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        CHRONICLES OF CHAOS E-zine, August 12, 1995, Issue #1


Co-Editor: Adrian Bromley <no email>
Co-Editor: Gino Filicetti <ginof@io.org> (_DeaTH_ on #metal)
Web Page Manager: Brian Meloon <bmeloon@math.cornell.edu>
Mailing List provided by: The University of Colorado at Boulder

--> Interested in being reviewed? Send us your demo and a bio to:
 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
                         CHRONICLES OF CHAOS
                           57 Lexfield Ave
                            Downsview Ont.
                           M3M-1M6, Canada
             Fax: (416) 693-5240   Voice: (416) 693-9517
                         Email: ginof@io.org
 -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a monthly magazine electronically  distributed
worldwide via the Internet. Chronicles of Chaos focuses on all  forms
of brutal music; from Thrash to Death to Black Metal, we have it all.
Each issue will feature  interviews  with  your  favorite  bands  and
written from the perspective of a true  fan.  Each  issue  will  also
include record reviews and previews, concert reviews and tour  dates,
as well as various happenings from  the  metal  scene  worldwide.  We
here at Chronicles of Chaos also believe in reader participation,  so
we encourage you  to  submit  any  material  you  may  have  to  Gino
Filicetti <ginof@io.org>.

HOW TO SUBSCRIBE
~~~~~~~~~~~~~~~~
You may subscribe to Chronicles of Chaos at any  time  by  sending  a
message with "SUBSCRIBE coc-ezine <your-name-here>" in  the  BODY  of
your message to  the  list  handler  at  listproc@lists.colorado.edu.
Please note that this command must NOT be sent to  the  list  address
<coc-ezine@lists.colorado.edu>, but to the mail server which  handles
this mailing list.

WORLD-WIDE-WEB SITE
~~~~~~~~~~~~~~~~~~~
We are currently  in  the  process  to  constructing  a  website  for
Chronicles of Chaos, you can  check  it  out  by  pointing  your  web
browser to 'http://www.geom.umn.edu:8000/~bmeloon/music/coc/coc.html'
If you have any comments or suggestions, please  email  Brian  Meloon
<bmeloon@math.cornell.edu>.

>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

Issue #1 Contents, 08/12/95
---------------------------
Editorial
The Fine Art of Noise Making: An Interview with Fear Factory
Independant Feature: Ontario's own Rotting
Feature Review: Rotting - 'Drown in Rotting Flesh'
Record Revelations
-- Crawl - 'Earth'
-- Suffocation - 'Pierced From Within'
-- Pentagram - 'Be Forewarned'
-- At the Gates - 'Terminal Spirit Disease'
-- Crowbar - 'Time Heals Nothing'
-- Malevolent Creation - 'Eternal'
-- Emperor - 'In the Nightside Eclipse'
-- Overkill - 'Wrecking Your Neck Live: Overkill 1985-95'
New Noise
-- Enthroned - 'Absence of Life'
-- Fearsight - 'Timequake'
Chaotic Concerts
-- Morbid Angel's Mayhem Unleashed!
What We Have Cranked
The Final Word

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                          E D I T O R I A L
                          ~~~~~~~~~~~~~~~~~

Well check it out, I can't believe that we are actually  doing  this.
Chronicles of  Chaos  is  finally  out,  and  this  is  just  fucking
amazing!!!! I've always wanted to start my own music 'zine, and  once
upon a time I actually did. It was about a little more than year  ago
when I started Loud Lyrix, a weekly 'zine that  contained  lyrics  to
various heavy metal songs. It was great while it lasted, but all good
things must come to an end. However,  I  am  now  BACK,  and  with  a
vengeance. Chronicles of Chaos is in some  ways  like  the  legendary
Phoenix, born from the ashes of a previous life. Chronicles of  Chaos
is what I always wanted Loud Lyrix to be, a full  fledged  electronic
magazine, of and for the metal scene worldwide, but I never  had  the
time and resources to actually pull it off. But  with  the  help  and
endless energy of my Mexican Jumping Bean pal,  Adrian  Bromley,  the
dream has come  true  finally.  It  is  just  amazing  how  fast  our
membership list has grown even before we released the FIRST issue  of
CoC. By the time you guys get this, I will expect the mailing list to
be at or above 150 people. That is just absolutely incredible and I'd
like to thank everyone who has helped us out and will continue to  do
so, especially the gracious listmaster at the University of  Colorado
who gave us a spot on their LISTSERV absolutely  free,  and  to  Drew
Masters of MEAT magazine, who's continually showing me  the  ins  and
outs of music journalism. Thanks a million, and look forward to  many
more exciting issues of Chronicles of Chaos. -- Gino Filicetti

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        T H E   F I N E   A R T   O F   N O I S E M A K I N G
        ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                    An Interview with Fear Factory
                        Story: Adrian Bromley

"I think what we have done is made a beautiful piece of artwork"
   - singer Burton C. Bell on Demanufacture

     Los Angeles' industrial metal masters Fear Factory have embraced
the tools of technology and chosen  their  guidance  as  a  means  of
musical delivery,  as  witnessed  on  their  latest  Roadrunner/Attic
release 'Demanufacture' - a powerful second full-length  outing  that
fits somewhere between Pantera and Ministry, sure to kick you  square
in your megabyte!
     "We have always used keyboards in our music,  but  this  is  the
first  time  we  have   used   them   extensively,"   explains   lead
vocalist/growler Burton C. Bell from Roadrunner's head office in  New
York. "By incorporating more technology we could emphasize our  music
to get a fuller sound."
     Completed by guitarist Dino Cazares, drummer Raymond Herrera and
new bassist Christian Olde Wolbers, it seems Fear Factory  is  trying
to break away from the industrial/death metal sound that brought them
victory in the metal world with their  earth  shattering  1992  debut
'Soul Of A New Machine'.
     States Bell, "We wanted to use the technology that is  available
to us - a lot of that electronic equipment and technological stuff  -
'cause we wanted to manipulate the machines to  get  what  we  wanted
because we're tired of that typical industrial sound. We wanted  more
of a cleaner, cold sound rather than a heavy clanging-banging  sound.
We did at least half of the record on computer, and it was great."
     While many of today's bands change to become trendy or accepted,
Bell assures me that changes in Fear Factory have been about  growth.
"I can see how we have grown. It's not like an instant change, though
it may seem that way to our fans because it has been some  time  from
our first record. I want people to react positively just  because  it
is still really aggressive and it is still us."
     Upon listening to the album many fans will note  that  Bell  has
transformed his one-time permanent growling mode to a  very  assorted
list of vocal techniques. "A lot of the music didn't call for the low
guttural stuff anymore," contends Bell. "I wanted to move  away  from
that,  yet  it  wasn't  totally  intentional.  I  have  become   less
self-conscious as a singer. I guess from growing up I have  become  a
better singer ... vocalist should I say."
     Taking  only  four  months  to  write,  record  and  finish   up
Demanufacture, Bell accounts the maturity of the band in  regards  to
both song and music writing with the rapid completion of  the  latest
disc - a far cry from the year and a  half  of  the  'soul-searching'
that went into their debut. "I think the writing process  has  become
more extensive, not a lot easier, but it is more  of  a  thought  out
process. Until everyone is completely satisfied with a song  then  it
is not done."
     Seeing the response and respect Fear Factory has  attained  over
the last little while does he and the  rest  of  the  band  feel  any
pressure for their band by being labelled 'New Breed Of Metal.' "I am
actually proud to be called the 'New Breed,'  the  'New  Generation.'
This is something new and we are creating new music for the people of
the future to hear. That is exciting.
     "I think new bands like us,  Machine  Head  and  Monster  Voodoo
Machine are all creating and doing new stuff. It is a  new  style  of
playing and we have touched on something that people will build upon."
     Through the transitions that the band has taken  over  the  last
three years, Bell notes that though fans  have  come  and  gone,  the
strong core of Fear Factory fans still exists and continues  to  grow
with each album and tour.
     "I think our fans have grown with us. I think we have lost  some
of our fans, the real rigid death metal fans that  are  steadfest  in
their beliefs that it is death metal all the way. I think there are a
lot of fans and listeners that have evolved with us and are  starting
to understand the meaning of music. It is just that when a band grows
and it is special. It is good to do something special all the time."
     And what about the band's growth? "We got to keep  changing  and
do something different every time and if you don't that is  when  the
boredom sets in. We are going to be trying to  do  innovative  things
with Fear Factory in the future."

*****************  Check Out Fear Factory ON TOUR  ******************
              with Megadeth, Flotsam And Jetsam and Korn

August 13 - Compton Terrace, Phoenix, AZ
August 16 - Sunken Gardens, San Antonio, TX
August 17 - Johnnyland, Corpus Christi, TX
August 18 - Woodlands Pavilion, Houston, TX
August 19 - Riverpark Amphitheatre, Tulsa, OK
August 20 - Bomb Factory, Dallas, TX
August 22 - State Palace, New Orleans, LA
August 23 - Bayfront Amphitheatre, Pensacola, FL
August 25 - University of Central Florida Arena, Orlando, FL
August 26 - Bayfront Park, Miami, FL
August 27 - Expo Hall, Tampa Bay, FL

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              I N D E P E N D A N T   F E A T U R E   !
              ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
               An interview with Ontario's own ROTTING
                        Story: Adrian Bromley

     Newmarket, Ontario is not  the  most  common  place  that  you'd
expect to be the home of one of Ontario's finest death metal  outfits
Rotting. But it is.
     Comprised of singer Korey Arnold, guitarist Jeff White,  drummer
Keith Devry and Rob MacAuley on bass, this quartet of metal  fanatics
live and breathe within the realms of obscurity that  fall  upon  the
death metal scene.
     "We grew up on all sorts  of  music,"  explains  guitarist  Jeff
White from over the phone in Newmarket. "We  justed  wanted  to  play
metal music.
     "When we were growing up we were listening to a lot of metal and
death metal music in Grade 7 and Grade 8, bands  like  Metallica  and
heavier stuff."
     He adds,  almost  hesitant  about  admitting  it,  "The  drummer
(Devry) started picking up death metal and metal  albums  because  of
the cover artwork. That is when we started to get into it."
     Since the initial introduction into  the  world  of  metal,  the
members of Rotting have since then triumphantly done a tour de  force
in  the  world  of  metal  music.  They  have   become   a   somewhat
well-known/heard-of band within Canada.
     Formed from the ashes of two bands, Mortally Deceased and Almost
Human the band, with the same line-up, except for  the  departure  of
original bassist Mike Belfy and arrival of MacAuley, the four  formed
Rotting and in 1993 released their debut demo Christcrusher.
     Now with their latest offering of speed,  doom  and  gloom,  the
seven-song demo 'Drown In Rotting Flesh', Rotting is hoping  to  take
control and rise to the top of a sinking death metal scene in Canada,
primarily in Toronto and Montreal.
     About the demise he says, "Death metal is  starting  to  die  in
Toronto. At one time it was really big and now it is dying down."
     The topic shifts to the recent August 6th show of  Morbid  Angel
with guests Grip Inc. at the Opera House in  Toronto,  a  show  which
only drew 150 fans. A few years back that would have been unheard  of
explains White.
     Is Montreal's scene still thriving Chronicles  Of  Chaos  asked?
White's reply, "It is starting to go down there as  well.  The  scene
there really isn't doing much for metal bands."
     Within the boundaries of  Toronto  (the  closest  metropolis  to
Newmarket) there are very few bands if any of the death metal  genre.
How about at home in Newmarket?
     "We are pretty much the only death metal band around here.  When
we started there were only a few metal/death metal bands  around  and
now there are a few around here," said White with little interest  of
the competition rather than the fact that it brings (with more bands)
an awareness and possible interest of metal in the future.
     So being from a pretty small town and with little if any support
from a larger town, how does a band like Rotting go  about  making  a
name for themselves?  "We  look  for  support  through  fanzines  and
reviews," states White. "Hopefully we  will  be  recognized  somehow.
Even with this e-mail (referring to CoC) magazine it will help us."
     Despite all of the negativity  in  and  within  the  surrounding
areas, does White see metal  coming  back  to  what  it  was  in  the
mid-80's? What will be the deciding factor in the return of metal?
     "I don't think there is a deciding factor. Every type  of  music
goes through a phase. I think it will be about  five  years  when  it
gets to what it used to be." As for any support on our  side  of  the
border, White hopes that his band  and  other  mighty  ones  such  as
Cryptopsy and Kataklysm will expose the Canadian metal scene.
     Look for Rotting to be  doing  something  in  the  near  future.
Chronicles Of Chaos will keep you up to date with the plans  of  this
Newmarket quartet. As for now, support strong Canadian metal and pick
up Rotting's latest, 'Drown In Rotting Flesh'.

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                     F E A T U R E   R E V I E W 
                     ~~~~~~~~~~~~~~~~~~~~~~~~~~~
 
Rotting - 'Drown in Rotting Flesh'  (7 track demo)
by: Gino Filicetti

This 7 track cacophony  of  brutality  comes  to  us  from  Newmarket
Ontario's Rotting, a four piece formed in the  spring  of  1993.  The
demo opens with a track called, 'In  Vain'  for  which  Rotting  have
recorded a video played on Much Music's Power  30  a  surprising  TWO
TIMES! This song sets the trend for the rest of the tape. The Rotting
sound includes deep guttural vocals, a heavy pounding rhythm  section
and low tuned  guitars.  The  band's  influences  appear  in  certain
tracks, such as Cannibal Corpsesque blast beats in 'Voices' to killer
Carcass-like crunch in 'Mental Genocide', definitely the  best  track
on this outing. Although there is little vocal  variation  throughout
the tape, Korey  does  pull  off  some  ear-shattering  screeches  in
certain spots giving these songs more life.  One  interesting  sample
that begins the track 'Rotting', is a soundbite from the R. Bud Dwyre
suicide, a state treasurer who shot himself in the mouth on  live  TV
after being exposed in a scandal. A fine demo from a  rare  breed  of
musicians, ie Canadian Death Metalers.

Contact: ROTTING, c/o Korey Arnold, 58 Roxborough Rd.
         Newmarket Ont., L3Y 3K9, Canada, (905) 830-4016

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This is where we rant, rave and rip apart albums, check  this  column
every month for the scoop on the latest in heavy hand-outs.

Scoring:  10 out of 10 -- If there was ever a perfect CD, this is it!
           8 out of 10 -- A great piece of metallic mayhem
           6 out of 10 -- Not too bad of an album
           4 out of 10 -- You are treading in dangerous waters
           2 out of 10 -- If you like this, you are fucked!
           0 out of 10 -- My shit can put out better music than this!


Crawl - 'Earth' (May 1995, Pavement)
by: Gino Filicetti  (6 out of 10)

This album starts off with a bang, right away, without  any  time  to
fathom what's in store for you,  it's  straight  into  the  malicious
music of Crawl. The first  track,  'Skinned',  contains  samples  and
powerful shotgun blast beats from the rhythm section.  The  music  is
very heavy and also has it's share of  industrial  sounds  thrown  in
like the occasional mechanical drone or the odd sample of some old  B
movie.  The  vocals  begin  with  a  simplistic  scream  style   very
reminiscent of newer Fear Factory material but turn into  an  awesome
growl as the album progresses. The lyrics are basic and to the point,
but still have  a  reasonable  semblance  of  intelligence  in  their
structure. Luckily, the CD is  only  38  minutes  long,  the  perfect
length for this type of music in my opinion,  anything  longer  would
probably  prove  very  monotonous.  The  last  track,  'Release'   is
definitely my fave, with its  experimental  beginning,  to  its  wild
ending, you'll think it's over and done with just as the music  comes
back to knock you down with a flurry of noise best  described  as  an
electronic thunder storm. A good buy for any fan of Fear  Factory  or
similar bands.


Suffocation - 'Pierced From Within'  (1995, Roadrunner/Attic Records)
by: Gino Filicetti  (7 out of 10)

Another release from one of New  York's  biggest  death  metal  acts,
Suffocation. Being recorded at the legendary  Morrisound  Studios  by
the death metal demigod himself, Scott Burns,  it's  no  wonder  that
'Pierced From Within' manages to live up to, if not surpass  previous
Suffocation efforts. This album  is  chocked  full  of  clever  tempo
changes and amazing lead riffs in the vein of Carcass's  'Heartwork'.
Doug Cerrito and Terrance Hobbs prove to the world that  death  metal
does in fact have some of the greatest guitar whizzes around. Despite
the extensive use of lead work on this album, Suffocation do not lose
any of their renouned heaviness.  Churning  guitar  riffs  are  found
everywhere on this release. Some of my favorite tracks include  'Torn
Into Enthrallment' with it's acoustic intro, and solid grinding riffs,
'Depths of Depravity' with its  amazing  bass  intro  and  'Brood  of
Hatred' definitely has the best lyrics on this album.  Also  included
is 'Breeding The Spawn' a re-recorded bonus track.  Overall  I  liked
this album, but I was disappointed with the lack of vocal  variances,
and likewise, I also got a little bit of the 'sameness' feeling while
listening to it.


Pentagram - 'Be Forewarned'  (May 1995, Fierce)
by: Gino Filicetti  (5 out of 10)

This is  the  latest  release  from  one  of  doom  metal's  founding
fathers, Pentagram. From the first track, 'Live  Free  and  Burn'  to
the last track, 'Be Forewarned' I  couldn't  get  the  Black  Sabbath
association out of my mind. Although this band has been around for  a
long while and are recognized and revered in the doom metal scene,  I
still think that their originality is somewhat lacking. Don't get  me
wrong though, I think this CD is quite good, with  more  than  a  few
catchy tracks including my favorite, 'Ask No More'. The production on
this CD is disappointingly lacking though.  A  good  doomy,  majestic
sound calls for high levels of production and a lot  of  mixing  work
which unfortunately doesn't come through on this  album.  Vocal  work
and songwriting are both above average, but I still think that  Bobby
Liebling sounds like a mixture of every Sabbath singer that ever was,
especially Ozzy/Dio/Gillian. Overall this CD adds up to nothing  more
than average, disappointing for a band with such roots.


At the Gates - 'Terminal Spirit Disease'  (Jan 1995, Futurist [US])
by: Brian Meloon  (8 out of 10)

Although this was a 1994 release in Europe, it didn't make it to  the
States until 1995. That's our loss, since this is a really good disc.
It's much better than 1992's _The Red in the Sky is Ours_,  basically
in every way, although it is missing a standout track like "Windows".
It also suffers from "Desultory-syndrome", in  that  about  half  the
stuff is really lush, melodic, pseudo-black metal, and the other half
is standard death metal fare. Even worse,  both  styles  tend  to  be
mixed together in each song, often without smooth transitions between
them. Still, the interesting stuff here  makes  up  for  the  average
stuff, and this is a very good disc.


Crowbar - 'Time Heals Nothing'  (Spring 1995, Pavement)
by: Adrian Bromley  (7 out of 10)

This band is heavy. Really heavy. With the  release  of  'Time  Heals
Nothing', their sophomore release, New Orlean's  Crowbar  have  taken
control of a lot of things this time around, primarily the  producing
of this album (their debut was aided by Pantera's Phil  Anselmo)  and
the direction that the band has decided to go with their music. Where
Crowbar last time stood - heavy guitar chords, loud drums and gargled
vocals - with 'Time Heals Nothing'  we  see  a  more  at  ease  band,
growing with their sound and able to branch out and  experiment  with
just how heavy they actually can be. Take note on  opener  "The  Only
Factor" or "Still I Reach"  -  Is  this  band  capable  of  attaining
heaviness through many methods or what? I found  also  other  numbers
like "Lack of Tolerance," the title track or "A  Perpetual  Need"  as
intense pieces of work. My only quarrel about Crowbar and their music
is that it seems to be too generic/repetitive at times. Sure they  go
about reaching a peak of heaviness different than most bands, as seen
through the stop and go sludge of their music, but in  the  end  they
are still just another metal band that isn't  really  stretching  the
boundaries of where metal is capable of going. Deep down inside I see
a lot of potential for Crowbar,  but  right  now  I  think  the  most
important thing that Crowbar needs to do is grow with their sound and
music and let the course of time be the judge of things to come. 


Malevolent Creation - 'Eternal'  (May 1995, Pavement)
by: Gino Filicetti  (9 out of 10)

This album really impressed me; after listening to it, I came to  the
conclusion that THIS is what death metal should sound like. From  the
slow paced opener 'No  Salvation'  to  the  no  holds  barred  closer
'Tasteful Agony' this CD simply smokes! Although there is  some  lead
work present on this release, it does not dominate the music  so  the
absolute death metal purists out there need not worry about this band
'selling out'. Hailing from Florida, Malevolent Creation  succeed  in
breaking out of the 'Florida  Death  Metal'  stereotype  achieving  a
sound that is more in the vein of various European bands. This  could
be attributed to the fact that unlike most Florida bands,  Malevolent
Creation refused to record at Morrisound Studios. This album is  full
of break neck paced songs such as 'To Kill',  mid  paced  songs  like
'Unearthly' and just about everything in between. The  music  however
is never 'too fast'. Some variety is  also  introduced  with  various
samples, and also some distorted vox in 'To Kill'.  Overall  I  think
this album would make a find addition to any CD library.


Emperor - 'In the Nightside Eclipse'  (Feb 1995, Century Black)
by: Brian Meloon  (6 out of 10)

Pretty decent melodic black metal. Not as melodic as some, but  still
good. The production here is unfortunately lacking,  as  the  guitars
are not as clear as they could be. However, there  is  a  substantial
use of keyboards, enough to usually offset the lack of  well-produced
guitars. The songs are usually long, and avoid  becoming  monotonous,
as they vary quite a bit, but unfortunately, only  a  couple  of  the
tracks are actually memorable. Also, there are a few too  many  blast
beats for my tastes, but this is still quite good, and  an  enjoyable
listen. 


Overkill - 'Wrecking Your Neck Live: Overkill 1985-95'
by: Adrian Bromley  (9 out of 10)  (May 1995, CMC Music)

Overkill live? Fuckin' right on!! Having seen Overkill as one of  the
premier thrash bands of the 1980's, this New  York  based  powerhouse
has decided to release a double-live album, the mother  of  all  live
thrash/speed metal albums (aside from the mighty Slayer's  Decade  Of
Aggression.) Some said  this  band  lost  their  edge  following  the
release of 'The Years of Decay', but despite  poor  album  sales  and
stalled tours, Overkill managed to put out strong material  over  the
last few years, one highlight being the superb  'I  Hear  Black'  LP.
With 'Wrecking Your Neck Live' (recorded live at The Agora Theatre in
Cleveland) Overkill manages to  assemble  an  onslaught  of  material
diversity  opting  to  rely  heavily  on  newer  material   such   as
"Supersonic Hate," "Bastard  Nation"  and  the  thrilling  "Spiritual
Void" to carry the bulk of this offering but still packed to the hilt
will classic Overkill numbers like "SkullKrusher,"  "Hello  From  The
Gutter," "Horrorscope" and (probably  the  best  cruncher  they  ever
wrote) "Elimination." For almost two hours of material you  can't  go
wrong  here.  Besides,  this  is  Overkill's  live  epic,  an  honest
collection of live material  and  a  stellar  live  performance,  not
something in the same vein as  Metallica's  drawn  out  money-grabber
from few years back.

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            / /\  /  __/\ V  V /  / /\  / (_) | \__ \  __/
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Your only source of information on the newest of the  new,   and  the
lowest of the underground. New Noise is the best and  only  place  to
read about all the coolest shit you never thought existed! And if you
are a band, don't forget to send us your demo with a bio if you  want
to be reviewed; our snail mail address is printed above.


Enthroned - 'Absence of Life'  (7 track demo)
by: Gino Filicetti

This demo comes to us from Davis CA. Enthroned are a four piece  band
fronted by guitarist, fellow netizen and surprisingly enough,  junior
high school english teacher (!), John  Oster.  The  sample  from  The
Exorcist  III  that  opens  this  album  completely  blew  me   away,
especially  the  underlying  Dracula  soundtrack  recorded   on   it,
definitely a great way to open up and grab someone's attention.  Then
as the excitement of the sample peaks, Enthroned  come  blaring  away
into their musical madness. At first the vocals  disappointed  me;  I
thought the whole rest of the album would have the 'vacuum  cleaner',
barely audible vox, a la Oppressor, however  my  fears  were  quickly
dissippated as the next two tracks unfolded. The Coroner influence in
Enthroned's music is evident, but they seem to have  something  extra
that makes them rise above that pigeon-hole,  seeing  as  I've  never
liked Coroner myself. There is an abundance  of  lead  work  on  this
album that is handled very expertly by John Oster, who shows off  his
classical guitar training  on  the  track  'Toccata'.  As  the  album
progressed, I noticed quite a few vocal variations  which  I  thought
kept the  music  from  becoming  too  stagnant.  This  is  especially
noticeable on my favorite track, 'Sensory Obliteration'. On  'Absence
of Life', Enthroned show off their amazing musical talent by  playing
break neck speed thrash much  in  the  vein  of  Metallica's  various
instrumental outings. And  to  end  off  a  very  professionally  put
together demo, there is a cover of Hendrix's 'Purple Haze',  recorded
completely live with "no over dubs or patch ups!" which I found  hard
to believe. 

Contact: ENTHRONED, c/o John Oster, 909 Alvarado Av #22
         Davis CA, 95616, USA, (916) 758-5357, (916) 979-0368
         email: joster@wheel.dcn.davis.ca.us


Fearsight - 'Timequake'  (6 track demo)
by: Gino Filicetti

This demo comes to us from local Toronto act Fearsight. In  this  six
track outing, Fearsight show that  heavy  metal  with  a  'different'
vibe to it is still alive and well in our fiar city. Their  sound  is
best described as an industrial Paradise Lost with some  elements  of
conventional thrash and death metal thrown in for good  measure.  Two
instrumental songs open up each side of  this  tape  with  a  strange
nordic/medieval feel in both 'Darconian Hymn'  and  'Edenfrost'.  The
vocals on this demo are distorted  but  not  growled.  The  music  is
somewhat substandard and monotonous on most songs excluding  my  fave
track, a really cool old school thrasher which provides the  name  of
this demo, 'Timequake'. I kind of like this band, and their live show
is really good, but this tape did disappoint me. More time should  be
spent on the mixing board and then perhaps we'd have a masterpiece.

Contact: FEARSIGHT, 20 Twenty Third St., Etobicoke Ont.
         M8V-3M8, Canada, (416) 255-3533

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         \ \ \L\ \\ \ \ \ \/\ \L\.\_/\ \L\ \ \ \_\ \ \/\ \__/ 
          \ \____/ \ \_\ \_\ \__/.\_\ \____/\ \__\\ \_\ \____\
           \/___/   \/_/\/_/\/__/\/_/\/___/  \/__/ \/_/\/____/
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     \ \ \/_/_  / __`\ /' _ `\  /'___\ /'__`\/\`'__\ \ \/  /',__\ 
      \ \ \L\ \/\ \L\ \/\ \/\ \/\ \__//\  __/\ \ \/ \ \ \_/\__, `\
       \ \____/\ \____/\ \_\ \_\ \____\ \____\\ \_\  \ \__\/\____/
        \/___/  \/___/  \/_/\/_/\/____/\/____/ \/_/   \/__/\/___/ 


   M O R B I D   A N G E L ' S   M A Y H E M   U N L E A S H E D !
   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    Morbid Angel with Grip Inc. at the Trocadero, Philadelphia, PA
                  by: Aren Platt <EndOfGod@aol.com>

     Grip Inc. seemed to me to  be  an  overrated  garage  band  that
picked up the best drummer around (Dave Lombardo, ex of Slayer).  The
crowd seemed to agree with me. After they'd play a song the  applause
would be scarce until Lombardo stood up, then the entire  club  would
go wild. After their mediocre set, that only was worth seeing because
of the excellent drumming, Lombardo stage dove into the  crowd  which
loved him, undeniably the highlight of Grip Inc's performance.
      Morbid Angel played an excellent show, focusing on their  older
stuff from 'Alters of Madness' and 'Blessed are the Sick' as much  as
the new stuff. In between songs David Vincent would go off about  how
death metal is dying. Pete Sandoval did a killer drum solo before the
band went into 'Caesar's Palace'. Erik Rutan, the new guitarist,  was
able to hold his own, soloing next to Trey, not quite  as  good,  but
better than most. The entire band seemed, musically,  to  be  tighter
than they were on the 'Covenant' tour. Overall it  was  an  excellent
show that I would recommend to anyone.


   Morbid Angel with Grip Inc. at The Opera House, Toronto, Ontario
         by: Alain M. Gaudrault <amgaudra@ccnga.uwaterloo.ca>

     While the featured acts on  this  bill  were  Morbid  Angel  and
opening band Grip Inc., a group far more insidious reared their  ugly
heads at the Opera House this memorable  night.  Over  a  dozen  Nazi
skinheads decided to make a spectacle of themselves, in  the  process
making life miserable for many of the fans  in  attendance.  After  a
short, unimpressive set from a local Toronto act, Grip Inc. took  the
stage and proceeded to impress the audience with their tight, quickly
paced show. The band played  a  number  of  songs  from  their  debut
release, _The Power of Inner Strength_, and ex-Slayer  skinsman  Dave
Lombardo performed the mandatory drum solo. Many,  including  myself,
were disappointed by the lack of a Slayer track which has  apparently
been a staple of their shows in the past. Nonetheless, the crowd  was
privy to Gus Chambers' (vocals) taunting  of  the  Nazi  bullies  who
seemed to derive great joy out of pushing people around in  the  pit,
and intimidating those who would dare mouth off to their  activities.
At one point, Chambers lunged into  the  audience  swinging  his  mic
stand hoping to make contact with a few of the thick skulls who sadly
were reigning the pit. The skinheads voiced their  anger  and  hailed
Hitler, after being forced to scurry away from the mic stand's  heavy
cast-iron base whizzing nearby.
     Morbid Angel then took the stage and played a near-flawless set.
While they included material from each of their four studio releases,
tracks  from  their  latest  opus,  _Domination_,   were   prominent.
Unfortunately, none of the band members  made  any  attempt  to  show
displeasure at the obvious spectacle still occurring  on  the  floor.
Dave Vincent (vocals, bass) made repeated attempts to bring the crowd
onto the floor, possibly not realizing why many were steering  clear.
While rumours have been circulating that  Vincent  is  involved  with
white supremacist groups, these were  flatly  denied  in  an  earlier
interview with Erik Rutan, Morbid Angel's recently hired axeman.
     Despite low attendance, musically, this show was top notch.  Too
bad certain groups have decided that their race's supremacy  must  be
exhibited through indiscriminate acts of hate and violence.

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            W H A T   W E   H A V E   C R A N K E D ! ! !
            ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Gino's Top 5

1. Bolt Thrower - 'War Master'
2. Amorphis - 'Tales From The Thousand Lakes'
3. Carcass - 'Necroticism: Descanting the Insalubrious'
4. Type O Negative - 'Bloody Kisses'
5. Entombed - 'Clandestine'

Adrian's Top 5

1. Monster Voodoo Machine - 'Suffersystem'
2. Fear Factory - 'Demanufacture'
3. Kyuss - '... And The Circus Leaves Town'
4. Various - 'Nativity In Black'
5. Frozen Doberman - 'Bonsai'

Brian's Top 5

1. Death - 'Symbolic'
2. At the Gates - 'Terminal Spirit Disease'
3. Elegy - 'Supremacy'
4. Aeon - "demo #2"
5. Emperor - 'In the Nightside Eclipse'

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                     T H E   F I N A L   W O R D 
                     ~~~~~~~~~~~~~~~~~~~~~~~~~~~

Well, that's it everyone, the end of Chronicles of Chaos Issue #1.  I
hope everyone enjoyed this  'pilot'  issue  as  much  as  we  enjoyed
putting it together for all of  you.  I  have  a  feeling  that  this
fucking thing is gonna be a blast for everyone, I'm just  so  excited
about it all. So make sure  you  tell  all  your  friends  about  us,
whether their are online or not. We need all the exposure we can  get
on our way to being 'The Best 'Zine on the Internet'!  See  ya   next
month everyone (or maybe sooner!) -- Gino Filicetti

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End Chronicles of Chaos, Issue #1
