was accustomed to. Although not
pleasant, the size and conditions added to the atmosphere; this gig
was truly underground, as the bands were selling their own shirts,
signing autographs, and just chatting. There was no bullshit. The way
it should be.
Vader were on first. Anyone in the audience who didn't know
them, since their album isn't distributed in France, got to know and,
probably, like them after their performance. They played an
atmospheric intro while spending 5 minutes raising their arms in the
sign of the horned one and exciting the crowd to a point of extreme
anticipation. Next, all of Vader bowed their heads silently, as if in
prayer, for 5 minutes. When the intro finished and the band launched
straight into "Sothis," I knew that not a penny of my money was going
to waste. The sound was incredible and the energy which came through
from every instrument was amazing, especially Doc's faultless
drumming. Vader went through a set consisting of "Sothis", "Silent
Empire", "Dark Age", "Carnal", "Reborn In Flames" (new song #2), and
'Testimony'. The first new song, "Carnal", was interesting; it used
slow chords, sudden stops, speaking from Peter, and sudden blast beat
drumming. If the new album equals the quality of both new songs,
November shall be a good month. Vader played a short set, but it was
brilliant from the first beat to the last note.
Next were Infernal Majesty, a band I have never heard or seen
before. They also had an intro, but it did not get as much of a crowd
response as Vader. I think a majority of this crowd were fans of
recent death metal, and, consequently, Infernal Majesty got the most
controlled response of the night. They lacked the theatrics from the
inlay photos on their debut and played what sounded like a decent
set. However, their engineer seemed unable to manipulate the
soundboard in the way Vader's had done. What we were left with was a
competent band playing in bad conditions to a clueless audience. It's
a real pity, since Infernal Majesty has returned 10 years after the
release of their debut album and need to make their mark again, yet
this show doesn't make them appear as legendary as so many believe
them to be.
Vital Remains took the stage after Infernal Majesty. They were
greeted with a more knowledgeable response, and also appeared with
forearm spikes and looked very much like a death metal band. Their
set had a better sound than Infernal Majesty's but not as good a
sound as Vader's. The music and atmosphere were both very charged.
Having heard only _Let Us Pray_ twice and 'I Am God' from _Forever
Underground_, the aforementioned song was the only one that I could
distinguish from the 45 minute set. Vital Remains played
exceptionally well and appeared to play everything right which,
considering the technicality of their music, was no mean feat. The
sound emphasized both the slower, more powerful parts and the faster
sections. The only problem for Vital Remains, and all the bands
throughout the night, was all the fucking people who got on stage,
obscured the band, and knocked into the equipment. Stage diving is
for hardcore gigs and bigger stages. These idiots should have respect
for the bands; on stage is where the bands belong, and the pit is for
the fans.
Malevolent Creation waited a while to actually appear, but the
anticipation was evident; the audience shouted and applauded when
their drummer came on to start the soundcheck. Once again, I do not
know Malevolent Creation's music song for song, but the small PA gave
them a crunchy sound which captivated the audience for over an hour
with some excellent death metal. Malevolent Creation impressed more
than just the crowd; when I was listening to the set with Shambo from
Vader, a song came on and he began drumming on the table, as did
David Suzuki who was sitting close by. This was an incredible night,
the bands were great and so were most of the fans. The music, as
ever, was brutal and brilliant. If you get the chance to see either
this lineup or any of the bands live (with the possible exception of
Infernal Majesty), DO NOT PASS IT UP!!!
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
C R A S H A N D B U R N B A B Y , B U R N !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Crash Worship plays The Somber Reptile
Atlanta, Georgia, August 29, 1997
by: Andrew Lewandowski
The nonsensical chatting of a human herd suddenly ceases, as the
thunder generated by an approaching stream of bellicose percussion
heralds the subversion of all rational action. Soon, tangible forms
join the aural bombast. Despite possessing the attributes of a normal
human being, these creatures were no procreation of a Christian
mother and father. Instead, they appeared as if they were profane
anachronisms, granted immortality through some metaphysical
transgression in an archaic Jamaican voodoo cult. I profess that
these were no human beings, but demons; their destitute rags
accentuated charred and emaciated sinews, illuminating their gross
musculature. If their bodies manifested the potentiality of
effortlessly killing a man, their eyes proved that this was no mere
threat. The stoicism of their expression only belied the true nature
shining in their eyes, which is the harbor of all visceral emotion.
Each malignant eye portrayed a degree of raw ferocity unequaled in
our domesticated society; an impetuousness commensurate with only the
the erotic dance of the flames wielded on clubs by several brutes as
they stalked amidst the intoxicated herd.
So what exactly was this obscure spectacle? The ritual of a cult
ushering new members into their sacred fraternity? A transient
descent into depravity? Or an insurrection against the jurisdiction
of rational thought, perpetrated by those who are enslaved in an
office during less ungodly hours? Actually, this was just a Crash
Worship concert.
After the culmination of this initial evocation, silence
descended upon the mass of spectators, who, by now, had joined the
band as participants. Upon the first cataclysmic slash into the heart
of ephemeral silence, the audience once again began to move. Soon,
the entire herd gyrated in concordance with the cascade of harsh
rhythms emitted from both stage and audience. Once combined with the
intermittent waves of pulsating white light thrust upon the crowd,
the effect was truly hallucinatory, as each mind became completely
submerged under the despotism of the power generated by not only the
music, but also the fetid aura of transgression which emanated from
the air. The arrival of a naked, masked woman carried by four slaves
on a platform ornamented with gold and grapes (plus a few refreshing
slices of watermelon, I might add) only served as a mere effigy of
the perverse ambiance. Alas, in this age, never does an erotic
presence last. As the mental approached the death intrinsic in this
ambiance, the mind severed its ties with the body, yet its
transcendence towards an ecstatic liberation was terminated by the
intrusion of a subjugating social power (the deeds of a policeman),
which resurrected the reign of rationality and tarnished the night's
potential to have a lasting effect on this body.
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
W H A T W E H A V E C R A N K E D ! ! !
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Gino's Top 5
1. Life of Agony - _River Runs Red_
2. The Crystal Method - _Vegas_
3. Brutal Truth - _Sounds of the Animal Kingdom_
4. Brutal Truth - _Need To Control_
5. Juno Reactor - _Bible Of Dreams_
Adrian's Top 5
1. Six Feet Under - _Warpath_
2. Today Is The Day - _Temple Of The Morning Star_
3. Juno Reactor - _Bible Of Dreams_
4. Dub War - _Feel The Pain_
5. Life Of Agony - _Soul Searching Sun_
Brian's Top 5
1. Setherial - _Nord_
2. Cryptopsy - _None So Vile_
3. Dissonance - _Look to Forget_
4. Ved Buens Ende - _Written in Waters_
5. Dimmu Borgir - _Enthrone Darkness Triumphant_
Alain's Top 5
1. Mundane - _Feeding on a Lower Spine_
2. Dimmu Borgir - _Enthrone Darkness Triumphant_
3. Flotsam & Jetsam - _High_
4. Sentenced - _Drown_
5. Bal-Sagoth - _Starfire Burning Upon the
Ice-Veiled Throne of Ultima Thule_
Steve's Top 5
1. Xibalba - _Ah Dzam Poop Ek_
2. Niden Div. 187 - _Impergium_
3. Aeturnus - _Beyond the Wandering Moon_
4. Master's Hammer - _The Filemnice Occultist_
5. The Misfits - _Static Age_
Adam's Top 5
1. Macabre - _Sinster Slaughter_
2. Phobia - _Return to Desolation_
3. Hecate Enthroned - _The Slaugher of Innocence..._
4. Suffocation - _Human Waste_ EP
5. Enemy Soil - _Casualities of Progress_ 7"
Drew's Top 5
1. Iron Maiden - _Best of the Beast_
2. Rush - _A Show of Hands_
3. Blackstar - _Barbed Wire Soul_
4. Algaion - _General Enmity_
5. Metallica - _And Justice For All_
Andrew's Top 5
1. Aeturnus - _Beyond the Wandering Moon_
2. Faust - _IV_
3. Archon Satani - _The Righteous Way to Completion_
4. Immortal - _Pure Holocaust_
5. Philip Glass - _La Belle et la Bete_
Pedro's Top 5
1. In the Woods... - _Omnio_
2. Samael - _Passage_
3. The Blood Divine - _Mystica_
4. Emperor - _Anthems to the Welkin at Dusk_
5. Katatonia - _Dance of December Souls_
Paul's Top 5
1. Brutal Truth - _Sounds Of The Animal Kingdom_
2. Cenotaph - _Epic Rites_
3. Malevolent Creation - _Eternal_
4. Dominus - _Vol.Beat_
5. Konkhra - _Spit Or Swallow_
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Homepage: http://www.interlog.com/~ginof/coc.html
FTP Archive: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos
--> Interested in being reviewed? Send us your demo and bio to:
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CHRONICLES OF CHAOS
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Downsview Ont.
M3M-1M6, Canada
Fax: (416) 693-5240 Voice: (416) 693-9517
e-mail: ginof@interlog.com
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DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a monthly magazine electronically distributed
worldwide via the Internet. Chronicles of Chaos focuses on all forms
of chaotic music including black, death and doom metal, dark/ambient,
industrial and electronic/noise as well as classic and progressive
metal. Each issue will feature a plethora of album reviews from a
wide range of bands, as well as interviews with some of the
underground's best acts. Also included in each issue are demo reviews
and indie band interviews.
HOW TO SUBSCRIBE
~~~~~~~~~~~~~~~~
You may subscribe to Chronicles of Chaos at any time by sending a
message with "coc subscribe <your_name_here>" in the SUBJECT of your
message to <mailto:ginof@interlog.com>. Please note that this command
must NOT be sent to the list address <coc-ezine@lists.colorado.edu>.
AUTOMATIC FILESERVER
~~~~~~~~~~~~~~~~~~~~
All back issues and various other CoC related files are available for
automatic retrieval through our e-mail fileserver. All you have to do
is send a message to us at <mailto:ginof@interlog.com>. The
'Subject:' field of your message must read: "send file X" where 'X'
is the name of the requested file (do not include the quotes). Back
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End Chronicles of Chaos, Issue #25
All contents copyright 1997 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.