March 2007 Reviews - VIEW REVIEWS ARCHIVE

	ABIGAIL WILLIAMS: LEGEND CANDLELIGHT RECORDS I’ve been hearing this bands name quite a lot over the past few months so it’s nice to put a sound to them. Abigail Williams are a Phoenix based band that combines a handful of extreme styles to come up with a rather complex version of something you’ve probably heard before. Black Metal ala Cradle of Filth meets the aftereffects of too much Swedish Death Metal meets an excellent production. What does all this equal? Well this is just an EP, but I’m not sure if I’d be able to handle a full length of this stuff in one sitting. The Black Metal is spiced by some amazing guitar work but then is also bogged down by keyboards. Vocally you go from some basic growling to the screechy shit to some King Diamond type lower register stuff. Not too bad after a few listens so I’m definitely interested in hearing what they come up with their full length due sometime this year. www.candlelightrecordsusa.com =Tom=
	AGRESSOR: DEATHREAT SEASON OF MIST When I received a copy of the album, the promotional accessory noted that AGRESSOR are French, so I ignorantly had low expectations in listening to this album. However, I enjoyed what I was listening to, and AGRESSOR kicked my ass! Apparently, the band has been around for 20 years, and their name was inspired by HELLHAMMER… what’s not to love? ‘Deathreat’ is a solid release from this Death/Thrash outfit, and the band’s ingredients seem to consist of healthy slabs of HELLHAMMER, DEICIDE and later TESTAMENT. Did I mention that guitarists Alex Colin-Tocquaine and Adramelech can shred their asses off? Just listen to “When Darkness” and/or “War in Heaven” for the proof! While I’m in the accolades-giving mood, Colin-Tocquaine’s raw death grunt performance is very appropriate to the aggressive, pounding, dirty and fast music on this album. Granted, what AGRESSOR are doing on this record may have already been done many times over, but it isn’t a good excuse to simply pass on giving them the time of day, because they mix in their own unique sound (especially the tuning of the drums). Moreover, ’Deathreat’ doesn’t really become redundant at any point while listening to it; if one is expecting something mind-blowing and evolutionary, then they should pull their heads out of their ass and enjoy the record for what it is… which is a good, solid Death/Thrash release. Colin-Tocquaine and Adramelech are aided by the rhythm section of Joel Guigou (Bass) and Romain (Drums). www.season-of-mist.com Dave LARMORE
	ALABAMA THUNDERPUSSY: OPEN FIRE RELAPSE RECORDS I have been a big fan of this band for almost 4 years, but if I heard this record without knowing who it was, I would have never guessed that it was ALABAMA THUNDERPUSSY. But then again, what kind of sound do you expect from a band jamming away with their 3rd vocalist, who just happens to be underground legend Kyle Thomas (FLOODGATE, EXHORDER)? It seems as though with the acquisition of Thomas, ALABAMA THUNDERPUSSY has breathed a completely different life, from the sound of their new material to the album cover (depicting a Viking with a blood soaked knife in the middle of war). Before, ALABAMA THUNDERPUSSY was easily looped in with the realm of southern metal/stoner rock, but ‘Open Fire’ gives the band a faster, heavier and tighter sound. I’ll even go out on a limb and say that Kyle Thomas even brings a more soulful sound to the table, because he uses a clean, distinctive and note-dragging vocal style that’s in the vain of classic Heavy Metal. For example, “None Shall Return” is heavily influenced by JUDAS PRIEST… and it’s certainly evident with (the album’s single) “Words of the Dying Man” that a few of today’s Metal vocalists could use a lesson or two from Thomas, because screaming and yelling doesn’t classify you as a notable metal singer. “A Dreamer’s Fortune” is another track to look out for, as the song utilizes heavy harmony in the chorus. When most people come across the band’s name, they’ll react with a snicker or two, but the music is anything but funny; Bryan Cox (Drums) and Mike Bryant (Bass) are a perfectly capable rhythm section, Eric Larson (Guitar) delivers some of his most solid riffs to date, Ryan Lake’s (Lead Guitar) ability shines noticeably more so than it did on ‘Fulton Hill’ (ATP’s prior release), and Kyle Thomas (Vocals) adds yet another excellent contribution to his impressive line of work. Fans of DOWN, SOUNDGARDEN and of overall solid heavy metal would not do any wrong in investing their time to check out a top-quality release like ‘Open Fire’. http://atprva.com/ Dave LARMORE
	ANNAL NATRAKH: ESCHATON SEASON OF MIST My limited knowledge of this band is based around sharing members with the band Mistress (who rule) and are championed by Napalm’s Shane Embury and of course my inability to pronounce their name. Regardless of these things I found this album to be very entertaining. Nihilistic end of the world blackened Death/Grind that also has a few decidedly “melodic” parts. I use the term melodic for lack of better word as it’s not gay like some Metal-Core band throwing in a melodic verse because they feel the need to. This is a part here and there totally surrounded by madness. The above mentioned Mr. Embury makes an appearance on this album as well as former/current Mayhem growler Atilla Csihar. Brutal shit that’s above most. www.season-of-mist.com =Tom=
	ANTIQUUS: ELEUTHERIA CRUZ- DEL SUR Progressive metal is not an easy thing to make. If you’re too technical you are accused of nothing but wankery, and if you’re not technical enough you’re not prog. Few bands find the happy medium between the two, but Vancouver, BC’s Antiquus has done just that. ‘Eleutheria,’ the band’s sophomore release, manages to take elements of Iron Maiden, John Arch-era Fate’s Warning, and even Queensryche, and combines them seamlessly into an intricate and well written piece of work. The production does a great job of showing this off as well as even the bass is not only present, but also prominently powerful. The album’s only real faux-pox is the fact that it is a concept album. It takes a lot to make a concept album work completely, and unfortunately, as lyricists the men of Antiquus have a very hard time making that happen. Aside from that mild imperfection though, ‘Eleutheria’ is a great album, definitely one of the better progressive works recently released. www.antiquus.net Eric Bryan
	BATTLELORE: EVERNIGHT NAPALM RECORDS Epic fantasy metal, huh? Never heard of it...until now. Generally I don’t like female vocals. I don’t care what it is I just can’t get into it. So we’ve got female vocals and now we add the death metal vocalist. Sure I heard it before, but I have to admit, Battlelore broke me down after a few listens. The guitars fit well into the mix of fantasy. Throw in the synth work and this is pretty good. The female half of the vocals add a nice ethereal sound to this disc which I find surprisingly pleasant as they’re really not annoying. The music and melody seems to flow. Like I said, I had to give this a few spins for it to really catch on, and it eventually did. I know Battlelore had a previous release. I can bet this one may be better than the last, so this may be where to start for your intro. www.battlelore.net Ross FxYxNx
	BELEPHEGOR: PESTAPOKALYPSE VI NUCLEAR BLAST RECORDS Sorry this is so late, but if you’re like me you’re late for the party! However coming late has it’s advantages too. ‘Pestapolalypse VI’ is simply amazing! I’m sitting here and am just smoked out by the speed and balls out aggression these guys spit forth on the album’s eight tracks, a more fierce and precise killing machine exists? Belphegor have a monstrous motherfucker of an album here and I suggest everyone into pure death Metal perfection should already own this. Thanks to Mark at Metal Haven for telling me about this. www.belphegor.at
	BENEA REACH: MONUMENT BINEOTHAN CANDLELIGHT RECORDS USA Ah, see, Norway can produce something other than black metal. For a country that has been riddled with obsessively-insane musicians and random acts of violence and destruction in the name of metal (and our friendly neighborhood antichrist) over the last decade-plus, it’s good to see a solid band come out of the cold regions of Scandinavia. Benea Reach is made up of Haakon – Guitars, Marco – Drums, Ilkka – Vocals, Christer – Guitars, Martin – Guitars and Haakon – Bass. They hail from Oslo and have been stirring up the masses over the least few months. While the vocals can, at times, resemble the familiar high-pitched tones of our Satanic brethren, there is no mistake that I hear more Chuck Schuldiner than Ihsahn in Benea Reach. While I’d hesitate to call them death metal, metalcore might be a more fitting description, which is at least not that mallcore insipidness we’re being inundated with of late. However, fans of Lamb of God and Meshuggah might dig them as well. Catchy guitar parts, solid mixing and overall heavy feel make “Monument Bineothan” a refreshing change from that boring mall-inspired jargon that assaults our scene these days. Song titles are “Ground Slayer”, “Inheritor”, “Transmitter”, “Purge”, “Pandemonium”, “River”, “Torch”, “Conflux”, “Emperor”, Immaculate”, “Venerate”, and “Drapery”. I’m not quite used to a Norwegian band not needing two lines per liner note for a single song title, so this works! The metal book has been updated, good and bad, and Benea Reach is writing its own chapter for the happiest of mediums between dull mallcore and death metal – it proves there can be room to evolve from something small and annoying like silly “bounce” metal; Monument Bineothan erases the thin line and kicks the sand up in your open mouths. 8.5/10 Hammers! www.beneareach.com Chris Pratl
	The Berzerker: Animosity Earache Records The bio for Australia’s Berzerker is classified as an “industrial grind/death” outfit; I’ll grant you the Grindcore and even bits of death thrown in, but when I think industrial I think of Wumpscut, Haujobb, Leaether Strip – this just sounded more like techno versions of run-of-the-mill Grindcore with bits of metal for good measure. I’ve also noticed the “extreme dance music” label attached here, but, again, I don’t see it. I don’t even see this being played at a Rave party, but that’s just me. To be fair, if I’m looking for a more extreme type of industrial than what I’m used to I’d understand the correlation here, but I still can’t catch on to it much. I do recall Morbid Angel being “remixed” (???) by Berzerker a few years back, and that failed to impress me much either. I won’t say there aren’t moments on this CD, but to be honest, unless you’re really into the severe Grind genre this won’t impress much. Something can be chaotic, brutal and violent and still seem to have a point, a purpose. Sadly, for this writer, Animosity just does nothing for me as a music fan or a violent guy, of which I am both. Five out of Ten Hammers for me. www.earache.com Chris Pratl
	BLACK KREEK: POWER OF REALITY SELF RELEASED, 10 TRACKS I must say I’m impressed. Black Kreek come out of nowhere with an enjoyable modern Thrash album called ‘Power Of Reality’ and it’s damn good. I get some Haunted vibes from this band who feature a vocalist not totally unlike a more Metal Henry Rollins. You know that dry and shouted attack that carries nicely? Yeah well this guy, Sean Girard is in total control throughout and it’s again, impressive as his strength is not in his range but delivery. Even some of the more “radio-ish” passages aren’t a total loss. Of the ten tracks here you get everything from barn burner speed to more modern/current (catchy) almost builder tracks. The songs that blend together are the more modern ones I wasn’t feeling a couple “Rid The World” for one. Great riffing and well above average drumming However all said and done folks into modern thrash that’s even better than some of the “names” releasing shit records..check this band out. www.myspace.com/blackkreek =Tom=
	BLOOD OF THE BLACK OWL: S/T BINDRUNE PRODUCTIONS As ludicrous as the name may be, Blood of the Black Owl are not the most terrible band in the entire history of humanity. Not to say they’re excellent, but they do have something to offer. While they’re not really trying anything new, since droning doom has been done before, (and better, I may add), what BotBO commit to tape isn’t bad. The tape itself may be sub-par, as the album sounds like it was recorded in one take by a producer whose hands were kept far away from any soundboard, but the material is solid doom metal, in the vein of a blackened Sleep. However, because of the album’s very nature, it is very hard to really pay attention to the music being played. Instead, it often fades into the background, where it is left to linger, occasionally grabbing interest for a fleeting moment. In short, Blood of the Black Owl may be a band worth listening to, but do not operate heavy machinery, drive, or do anything that requires consciousness to be done while doing so. www.myspace.com/bloodoftheblackowl Eric Bryan
	CELESTIA: APPARITIA: SUMPTUOUS SPECTRE PARAGON RECORDS Atmosphere is the name of Celestia’s game, and they play it very well. Like most of their counterparts, they aim for that elusive “Satan in a forest” feel for their songs, but unlike their competition, they actually achieve it. Hailing from France, a country virtually devoid of good metal bands, Celestia is a pleasant accident of birth. ‘Apparitia: Sumptuous Spectre,’ released on Paragon Records in 2002, is an excellent slab of vicious black metal that manages to be epic without a symphony and “grim” without sounding awful. Like most Black Metal though, the issue of vocal mixing does cause a significant drawback from the final product. Because the production is so thick in the instrumentation, the vocals are too often buried, leaving an awkwardly quiet rasp in their place. If the occasional burying of vocals isn’t an issue though, then ‘Apparitia: Sumptuous Spectre’ should please even the most frostbitten of black metal fans. membres.lycos.fr/celestia/ Eric Bryan
	CHEMIKILLER: EVILSPEAK; THE PASSION OF THE ANTICHRIST AUTOPSY KITCHEN RECORDS If the very essence of “Bush-league” was a band, it would be Chemikiller. While the man behind everything in the band may be an aging worshipper of black metal’s elder guard, there is not an ounce of maturity on the entire ‘Evilspeak’ album. Leaning heavily on a foundation of Venom, Celtic Frost and Bathory rip-off riffs, ‘Evilspeak’ is all that Metal is when put in incompetent hands: sloppy, under produced, unoriginal, and overall pathetic. While there is the occasional catchy riff, it is quickly slaughtered in the name of what is at best, mediocrity. The lyrics are even worse. If the album’s subtitle, ‘The Passion of the Antichrist’ wasn’t hint enough, Chemikiller’s ringleader, Ramrod, couldn’t write a decent song to save his life. Whether it’s the intellectual anthem that is “United Satanic America,” or the brilliantly original “Enemy of Christ,” Ramrod manages to barely tread water in a choppy sea of suck. Looking for a bottom line? This album is terrible. Looking for the bottom of the barrel? Look no further. Eric Bryan
	Children of Nar vs. SARS the Attack: Global Assault KMX Musica Well, I’ve pretty much cast aside my catchy opening paragraph about the youthful search for Venom’s “Illustrious Six” in the Assault series and how Children of Nar vs. SARS the Attack releasing the split “Global Assault” doesn’t fit in that series, yadda, yadda, yadda. Well, it doesn’t…it just doesn’t. Now, this isn’t a bad thing, necessarily. From reading the band’s “bio” I’m thinking they don’t take too seriously they role the might play in metal music. That is not only extremely misleading, but I find it a slap in the face to all true metal fans worldwide that this jargon filtered its way into our mighty scene…this band should be fucking ashamed! Metal, after all, is a serious art form…like a fine Italian opera or a good Philly steak sandwich from Belmont Street in Chicago…these guys are trying to be serious and they aren’t! Well, I’m not serious either…well, I am about the steak sandwich…just can’t find good ones down south! Seriously, the band cites its influences as the mighty Judas Priest, King Diamond, Manowar, Anthrax and Gwar; in the same breath they mention Spinal Tap, which lets you know up front it’s going to be a “light” effort and you should just kick back and enjoy it for what it is. More of our metal brethren seem to take our scene far too seriously (the Norwegians come to mind) and others just wish to make the grand statement of their religious, philosophical or governmental issues. A release like this reminds us to laugh at both ourselves and everything around us…just because most people are too stupidly funny to be harmful! I can say Children’s vocalist, Malvolio, sounds like a King Diamond/Wicked Witch of the West hybrid on helium! While it’s not annoying, it is…different. The music has brief spurts of 80s metal magic dispersed gratuitously throughout, though some sounds overly-polished and even keyboard-created in spots. Why can’t these guys be serious?? It’s a decent, albeit funny listen. No, seriously…it is. As for the SARS release, I can hear a more metal sound trying to be achieved here. I can seriously hear the Anthrax and Gwar connection in certain tracks, but then the “Secret Unlisted Track” about a tuba boy using his tuba for evil breaks me up! It’s funny as all hell! Originally this outfit formed in the cold barren wastelands known as Pennsylvania in 1985. What was supposed to be a mere side project turned into merry mayhem for the band that set out to conquer its block! As I’ve said, if you want to hear some pretty decent tunes and have a laugh with the many beers you might be knocking back so effortlessly, visit the bands’ pages and order the CD! A solid eight hammers skyward! www.myspace.com/childrenofnar Chris Pratl
	CHIMAIRA: RESURRECTION FERRET MUSIC Without counting their ‘This Present Darkness’ I’ve liked every other Chimaira release. Seems they do a good album and then something happens to the follow up. So finally after a few fucked up years (personal, business issues) ‘Resurrection’ is their “comeback” album and it comes out swinging, we’re talking title track style! But seriously this is an impressive album in just about every way. Guitars are about as brutal as anything you’ve heard and the drumming by original sticksman Andols Herrick is the final nail in the coffin. The guy is on fire and his energy and passion fuel this album to new heights. Guitar work by Rob Arnold and Matt DeVries is their most technical without being boring whatsoever. “Six”, “Killing The Beast”, “The Flame” and the aforementioned title track are a few of the best things the band has ever done. If there’s a slight downside to an otherwise glowing review it would be the vocals of Mark Hunter. A growler with the best of them Hunter’s growl is as sick as ever but when he tries to do something more melodic [“The Flame” and others] it just doesn’t translate. It’s sort of an uncomfortable feel, but musically, when you’re this strong it’s not a make or break thing. Other than that small thing cool album. www.chimaira.com =Tom=
	CONGLOMERATORZ: NATURALLY HEAVY SELF RELEASED Over the past few years it seems like extreme music has been not only overly receptive to bands that are totally all over the place (Dillenger Escape Plan and the millions of math Metal clones) but are somewhat responsible for encouraging it! While it’s something I’ll never understand I guess I have to go with it. Conglomeratorz are an Illinois band with a album out that for lack of better words is the true meaning of progressive. Fourteen tracks of spastic yet talented Metal that really sounds like nothing else I’ve ever heard. You gets bits and pieces of the group’s collective influences so one minute you’re deep in a Death Metal riff fest and smoothly you’re in a Rush like off time segment into an almost ELP keyboard driven intro or verse back into a Thrasher of a track. Crazy as it sounds I prefer the mellower, progressive songs and parts rather than the majority of the aggressive stuff. Don’t get me wrong the fast stuff is decent, but it sounds a little less than “essential”. Knowing this record has been in the works for several years I was really expecting an all in out masterpiece of a record from this band. I wasn’t completely let down, but think they’re on to something original and would like to see it base the progressive around some more memorable songs. Presentation is there (packaging is really impressive) sound is right on looking forward to the follow up. www.cgzmusic.com =Tom=
	CONQUEST OF STEEL: MAY YOUR BLADE NEVER DULL NO FACE RECORDS Capturing the elusive 80s sound in the modern day and keeping it fresh is not only a hard feat, but it can either make or break a band. The consistent comparisons to bands of similar ilk and genre are to be expected because nothing will ever be original in music again; it’s simply a fact of life. Once the greatness has been achieved there is little recourse but to either top it or pay homage to it in a band’s own style. Neither task is a simple one. www.cgzmusic.com =Tom= When I first looked at the latest Conquest of Steel CD I immediately thought of Manowar with the “Steel is the Law” and “May Your Blade Never Dull” tracks. After all, before Manowar utilizing such metallic imagery only a few NWOBHM bands traveled upon a similar road. However, mine is not to prejudge anything where metal music is concerned; I simply popped it in and, as of this writing, I’m reminded of the essence of the NWOBHM sound some 28-years after its breakout in small clubs in and around the U.K.. I’m not sure if Conquest was going for such a brilliant era-sound, but if they were my compliments, and if they weren’t my further compliments! Musically, the band captures a long-lost sound that nowadays seems to get mired in tremolo picking at break-neck speed or plain lack of talent. I am always surprised when a band, particularly a newer band, is confident enough in itself to play music that some say is outdated, but most hail and appreciate when done from the stomach! If you are a fan of the old NWOBHM sound in the vein of Iron Maiden, Spider, Diamond Head, Witchfinder General, A II Z, Holocaust, etc. then check out Conquest of Steel as quickly as you possibly can! Hailing from Britain (surprise!), Conquest of Steel is making a name for itself in and around its homeland and around the globe. Nineteen-ninety-eight saw the release of the band’s self-released “Priests of Metal” EP, followed by “Stadiums of Steel”, a split 12” with the now-defunct Evanesce. Successful enough to satisfy critics and fans alike, the band then unleashed the debut “Conquest of Steel” to add to its repertoire of metal mayhem! I cannot stress enough that the old school of heavy metal is not only a live and well, but ready to declare war on the MTV sewage calling itself metal these days. Conquest of Steel reminds one of a time long rested under the proverbial studded metal belt but ready for a new, fresh fan base hungry as hell of a taste of the past in the present. The gates are once more opened and we’d be dammed to let them swing closed again on another chapter – grab this CD and relive yesterday today! Ten Hammers for this one!! www.conquestofsteel.co.uk Chris Pratl
	Crescent Shield: The Last of My Kind Cruz Del Sur Music I enjoy popping in a CD that immediately opens up in my computer’s CD player and kicks the hell out of me right from the beginning! It gives me a good feeling as I sit here, at a quarter-to-seven in the morning after not sleeping all night! I need a jolt and this was the right choice to begin the day! Crescent Shield, made up of members of Destiny’s End, Onward, and Iron Maidens, have pieced together a grand design of various aspects of metal from varying eras. In short, the gamut is run from some classic NWOBHM feel to Manowar’s fist-pumping, anthem-like wall of sound, while keeping those sounds fresh and enjoyable. Some of the more classic sounds of power metal are evident here as well, avoiding the annoying rush of keyboards and various other nuances that muddy and defile some pretty good recordings, rendering them boring and trite. Sometimes, my metal brothers and sisters, less is more, and while nothing seems skimped in this offering, Crescent Shield failed to fall into the too-enticing traps of that lovely “Finnish-sound”. The term is oft-used, sometimes overly used, but I am telling you this CD is just plain heavy! Crunching riffs that are memorable and have you humming them all damn day are rampant throughout; the production is top-notch as well, providing a great opportunity to hear and enjoy each instrument without straining the ol’ ears. The band began in 2000 as a side venture for then-Onward vocalist Michael Grant and guitarist Daniel DeLucie, who was shredding with Destiny’s End (another phenomenal band!). Demos were produced between each respective musician’s down time, eventually resulting in a full-on Crescent Shield unit. It was after Onward officially called it a day in 2003 that Michael and Daniel decided to give their new project an official go-round. The lineup was perfected when Iron Maidens bassist Melanie Sisneros (also of Sinergy fame) and drummer Craig Anderson (of Ignite/Engine) joined the fray. The result is what you are hopefully holding in your leather-covered hands – a fine metal offering worthy of your hard-earned dollars! What I really like about Crescent Shield is that, as a former vocalist myself, Grant doesn’t find it necessary to overuse his voice; that is, he doesn’t need to try and reach heights he can’t reach. His strong voice reminds me somewhat of Warrel Dane (my personal favorite!) of Nevermore: it’s simply powerful with a deeper, fuller tone that is more compliment than add-on to the music! Musically, DeLucie, Anderson and Sisneros gel to a boiling point, finding every heavy hook and using them to the fullest extent allowable by metal law! I’m usually very cynical, as I’ve stated before, and I can honestly say (yet again) that the CD’s I’m hearing are both exciting and encouraging me about our scene! The band simply pulls it all off to perfection, man; case closed! Song titles include “Above Mere Mortals”, “Slaves to the Metal Horde”, “Rise of the Red Crescent Moon”, “Burn with Life”, “The Last of My Kind”, “North for the Winter”, “The Path Once Chosen”, “The Great Devoid”, “Unfinished Ashes”, “Await the Champion” and “The Passing”. While I tend to find Manowar’s “chant metal” a little repetitive and, dare I anger the masses, boring at times, there is none of that here in The Last of My Kind. I think this CD might be one of the breakout discs of the year so far; it’s definitely staying in my personal rotation for a while. Ten out of ten hammers all the way!! www.crescentshield.com Chris Pratl
	xDEATHSTARx: WE ARE THE THREAT FACEDOWN RECORDS After I heard their first CD ‘The Triumph,’ and I got this in the mail, I was a little worried. “Was this gonna be more standard metalcore?” I thought. Not so. I spun this a few times in the Camry and I’ve got to say this grew on me in a big way. At first listen I didn’t catch a lot of things like the killer guitar arrangements and killer drumming. Most of it was their singers. They have four. Yes, four. In the songs “We are the Threat,” and “The Great Opiate,” you can hear some surprisingly impressive vocal harmonies... you don’t hear much of that in hardcore. Another thing you might read elsewhere is that these guys are “christian.” It doesn’t have a play in this CD so I don’t know what or how it would matter? Overall though, this is a decent, I won’t be listening to it everyday like I do my Ted Leo CD’s, but I will throw it in to listen to the above mentioned songs. I’m serious. I will. www.xdeathstarx.com Ross FxYxNx
	DEEP SPACE PILOTS: S/T STARDOG RECORDS Heavy, rocky and almost sub-underground/early stoner Sub Pop, Chicago based band Deep Space Pilots have finally committed to tape and the results are in. I’ve been interested in this band for several years now and am glad to say the EP does do them some justice. Somewhat hard to describe, their style as they’re not the heaviest Rock band on the planet, but they may be one of the catchiest. When I listen to them I can get a semi dynamic, yet not fully “there” feel which is saved by the songs themselves. “Call To No One” is a prime example of a heavy handed hook and “Death Star” is rather infectious in it’s own right. Both tracks are great starting points, a myspace listen if you will. One of the key ingredients to the bands ability to stand out are the vocals laid down by guitarist Ron. Original to say the least the delivery is anything but harsh, almost smooth and “spacey” but nothing like a Sheavy or Sleep vibe, they have to be heard to be appreciated. Then it’s funny as my favorite track is “Far Side of Neptune” an awesome instrumental that closes the trip. Deep Space Pilots definitely travel in their own atmosphere and this is the soundtrack. www.myspace.com/deepspacepilots =Tom=
	DESTRUCTION: THRASH ANTHEMS CANDLELIGHT RECORDS I am relieved and impressed at the same time. I was just having flash backs to the 2000 Milwaukee Metalfest when I was anxiously awaiting Schmier and some goofy geek came out in a long sleeve shirt with a gay looking star on it. I was pissed and appalled when I saw that. When I got this in the mail, I sort of had the same feeling...not knowing what surprises were to come. Well, low and behold, it was a pleasant surprise! ‘Thrash Anthems’ is a re-recording of classic and not so classic Destruction songs such as “Mad Butcher,” “Unconscious Ruins,” and “Invincible Force” just to name a few. “Cracked Brain” also here was never one of my favorites. There are also two new songs “Profanity” and “Deposition” that are just “ho-hum” in my book, I don’t really care at all about new stuff from these guys. What this does have to offer is new twists on classic songs. Destruction was one of the pioneers of the German thrash movement and I can see why these songs needed a little updating but with today’s technology, these songs are what you expect...too clean. Gone is the grittiness and raw production replaced with very clean and polished. That is good for one reason new fans. This cd is a great intro for new fans to hear old songs. This was a nice trip back into the past. Now if only their shows would reflect the same thing. www.destruction.de Ross FxYxNx
	DIE VERBANNTEN KINDER EVAS: DUSK AND BOLD BECAME ALIVE SELF RELEASED I have no idea why I was given a copy of ‘Dusk and Bold Became Alive’, because this record isn’t even remotely related to Metal. As a matter of fact, DIE VERBANNTEN KINDER EVAS is probably the most un-Metal band that I’ve ever listened to, because they have a style that mixes Ambience, Neoclassical and Opera. For those whose musical taste is consumed 98.2% by Metal, don’t even bother continuing to read this review, because DIE VERBANNTEN KINDER EVAS are not for you. Now, for those who are looking for an Art song (i.e. vocals accompanied by piano/keyboards) album, then ‘Dust and Bold Became Aliv’e is highly recommended, because this album is simply a compilation of 9 art songs clocking in at 3-minutes shy of an hour. DIE VERBANNTEN KINDER EVAS, which translates to “The Banished Children of Eve”, produce an album that’s suitable for either relaxing, falling asleep, delving into deep thought and/or even for a melancholic setting/mood. As much as this review is irrelevant to a Metal magazine, there are metal heads that (much to the chagrin of those who simply make sweeping generalizations to the contrary) enjoy and appreciate the serine and tradition that is Classical Music, because the metal heads that listen to Metal non-stop 24/7 are in the minority. I enjoy this record, but the only use I have for it is when I need to relax. Otherwise, I doubt that one would find a DIE VERBANNTEN KINDER EVAS record in my CD player and/or truck. DIE VERBANNTEN KINDER EVAS are an Austrian Neoclassical/Ambient/Opera duo consisting of Richard Lederer (Vocals, Keyboards) and Christina Kroustali. www.dvke.info Dave LARMORE.
	EDENBRIDGE: THE GRAND DESIGN NAPALM RECORDS Nightwish set the current standard for female-fronted bands with gothic themes and ethereal vocals. I think of Tarja Turunen, Sharon den Adel from Within Temptation or Liv Kristine when I’m asked about recent female vocalists that impress and astound me. I can now add Sabine Edelsbacher to that mix. While Tarja has the opera training behind her and at times seemed to be larger than the band itself, Sabine doesn’t need to overcompensate for anything; her vocals are perfectly secured right into the chest of the music created by Lanvall (guitars, keyboards), Roland Navratil (drums), and Frank Bindig (bass). “The Grand Design” is a compliment of high order to what has now become loosely known as the “Finnish Sound”. Formed in 1998 in Austria, Lanvall and Edelsbacher started Edenbridge as a studio project, eventually adding Navratil to the mix and recording “Sunrise in Eden”, the band’s debut effort. After extensive touring, the band created a buzz in and around the metal community that continues to grow. Subsequent offerings include “Arcana” (2001), “Aphelion” (2003), “A Livetime in Eden” (2004) and “Shine” (2004). Each CD got better, adding further to the band’s already growing fan base and solidifying it in the company of the aforementioned groups. Edenbridge produces powerful music that doesn’t need overly-bombastic blasts of drumming or keyboard arrangements to make a point; the band relies on Sabine’s serene and strong vocals to compliment the music, and she doesn’t disappoint! Tracks for “The Grand Design” include “Terra Nova”, “Flame of Passion”, “Evermore”, “The Most Beautiful Place”, “See You Fading Afar”, “On Top of the World”, “Taken Away”, “The Grand Design”, “Empire of the Sun” (Bonus Track,) “For Your Eyes Only” (Bonus Track). Let me say I give major hammers to any metal band with the balls to cover Sheena Easton’s “For Your Eyes Only”, which is an amazing song in its own right! On top of that, they did an incredible job! An added element is the 64-man choir brilliantly arranged by solo artist Robby Valentine (Hellnoise, Ayreon). Edenbridge is one of the stronger bands to emerge from the sea of ever-emerging Nightwish-clones; the band stands alone in that it creates a melodic array of music that never dulls, never gets boring and always flows effortlessly from the somber and sweet to the fast-charging and bellowing. I can’t recommend them enough. If you like music that can be both haunting and powerful without missing a beat, grab up the catalog of Edenbridge and just dive in…it’s a magical swim! Nine hammers up! www.edenbridge.org Chris Pratl
	EKTOMORF: OUTCAST NUCLEAR BLAST If you’re one of those people who instantly accuse Ektomorf as just a Sepultura clone, you’re right! Good god this band has no shame, it’s crazy, they sound so much like Max Cavalera/Roots era Sep it’s almost comical. This is not to say Ektomorf are not proficient musicians, they’re killer at what they do, but the sound is so identifiable with another band it’s hard to take seriously. I will say this, for someone of a younger persuasion this may be a really good piece of music, especially if you miss the days of Tribal “S” warriors running amok. www.ektomorf.com =Tom=
	ELIS:GRIEFSHIRE NAPALM RECORDS If someone ever asks you if the current run of female-fronted metal acts has any real standout vocalists you can certainly add Sabine Dunser from Elis to that list. You might not enjoy the comparison I’m about to make, but if you have any sort of knowledge outside of the metal realm (and most metalheads do) you’ll hear what I hear: I hear a heavy metal Olivia Newton-John. Trust me, that is not an insult; I happen to love Ms. Newton-John’s vocal styling. It possesses a true beauty in that it rises above the music without destroying the melody with too much power. Sabine Dunser achieves this as well. Okay, you have my feelings on Ms. Dunser as a vocalist…so how’s the music? First, allow me to introduce the rest of the band: Pete Streit does the guitars, bass is played by Tom Saxer, Max Nascher does drumming and Christian Gruber adds additional guitars to the fray. I think this is what Evanescence was vainly trying to capture but lost once Ben Moody left the fold. In other words, the music is true gothic beauty and is catchy and heavy. When mallcore kiddies hear this they’ll be both befuddled and lost; this type of gothic majesty is reserved only for those that have helped create the genre back when Sisters of Mercy were the underground rage. Based out of Leichtenstein, Elis began its creation under the name Erben Der Schopfung. In 2001 the first single was released, entitled “Elis”, followed by the debut “Twilight”. After several live shows, including an appearance at the Wave Gotik Festival in Leipzig, Germany, the band was making quite an me for itself. In fact, the German magazine Orkus Magazine named Erben Der Schopfung its top new band of the month, only to be upped soon after by choosing the band Newcomer of the Year for 2001. Two-thousand-three saw the band change its moniker to Elis and the release of the debut offering God’s Silence, Devil’s Temptation. Along with this release, the band’s Twilight was also reissued courtesy of Napalm Records. It didn’t take long for the band to keep forging ahead, for soon after the release of God’s Silence the band began writing songs for its follow-up offering. They also managed to find time to headline a tour through Germany, Switzerland and Belgium, much to the delight of fans and critics. March saw the return of Elis into the studio to record the sophomore effort, Dark Clouds in a Perfect Sky under the tutelage of manager/producer Alexander Krull (Leaves’ Eyes, Atrocity). A rarity in today’s over-saturated metal kingdom, the second effort was a testament to the growth and musical advancement of the band, furthering the buzz and interest worldwide in this amazing unit. Now comes the heavy-hearted area of my review. Shortly after completing her vocal tracks for this brilliant junior effort that you’ve been reading about, Sabine Dunser passed away after suffering a cerebral hemorrhage during rehearsal - she passed a day later at the hospital. The band decided to complete and release this CD because Sabine considered it “her baby” and she would have been very proud of its release. I, for one, am very glad they did decide to release it; it gives me a chance to find the band’s other releases and revel in the fact that I have found another great band to mentally ingest. *As of this review, the band has found its new singer to carry on the legacy created by Sabine Dunser. The new vocalist is Sandra Schlere and you can find more information about her at the band’s homepage found below! I give this effort 10 Hammers up; it has all of the elements missing and/or ignored in contemporary gothic efforts: real emotion, terrific music, introspective lyrical content and melodies to carry the soul to another place. I recommend this highly! Rest well, Sabine! Thanks for the wonderful music! www.elis.li www.sabine-duenser.de.vu Chris Pratl
	ENSEPULCHRED: THE NIGHTOUR RITUALS BLACKENED THE STARS AUTOPSY KITCHEN RECORDS When I pop in a current black metal band’s CD I am anticipating the usual: high-speed picking, drumming at a million beats per-second and some goofy mystical keyboard in the background keeping up appearances of true “Norsk Black Metal”. I’m almost always disappointed because nothing ever changes! Upon popping in Ensepulchred’s current offering “The Night Our Rituals Blackened the Stars” I am surprised to hear an atmospheric landscape ala Burzum’s Filosofem. In fact, I go as far as to say that this is faring much better in my opinion than the Varg Vikernes production simply because this offering, to me, sounds less forced and more introspective in itself. That is to say, this CD has many great moments of clarity and creates amazing visual pictures Vikernes simply didn’t accomplish from his prison cell. Introducing the band, we have J. Shipley: vocals O. Barker: keyboards, drum machines, guitar D. Redington: keyboards, noise, bass. These guys have their proverbial shit together and can lay a claim to the term “black metal music” and have it actually be true! The typical shrieking and gasping vocals, while nothing new, fail to hinder this CD in any way. Sometimes, in layman’s terms, the stuff just works, and it works nicely here. Now, the kicker for me is that these guys are from the U.S.! I’m always a big proponent of saying that U.S. bands know nothing of the Scandinavian metal scene save for what they’ve read, watched, heard or gossiped about since the early 90s. Again, some acts can pull it off, but that is a VERY rare commodity in my opinion. The United States can finally hold its head high and say we have a pretty damn good black metal band representing us! The sound is evil: pure, unbiased, red-handed, black-hooded, church-burning evil at its finest. This band could certainly hold its own with the likes of early Emperor, Darkthrone, Morbid, Behemoth. I’m more than impressed! The band recently underwent a name change; you can find out more at the band’s My Space page address below, along with information on how to find other releases, like the soon to be CD-R issued "Suicide in Winters Moonlight", which the band will give more information about soon. Nine hammers up – Pure American Black Metal…at last! myspace.com/ensepulchred Chris Pratl
	EXITIUM: OUTSOURCING MORTALITY DEEP SEND RECORDS If Nasum, Impaled, Carcass, and Crust Punk as a genre were to ever have a child, it would be called Exitium. A bastard mix of grind core, death metal, and crust, Exitium’s ‘Outsourcing Morality’ is grind for a new generation. While not reinventing the wheel, ‘Outsourcing Morality’ does a bang up job of shining it up really nicely and driving it at full speed. While this doesn’t exactly lend itself to subtlety, it does lend itself to rampant brutality, shaped into music and channeled through the unsuspecting ear of the listener. The only real complaint to be had about ‘Outsourcing Morality’ is that it is over too soon. While that is to be expected of grind core, the experience is over far too quick for a band of this caliber. Do yourself a favor and dig up a copy of this one, you won’t regret it. www.exitiumgrind.com Eric Bryan
	EYES OF LIGEIA: A FEVER WHICH WOULD CLING TO THEE FOREVER PARAGON RECORDS Some may immediately catch the “Spirits of the Dead” (written by Edgar Allan Poe) reference of the title, as ‘A Fever Which Would Cling To Thee Foreve’r is certainly appropriate to the Doom/Black Metal approach taken by EYES OF LIGEIA; to be perfectly honest, listening to this record gives me a bit of a fever, because most of it sounds like something recorded in a shoebox inside of a garage. Moreover, I have no fucking clue as to what vocalist Lycanthrian Demogorgon is yelling about… as a result of the production value (or lack thereof) and simply the distant, raw style that he possesses. The cover art depicts a capture of stairs in a basement with a figure to the right of the photograph, and the artwork is completely relevant to the melancholic mood produced by the music. The cover definitely catches my attention, but I find myself bored by the music because of both the production values (or again, the lack thereof) and just the overall uninspiring compositions. Granted, the music fits the focus of the lyrics, which appear to revolve around Lovecraft, Edgar Allan Poe, Starry Wisdom and Time… but it’s definitely something that you’ll either love or hate. I personally find it cheesy and boring, but others may find it to be a pleasure to listen to. Fans of old-school horror movie music and even BURZUM may find the final album from EYES OF LIGEIA (who were laid to rest by band leader Dante, with the band “having accomplished all that was meant to be”) to be an excellent choice in what to listen to. www.paragonrecords.net Dave LARMORE
	FAIRYLAND: THE FALL OF AN EMPIRE NAPALM RECORDS In a day where power metal, in the upset of the century, is actually popular (thanks mainly to German stalwarts Blind Guardian and new kids on the block, Dragonforce) I would expect more of a band like Fairyland. While the epic song structures and cheesy lyrics are both front and center, the spark that made bands such as the aforementioned Guardian great are not there. Riding the Rhapsody “soundtrack metal” bandwagon, ‘The Fall of an Empire’ is a botched attempt at majesty and epic atmosphere. While the songs build up nicely, by the time the potentially orgasmic chorus comes around, it is consistently underwhelming and disappointing. This completely disarms all that is Power Metal. In short, Fairyland is a dud. While still promising on the outside, and possibly explosive, ultimately nothing happens, and all are left with a frown and fifteen dollars less than they had before. www.fairyland-metal.com Eric Bryan
	Funeral: From These Wounds Candlelight USA Oh, the CD just started and I’m feeling damn good about this one! If you’re a doom metal fan, the band needs no introduction – if you’re new to the scene, read on and understand what doom metal really is…. Four years of dormancy have passed and Funeral and they have emerged with a new doomed offering that would make the mighty Black Sabbath stop and take a somber notice. Once touted as the “most depressing band in the world”, Funeral hails from Norway and has been kicking around since 1991. After years of demos, underground releases, two female vocalists and the untimely passing of bassist/songwriter Einar the current fold is back and still producing melancholy melodies for the morose minions. The current crew consists of Anders Eek – drums; Frode Forsmo – vocals; Christian Loos – guitars; Kjetil Ottersen – guitars, and Jon Borgerud – keyboards. Along with the likes of Pink Floyd, the Beatles, Opeth and Rush, Funeral has found five gentlemen that gel in a sorrowed unison to pinpoint perfection. Taking a page from fellow Scandinavians Opeth, Funeral’s From These Wounds creates small epics in the slow, almost delicate vein with no song less than six minutes. It carries a heavy burden for any band to keep one’s interest for that amount of time for one track, let alone seven. However, also in league with Opeth, Funeral keeps every last second of these tracks powered and drenched in a myriad of intricately-woven classical-sounding pieces complimenting the dark mood of the CD. Fans of St. Vitus, My Dying Bride, Opeth and Paradise Lost will really catch on to these guys if you haven’t done so already! Often, the term “atmospheric” is overused to the point of insanity when describing some of the more current (and even older) doom bands, but the term seems to be tailor-made for Funeral. While casting the ever-graying clouds of silent suffering through brilliant musical poetics, the band captures an innate ability to further the listener’s vision by offering a brief escape through the audile vehicle. Vocally, Forsmo is brilliant; try and envision Mikael Akerfeldt crossed with Peter Steele (without his overly-haunting groaning). The slow, processional offering of the lyrics is a perfect companion to such a terrific band! As for the band they are tight, polished to a neon black shine, and just simply incredible to hear. The arrangements on Wounds slips from the heavy droning of “dropped-D” tuning into magical additions of orchestral perfection in the slip of a breath –can’t say enough positives about Funeral, my friends! The band’s two early releases, Tragedies and Tristesse, have been reissued, so once the current offering sticks in your head like a crow’s incessant calling you can then go out and grab those two masterpieces as well. Please check out the sites listed below for more info on this amazing band and show them some support! Ten Sorrowed Hammers out of 10 – I’ve never been so happy to hear good CD’s all in a row like this…the tides are certainly turning for us again! www.myspace.com/doomfuneral Chris Pratl
	GRAVE DIGGER: LIBERTY OR DEATH LOCOMOTIVE RECORDS Well, I have to admit, I’ve never been the biggest Grave Digger fan. Sure I seen the cassettes when I was younger, but then again, if it wasn’t thrash, I didn’t want to have anything to do with it. Grave Digger has 14 releases prior to ‘Liberty or Death’, none of which I am familiar with. By listening to this, I can say this is your standard classic metal. Hailing from the mighty Germany, a haven for classic acts, Grave Digger seems to squeak by under the classic/power metal radar. Being around for as long as they have, this is an accomplished album with lots of riffing, double bass, and melody and power, simply stated this is classic metal. This is catchy, but not too weak. I think fans of older, classic metal will get on this. However for a fan just getting into Grave Digger, I’d think it might not be the best album to start with. www.grave-digger.de Ross FxYxNx
	HANDFUL OF HATE: GRUESOME SPLENDOUR CRUZ DEL SUR MUSIC Sick. Depraved. Indecent. Blasphemous. Interested? Handful of Hate is the band for you. Combining the speed and vicious riffing style reminiscent of Austrian peers Belphegor, HoH are a black metal outfit with a great deal going for them. Musically, the band is definitely on the ball. While the riffs pretty much stick to the black metal standard “evil tremolo,” Handful of Hate are not in any way afraid to throw in some groove and thrashiness into their sadistic mix. This musicianship is supported by a stellar production, that while not as crystal clear as some modern black metal, is definitely not the “McDonald’s bathroom” quality that some bands put forth. The band’s only real weakness is that lyrically, immaturity is an understatement. Maybe its because I’m not into the underground, Italian, satanic S&M, scene, but ‘Gruesome Splendor’s’ lyrics don’t exactly spark anything worth remembering. So throw on some corpse paint, grab your “daddy-collar,” and get into the pit. Handful of Hate will be waiting for you. www.handfulofhate.com Eric Bryan
	THE HANDSHAKE MURDERS: USURPER GOODFELLOW RECORDS Not too sure what the kidz these days would call this style, but I will say it’s pretty cool…in spurts that is. Very abrasive, start and stop, staccato type riffing as well as full out blasting moments and vocals that are in between yelling at you and growling. Truth be told the only reason I listened to this album was because of the title, ‘Usurper’ and I’m glad I did I liked it a lot better than I thought I would. They get compared to Coalesce, A Life Once Lost (??) and Meshuggah and of all three of those bands the only one I know of is Meshuggah and they’re boring. The Handshake Murders aren’t bad, the whole album is a bit too much, like a weightlifter that never stops flexing, but a few songs at a time is good enough. Great album title. www.thehandshakemurders.com =Tom=
	Inhale Exhale: The Lost, The Sick, The Sacred Solid State Records More Midwest-based bands are popping up all over. First I was introduced to The Ottoman Empire just north of me in Wisconsin, now I get Ohio ragers Inhale Exhale and their debut, The Lost, The Sick, The Sacred. While not a fan of bands like Killswitch Engage and the like, I see the attraction to them; they are taking metal to a newer, angrier, more volatile level while still retaining some of the integrity that makes our scene the most important and intelligent of all the musical divisions. That’s not opinion, that’s a fact, but that’s a tale for another time. That said, Inhale Exhale is a good alternative to the mall-based “Metalcore” infiltrating our youth of today. Possessing all of the elements that make that subgenre alluring, this band seems to have something to say, not to mention damn fine songs that have structure and substance. Let’s meet the band: Ryland Raus is the vocalization of the unit, while Brian Pitman handles bass, John LaRussa does the guitar work and Bobby Poole alternates between solid drumming and vocals. The band I most liken them too, in an abstract sense, is P.O.D., and that’s a compliment. Inhale Exhale also incorporates their personal beliefs and views into their songs without sounding preachy or grandstanding. While going through the band’s bio I noticed something that is most important to me in the world is most important to them as well: integrity. A man is nothing without integrity, and a band sure as hell follows a similar dichotomy, like it or not. If the last ten years of Metallica bothers you as much as they did me, you’ll know what I’m speaking about, but whether or not you agree the fact remains that an integral band is a solid unit. An honest band is a successful band, be it financially or internally – either way you win! Inhale Exhale’s CD is a fine example of what to do with a subgenre that is being dismissed as a fad; if the music is honest and the feeling is there, the band can’t help but grow on you. I think if this CD hits the masses it will take off for them and they’ll get to make a living off of their art, which would be great! Songs on the CD are as follows: “Redemption”, “By Grace”, “Frail Dreams and Rude Awakenings”, “Dance All Night”, “A Call to the Faithful”, “Touch of Deception”, “Your Walls…My Words”, “Tonight We die Together”, “Sons of Tomorrow (to Norah James)”, “Rose Among the Ashes” and “The Lost, The Sick, The Sacred”. I can only add this to my review: I do not usually care for this type of metal, but I say with 100% honesty that Inhale Exhale is an amazing band that will knock the hell out of you if you let them. Ten Hammers, man…no question! www.myspace.com/inhaleexhale Chris Pratl
	LECHEROUS NOCTURNE: ADORATION OF THE BLADE DEEPSEND RECORDS Death metal is an art form, period. That said, I think it’s astonishing the number of bands that lay claim to the title of death metal, yet fail to live up to the standards set by Chuck Schuldiner or Kam Lee. After all, what tough acts to follow in Death and Massacre respectively. We all know no band can claim originality anymore, but we can always hope for some good tunes to carry on the banner, right? Lecherous Nocturne holds high the death metal flag with “Adoration of the Blade”. Formed in 1997 and hailing from Greenville, South Carolina, the band consists of Jason Hohenstein on vocals, Kreishloff on guitars, Chris Lollis also on guitars, Mike Poggione doing bass and newcomer to the fold Jeremy Nissenbaum handling the drums for the recently-departed Dallas Toler-Wade, who is back focusing on Nile. Lecherous Nocturne’s violent brand of extreme metal can fall into any number of categories: Death, Grind, Extreme, Blasting, Hardcore – the overlying feeling is that it is, most certainly, metal at its most brutal! I hear small portions of Death, Carcass and Nile fused into this merry melody of murder! This is the band’s first full-length release after a self-titled EP and they are currently touring to support it. As far as the CD goes, it’s violence in musical form, hands down! Without wallowing in boring speedy riffs that go nowhere and make the listener feel nothing, ‘Nocturne’ offers the metalhead a truly angry and volatile piece of work that goes straight for the carotid artery and yanks on it until there is little recourse but to submit or pass out! Structurally sound, the songs carry a tremendous assault that begins with the opening track, “Kampagne” and never relents until the end track, “Whorrified”. In between, such skullbangers include “Release in Flame”, The Divine Wind”, “Adoration of the Blade”, “Singe Este Viata”, A Path to a Deity” and “Phalluscidal”. If extreme metal with both purpose and intensity is what you seek then check out the band on tour. The next couple of dates lined up are gigs at Ground Zero in Spartanburg, SC on Friday, March 2 and Gottrocks in Greenville, SC on Saturday, April 28. Further details will follow later this month on the band’s webpage, so be sure to check them out! Any band that can hit the jugular is a band worth hearing – Lecherous Nocturne shuts down the central nervous system, so get happy! 8.5 out of ten hammers up! www.lecherous-nocturne.com Chris Pratl
	LENG TCH’E: MARASMUS RELAPSE RECORDS Don’t you dig these bands with names that you A) can’t pronounce or B) can’t figure out the origin of said title? Sometimes when you hear the definition of the indiscernible name you shake your head and mumble aloud, “That can’t possibly be right”. Other times the damn definition is so cool you just smile and eagerly thrust the CD into the first available orifice in the stereo to see if the music matches the cool name. Example: Leng Tch’e – “Death by a thousand cuts”. It turns out this is an ancient Chinese torture ritual whereupon the unfortunate soul is drugged and cut into bits. By the time he or she can actually feel the pain, it’s too late to save said person’s life. Pretty cool, huh? Admittedly, I am not a fan of Grindcore, though I do try to be objective with all forms of metal. After all, it is both my job as this reviewer and as a metal citizen. I must say that this offering from Belgium’s Leng Tch’e is one that I can honestly admit intrigues me. It’s not so damn over-the-top in gore and muddled vocals that I can’t get into it on even the tiniest level. Actually, there are some damn good moments of intense guitar riffing and melodic assaults that interlace death metal and traditional heavy metal, tossing in the occasion Grind elements for a recipe of pure brutality-through-chord-change! Formed in 2001, Isaac (vocals), Sven (drums), Kevin (bass) and Glen (guitars) took the Grind inspiration from such acts as Nasum, Blood Duster and Hemdale and formed what they refer to as “Razorgrind”. Hey, every sub-genre started in some garage or studio session, right? The band enhanced its sound by incorporating some hardcore and stoner-rock influences into their sound, and after many lineup changes through the years the final product sees Sven still bashing the kit, Boris on vocals and Jan and Geert on guitars. After two releases, the band signed with Relapse Records and released “The Process of Elimination” in 2005. The following year saw a split CD release with Warscars on the coveted Bones Brigade Records label. This is where the band honed its sound to a fine edged “razor”. Two-thousand-seven sees Marasmus belting us in the face with aggressive, destructive songs that make the Grind scene what it is – lethal and insane. Most of the songs are on the short side, with the longest, “Pattern”, clocking in at just over four minutes. The band seemingly gets in, destroys, and gets out quick. Another band was great at doing that and leaving an impression: S.O.D. While the songs on Marasmus don’t clock in at the five-second mark like the aforementioned band’s “Diamonds and Rust” they don’t dwell on what they’re selling – in and out, leaving a mark. It’s the way it should be! With song titles like “The White Noise”, “Social Disgust”, “1-800-Apathy” and “Nonsense Status” how can you expect anything less? Eight Hammers of ten – good stuff! www.razorgrind.com Chris Pratl
	MACHINE HEAD: THE BLACKENING ROADRUNNER RECORDS I could write a book on my experience of being a fan of Machine Head. The highs, the lows and the unknown have kept me interested in the group for well over a decade. To me, musically they’ve always done exactly what they’ve wanted to do, no matter the, at times hefty consequence and it’s been a headfirst attitude the whole way. However because of this frame of mind in their 15 years as a band Machine Head have both soared with the eagles and all but swam with the fishes - all with no regrets. 2007 brings us a new MH album and as with every one of their releases ‘The Blackening’ comes with a slew of hype. Band and media quotes act as built in c atch phrases of comparison. To the “experts” Machine Head has carried a sort of catch.22 albatross around their necks in the way of their 1994 debut ‘Burn My Eyes’. On one hand it’s a landmark release, an album that launched not only the career of the band but inspired thousands of others and all because of an undeniable impact felt the World over. A release still discussed and debated and mostly celebrated thirteen years after its birth. On the other hand these same experts as well as groups of fans will never let the band get past this album expecting and almost demanding each successive release sound like ‘BME’. Comparing everything they do to it ad nausea. So let’s get right to it, does ‘The Blackening’ live up to ‘BME’? “Clenching The Fists of Dissent” is the opening track here and it sets the tone for a musical experience that’s rather unique. Clocking in at a whopping 10:36 the song is your first indication that Machine Head 2007 are going for the jugular as it’s opening is an unraveling of sound and rage. It’s an attack that knows when to smother and when to kick back only to explode again. Waging a war on questionable actions “Clenching” is brutal and the perfect opening for this album. “Aesthetics of Hate” (the first single) is a post Thrash powerhouse featuring some of the best guitar work we’ve heard from Robb Flynn and Phil Demmel in quite some time. It must be mentioned as a guitar team, the Flynn/Demmel duo was raised on Priest/Maiden as well as Bay Area founders Exodus/Metallica as well as those who influenced the influences like Mercyful Fate and various NWOBHM bands. This team though was shut down way too early in their career to ever really flourish. Resurrecting itself on 2003’s ‘Through The Ashes of Empires’ it was great to hear them together again but what you’re hearing on ‘The Blackening’ is the ultimate. Flynn and Demmel, I’d put up against just about any other guitar team in Metal history… that’s right, history. I’m not saying they’re better, I’m saying as a two guitar team their results are fucking impressive as hell. Because of that these two were meant to play together and on this album the team fucking shines everywhere you look. “Now I Lay Thee Down” is a slow building, brooding track with some amazing lead bass work by band co-founder Adam Duce. Those who already have the album are also keying in on the Bassist’s expanded role as backing vocalist and this song is a showcase for both. A very dramatic song with incredible depictions of the story behind the lyrics and grows to become a rather heavy as all hell track. “Slanderous” is a throw back to the undeniable rock solid groove the band has possessed since day one, a progressive burst of upbeat Thrash N’ Roll like only they can deliver. Lyrically it’s rather creative, trust me you’ve never read lyrics like this on the billboard charts, that’s for damn sure. “Halo” takes what I said about the guitar team and takes it up ten or so notches. Simply stated a brilliant song. The only track on the album credited to the entire band “Halo” is a highlight amongst highlights with it’s bass rumbling intro right through it’s melodic and hook driven choruses and finally ending as a guitar shredding marathon I have a feeling this song will be a live set staple for many years to co me. “Wolves” is probably my favorite track on the album, its Bay Area Thrash circa 2007 and all of the bands who claim to play this style, this is the bloodline you’re feeding off of. “Wolves” is a wall of guitars and percussive perfection by [highly rated] Drummer Dave McClain, a track of breakneck riffing and venomous lyrics that act as a nod to the faithful. This song is one of the best the band has ever done, an instant classic and a statement of intent. Bow to none indeed. The record closes with ‘A Farewell to Arms’ another 10+ minute song that really captures the mood of a war torn mind. Where “Clenching” was a face rippe r “Farewell” goes about it more haunting yet eloquent. It’s more morose and mellow however like the human behind the voice, can stay solemn for only so long. An epic song it it’s own right “Farewell” is such a powerful song with human emotions coming through crushingly honest and forthright. Some of the best vocal hooks ever laid down by Robb Flynn makes this the perfect closing to a just about perfect album. Just about? Yeah, well, it’s hard to call anything perfect when it’s been around for only a few months, perfection to me is something that’s aged. Drop me a line in ten years after the release of MH album 10. But as a fan I’m far more than pleased. The performances on the album are all top notch and I really don’t think anyone, fan or not could ask for anything more. Is this their finest album to date? Without a doubt. ‘The Blackening’ features the angst and speed of the debut, the bludgeoning of the second, the melodic sensibilities and crushing rhythms of the third, the songwriting do’s and don’ts and knowledge of the fourth and the mentality of the fifth. It’s the ultimate Machine Head record and is probably the best record of the past few years. So oh yeah, there was a question earlier. Does ‘The Blackening’ stand up to ‘Burn My Eyes?’ With all due respect, ‘Burn My Eyes’? You’re toast. All hail ‘The Blackening’. www.machinehead1.com =Tom=
	Masterplan: MKII Candlelight USA The Fatherland is still churning out bands at record rates: Germany can lay claim to Kreator, Destruction, Sodom, Warlock/Doro, as well as a myriad of others too numerous to mention in one sitting, and you may add Masterplan to that echelon. So…do they keep up with the Deutschland history for better or worse? It’s a very tough geographical act to follow, that’s for sure! Well, I wouldn’t place them in the thrash/speed genre with Kreator or Sodom, and I wouldn’t put them in the soaring vocal/AOR-friendly vein of Doro’s mighty Warlock, but I can say they can be set aside the likes of newer Helloween, Edguy, Symphony X, bands of that ilk. I don’t really get into too much “power metal”, or the music that is called power today; in my day Metallica circa 1985 was power metal, as was Helloween in the Kai Hansen-era. However, I know too well that things change and I submit that Masterplan is really damn good. Further, the histories of some of the members of this band are enough to make you look deeper into them. Originally formed in 2002, the band currently makes up as Mike DiMeo (Riot) on vocals, Roland Grapow on guitar, Jan S. Eckert (Iron Savior) on bass, Mike Terrana (Rage, Yngwie Malmsteen) on drums, and keyboards are played by Axel Mackenrott. As I’ve said, I’m not huge on this current crop of “power” bands because, for me, a lot of the music is drenched in sub par keyboards that are seemingly vying to keep pace with the guitars. For me, that gets boring really quick! However, MKII is neither boring nor drenched in mediocrity; rather, it’s a feel good CD that has good melodies and an outstanding vocal from DiMeo. Once again, a singer doesn’t need to rely on overpowering wailing and hitting an elusive, albeit fascinating octave to keep your interest; his voice is strong and memorable, unlike many of a similar style. I dig it a lot! Song titles are: “Phoenix Rising”, “Warriors Cry”, “Lost and Gone”, “Keeps Me Burning”, “Take Me Over”, “I’m Gonna Win”, “Watching the World”, “Call the Gipsy”, “Trust in You”, “Masterplan”, “Enemy” and “Heart of Darkness”. For melodic metal fans, Masterplan is one to watch; they’re currently on tour with the mighty Saxon, which is one hell of a bill! I hope it makes its way here to the States! Nine Hammers out of ten, people! Grab it when you can! www.master-plan.net Chris Pratl
	MAYLENE AND THE SONS OF DISASTER: II FERRET MUSIC Coming out with all guns blazing, Maylene and the Sons of Disaster have much more up their sleeves than meets the eye. Opening track “Memories of the Grove” is a monstrous shit-kicking rawker that sounds like a uber metallic Skynyrd. However like the “Free Birds” themselves Maylene and The Sons can also work over something more melodic, more catchy yet still have it hit like a ton of bricks! There’s some really good songs here, “Raised By The Tide” sticks out as does the Hell-raising anthem “Everyone Needs a Hasting”. “Tale of the Runaways” and “The Day Hell Broke Loose at Sicard Hollow” are examples of their widespread influences and close out an album too enjoyable to ignore. www.mayleneandthesonsofdisaster.us =Tom=
	MNEMIC: PASSENGER NUCLEAR BLAST ‘Passenger’?!?!?! More like hostage! This is my first exposure to this ‘hotly tipped’ band and with any luck my last. Color by numbers “extremity” offering nothing that SYL or Fear Factory hasn’t already rehashed. I know this is the first album with a new vocalist and how do I put this; my knowledge of Slipknot is very, very minimal yet I can hear this band cop their trademark vocal phrasings and delivery and I’m not liking what I hear. Fucking weak. www.mnemic.com =Tom=
	Nox: Ixaxaar Earache [Ixaxaar: A seal or a gateway to Hell.] Yeah, that works. Black metal has its share of imitators and posers, pretenders to a sacred throne that should never be defiled or defaced by sub par recordings and/or bands. Nox is a further testament that some old school can actually keep company with our modern age of twisted tuneage. For one as cynical as I these last few years I can honestly say I’m elated to see a recent crop of CD’s emerging that keep our scene strong! Comprised of members from Centurian and Severe Torture, Nox is emerging as a band to be reckoned with alongside the likes of early Sentenced, Grave, with subtle hints of early (and decent) Deicide, though I can tell you they are leaps and bounds over the Florida coven. Nox desecrates as follows: Rob Oorthuis (guitars), Seth v/d Loo (vocals) and Patrick Boleij(bass) and newcomer Bob Dussel (drums). Meshing an unholy union of melodic guitars and chest-pounding drumming, this monster debut from these Dutch ragers is possibly one of the better black metal releases these ears have heard since Dissection’s Storm of the Light’s Bane. While well-produced, “Ixaxaar” has that dirty, seemingly shadow-like aura around it that makes me really enjoy the CD as it should be heard: intent on being blasphemous and unapologetically evil! Songs include “Choronzonic Chaos Gods”, “Blind Mad God”, “Darkness Undying”, “Zacar Od Zamran”, “Insane Hated for the Supposed Creator”, “The Jesus Sect”, “Intoxicated with Death”, “Satan Ex-Machina” and “Zazaz”, which was actually the name of the band’s three-track EP released last year. The songs on this CD are destined to become legend in the pages of black metal’s already overflowing book. Let’s face it: we’re all going to Hell, right? We horrible antichrist metalheads that kill children and sacrifice animals…we’re all poisoned beyond hope or saving. Well, go ahead and create the greatest soundtrack possible for the trip south, take a couple of enemies with you and remember those Tortex guitar picks! Enjoy the better parts of the blackened scene, starting right here – 9.5/10 Hammers! www.earache.com Chris Pratl
	THE RED KING: SOMNIFERUM SONUC ABYSS RECORDS Gothic music and the scene therein falsely aligns itself with a few connotations not reasonably associated with the genre; the ridiculous “EMO” scene comes to mind where great pleasure is taken in wearing a Glenn Danzig “devilock” that went completely rogue and finding solace in the art of depression. Since when is depression a freaking art form? Anyway, the Goths are taking a pretty hard hit being associated with the lesser community aforementioned. That said, some Goth bands are still emerging from the scene with some pretty good sound. As with metal music Goth has an even deeper pigeonhole to crawl out from because it seems there’s even less of a road to travel towards originality. Any band has its work cut out for it attempting to create interesting soundscapes that are enticing and/or imaginative. Oregon has produced The Red King and, to be honest, I’m having a hard time finding out anything about the members from its official website. I’m thinking the art of secrecy is purposely present, so I’ll go on what I have that’s most important: the music. As far as interesting music and creating imagery Red King is…not bad. The fuzz guitars and hazy vocals make for an interesting recording but after a while the music tends to grow cold (no pun intended) and seemingly stuck with no place to go. Some of the arrangements are interesting and melodic, but when I’m listening to “Drip Line”, which goes on for over ten minutes with the same droning piano notes it wears on me quite a bit. Overall I’d give this CD five hammers; it’s not terrible, but it’s just not something I’d be interested in having on more than a couple of times. www.sonicabyss.com Chris Pratl
	Robert Jackson: Twilight Theater AIF Records When I received this double CD by Robert Jackson entitled “Twilight Theater” I didn’t know what to think. It doesn’t look very “metal”, but hell, that never stopped me from listening to music I dig. After all, Devil Doll is really out there, so nothing could shock me any more than that intense Italian, Mr. Doctor. First, let’s give a brief background on Mr. Jackson. This is the New Yorker’s third internationally-released offering. He is an ASCAP award-winning artist that had good radio rotation with his previous release Personal Jesus, which nationally charted. The conceptual CD is more rock opera/gothic narrative with hard rock tunes interlaced and complimenting it. The bio I received says the influences range from Black Sabbath to Alice Cooper to Blue Oyster Cult, but don’t be expecting to hear “Dead Babies” or “Don’t Fear the Reaper”. There is some interesting music to be had here, but I’m not sure if it will appeal to the more hardcore metalheads among us. While the music isn’t bad at all, I really like the spoken word narratives preceding each track. To me that really makes the set enjoyable. Again, not sure if the metal masses will dig it, but if you’re into some abstract, avant-garde offerings with traces of 70s fuzz rock reminiscent of some old Prog bands of the day, try this out! Six Hammers out of ten – not for everyone. www.robertjackson.net Chris Pratl
	RONIN: DISSOLVING PINCH ROLLER SELF RELEASED Have you ever heard vocals that right from the start you didn’t care for and thought you’d never make it through the entire CD? Well seriously that was my first reaction to the New York based all over the place (in a good way) Ronin. However it was quite the rewarding experience to give it my all as not only does the music kick some ass, so do the vocals. Falling somewhere between Chris Cornell and Bobby “Blitz”, Ronin deliver a multi-layered album that sounds like it was birthed from late nights of Kyuss and Kung Fu Molly. The best thing about the CD is no one “formula” has been done to death, there’s several different underlying inspirations, all of which are “Rock” based that really come together nicely over the course of the CD. Production is adequate but the music speaks for itself, recommended for the state of mind heavy listener.. Definitely a grower. http://cdbaby.com/cd/ronin2 =Tom=
	ROTTING CHRIST: THEOGONIA SEASONS OF MIST Outliving the competition without becoming stale and self-indulgent is a hard task for any band, but Greek black-metallers Rotting Christ have done, and have been doing just that. Their latest, ‘Theogonia’ is merely proof. While not as symphonic as the Dimmu Borgirs of the world and not as brutal as the Mayhems, Rotting Christ manage to find a middle ground between hellish intensity and harmonious melody, where very few bands, (only Ancient Rites comes to mind), have been able to exist. From the opening salvo of “The Sign of Prime Creation,” it is clear that these Greek ghouls have nothing to prove, but a great deal to offer. While still keeping to their black metal roots, “Theogonia” manages to weave in eastern melodies, clean vocals, and epic riff structures that are, while not unknown to black metal, are surely not the norm. If you’re looking for all out speed or obvious Satanic tendencies, look elsewhere. However, if you’re looking for a band at the top of their game, almost 20 years after their creation, the newest Rotting Christ is for you. www.rotting-christ.com Eric Bryan
	THE RUINS OF BEVERAST: UNLOCK THE SHRINE BATTLE KOMMAND RECORDS This being my introduction to The Ruins of Beverast I have to admit I was sucked into their spell right from the start. Their blend of Black Metal meets more sporadic structured Death/Thrash is just an instantaneous “joy” in the world of extreme music. Some very cool musical interludes are back-to-back with some very impressive landscapes and sound-wise it’s definitely “grim” but the heart of the music shines through. Dark throne-isms here and there do nothing but help the whole listening experience of ‘Unlock the Shrine’ and this comes highly recommended from someone who is truly a Black Metal minimalist. www.battlekommand.com =Tom=
	STURMGEIST: UBER SEASON OF MIST When you learn that a band is from Norway, the “True Grim Frostbitten” sounds from the likes of MAYHEM, 1349, CARPATHIAN FOREST, BURZUM, DARKTHRONE and so on may automatically come to mind. Do STUMGEIST sound like either one of the aforementioned bands? Absolutely, but the resemblance lies only within the vocals. STURMGEIST has a musical direction towards Industrial and (somewhat) Thrash Metal, comparable to the likes of RAMMSTEIN, GRIMFIST and FINNTROLL. Frontman/bassist/guitarist Sturmgeist (a.k.a. Cornelius von Jackhelln) can perform wretched shrieks as grim-ly as Nocturno Culto and the late Dead, but mixing Black Metal vocals together with a musical direction towards Industrial and Thrash Metal do not mix together. The thing about it is that I probably would have enjoyed the music significantly more if the vocals fit the style. Unfortunately, the record seems more like a chore to have to listen to and review, as opposed to seeming like a pleasure to listen to and subsequently adding them to my radar as a band to keep my eyes and ears on. Some people may dig the mix of Black Metal vocals and a direction towards Industrial and Thrash Metal, but I didn’t particularly care too much for it. For what it’s worth, Sturmgeist (who also handles Orchestration and Programming duties) is aided by Panzer (Electric/Acoustic Guitar, Bass programming) and the Frostbitten Grim being known as Anti-Christian (Drums). - www.season-of-mist.com Dave LARMORE
	TANKARD: BEAUTY AND THE BEER LOCOMOTIVE RECORDS You can’t go wrong with German beer metal, now can you? Here is the Germans 15th release. Sure Tankard had their ups and downs but still standing we have their 15th release. You may have not known it, but they’ve been together, just not having too much press done on them. They’ve been playing shows overseas and now the states get to see their newest release. This is nothing groundbreaking...and that is not bad. These guys have been doing this since the 80's. That being said, you hear the veterans playing it in their music. Obviously you hear the classic German thrash, but you also hear sounds of east coast thrash as well. Their songs still cater to people who like to hear about aliens, rockstars and of course...beer. It’s worth listening to. www.tankard.org Ross FxYxNx
	THERION: GOTHIC KABALLAH NUCLEAR BLAST RECORDS The kings of symphonic bombast have returned! However, after the masterwork that was “Sirius B/Lemuria,” the question stands: have Therion created something even stronger with “Gothic Kaballah?” Unfortunately, no. While ‘Gothic Kaballah’ isn’t their “St. Anger” by any means, it certainly is a step down. Few are the heavy moments that made “Sirius B” hit so hard, and nearly gone are the elements that made Therion a metal band in the first place. The songs on ‘Gothic Kaballah,’ while not a great deviation from their previous symphonic works, are much more vocal and symphony based than ever before, leaving the band itself as a bass player in AC/DC: useless and boring. I wouldn’t dream of challenging their talent as composers, but as a metal band, it seems Therion is being drowned in their ambition. If you’re a fan of opera, or of Therion’s less metal work to the nth degree, then ‘Gothic Kaballah’ will definitely serve you well for the price of its purchase. If you’re looking for Therion as a metal band though, check their back catalogue. www.megatherion.com Eric Bryan
	WITH PASSION: WHAT WE SEE WHEN WE SHUT OUR EYES EARACHE RECORDS There is such a thing as too much. With Passion are a Sacramento, CA. based quintet who seem hell bent on cramming as many notes into a song as humanly possible. Their work is not only somewhat amazing but also boring as all fuck. There’s a huge difference between being a great musician and a great songwriter. Very rarely does a band possess both and With Passion, unfortunately for them are not one of em. Maybe it’s just me but this is music for kids, kids with very little Metal experience who think this stuff is something more than just musical masturbation. I’ve got three words for the fellows in With Passion…Yngwie J. Malmsteen. Fuck yeah he can play but he can’t write songs for shit. If you’re into Headbanger’s Ball 2007 this is for you. www.earache.com =Tom=
	WUTHERING HEIGHTS: THE SHADOW CABINET THE LASER’S EDGE Victorian literature lends its genre-moniker to a band out of Denmark called Wuthering Heights, and I assure you Emily Bronte might not approve of the musical accompaniment, but the metal masses just might! "The Shadow Cabinet" blends symphonic blasts of bombastic sound with great guitar work and strong, edgy vocals that are perfect for this particular brand of music. I immediately think of Dream Theater crossed with Within Temptation and a bit of Stratovarius for good measure. While I hesitate to call them power metal, I do think the disciples of that 80s German sound will appreciate and embrace this tightly-wound band. The unit currently consists of Morten Gade Sorensen on drums, Erik Ravn on guitars, bass and keys, Nils Patrik Johansson on vocals, Teddy Moller handling bass, drumming, and guitar, Andreas Lindahl on keyboards, and Martin Arendal also playing guitar. As you can see this is a band that is multifaceted in that each member handles different instruments at varying times, creating a vast "metallaphonic" experience!   Formed in the early nineties, the band had gone under numerous lineup changes with Erik Ravn remaining the only original member to hold the ship together. Two-thousand-three saw Ravn finally catch his lightning-in-a-bottle in vocalist Johansson. The press release lays claim that Patrik might have been blessed by the same angels who offered one Ronnie James Dio his vocal chords, and I don't dispute this at all. Many vocalists over the years have attempted to ride that train and failed miserably by both comparison and unoriginal presence. Johansson captures the uniqueness of Dio and a young David Wayne (Metal Church) while honing his own niche in Wuthering Heights and the metal world. Any time a singer can capture a legend or two in his or her own style and still remain original to him or herself it's a rare commodity to be enjoyed. The band recorded the 2003 assemblage "Far From the Madding Crowd" to rousing successes around the world, including a slot at the American festival "Prog Power V".  The band's first three offerings collected a musical trilogy, but "Shadow Cabinet" is a collection of new, stand-alone tunes that are nicely arranged and organized. Produced by Tommy Hansen (of Helloween fame), Wuthering Heights has achieved a level of power metal that transcends the drivel calling itself power (and even metal) these days. The combination of folk music and heavy metal is never an easy form of intercourse, but these guys managed to pull it off and I suggest you check out the CD as soon as you can throw down your Sonata Arctica press passes! Song titles include "Demon Desire", "Beautifool", "The Raven", "Faith", "Envy", "Snow", "Sleep", "I Shall Not Yield", "Reason…?" and "Carpe Noctem – Sieze the Night". The bonus CD has the band's amazing performance at Prog Power 2004, so if you missed it (shame the hell on you!) you can hear the majesty therein. Nine out of ten metal hammers for these guys – keep it up and hope to see you in the USA again soon! www.wuthering-heights.dk Chris Pratl
	DVD/VIDEO REVIEWS
	CROWBAR- LIVE WITH FULL FORCE CANDLELIGHT RECORDS DVD One of the original, one of the best! Crowbar is captured live at the With Full Force festival in their first ever DVD release. Along with the eight song setlist you get some decent interview/historical footage of one of NOLA’s best told in documentary style. The show itself is fucking great. Yeah it’s outdoors in the broad daylight, a first for my eyes, but like they’re known to do Crowbar deliver. The set is accompanied by bonus footage which is all the early Crowbar video clips “Subversion”, “Existence Is Punishment”, All I Has (I Gave) and more. I really like the line up of Kirk, Tommy, Zak and Steve so I hope they stick around to make many more Crowbar albums. Buy the sonofabitch, very heavy. www.crowbarmusic.com
	GET THRASHED! SAIGON 1515 PRODUCTIONS Unless you reside under a rock, a huge rock in the middle of nowhere you’ve been waiting for this movie. As a matter of fact I interviewed Director Rick Ernst way back in January of 2005 and my screening copy arrived in December 06. Yeah, I’ve been waiting too. So it’s finally here and all I can say is YES! Yes it kicks ass and yes it was/is totally worth the wait. ‘Get Thrashed’ starts at the beginning of the movement and tells an amazing story of several of the pioneers of the scene that still exists today. Metallica, Megadeth, Slayer, Anthrax, Exodus, Suicidal Tendencies and many more are given marquee status as Rick and crew dissect just what the fuck it was to be around for the glorious mid-late 80’s. From the personalities (Lars Ulrich, Dave Mustaine, Kerry King, Bobby “Blitz” Ellsworth, Scott Ian, Kirk Hammett, Gary Holt, Philip Anselmo, Gene Hoglan, Mille Petroza, Sean Killian, Brian Slagel, Ron Quintana, Jon and Marsha Zazula, Harald O, Eddie Trunk and many more!) to the scenes (San Francisco, Los Angeles, Germany, New York) to the fans and seemingly everything in between it’s pretty much here. The interviews are thorough and the bootleg footage and extensive photo collections throughout the entire film gives it ‘that’ feel, that feel you can’t quite pinpoint but know it’s legit. Ever wonder who signed Exodus to their Torrid Records contract? Ever wonder who the hell the ‘Old Bridge Militia’ were? Ever wonder what it was like to go to L’Amours? Ever wonder what has two-thousand legs and a pair of breasts? Well, I cannot recommend ‘Get Thrashed’ enough. It’s a well thought out and put together time capsule of a movement that changed each and every one of us. That’s right, whether you admit it or not, none of us would be here without these series of events and it’s captured right here. If there were any complaints one would be it’s not long enough, but this is such a lame complain even from the king of complainers, me. Similar to the ‘Headbanger’s Journey’ movie, this thing could easily be 16 hours long and it’d still leave out something or someone. The other would be the inclusion of Corey Taylor of Slipknot fame. This guy is just a fucking sham and I don’t believe a nanosecond of anything he say’s on here. Sorry to be so petty, but he’s like a cop who busts the part, a total buzzkill. Aside from me being an idiot the film is current being shown at select film festivals with an impending DVD release date, hopefully announced soon. www.getthrashed.com =Tom=
	VIO-LENCE: BLOOD AND DIRT DVD MEGAFORCE/METALLIAN PRODUCTIONS In their extremely short lifespan San Francisco’s Vio-Lence became one of my favorite bands, ever. Talk about a band that have no in between opinions, you either hated them or would die for them, I’m in the second category. The release of this DVD is basically the final chapter of the “reunion years” 2001-2003 and what a send off! ‘Blood And Dirt’ is a two disc collection featuring a live disc and a documentary. The live disc is based around the band’s jaw dropping return to the stage at the 2001 Thrash of the Titans show. That show is in it’s entirety and clips from 1993, December 2001 (footage of the live album the re-issue of ‘Eternal Nightmare’ contained) and their final show in 2003. Disc 2 is what music DVD is all about. Director Jerry Allen tells the definitive Vio-Lence story via interviews with the band. Their story (well documented by MM over the years) is one that is every bit entertaining as it is interesting. The story is seamless and no stone is left unturned as members Phil Demmel, Robb Flynn, Sean Killian , Perry Strickland and Deen Dell take you with them as they thrash their way across America with Testament in 88 to the Riots of 89 and into Pyramid Studio with Alex Perialis in Ithaca, NY. Hear from former managers and fans as they tell the story of a band too later or too early, depending on who you ask, for This is one lesson in Vio-Lence you won’t soon forget. www.myspace.com/violencesf =Tom=