              __                                          _
            ,'_/ /7  _   _   _    () __ /7 __ __    _   ,'_7
           / /_ / \ //7,'o| / \/7/7,','//,'o/(c'  ,'o| /_7
           |__//n_///  |_,'/_n_/// \_\// |_(/__)  |_,'//
                           __
                         ,'_/ /7  _   _   __
                        / /_ / \,'o|,'o| (c'
                        |__//n_/|_,7|_,'/__)


         CHRONICLES OF CHAOS e-Zine, March 5, 2000, Issue #46
                   http://www.ChroniclesOfChaos.com

Editor-in-Chief: Gino Filicetti <mailto:gino@ChroniclesOfChaos.com>
Coordinator: Adrian Bromley <mailto:adrian@ChroniclesOfChaos.com>
Copy Ed./Contrib.: Pedro Azevedo <mailto:pedro@ChroniclesOfChaos.com>
Asst. Copy Editor: John Weathers <mailto:john@ChroniclesOfChaos.com>
Contributor: Alain M. Gaudrault <mailto:alain@ChroniclesOfChaos.com>
Contributor: Brian Meloon <mailto:brian@ChroniclesOfChaos.com>
Contributor: Adam Wasylyk <mailto:adam@ChroniclesOfChaos.com>
Contributor: Paul Schwarz <mailto:paul@ChroniclesOfChaos.com>
Contributor: Aaron McKay <mailto:aaron@ChroniclesOfChaos.com>
Contributor: David Rocher <mailto:david@ChroniclesOfChaos.com>
Contributor: Alex Cantwell <mailto:alex@ChroniclesOfChaos.com>
Contributor: Matthias Noll <mailto:matthias@ChroniclesOfChaos.com>

NOTE: You may unsubscribe from Chronicles of Chaos  at  any  time  by
      sending a blank email to <Unsubscribe@ChroniclesOfChaos.com>.

      For  more  Chronicles  of  Chaos  information,  check  out  the
      'Details' section at the end of this issue.

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

Issue #46 Contents, 3/5/00
--------------------------
* Editorial
* Loud Letters
* Deadly Dialogues
-- Celtic Frost: The Morbid Tales of a Dethroned Emperor
-- Empyrium / Sun of the Sleepless: Songs of Sorrow for the Sleepless
-- Therion: Soothing Opera... To Kill By
-- Sentenced: Living on the Edge
-- Setherial: Hell in Sweden
-- Rain Fell Within: The Eternal Ethereal Downpour
-- Rakoth: Leaving Behind Dimension So Hollow
* Album Asylum
-- 2 Ton Predator - _In the Shallow Waters_
-- Abdullah - _Snake Lord_
-- Blatant Disregard - _Waging War in the Center_
-- Broken Hope - _Grotesque Blessings_
-- Cirrosis - _Reciclando Desesperacion_
-- Corporation 187 - _Subliminal Fear_
-- Cradle of Filth - _From the Cradle to Enslave_
-- Dark Shades - _Hymnen an die Dunkelheit_
-- Demons & Wizards - _Demons & Wizards_
-- Dismember - _Hate Campaign_
-- Eternal Oath - _Through the Eyes of Hatred_
-- EverEve - _Regret_
-- Freedom Call - _Stairway to Fairyland_
-- Hades - _The Downside_
-- Himinbjorg - _In the Raven's Shadow_
-- Hirilorn - _Legends of Evil and Eternal Death_
-- Various - _Holy Dio: Tribute to Ronnie James Dio_
-- Horifixion - _Rage_
-- Imperial - _Malmort_
-- Istidraj - _Metafizika_
-- Jacobs Dream - _Jacobs Dream_
-- Lock Up - _Pleasures Pave Sewers_
-- Malevolence - _Martyrialized_
-- Maudlin of the Well - _My Fruit Psychobells... A Seed Combustible_
-- Morgul - _The Horror Grandeur_
-- Mortiis - _Fodt Til a Herske_
-- Nocturnus - _Ethereal Tomb_
-- Notre Dame - _Vol1: Le Theatre Du Vampire_
-- Notre Dame - _Nightmare Before Christmas_
-- Novembre - _Classica_
-- Obtained Enslavement - _The Shepherd and the Hounds of Hell_
-- Precipice - _The Foundation / Black Sun Rising_
-- Pressure 4-5 - _Antechnology_
-- Psycho Industry - _Crushing the Individual_
-- Rain Fell Within - _Believe_
-- Sculptured - _Apollo Ends_
-- Sentenced - _Crimson_
-- Sirius - _Aeons of Magick_
-- Slaughter Lord - _Thrash 'til Death 86-87_
-- Slow Horse - _Slow Horse_
-- Str@in - _Purge_
-- Temple - _Shores of Oblivion_
-- Thanatos - _Emerging From the Netherworlds_
-- Theory in Practice - _The Armageddon Theories_
-- Therion - _Deggial_
-- Thorium - _Ocean of Blasphemy_
-- Thy Primordial - _At the World of Untrodden Wonder_
-- Tourniquet - _Microscopic View of a Telescopic Realm_
-- Trelldom - _Til et Annet_
* New Noise
-- Dark Orchestra - _Can't Stop Vomiting Demo_
-- Dauntless - _Inhumankind_
-- Deride - _Demo 99_
-- Forest of Shadows - _Dysfori Feeri_
-- Fragments of Motion - _Fragments of Motion_
-- Impaled - _From Here to Colostomy_
-- Imperator - _Gods Among Men_
-- Platform Black - _Terra Firma Decay_
-- Shellyz Raven - _Desolation_
-- Unevil Hopes - _As the Light Crushed the Darkness_
* Chaotic Concerts
-- Formulas Fatal to Gorgoroth: Morbid Angel, Gorgoroth and more
-- Untied Bronze Chains: Satyricon, Behemoth and Hecate Enthroned
-- London's Bridges Are Burning: Arch Enemy in London
* Writer's Wrath
-- A Sick Portrait of Extreme Metal
* What We Have Cranked, Top 10 of 1999
* Details

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

                      _____)
                    /       /) ,            ,      /)
                    )__   _(/   _/_ _____     _   //
                  /      (_(__(_(__(_)/ (__(_(_(_(/_
                 (_____)

                        by: Alain M. Gaudrault

     As many of you may have heard, Chuck Schuldiner,  a  pioneer  of
extreme metal through his continually evolving band, Death, had  been
diagnosed with a terminal medical condition,  requiring  experimental
brain surgery for even the faintest glimmer of hope.  And  while  the
surgery was approved without proper financial support, and it appears
that Chuck is now recovering well, what you may  not  have  heard  is
that this  procedure  comes  at  tremendous  financial  cost  to  the
Schuldiner    family,    in     excess     of     $70,000USD.     See
http://www.mtv.com/news/gallery/d/death.html
     We at Chronicles of Chaos believe that we  all  owe  a  debt  of
gratitude to Chuck, not only for having written much great music, but
for having broken new ground in a realm  he  largely  fashioned,  for
being an innovator who has forever changed the face of metal.
     For this reason, we plead all readers to give generously to  the
Schuldiner family, whose address is  provided  below.  Alternatively,
we, the CoC staff, are taking up a collection within our  ranks,  and
extend an invitation to our readers so that you may all contribute to
the collective CoC donation. A running tally, along  with  all  names
and donations (unless otherwise specified  by  the  donor),  will  be
posted in a new, temporary section  of  the  zine  called  The  Chuck
Schuldiner Appeal, which will appear every month there are  at  least
five donations made. The Schuldiner family will be  provided  with  a
copy of this list so that they may know how  many  people  Chuck  has
touched with his music. Donations  in  US  dollars  (check  or  money
order) are preferable. Give 'til it hurts.

The Chuck Schuldiner Appeal
c/o Alain M. Gaudrault
37 Gottscheer Court
Kitchener, Ontario
Canada N2M 3L3
mailto:Appeal@ChroniclesOfChaos.com

The Chuck Schuldiner Medical Fund
c/o Washington Mutual Bank
500 East Altamonte
Altamonte Springs, Florida
USA 32701
Account Number 351-356-4696

Chuck's mother:
Jane Schuldiner
609 E. Citrus St.,
Altamont Springs, Florida
USA 32701
mailto:tanzid@freewwweb.com

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

     Cryptopsy's _None So  Vile_  will  be  re-issued  by  Displeased
Records (mailto:displeased@xs4rall.nl) on February 15th.  The  format
of this extreme death metal classic, which saw  deletion  when  Wrong
Again Records dissolved and has been out of print  for  nearly  three
years,  will  be  nearly  identical,  with  only  the  backprint  any
different. Check  out  CoC  #14  for  our  original  review  of  this
incredible album.

     -- Paul Schwarz

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

                 M""MMMMMMMM                         dP
                 M  MMMMMMMM                         88
                 M  MMMMMMMM .d8888b. dP    dP .d888b88
                 M  MMMMMMMM 88'  `88 88    88 88'  `88
                 M  MMMMMMMM 88.  .88 88.  .88 88.  .88
                 M         M `88888P' `88888P' `88888P8
                 MMMMMMMMMMM

     M""MMMMMMMM            dP     dP
     M  MMMMMMMM            88     88
     M  MMMMMMMM .d8888b. d8888P d8888P .d8888b. 88d888b. .d8888b.
     M  MMMMMMMM 88ooood8   88     88   88ooood8 88'  `88 Y8ooooo.
     M  MMMMMMMM 88.  ...   88     88   88.  ... 88             88
     M         M `88888P'   dP     dP   `88888P' dP       `88888P'
     MMMMMMMMMMM

This is the column where we print those lovely  letters  our  readers
decide so graciously to write us. Whether they be positive, negative,
ignorant or just plain spelled  wrong,  you  can  rest  assured  that
they'll be here in their original form. If you'd like to see your own
letter here, e-mail it to <mailto:LoudLetters@ChroniclesOfChaos.com>.
All  letters  received  will  be  featured  in  upcoming  issues   of
Chronicles of Chaos.


Date: Wed, 12 Jan 2000
From: Unknown Unknownovich Unknownov <unevil@eudoramail.com>
Subject: 'Attention Loud Letters'

In the sound of Black Metal. Or. What should  young  christian  black
metaller know, for not to fail!
Let's start from the point of what is BM. If you'll go to the streets
and start asking people what is  it,  some  of  them  would  probably
unable to answer,  some  will  tell  you  something  from  chemistry,
geology, or even from steel producing industry. Few people will  tell
you, that it is a kind of music, and only few  of  them  will  argue,
that this is an art, an art in it's purest  form!  What  makes  black
metal an art?  I'll  tell  you..  It's  foggy  and  sometimes  frozen
atmosphere. Let's see  how  can  an  atmosphere  in  black  metal  be
created, some bands claim, that the atmosphere is created by keyboard
melody and therefore black metal  with  keyboards  should  be  called
atmospheric.  I  completely  disagree  with  such  point   of   view!
Atmosphere is not a huge amount of air around you, but a  complicated
combination of things, thoughts, views, sounds, etc...  and  feelings
raised  by  all  this!  Sometimes  keyboards  can  even  destroy  the
atmosphere! Remember if you do not know how  to  play  the  keyboards
better do not play them! Primitive, unprofessional, oversweeted  (yes
oversweeted) melody created on a cheap equipment can be revolting, as
everything, that is oversweated can be. So let's pass  to  the  black
metal music without keyboards, let's go to the evil old school bands,
what makes such primitive and terribly evil bands as BATHORY, MAYHEM,
BURZUM, DARKTHRONE to be such a respected  one?  Let's  revise  their
music take for example some new  releases  from  MAYHEM  it  will  be
"Wolf's Lair Abyss" and from DARKTHRONE "Ravishing Grimness." Can you
hear  a  very  fast  and  quite  high,  deep  droining  guitar  noise
especially on "Wolf's...", not such noise as on BURZUM's  "Filosofem"
but something, that can remind you of leaves waving on the wind!  Can
you see on both releases the deep sound wall, it seems, that a  sound
had been pressed! Can you hear the incredible speed  of  "Across  the
vacuum" song from DARKTHRONE. Now if you have the internet access  go
directly to the  page:  http://members.xoom.com/Tuonela/  choose  the
link to NEKROPIRU band! This is one  of  the  most  "TRUE  AND  EVIL"
"TOTAL UNDEGROUND" bands found on earth and listen  to  their  insane
songs! Especially note their first 3 min track, can  you  see  insane
drum machine  rythm  almost  impossible  scream  and  the  incredible
primitivity of the song. Now read the statement! It tells  you  about
the grey and dark realm in which the creator of  this  music  exists!
Check out the lyrics of the song "At Nightfall the Mist Rises."  Now,
while listening to all this titles mentioned  above  imagine  youself
standing in the forest, but not in a usual forest  with  green  trees
and grass, but in the forest of some  nonexistened  realm  with  dead
fallen tree-trunks, extremely large  fir  trees,  rotten  trunks  and
colonies of large grey mushrooms all around. Imagine strange creature
covered with moss passing near you  making  a  strange  and  sinister
noise. Or put yourself  standing  somewhere  in  Russia  (in  Pskov's
district for example)  in  the  contryside  in  the  field  near  the
"normal" forest after sunset, or even when it's just grey  and  foggy
day. If nature themes are not for you, then put yorself in a city  of
fantasy with dark gray and braun houses made of stone. In  this  city
sun never shines strange small, ugly and evil citizens rarely passing
near you, or running down the gloomy streets crying  something,  that
sounds like "uhhu..uhh..uhhu..uhh." At least,  if  nothing  mentioned
above is for you, I can recomened you to go to the forest in a  windy
weather, put your face up to the skies for a few seconds, then  blood
pressure will rise in your head a little bit  and  a  dizzy  feeling,
that you will get will remind you a lot about true black metal sound.
NOTE: please do not do it (I mean, do  not  put  your  head  in  this
position for more, than a few seconds, otherwise it  can  be  harmful
for your health, you can even loose your  conscious!)  That  is  just
some of associations which can be aroused  while  listening  to  such
music. And for me, there is no doubts, that black metal is no  matter
what ideology must remind you exactly about this feauters (exept  for
the 'ancient city' association, which can be caused mostly  by  death
metal) in case music which is told to be black metal can't push  such
feelings in you (especially if can't push any feelings in  you)  this
is not true black metal.
You can argue, that christian music shouldn't be so "cruel",  "harsh"
and "extreme." I can only say: "NO, THEY SHOULD!!!" The idea of  this
music is to have qualities stated above, so the power of the music is
also connected with such qualities, so  if  you  are  creating  black
metal in the name of our lord JESUS you can (or even must) put it  to
the extremest state of sound, it will just prove, that even  in  this
area evil entity can loose it's positions and points. I  think,  that
even if you will create such unbearable noise  as  AKKIKUOLEMA  (also
feautered on the site  above)  band  and  it's  side  prokject  KYPRA
(extreme noise/black metal), but in the name of God, it also  can  be
accepted! You can also point a finger at me and say: "You are  poser,
you are telling us such things  and  playing  MELODIC  music  on  the
piano." Well, first of all my band UNEVIL HOPES is  not  black  metal
(and I wished it was, there was time, when I even thought it was such
band), then in some songs I used a "sound wall" and to some extend my
music was extreme! Anyway I don't want me to be  understanded  wrong.
I'am not against melodic music and even  melodic  BM  such  band  for
example as VAAKEVANDRING is extremly good (sorry guys I still haven't
got your CD, but your old and new samples rulez) and as an example of
an evil band here is EMPEROR their "Anthems..."  album  unfortunately
is still unreached by anyone, this bands know how to  use  keyboards.
Lets now analyze some melodic BM  material.  Let's  take  two  bands:
DOMMER (unfortunately I had heard only only one song  "Cries  of  the
Haunted.") and a secular one,  an  Israel  band  called  GRIMOIRE.  I
think, that their music is quite similar. Both of them use  a  little
bit oversweeted melodies, well, I can't say, that they are revolting,
but try to listen to them for hungred times nad for sure you will  go
insane! Both made a greate mistake, they had but  guitars  and  drums
into the background, when it is more important to put melody  in  the
background like VIXIVI and SANCTIFICA did on their latest recordings.
In   the   background   even   primitive   keyboards   won't    cause
dissatisfaction. What  can  I  advise  to  melodic  bands:  use  real
instruments do not use synths, I had discovered in my own experience,
what does a cheap synth means. And for sure no synth can replace real
instruments, no matter piano, guitar or folk instruments. I also will
add, that folk instruments are more suitable  for  primitive  melodic
line, while piano and synth are more acceptable in complex forms.
Concering cover art and lyrics it is always up to  you.  For  I  will
recommend for all true and harsh black metal bands to use  black  and
white covers. Lyrics also I  think  must  be  agressive,  but  it  is
completely up to you.
BM releases can be delivered to the listener in two ways, first is to
unleash a mass of music of a  highly  energetic  music  onto  a  poor
metalhead,  BURZUM,  MAYHEM,  DARKTHRONE,  ENSlAVED  (remember  their
reissued demo "Yggdrasill") are very good  at  this  point,  bur  for
example BURZUM uses at the same time the  second  technique.  I  call
this technique conceptual it means a lot of tracks of differnt styles
(metal changes, unmetal changes, again to metal, etc.) And  different
length, lyrics on one theme. Sometimes a song taken  separately  from
such release means nothing, usually both technics are used. And I can
add, that both of them, are effective and useful.
Finaly we had come to the end. I Hope, that you are not tired  of  my
boring thoughts and ideas. Remember black metal of you want  you  can
call it unblack metal is a very serious music in  the  name  of  God,
it's the music of the coming doomsday!
God Bless you and your bands and all people around you.
Uncovered of UNEVIL HOPES.
MARRY CHRISTMAS TO YOU!


Date: Sat, 15 Jan 2000
From: DJCANTU@aol.com
Subject: NEW YEARS EVIL

HEY,
I was reading the loud letters section of the jan  15th  edition  and
some idiot asked about christian death metal. how could anyone be  so
stupid just the name makes me sick thats so  retarded.  Well  I  just
wanted to say you guys rock lets get some more gore on it.


Date: Sun, 16 Jan 2000
From: "Mark D. White" <whitemd@earthlink.net>
Subject: Great HTML formatting!

COC,

Great job on the HTML version - I've been happily reading  the  email
version for a long time, but the HTML version is much  more  pleasing
on the eye!

Thanks,
Mark


Date: Mon, 17 Jan 2000
From: gajo <gajo@EUnet.yu>
Subject: answer to alla xul

Hello,

Regarding your statement about the  relationship  between  metal  and
christianity, I think you are wrong saying  that  christianity  is  a
sick  religion  that  controls  the  lives  of  the  weak.  I   think
christianity is a  form  of  self-discipline,  that  keeps  you  from
crossing that line between decency and  barbarism.  You  have  to  be
strong to be a true christian, because  you  have  to  be  strong  to
forgive every person that does harm to  you.  Metal  is,  of  course,
total freedom, but if everyone was worshiping Satan then  we'd  still
live in Medieval ages. If you want to be free, then be so in your own
house, with your friends, because that is what your home is for.  But
when you walk out of the door, then you don't slay down the first guy
that pushes you in the bus... that is the result of  education  under
the influence of religion, in your case, christianity.. you could not
imagine what would the world be without that education. I  mean,  you
can try, just listen to cannibal corpse..

Peace with you,     Gajo


Date: Wed, 19 Jan 2000
From: THESHAPE63@aol.com
Subject: Nice comment on moonspell...

...you think its nice to say Portugal is  a  country  devoid  of  any
sense?
Grow up!

[What was written in the _Wolfheart_  review  back  in  CoC  #5  was:
"Definitely an album to hear and a band to watch out  for  because  a
band that can make a  name  for  themselves  coming  from  a  country
completely devoid of any scene is definately (sic) not just  a  flash
in the pan." -- Gino]


Date: Fri, 21 Jan 2000
From: Jon
Subject: Long time fan of the underground.

I have been a fan of the underground music since 1985. I grew  up  on
hardcore and speed metal. From  there  I  went  to  death  metal  and
grindcore. I still love it all. I just wanted to drop a line  on  the
great job you  guys  do  on  this  zine.  It  is  great  to  see  the
advancement of the underground since I started. In the early  days  I
would die for a zine like this with all the information and a  outlet
for the scene to spread itself out to others. Thanks  for  the  great
job!!!

Underground For Life,

Jon


Date: Fri, 21 Jan 2000
From: Cyril Glaume <Cyril.Glaume@valtech.fr>
Subject: you've done it !

"YEAH, GREAT !!" sums up really well what I think when I discover the
new COC.

I really hope that you will be motivated enough to offer us each  new
COC with such a great layout !!!

Cyril


Date: Fri, 18 Feb 2000
From: RayRuenes@aol.com
Subject: Attn:  Loud Letters

Good evening.
  Regarding metal, including the kind by Christian artists,  I  don't
see how any logical sentient being can  claim  the  musical  category
ideologically exclusive to their  preference.  "Alla  xul,"  you  can
claim, without  evidence,  that  Christianity  was  "manifactured  to
control the lives of the weaker  humans,"  but  understand  that  the
original disciples and the community they founded suffered tremendous
persecution for their efforts until Contantine's edict of  toleration
was issued nearly 300 years later, so they didn't have  a  chance  to
enjoy the fruits of their conspiracy if indeed that was their motive.
  So Christianity "is about weakness and restriction," eh? Apparently
someone's been spoon-fed his requisite dose of Nietzsche, though it's
sadly the post-senile version of that philosopher that gets  all  the
attention, and not the younger scholar while he  still  retained  his
senses. I wouldn't confine  (dare  I  say  "restrict"?)  metal  to  a
specific purpose, since it's played for various reasons, not  all  of
which have anything to do with the sacrificial bent of  the  starving
artist. Some play it to  promote  one  deity  or  other,  others  for
hedonistic appeal, and still others to lure enough  money  from  your
wallet to feed their expensive vices.  Talk  about  real  parasitical
pedophiles!
  Metal is no more antithetical to Christianity than any  other  kind
of musical expression is.  What's  of  far  more  relevance  to  this
discussion is lyrical content, and even that carries limited  weight.
For example, while it might appear contradictory for a  Christian  to
enjoy music from  groups  who  are  opposed  to  his  world-view,  to
consider that an endorsement of such opinions is rather specious, and
fungible with accusing a Christian of polytheism or  henotheism  for,
of his own volition, studying other religions, even  if  he  does  so
with the ultimate  aim  of  strengthening  Christian  apologetics.  I
understand  that  many  sincere   Christians   have   made   sweeping
generalizations about secular art, but others don't find it necessary
to adopt such cultural philistinism in order to accept the  doctrines
indigenous to Christianity. It's strange  that  eclectic  metal  fans
whom you would least suspect of ignorance and  bigotry  reveal  their
abundance  of  such  characteristics  when  they're  confronted  with
iconoclastic  music  that  doesn't  conform   to   their   particular
paradigms, in this case Christian metal, but I guess I can appreciate
the irony evident in their predicament, if little else.  I  certainly
don't care for the vitriol, even from fans of Venom (and it's  likely
that I started listening to that group before many of  this  e-zine's
editors gained continence  of  their  bowels),  but  I  guess  I  can
appreciate their reaction for what it is:  a  thinly-veiled  fear  of
this  relatively  recent  challenge  to  their  delusions  of   metal
homogeny. Sooner or later they'll have to accept the inevitable:  the
diversity that they likely revere in matters where  they  comprise  a
minority faction also applies to the area in which they believe  they
reign supreme. Christian music exists in all forms, including  metal,
and you may not like that, but good luck thinking you can imagine  it
away or somehow ridicule it to extinction. I suspect you'll  have  as
much a chance of accomplishing that as many have  trying  to  do  the
same, for hundreds of years, to the historical and  prophetic  record
that inspired such pious rebellion.

  Hail Jesus the Christ!

  Ramon Ruenes IV


Date: Tue, 22 Feb 2000
From: Alla Xul <xul@phreaker.net>
Subject: -

Hi.

Ramon Ruenes wrote:

> understand that the  original  disciples  and  the  community  they
> founded suffered tremendous  persecution for  their  efforts  until
> Contantine's edict of toleration was issued nearly 300 years  later

I dont think "the original disciples"(read brainwashed subjects) have
had much to do with the controlling minds of the  religion.  part  of
christianitys sucsess lies in its use of  subdued  mindless  fanatics
that are willing to sacrifice themselves and  thier  surrounding  for
the christian cause.

> Apparently someone's been spoon-fed his requisite dose of Nietzsche

My ideas aout christianity or life in general was forged long  before
i even heard about Nietzsche.  Any  truly  living  human  would  have
similar ideas as Nietzsche without reading any of his books.

> I wouldn't confine (dare I say "restrict"?)  metal  to  a  specific
> purpose, since it's played for various reasons, not  all  of  which
> have anything to do with  the  sacrificial  bent  of  the  starving
> artist.
[...]
> Christian music exists in all forms, including metal, and  you  may
> not like that, but good luck thinking you can imagine  it  away  or
> somehow ridicule it to extinction.  I suspect you'll have as much a
> chance of accomplishing that as many have trying to  do  the  same,
> for hundreds of years, to the historical and prophetic record  that
> inspired such pious rebellion.

Oh sorry ...i fell asleep.  Your  intellectual  mumbelings  does  not
change anything. christianity does  not  have  anything  to  do  with
metal. I am not ridiculating  christianity,  I  am  saying  that  all
christians should be anihilated with supreme force and then forced up
the anal canal of thier saviour. Your letter seemes fill the  purpose
of academic masturbation more than replying to my letter.

> Hail Jesus the Christ!

Hail an castrated corpse impaled on a cross. hmm.. think i choose the
one with horns.

/ax

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               THE MORBID TALES OF A DETHRONED EMPEROR
               ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 CoC chats with Thomas Gabriel Warrior of Apollyon Sun / Celtic Frost
                           by: Paul Schwarz

     Yes, I know he is now officially Thomas Gabriel  -Fischer-  (his
real name), but for the duration of the actual interview  we  at  CoC
have decided to leave Tom with the name that he (if you'll excuse the
pun)  made  his  name  with,  in  one  of  metal's  most  innovative,
adventurous, exciting and excellent bands: Celtic Frost.
     Fischer was doing interviews based  on  the  fact  that  Frost's
essential back catalogue was re-issued  in  the  United  Kingdom  and
North America last month, with extensive booklets, some extra tracks,
and in digitally re-mastered format. It is the first  time  the  back
catalogue  of  this  legendary  and  sadly  departed  band  has  been
available in a format which the band were even remotely  happy  with.
The previous CD issues were  poorly  and  hastily  assembled  by  the
people at Noise. These new CDs, on the other hand, were assembled  by
the band themselves. The other motivation behind wishing to  talk  to
Frost's former main-man was to discuss the possibility  of  a  Celtic
Frost reunion. Though long a point only of hopeful  speculation,  the
reinvigoration of communication between the  band's  former  members,
culminating in a 1998 meeting  in  New  York,  sparked  rumours  that
Celtic  Frost  would   actually   reform,   rumours   which   Fischer
increasingly did not deny or condemn, certainly not as strongly as he
had in years before.
     Tom's current band may be Apollyon Sun, but as you  should  know
and can see from this interview, Celtic Frost will  remain  not  only
what Tom is known for, but probably also the band that is most a part
of him and closest to his heart. Displaying amazing humility and zero
arrogance, here's what the  twenty-odd  minutes  I  got  with  Thomas
Gabriel -Warrior- yielded.

CoC: What led to you originally being called Celtic Frost?

Tom G. Warrior: Well, we didn't want to have  a  cliche  heavy  metal
                band name at the  time.  There  was  already  Slayer,
                Metallica, and we felt we wanted to go in  a  totally
                different  direction  and   have   philosophy:   more
                criticism of social behaviour of mankind. That's  why
                we chose Celtic Frost.

CoC: Are you  happy  with  what  they  [Noise]  have  done  with  the
     re-issues based on the band's proposals?

TGW: "They" really haven't done anything; the re-issues were entirely
     designed by the  band,  by  the  ex-members  of  the  band.  The
     proposal [to do these re-issues] was handed to Noise by us about
     a  year  ago  and  Noise  did  provide   one   hundred   percent
     co-operation and they did give us the platform to do it, but the
     re-issues are designed by the band and  they  reflect  -exactly-
     what the band wanted... for the very first time, actually.

CoC: I read the proposal on the website and so I did  wonder  whether
     Noise had paid attention to that...

TGW: We received one hundred percent freedom with what we  wanted  to
     do. We got full backing.

CoC: I notice that you left out _Cold Lake_, of course...

TGW: Of course! <laughs>

CoC: <laughs> ...from your re-issue back catalogue. Well, I  wouldn't
     disagree with this, but I want to know: would your idea be  that
     that album just fade into obscurity and become  unavailable,  or
     would you just rather not re-release it?

TGW: Well, I mean, the record company agreed with our proposal of not
     re-issuing _Cold Lake_. They didn't want to argue against us  or
     anything. Of course they have the rights for it and they're free
     to re-issue it on their own if they want. They will not  receive
     any co-operation from us, but of  course  they  can.  I  am  not
     denying that album at all. We did it and I had to  stand  behind
     it because it was done under the Frost name and I cannot  say  I
     want it to fade into obscurity, because people know about it and
     it was there, but that doesn't change the fact that it's a piece
     of shit. There is absolutely no  quality.  But  it  is  a  Frost
     album, it is just not an essential Frost  album.  We  wanted  to
     re-issue the essential Frost albums, the ones that are important
     to the band's history. So that's what we did and _Cold Lake_  is
     there [in existence, not in the re-issues], and whatever happens
     to it we don't really give a shit.

CoC: But you don't mind some songs from that album appearing  on  the
     _Parched With Thirst I Am, and Dying_ compilation which has been
     re-issued?

TGW: No, _Parched With Thirst..._  was  basically  a  compilation  of
     unreleased mixes and everything and some mixes which many people
     thought were better than the original _Cold Lake_ mixes.  That's
     why they're on there, but it's not really to feature _Cold Lake_
     or anything. We already disliked _Cold Lake_,  kind  of,  during
     the mixing sessions of that  album.  From  then  on  no-one  was
     really keen to rehash that album in any case or matter.

CoC: What's happening with the possibility of a reformation of  Frost
     and what is happening with Apollyon Sun?

TGW: Well, let's start with Apollyon Sun: the album is not  finished,
     but four and a half weeks ago we finished  mixes  of  the  album
     [that would have been late October --Paul].  We  handed  it  in,
     it's called _Sub_ and it is going to come out in late  February.
     I feel it is probably the closest I've ever done  to  _Into  the
     Pandemonium_ in my career and I am very proud of  it.  It  is  a
     very  diverse  album,  very  dark,  very  heavy,  but  extremely
     experimental as well as having very wide-ranging material on it.
     As far as the possibility of a reformation, I am still very good
     friends with the other members of Frost and we see each other as
     often as possible, we communicate  on  a  weekly  basis  and  of
     course we often talk about  the  possibility  of  playing  music
     together. We met last year in New York and we  actually  decided
     to pursue the idea of an album together again. We're going to do
     it as a side-project; we don't know when, but it  will  probably
     happen within one or two years.

CoC: Right. So the fact that there is an Apollyon  Sun  album  coming
     out is not a factor that  means  that  Frost  will  not  reform,
     because in the past  you've  said  that  since  you  were  doing
     Apollyon Sun, you wouldn't be doing anything with Frost?

TGW: Yes, I  was  always  the  one  to  disagree  with  the  numerous
     reformation proposals and what changed  my  mind  was  just  the
     basis of the friendship we share. If I had wanted to do  it  for
     money I could have done it much earlier,  because  we  got  such
     amazing offers for reformation, for studio work and live, that I
     could have just said yes. But it had to feel right  on  a  human
     basis. A band like Celtic Frost, if we do something in the  year
     2000 or the year 2001 it has to be contemporary and  adventurous
     like our old work was, and you cannot base that  on  money.  You
     have to base that on band chemistry.

CoC: OK then, two questions. Firstly, which line-up of the band would
     the reformation consist of? Secondly, if you were to make a  new
     Frost album, theoretically, do you think it would be what _Under
     Apollyon's Sun_ would have been?  [_Under  Apollyon's  Sun_  was
     going  to  be  the  follow-up  to  1990's  _Vanity/Nemesis_  but
     unfortunately Celtic Frost split before final sessions  for  the
     album were completed or, I believe, even  begun.  Demos  of  the
     album  tracks  do  exist  and  two  appear  on  the   _PWTIA,aD_
     compilation. --Paul]

TGW: No, it wouldn't be. The material still exists  from  that  time,
     but what we would probably do is take elements from  that  album
     and use it. But that album was written in 1991/92 and  it  would
     be very dated now. We would probably take elements and modernise
     them, but -pretty much- design a new album that is  contemporary
     in its origins. The line-up would probably be the  core  line-up
     of _Into the Pandemonium_. Possibly with Curt Victor Bryant, who
     played guitar on _Vanity/Nemesis_, because he was a  key  person
     in Frost's history too. But we were so open, really,  in  Frost.
     We always worked with the same kind of circle of people  on  the
     various albums, that we'd be very open  nowadays  to  work  with
     guests and former members. I have to tell you, though, regarding
     the _Under Apollyon's Sun_ album, my new album [this is with the
     band Apollyon Sun --Paul] _Sub_, that's going to come  out  next
     year, is, in parts, directly derived from that  album.  Apollyon
     Sun's birth was pretty much on  the  basis  of  that  unreleased
     material. And of course in the years  since  we  have  developed
     that material massively, but a lot of the stuff you're going  to
     hear on _Sub_ is directly derived from that album. So  you  will
     hear maybe a fourth, maybe a third of that album on _Sub_.

CoC: So,  between  _Sub_,  the  demo  tracks  done  for  the  [_Under
     Apollyon's  Sun_]  album  and  "Idols  of  Chagrin"  and  "Under
     Apollyon's Sun" on the [_Parched With  Thirst..._]  compilation,
     there is quite a bit of the album around?

TGW: Yeah, but you have to realise that these two demos that you just
     mentioned were really only basic tracks, you can easily  imagine
     that you cannot -demo- an album like _Into the  Pandemonium_  in
     the demo studio. You cannot have like an orchestra  or  a  whole
     bunch of classical singers on a demo, so  what  you  heard  were
     basic tracks and what you  hear  on  _Sub_  is  fully  developed
     material with all kinds of effects, all kinds of guests  and  so
     on. It is basically the fully developed material and played in a
     more modern manner. But I have to say Apollyon  Sun  has  pretty
     much  arisen  out   of   the   ideas   that   we   worked   into
     _...Pandemonium_. Everyone who has been involved with Frost  has
     always been fascinated with this album, _...Pandemonium_. So, of
     course any future project that we were going  to  attempt  would
     have this spirit in it and Apollyon Sun has that very definitely
     in terms of us looking for new horizons, trying to break through
     barriers and so on.

CoC: So you never had the idea of  going  backwards  at  all  to  the
     earlier stuff, just because since just after Frost disappeared a
     whole group of music grew up which came out of that?

TGW: Yeah, but we did that already.

CoC: True.

TGW: I am in touch with my past and I deal with my  past,  but  I  am
     basically a person who looks to the future. When I did something
     I've done it, and what I want to do is learn from it  and  apply
     that the next time I do something. Try to do something  new  and
     something fresh on the same  basis.  So  no,  I  haven't  really
     thought of going back or capitalising or  associating  with  all
     that stuff that's been derived from Frost by  other  bands,  and
     the scene and everything. I'm not dead yet, I still think I  can
     create and that's much more exciting to me. I am proud  of  what
     Frost has done, and I would never deny it, the good and the bad.
     But at the same time I gain so much adrenaline  from  new  work:
     that is exciting enough.

CoC: So do you have a particular opinion on or mind  or  dislike  the
     whole black metal thing? I mean, I remember Fenriz  saying  once
     that, basically, Darkthrone -is- just Celtic Frost.

TGW: No they're not. Hell no they're not! I know what you  mean,  but
     hell no they're not, not in the slightest sense. You cannot just
     copy Celtic Frost then say you are  taking  it  further.  That's
     exactly the opposite of Celtic Frost.  Celtic  Frost  was  about
     innovation, about being original, and a lot of  those  so-called
     Celtic Frost derivative  bands,  that  doesn't  apply  to  them.
     They're... <pauses>

CoC: No, you're right, I completely agree. The -nature- of Darkthrone
     is completely the antithesis of Celtic Frost, it's just that the
     musical approach is typical of _Morbid Tales_.

TGW: Right, but you know, _Morbid Tales_ has been done already.

CoC: If you were to record with Celtic Frost, would you be definitely
     taking things on the road?

TGW: I would think so. It wouldn't make sense to us  otherwise:  half
     the fun was to play live. We've had talks with management  about
     it and I think to begin with we'd probably do  a  few  low-scale
     shows to find out where the chemistry is nowadays, and only then
     start writing an album. I think if we  did  an  album  we  would
     certainly take it on the road. Maybe not as big as Apollyon  Sun
     would do it, but I think we'd certainly  promote  the  album  in
     life form, yeah.

CoC: So, would it be fair to say that a setlist from  shows  nowadays
     would be heavily favouring the later material?

TGW: It would incorporate everything. The last Celtic Frost tour, our
     setlist was something like twenty-six songs from all the albums.
     I think we would do the same thing. The thing is we can  have  a
     very dynamic set; even though it  was  very  long  we  had  such
     differing   material   from   almost-ballad-like   things   like
     "Mesmerized" to hardcore songs, that you can make quite  a  long
     set without it getting boring. If you have material like a  band
     like Celtic Frost you can make it so  radically  different  from
     one quarter hour to the next that it always  stays  interesting.
     So I don't think we'll have a problem to play whatever  kind  of
     stuff from all the band's eras.

CoC: Did you get a chance to hear the new  SOD  album  and  the  song
     "Celtic Frosted Flakes"?

TGW: They e-mailed me their track when they wrote it. I  received  it
     earlier this year by e-mail.

CoC: What did you think?

TGW: Well, I had to smile. SOD were very close friends with Frost  in
     the eighties. We went to each other's concerts. I thought it was
     typical Billy [Milano, SOD vocalist]  that  he  did  this.  It's
     funny but it's not something that I think about every day.

CoC: Yeah, agreed.

TGW: I had to grin. It's typical. They haven't changed.

CoC: It's an interesting  irony  that  in  the  same  year  the  band
     re-issues came out and there is a chance that Frost  might  come
     back.

TGW: Well,  yeah.  Some  kind  of  basis  was  done.  It's  kind   of
     intriguing.

CoC: Do you have any more  to  add  to  what's  been  done  with  the
     re-issues?

TGW: No, to me the re-issues are the final testament  to  the  former
     work of Frost. I don't want to delve in this forever.  This  has
     now been done and it's been done, for the first  time  and  also
     for the last, exactly as the band wanted it. These  albums  that
     are going to be out in January, they're really the testament  of
     the band's work. From A to Z, every photo, every letter on these
     albums has been approved and done by the band. So this is it and
     we want to look forward to it. We are happy with these re-issues
     but that is really it. We're not going to  do  more  stuff  like
     that.

CoC: One small question. On _Morbid Tales_ [the  re-issue],  why  are
     the tracks from _Emperor's Return_ in their original mixes?

TGW: Because a lot of people have asked  me  to  dig  for  unreleased
     stuff and put that on. And it's kind of a special thing in these
     three cases: we didn't like either mix. To us it  really  didn't
     matter. We cannot stand the _Emperor's  Return_  EP  as  far  as
     sound quality goes. So we obliged the wishes of many  fans  over
     the years to release the original  mix,  and  we  did  that.  We
     realised the original mixes are in no way better than the  mixes
     that were released on the EP way back when,  but  we  wanted  to
     give the fans something new. We personally don't really care for
     these three songs much.

CoC: Whereas with _To Mega Therion_...

TGW: That's a totally different thing. We love those  EP  tracks,  we
     felt it was essential that they were on there.

CoC: I wanted to ask about  the  image  of  the  band:  the  artwork,
     clothing, etc.. I was wondering what this would be like if Frost
     reformed. Would you be going really futuristic?

TGW: The image, as radically different as it always was and will  be,
     was  never  designed.  The  image  was   always   an   excessive
     presentation  of  our  then-state-of-mind.  It  was  just   very
     overdrawn and done to the extreme, but it  wasn't  designed:  we
     didn't say "we want to look like -this-". What you  see  in  the
     pictures is always an over-painted picture of what the band  was
     like at the time. So if we do an album  in  2000  or  2001  it's
     going to be the same thing and I can't  tell  you  yet  if  it's
     going to be futuristic or whatever; it's going to represent  the
     way we are at that time and of course it's going  to  be  modern
     because we were always interested in being contemporary  things.
     But we're not going to sit down and say we're going to look like
     -this- and it's going to be totally designed. It's going  to  be
     real and it's going to be extreme of course and exhibitionistic,
     but it's going to be real.

CoC: Since Frost split up and you've been doing Apollyon Sun, what do
     you think is the  most  interesting  development  in  technology
     which you'd like to incorporate into the music you make?

TGW: Nowadays? The advent of the possibility to  use  computers  -in-
     music. And I am saying this very carefully, because I don't want
     you to have the impression that I am just going for any computer
     music. I think it is a very delicate thing; combining this  kind
     of warm form of music called hard rock  with  computers.  It  is
     difficult to do this the right way and I personally  don't  like
     industrial metal because I think it is done too cold and it  has
     no groove. But I think the advances that have  been  made  on  a
     technical level allow you to do exactly that: to do it the right
     way. There are so many possibilities now  that  if  you  do  pay
     attention to it and if you do study it, you can actually mix the
     two genres without losing the true heaviness and the true nature
     of the hard music, but you can only -gain- by the  possibilities
     you are able to exploit now. I think  that  has  been  the  most
     significant advance. I think ninety percent of the scene doesn't
     exploit that yet or doesn't exploit it  the  right  way,  and  I
     don't know if we do. But what  we're  doing  is  trying  to  get
     there, with our album _Sub_, that's why it is  so  experimental:
     it's trying to explore a possible avenue of how to do  this  and
     we're learning and we hope we're going to perfect  that  in  the
     next few releases.

CoC: So, obviously apart from _Cold Lake_, you find that although you
     move on and you want to do new things, you don't find that  what
     you did in the past disappoints you?

TGW: No, not at all, no. I am very proud and I feel blessed  that  it
     was possible for me to be in a band like  Frost.  At  that  time
     there were so many bands around and which bands are still  being
     remembered? We are one of the few bands  that  are  still  being
     remembered even though we haven't been together  in  six  and  a
     half years. So, what could I say? It's amazing. We  didn't  know
     that would happen. We're very happy with  what  we've  done  and
     most of the things we've done are still justified.

CoC: Any last words?

TGW: Not really... I just feel very  grateful  that  fans  were  open
     enough to follow an excessive band like Celtic Frost, because we
     never made it really easy for the  fans  to  understand  us  and
     still we had an incredible fan base. And if you  ask  me  for  a
     last word, I'd just like to say that we were aware of  that  and
     that we'd like the fans to know that we were aware of that. That
     they gave us this chance.

Visit the Homage to Celtic Frost website for latest news on Frost and
news on Apollyon Sun: http://www.celticfrost.com

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  S O N G S   O F   S O R R O W   F O R   T H E   S L E E P L E S S
  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
  CoC interviews Ulf T. Schwadorf of Empyrium / Sun of the Sleepless
                          by: Pedro Azevedo

     _A Wintersunset..._ and _Songs of Moors  &  Misty  Fields_  [CoC
#30], Empyrium's first  two  full-length  releases,  painted  gloomy,
melancholic feelings  upon  a  darkened  emotional  canvas  with  the
untouched beauty of nature as background. These were followed in 1999
by Empyrium's acoustic _Where at Night the Wood  Grouse  Plays_  [CoC
#42] and also the _Poems to the Wretches' Hearts_ MCD  [CoC  #45]  by
Sun of the Sleepless -- a work of grim, yet melancholic and sorrowful
black metal of remarkable quality. The  mastermind  behind  Empyrium,
and also sole member of Sun of the Sleepless, Ulf Theodor  Schwadorf,
took the time to answer my questions about both his projects as  well
as other matters, and revealed himself not only a brilliant  musician
but also an extremely nice individual with very interesting things to
say.

CoC: Looking at albums such as Empyrium's _Songs  of  Moors  &  Misty
     Fields_ and _Where at Night the Wood Grouse Plays_  as  well  as
     the Sun of the Sleepless MCD _Poems to  the  Wretches'  Hearts_,
     one can find very different musical styles.  Nevertheless,  they
     seem to share a common essence to  a  certain  extent.  Can  you
     describe this bond, this common essence that makes you  want  to
     play each of these styles?

Ulf T. Schwadorf: Their most obvious common point is definitely  that
                  both SotS and Empyrium are in  essence  focused  on
                  the dark side. But whilst SotS is filled with,  how
                  I call it, philosophical agony, Empyrium's music is
                  solely performed for the purpose of bringing  forth
                  the secret mystique of  nature  in  both  word  and
                  tone.

CoC: Something that I found quite remarkable in both _Songs of  Moors
     & Misty Fields_ and _Poems to  the  Wretches'  Hearts_  is  that
     these titles suit the music really well. Can  you  describe  the
     feelings and musical objectives  of  Empyrium  and  Sun  of  the
     Sleepless in greater detail?

UTS: Thank you for the compliment. I spiritually strive  for  finding
     titles  upholding  the  distinctive  atmosphere  of  the   music
     featured  on  the  records.  As  mentioned   above,   Empyrium's
     intention is to bring forth certain moods and  atmospheres,  and
     exists exclusively for that purpose. We are also working with  a
     tightly woven concept for each release (this excludes our  debut
     album) and are focusing deeply into the right mood to  genuinely
     bring forth what we have in mind, atmospherically. SotS is a lot
     more spontaneous in this respect. I simply do with SotS  what  I
     can't do in Empyrium; that which would ruin  the  concept,  sort
     of. Which  doesn't  mean  that  SotS  is  the  garbage  can  for
     Empyrium. It's not like that, I assure you. But I need an outlet
     for the most spontaneous  emotions  of  mine  to  clad  them  in
     whatever form I desire. It grants  equilibrium  to  my  artistic
     ego. Also, SotS is lyrically focused  on  a  more  philosophical
     base. My despise for the decline of the masses and  our  culture
     and my heartfelt agony that results from it -- very misanthropic
     and grim lyrics. Still, I think I managed  to  clad  these  dark
     feelings into an aesthetically appealing  form,  leaned  towards
     classic romantic poetry.

CoC: What is the meaning of the two band names? How does each  relate
     to the respective music?

UTS: Literally, Empyrium is translated as  "the  burning  heaven"  or
     plainly "heaven". Its roots are in ancient Greece. The Stoics, a
     Greek school of philosophers, proclaimed that beyond the horizon
     that is visible to us, there was Empyrium, and  thus  the  stars
     are just holes in the firmament. We chose this name in the first
     place because of its somewhat mighty and mysterious sound, but I
     think its meaning upholds what our music is aiming at quite well
     -- the mystical, esoteric and  unexplored.  The  dark  sides  of
     nature. An attentive reader  of  romantic  literature  shouldn't
     have  a  problem  figuring  out  where  the  term  "Sun  of  the
     Sleepless" comes from. It refers to the moon -- the light of the
     night and the light of those few and brave individuals living on
     the outskirts of society, full of despise for  the  meaningless,
     spiritually empty hordes of sheep.

CoC: Respect and admiration  for  nature,  or  the  darker  and  more
     melancholic side of it, are present throughout your releases, as
     indicated by what you wrote on your debut  _A  Wintersunset..._.
     Can you describe how you think the two perfect  locations  would
     be like for one to listen to Empyrium and Sun of the  Sleepless?
     Should the person be alone or in company, or doesn't that matter
     to you?

UTS: I think that the music of both bands should be listened to  with
     full concentration. Empyrium's atmosphere is explored very  well
     when listened to in absence of electrical  light:  it  grants  a
     ticket to the olden realm of fairytales,  myths  and  sagas  and
     you'll find yourselves amidst a grand mystical  landscape  --  I
     promise! SotS, for obvious reasons, should  be  listened  to  at
     maximum bearable volume with headphones.

CoC: Do you believe that nature was created by some  superior  entity
     -- something like the gods most of mankind seems to believe  in?
     Are you religious? And consequently,  what  do  you  believe  is
     there to be found beyond death? (If anything, of course.)

UTS: I would say I am a spiritual person, not religious.  I  am  more
     concerned with enhancing my spirit in the here and now  than  in
     the after-world. I try to gather as much emotional  satisfaction
     and wisdom in this life as I can, which also  means  to  respect
     the darker sides of life and to live this in full consequence. I
     have not thought too much about what comes afterwards. I think I
     will do that when the time is right: in the Autumn of my life.

CoC: What are your opinions regarding the  progress  of  civilization
     and its effects upon the planet? Are we all more alone than ever
     and heading  straight  into  our  own  doom,  or  are  you  more
     optimistic than that?

UTS: In theory, the world almost can't be overpopulated, as there  is
     enough room for more people (whether  that  is  desirable  is  a
     different question). However, the way  the  masses  have  chosen
     since the industrialization surely leads, sooner  or  later,  to
     the fall of mankind. We  should  not  forget  that  we  are  but
     children of nature, and that the cycles of nature could well  do
     without us, but not vice versa.

CoC: The poem by John Keats which you chose for  the  first  song  on
     _Poems to the Wretches' Hearts_, "Thou, Whose Face Hath Felt the
     Winter's Wind", excellently portrays the feeling of the song, in
     my opinion. What does the poem mean  to  you?  Do  you  feel  as
     uncomfortable during Spring and Summer as it seems to describe?

UTS: I don't feel uncomfortable in Spring and Summer at all -- I  can
     well cope with those seasons as well and  they  surely  have  an
     encharming effect on my emotions,  just  as  Autumn  and  Winter
     have. In my interpretation, the  poem  rather  says  that  every
     Winter is followed by Spring. And so it is with our emotions  --
     every period of profound sorrow will be followed by delight  and
     so forth. These differences create energy and  inspiration.  One
     should learn to respect life's dark sides in  the  same  way  we
     respect life's bright sides -- only then can we live  our  lives
     in full consequence. The poem obviously illustrates a period  of
     profound sorrow, and thus I choose it  to  underline  the  grim,
     melancholic character of the music. In many respects,  the  poem
     is also a hymn to intuition.

CoC: I was thoroughly impressed by the remix of that particular  song
     -- which is going to be part of a forthcoming 7" EP, as far as I
     know, after having been featured in  Prophecy  Productions'  _To
     Magic..._ compilation. In my review  of  that  compilation  [CoC
     #45], I described your remix as "a sad, melancholic black  metal
     dirge of the highest quality." Will we be  hearing  more  tracks
     from Sun of the Sleepless in the  future  that  might  fit  that
     description? And does it fit what you intended to  achieve  with
     that remix?

UTS: Thank you. The  remix  was  simply  meant  to  bring  forth  the
     emotions of the original in a different, more  dynamic  form.  I
     tried to  combine  calm,  almost  pop-like  sequences  ["almost"
     definitely being the key word there, in my opinion --Pedro] with
     mighty emotional outbursts leaning on the black  metal  form  of
     expression. I think there's much truth in what you wrote,  since
     the song has a very melancholic and genuinely dark atmosphere.

CoC: What more can you tell us about that 7"  EP?  And  what  can  we
     expect from Sun of the Sleepless in the  future?  A  full-length
     follow-up to _Poems to  the  Wretches'  Hearts_  sounds  like  a
     potentially excellent idea to me...

UTS: The 7" EP _Tausend Kalte Winter_ should be released in the  next
     couple of days [mid-February]. Besides the remix we talked about
     before, there will be a trance-like, monotone interpretation  of
     Darkthrone's classic "En As I Dype Skogen", which goes under the
     title of "Tausend  Kalte  Winter"  and  is  quite  in  the  same
     direction as "Spring 99" [the other remix], though it takes some
     obvious elements from trip-hop music and trance.

CoC: About Empyrium now, how satisfied were you with _Songs of  Moors
     & Misty Fields_?

UTS: I can still bear listening to it, ha! No, honestly, I  am  still
     quite satisfied, even though the musical performance  is  rather
     dissatisfying. But the atmospherics are there and it was a  huge
     step forward for us, compared to the debut.

CoC: The sad guitar melodies, beautiful acoustics  and  the  contrast
     between clean and harsh vocals are used  exceptionally  well  by
     Empyrium. Will your future work continue to be based upon  those
     elements, or do you expect major changes to occur for  the  next
     album? And, by the way,  when  can  we  expect  a  new  Empyrium
     release?

UTS: We are still heading for a contrastful, dynamic sound, bearing a
     strong  resemblance  to  classical  music,  but  our   form   of
     expression will change on future releases compared to  _SoM&MF_.
     It should be quite obvious that  dynamics  are  not  exclusively
     expressed by the usage of noisy  electric  guitars  in  contrast
     with calm, serene parts, even though some heavy  metallers  seem
     to think so. We will try to compose deeply dynamic,  atmospheric
     music only by the usage of acoustic, classical instruments. I am
     planning to start the basic recordings in November this year  in
     my own recording studio, but since the music and the  recordings
     will be quite  complex,  it  will  surely  take  a  while  until
     everything is finished. There will also be a concept and it will
     take time and inspiration to the get the poetry and  the  visual
     appearance in balance with the music.

CoC: Regarding your acoustic release _Where at Night the Wood  Grouse
     Plays_, what was your motivation for recording it? It seemed  to
     me that, despite its quality, it  lacked  a  bit  of  a  greater
     consistency, that  it  could  have  benefited  from  being  more
     consistently gloomy, for example.  What  are  your  thoughts  on
     that? Were you satisfied with the result?

UTS: I have very split feelings about this, and can agree with you to
     a certain extent. During the composition and also the recordings
     I had strong battles with myself about whether  to  include  the
     lighter, pastoral pieces as well, and in the end decided to  let
     them be a part of the album, since they build a  grand  contrast
     with the darker and more tragic feelings performed on the  first
     half of the record. Nowadays, I think they definitely enrich the
     whole  listening  experience,  though  I  can  understand   your
     viewpoint.

CoC: Empyrium became  a  three-piece  when  Nadine  joined  the  band
     full-time for _Songs of Moors & Misty Fields_. Can you  tell  us
     more about her inclusion in the band?  Has  the  ideal  Empyrium
     line-up been reached?

UTS: Well, without wanting to sound arrogant, I think Empyrium is  in
     the first place myself. Nadine has never really been involved in
     the songwriting process or the creation of the concepts.  Still,
     her role  is  of  course  important,  since  I  can't  play  the
     instruments she plays, which are an important part of our music,
     and  she  can  surely  bring  forth  the   desired   atmospheres
     faithfully. Nowadays, Thomas Helm  has  also  joined  full  time
     (whilst it seems like Andreas has left the band for good) and he
     is  a  great  help  when  it  comes  to  the   performance   and
     arrangements of the choirs, vocals and classical instruments. He
     is classically educated and can identify with our concept 100%.

CoC: Are you involved in any other projects besides Empyrium and  Sun
     of the Sleepless?

UTS: I will help Autumnblaze on bass-guitar and electronics for their
     next release. I know Alvar Eldron,  the  main  man  behind  this
     band, very well and we have a lot in  common  --  musically  and
     spiritually. Even though I think  their  first  album  has  many
     flaws, I think we can do something really good on the next  one,
     since its conception sounds really interesting. I will also help
     out my friends of Nox  Mortis  on  their  next  album  again  on
     synths.

CoC: I think your label, Prophecy Productions, currently has  several
     interesting  new  bands.  What  is  your  opinion   about   your
     labelmates?

UTS: I like almost all bands on Prophecy and can really identify with
     their philosophy. My  favourites  amongst  the  lot  are  surely
     Tenhi. Their music is stunning.

CoC: What albums mean most to you on an emotional level?

UTS: This is hard to answer. But I think the following are definitely
     the  closest  musical  pieces  to  my  heart:  Ulver's  complete
     Trilogie, Landberk's _Riktigt Zkta_, Darkthrone's _Transylvanian
     Hunger_ and Edvard Grieg's Peer Gynt Suites.

CoC: Care to leave a message for our readers?

UTS: Thank you.

Contact: http://empyrium.black.art.pl
         http://sots.black.art.pl

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       S O O T H I N G   O P E R A . . .   T O   K I L L   B Y
       ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
             CoC talks to Christofer Johnsson of Therion
                          by: Adrian Bromley

     There aren't many  people  like  Therion  mastermind  Christofer
Johnsson in the world these days. Johnsson  wears  descriptions  like
passionate, honest, intelligent and  vibrant  like  an  old  worn  in
sweatshirt. His love for his work comes at you loud  and  clear.  The
music is his way of life, and what a  life  --  it  has  been  rather
exciting over the last few years.
     Since the early days  of  Therion,  Johnsson  has  continued  to
evolve the sound of his sonic beast, working from  earlier  roots  of
death metal into the present day situation of over the top  classical
arrangements, searing guitar solos and  powerful  choir  chants.  His
work has morphed into a warm blanket of emotions that will  no  doubt
confuse the listener at first, but slowly and surely drag  them  into
his wicked work of excellence.
     The latest work from Therion,  _Deggial_,  is  a  welcome  sound
compared to the somewhat weak and softer tones bestowed  from  1998's
_Vovin_. [For a different opinion, see the _Deggial_ review  in  this
issue and the _Vovin_ review in CoC #31.] The new record  manages  to
tighten his grasp of classical sounds (choirs  and  opera  work)  and
toss them into a blazing metallic fold  of  guitar  riffs  and  sonic
assaults. This record is still showing Johnsson's work  in  progress,
but no matter how far from the last work this record seems to wander,
it no doubt contains the master calibre that Therion  is  known  for.
Change is everything for Johnsson.
     Starts Johnsson about the new material:  "I  think  the  biggest
difference with this record is that we explored a  lot  more  of  the
classical angle to things, such as wooden  instruments  and  a  brass
section. That is the most obvious thing about it, but there  is  also
the nostalgic trip we take in terms  of  playing  '80s  metal  guitar
riffs. I guess the whole heavy metal revival has inspired me to  want
to do this. I'm not saying it is  the  work  of  these  newer  bands,
rather the fact that they are paying homage to older bands and I have
gone back to listen  to  those  records  and  really  understood  how
important they were and still are to me. Bands like Accept  and  Iron
Maiden were important to me, as was Saxon, Judas Priest and  Manowar,
but you can  really  hear  Accept  and  Maiden  within  the  work  of
_Deggial_. It is quite obvious they are a big  influence  to  what  I
do."
     While the band has been part of the  metal  scene  for  numerous
years, it wasn't until 1995's classically influenced  record  _Theli_
[CoC #14] stormed into the metal scene that people were blown away by
Therion's work. Not to say that the band's  work  was  shabby  before
_Theli_ came along -- it wasn't, but the band's ability to mesh metal
music and classical pieces really had jaws dropping. To this day, the
evolution of the band has managed to keep a close grip  on  classical
music within Therion's work, easily surpassing the  many  other  acts
that have tried to weave it into what they do.
     "I am so happy with the way things are going for this  band.  It
is just such a great experience to bring new ideas into what we  do",
confesses Johnsson. "While stuff we do will never be  as  spectacular
as it was when we introduced choirs to our music on _Theli_, still  I
can change what Therion does as we go about making music. And  people
are enjoying what we do and I am happy about  that.  Each  record  we
make, our sales go up. The fans seem to be with me on the progress of
Therion over the years, even though I thought  they  would  not  care
about the work I was doing.  _Vovin_  sold  100000  copies  and  that
surprised me. I didn't think there was that big of a market for  this
style of music. I guess it just goes to show that many people are not
that narrow-minded about music."
     "I have never really cared too much about analyzing what I do; I
just do it", remarks Johnsson. "The only way you can  really  hurt  a
career is if you sit back and analyze what you  are  doing.  You  see
that quite a lot with bands who have a  successful  first  album  and
have a hard time repeating that come album number two. I  think  that
is because many bands are influenced by producers and labels on  what
they should do with a first record and it isn't honest. Then when  it
comes down to album number two, there is no real heart to it and they
are lost. I think bands that do what they want to do manage to live a
lot longer than the rest. Look at bands like Rush, for example.  They
are not as big as they used to be, but they still manage to  put  out
records and still sell records. They never really went with the  flow
of things and their fans know that. I appreciate that  kind  of  work
ethic."
     So how much more is left in the creative circle of  Therion?  Is
the well running dry yet? Answers Johnsson, "I think one of the  real
reasons why Therion is still around and making such diverse and grand
records like _Deggial_ is because of money. I mean, the creativity is
within me, but money is needed to  meet  those  expectations  of  the
music I want to see and hear Therion play. In order to bring in  more
musicians to add to a certain direction, it takes  money  to  do  so.
Classical musicians and opera singers cost quite a bit  of  money  to
work with. If I want  to  have  more  sections  and  orchestra  drums
running throughout this record, as well as half  a  dozen  more  neat
ideas, it is going to cost me more. Once you get used to working with
these ideas you want to expand them, rather than abandon them and  go
back to an older style. That wouldn't be right."
     He adds about the monetary  value  of  making  a  record:  "This
record cost about $115000 German marks,  which  is  about  $80000  to
$90000 U.S. dollars. That is a lot of money to do a record, but, like
I said, you pay for what you want. Leading into the transition of the
band's style with _Theli_, it was expensive and  still  continues  to
be. When we worked on _Vovin_ they sent an advance and the making  of
it exceeded the original budget cost, so I ended up paying  $5000  of
my own money to finish it off. I knew I had to help make the record I
wanted to make."
     While on the subject of _Vovin_, I mention to Johnsson about not
being too into the work there, telling him that I thought  it  was  a
weak record compared to _Theli_ or even the newer one. He says: "I am
glad you mention your tastes for Therion. I  am  so  glad  that  many
people have so many different favorite Therion  records.  It  is  not
like we ever did a _Reign in Blood_ record,  you  know?  I  mean,  no
matter what people say about any new Slayer material, they'll  always
say, "Well, it is good, but it isn't _Reign in Blood_." You don't get
that with us and I am proud of that."
     On the subject of trying new  ideas  and  working  towards  band
evolution, he comments: "_Vovin_ was very melodic for us to work with
and easy to follow, I think. Everyone's mom liked it.  <laughs>  This
time out I was just trying to make a  record  that  easily  surpassed
what people had known us to do before. I'm always in  that  frame  of
mind: trying to do better than the last record. If we make  a  record
and I don't think it is as good as the last one, I will  go  back  to
work on it and work as long as it takes to make it  better  than  the
last release. My mind is always set on outdoing what we  did  before.
Why make the same record twice? That is too boring  and  Therion  has
never been a boring listen. Therion has always been, and continues to
be, an exciting listen."
     In closing,  seeing  that  Therion  has  mastered  the  ways  of
incorporating classical music into their own music,  I  ask  Johnsson
about his  thoughts  on  Metallica's  work  with  the  San  Francisco
Symphony on their latest live album _S&M_.  "Well",  begins  Johnsson
with slight laughter, "it is absolutely perfect  and  well  produced,
but it's boring. There is nothing challenging to  it.  Michael  Kamen
[conductor] did a good job working the music with the orchestra,  but
I am not  sure  if  he  really  understood  the  work  of  Metallica,
especially the old stuff. He did some great arrangements and  all  of
the harmonies work, but it just seems he did a big classical piece in
the same scale as the rest of the music. He did a great job, but with
the amount of money Metallica has, they should be shocked  about  the
way it turned out and come to realize about how much better it  could
have sounded if it had been handled better. If I had done  some  work
on that record it would have turned out better." How much better?,  I
ask. "It  would  have  been  spectacular  rather  than  this  typical
Hollywood film score-type sound that they  ended  up  with.  I  don't
know. It is their money and they have to worry about it. I'm too busy
with my band to worry about how  Metallica  is  making  a  supposedly
classical record."

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                 L I V I N G   O N   T H E   E D G E
                 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                CoC talks to Sami Lopakka of Sentenced
                          by: Adrian Bromley

     Finnish act Sentenced, who have moulded their sound effortlessly
from their early death metal days onto the  current  mix  of  melodic
hard rock and metal, have always seemed to be one step ahead  of  the
pack in terms of creativity. Their latest LP _Crimson_  [reviewed  in
this issue] is yet another masterpiece that  travels  a  bit  further
down the rock spectrum of their sound, though still offers up  a  few
darkened passageways to discover.
     It has been ten years since the band formed,  taking  the  metal
world by storm with the abrasive metallic sound found on their  debut
disc _North From Here_ (1993). It was death metal  with  clarity  and
melody, though still grim in outlook and  substance.  It  was  a  new
world for metalheads to discover. While speed was a factor, the music
of Sentenced waved upon us emotions that still run deep.
     Through the toughened sounds of 1995's _Amok_ and the gelling of
sounds and styles since their debut, the band eventually  managed  to
experiment a bit more with their sounds. In 1997 Sentenced  recruited
new singer Ville Laihiala and the  band  emerged  with  a  solid  and
well-received LP called _Down_ [CoC #17].  While  more  rock-oriented
than past efforts, _Down_ showcased a band geared  up  for  the  long
haul of searching out diversity. They'd grown  tired  of  pure  death
metal and working with _Down_ and its successor, 1998's _Frozen_ [CoC
#33], the band found a style that rang true for them.
     Enter 2000 and the band  has  once  again  embarked  on  another
exploration of their emotions, a  tightly  knit  and  rocking  effort
titled _Crimson_. You'd never know it, but guitarist Sami Lopakka  is
still having fun after all these years. "We are just having a  really
good time with this band right now", he starts over the line from his
home in Finland. "Making this record has been a blast. It  was  quite
easy for us. We are not trying to keep the faith and  make  a  record
that will keep us in the spotlight and make us rich. We do  this  for
ourselves. Our material comes to us very easily. We never have to put
any extra effort into making our music work. It just does."
     There is no doubt in my mind that some who  listen  to  the  new
record will no doubt see that  the  band  has  matured  their  sound,
opting for a more traditional rock act style  set  forth  into  their
music. Rather than sprucing things up with rocking  speed-like  riffs
and banshee-like wails of emotion, the band plays it safe and does  a
fine job at it. Songs like opener "Bleed in My Arms",  "Fragile"  and
"With Bitterness and Joy" shine with craftsmanship.  _Crimson_  is  a
quality record that takes repeated listens for it all to sink in, but
once it does, you'll find it an astonishing piece of work to take in.
     On the changes, he states: "We are  very  comfortable  with  the
changes that have surfaced within our  music  over  the  last  little
while. Why should we be worried? It is what  we  want.  This  is  the
direction that we wanted to take. We [the  band  is  rounded  out  by
vocalist Ville Laihiala, guitarist Mika Tenkula, drummer  Vesa  Ranta
and bassist Sami Kukkohovi] were playing pure death metal  ten  years
ago,  heavily  influenced  by  acts  like  Iron  Maiden,  Death   and
Metallica, but since then we have been working hard at trying to find
our own sound and style. Over the years we have  found  it,  possibly
from _Amok_ onward. From then on we  have  basically  done  the  same
style of material with a bit more melody. And right now it  is  quite
hard to really classify what  we  do.  We  sure  aren't  death  metal
anymore."
     "Music is getting a lot easier to write and arrange and that  is
a good thing", accounts Lopakka on his craft at songwriting. "I don't
see an end to the creativity that we have been so lucky to  have  all
of these years.  All  of  these  ideas  and  sounds  come  out  quite
naturally. If it wasn't this easy or the songs lacked any emotion,  I
don't think we'd actually make an effort to work with  them.  All  of
our material has meaning to us and that is a  very  grand  thing  for
us." Adds Lopakka, "We try to keep the creative side very positive to
what we do, because of all  the  negative  stuff  that  is  sometimes
occurring outside of the band."
     Seeing that singer Ville Laihiala has been a stable part of  the
band through the past three releases, how has his work  helped  shape
the band? "When the line-up change happened  in  1996,  it  was  very
confusing for a while. After we found Ville we knew that  he  was  an
important ingredient which would help make sure that we were going to
be around for a much longer time. He actually has made it a lot  more
positive for us in the past few years and we're pleased with that."
     And despite the hardships of replacing lead singers  and  trying
to stay creative throughout the years, how have  the  changes  within
the music industry affected them? Do  they  care?  "We  really  don't
think a lot about the business. All we know is that  each  record  we
put out outsells the past release in album sales. We're glad to  grow
in sales and audience size. We can't complain. But I  do  know  this,
some of the fans that we had five years ago probably don't follow  us
anymore because of all the changes, but on the  other  hand  we  have
always gained more than we have lost."
     So how is the tag "Suicide Kings" sticking  to  Sentenced  these
days? "I think the feeling is something that we really concentrate on
with each and every song we do and  I  think  that's  been  a  strong
element within our music. For us, being able to showcase all of these
atmospheres and emotions within our music has  been  great,  it  just
seems that a lot of these  ideas  and  expressions  have  been  quite
negative and  depressing.  I'd  like  to  think  that  the  music  of
Sentenced acts as a therapy session for us, allowing us to get  those
feelings out of us for a while and into a song. If  we  sing  a  song
about killing ourselves, it sure is a lot better  than  doing  it  in
real life."
     Why is there still interest in creating metal music for Lopakka?
"I just think there are so many more possibilities of what you can do
with metal music than, say, dance music or techno music. You can  put
in so many different melodies and explore with your  instruments.  It
is very natural for us to play with electric guitars and heavy sounds
and just go all out and express ourselves in an extreme way with  our
music."
     In closing, I ask Lopakka the secret to the band's longevity. He
responds: "We have been very true to ourselves. Twenty years from now
we will be able to look back and say to ourselves that we didn't kiss
anyone's ass to change, we just changed. We didn't give any attention
to what others thought of how our music should be or what  we  should
do. We paid attention only to ourselves and that has  been  the  key.
That is the secret for many bands to have  a  lengthy  career.  Bands
should be true to themselves and their music. Fuck the rest!"

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                     H E L L   I N   S W E D E N
                     ~~~~~~~~~~~~~~~~~~~~~~~~~~~
                  CoC interviews Kraath of Setherial
                           by: Adam Wasylyk

     Setherial's third album, _Hell Eternal_, marked one of the  most
brutal black metal albums  of  1999,  hands  down.  The  Swedes  have
continued  the  legacy  displayed  on  prior  albums  _Lords  of  the
Nightrealm_ [CoC #28] and their debut _Nord_ [CoC #12], while in  the
present reaching  new  peaks  of  brutality  and  furious  intensity.
Offering an album full of challenging,  complex  riffs  and  drumming
that detonates on impact, Setherial possess a  true  talent  that  is
often duplicated but rarely exceeded. E-mail would be the answer  for
a proper interrogation of guitarist Kraath, who filled us in on their
latest album and what he and the other band members are currently  up
to.
     "We are very satisfied with _Hell Eternal_, I feel it stands  as
a very important milestone in the band's history", states  Kraath  on
the new album. "We recorded  it  in  the  Abyss  studio  with  [Peter
Tagtgren's brother] Tommy Tagtgren, and the sound is  definitely  the
best we've had up to date. The  general  style  of  the  album  is  a
development of the style on the _Lords of the Nightrealm_  album;  we
have taken the aggression one step further, but we also added  a  few
other factors in to it."
     As Kraath said, Abyss was the studio chosen to  record  the  new
album. They had done so previously with _Nord_, so commenting on  how
he thought the final product came out, Kraath said: "I  am  extremely
satisfied with the results this time around,  we  really  managed  to
find a sound that suited the material well, and that helped push  the
energy  of  the  songs  yet  one  step  further.  On  _Lords  of  the
Nightrealm_ we had some problems  with  making  the  sound  suit  the
music, something that can clearly be heard  when  listening  to  that
album, but this time around it all came together really well,  making
the album feel more unified than the earlier ones."
     Fans of Setherial have noticed that the band have struggled over
the years with their line-up. Is  Kraath  confident  in  the  current
line-up the band presently has? "I can only say that I hope  that  it
will remain somewhat solid; there are no  ways  of  being  absolutely
certain, though, that much I've learned through the years as a member
of Setherial. I have great hopes for this line-up, though, so I  hope
that it will remain more or less unchanged so that we may  see  where
it will evolve."
     "The  lyrical  concepts  of  Setherial  tend  to  evolve  around
Satanism in different forms", Kraath stated about the lyrics that can
be found on _Hell Eternal_. "On the new album, for instance, the main
theme is Hell in all shapes and forms. All songs relate back to  that
concept, and the title track is what holds them all together, linking
the story together, if you will.  We  have  always  concentrated  our
lyrical work towards the darker aspects of reality, and this has  not
changed now,  nor  is  it  very  likely  to  change  in  the  future.
Basically, we deal with those parts of  existence  that  most  people
fear and shun, that which defines the strong and frightens  the  weak
by its mere existence."
     Setherial have been the breeding ground for other Swedish  black
metal bands, as some band members see it fit to seek side-projects to
further express their anger and aggression. Speaking on  this  topic,
Kraath stated: "There are a few bands involving members of Setherial,
although I don't know if they are all  to  be  called  side-projects;
some are more separate bands than they  are  side-projects,  I  would
say. Sasrof has his own band called Diabolicum [on Napalm Records] in
which he plays guitar and writes material; Choronzon is working on  a
project called Chaosdaemon together with a drummer from another band.
I am personally involved in  a  old-style  black  metal  band  called
Blackwinds at the moment together with Alastor and  former  Setherial
member Zathanael."
     Kraath also spoke about how the band have progressed since their
prior albums, both musically and lyrically.
     How about since their previous album, _Lords of the Nightrealm_?
     "I think that we have progressed a  lot  since  _LotN_,  we  are
capable of producing much better material now  and  are  more  secure
about what we want in the studio. You tend  to  grow  more  confident
with each album, and this gives you strength to express yourself more
freely  within  your  art.  Musically  we  have  developed  most   as
songwriters, I would say, we simply write better songs  now  than  we
did back then. Lyrically I would say that we have  taken  the  entire
concept yet another step further by bringing an entire album to focus
upon the concepts of Hell, painting a vivid picture of that realm for
all to perceive and interpret."
     And how about since the release of their classic debut, _Nord_?
     "I think we have progressed well since then, and I think that we
have in some ways continued on the path that we started out  on  with
_Nord_.  Naturally  we  are  faster  and  more  directly   aggressive
nowadays, but you can still hear ways of arranging things, and styles
in certain structures that can be considered similar in style to  the
ones on _Nord_. I am still very proud of our first album, we  managed
to make a great debut album during a period where bands  after  bands
were releasing  total  crap,  and  I  feel  satisfied  knowing  that,
especially considering our lack of experience and such things at that
time."
     We conclude by my asking how he thinks Setherial  can  grow  and
progress in future records, as it's apparent that the band  can't  go
much faster physically. "We do not feel obligated to give people what
they  expect,  we  feel  obligated  to  keep   ourselves   creatively
satisfied. If we would somehow get it into our  heads  to  play  some
soft shit, then that would be what we  would  be  playing  from  that
point. Naturally the intensifying tendencies you mention can only  go
so far, but it's a matter of looking beyond  that  when  you  try  to
evolve, to look around instead of in straight lines, if you will. You
can evolve aggression without necessarily building speed, just as you
can achieve much darkness in your atmospheres in the same manner. The
progression of Setherial does not merely consist of tempo,  it  is  a
matter of atmosphere to an at least equal point."

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

      T H E   E T E R N A L   E T H E R E A L   D O W N P O U R
      ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
               CoC interviews Dawn of Rain Fell Within
                          by: Pedro Azevedo

     A metal band using lead female  vocals  may  not  exactly  be  a
novelty these days, but some newcomers to  the  scene  still  deserve
attention either through  the  introduction  of  some  innovation  or
simply through musical quality. Rain Fell Within, while not a  hugely
innovative band, are still different enough from their genre's  norm,
and are certainly talented enough to  deserve  attention.  They  have
just released their debut _Believe_ [reviewed in this issue]  through
Dark Symphonies, and therefore I e-mailed RFW's  vocalist/keyboardist
Dawn some questions about the band. Here's what she had to say.

CoC: Rain Fell Within is, in my opinion, quite  an  interesting  name
     for a doom band. What does it mean to you and how does it relate
     to your music?

Dawn: Well, I feel that the name  symbolizes  the  deep  sadness  one
      feels when listening to the sound of the rain or  watching  the
      rain falling. In our music, we try  to  write  songs  that  can
      generate as powerful a feeling deep within the listener.

CoC: The images on both the front  and  back  covers  of  your  debut
     _Believe_ depict what seems to be an angel and an  open  window.
     It appears to me that there is a sequence here: first the  angel
     looks hopefully at the open window as if ready to fly away, then
     sits on the ground in woe.  And  although  the  album  title  is
     _Believe_, the title track  ends  with  "In  this  I  no  longer
     believe." I suppose this might be related to the cover  artwork.
     Is any of this correct?

D: We were most definitely trying to portray the  song  "Believe"  in
   the cover art. One might think, at first glance of the CD, that it
   means -to- believe in something,  when  actually  it  is  about  a
   fallen angel who is sent to Earth to change people and  finds  out
   that the world cannot be changed; it is what it is in all  of  its
   evil. Everything she ever believed in is lost.

CoC: Your lyrics often deal with matters of the  (broken)  heart  and
     are generally rather tragic. What inspires and  influences  your
     writing?

D: Well, I guess you can tell I'm not exactly pleased with the world!
   <laughs> Although I am not one to  accept  or  deny  any  form  of
   religion or belief of something beyond this  world,  what  I  have
   seen leaves me with a deep sadness. Most of the lyrics do not come
   from actual situations that have happened  to  me,  but  things  I
   could see happening in this awful place we live in.

CoC: I must congratulate you for your excellent vocals on  _Believe_.
     Did you have any formal vocal training? The  reason  why  I  ask
     this is that your voice, besides being very good, often seems to
     carry a certain operatic tinge, in my opinion.

D: I have been singing since I  was  three.  I  didn't  start  taking
   lessons until about four years ago, and I do sing a lot  of  opera
   music that I don't sing the same way as I do in Rain Fell  Within,
   but I do try to have that part of my voice shine through. I  think
   a straight opera voice doesn't quite blend as well with our music,
   so I do sing a little differently for the band.

CoC: Rain Fell Within is a bit different from other doom  bands  with
     female vocals because of some of  your  instrumental  side  (the
     guitar work that opens the  album  on  "A  False  Reality",  for
     example). What is the band members' musical background? What  do
     you generally listen to?

D: The guys in the band listen to a lot of straight death metal. I am
   more into the melodic stuff. Although they also listen to the more
   melodic metal, I think their death metal influences can't help but
   come out in the music writing. What's in my stereo  right  now  is
   Within Temptation.

CoC: Of course there are also plenty of  softer  passages  throughout
     _Believe_, and the music is often  punctuated  by  keyboards  as
     well. The track that you wrote on  your  own,  "The  Sun  in  My
     Wound", is perhaps the best example;  quite  a  beautiful  song.
     What is the story behind its  creation?  Will  you  continue  to
     write  songs  for  RFW  in  the  future,  or  was  it  a  unique
     occurrence?

D: Actually, "The Sun in My Wound" was  a  last  minute  decision.  I
   wrote it in about an hour just so we could add a  little  time  to
   the CD. We are thinking about adding the rest  of  the  band  into
   that song and making a heavy version of it. Since I write  a  song
   every time I sit down at the keyboard, I don't think I  will  stop
   writing songs any time soon.

CoC: After this debut album, what do you think the music of RFW  will
     be like in the future? Is there  anything  that  you  feel  went
     wrong with _Believe_ and needs to be changed? What are the  most
     likely changes, if any, now that you also have a  new  guitarist
     in addition to Kevin?

D: Well, every time you add a new  guitarist  your  style  changes  a
   little bit, because the persons  add  their  own  touches  to  the
   music. We have no intention of changing our style,  only  to  grow
   with the style we have created. I think the main thing  that  went
   wrong with _Believe_ was the amount of time we had to  record  it,
   which wasn't much. It was recorded in one day  and  mixed  in  one
   day.

CoC: How do you feel about the other more or  less  doomy  bands  out
     there who use lead female vocals? Are there any which  you  find
     particularly interesting?

D: I am interested in all bands that have female vocals. I  think  it
   adds a lot to very melodic heavy music. I  listen  to  Theatre  of
   Tragedy, The Gathering,  Within  Temptation,  The  Third  and  the
   Mortal, As Divine Grace, etc..

CoC: Do you feel that being in the USA is a handicap or an  advantage
     for a band like yours? Is there a real audience for  this  style
     of music over there right now, or would you rather be in Europe?

D: We would love to tour Europe, but I have to say it is somewhat  of
   an advantage to be in America.  I  say  this  only  because  there
   aren't many bands like us here, so we turn a lot of heads. I  also
   think that although we have a very European sound,  we  definitely
   have an American twist to it.

CoC: You are also one of the first bands to have their album released
     through Dark Symphonies. Are you happy with them?

D: Dark Symphonies are -wonderful- people. I could not possibly  have
   one bad thing to say about the way they are handling us,  or  them
   personally. I am extremely happy with them.

CoC: Well, those were my questions. Is there anything you would  like
     to add?

D: Check out the other bands in  the  area!  Witch-Hunt,  Arise  From
   Thorns, Forty Days Longing, Garden of Shadows, As the  Sea  Parts,
   Long Winters' Stare, Maudlin of the Well,  Corvus  Corax  and,  of
   course, Autumn Tears!

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

 L E A V I N G   B E H I N D   D I M E N S I O N   S O   H O L L O W
 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
             CoC interviews Rustam Shakirzyanov of Rakoth
                          by: Pedro Azevedo

     Not many Russian bands have reached my ears to  this  date,  but
Rakoth's _Planeshift_ [CoC #45] is a clear indication that there  may
be plenty of quality there waiting to be found. The new Italian label
Code666 fortunately discovered this  Russian  trio's  creativity  and
talent  and  recently  released  their  album  _Planeshift_.   Rustam
Shakirzyanov (vocals, keyboards and programming) answered  my  e-mail
interview about Rakoth and Russian metal.

CoC: Where does the name Rakoth come from? Mythology? Can you tell us
     more about that name and why you chose it?

Rustam Shakirzyanov: No, it has nothing in common with mythology.  It
                     is the name of  the  character  invented  by  N.
                     Perumov, Russian fantasy writer. Rakoth  is  the
                     demigod, so-called "True  Magician",  Master  of
                     Darkness, who refused to serve  Young  Gods  and
                     overthrew them, thus becoming  the  New  God  of
                     Hjorvard. He was the Insurgent One, and that  is
                     why we have chosen his name for our band.

CoC: Your musical style  isn't  easy  to  describe,  as  you  usually
     incorporate plenty of variety  in  your  songs.  How  would  you
     describe it yourselves?

RS: We wouldn't. However, the question needs to be answered, so  I'll
    use the term used by Code666 Productions to describe  our  style:
    "Epic Dark Metal".

CoC: Would you like to tell our readers what _Planeshift_  is  about,
     lyrically? What is the concept behind it?

RS: _Planeshift_ does  have  a  concept;  not  a  clear  one  as  our
    _Superstatic  Equilibrium_  MC  had,  though.  The   concept   of
    _Planeshift_ is hazy and  highly  personal  for  each  of  us.  I
    wouldn't describe the lyrics -- everyone can read them inside the
    CD cover. If one reads them and wishes to think  about  them  and
    interpret them for him/herself, the concept will become  personal
    for that person too. The key  song  (lyrically)  is  "Planeshift"
    itself, but the others aren't less important -- they are  like  a
    flower's petals. Something like tales, united by one central (and
    not quite obvious) idea. The  lyrics  are  painted  with  fantasy
    images or sometimes even describe  whole  episodes  from  certain
    fantasy books, but don't get caught up with it --  the  album  is
    -not- about fantasy and we are -not- a fantasy band.

CoC: Are you satisfied with your  debut  _Planeshift_?  I  personally
     found it quite interesting; plenty of work and creativity  seems
     to have been put into it.

RS: Yes, we are satisfied. Of course, now we would change some things
    in it, but it doesn't matter at all. The album is as we wanted it
    to be when we  entered  the  studio.  However,  I  wouldn't  call
    _Planeshift_  our  debut.  We  have  an   MC   (unreleased   yet,
    unfortunately) which represents a complete  and  finished  album.
    That was  our  debut.  As  for  _Planeshift_,  we  find  it  more
    professional than our previous works, but our future  works  will
    definitely be even better and more professional. That's for sure.

CoC: The last song on _Planeshift_, "The Unquiet Grave", struck me as
     very good and also considerably different from the rest  of  the
     album. Do you agree?

RS: Well, we find -all- songs on _Planeshift_ very good. But I  agree
    that "The Unquiet Grave" differs a lot  from  the  other  tracks.
    First, it is the only song on the album  which  doesn't  fit  the
    concept -- the lyrics aren't mine, they were taken  from  "Celtic
    Miscellany" and used in our own music  as  a  tribute  to  Celtic
    culture. Second, it is the only song (excluding instrumentals, of
    course) which does not feature P. Noir's voice at all,  but  does
    feature Dy's voice mixed with  mine  (on  the  last  verse).  And
    finally, the music itself is different. It is because most  parts
    of it were composed long ago, during the times of our demo  _Dark
    Ages Chronicle_.  We  used  those  parts  because  they  fit  the
    atmosphere of the text  perfectly.  Oh,  by  the  way,  there  is
    another feature which distinguishes the song: length. It  is  the
    longest track on the CD.

CoC: How did you get in touch with  your  label,  Code666?  It  seems
     rather strange that an unsigned Russian band  ended  up  signing
     for a recently founded Italian label which hadn't  yet  released
     anything, either. Is everything working out well with Code666?

RS: I once received an e-mail from them, something  like:  "We  would
    like to hear your music." I sent them our promo  MC  _Superstatic
    Equilibrium_. The reply was: "Great, what about a  deal?"  That's
    it. We signed the deal. We are glad to work with  Code666.  There
    are certain advantages in being signed to a small (and especially
    a newly founded) label. You'll see: soon,  we,  due  to  Code666,
    will become rich and famous, and Code666 (due to us, undoubtedly)
    will become a -big- record company, signing Madonna,  Elton  John
    and Pet Shop Boys. <laughs>

CoC: In my opinion, very few Russian bands seem to reach the  western
     part of the European market these days, even though some eastern
     European countries, like Poland, have several quality bands that
     are reasonably well-known in the rest of Europe. Do  you  agree?
     Why do you think this happens?

RS: The main reason is that Poland, for example, has  a  much  higher
    life quality level than Russia. So Russian  musicians  have  much
    less opportunities. However, there are some other  Russian  bands
    which are signed to foreign labels.  They  are  (besides  Rakoth)
    Nokturnal Mortum (Ukrainian band,  but  who  cares?  It's  almost
    Russia), Mental Home, Ens Cogitans, Satarial (not sure, but there
    were rumours that they were going  to  get  signed  somewhere  in
    Italy) and more...

CoC: Could you give us some details about today's Russian underground
     metal scene? Any specific bands you  would  recommend  as  being
     especially interesting or promising?

RS: There are a  lot  of  bands,  but  no  "scene".  Bands  fight  as
    "true/false", as it was in Norway several years  ago.  There  are
    few  bands  which  I  would  recommend:   Umbral   Presence   (my
    solo-project, hehe...),  Melissa,  Rossomahaar,  Stonehenge,  Ens
    Cogitans, Temnozor'. These bands are professional and have a  lot
    of originality. There are other professionally playing bands with
    interesting music, but they follow the  trend  by  copying  bands
    such as Cradle of Filth, Dimmu Borgir, Emperor, etc..

CoC: How do you think the future will be like for Russian metal?  Any
     hope for improvements?

RS: Sure. I think the scene will grow in quality, not only  quantity,
    and it will attract the attention  of  foreign  labels.  I  don't
    think that Russian labels will  become  competitive  against  the
    western ones in any foreseeable future...

CoC: Back to Rakoth, and  speaking  of  the  future,  what  are  your
     objectives with the band? What would  you  like  to  achieve  in
     these next few years?

RS: We don't plan to "achieve" something. We just create  music.  So,
    the only plans for the future are: 1. we are going to  re-arrange
    and re-record some of  our  old  stuff  and  release  it  through
    Code666 (the deal has already been offered to us) this  year;  2.
    we intend to record the brand new album sometime during the  next
    Winter and release it through Code666 as well.  Nothing  more  is
    planned.

CoC: Any closing comments?

RS: I'll distort the quote from my own lyrics for  the  end:  "Search
    for the way inside thyself"...

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
                   _____  .__ ___.
                  /  _  \ |  |\_ |__  __ __  _____
                 /  /_\  \|  | | __ \|  |  \/     \
                /    |    \  |_| \_\ \  |  /  Y Y  \
                \____|__  /____/___  /____/|__|_|  /
                        \/         \/            \/
              _____                 .__
             /  _  \   _________.__.|  |  __ __  _____
            /  /_\  \ /  ___<   |  ||  | |  |  \/     \
           /    |    \\___ \ \___  ||  |_|  |  /  Y Y  \
           \____|__  /____  >/ ____||____/____/|__|_|  /
                   \/     \/ \/                      \/

Scoring:  10 out of 10 -- A masterpiece indeed
           9 out of 10 -- Highly recommended
           7 out of 10 -- Has some redeeming qualities
           5 out of 10 -- You are treading in dangerous waters
           3 out of 10 -- Nothing here worth looking into
           0 out of 10 -- An atrocious album, avoid at all costs!


2 Ton Predator - _In the Shallow Waters_  (Diehard, March 2000)
by: Paul Schwarz  (6.5 out of 10)

As they are named based  on  the  band's  supposed  fascination  with
creatures like the great white shark, I can bring myself to lay aside
the cheesiness of 2 Ton Predator's chosen name without a  great  deal
of  effort.  However,  their  distinct  lacking  in  the  originality
department is harder to lay aside. Moshable groove metal is  what  we
have come to expect out of Tue Madsen  produced  albums,  and  2  Ton
Predator defy no expectations in this respect. The heavy influence of
America's finest whiskey swillin' Nawlins natives Down,  Crowbar  and
Corrosion of Conformity is more than evident, and nods towards fellow
Danes Konkhra and depressive-but-brilliant grunge merchants Alice  in
Chains also mark _In the Shallow Waters_' musical  tapestry.  All  in
all, 2TP have produced a record  which  packs  a  considerable  punch
whilst also locking and loading some effectively ballady moments  and
occasional indulgent solos, but  it  is  painful  to  hear  a  band's
influences seemingly playing  on  their  album,  rather  than  merely
influencing it.


Abdullah - _Snake Lord_  (<Independent>, 1999)
by: Adrian Bromley  (9 out of 10)

I'm betting many doom metal fans who come across  this  superb  Black
Sabbath / doom-laden release will be smiling for days.  Maybe  weeks?
With just two guys -- Jeff Sherilla and Alan Seibert --  pushing  all
the right buttons, it doesn't take long for Abdullah to get the party
going. From the  opener  sway  of  "The  Path  of  Enlightment"  onto
"Firmament" and "Sickness Unto Death", it is quite obvious these guys
still live and breathe the wicked past of  Sabbath.  Their  realm  of
gargantuan ear-fuzzing material is  made  of  loud  guitars,  awesome
vocals and some of the heaviest doses of music to storm at you  in  a
while. This is monster doom metal from the mid-west and it should not
be ignored.

Contact: 1569 Hibbard Dr. Trow, OH 44224, USA
         mailto:shirilla@nls.net
         http://web.raex.com/~aseibert/abdullah.htm


Blatant Disregard - _Waging War in the Center_
by: Adrian Bromley  (8 out of 10)  (Slay the Sun, February 2000)

Now this is the kind  of  hardcore/metal  music  that  I  like:  very
hard-hitting and, most importantly, confrontational. Arizona  quartet
Blatant Disregard have managed to work up  enough  angst,  aggression
and  stamina  to  propel  this  six-song  release   into   a   heavy,
face-pummelling experience. The vocal cries of  singer  Dion  Bozman,
when matched with the solid drive of the band's hardcore deliverance,
are unbearable. Those in the pit (the ones  left  standing)  will  no
doubt love the band's  material.  Few  independent  bands  out  there
really make a good first impression, but these guys did. If there was
one thing wrong with this material, I'd have to say not enough  songs
to keep their assault on us going. Oh well,  here  is  hoping  for  a
full-length release next time.

Contact: Slay the Sun Records, 166606 S. 21st St.,
         Phoenix, AZ 85048, USA
         mailto:amstaff@extremezone.com


Broken Hope - _Grotesque Blessings_  (Martyr Music, January 2000)
by: Adrian Bromley  (7 out of 10)

On veteran death metal band Broken Hope's latest offering  they  come
out armed with a cavalcade of "by  the  book"  death  metal  numbers,
sinister vocals and killer guitar riffs. So why care? I'll  tell  you
why. Brian Griffin (guitarist) is at the production helm once  again,
adding his own strong blend of production ideas  into  the  mix,  and
while some metal fans might find this a bit too samey at times,  when
the band hits the  solid  stride  they  do  deliver  big  time  (i.e.
"Necro-Fellatio" and "Earth Burner"). Most death metal fans will find
solace within this band's battering ram of metal music. Plus, as  the
booklet says, this is "pure sickness". Indulge, sickos!

Contact: Martyr Music Group Inc., P.O. Box 45, Natwick, MA 01769, USA
         http://www.martyrmusicgroup.com


Cirrosis - _Reciclando Desesperacion_  (<Independent> / <MP3>, 1999)
by: Brian Meloon  (7 out of 10)

Cirrosis hail from Mexico, and play semi-technical death metal.  They
claim to be a mix of  Meshuggah,  Fear  Factory,  Pestilence,  Morbid
Angel  and  Cannibal  Corpse,  but  I  only  really  hear   Meshuggah
influences. That isn't to say  that  they're  Meshuggah  clones,  but
there are some obvious Meshuggah influences, such as the guitar solos
in "Negando lo No Negado" and "Fariseos". The rest of their music  is
standard death metal, comparable at times to the rest of the bands in
their list, but not really sounding like any of them all  that  much.
Their music isn't overly brutal, but it's pretty heavy.  However,  it
lacks the speed of a band like Cryptopsy, as  the  band  are  content
with a  more  mid-paced,  bludgeoning  approach.  The  production  is
decent, but certainly could've been a little more powerful.  (Perhaps
the fact that I'm reviewing  _RD_  from  a  collection  of  MP3s  has
something to do with this...) The songs vary in style  quite  a  bit;
some of them are moderately technical,  whereas  other  songs  aren't
very technical at all. The playing is mostly good. The  parts  aren't
extremely difficult, but they handle  all  of  what  they  play  with
considerable  aplomb.  The  vocals  are  standard   death/thrash-type
grunted/shouted vocals. There isn't too much here  that  you  haven't
heard before, but it's good for what it is. Hopefully  the  band  can
improve with  their  next  release,  by  defining  their  own  sound,
perfecting their production, and narrowing their focus on  what  they
do best.

Contact: mailto:osunado@cob.megared.net.mx
         http://www.junkyardpress.com/cirrosis/main.htm


Corporation 187 - _Subliminal Fear_  (Wicked World, February 2000)
by: Paul Schwarz  (6.5 out of 10)

Being Swedish, signed to Earache, praising  eighties  thrash  legends
like Slayer, and having a former member of Seance in their ranks, you
might wonder whether I wasn't talking about The  Haunted  instead  of
our  case  in  point,  Corporation  187.  Wittingly  or  unwittingly,
Corporation 187 -are- riding the  wave  generated  by  The  Haunted's
impression-making arrival onto the extreme metal scene, back in  1998
with the release of their self-titled debut  [CoC  #34].  _Subliminal
Fear_, the debut now  in  question,  adopts  a  similar  MO;  meshing
eighties aggression with a slick nineties  coating.  Corporation  187
pound out nine aggressive tracks totalling a  mere  32  minutes  with
precision and finesse as their welcome bed fellows.  However,  though
competence certainly does not evade,  a  defining  characteristic,  a
reason to choose to listen to them as  opposed  to  any  other  band,
does. Vocalist Pelle never comes close to the intensity Peter Dolving
generated on _The Haunted_, and despite their former credentials as a
Slayer cover band, Corporation 187 never find that Slayer-esque  vein
of unleashed violence that The Haunted managed  to  commendably  tap.
All the same, if you're happy with tight  snare  drums  and  lots  of
thrashing guitars, then you may have a winner here.


Cradle of Filth - _From the Cradle to Enslave_
by: Matthias Noll  (8 out of 10)  (Music for Nations, 1999)

It's time for an outing: Cradle of Filth are my favourite band of the
'90s. It's completely beyond my comprehension what their music has to
do with sell-out and I'm still looking for a Korn  /  Marylin  Manson
fan who has bought a CoF record or shows up  at  their  concerts.  To
help you put my review  into  perspective,  there  are  a  couple  of
reviewers out on the 'net who hate Cradle's  output  since  _Vempire_
[CoC #11] but think that _From the Cradle to Enslave_ is  a  pleasant
surprise and the best  material  the  band  has  written  since  _The
Principle of Evil Made Flesh_. What the CoF following gets  here  are
two new songs, two covers, a techno remix and a different version  of
"Funeral in Carpathia" from _Dusk and Her  Embrace_  [CoC  #16].  The
title  track,  a  rather  straight  song  by  Cradle  standards,   is
constructed around an enchanting guitar melody line  which  embeds  a
ferocious thrash metal  section  --  the  first  time  the  band  has
achieved a really heavy guitar sound (and I  mean  HEAVY)  --  and  a
blast speed passage with some superb drumming by Wes  Sarginson.  The
second song, "Of Dark Blood and Fucking" is uncompromisingly fast and
even after a couple of weeks the  brutal  riffing,  showing  a  clear
_Reign in Blood_ influence, still leaves me breathless.  Since  _Dusk
and Her Embrace_  Dani  has  developed  a  far  more  variable,  less
irritating style and is not only screeching in the  highest  possible
notes anymore. Backing him up, Sarah Jezebel Deva has lent her unique
voice to the Cradle once again and provides some fine  melody  lines.
Also noteworthy is keyboardist Lecter's work on "Of  Dark  Blood  and
Fucking" -- total swirling madness without a hint of the usual, oh so
sweet  black  metal  cliches.  The  two  cover  versions,  Anathema's
"Sleepless" and The Misfits' tune "Death Comes Ripping" are quite OK,
but do not live up to what CoF have done with "Sodomy  and  Lust"  or
"Hell Awaits". Forgettable is the techno remix "Perverts Church". The
alternative version of "Funeral in Carpathia" sounds like a  demo  or
pre-production  track  with  hardly  audible  guitars  and  is   only
interesting for hardcore fans. Judging by the two new songs, I'm sure
that if the band manages  to  maintain  this  quality  level  on  the
upcoming full length album we'll get  an  absolutely  killer  record.
Let's wait to see if the line-up stabilizes again and  what  kind  of
input Paul Allender might be able to give. I'm giving 10  out  of  10
for the new material and 6 for the rest this time.


Dark Shades - _Hymnen an die Dunkelheit_
by: Matthias Noll  (7 out of 10)  (Silbersack Recordings, 1999)

The first thing I saw from Dark Shades was  a  logo  containing  666,
inverted cross and pentagram. Being the untrue  wimp  that  I  am,  I
expected less than nothing worthwhile from their  debut,  which  then
turned out to be a pleasant surprise. Unlike the  logo  (probably  an
older  one)  suggests,  Dark  Shades  do  not  play   unholy,   true,
whateverraping  black  metal.  I  would  describe  their   style   as
atmospheric black/death metal with very  straightforward  and  simple
song structures. The vocals alternate between grunts and  rasps,  the
guitars riff away with touches of icy sharpness combined with  German
precision and the drumming is solid but not remarkable.  Dark  Shades
do work with some acoustic guitar sections  plus  a  fair  amount  of
keyboards and that's my first point of criticism. The  keyboard  work
is not very imaginative and reminiscent of Dimmu  Borgir's  _Enthrone
Darkness Triumphant_, even if a bit less dominant.  I  do  also  feel
that a higher dose of aggression and speed  frenzy  would  have  made
_Hymnen an die Dunkelheit_ ("Hymns to Darkness") a better  album.  On
the other hand, the atmosphere of songs like "Voice  of  Hastur"  and
"Messenger of Dark Gods" would have suffered from  the  inclusion  of
aggression for the  sake  of  aggression.  Dark  Shades'  controlled,
somewhat typical German style is a good vehicle for some great guitar
melody lines which after only a couple of spins I found myself unable
to ban from my head. In my opinion that's  quite  an  achievement  in
times that spawn one faceless record after another. Do not check this
record out if you belong to the Marduk/Setherial legions. If you like
your metal  melodic  and  simple  yet  with  death  and  black  metal
influences, _Hymnen an die Dunkelheit_ could be worth getting.

Contact: http://www.wischrop-net.de/dark_shades/


Demons & Wizards - _Demons & Wizards_  (SPV Records, February 2000)
by: Adrian Bromley  (8 out of 10)

There were rumors about this band for many years  and  finally  their
debut release is upon us. The group in question is Demons &  Wizards,
a side project for Hansi Kursch (Blind Guardian vocalist/bassist) and
Jon Schaffer (Iced Earth guitar slinger). With high energy and  great
melody, not to mention Schaffer's trademark riffs  leading  the  way,
D&W is a blistering assault of power metal that easily transports the
listener to a far off realm to lie sedated as the tales of love, lust
and death float by. Kursch's vocal range is spectacular and  Schaffer
has given his all here. While many will write this off  as  a  "Blind
Earth" or "Iced  Guardian",  after  numerous  listens  those  foolish
thoughts will be non-existent. This is more than just an amalgamation
of both veteran performers' styles and sounds. It's a wonderful  trip
into an experimental realm of metal music, a set  of  ideas  that  no
doubt these two would not really bring out  within  their  respective
projects. Or could they? From the furious opener "Heaven Denies" onto
stunning tracks like "Poor Man's Crusade" and "Fiddler on the Green",
there is no doubt in anyone's mind that  these  guys  have  carefully
crafted the D&W experience. Fans of both members' other projects will
not be turned off by what they have provided us here. This is just an
extension of their talented musicianship.


Dismember - _Hate Campaign_  (Nuclear Blast, February 2000)
by: Adrian Bromley  (9.5 out of 10)

Dismember are back for the attack and it is about fucking  time!  The
band's latest LP _Hate Campaign_ (the follow-up to the monstrous 1997
outing _Death Metal_ [CoC #24]) is a superbly tight,  yet  simplistic
take on death metal music. More melodic (yes, melody!) and a lot more
bare-knuckle barrage  of  screaming  vocals  and  rip-roarin'  guitar
riffs. In other words, a  perfect  harsh  welcome  into  metal's  new
millennium. The most important element of the new disc is its  speed.
Crushing down upon you like Thor's mighty hammer, the quintet's sonic
assault rarely gives up. While only 33+ minutes long, the  length  of
the disc is perfect and _Hate Campaign_ does the job  right.  Nothing
more to say than get this disc and hold onto something. It  is  going
to be one fucking bumpy ride, motherfuckers!


Eternal Oath - _Through the Eyes of Hatred_
by: Alvin Wee  (6 out of 10)  (Pulverised Records, 1999)

Gothenburg used to be the site of a unique class of music, one  which
blended  the  aggression  of  death  metal  with  artfully   sculpted
melodies. Radio airplay and glossy publications  have  since  reduced
the scene to a timid, trembling wreck. The  trap  that  Eternal  Oath
have fallen into is a common one. In  their  search  for  melody  and
flowing beauty, many bands seem to have overlooked the  effectiveness
of short, incisive melodies coupled with sharp and  memorable  hooks.
The result being sweetly melodic, yet emotionally void and drawn  out
-- Kenny G wouldn't be far from mind.  Sentenced,  anyone?  Which  is
exactly what _TtEoH_ is  all  about.  Lacking  the  raw  passion  and
memorable hooks of _The Gallery_-era Dark Tranquillity or early  Amon
Amarth,  events  inevitably  dull  into  a  sleep-inducing  brew   of
sweetness and pseudo-goth posing. As with most  other  bands  in  the
genre, musicianship is irreproachable, but the stellar technique only
accentuates the inadequacy of the material. While this is not a  disc
I would exactly fling out the  window,  it  isn't  what  I'd  put  my
hard-earned dough down for. Not while Depresy's still around, anyway.


EverEve - _Regret_  (Nuclear Blast, 1999)
by: Pedro Azevedo  (5 out of 10)

Having thoroughly enjoyed EverEve's previous two  outputs,  _Seasons_
[CoC #20] and _Stormbirds_ [CoC #31], I hoped the band would be  able
to overcome vocalist Tom Sedotschenko's suicide and produce a  worthy
third album. New vocalist Ben Richter lacks most of  the  versatility
and especially  dark  emotion  that  Sedotschenko's  voice  had,  but
unfortunately  I  doubt  any  vocalist  would  have  been   able   to
single-handedly save this album anyway. Despite a few reasonably good
passages, the songs  generally  lack  the  strength,  atmosphere  and
emotion EverEve once had,  and  are  instead  excessively  bland  and
generic.  The  new  electronic  "enhancements"  and  increased   goth
influences in their music are  hardly  welcome  substitutes  for  the
doomy melodies and atmosphere EverEve used to have. The -two-  covers
of "House of the Rising Sun" don't help  much,  either.  EverEve  can
never be the same again without Sedotschenko,  but  while  I  already
expected the vocals to be  at  least  somewhat  less  enjoyable  than
before, I never thought the music itself would lose so  much  of  the
interest it used to hold.


Freedom Call - _Stairway to Fairyland_  (Steamhammer, 1999)
by: Alvin Wee  (10 out of 10)

As if Gamma Ray, Blind Guardian and Iron Savior weren't  enough,  the
German power metal scene just keeps chucking better and better  stuff
at its spellbound fans. Brainchild of Gamma Ray drummer Dan Zimmerman
and starring sundry other Teutonic metal personalities, Freedom  Call
is set to succeed Hansen-era Helloween as undisputed masters  of  the
scene. Blending the drive of _Keeper of the Seven  Keys_  and  adding
sweetly anthemic touches characteristic of latter day, Grapow-fronted
Helloween, _StF_ is any speed/power metal fan's wet dream. Not  since
Edguy's _Vain Glory Opera_ have I been astounded by luscious melodies
of such epic proportions delivered with  such  conviction.  From  the
driving, anthemic chants of "Over the Rainbow" to the slow, hymn-like
choruses of "Hymn to the Brave", Freedom Call assert their  right  as
kings of ultra-melodic power metal. Years of working  with  legendary
metal-man Kai Hansen has undoubtedly influenced Dan somewhat, and one
would be hard-pressed to find a moment on the album  not  reminiscent
of some Gamma Ray moment or Helloween passage.  Significantly  absent
are  the  ubiquitous  Blind  Guardian-style   group   choruses;   the
folk/medieval touches here have been dropped in  favour  of  soaring,
sweeping melodies. Not a riff is out of place, not a beat is hammered
out with anything  less  than  the  utmost  confidence  --  which  is
expected from a crew of such experience and talent, but add  to  that
the blazing leads and the almost childishly  sweet  yet  heartrending
cries of Chris Bay (formerly of  Moon  'Doc  and  the  legendary  Zed
Yago), and  the  result  far  exceeds  expectations.  And  imagine  a
production team of Dan Zimmerman and Chris Bay,  led  by  the  hugely
experienced Charlie Bauerfeind (who else?)! Granted, there'll be  the
odd "true-metal" fan who'll condemn the saccharine sweetness of _StF_
for being weak and  "un-metal",  but  the  genre  has  always  placed
emphasis on quality songwriting rather than brutality, and one listen
to the much-hyped Labyrinth will prove that Freedom Call are anything
but  soft.  I've  already  pencilled   in   Gamma   Ray's   excellent
_Powerplant_ as top of the genre this  year,  but  Freedom  Call  are
already proving strong contenders to the title. It's been a good year
for power metal with countless new acts like Steel Attack and the old
guard (Virgin Steele, etc.) putting out formidable works.  But  _StF_
is without doubt the crowning glory, as well as one  of  the  genre's
greatest   debuts   ever.   Get   it   from   Sentinel    Steel    or
<mailto:EmpireEnt@aol.com> in the States.


Hades - _The Downside_  (Metal Blade, February 2000)
by: Adrian Bromley  (5 out of 10)

New York metal outfit Hades tried to do their best on this record  in
order to achieve a fine metal sound all around. The key word there is
"tried". The music, while a little generic at  times,  does  for  the
most part hit a solid stride and singer  Alan  Tecchio  has  a  great
metal voice, but as Hades' record _The Downside_ hits the midpoint it
is quite obvious that the band has a hard time making their music  go
the distance. Riffs and drumming mesh into a blurring wall  of  noise
and Tecchio's vocals become a tad irritating. The guitar riffs within
Hades' material are indeed the most interesting aspect, wailing  away
in unison as Tecchio hits the high notes, yet easily dropping back to
carry the weight of the metal groove. A mediocre release if  you  ask
me, with just a tad bit of worthy substance to chew on.


Himinbjorg - _In the Raven's Shadow_  (Red Stream, 2000)
by: Aaron McKay  (9 out of 10)

I am more than a bit taken with a group that has a song title "In the
Forest of the  Demons  from  Within".  I  do  find  myself,  however,
returning time and again to  the  purely  instrumental  and  somewhat
provokingly peaceful  construction  of  "Dream  Walker"  (not  to  be
confused with "Spiritwalker" by The Cult). What do  I  hear  in  this
release from France's Pagan black metalists? I witness elder tales of
ancient flights at midnight ingurgitated in  the  belly  of  nature's
most treasured and esoteric abhorrences -- pure and  simple.  Perfect
passages of pleasure and pain striped before the  listener  reflected
in prophetic passages such  as  "Thiazi's  Oyne"  and  "The  Inverted
Dimension". Edgar Allan Poe influences aside  on  my  part,  _In  the
Raven's Shadow_ is beautiful and majestically  metal  simultaneously.
If you find yourself in some doubt after reading this review,  please
check out CoC's issue #39. It includes some insight into Red Stream's
_To Live Is Ever to Be in  Danger_.  Himinbjorg  has  one  unreleased
track on that CD, "De Grenselose Sjoere", as well as "Rising",  which
can also be found on _ItRS_. You can't go wrong with either disc, but
fans of the path less traveled will seek out _In the Raven's Shadow_;
the not-so-adventurous will chose the Red Stream compilation's safety
net, _TLIEtBiD_.


Hirilorn - _Legends of Evil and Eternal Death_  (Drakkar, 1999)
by: Alvin Wee  (8 out of 10)

Hirilorn have been Drakkar Productions'  blue-eyed  boys  ever  since
their acclaimed split cassette-LP with Merrimack, and it's  relieving
to see all the promises being fulfilled on their newest four-tracker.
In a true black metal ethic that hasn't been observed for ages,  this
French foursome manage to push the quartet of pieces  to  a  whopping
50+ minutes. Less forgiving  reviewers  have  dissed  their  extended
compositions for being incoherent and long-winded. The  point  that's
being missed is: black metal has often worked well as a rambling  and
expansive style, as albums  like  Setherial's  _Nord_  [CoC  #12]  so
brilliantly show. Melodic acoustic guitars and delicate whispers open
the festivities promisingly, and Hirilorn waste no time in impressing
with "Last Ride on the Winds of Eternity"'s unforgettable  leitmotif,
gracefully fluid leads segueing seamlessly into old-fashioned Swedish
trilling.  What  a  start!  Distortion  fades  into  an   atmospheric
interlude, replete with tambourines, acoustic guitar folkishness  and
grim narration. It doesn't hit me until the rest of the music crashes
back in with a ferocious roar that I simply haven't heard such melody
in an underground setting in ages! Hirilorn eschew today's  formulaic
black metal crunchiness in favour of quietly buzzing guitars  layered
over with highly memorable leads. In this day  and  age  where  black
metal is veering farther from the minimalist tenets of the pioneering
bands, Hirilorn's "music-for-music's-sake" ethos stands out with  the
murky brilliance of early Dimmu Borgir or  Parnassus.  It  may  be  a
personal opinion, but Hirilorn seems destined to tread  the  path  of
the latter band: obscure sparks all but lost  in  the  gloom  of  the
underground. For faithful followers of the genre, _LoEaED_ will  make
a good change from  the  over-produced  albums  of  today,  and  fans
Stateside are highly encouraged to check out a release sadly  lacking
in promotion outside Europe.

Contact: Drakkar Productions, BP 420, 84071 Avignon cedex 4, France
         (Price: $18)


Various - _Holy Dio: Tribute to Ronnie James Dio_
by: Adrian Bromley  (8.5 out of 10)  (Century Media, January 2000)

Not everyone likes tribute records and I can see why.  Most  of  them
are mediocre bands doing half-ass  renditions  of  one  time  classic
material. I hate those tributes. But then once in a while  one  comes
along that smashes all memories of those horrible tributes  and  gets
the blood boiling, helping rekindle the feelings we  had  inside  for
those original songs when we first heard them. The Dio tribute is  an
excellent one that should be purchased by fans of Ronnie  James  Dio.
Some of progressive metal's best acts rock out in a big way  as  they
take command of classic Ronnie James  Dio  material  from  his  Black
Sabbath, Rainbow and solo days. HammerFall does a  solid  version  of
"Man on the Silver Mountain", Blind Guardian  shreds  on  the  superb
"Don't Talk to Strangers" and Enola Gay does justice to  "Heaven  and
Hell". Other acts like Gamma Ray, Doro and Primal Fear all take stabs
at covering Dio, all pulling it off quite nicely. Fan  of  Dio?  Then
check this out and relive his glorious metal past.


Horifixion - _Rage_  (<Independent>, 1999)
by: Adrian Bromley  (6 out of 10)

Much like their  other  metal  brethren  from  Quebec,  Oblivion  and
Gorguts, Horifixion like to play their music fast and technical.  The
music is vibrant and the guitar riffs are to die for. But why the low
marks? The four-song offering from Horifixion radiates within a realm
of repetition, whereas bands like Oblivion and  Gorguts  (who  do  it
with pure finesse) aim to strike fast and hard, but at the same  time
mix things up. While those  acts  come  off  with  glorious  results,
Horifixion fall back into  a  pack  of  yesteryear's  speed/technical
metal aficionados. It is not bad to be lumped into the past,  but  it
should be key to strive forth at times with modernization and  crafty
ideals. Horifixion deal out the damage, but rarely keep  the  assault
ongoing. Choice cut: "Deserted Landscape".

Contact: Samuel Landry, 871 Trudel Quest, St-Boniface,
         Quebec G0X-2L0, Canada
         mailto:samuel_landry@concepta.com
         http://metalmusic.net/horifixion/


Imperial - _Malmort_  (Osmose, November 1999)
by: Paul Schwarz  (2 out of 10)

I don't think I have been ground into the dust by quite such  a  wave
of unrelentingly tedious songs since I  last  spun  Mortician's  most
recent album [CoC #42]. In fact, as far as I can  see,  Imperial  are
Mortician's equivalent in the  thrash  scene  of  1999.  Their  album
boasts a "Warning!!!": "This is an  album  of  speedcore!!!  Not  for
emotive people!!!" -- this did not endear me to their cause from  the
start. Maybe it is because I am an "emotive person", but  I  actually
think it is because I don't enjoy extreme music made by  someone  who
can't even write a vaguely exciting song, let alone an original  one.
Imperial hack relentlessly at my psyche with the  boring,  repetitive
drone of _Malmort_, and after forty minutes Imperial have  pushed  my
spirits low, something I do not appreciate. Plundering the  likes  of
Exodus, Destruction, Kreator and Anthrax with little skill  and  less
taste, Imperial are neither funny nor exciting. I am sick of  hearing
tedious, retro-thrash bullshit and if I was forced to listen to it  I
would pay good money to make sure that Imperial were not  the  chosen
"delight" I would be forced to pollute my ears with.


Istidraj - _Metafizika_  (<Independent>, 1999)
by: Alvin Wee  (5 out of 10)

Ah, the wonders a poor PA system can do for bad music!  Straining  to
make sense of  their  black  metal  rumblings  at  a  recent  gig  in
Singapore, I was looking forward to hear a much improved rendition of
these Singaporean neophytes' work on CD. Needless to say,  I  already
had my doubts on opening the booklet: sprouting  pseudo-philosophical
rhetoric in abysmal English doesn't do much  for  first  impressions.
Not that the music makes up for anything. A bored schoolgirl opens up
proceedings with a dully recited couplet, and if trying to rhyme  two
lines using the same word is anything to go by, Istidraj don't  offer
much lyrically either. Anyone familiar with Unpure's early work  will
know what I mean when I say Istidraj's music owes its  depressiveness
to absolute boredom rather than purposeful songwriting. It's not that
the riffs are poorly  written;  on  the  contrary,  opener  "Odes  of
Aeshon" is engagingly foreboding in its  own  right,  but  the  sheer
monotony of the delivery results in  every  track  sounding  similar.
Apart from "Wood  of  Eternity"'s  crunchy,  doomy  riffage  sounding
remotely impressive  with  its  Cathedral-like  downtuned  heaviness,
everything else sounds much like an amateur  mish-mash  of  primitive
black, death, doom and thrash.  And  that's  without  mentioning  the
pathetic, almost comical vocals. Bands just can't  seem  to  get  the
message that we'd rather do without vocal variety than  be  force-fed
Mickey Mouse Club-type girly chants. As if that  wasn't  enough,  the
band's dark-skinned vocalist  "Lord  Aryan"  pays  sloppy  homage  to
Immortal by adding a pinch of dryness to  Abbath's  parched  rasping.
Soooo evil! Frankly, I feel pretty bad about putting  down  a  band's
virgin outing so callously, but it just goes to show that what  would
be more than adequate on a demo tape fails miserably on  a  34-minute
CD album. Take it as a lesson learnt, boys:  demos  weren't  invented
for nothing.

Contact: Aryan Productions, Blk1, Jalan Pasar Baru,
         #06-21, Singapore 402001.


Jacobs Dream - _Jacobs Dream_  (Metal Blade, January 2000)
by: Adrian Bromley  (8 out of 10)

Woah?! I was at first a little taken aback by singer  David  Taylor's
uncanny similarities to  Iron  Maiden  singer  Bruce  Dickinson.  Too
close, if you ask me. But also with a  slight  nod  to  Queensryche's
screamer Geoff Tate and  Rush  frontman  Geddy  Lee,  Taylor's  voice
manages to flutter within a very unique vocal  body.  Very  versatile
and extremely powerful. Taylor's vocals hit hard, pushed  forward  by
passion and intensity, that being one of  the  stronger  elements  to
Jacobs Dream. The music of this power/progressive metal  outfit  also
shines with passion and complexity, rarely missing the  mark  as  the
quartet steamrolls through great sonic epics. This should be  one  of
the best newcomers that 2000 offers, I'm  sure  of  it.  My  favorite
tracks include opener "Kinescope", "Scape Goat" and "Love &  Sorrow".
Feel the passion, follow this Dream.


Lock Up - _Pleasures Pave Sewers_  (Nuclear Blast, December 1999)
by: Paul Schwarz  (8.5 out of 10)

Lock Up stand out prominently amongst the faceless many  who  pollute
the grindcore scene, but _Pleasures Pave Sewers_, with its Andy Sneap
production and all-star cast  of  Peter  Tagtgren  (Hypocrisy),  Nick
Barker (Dimmu Borgir, ex-Cradle of Filth),  Shane  Embury  and  Jesse
Pintado (both Napalm Death), is no underground  crust-fest.  Instead,
it kicks your ass with a crisp, clear  production  and  assassin-like
musical precision. Shane Embury has at last got  off  the  happy-punk
metalcore trip of the  last  few  Napalm  Death  albums  and  instead
belched forth nine of the  best  and  heaviest  compositions  he  has
penned in the last ten years. Jesse Pintado's  written-for-Terrorizer
quarter goes some way to recapturing the spirit of that  godly  band,
but this task would have been quite a feat to fully succeed  in,  and
Lock Up collectively haven't  managed  it.  However,  Peter  Tagtgren
belts out some of his most violent and  effective  aural  evacuations
since _Abducted_ whilst Nick Barker lays down a virtual minefield  of
explosively destructive percussion. No attempts have here  been  made
to significantly  fuck  with  grindcore/death's  basic  formula,  and
though  this  leaves  _Pleasures  Pave  Sewers_  in  no  position  of
uniqueness, it is probably for the best, ultimately resulting  in  an
invigorating twenty-seven minute barrage  of  grindcore  assault  and
battery.


Malevolence - _Martyrialized_  (Maquiavel Music Entertainment, 1999)
by: Pedro Azevedo  (8 out of 10)

This Portuguese band traveled  to  Sweden  in  order  to  have  their
technical, dynamic, progressive death metal recorded by Anders Friden
and mixed by Fredrik Nordstrom -- all in the famous Fredman Studio in
Gothenburg. This was a very good decision,  even  though  Malevolence
don't sound very Swedish, because thanks  to  Friden  and  Nordstrom,
_Martyrialized_ boasts a clean, powerful sound that  perfectly  suits
what Malevolence's occasionally keyboard-enhanced style requires. The
band's considerable musical skill and creativity shines  through  the
whole album, but unfortunately its nine tracks only last for a  total
of 30 minutes, while the ideal length for their style would have been
something around 40 minutes, in my opinion. Maybe the financial  cost
of recording at the Fredman Studio took its toll -- time literally is
money. However, the songs themselves are  usually  around  the  three
minute mark, as they aren't made of choruses or riffs which the  band
repeats over and over again ad nauseum  to  make  them  last  longer.
Therefore, I  haven't  deducted  any  marks  for  the  album's  short
duration, regardless of what caused it. _Martyrialized_ also features
an interesting instrumental track and a nice keyboard-based song with
drums and vocals on top, both of which add some more  variety  to  an
already varied  and  dynamic  album.  Despite  a  few  less  inspired
passages, with _Martyrialized_, Malevolence have proven to be a  very
talented band, and I think their next release can still be better.

Contact: Maquiavel Music Entertainment, P.O. Box 172,
         2400 Leiria, Portugal
         mailto:maquiavel@mail.telepac.pt


Maudlin of the Well - _My Fruit Psychobells... A Seed Combustible_
by: Pedro Azevedo  (7 out of 10)  (Dark Symphonies, December 1999)

If there are albums that can leave you puzzled and unsure of  whether
overall you liked what you heard or not, then  this  hour-long  debut
full-length from Maudlin of the Well  is  definitely  one  of  those.
Instruments such as clarinet and trumpet can be found amidst the sort
of atmospheric, progressive doom/death these Americans produce, while
growls and clean male  and  female  vocals  are  used  as  well.  The
production is a bit below  average  overall,  but  acceptable.  After
"Ferocious Weights" and "A Conception Pathetic" open the  album  with
the band's various musical influences resulting in  a  different  and
interesting form of doom metal, Maudlin of the Well start having some
trouble keeping the album consistent. The third  track,  "Undine  and
Underwater Flowers", is a ballad of sorts, with some highly  annoying
"sweet" male vocals on top, and is entirely  unable  to  justify  its
presence (not to mention its nine  minute  duration).  The  following
three tracks see MotW back to their highly unusual atmospheric  doom,
with mixed results, but overall  producing  something  which  clearly
tries to be innovative and usually manages to be interesting  enough.
While contrast can be excellent in music, that ballad in  the  middle
of doom/death sequences  is  far  too  much  for  me.  "Catharsis  of
Sea-Sleep  and  Dreaming  Shrines"  has  some  more  good  doom/death
passages,  especially  the  one  towards  the  end.  To  finish  this
seven-song album,  "Blight  of  River  Systems"  is  another  ballad,
although somewhat less annoying than the third  track.  Most  of  you
will probably want to leave out a couple of tracks when listening  to
this album (I know I will after  I've  finished  reviewing  it),  but
what's left is good enough to justify giving it a chance,  especially
if you like musical experimentation.

Contact: mailto:maudlin@geocities.com
         http://www.geocities.com/maudlinofthewell/
Contact: mailto:orders@darksymphonies.com
         http://www.darksymphonies.com


Morgul - _The Horror Grandeur_  (Century Media, January 2000)
by: Paul Schwarz  (6.5 out of 10)

Morgul have chosen to mix the modern and polished black  metal  sound
of Dimmu Borgir or Emperor with violins, piano and even  dance  beats
to attain a similar sound to Arcturus, with a distinct carnival-esque
feel, at points. It is  adventurous  and  varied,  ranging  from  the
monotonous pound of "Ragged Little Dolls" to the industrial crush  of
"Elegantly Decayed" and on to the final rage filled  blast  beats  of
"The Ghost", but it never really feels like Morgul are truly covering
any new  ground  on  a  grand  scale.  Yes,  they  are  crossing  the
boundaries of traditional black metal, but  the  gates  have  already
been broken and Morgul are merely  walking  in  the  wake  of  other,
greater bands. There is nothing that  I  picked  up  on  _The  Horror
Grandeur_ which hasn't been done better on some other  album  by  the
likes of Dodheimsgard, Sigh or Arcturus.


Mortiis - _Fodt Til a Herske_  (Earache re-issue, November 1999)
by: Paul Schwarz  (6 out of 10)

Super-simplistic  in  its  twin  keyboard  strands   and   occasional
war-drums, Mortiis' 1994 debut release certainly does betray the fact
that these two tracks ("Fodt Til a Herske" parts 1 and  2,  totalling
over fifty minutes in all) were his first attempts at  making  music.
It isn't exactly bad or good, rather just inconsequential. It neither
significantly moves in the positive sense, nor irritates and  prompts
silencing for its poor quality. It is quite good backing music, and I
expect  for  an  animated  film,  documentary  or   even   relatively
impressionistic film it would make adequate, understated  and  mildly
atmospheric keyboard backing music. However, sitting down to actually
meditate on its every note reveals not only its  simplistic  content,
but also its rather tedious structure. I am not a big fan of  Mortiis
in general, but if I wanted to listen to him, I would  dig  out  _The
Stargate_. _FTaH_ is definitely not worth its lengthy duration.


Nocturnus - _Ethereal Tomb_  (Season of Mist, November 1999)
by: Paul Schwarz  (8.5 out of 10)

Nocturnus were using keyboards to augment vitriolic, technical  death
metal in 1990 when most of their scene hardly knew  what  a  keyboard
was. Now, seven years since  their  last  full-length,  they're  back
together. Nocturnus have not kept themselves as drastically ahead  of
the game as they were a decade ago, but who could  reasonably  expect
that? And who needs it when _Ethereal  Tomb_  is  such  a  convincing
musical step for the band.  Davis'  and  McNenney's  guitars  are  no
longer wildly technical but drivingly percussive. Having  focused  on
creating film-soundtrack-like sci-fi atmospheres, Panzer's  keyboards
and new vocalist Emo  Mowery's  vocal  performance  have  become  the
deciding elements in Nocturnus' sound. Panzer is allowed considerably
more space to breathe, a fact  particularly  evidenced  by  the  solo
keyboard nature of last track "Outland", which is  meant  to  capture
the feel  of  the  final  credits  of  a  film.  _Ethereal  Tomb_  is
different, though not as much to my taste as _The Key_, and enjoyable
of itself, not simply because it is one of my favourite  death  metal
bands returning, seemingly, from  the  dead.  For  a  band  too  long
neglected and underrated it is a good re-entry into a scene they have
so long been absent from. I expect even better things in the years to
come. Nocturnus, welcome back.


Notre Dame - _Vol1: Le Theatre Du Vampire_  (8 out of 10)
Notre Dame - _Nightmare Before Christmas_  (7 out of 10)
by: Paul Schwarz  (Osmose, October and December 1999, respectively)

Seemingly two full albums, this double bill of schlock B-movie horror
inspired  quasi-black  metal  humour-mongering  from  Snowy  (ex-King
Diamond drummer) Shaw's new project is a strangely refreshing  breath
of fresh air from rather  kitsch  obsessions  with  being  "true"  to
metal, i.e. taking it  super-seriously.  Metal  is  great,  metal  is
heavy, but metal can also be funny,  whether  intentionally  or  not.
_Nightmare Before Christmas_ is a kind of joke album  with  Shaw  and
his corpse-painted partners posing in mock-gothic style on the cover,
while in the top left hand corner the  man  himself  is  black  metal
Santa. Beginning with Shaw whispering "When you wish upon a  star  --
your wish is granted -- here we are", a slogan which also adorns  the
front cover, there is amusement and  decent  riffs  to  be  found  on
_NBC_, but it is more on _V1LTDV_ where Notre Dame's worth is clearly
identifiable. The track which the two albums share,  "Black  Birthday
(Hip Hip Hooray)", is, however, a good point from  which  to  explain
Notre Dame's appeal. Beginning with a bouncy but  unmistakably  metal
riff which segues into a speed/thrash mockery,  the  proclamation  of
"Don't wish me happy birthday" in full, spiteful, black metal rasping
glory is as funny as it is a hook which sticks firmly in you head.  A
chorus of children singing "Well he's a jolly good fellow..."  segues
the second, less speedy half of the song and the  overall  effect  is
funny and listenable in good balance. Notre Dame produce  many  funny
moments with the lyrics and musical pastiches of songs like "I  Bring
Nosferatu You" or "Vlad  the  Impaler",  but  they  produce  as  many
memorable and often pleasingly muscular riffs which make listening to
Notre Dame more than just a pastime undertaken  for  the  purpose  of
having a good laugh. Unfortunately, Notre Dame manage to draw  things
out to an hour on the former and forty minutes on the  latter album,
and they do thus spread themselves rather thin at points, such as  on
_V1LTDV_ closer "Spiderella's XXX". If  you  want  a  laugh  and  the
pleasure of having  a  dozen  or  so  nicely  executed  chunky  riffs
smashing at your cranium, I suggest getting _V1LTDV_,  it  definitely
has the edge in quality as well as quantity; if you -really-  dig  it
then you might want to chance a look at _NBC_.


Novembre - _Classica_  (Century Media, January 2000)
by: Paul Schwarz  (8 out of 10)

Taking a page out Opeth's book in  their  combining  of  complex  and
progressively developing guitar themes with the heaviness and grit of
distorted metal riffing, Novembre defy my cynically low expectations.
Though slightly more gothic and doom  influences  come  to  light  on
_Classica_ than on Opeth's releases,  Novembre  are  still  eminently
comparable with the under-noticed Swedes. Though they may not live up
to the uncommonly high standards we expect of Opeth, Novembre are not
as far off as you might expect and beat out  many  other  bands  with
their   effective    combination    of    melancholy    and    metal.
"Nostalgiaplatz", "My Starving Bambina" or  "Love  Story"  are  alone
proof enough that Novembre have musical talent combined with  a  good
melodic sense, as well as the ability to pound  with  the  percussive
rage of death, the hypnotic hammer of doom and the  blistered  throat
of black metal. However, with a ten year  history  and  two  previous
albums behind them, it is not unwarranted that Novembre  should  have
reached a high standard, it's just that  so  many  don't.  _Classica_
could be more consistent, but Novembre, though not in Opeth's league,
are doing much better than the average band playing a similar trade.


Obtained Enslavement - _The Shepherd and the Hounds of Hell_
by: Pedro Azevedo  (8 out of 10)  (Napalm Records, January 2000)

This doesn't seem to be the same band that recorded _Witchcraft_ [CoC
#26] and _Soulblight_ [CoC #41]... but it is. Pest, Heks,  Doden  and
Torquemada remain in the band, while  bassist  T.  Reaper  and,  most
importantly, keyboardist  Morrigan  (the  same  who  plays  bass  for
Aeternus) have abandoned the project. I consider Morrigan's departure
as being the most important one simply because  Obtained  Enslavement
without keyboards is rather hard to imagine before listening to  _The
Shepherd and the Hounds of Hell_. But in times when other black metal
bands are leaving behind some of their  most  distinctive  attributes
(Limbonic Art cutting down  on  their  symphonic  side  and  Aeternus
trading their extremely thick guitar sound for  a  clearer  and  more
death metal-like approach are a couple of examples that  come  to  my
mind), Obtained Enslavement have taken a similar path and  completely
dropped the keyboards that were  previously  so  important  in  their
sound. Not only that, as they also opted to record at the  Soundsuite
Studio with Terje Refsnes (who  has  been  increasingly  active  with
Norwegian  bands  lately)  instead  of   Grieghallen.   Hence   their
characteristic dirty and harsh yet symphonic sound is completely gone
in exchange for a much cleaner and powerful, still technical but  now
guitar-based black metal. However, the  most  important  thing  isn't
gone: the band's talent. Remarkable and creative  guitar  work,  very
good drumming and Pest's charismatic vocals (plus some clean  vox  as
well) mould this record into a succession of slower or  more  melodic
sections and technical, aggressive high-speed  black  metal.  It  all
flows very well  and  the  usually  non-linear  song  structures  and
crescendos keep the  album  varied  and  interesting.  This  is  very
different from what they used to sound like,  and  I  miss  the  old,
somewhat more unique Obtained Enslavement,  but  _TSatHoH_  is  still
damn good.


Precipice - _The Foundation / Black Sun Rising_
by: Adrian Bromley  (7 out of 10)  (<Independent>, 1999)

This seven-song release is the amalgamation of two  demos  from  this
eclectic independent metal outfit Precipice. With a nice  meshing  of
thrash metal,  jazz-styled  guitar  riffs  and  some  sinister  vocal
screams, the band manages to cruise through a solid set  of  material
without ever really losing the listener. While still  a  bit  on  the
older end style of metal music in sound at times (a la Cirith Ungol /
old Slayer / Venom), this band really makes the  best  of  all  metal
areas they decide to forge forward with. The newer  set  of  material
(i.e. "Engulfed in Flames", "World After War" and "Black Sun Rising")
is stronger and of course modern sounding, but still it  is  nice  to
see that the earlier stuff still shows life next to new material. I'm
looking forward to seeing where this band takes their music in 2000.

Contact: P.O. Box 6971, Spring Hill, Florida 34606, USA
         mailto:worldafterwar@usa.net


Pressure 4-5 - _Antechnology_  (Dripping Records, 1999)
by: Adrian Bromley  (4 out of 10)

Let us all welcome a new member to the already booming breed  of  new
metal. Here is Pressure 4-5. Please, hold your applause,  metalheads.
While I have been, and continue to be, a strong  supporter  of  bands
like Deftones, Korn, Slipknot and Rage Against the  Machine,  I  have
found most of these, the other  new  breed  metal  bands  like  Snot,
Incubus and the like, just plain boring. It all sounds the same.  All
the bands are playing the same riffs, just  shuffled  around  a  bit.
There is no real movement within what they  are  doing.  And  to  me,
Pressure 4-5 fall into this category of musicians. Sure there is some
melody and a  booming  hardcore/metallic  edge,  but  how  does  this
Californian act differ from all of the other crap that has  over  the
years sprouted from out west? It is starting to get old. I just  wish
all of these new breed metal bands would  add  some  flare  to  their
sometimes-vibrant edge. Good examples of bands that  have  the  right
idea? earthtone9 and Cave-In.


Psycho Industry - _Crushing the Individual_
by: Pedro Azevedo  (3 out of 10)  (<Independent>, August 1999)

This hybrid of industrial/electronic and  metal  is  a  solo  project
created in Marc Dumont's home studio in France. Influences range,  as
far as I can hear, from bands  such  as  Ministry  to  Fear  Factory.
Unfortunately, the problem is that it's nowhere  nearly  as  good  as
either of those. The sampled guitar riffs  just  don't  carry  enough
power,  nor  do  the  vocals,   the   electronic   rhythms   or   the
industrial/electronic samples. The first couple of tracks aren't bad,
but the Fear Factory influences then show themselves as  coming  much
more from the _Remanufacture_ remixes  than  anything  else,  as  the
frequent annoying techno interludes and rather  pointless  electronic
beats only make things worse from this point onwards. The last  track
then apparently attempts to transport the  listener  to  a  Brazilian
Mardi Gras. I tend to sympathize with one-man projects,  but  I  must
judge the music regardless of that; and lacking a dark atmosphere and
some real power,  _Crushing  the  Individual_  completely  failed  to
impress me.

Contact: Marc Dumont, 10/12 Rue Philibert Laguiche,
         7100 Macon, France
         mailto:psychoi@club-internet.fr
         http://perso.club-internet.fr/psychoi/


Rain Fell Within - _Believe_  (Dark Symphonies, January 2000)
by: Pedro Azevedo  (8 out of 10)

Rain Fell Within could have been  just  another  band  playing  doomy
metal with female vocals, but  they  are  in  fact  different  enough
(apart from being American) and also simply good  enough  to  deserve
serious attention from  those  who  like  the  genre.  Dawn's  vocals
occasionally remind me of Kari Rueslatten  (early  The  3rd  and  the
Mortal) with a good operatic tinge. The  way  her  voice  intertwines
with the music is remarkable at times, and her performance is  always
very good and confident.  The  instrumental  side  differs  from  the
genre's norm: the guitar work is generally melodic, but not  stagnant
or dull, while the keyboards (also performed by  vocalist  Dawn)  are
mostly used as a piano, leaving the main stage  for  the  vocals  and
guitar work. There are only five songs on this less  than  38  minute
long album, the last being a short one, so you can expect four rather
long tracks. The first, "A False Reality", despite being  very  good,
suffers from being a bit longer than it  should  have  been,  but  it
still serves as a fine introduction to the band's quality. The second
track, "Alone", has much more of a real song structure and its length
is therefore adequate to its contents; again, very  good,  with  some
excellent vocal melodies. "Believe" isn't quite as remarkable as  the
first two, but features some fine vocal  arrangements  as  highlight.
"Sorrow Becomes Me" has a superb  chorus  melody  which  sounds  very
fragile and beautiful, like the one from "Alone". Finally, the  short
"The Sun in My Wound" is a tranquil  and  beautiful  song  where  the
spotlight is all on Dawn's voice, once again showing  the  enchanting
melodies she can produce on her own. Rain Fell  Within  have  made  a
fine debut with several excellent moments, despite  having  had  only
one day to record it, which is remarkable. The future looks very good
indeed for them.

Contact: mailto:rainfellwithin@aol.com
         http://www.rainfellwithin.com
Contact: mailto:orders@darksymphonies.com
         http://www.darksymphonies.com


Sculptured - _Apollo Ends_  (The End, 1999)
by: Brian Meloon  (8 out of 10)

This is Sculptured's second release, following on the heels of  their
1998 debut, _The Spear of the Lily is Aureoled_ [CoC  #31].  Overall,
I'd describe their sound as similar to Opeth, but Sculptured are more
experimental, lighter, and generally less  polished.  The  one  thing
that stands out as really different about this album is the prominent
use of horns. They appear in almost all of the songs, and as a  major
instrument, not just as a background gimmick. Unfortunately, I  think
that the horns aren't really appropriate  in  some  sections.  Though
I'll give the band credit for trying something new, I don't think all
of their experiments are successful. The  song  structures  are  very
convoluted, flowing from one section to the next without any  obvious
pre-defined  pattern.  Still,  the  transitions  aren't   necessarily
inappropriate, they're just unexpected. In  other  words,  you  can't
really predict where the song will go  next,  but  when  it  ends  up
there, you aren't really surprised. The playing is pretty  good,  but
there's nothing terribly technical here. The  vocals  are  a  mix  of
clean and grunted/rasped death metal vox.  I  wouldn't  describe  the
vocals as good or bad. The vocalist isn't terribly good, but he stays
well within his limits, choosing  vocal  melodies  that  still  sound
decent. The production is a little weak, but  clear  and  appropriate
for the music. This album took a while to grow on me, but after a few
listens I began to appreciate it. It's not the  greatest  thing  I've
ever heard, but it's not bad. I'd  recommend  it  for  those  seeking
something a little bit different from the standard fare.


Sentenced - _Crimson_  (Century Media, January 1999)
by: Paul Schwarz  (8 out of 10)

Sentenced  have  been  combining  catchy,   gothic   and   folk-style
keyboards, acoustics and vocals with an exuberant metal backbone  for
nearly four years, and they have now honed this craft to a fine  art.
_Crimson_  sticks  to  the  ribs  of  your  brain,  remaining  to  be
remembered and fed off long after you  stop  listening  to  it.  Once
again Sentenced have made an undeniably enjoyable  rock-style  album,
but, though I raved (maybe a  little  over-enthusiastically,  looking
back on it) about their last album _Frozen_ [CoC #33], things are now
starting to wear just  a  tiny  little  bit  thin,  and  rather  soon
Sentenced might be one of those bands who are predictably there  with
a release every few years, rather than really making a lasting impact
with each individual album.  That  said,  I  still  can't  deny  that
_Crimson_ is a more-than-ordinarily-good album of its kind and  that,
for now, Sentenced have the power to draw listeners in and keep  them
hooked.


Sirius - _Aeons of Magick_  (Nocturnal Art, February 2000)
by: Pedro Azevedo  (8 out of 10)

Having signed to Emperor guitarist Samoth's Nocturnal Art Productions
thanks to their _...The Eclipse_  demo  [CoC  #37],  this  Portuguese
symphonic black metal band traveled to  Norway  to  mix  their  debut
full-length album in the  Akkerhaugen  Lydstudio  (of  Emperor  fame)
after having recorded  it  in  Portugal.  The  result  is  a  heavily
keyboard-driven album worthy of being on Nocturnal Art. In fact, with
only a few exceptions, the guitar work (which is sometimes less  than
an early Limbonic Art buzz, if you  know  what  I  mean)  is  usually
smothered beneath the keyboards; only occasionally  does  it  have  a
noteworthy role or a stronger sound. The drum  sound  is  also  quite
withdrawn, but the drumming  itself  is  competent.  With  some  well
performed  vocals  and  very  good  classically  influenced  keyboard
symphonies, the whole thing does work very well  when  put  together.
Nevertheless, their sound,  which  is  also  much  cleaner  and  less
aggressive than on their demo, could have been  more  powerful  while
still retaining enough keyboard details. With the  exception  of  the
rather forgettable keyboard instrumental  track  midway  through  the
album, the music is generally quite inspired, even if it  could  have
used a darker atmosphere around it, and does  have  a  few  excellent
passages as well. Sirius are one of the finest classically influenced
symphonic black metal bands out there already, but  there  are  still
aspects that need to be improved in the future.

Contact: http://www.darkmetal.com/sirius/
Contact: http://www.deemon.com/nap/


Slaughter Lord - _Thrash 'til Death 86-87_
by: Adrian Bromley  (6 out of 10)  (Hammerheart, February 2000)

Another re-release from Hammerheart  finds  us  visiting  the  filthy
metallic world of Aussie death/thrash metal  heroes  Slaughter  Lord.
The band, while never having released a full album, were  well  known
in the metal scene thanks to word of mouth and their legendary _Taste
of Blood_ demo. The results of the remastering  of  these  demos  and
rehearsal tapes? Downright dirty metal, to say the least. With enough
anger and aggression spewing from the sinister snarls  and  shredding
guitar riffs, one can easily see why  back  in  1985  this  band  was
turning heads. But how would they fare in 2000? While heavy in sound,
the band's music is severely dated and the production is rather weak.
But I think it is safe to say that this release will no doubt attract
the underground. Choice cuts: "Slaughterlord" and "Die by Power".


Slow Horse - _Slow Horse_  (Free Bird Records, February 2000)
by: Adrian Bromley  (7 out of 10)

Ringleader Daniel Bukszpan has a lot of issues to get off  his  chest
and he does him  damnedest  with  this  rather  interesting  six-song
release to explore those topic areas. Set  within  a  rather  bizarre
take on doomy, psychedelic rock, Slow Horse build up a charge for the
most part, though at times (especially at the tail end) their ability
to stay focused meanders away from the meat  and  potatoes  of  their
deliverance. The musical patterns flowing  here  are  pretty  simple,
doomy sludge, but the  unique  twist  to  material  when  done  right
(opener "Lick My Wounds" and "When  Are  You  Coming  Home?")  really
makes an impact. The best track? A fucked up version of crooner Chris
Isaak's hit "Wicked Game". Too cool and fucking heavy to boot!

Contact: 150 East 7th, #D1 New York, NY 10009, USA
         mailto:dbukszpan@mindspring.com
         http://come.to/slowhorse


Str@in - _Purge_  (Musica Alternativa, 1999)
by: Pedro Azevedo  (4 out of 10)

Portugal's Str@in released this Clawfinger-influenced (except for the
vocals) debut full-length of theirs through Musica Alternativa a  few
months ago. I saw them live back then,  supporting  Genocide,  and  I
felt they lacked  both  originality  and  real  talent,  which  is  a
dangerous combination. _Purge_ confirms most of what I expected after
that concert. With music that tends to sound too close to other bands
of the same genre, and combining repetitive, downright  basic  guitar
riffs with uninspired interludes and mediocre spoken/shouted  vocals,
Str@in just can't seem to imbue their songs with any real  power.  It
all sounds too predictable and generic, especially their attempts  at
contrast between  the  subdued  and  the  more  aggressive  sections.
Lacking originality is one thing, but Str@in, although not  terrible,
aren't even good at what they do.

Contact: mailto:malternativa@ip.pt


Temple - _Shores of Oblivion_  (<Independent>, January 2000)
by: Adrian Bromley  (7 out of 10)

There must be something in the water in Austin, Texas, 'cause  it  is
making Dan Temple into a psycho metal  freak.  Dan  Temple  has  once
again won me over with his latest  concept-themed  album  _Shores  of
Oblivion_, a much  heavier  and  more  solid  recording  than  1998's
doom/metal  effort  _Bloodletting_.  With  faster  riffs,  ultra-cool
samples and deep, deep vocal growls, Temple  has  managed  to  string
together an impressive millennium release -- and once again,  all  by
himself. This sucker has juice, people,  rarely  loosing  stride  for
even one second. _SoO_ is a pounding fury of aggression  that  breaks
away from the normality of death metal growls,  adding  a  real  neat
substance of samples and distorted Megadeth riffs pummelling away  at
you. Production is pretty top notch and it is only time (Temple and I
are probably both praying at this  point)  before  Temple  sees  some
label action. Far from classification, but right  on  the  money  for
what metal fans are looking for. This gets my seal of approval.

Contact: P.O. Box 201765, Austin, Texas 78720-1765, USA
         mailto:temple@blackhat.net
         http://www.blackhat.net/~temple/


Thanatos - _Emerging From the Netherworlds_
by: Adrian Bromley  (8.5 out of 10)  (Hammerheart, February 2000)

I don't know how many of you metal heads out  there  know  of  or  at
least heard of defunct act Thanatos, but back in the early '90s  they
were one of the premier death metal acts from  overseas.  They  ruled
the European death metal scene,  easily  going  up  against  anything
mighty that the U.S. dished out. Their strength and the flow of their
material rushed into  our  veins  and  nudged  us  into  a  state  of
rampaging fury. The tight musicianship etched into the roarin'  flare
of material and enhanced  by  devilish  wails  of  aggression  easily
sparked comparisons to Sepultura and Testament, but Thanatos was more
than a  carbon  copy.  They  were  in  their  own  realm.  With  this
re-release by Hammerheart (it was originally released on German label
Shark Records) we not only get a solid remastered album,  also  eight
previously unheard  demo/live  recordings  thrown  in  to  shake  the
foundation. What a bonus! This rules and I suggest any new metalheads
to scope this out. By the way, Hammerheart  is  also  re-releasing  a
beefed-up version of their '92 classic _Realm of Ecstacy_. Other good
news: the band has regrouped and there is also talk of a new  release
in the Summer, titled _Angelic Encounters_. Let us all  welcome  back
these metal veterans!


Theory in Practice - _The Armageddon Theories_  (Pulverised, 1999)
by: Brian Meloon  (9 out of 10)

Theory in Practice return with the long-awaited  follow-up  to  their
1997 debut, _Third Eye Function_ [CoC #23]. Although this album has a
lot of similarities to their previous effort, it  shows  them  moving
toward a more unique sound, somewhat similar to that of  their  black
metal side project Mutant  [CoC  #40],  but  still  distinctly  death
metal. The music is very technical, filled with fast and  challenging
riffs, quick time changes, and a good dose of melodic  guitar  leads.
In fact, they use melody very  effectively  throughout  their  music,
from the harmonized guitar parts to the subtle keyboard parts,  which
add a touch of atmosphere to some carefully  selected  sections.  The
melodic sections also provide  a  nice  counterpoint  to  the  chunky
syncopative ones. The songs are typically complex, featuring a lot of
changes -- some of which are smooth, and some of which aren't --, but
the band handles even the  most  difficult  changes  flawlessly.  The
vocals are pretty standard  shouted/rasped  death/black  vocals,  and
somewhat intelligible. The production is excellent: very  clear,  and
appropriate for the music. In fact, my only real complaint  with  the
album is that they didn't really put together one great song. All  of
the songs on the album are good, but there are  parts  of  each  song
that I don't particularly like. Still,  technical  death  metal  fans
should enjoy this immensely. I look forward to  their  next  release,
and hope they continue to improve. This album is apparently going  to
be re-released by Listenable in February 2000.

Samples: http://hem.passagen.se/theory/sounds.htm


Therion - _Deggial_  (Nuclear Blast, January 2000)
by: Pedro Azevedo  (8 out of 10)

Therion's  latest  full-length  is  simultaneously   an   excellently
performed and a somewhat dull album. Lacking some  of  the  dynamics,
complexity and (strangely) grandeur it needed, _Deggial_  was  rather
disappointing, considering their last two excellent  albums,  _Vovin_
[CoC  #31]  and  _Theli_  [CoC  #14].  Christofer  Johnsson's  chosen
direction for _Deggial_ took Therion nowhere  more  interesting  than
before -- quite the contrary, in fact. The result is an album full of
nice melodies and highly professional arrangements, but  which  lacks
spirit, emotion and ability to enthral the  listener.  Personally,  I
also tend to miss the  lead  female  vocalists  from  _Vovin_,  while
_Deggial_'s orchestral novelties hardly make a  huge  difference  and
even tend to subtract somewhat from its  consistency  at  times.  The
guitar work is generally either rather unremarkable or unattractively
retro-ish (more so than before) and once again not very important  in
their music. However, time that makes a difference:  _Deggial_  tends
to lack power and does  not  balance  this  failing  with  remarkable
atmosphere or rapturous symphonies  most  of  the  time.  Things  are
almost always quite laid back, with just a few  exceptions,  and  the
music tends to lack an impressive depth despite the multitude of nice
arrangements and passages on each track; it  is  also  somewhat  less
memorable and consistent than before, in my opinion. But all this, of
course, only when  compared  to  its  superb  predecessors,  for  the
musical  quality  herein  contained  must  nevertheless  be  strongly
emphasized. Overall, however, _Deggial_ is just unable to provoke any
real reaction in me other than the  recognisement  that  this  is  an
extremely well done, but ultimately  somewhat  unexciting  album  and
quite a bit of a disappointment.


Thorium - _Ocean of Blasphemy_  (Diehard, February 2000)
by: Paul Schwarz  (8 out of 10)

Thorium's musical approach, expressed as a metaphor for a  method  of
murder, is undoubtedly the executioner's axe. Simple, violent, to the
point and unpretentious: _Ocean of Blasphemy_ is all these things and
little more. It gets the job done, for the most part, with a  minimum
of fuss. This Michael H.  Anderson  (Withering  Surface)  spearheaded
band (for they do not regard it as a "project") takes a big bite from
Deicide's musical pie  while  noting  and  applying  the  melodically
defined hammer of traditional Swedish death metal. Megatons of double
bass, in-your-face-and-brutal vocals  and  guitars  that  thrash  and
pound in equal measure lead the assault from your stereo to your  ear
drum with devastating precision. Apart from "Dawn of  Flames",  which
is a bit less one-dimensional, Thorium deliver an atom bomb of  death
metal mayhem straight to your face. Recorded,  bizarrely  enough,  at
former black metal stable Grieghallen, and then mixed by  the  rather
more death metal credible  Jacob  Hansen  (Illdisposed),  production,
somewhat  surprisingly,  provides   no   respire   from   _Ocean   of
Blasphemy_'s unrelenting impact. With  their  basic  assault  on  the
senses, it is quite fair to say that Thorium  aren't  doing  anything
for death metal's  progression,  but  they're  more  than  adequately
continuing its legacy of brutality, and with  distinctly  more  style
and worthiness than the procrastinating likes of Mortician.


Thy Primordial - _At the World of Untrodden Wonder_
by: Alvin Wee  (9 out of 10)  (Pulverised Records, 1999)

Two  years  after  their  quietly  stunning  debut   on   Singapore's
Pulverised Records, Thy Primordial strike back rather  breathtakingly
with the same line-up and label, the only difference being the studio
upgrade  (Tomas  Skogsberg's  Sunlight  Studios).  While  bands  like
Satyricon and Emperor are progressing radically, Thy Primordial  have
stuck to their guns, churning out  another  ten  tracks  of  furious,
manic Swedish mayhem. While there isn't much progression between  the
two albums, this proverbial rut isn't exactly a bad one to  be  stuck
in, especially not when the intro riff to "Once on Fortune's  Throne"
digs its hooks into you. As tracks like  "Amongst  the  Chosen  Lost"
show, these warriors not only kick some serious holocaust metal  ass,
they possess an astute ear for melody as well,  melding  Marduk-style
incisiveness with supreme  melodies  a  la  Dawn.  Exit  Ihsahn-pitch
shrieks and obscure production; enter  Isidor's  new-found  mid-range
and Sunlight Studios' acclaimed crunchiness. Fanatics might mourn the
marginal loss of atmosphere since the debut, but the trade-off  isn't
a bad one considering the gut-ripping  brutality  and  aggression  on
this album. Racing through the album for the twentieth or so time, it
hits me that greater things are happening on the latter  tracks:  the
pace slows somewhat, clear singing makes a somewhat  coy  appearance,
and the riffs actually start sounding technical. By  this  time,  any
black-hearted soul would have been blown  away  by  the  deft  rhythm
changes and blistering leads on "To Ruin and Decay" and  "My  Beloved
Darkness". And tell me you wouldn't do a double-take on  that  quirky
stop-time shift 2:50 into the latter track! By the end of the  album,
I'm thoroughly convinced that Thy Primordial are the  greatest  thing
to happen to melodic, guitar-based black  metal  since  Algaion.  Put
simply, _AtWoUW_ is killer, and  to  die-hards  like  me,  it  simply
slaughters!

Contact: Pulverised Records, P.O. Box 109, Yishun Central,
         S(917604), Singapore
         mailto:ashes@pacific.net.sg


Tourniquet - _Microscopic View of a Telescopic Realm_
by: Adrian Bromley  (2 out of 10)  (Metal Blade, February 2000)

Some might look at this review and think I gave this Christian band a
low rating just for the hell of it. Am I right? Well, that is not the
case. I could care less what God this band worships  or  what  ideals
they follow. I could give two shits about lyrics telling me why I  am
going to Hell, blah, blah, blah! I just think the music sucks,  plain
and simple.  With  a  really  boring  groove  permeating  throughout,
Tourniquet follow the same blueprint of  ideas  that  so  many  bands
(better bands at that) have done. There is nothing to it and it  just
seems like another reason for some hot-headed asshole  to  mouth  off
about religion. With song titles like "Erratic  Palpitations  of  the
Human Spirit", "Martyr's Pose" and "Immunity Vector", I  easily  grew
tired of what Tourniquet was pumping into my  ears  long  before  the
disc came to a close. Thank God it came to an end.


Trelldom - _Til et Annet_  (Hammerheart Records, 1999)
by: Alvin Wee  (8 out of 10)

I really enjoyed Trelldom's obscure  debut  _Til  Evighet_  --  dark,
atmospheric and gut-wrenchingly cold. Which is  what  I  expected  of
their second outing, this time on Dutch Hammerheart  Records.  Opener
"Vender Meg Mot Ett Kommende" certainly didn't disappoint, a blizzard
of furious early-'90s black metal. A fist  in  the  face  of  today's
flower-sniffing wimps, so to speak. Gaahl's throat once again appears
in fine form, his familiarly guttural rasps sending a  chill  through
our blackened hearts. Only two minutes through the second  track  are
any lapses hinted at: the torrid vocals suddenly  break  into  clear,
semi-melodic tones only to soar  maliciously  back  (a  la  Gorgoroth
days) into harsh screams. Breathtaking, but barely  a  minute  later,
the same is repeated, and (horror of horrors!) the twisted singing is
continued for a whole verse! One can only be thankful  that  whatever
moved Gaahl to include such ghastly throat molestation  on  not  just
one song, but  nearly  half  the  album,  has  not  marred  the  band
musically. That's not the  end  of  vocal  eccentricities;  for  some
reason or other, the torrid screeches on the first three  tracks  are
soon abandoned in favour of a distorted, almost  inhuman  roar.  I've
always preferred the passion and  hatred  of  "pure  human"  screams.
Granted, the coldness is gripping, but the lack of subtlety and range
in the electronics almost ruins the  entire  presentation.  Still,  a
firmly-rooted troop like Trelldom don't miss a step in delivering one
of the most traditional albums this year; their cold, ghastly  dirges
(with hints of folk in the crushing riffs) are bound  to  please  the
old guard who so eagerly lapped  up  their  debut,  and  might  teach
disco-lovers  Dodheimsgard  a  thing  or  two  about  sticking   with
tradition.

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            / /\  /  __/\ V  V /  / /\  / (_) | \__ \  __/
            \_\ \/ \___| \_/\_/   \_\ \/ \___/|_|___/\___|


If you have a band, don't forget to send us your  demo,  including  a
bio,  if  you  want  to  be  reviewed.  We  accept  demos  either  on
traditional    media    or    MP3     format.     Email     us     at
<mailto:Demos@ChroniclesOfChaos.com>  to  know  which  is  the   most
appropriate postal address for you to send your CD or tape,  in  case
you are sending one, or to indicate the location of  a  website  from
which we can download the MP3 files  of  your  entire  demo  (but  do
NOT send any files attached to your email).

Scoring:   ***** -- A flawless demo
            **** -- Great piece of work
             *** -- Good effort
              ** -- A major overhaul is in order
               * -- A career change is advisable


Dark Orchestra - _Can't Stop Vomiting Demo_  (3-track demo)
by: Adrian Bromley  (****-)

Okay, first off: lame name for a demo. But I'm glad I didn't go ahead
and pre-judge this release by its album title.  I  initially  thought
this would be a three-song release from a bunch of drunk fuck-ups who
have nothing better to do than record some bad guitar riffs and  beer
belches. Not the case here with the sinister metal assault from  Dark
Orchestra, a cross between vintage riff-mongering  Slayer  and  other
'80s speed metal  heavyweights.  Fuck,  throw  in  some  death  metal
influence (though growls are non-existent) and a tad  bit  of  melody
and you've got an assorted pot of goodies  that  somehow  mould  into
Dark Orchestra. At just 15 minutes, Dark Orchestra  break  down  your
door, fuck you around, drink your beer, smash your turntable and  get
out the back door before you even know what hit  you.  An  intriguing
release.

Contact: http://www.darkorchestra.com


Dauntless - _Inhumankind_  (4-track MP3 demo)
by: Paul Schwarz  (****-)

Coming raging out of Finland, Dauntless have succeeded where so  many
others  have  failed  in  their  bridging  of  the  gap  between  the
catchiness of both the baggy-pants metal crowd (Machine Head to Korn,
et al.) and Gothenburg's melody mongers. Hammering through, at almost
grindcore levels of intensity, with a thrashy, central musical theme,
Dauntless nonetheless groove and scale their  fretboards  with  skill
and  precision  reminding  fleetingly  of  their  fellow   countrymen
Children of Bodom. For a demo level recording, _Inhumankind_ is  both
pleasingly clear when reproducing the various threads of  melody  and
surprisingly powerful when thrusting big meaty riffs into one's face.
With a few of their proverbial nuts tightened up just that bit  more,
Dauntless will be a well-oiled machine ready to do its work alongside
extreme metal's big guns. Very promising.

Contact: Santeri Salmi, Rukoushuoneentie 3, 00730 Helsinki, Finland
         mailto:ssalmi@sci.fi
         http://dauntless.gameshock.com


Deride - _Demo 99_  (3-track MP3 demo)
by: Pedro Azevedo  (***--)

Deride's list of musical influences consists  of  Pantera,  Deftones,
Sepultura, Fear Factory and Faith No More, which should  give  you  a
pretty accurate idea of  what  these  three  tracks  are  about.  The
playing is tight, the production is adequate and the vocals are  both
varied and competent -- still, some of the harsher vocal styles could
have  been  better,  while  the  clean  vocals  are  reasonably  well
performed. However, some of their influences tend  to  shine  through
too much, which subtracts from both the originality and  interest  of
the music. If these Norwegians can manage to filter their  influences
better in the future and find a more consistent style of  their  own,
they certainly seem to have enough  musicianship  to  make  something
more interesting.  As  it  is,  these  tracks  are  still  reasonably
enjoyable, besides well  played,  and  could  be  worth  downloading,
especially for fans of the aforementioned bands.  In  any  case,  you
won't have to pay anything to download them in MP3  format  (44  kHz,
128 kb/s); just follow the link below.

Contact: mailto:deride@c2i.net
         http://home.c2i.net/deride/


Forest of Shadows - _Dysfori Feeri_  (2-track MP3 demo)
by: Pedro Azevedo  (****-)

Here's something you probably wouldn't expect after I told you Forest
of Shadows are from Gothenburg, Sweden: they play  doom/death  metal.
The band also uses keyboards, acoustic guitar and a violin  in  their
music, which, while hardly a  novelty,  is  nevertheless  potentially
worthwhile if the band has enough skill. And they do. As a matter  of
fact, I think they are a band to watch out for in the doom scene in a
not very distant future, judging by the two songs  featured  on  this
twenty minute long demo CD. The music is usually  slow  and  dirgeful
(but not monotonously so), well performed and decently produced. They
remind me vaguely of the Portuguese Desire [CoC #17,  CoC  #30],  who
also use the contrast between painfully slow  sections  and  somewhat
faster ones. Forest of  Shadows  aren't  quite  as  slow  as  Desire,
however, but also aim for a rather  majestic  sound  themselves.  The
violin sections expectably  bring  to  mind  My  Dying  Bride;  early
Anathema and Katatonia are other influences. Forest of Shadows  still
generally avoid sounding a lot  like  either  of  the  aforementioned
bands,  though.  While  not  incredibly  complex  or  goundbreakingly
innovative, this is still well done, quite enjoyable  and  definitely
very promising. This demo is available for gratuitous download as  44
kHz, 128 kb/s MP3 files.

Contact: mailto:forest_of_shadows@home.se
         http://www.darkmetal.com/forestofshadows/


Fragments of Motion - _Fragments of Motion_  (3-track demo)
by: Adrian Bromley  (**---)

While looking into this band's available info, the band refers to its
music as "ambient tragic metal". Well, that is  a  start.  With  just
three songs to work from, FoM do their damnedest  to  incorporate  as
much  evil-sounding  keyboards,  bombastic   drumming   and   gritty,
black-ish metal growls that they can muster up. A little too much  at
times, as the music's violent momentum turns into a  loose  selection
of ideas that crumble to the floor. Weak build-up to what could  have
been quite promising -- and evil sounding.

Contact: 1741 Damascus Rd. Enterprise, Alabama 36330, USA
         mailto:Propagnesiaaa@hotmail.com


Impaled - _From Here to Colostomy_ + 1
by: Paul Schwarz  (****-)  (4-track demo + compilation track)

As  they  themselves  proclaim  it,  this  is  "Total  Swedish  death
metal!!"; unusual for a band plucked from the sun  soaked  realms  of
Oakland, CA. What is more unusual about Impaled is that despite their
proclaimed allegiance to a very narrowly defined genre, they are  not
just a poor imitation of its best bands. Admittedly, as the band  rip
their way through the likes  of  "From  Here  to  Colostomy",  "Fecal
Rites" or "Immaculate Defecation" (no prizes for guessing this band's
lyrical obsessions), they echo strongly the finest hours of Dismember
or Entombed, but Impaled are actually so damn good at  it  that  they
succeed in delivering a crushing set of Swedish death metal  stormers
which are worth their own salt despite their lack of original  ideas.
There is way too much Swedish death metal about these days,  but  for
my ears there is still a lack of great Swedish death  metal;  Impaled
are helping shift this balance and I am cheering them  all  the  way.
The compilation track here showcases a sharper  production  than  the
demo tracks, and hopefully with the band's second,  _The  Dead  Shall
Dead Remain_, album out soon on Necropolis Records  their  production
will be even further improved, for this is where the band  lose  some
of their impact.

Contact: Impaled, P.O. Box 16071, Oakland, CA 94610, USA
         mailto:yoursitesucks@impaled.net
         http://www.impaled.net


Imperator - _Gods Among Men_  (4-track demo)
by: Pedro Azevedo  (**---)

Imperator themselves say that they hope to record  a  new  demo  soon
"which will basically be much faster and have much more  double  bass
drumming". That sounds promising enough,  because  the  main  problem
with this half-hour long demo CD of theirs is  the  rather  poor  and
powerless drumming. With some strong,  fast  drumming  driving  their
thick, heavily distorted guitars, things could certainly become  much
more interesting in the future. Their  crushing,  at  times  somewhat
Morbid Angel-esque guitar work can  also  use  some  improvement  and
become tighter, but reasonable songwriting ideas and playing  can  be
found on this demo already. Imperator tend to write long songs, which
can be a very good characteristic, but the eleven minute long closing
track "Plagued Lands" is rather excessive considering  its  contents.
Still, with more work and a talented drummer behind them, Imperator's
next demo could be quite interesting.

Contact: Imperator, 96 Murray Road, Rugby, Warwickshire,
         England, U.K., CV21 3JR
         mailto:imperator@imperator.fsnet.co.uk
         http://www.imperator.fsnet.co.uk


Platform Black - _Terra Firma Decay_  (5-track MP3 demo)
by: Pedro Azevedo  (****-)

This demo, which is available free of charge for download in 44  kHz,
128 kb/s MP3 format, consists of some powerful,  dynamic  and  catchy
death metal from the USA. The songs are usually quite  effective,  as
well as very competently  performed  and  produced.  "Ascension"  and
"Adrenaline Slip" are both among the most enjoyable demo-stage  death
metal I've heard in quite a while, although they  do  lack  the  dark
atmosphere of bands like Incantation. Platform Black have a different
purpose in mind for their music, and they deliver  their  mixture  of
aggression and catchiness very well. The other three tracks  are  not
as great as the aforementioned two, but are nevertheless  quite  good
and entertaining. Just one final remark: the two minute long  silence
in the end of "Distance" implies approximately two more megabytes  to
download for nothing, which is hardly a great idea.

Contact: mailto:bwc01@comp.uark.edu
         http://www.mp3.com/platformblack/


Shellyz Raven - _Desolation_  (9-track MP3 demo)
by: Pedro Azevedo  (***--)

Pure gothic music does not attract me, but even  though  some  gothic
influences are clear in Shellyz Raven's music, the band was generally
able to select and use them well enough for me to  find  _Desolation_
reasonably interesting overall and some parts of it quite  enjoyable.
Jenny Hval's vocals certainly help: she occasionally, though not very
often, reminds me of The  Gathering's  Anneke  van  Giersbergen,  and
although she's not -that- good, her vocals are quite  competent.  The
use of a drum machine doesn't really help the band, but generally  it
doesn't hurt them, either. _Desolation_ has an excessively electronic
overtone for my taste sometimes, but fortunately this doesn't  happen
often enough to  become  a  huge  problem.  The  music  is  generally
melancholic,  though  some  annoying  keyboard  effects  occasionally
subtract from the atmosphere, but Shellyz Raven do achieve some  very
good moments during songs like "Heavenly Inferno", "Frost", "Falling"
and "Monochroma". The problem is that usually one  minute  I  may  be
enjoying the music, the next minute wondering what  happened  to  the
song. Still, the whole _Desolation_ demo (nine tracks, more  than  50
minutes) is available for free download at the band's website in  MP3
format -- encoded at a frequency of 44 kHz, as usual, but with a  bit
rate of 160 kb/s instead of  the  usual  128  kb/s,  ensuring  higher
quality  sound.  Also  available  are  lyrics  and  some  very  nice,
professional-looking  high-resolution  artwork.  Their  website  also
behaved quite well when I  downloaded  _Desolation_,  guaranteeing  a
constantly good transfer rate. This  is  an  excellent  example  that
should definitely be followed by serious unsigned bands in the future
whenever possible, in my opinion -- 3 out of 5 for the music,  but  5
out of 5 for the distribution attitude.

Contact: mailto:mail@shellyzraven.com
         http://www.shellyzraven.com


Unevil Hopes - _As the Light Crushed the Darkness_  (8-track demo)
by: Adrian Bromley  (*----)

No offence to our Russian metal brotherhood, but if this is the style
of music making headway over there, then you guys really need  to  go
buy some Dimmu Borgir and Hypocrisy records from  the  black  market.
Deep, deep, deep within a very sedated and supposedly improvisational
piano tirade, Unevil  Hopes  (a  one-man  project)  slowly  walks  us
through some of the most boring  musical  arrangements  I  have  ever
heard. Not only is the atmosphere achingly boring, but the growls are
so B-movie-like that all you  can  do  is  laugh.  To  be  honest,  I
couldn't wait till this was over. The demo asks to give this three or
four  listens  before  passing  judgement  on  it.  Thanks  for   the
punishment, dude! This stinks. Echh!

Contact: St. Petersberg 1900 Marata st. home n.28 flat n.4, Russia
         mailto:unevil@eudoramail.com
         http://www.angelfire.com/in2/unevilhopes/index.html

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



        F O R M U L A S   F A T A L   T O   G O R G O R O T H
        ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
               Morbid Angel, Gorgoroth, God Dethroned,
                   Amon Amarth, Krisiun and Occult
                 at the Hafenbahn, Offenbach, Germany
                          December 12, 1999
                          by: Matthias Noll

     Yet another killer package touring Germany. I'm not  quite  sure
if it's a sign of the decline of  metal  over  here  that  only  such
monstrous packages are touring. Some time ago such  a  line-up  would
haven been good enough for a handful of festival-style  gigs  with  a
really huge crowd and nowadays they  tour  in  600  to  800  capacity
venues. Well, I won't complain.
     Occult from the Netherlands do have an  eye-catching  couple  of
vocalists. A giant male, responsible for  the  rasping,  and  a  good
looking female doing the death metal grunts. Unfortunately  that  was
the only remarkable  thing  about  them.  Their  boring  death/thrash
turned out to be completely obsolete. Krisiun were a lot  better  but
nowhere close to really being a top notch death metal  outfit.  Their
set had some convincing moments, but in general most of  their  songs
seemed too long to hold one's attention from start to finish. Somehow
I do have the feeling that their upcoming album might be killer,  but
in Offenbach they were far from delivering apocalyptic revelations.
     Amon Amarth's new album,  _The  Avenger_  [CoC  #44],  has  been
constantly growing on me and their show turned out  to  be  not  only
good but excellent.  Lead  by  their  titanic  singer,  the  Norsemen
created one of those magic, larger-than-life  moments  in  time.  All
songs sounded  way  better  than  on  record  and  unfolded  anthemic
qualities that only  partially  come  across  when  putting  on  _The
Avenger_ or _Once Sent From the Golden Hall_ [CoC  #29].  Sort  of  a
cross between the teethgrinding power of death metal and the  majesty
of immortal metal anthems like Manowar's  "Battle  Hymn".  Throughout
such gems like "Victorious March" and "Bleed  for  Ancient  Gods",  I
virtually left the Hafenbahn and found myself on a dragon ship  on  a
mission  of  murder  and  pillaging.  The  crowd  reacted  more  than
enthusiastically and I have to say that Amon Amarth have been one  of
the most impressive bands coming out of Scandinavia I've seen so far.
Excellent!
     Dutch death/thrashers God Dethroned definitely had a  hard  time
playing after Amon Amarth. Even if their playing was  excellent,  the
sound decent and the setlist featured only the best songs off _Bloody
Blasphemy_ [CoC #41] (they played only one older  song),  they  never
managed to create the spark that sets an  audience  afire  and  makes
them move and not just stand there and watch. One  would  think  that
song material like "Boiling Blood" and "Under  the  Golden  Wings  of
Death" do guarantee frantic headbanging at least in the  front  rows,
but live shows have their own rules. Still,  I  recommend  the  Dutch
four-piece to everyone who likes his death metal with  strong  Slayer
influences. I only hope they ditch their Satanic image before it gets
ridiculous. If you describe yourself as the future  assassin  of  the
pope, etc., you should at least look a little bit evil.
     Gorgoroth were the ones that were really going  to  suffer  from
the six band line-up. Surprisingly they had the whole stage, the  big
drum kit, nearly all the lights and a good  sound.  Musically  I  was
even more surprised. The band seems to have taken  a  new  direction:
nearly all songs they played were in the mid-tempo  range  and  never
did I get the feeling of listening to a high speed train passing  by,
like in my first CoC submission, which also featured  Gorgoroth  [CoC
#34]. Nevertheless, I found this to be  very  enjoyable  because  the
music still sounded "true" and raw thanks to the hacksaw guitar  work
and the blood chilling screeching of  their  vocalist.  Most  of  the
audience very soon got tired and  loudly  started  to  express  their
preference for death metal and a severe  dislike  for  corpse-painted
black metallers. It started with someone calling for Morbid Angel and
two  songs  later  several  people   were   yelling   "faggots"   and
"kindergarten" towards the unholy  Norwegians.  Satan  didn't  really
care and without any kind of hellish support the band turned out  not
to be professional enough to continue. In the middle of the fifth  or
sixth song they stopped and left the stage never to be seen again.  I
for one liked their set but I have to agree  with  the  guy  standing
next to me: fucking pussies.
     Morbid Angel then lived up to most, if  not  all,  expectations.
First of  all,  drummer  Pete  Sandoval  has  to  get  mentioned.  He
delivered another fine example of unbelievable drum work. The  guitar
tandem Azagthoth/Rutan ruled (of course), be it rhythm or  solo  work
in  combination  with  constant  headbanging.  The  only  problem   I
personally had was with accepting Steve Tucker in his  role  as  Dave
Vincent's replacement. Tucker has the looks,  the  attitude  and  the
right skills on his instrument, but his voice is so damn  average.  I
wouldn't  be  able  to  recognize  the  guy  on  a  tape   with   ten
run-of-the-mill death metal vocalists  performing  unknown  material.
This somehow spoiled a gig for me which  would  otherwise  have  been
perfect. The band executed a  setlist  with  songs  like  "Chapel  of
Ghouls", "Abominations", "Rapture" and "Dominate" to name just a few,
and the audience finally got what everybody was waiting for: a lesson
in supreme technical death metal.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

               U N T I E D   B R O N Z E   C H A I N S
               ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
               Satyricon, Behemoth and Hecate Enthroned
                 at the Hafenbahn, Offenbach, Germany
                           January 7, 2000
                          by: Matthias Noll

     My first show in the new millennium and fortunately a more  than
promising start.  Due  to  non-existing  promotion,  a  rather  small
audience (about 300 people) had gathered to  watch  this  event.  For
Hecate Enthroned this meant that they had to play in front of the 150
who showed up to see all three bands. Frankly, those who  came  later
did not miss a thing. Personally, I had rather high hopes, because  I
had come to a point where I thought a band  which  receives  as  much
bashing as Hecate does must at least have some appeal. Unfortunately,
the band was totally lame in every category. Their  small  amount  of
stage acting left the impression that, with the exception  of  singer
Dean, all bandmembers would have preferred not to move at all or stay
in the backstage area. Now and then the guitarists seemed to remember
that there was an audience watching and started  to  headbang  for  a
couple of seconds only to freeze again shortly  after.  Musically  it
wasn't the 100%  Cradle  of  Filth  rip-off  I  had  been  afraid  to
encounter. Still, a  fair  amount  of  similarities  clearly  showed,
especially in their older material.  Besides  these  similarities  in
style, the two bands don't have much in common -- I didn't  hear  one
convincing  song,  just  30  minutes  of  death/black  metal   cliche
material, sewn together like an alpha version of Frankenstein.
     Fortunately, Behemoth considerably  raised  the  quality  level.
Even if the three-piece wasn't able to reproduce the cold, industrial
feeling and the tightness (especially the guitar work was sloppy)  of
their excellent _Satanica_ album [CoC #43], they nevertheless left  a
very good impression. "Decade of  Oepion",  "Lam",  "From  the  Pagan
Wastelands" and my favorite, the closing  track  "Chant  for  Exhaton
2000", were all played with the necessary dedication and  aggression;
the stage acting  was  alright  and  when  the  fire-spitting  Polish
warriors left the stage they had won another victory on  their  Pagan
crusade.
     The guy behind the mixing desk plugged in  another  thick  cable
and somehow I knew that things were  starting  to  get  serious  now.
Satyricon entered the  stage  and  their  line-up  consisted  of  six
musicians. A female keyboardist, two guitarists, Emperor bass  player
Tyr and, last but not least, Satyr and Frost. All band  members  wore
traditional corpse-paint with the exception of Satyr, in  his  _Rebel
Extravaganza_  [CoC  #43]  cover  look.  The   opener   "Prime   Evil
Renaissance" slammed into the crowd like a high-speed racing car  and
the whole place was going berserk. Satyricon  delivered  one  of  the
best  black  metal  shows  I  ever  was  lucky  enough  to   witness.
Musicianship, sound, setlist -- everything close  to  perfection.  On
top of that, Satyr proved to be  a  charismatic  frontman,  confident
enough to use his normal voice when talking to  the  crowd.  From  my
point of view,  the  setlist  was  flawless:  "Filthgrinder",  "Havoc
Vulture", "The Scorn Torrent", "The Dawn of a New Age", "Kvite Krists
Dod" and a couple of others. The biggest surprise came shortly before
the band left the stage for the  first  time.  Satyr  got  himself  a
guitar and with three axemen the  band  stunned  the  place  with  an
unbelievable version of "Blessed From Below" from the _Intermezzo II_
EP [CoC #42]. Pretty unusual for a black metal show, Satyricon played
for about 90 minutes and came back for a couple of encores. "Tied  in
Bronze Chains", a neckbreaking version of "Mother North" and  finally
the Slayer cover "Raining Blood" ended the set. It's going to be hard
for most bands to top this experience and I'm happy to say that after
the Marduk disappointment [CoC #45] Satyricon succeeded in  restoring
my faith in black metal live performances.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

       L O N D O N ' S   B R I D G E S   A R E   B U R N I N G
       ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
               Arch Enemy (supporting Cradle of Filth)
                   at the Astoria, London, England
                          December 18, 1999
                           by: Paul Schwarz

     One day before the gig, I got the chance to talk to  Mike  Amott
in person down at Century Media's offices  in  London.  As  he  is  a
former member of Carcass (my personal favourite  extreme  metal  band
ever), and his current band have released one of my favourite  albums
of this year [CoC #41], I jumped at the chance to  meet  the  man  in
person. Included is a short Q&A which provides some updates  on  Arch
Enemy [for a more in-depth interview, see CoC #41],  and  speculation
on how their first ever UK gig would go. A review of the show follows
the interview.

CoC: So this is the first time you've been in London?

Mike Amott: Yeah, with Arch  Enemy.  Yeah,  it  is.  We  were  really
            excited about it when we found out. We got the  offer  as
            special guest to Cradle of Filth, it's great.

CoC: Were you surprised?

MA: Both yes and no... our drummer Daniel  [Erlandson],  his  brother
    [Adrian] is playing for Cradle now, so I  guess  maybe  that  has
    something to do with  it.  But  it  is  great,  it  was  a  great
    opportunity to come to England; not many bands of our  style  get
    to come over here. Not many tours actually make it, they tend  to
    stay in Europe. So this is like a one-off, and it's cool.

CoC: But you'd like to come back if the response  is  good  and  what
     have you?

MA: Yeah, it would be great.

CoC: In terms of sort of the fan base, where  do  you  think/feel  is
     really good for the band?  Where  do  you  get  the  best  crowd
     responses and all that?

MA: Our biggest market without any shadow of a doubt is Japan. We are
    the biggest extreme metal band in Japan.

CoC: That's pretty considerable.

MA: Well, yeah, it's a different situation over there than it  is  in
    the rest of the world. We're kind of more established  there,  so
    that's good. But South America, we did that at the  beginning  of
    the year and that was really good. Good fun. Germany is great.

CoC: And the Dynamo thing went well.

MA: Yeah, that was cool. I mean, it is all kind of spread out,  we're
    not really popular anywhere, apart from  Japan.  We  sell  a  few
    records here and there, you know, what we're trying  to  do  with
    the  _Burning  Bridges_  album  is  kind  of  raise  our  profile
    throughout Europe, because  before  that  we'd  only  focused  on
    Japan, really. So, I think we've succeeded to some  degree:  more
    people seem to get into that last album.

CoC: I'd say _Burning Bridges_ was the best thing you've done.

MA: Well, yeah, it was for us as well, and I'm still quite happy with
    that album. We've already started  writing  stuff  for  the  next
    album. We recorded a live album in Japan as well. So, we're going
    to mix that pretty soon. I don't know if that will come out here,
    it's probably not that much  in  demand.  The  demand  is  there,
    definitely, but maybe  not  here,  we're  not  that  established,
    really, you put a live album out anywhere here and [nothing].

CoC: Yeah, there's always a contingent  who  listen  to  them  and  a
     contingent who object. <laughs> I don't know, they're enjoyable,
     especially with bands who do early albums (not really your case)
     which aren't very well produced: it provides an  opportunity  to
     re-do your own work.

MA: Yeah, that's true. A few extreme metal bands do them.  Vader  did
    one.

CoC: They did a _Live in  Japan_  [CoC  #36],  but  it  got  released
     everywhere. But the thing that always happens with Vader is that
     you start with _De Profundis_ [CoC #17] being released in Poland
     in '95, Europe in '96 and America in  '97.  Everytime  there  is
     enough  demand  that  eventually   they   domestically   release
     everything. I don't know why they didn't just do it  originally.
     In terms of playing with Cradle of Filth, who are really big, do
     you find it surprising that, apart from the connection with  the
     drummers, while they're a -big- black metal band...

MA: -The- biggest.

CoC: ...you're in the sort of death metal / heavy metal vein. So,  do
     you think it is going to be kind of difficult  to  convince  the
     audience?

MA: Yeah, I think, not saying anything bad about Cradle of Filth, but
    from what I understand, a large part of their appeal  with  their
    fans is the image, it is a big part of the whole thing: it is not
    just music. We don't really have that, it is just music, really.

CoC: And of course Cradle of Filth are quite trendy at the moment, so
     there will probably be a lot of people there  who  haven't  even
     been exposed to _Heartwork_-era Carcass [one  of  Mike's  former
     bands --Paul].

MA: Yeah, but we're really looking forward to it. We're just going to
    have to go out there and be as good as we can be. It's  going  to
    be fun. <laughs> I mean, you  know,  if  fifty  people  in  there
    really thought it was a great gig and go  out  and  buy  the  CD,
    that's great. I always take the attitude that if you're  not  the
    biggest band in the world, you at least act like one: we're going
    to go out there and kick ass.

CoC: You have a good stage presence, Charlee's always fun to watch.

MA: He's not in the band anymore.

CoC: Oh no. When did he leave?

MA: We kicked him out.

CoC: When did you kick him out?

MA: Two weeks ago, we've got a brand new guy. He's going to  do  this
    show and the American/Canadian thing in January  and  then  we'll
    see what happens.

     We shall indeed, but for now I can give you the verdict on  Arch
Enemy's first UK performance, and it is -certainly- positive.  Though
it was somewhat obvious that the band had been given no  time  for  a
sound check and, as expected,  the  Cradle  of  Filth-based  audience
didn't exactly give Arch Enemy much of a  chance,  Arch  Enemy  still
pulled off a great performance. Letting rip with the double kick drum
thud of "The Immortal", the band pounded through a _Burning  Bridges_
heavy set consisting of some of  that  album's  best  moments  ("Dead
Inside", "Angelclaw"), and filled in  the  gaps  with  a  choice  few
_Stigmata_ [CoC #32] cuts. Charlee D'Angelo's replacement played  his
part well, while Johan Liiva was a focal point on stage with his hand
extending stage movements and gaping giving the experience character.
The brothers Amott were as metal as you could  ever  wish  for,  even
playing the occasional solo or lead leaning on  each  other  in  that
oh-so metal fashion. Unfortunately, no songs from the  _Black  Earth_
debut were brought out to give the crowd a kicking this evening,  but
all the same Arch Enemy were a positively  vindicating  injection  of
head-down  death  metal   destruction   and   heavy   metal   melodic
manipulation. If they could get a longer set and slightly better deal
with sound check arrangements backstage, I predict  that  Arch  Enemy
would absolutely slay. In any case, if they're coming to a town  near
you, do not pass up the chance to see  them  in  their  full  blazing
glory.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

  @@@  @@@  @@@ @@@@@@@  @@@ @@@@@@@ @@@@@@@@ @@@@@@@   @@  @@@@@@
  @@!  @@!  @@! @@!  @@@ @@!   @@!   @@!      @@!  @@@ !@  !@@
  @!!  !!@  @!@ @!@!!@!  !!@   @!!   @!!!:!   @!@!!@!       !@@!!
   !:  !!:  !!  !!: :!!  !!:   !!:   !!:      !!: :!!          !:!
    ::.:  :::    :   : : :      :    : :: :::  :   : :     ::.: :

          @@@  @@@  @@@ @@@@@@@   @@@@@@  @@@@@@@ @@@  @@@
          @@!  @@!  @@! @@!  @@@ @@!  @@@   @@!   @@!  @@@
          @!!  !!@  @!@ @!@!!@!  @!@!@!@!   @!!   @!@!@!@!
           !:  !!:  !!  !!: :!!  !!:  !!!   !!:   !!:  !!!
            ::.:  :::    :   : :  :   : :    :     :   : :

Here is where things get ugly. Writer's Wrath  gives  our  writers  a
chance to voice their own opinions about certain hot  topics  in  the
scene  today.  Check  out  this  column  for  the  most  obscene  and
controversial ramblings this side of the National Enquirer.


   A   S I C K   P O R T R A I T   O F   E X T R E M E   M E T A L
   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                          by: Pedro Azevedo

     Thursday, February 3rd of the year  2000.  A  few  minutes  past
10pm, Portuguese television station SIC began  showing  a  less  than
half hour long program about the "music of the devil",  the  "extreme
sounds" which arrived to Portugal  "nearly  ten  years  ago".  For  a
number of reasons accumulated throughout SIC's existence  during  the
nineties, I personally find their journalistic credibility very poor.
The TV equivalent to British  tabloids?  Maybe.  They  can  certainly
exploit certain subjects in a somewhat similar  way  too  often,  and
their program about extreme  metal,  beneath  a  thin  "investigation
journalism" coating, was just an attempt to exploit  the  subject  in
such a way that the masses would want to watch.
     August 1999 saw the vocalist of a Portuguese  death  metal  band
called Agonizing Terror interrupt his vacations with his wife and  go
home to stab his parents to death for no apparent reason.  This  made
several front pages as  being  a  "Satanic  ritual"  in  which  other
members  of  the  band  had  allegedly  participated  as  well,   but
unfortunately for the media it seems to have turned out to be none of
that.  It  was  just  a  crime  like  countless  others  every   day.
Nevertheless, the band's music and lyrics were brought into the  case
and there was plenty of talk in the media for a  few  days  regarding
death and black metal's aggressive nature. There were even a few hazy
references to the Norwegian church burnings that happened a few years
ago.
     SIC picked up the case back then. They tried, but failed to  get
anything but negative answers to the question "Could their music have
caused this homicide?", which was  repeatedly  asked  to  members  of
bands, a well-known radio show host and a sociologist, among others.
     Now they decided to bring the  subject  back,  for  no  apparent
reason. This time it  was  more  of  a  report  than  an  attempt  at
inquisition, but still always seeming to intend to  expose  something
potentially dangerous that had invaded our country and the poor minds
of our unprotected youngsters, who should instead be  spending  their
time watching SIC's highly interesting and educative programs. Excuse
the sarcasm.
     Besides  a  few  short,  very  low-quality  distorted  parts  of
rehearsals and concerts, a few seconds of the latest Moonspell  video
clip and some very distant background sounds,  music  was  never  the
subject. The show only dealt with the ideas behind the  music.  Those
who were interviewed were usually given the  "you  can  explain  your
ideas for half an hour if you wish, we'll cut it down to  ten  second
blocks  anyway"  treatment.  Among  these   were   members   (usually
vocalists) of  Marduk,  Firstborn  Evil,  Decayed,  Grog,  Holocausto
Canibal and Genocide.
     Marduk seem to have been chosen to replace Cradle  of  Filth  as
the most extreme black metal band known to society  thanks  to  their
recent  performance  in  the  Hard  Club  [CoC   #45].   Their   live
anti-Christian words and gestures  were  repeatedly  shown,  most  of
which were examples of several of black metal's  worst  cliches.  The
Decayed vocalist meticulously explained many  other  extremely  basic
and poor black metal cliches, especially with a remarkably bad  quote
from their lyrics.  But  isn't  black  metal  supposed  to  be  about
misanthropy instead of inviting TV cameras over to your bedroom?
     The Grog vocalist shared a story he  used  for  his  death/grind
lyrics about a guy who engages in  necrophilic  activities  with  his
dead and buried mother. This was complemented by  Holocausto  Canibal
presenting some examples of their early Carcass-like Portuguese  song
titles. Again, showing such poor cliches instead  of  something  more
intelligent induces the formation of a distorted, mediocre  image  of
what extreme metal is about.  On  the  other  hand,  death/grind  act
Genocide [CoC #44] tried to  explain  that  their  lyrics  are  about
criticizing what they think is wrong in society and that  their  name
refers to the genocides that repeatedly happen in  society's  history
(and not something that they want to see happening). However,  saying
that their lyrics are also concerned with environmental  problems  is
unlikely to be taken seriously.
     Moonspell's Fernando Ribeiro did us all the  favour  of  stating
that anyone without any knowledge of music or talent  whatsoever  can
form a successful black metal band. He should have saved that comment
for the day when Moonspell's music has some real quality again, since
_Wolfheart_ remains their best effort for reasons the band apparently
fails to grasp. I expected much better comments  from  Ribeiro.  It's
almost funny to see Moonspell still being  related  to  black  metal,
though. In  the  meantime,  Anton  LaVey  and  the  Norwegian  church
burnings are briefly mentioned and the Marduk, Decayed and  Moonspell
vocalists talk about Satanism  and  explain  some  reasons  why  they
dislike Christianity.
     Firstborn Evil's vocalist was the one responsible  for  most  of
the good quotes -- ironically the same person who back in October had
stated that "the only real difference between death and  black  metal
is in the lyrics" (even though he fronts a black metal  band).  First
he talked about his lyrical subjects,  which  are  fortunately  above
black metal's lowest cliches. Then he mentioned that he thinks people
who are prone to being influenced  can  be  influenced  by  countless
things besides music and also talked about prejudice against metal in
general and against those who listen to it.
     The author stated that the reason why people listen  to  extreme
metal is that they "need to show their rebellion, shock the world and
transgress" -- "Let's see if you'll be shocked by the  transgressions
you're about to watch" was the  host's  answer  as  the  show  began.
Excellent professional SIC(k) journalism. In  their  opinion,  "Death
and black metal fans all want the same: speed, raspy vocals  and  the
more aggression the better." But nothing like talented extreme  music
(or even music at all), apparently, according to them.
     Most of us should be used  to  all  the  prejudice  against  the
"noise" we listen to and the "sick" subjects behind  it  by  now.  We
know better than that. However, the fact that they are trying to harm
something they don't understand (and never  will  with  narrow-minded
programs  like  this  one)  and  trying  to   "expose"   it   through
misinformation and unrepresentative examples instead  of  leaving  it
alone is something I find highly infuriating.
     Amidst all this, of course not even one decent  bit  of  extreme
metal was clearly heard during those nearly 30 minutes.  Some  things
will never change.

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

            W H A T   W E   H A V E   C R A N K E D ! ! !
            ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                         Best Albums of 1999


Overall CoC Writers' Top 10
~~~~~~~~~~~~~~~~~~~~~~~~~~~
[Based on each of the writers' personal top 10]

1. Summoning - _Stronghold_
2. Hypocrisy - _Hypocrisy_
3. Immortal - _At the Heart of Winter_
4. Nevermore - _Dreaming Neon Black_
5. Morgion - _Solinari_
6. Immolation - _Failures for Gods_
7. Satyricon - _Rebel Extravaganza_
8. Amon Amarth - _The Avenger_
=. In Flames - _Colony_
10. My Dying Bride - _The Light at the End of the World_

Gino's Top 10

1. Morgion - _Solinari_
2. Hypocrisy - _Hypocrisy_
3. Amon Amarth - _The Avenger_
4. Hypocrisy - _Hypocrisy Destroys Wacken_
5. Epoch of Unlight - _What Will Be Has Been_
6. Tchort - _The Heavens Are Showing the Glory of..._
7. Brutal Truth - _Goodbye Cruel World!_
8. Orange Goblin - _Time Travelling Blues_
9. Napalm Death - _Words From the Exit Wound_
10. Dimmu Borgir - _Spiritual Black Dimensions_

Adrian's Top 10

1. Dillinger Escape Plan - _Calculating Infinity_
2. Today Is the Day - _In the Eyes of God_
3. Nevermore - _Dreaming Neon Black_
4. Vision of Disorder - _For the Bleeders_
5. In Flames - _Colony_
6. Six Feet Under - _Maximum Violence_
7. EverEve - _Regret_
8. Turmoil - _The Process of..._
9. Karma to Burn - _Wild, Wonderful, Purgatory_
10. Coalesce - _012: Revolution Is Just Listening_

Brian's Top 10

1. Theory in Practice  _The Armageddon Theories_
2. Fiurach  _Chaospawner_
3. Acid Death  _Pieces of Mankind_
4. Aeternus  _Shadows of Old_
5. Madder Mortem  _Mercury_
6. Bloodthorn  _Onwards Into Battle_
7. Agalloch  _Pale Folklore_
8. Sculptured  _Apollo Ends_
9. Lorde of All Desires  _The Scent of Malevolence_
10. God  _Sublime_

Alain's Top 10

1. Dimmu Borgir - _Spiritual Black Dimensions_
2. Zimmer's Hole - _Bound by Fire_ (1998)
3. Monstrosity - _In Dark Purity_
4. Immolation - _Failures for Gods_
5. Dream Theater - _Metropolis pt 2: Scenes From a Memory_
6. Nevermore - _Dreaming Neon Black_
7. Flotsam & Jetsam - _Unnatural Selection_
8. Grip Inc. - _Solidify_
9. Pessimist - _Blood for the Gods_
X. Deeds of Flesh - _Path of the Weakening_

Adam's Top 10

1. Type O Negative - _World Coming Down_
2. Summoning - _Stronghold_
3. Marduk - _Panzer Division Marduk_
4. My Dying Bride - _The Light at the End of the World_
5. Rammstein - _Live Aus Berlin_
6. Satyricon - _Rebel Extravaganza_
7. Darkthrone - _Ravishing Grimness_
8. Sephiroth - _Cathedron_
9. Immortal - _At the Heart of Winter_
10. Setherial - _Hell Eternal_

Pedro's Top 10

1. Summoning - _Stronghold_
2. Sun of the Sleepless - _Poems to the Wretches' Hearts_
3. Dark Tranquillity - _Projector_
4. Unholy - _Gracefallen_
5. My Dying Bride - _The Light at the End of the World_
6. Hypocrisy - _Hypocrisy_
7. Anathema - _Judgement_
8. Satyricon - _Rebel Extravaganza_
9. Behemoth - _Satanica_
10. Emperor - _IX Equilibrium_

Paul's Top 10

1. Immolation - _Failures for Gods_
2. Angel Corpse - _The Inexorable_
3. Gordian Knot - _Gordian Knot_
4. Arch Enemy - _Burning Bridges_
5. Opeth - _Still Life_
6. Satyricon - _Rebel Extravaganza_
7. Today Is the Day - _In the Eyes of God_
8. Solus - _Universal Bloodshed_
9. Immortal - _At the Heart of Winter_
10. Dillinger Escape Plan - _Calculating Infinity_

Aaron's Top 10

1. Vital Remains - Dawn of the Apocalypse_
2. Hypocrisy - _Hypocrisy_
3. In Flames - _Colony_
4. Summoning - _Stronghold_
5. Neurosis - _Times of Grace_
6. Mortiis - _The Stargate_
7. Tulus - _Evil 1999_
8. Necrophagia - _Black Blood Vomitorium_
9. Control Denied - _The Fragile Art of Existence_
10. Fleshgrind - _Destined for Defilement_

David's Top 10

1. Darkane - _Rusted Angel_
2. Morgion - _Solinari_
3. Soilwork - _Chainheart Machine_
4. Immortal - _At the Heart of Winter_
5. Sins of Omission - _The Creation_
6. Iced Earth - _Alive in Athens_
7. Marduk - _Panzer Division Marduk_
8. The Kovenant - _Animatronic_
9. Hypocrisy - _Hypocrisy_
10. Nightwish - _Oceanborn_

Alex's Top 10

1. Zao - _Liberate Te Ex Inferis_
2. Emperor - _IX Equilibrium_
3. P.O.D. - _The Fundamental Elements of Southtown_
4. Amorphis - _Tuonela_
5. Neurosis - _Times of Grace_
6. Immortal - _At the Heart of Winter_
7. Extol - _Mesmerized_
8. Bal-Sagoth - _The Power Cosmic_
9. Overkill - _Necroshine_
10. Feast Eternal - _Prisoner of Flesh_

Matthias' Top 10

1. Gardenian - _Soulburner_
2. Nevermore - _Dreaming Neon Black_
3. Immortal - _At the Heart of Winter_
4. Unida - _Coping With the Urban Coyote_
5. Amon Amarth - _The Avenger_
6. Skinlab - _Disembody: The New Flesh_
7. Opeth - _Still Life_
8. Cradle of Filth - _From the Cradle to Enslave_
9. Satyricon - _Rebel Extravaganza_
10. Cannibal Corpse - _Bloodthirst_

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
                _____         __          __ __
               |     \.-----.|  |_.---.-.|__|  |.-----.
               |  --  |  -__||   _|  _  ||  |  ||__ --|
               |_____/|_____||____|___._||__|__||_____|


Homepage: http://www.ChroniclesOfChaos.com
FTP Archive: ftp://ftp.etext.org/pub/Zines/ChroniclesOfChaos

--> Interested in being reviewed? Send us your demo and bio to:
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DESCRIPTION
~~~~~~~~~~~
Chronicles  of  Chaos  is  a  FREE  monthly  magazine  electronically
distributed worldwide via the Internet. Seemingly endless interviews,
album reviews and concert reviews encompass the pages  of  Chronicles
of Chaos. Chronicles of Chaos stringently emphasizes all varieties of
chaotic music ranging from black and death metal to  electronic/noise
to dark, doom and ambient forms. Chronicles  of  Chaos  is  dedicated
to the underground and as such we feature demo reviews from all indie
bands who send us material, as  well  as  interviews  with  a  select
number of independent acts. Join our mailing list to receive  a  free
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AUTOMATIC FILESERVER
~~~~~~~~~~~~~~~~~~~~
All back issues and various other CoC related files are available for
automatic retrieval through our e-mail fileserver. All you have to do
is send a message to  <mailto:BackIssues@ChroniclesOfChaos.com>.  The
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End Chronicles of Chaos, Issue #46

All contents copyright 2000 by individual creators of included  work.
All opinions expressed herein are those of the individuals expressing
them, and do not necessarily reflect the views of anyone else.


From ginof@shelluser.net  Thu Mar  9 11:19:09 2000
Received: from shelluser.net (IDENT:root@shelluser.net [209.47.184.206])
	by locust.etext.org (8.9.3/8.9.3) with ESMTP id LAA26403
	for <ftp@etext.org>; Thu, 9 Mar 2000 11:19:04 -0500 (EST)
Received: from shelluser.net (IDENT:ginof@shelluser.net [209.47.184.206])
	by shelluser.net (8.9.3/8.8.7) with ESMTP id LAA13728
	for <ftp@etext.org>; Thu, 9 Mar 2000 11:20:08 -0500
Date: Thu, 9 Mar 2000 11:20:08 -0500 (EST)
From: Gino Filicetti <ginof@shelluser.net>
To: ftp@etext.org
Subject: please replace
Message-ID: <Pine.LNX.4.21.0003091119220.13712-200000@shelluser.net>
MIME-Version: 1.0
Content-Type: MULTIPART/MIXED; BOUNDARY="802279096-503832497-952618808=:13712"
Status: RO

  This message is in MIME format.  The first part should be readable text,
  while the remaining parts are likely unreadable without MIME-aware tools.
  Send mail to mime@docserver.cac.washington.edu for more info.

--802279096-503832497-952618808=:13712
Content-Type: TEXT/PLAIN; charset=US-ASCII

Hey guys, 

could you please replace /pub/Zines/ChroniclesOfChaos/coc046.txt with
the attached file?

thanks, lemme know when its done.

-> Gino Filicetti -- gino@filicetti.net

"...everything was alright. He had won the victory 
over himself. He loved Big Brother." -- George Orwell

--802279096-503832497-952618808=:13712
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Content-Transfer-Encoding: BASE64
Content-ID: <Pine.LNX.4.21.0003091120080.13712@shelluser.net>
Content-Description: 
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