
 .|'''', '||                                       '||`
 ||       ||                             ''         ||
 ||       ||''|, '||''| .|''|, `||''|,   ||  .|'',  ||  .|''|, (''''
 ||       ||  ||  ||    ||  ||  ||  ||   ||  ||     ||  ||..||  `'')
 `|....' .||  || .||.   `|..|' .||  ||. .||. `|..' .||. `|...  `...'


                 .|';    .|'''', '||
                 ||      ||       ||
         .|''|, '||'     ||       ||''|,  '''|.  .|''|, (''''
         ||  ||  ||      ||       ||  || .|''||  ||  ||  `'')
         `|..|' .||.     `|....' .||  || `|..||. `|..|' `...'
 
 
       CHRONICLES OF CHAOS e-Zine, November 18, 2000, Issue #50
                   http://www.ChroniclesOfChaos.com


Editor-in-Chief: Gino Filicetti
Coordinator: Adrian Bromley
Copy Editor / Contributor: Pedro Azevedo
Assistant Copy Editor / Contributor: Paul Schwarz
Contributor: Brian Meloon
Contributor: Adam Wasylyk
Contributor: Aaron McKay
Contributor: David Rocher
Contributor: Alex Cantwell
Contributor: Matthias Noll
Contributor: Alvin Wee
Contributor: Gabriel Sanchez
Spiritual Guidance: Alain M. Gaudrault

The   individual   writers   can   be   reached    by    e-mail    at
firstname@ChroniclesOfChaos.com ("firstname" must be replaced by  the
respective writer's  first  name,  e.g.  Gino@ChroniclesOfChaos.com).

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

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

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

Issue #50 Contents, 11/20/00
----------------------------
* Loud Letters
* Deadly Dialogues
-- Cradle of Filth: Ressurrection of the Filth
-- Cannibal Corpse: Death Metal Goes Live
-- Soulfly: Cavalera Finds Power in _Primitive_
-- Corrosion of Conformity: Evolution Calling
-- Hin Onde: Songsmiths of Battle
-- Impaled: And Now For Some -More- Gore...
* Album Asylum
-- Antaeus - _Cut Your Flesh and Worship Satan_
-- Bealiah - _Dark_
-- Burial - _Enlightened With Pain_
-- Carnal Forge - _Firedemon_
-- Chalice - _Chronicles of Dysphoria_
-- Clan of Xymox - _Live_ and _Liberty_
-- Clandestine Blaze - _Night of the Unholy Flames_
-- Various - _Coalescence_
-- Coh Nia - _That Which Remains_
-- Gothica - _Gothica_
-- Institut - _Great Day to Get Even_
-- Ordo Rosarius Equilibrio - _Make Love & War / The Wedlock of
                               Roses_
-- Council of the Fallen - _Council of the Fallen_
-- Cradle of Filth - _Midian_
-- Dammercide - _Link_
-- Damnation - _Resist_
-- Various - _Dead Zeppelin - A Metal Tribute to Led Zeppelin_
-- Deicide - _Insineratehymn_
-- Desolate - _Eventide of the Orb and Heavens_
-- Diaboli - _Anthems of Sorrow_
-- Diachronia - _XX's Decline_
-- Dodgin' Bullets - _World Wide War_
-- Various - _Economi$ed_
-- Enslaved - _Mardraum - Beyond the Within_
-- Eternal Tears of Sorrow - _Chaotic Beauty_
-- Fate - _No Sense_
-- Firebird - _Firebird_
-- Galloping Coroners - _Dancing With the Sun_
-- Glacial Fear - _Fetish Parade_
-- Halford - _Resurrection_
-- Hin Onde - _Songs of Battle_
-- Hypnosia - _Extreme Hatred_
-- Hysteresis - _Screen Anarkia_
-- Iblis - _Axiom_
-- Illdisposed - _Retro_
-- Various - _In the Sign of the Horns - A Tribute to Venom_
-- In the Woods... - _Three Times Seven on a Pilgrimage_
-- Judas Iscariot - _Dethroned, Conquered and Forgotten_
-- Malevolent Creation - _Envenomed_
-- Mandatory - _Mandatory_
-- Mayhem - _Mediolanum Capta Est_
-- Merzbow - _Door Open at 8 AM_
-- Monstrosity - _In Dark Purity_
-- MSBR / Kengo Iuchi - <split>
-- Napalm Death - _Enemy of the Music Business_
-- Nargathrond - _Carnal Lust and Wolfen Hunger_
-- Nevermore - _Dead Heart in a Dead World_
-- Nile - _Black Seeds of Vengeance_
-- Nyctophobic - _Insects_
-- Opus Forgotten - _Demon of Destruction_ 7"
-- Pandemia - _Spreading the Message_
-- Point of Recognition / Cast in Stone / Torn in Two -
   _Now the Tables Have Turned_ (split)
-- Ram-Zet - _Pure Therapy_
-- Ravenous - _Phoenix_
-- Serpent Obscene - _Serpent Obscene_
-- Sophya - _The Age of Sophya_
-- Stampin' Ground - _Carved From Empty Words_
-- Symbiosis - _Crisis_
-- The Cassandra Complex - _Wetware_
-- White Skull - _Public Glory, Secret Agony_
-- Witch Hunt - _Souls Enshrouded Fire_
-- Zenite - _Brutal Enigmatic Prophecie_
-- Zona - _Splattiparty_
* New Noise
-- Absurd - _Beyond the Dawn_
-- Fallacy - _Martirios_
-- Mahavatar - _Demo 2000_
* Chaotic Concerts
-- Declaring War on the Underground: Mayhem and Aeternus in London
-- Judgement Night: Anathema in Manchester
-- Halloween Havoc: Macabre in Canada
* What We Have Cranked
* Details

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

Correction #1
~~~~~~~~~~~~~
I  would like  to apologise  to  all readers  for the  grave error  I
made  in  my  Dismember  story  which appeared  in  CoC  #48.  In  my
over-zealousness to characterise Chris Reifert as "The Midas of death
metal" I  remarked that  he was  -not- involved  in Abscess.  This is
quite wrong, he is a key  member of Abscess. Sorry, please hurl abuse
as you see fit to Paul@ChroniclesOfChaos.com -- Paul Schwarz

Correction #2
~~~~~~~~~~~~~
In our review of Quo Vadis' _Day Into Night_, we erroneously reported
that  they  were unsigned.  In  fact,  they  are  signed to  Hypnotic
records. CoC regrets the error.

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

                 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, 04 Oct 2000
From: "Zaraza / Corridor Of Cells" <zaraza_doom@hotmail.com>
Subject: ZARAZA news

Hi Gino,
this is Jacek from Zaraza.

I would  like to  let you know  that we have  decided to  release our
debut  CD "Slavic  Blasphemy" (which  you had  chosen as  one of  the
Top  10 Albums  of  1998) into  public  domain via  our  MP3 site  at
http://wwww.mp3.com/zaraza.

We have come to the conclusion that  this is the best way for extreme
music to  be truly accessible. Putting  out a CD and  then seeing the
distributors and record stores rip  off our listeners by tripling its
price (we sold  the CD to distributors  for $7 and saw it  in HMV for
$22.99) finally  got us pissed off.  We'd rather offer the  music for
free via MP3  and the actual CD via cheap  mailorder directly from us
then play  this game. Extreme music  should be more about  music than
about money, at least in our opinion.

All future Zaraza releases will be done in the same manner, i. freee.
MP3 download as well as hi-fi CD for a cheap price.

If you could mention this action  in your zine and point your readers
to our  MP3 site at mp3.com/zaraza  it would be MUCH  appreciated. We
want to get the word out about this as much as possible.

Cheers,
Jacek


Date: Wed, 1 Nov 2000
From: Paul Schwarz <Paul@ChroniclesOfChaos.com>
Subject: SR Prozak and Black Sabbath

In response to S.R. Prozak's  comments concerning Black Sabbath, here
quoted.

'But something made metal distinct - an internal selectivity? Look at
why metal emerged from history. There were all these people making  a
good income with progressive rock and "70s" style neo-bluegrass disco
cheese. Why be "hateful" and  "dark"  and  "occult"?  Black  Sabbath,
until the Christians  dragged  them  down,  *did*  have  an  artistic
suggestion in mind for the times - to abandon  the  way  of  thinking
that had even infested all of the 1960s  movements  that  had  become
commerce. These first metal  musicians,  like  metal  musicians  now,
hated the transparent world of material control  (religion,  society,
state) and the meaningless rules it accumulated,  but  most  of  all,
they had a spirit that was - better? - than the  one  it  contrasted.
They wanted to live life to  extremes  and  not  fear  the  "bad"  or
"negative," even if that meant a morbid nihilism of accepting death.'
>From Loud Letters, CoC #48.

Now,  maybe  the Christians  --  they  are  -so- powerful  after  all
--  "dragged down"  Black  Sabbath  within a  year  of them  becoming
"'hateful' and  'dark' and 'occult'"  -- we'll  have to wait  for Mr.
Prozak's response to  be enlightened as to this nugget  of "truth" --
but  if not  then I  think I  have found  somewhat of  a flaw  in Mr.
Prozak's argument, and all it is is the lyrics to one song.

"Have you ever thought about your soul? Can it be saved?
Or perhaps  you think that  when you are  dead you  just stay in your
grave.
Is God just a thought within your head or is he a part of you?
Is Christ just  a  name  that you  read in  a book  when you  were in
school?

When you  think about  death do you  lose your breath  or do you keep
your cool?
Would you  like to see the Pope  on the end of  a rope? Do  you think
he's a fool?
Well I have seen the truth.
Yes I've seen the light and I've changed my ways.
And I'll be prepared when you're  lonely and scared at the end of our
days.

Could it be you're afraid of what your friends might say
If they knew you believed in God above?
They should realize before they criticize that God is the only way to
love.

Is your mind so small that you have to fall
In with the pack wherever they run?
Will you still sneer when death is near
And say that you may as well worship the sun.

I think it is true it was people like you that crucified Christ
I think it is sad the opinion you had was the only one voiced.
Will you be so sure when your day is near say you don't believe?
You had the chance but you turned it down now you can't retrieve.

Perhaps you'll think before you say God is dead and gone
Open your eyes, just realize that he is the one,
The only one who can save you now from all this sin and hate.
Or will you jeer at all you hear?
Yes! I think it's too late."

"After Forever" from Master of Reality, 1971

Irony? Not in my opinion.

>From Paul

Afterthought: In case  you meet someone you really  don't like, carry
around  a printed  copy  of  the following  --  the  summary to  S.R.
Prozak's heavy  metal FAQ  (http://www.anus.com/hsc/hcl/mfaq.html) --
it will  not only display how  'hateful' and 'dark' you  feel towards
them, but will also keep them  confused and frustrated for hours more
than you need to do a runner.

"Summary:  This FAQ  explores the  development  of heavy  metal as  a
musical movement through theory  and ideology, the primary influences
on  its growth,  which  seeks  to overcome  the  negative through  an
existential  nihilism  that  leads to  self  motivated  philosophies,
a  transformation   rooted  in  the  self-dependent   mythos  of  the
culture  and its  association  with  occultist post-moral  behavioral
structures.  Metal as  a pattern  of  thought is  a rebellion  within
postmodern  ideology  from   structured  cyclicism  to  structuralist
dynamicism,  effectively extending  the  principles  of modernism  to
a  post-relativity   universe  through  a  focus   on  transcendental
kineticism,  individual participation  in  postmoral experience,  and
chaotic mass destruction;  it could be called  an information systems
theory approach. Similarly the revolution  in music theory from metal
is the  extension of  harmony from cyclic  theatricism (wagnerianism)
into melody for artistic,  pure, complex experimentation. Subcultural
genres  such  as  metal  are  one of  the  few  ways  postmodern  and
existential  thought  enter  mainstream  life, as  a  meta-theory  to
politics and sociology."

>From Paul


Date: Fri, 3 Nov 2000
From: Jason Milburn <violentforce@earthlink.net>
Subject: kudos, nice zine

Just  letting  you know  I  liked  the  last  issue, you  guys  write
intelligent and thought  out reviews, which is nice  compared to some
other indie  zines. We will  be sending you  a couple discs  we would
like to  see reviewed in your  next issue. They'll go  out on Monday:
Vessel, and Broken  Free: Conducting The Sunrise  on Burning Records.
Can't wait to hear what you think.

Jason Milburn
www.burningrecords.com


Date: Sat, 4 Nov 2000
From: TorturedDeath@aol.com
Subject: No Subject

I'd like  to start by  commenting on #49's  editorial. I, as  well as
probably a few other CoC readers, don't just read an issue and delete
it. I squeeze the pages into two columns in a small font and print it
out and bind it  with staples. Then when I'm done  reading it, I GIVE
it to my friends. It's like  a newspaper with me. Newspapers are read
four times more than they are sold. So I'd advise all you CoC readers
to do the same.

Anyway, I'm sure we'd all like  to augment the metal scene around us.
I'm also sure that a lot of CoC readers play in bands, book shows, or
work hard  to build the  metal scene around him  or her. This  is the
best way  to create new metal  fans. Though my own  experiences, I've
learned that  you can't just play  a Nuke Assault CD  for a potential
metal fan  and expect him  to say "awesome!"  The only thing  I found
that works is  a kick-ass metal show. But we  still can't forget that
as long as  metal stays primarily underground, it will  never die. If
you haven't already, I urge you to get involved with your local music
scene; you owe  it to heavy metal!  Metal is by the fans  and for the
fans! Keep it that way!

-Josh Perrin

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       __ \                 | |
       |   |  _ \  _` |  _` | | |   |
       |   |  __/ (   | (   | | |   |
      ____/ \___|\__,_|\__,_|_|\__, |
                               ____/

                 __ \ _)       |
                 |   | |  _` | |  _ \   _` | |   |  _ \  __|
                 |   | | (   | | (   | (   | |   |  __/\__ \
                ____/ _|\__,_|_|\___/ \__, |\__,_|\___|____/
                                      |___/


          R E S S U R E C T I O N   O F   T H E   F I L T H
          ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                 CoC talks to Dani of Cradle of Filth
                          by: Adrian Bromley


     "Each  Cradle Of  Filth release  is different  from the  rest of
them. You can never really  compare an album [to another], especially
when you are  in the band. Each  album has its own flavour  to us. It
brings back  many memories", starts  CoF singer Dani Filth  about the
difference between the new disc _Midian_ [reviewed in this issue] and
their past recordings. "I can remember back to _Dusk And Her Embrace_
[CoC #16] and  everything that surrounded that.  The atmospheres, the
band reactions to one another and just where we were at the time. All
of these memories  don't come as a  blur, you know. Each  one is very
important to what we have done as a band. With this new record we had
to prove ourselves because of  all the recent departures. There seems
to  be a  revolving door  of sorts  with this  band and  that doesn't
necessarily ring true."
     He continues, "It culminated from a series of people leaving the
band and  it all  had to  do with one  person, the  guitarist [Stuart
Anstsis] in the band. He was the  one big problem. He was a great guy
and a great  guitar player, but boy  didn't he know it.  I have never
met someone  so up their own  ass in my  entire life and it  just got
worse and  worse as time went  on. And last year  Adrian [Erlandsson,
ex-At the  Gates / The Haunted  drummer] had barely been  in the band
for  three months  and  Gian  [Piras, guitarist],  he  left the  band
because he could not cope with things. There were problems. The final
straw was that Robin [Eaglestone, bassist] had approached me and said
that no work was being done and he  wanted out of the band -- he just
wanted to write, he didn't want to go through all of the crap we were
facing. The problem was that this  guitar player wanted to do all the
work and make  music when he felt  like it, which was  never. He just
sat in front of his computer or played Nintendo all the time."
     "Rob said to me,  "Look, I'm going, but if you  are going to get
rid of Stuart, I'll  stand by you 100% and we'll  make this work." He
just couldn't deal with it and a decision was made. We sacked Stuart,
but you'd  have seen the  reasoning behind it all  if you had  been a
part of this the last six months  last year that this was going on. I
admit, I  had let it all  go. I had just  had a baby daughter  and my
concentration wasn't  fully on  the band.  I just let  it get  out of
hand. Then the keyboardist left. So  in a round about well of telling
you  all of  this,  the reason  still  stands that  we  had to  prove
ourselves with this record."
     Was Dani worried  that all of this was in  a downward spiral and
that he wouldn't  have been able to keep things  afloat for the band?
"Oh yeah", comments  Dani. "I really did think that  at one point. It
was just getting worse and worse  as time went on. Adrian didn't know
what way to turn  at the time. He saw all the  problems coming in and
he was led to believe that Stuart  was the only writing member of the
band. When  Stuart was fired, he  was wondering what I  was doing. He
was unsure of what  I did and we didn't even know if  he was going to
stay. He was living with the keyboard player at the time <laughs> and
hung out with  both him and Stuart  over the next two  days after all
this happened. I  am sure they were  both yapping in his  ear. A week
later Adrian  came down to  rehearsals and  decided to return  to the
band, and  the rest is  history. We now have  Adrian in the  band and
Gian and  Paul [Allender, who recorded  the demos and debut  with the
band,  and took  a  five-year break]  are back  in  the band.  Martin
[Powell, ex-My Dying Bride keyboardist/violinist] has joined the band
and it just feels like we are  firing on all cylinders. It feels like
we have been reborn. It is just like a band that is putting out their
first record. We are feeling a good exciting buzz from this release."
     "We have  gradually been faced  with a large amount  of pressure
from each record", he says. "That just happens as the years go along.
But with this record, we knew what we wanted to achieve and just said
fuck it.  We knew we  were somewhat  of a new  band with all  the new
members working to make music, so let's just fucking write."
     Getting a  bit in depth  about the  album title and  the concept
behind the record,  Dani offers: "After writing a few  tracks, we had
decided what we were  going to base the record on.  The last album we
did a concept record based on Elizabeth Bathory and I remember people
asking us questions like this two years ago on why we did it. Because
it fascinates us. Gian and I have always been interested in the whole
Midian angle  of things, this night  world and the night  breed where
creatures and even people are driven from society and find a place to
reside. It just seems like a real dark fairytale. After we had done a
few songs,  it just seemed to  click on the  use of the name  and the
ideas behind it to work for the  album. We not only took the biblical
references of the  name but also the Clive Barker  reference as well.
It seemed  compelling for us to  go along with this  concept and just
travel a bit further into the darkened realms."
     And  speaking  of Clive  Barker,  CoF  managed to  snag  Douglas
Bradley, the actor  who plays Pinhead in Barker's  popular cult movie
series "Hellraiser", to do a narrative on the track "Death Magick for
Adepts". How  did that come  about? "It was  true destiny. He  was in
Clive Barker's film "Nightbreed", a film based on the Midian concept.
He was the  most perfect person to get for  this record, although the
situation surrounding him was a little strange. We were both supposed
to be in a  film together a year ago, but it  never happened. So that
was my  first encounter of sorts  with him. Then Ingrid  Pitt [Hammer
horror film  star who was  on the band's last  full-length recording,
_Cruelty and the  Beast_ [CoC #31]] had  sent him a copy  of the disc
last year for a Christmas gift. We're also starring as a band in this
British horror film [titled "Cradle of  Fear"] and he was supposed to
star as  this fucked up  serial killer,  but it didn't  happen again.
Those things never  came about, but when approached he  was more than
delighted to help us out."
     "So he  came down to the  studio, which is a  really atmospheric
environment  in  the  middle  of  the  English  country",  says  Dani
accounting the  meeting with Bradley.  "He came  down the day  he was
supposed to meet Clive Barker in London and had just arrived from the
United States. It was totally cool. Everyone was shoving "Hellraiser"
memorabilia in his  face to sign when  he came to the  studio and our
producer John  Fryer was calling  him Pinhead  the whole time  he was
there. We even  had a bust of  Pinhead in the control room.  It was a
blast to have him be apart of the record."
     Seeing that the  band has gone through numerous  changes, not to
mention varied  styles of songwriting  and concepts leaking  into the
material, how  does Dani think the  band has evolved over  the years?
Have they changed? "In a way it feels like a fresh band, but to me it
seems like we have  gone full circle as a band and  are back to where
we started. I think we have  gotten back the atmosphere we needed and
a renewal of the band's sound. As  a band we have matured, though not
mentally.  <laughs> I  think we  have gone  backwards there.  <laughs
again> I think  we have just gotten more headstrong  and know what we
want without  sounding pretentious. We know  what we want to  do as a
band and we just  want to use all of this  youthful energy, vigor and
fire to our  advantage. We have already started to  write more stuff,
too. I think we have also become  mature in a business sense as well.
Most people don't coincide that with being  in a band, but it is very
important. We have tried to really understand the makeup of the band,
from the musical level all the way to the business side of things. We
try to understand that at least. <laughs>"
     And why are people still interested  in the band? "I think it is
better to not understand that to know why people do like your music",
he explains. "If we did think about  it and knew what they wanted, we
could say that nu-metal is big so we need to have a riff like that in
our  music 'cause  the  kids will  love  it. You  need  to write  for
yourself and let the fans decide if  they want to follow you and your
musical evolution. You just can't analyze this all."
     Has it  been a struggle,  Dani? Has  any luck been  involved? "I
think  the reason  we have  gotten to  where we  are has  to do  with
destiny. I'd  rather call it destiny  than luck, it just  sounds more
poetic than anything.  I'd like to think us being  around for so long
has to  deal with the  hard work  of the band.  At least I'd  like to
think that  is the case. We've  been lucky on a  couple of occasions,
but other than  that, we have worked  our asses off for  this band to
get where it is and get things moving."
     He finishes:  "There are people out  there right now who  say we
can't do anything  right and are just getting ready  to crucify us at
any moment. This band works hard and  I could give a fuck what people
say. As a band you have to  try and have some originality and I think
we have always aimed  to have that. We have always  aimed to do that,
we just seem to run into obstacles along the way. It just seems to be
the Cradle of Filth way, doesn't it?"

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

              D E A T H   M E T A L   G O E S   L I V E
              ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
   CoC chats with George "Corpsegrinder" Fisher of Cannibal Corpse
                          by: Adrian Bromley


     "I am  a fan  of live records",  admits Cannibal  Corpse growler
George "Corpsegrinder" Fisher down the line from his home in Florida.
"I think they are cool to do. We  were just on tour and we decided to
record. It  wasn't like we decided  to do a special  show or anything
like that."
     Unlike many  other bands out  there who would think  twice about
recording something  live and  dealing with the  sound and  what have
you, Cannibal Corpse jumped at the opportunity to do one. "I think we
truly captured  the live  experience of  seeing Cannibal  Corpse with
_Live Cannibalism_.  There are no  overdubs on this record.  If there
are  mistakes  on this  record,  then  they  are  there. I  think  it
represents us in  a live capacity extremely well.  Everyone who seems
to hear it thinks it is a good live disc. We're flattered people feel
that way  about _Live  Cannibalism_. This  is a  real live  record. I
think the  success of this  record comes from  the fact that  we took
this live recording for what it was. We didn't go back and fix stuff.
I think we played fairly decent, but nobody is perfect and there will
be mistakes.  I like that  whole feeling of  the record, of  us being
recorded at a  certain time and just playing the  music the best that
we could."
     Seeing  that reviews  and feedback  of  the new  disc have  been
rather strong, would the band -- rounded out by bassist Alex Webster,
guitarists Jack Owen and Pat O'Brien and drummer Paul Mazurkiewicz --
ever consider doing  another one? "You never know. We'd  just have to
do  a whole  lot  of different  songs  on  the next  one  to make  it
different from what you got here.  We wouldn't rule out doing another
live recording."
     A lot of people have been fans of the band since their inception
more  than a  decade ago,  rabidly  following the  band through  such
classic records as _Eaten Back  to Life_ (1990), _Butchered at Birth_
(1991) and _Tomb of the Mutilated_  (1992), as well as embracing both
original  singer Chris  Barnes (who  now fronts  Six Feet  Under) and
Fisher, who replaced him. Why the live record now? Why did it take so
long? "Metal Blade has been talking about it for a long time and many
fans were  asking us at the  shows about possibly doing  one. I think
fans are seeing Deicide and Morbid Angel putting out live records and
they wanted us to do one. We  thought about it and heard the feedback
from fans and  we took it into consideration. The  main reason we did
it was  because the fan feedback  stated that they wanted  one. So we
did. You have to  listen to the fans. That is the  main reason why we
are here. We are here because we love to play music and to play death
metal and they support us. Why not give them what they want?"
     And  about the  live  record experience,  was  the process  fun?
"Playing  death metal  live  is  hard to  capture.  Contrary to  some
people's beliefs, it  is an extremely challenging form  of music. You
can easily capture simple riffs <he hums a few riffs at a slow pace>,
but  when you  have  a song  like "Dead  Human  Collection" with  the
complicated riffs, you really have to  pay attention to making it all
come together. I  don't care what anyone says, I  think we captured a
good flow  of what a  Cannibal Corpse show is  like. We knew  we were
recording, but  you put  that in  the back  of you  head and  let the
adrenaline take over and let the rush of things just take charge. The
crowd just gets really into it all and you just go for it. It was all
like a real show, except I had to do some sound checks, which I never
do because I  like to keep my voice  raw, but I had to  get all their
sounds levels  set. Plus  they had cameras  also following  us around
[for the live video/DVD  of the same name] and that  was just in your
face all  the time. They were  filming me shaving and  it was fucking
nuts. They  had all this behind  the scenes stuff of  talking to fans
and sound checks and that was just bizarre. That was hard to get used
to. Once the tapes were rolling and  the cameras were on, we just did
our thing."
     And in closing,  I ask, "Any favorite live  albums, George?" "Oh
yeah. _Unleashed in the East_ by  Judas Priest is probably one of the
all-time greatest  live records ever put  out. I also like  the Sodom
live  disc they  put out  a while  ago, and  of course  Iron Maiden's
classic _Live After Death_. I also  think the live Decide disc [_When
Satan Lives_,  from 1998] is great  too. Glen Benton's vocals  are so
fucking powerful. He fucking rules."

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C A V A L E R A   F I N D S   P O W E R   I N   _ P R I M I T I V E _
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                 CoC talks to Max Cavalera of Soulfly
                          by: Adrian Bromley


     Soulfly  ringleader/guitarist/songwriter Max  Cavalera  is on  a
mission. His mission? To create  hard, vibrant music full of passion,
high on intensity and with no  boundaries. Where Max treaded with his
debut  a  few years  back  with  Soulfly,  after his  departure  from
Sepultura, he  makes up the ground  and then some with  the new disc,
titled _Primitive_.
     With a diverse sound, no doubt brought on by collaborations with
Sean Lennon, Slayer's Tom Araya  and Corey Taylor (#8 from Slipknot),
_Primitive_ marks a special time  in Cavalera's career. He has broken
free from  what people have  expected from  his music and  spread his
wings and grown even stronger as a songwriter in the process.
     While many metalheads out there will assume the record is geared
toward  the Ozz-Fest  crowds and  their ilk,  it is  more metal  than
people might actually  think. But it is more than  metal music. It is
music from the heart and the soul. In touch, in sync and unstoppable,
Max Cavalera  has returned  once again  to the  music scene  with his
music  as a  pedestal and  the words  as his  weapon. Who'll  be left
standing? It's anyone's guess.
     After  numerous (three!?)  times  of trying  to  track down  and
schedule and interview  with Cavalera and his band --  rounded out by
bassist  Marcelo D.  Rapp,  drummer Joe  Nunez  and guitarist  Mickey
Doling -- the  call comes in from Portland, Oregon  where Soulfly has
just  started their  headlining  tour  in support  of  the new  disc.
Cavalera is excited to be back on the road. I'm just excited that the
call finally happened.

CoC: You have been  in this business for along time.  You have done a
     lot of work through the years to just stay atop of things and in
     the  scene.  It has  been  rather  impressive, from  Sepultura's
     beginnings onto Soulfly. What kind of  things did you want to do
     with the new disc that you hadn't done before?

Max Cavalera: I just  wanted to continue  on with my  musical journey
              and just be inspired to do different things with what I
              created.  I  wanted to  continue  the  message and  the
              attitude  of Soulfly.  I  am very  happy  with the  way
              _Primitive_ turned out and being able to work with many
              great guests on the disc.

CoC: The first Soulfly record, I felt,  was about just letting it all
     out and going  crazy and really showing off  the aggressive side
     of the band,  no doubt music that was spurned  forward by events
     in your life  and what was going on during  the inception of the
     band. The new record is just about exploring and seeing where it
     can go,  shown quite vividly with  the song ideas and  the guest
     artists. Did it come together quickly?

MC: This record was  very time expanding, but it was  all worth it in
    the end. I think everything about  the record, from the guests to
    the cover artwork  and the percussionists taking  part, just made
    it seem like  a big movie production.  It took a long  time and a
    lot of ideas came  and went, but it is out now  and I couldn't be
    happier.  I  am happy  with  it  and I  can't  wait  to hear  fan
    reactions to the material while on tour and get their feedback to
    all of this. I put my heart and soul into this.

CoC: Many say there  is a lot of pressure for bands  when it comes to
     the sophomore disc. Was there pressure?

MC: I didn't feel it at all. I  think I made a great record. I'll let
    other people judge what I did. All I can say is how it felt right
    to do the music found on the disc.

CoC: Where did  a lot of the  song ideas come from for  the new disc?
     What inspired you to write?

MC: Musically this album is open to different styles of music, but it
    is still  heavy, I think. It  is experimental heavy, where  we go
    from song  one to  twelve and  we just  mess around  with various
    ideas. We  incorporate reggae, R&B,  hardcore, world music  and a
    bunch of  other ideas. Listening  to this  record for me  is like
    taking a trip around the world.

CoC: Do  you  think fans  of Max  Cavalera and  Soulfly have  come to
     expect a different style of record each time out?

MC: I think they  have expected nothing less than this.  I think they
    would be shocked if one day I  just went in and recorded an album
    and did nothing on it, you  know? Just a straight metal record. I
    think that  would really  shock the  shit out  of them.  It won't
    happen, though.

CoC: Let's talk about  studio work. How did you  go about approaching
     things in  the studio, like  trying new  things out? Or  did you
     just let everything be natural and let it all fall into place?

MC: I learned a  lot with this record.  I tried out a  lot of things,
    like sound effects and even trying  to alter my vocals by doing a
    song with Sean  Lennon [on the song "Son Song"].  By working with
    Corey Taylor  or the rap band  Cutthroat Logic, it allowed  me to
    really try to expand things in  the studio. You really learn with
    each album. I think  you need to have your ears  and mind open as
    things go along. It has definitely been a learning experience for
    me with every record I have done and that is cool with me.

CoC: I have to ask, seeing that  it is an odd pairing, how'd you hook
     up with Sean Lennon?

MC: It  just happened  by accident.  I think  it was  fate that  just
    brought us together.  We met in Australia in 1999  during the Big
    Day Out  festival. He was playing  with a band and  touring for a
    new record. We were sharing the same  tour bus, too. He was a fan
    of my  music and I  discovered what he was  all about and  it was
    real cool.  While we were making  the disc and trying  new things
    with the band, my wife Gloria suggested I could work with Sean. I
    thought  about  it and  came  to  the  conclusion that  it  would
    definitely be the most different thing  I have ever done. I am so
    glad I pursued this, because I could not be any happier about how
    the song came out with him.  It is definitely a good surprise for
    the fans, I think.

CoC: What if people don't like the song?

MC: I don't really care what people  think about the song. I love it.
    I'd just say: "Listen to the song before you judge it." Who cares
    who is  involved or how  famous Sean Lennon  is? Give the  song a
    listen. It comes across as real and honest. I'd love to work with
    him again. He was the coolest person  I have met, I think. It was
    a great experience. He is a very  humble and a very down to earth
    kind of person.

CoC: So would you do a guest spot on his next record?

MC: <laughs> Sure --  I'd just go into the studio  and scream my head
    off.

CoC: Despite all of  the obstacles that you have  faced while getting
     to this  point in your career,  you still have a  level head and
     faced your problems. What has kept you going?

MC: Music. Family.  Friends. And of  course the tribe, my  fans. They
    have given me the strength to  go on. No band can survive without
    a  fan base,  because they  motivate you  to continue  on and  do
    things.

CoC: The  fan base  of the  band  seems to  grow as  the years  pass.
     Soulfly  has been  a  part  of several  big  tours,  as well  as
     headlining tours -- which do you prefer?

MC: I loved the Ozz-Fest. Festivals in Europe are fun. I also like to
    tour and play in Brazil and Australia. I love the headlining gigs
    a lot, especially while on tour  now, because all of the fans are
    there 100% for  Soulfly. Fans are just so hungry  for Soulfly and
    it really makes me love touring and playing for the tribe.

CoC: In today's music  scene, where mainstream music seems  to be out
     of control  and the underground  scene wants nothing to  do with
     it, where do you see Soulfly fitting in?

MC: I think we are right in the  middle of everything. We mix the new
    music with the old school music.  We are just trying to stay true
    to what we believe in and what we want to play. I like new metal,
    I like old  metal. I like hardcore.  I like it all and  I want to
    play it all.  I don't care about  scenes. We can be a  part of as
    many scenes as we want. We'll take young crowds and old crowds --
    whomever.

CoC: Many bands feel a  lot of strength in what they  do. You seem to
     have twice that amount of respect  and support for your band and
     what you do. Why is that?

MC: I just think what I want to do is take what music has given to me
    over the  years and  put that  back into Soulfly.  I want  to let
    people experience  what I have  and be a part  of all of  this. I
    came from a little town in the middle of nowhere in Brazil and my
    music made  me a world  traveler. Therefore I believe  that there
    is  magic  in music  and  that  everything  is possible.  If  you
    work  hard and  are  determined to  get far,  then  you can  have
    dreams and actually  achieve those dreams. Music  has become very
    extraordinary for me, because I  never thought coming from such a
    small, unknown place I would be where I am today.

CoC: How do you think Soulfly is different from what you had achieved
     with Sepultura?

MC: I think  there's more things going  on within the music,  stuff I
    had been wanting  to do for a long time.  Sepultura kept on doing
    the same ideas and I just wanted more of a change. I never wanted
    Sepultura to be one of those bands that, after a while, starts to
    become a repetition  of what they had done before.  It is kind of
    like Pantera  who have been  around so long, but  haven't evolved
    too much.  I never wanted that  to happen with my  music and that
    could have happened with Sepultura if I had stayed with them. The
    music would have become old and tiring to the fans. That is why I
    play in Soulfly.  Playing this music has made  me very optimistic
    about what I can bring to this band and the music I create.

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                  E V O L U T I O N   C A L L I N G
                  ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
       CoC chats with Pepper Keenan of Corrosion of Conformity
                          by: Adrian Bromley


     I  have  to   admit,  the  first  time  I   heard  Corrosion  of
Conformity's (now known  solely as CoC [Hmm, sounds  familiar -- ed])
new disc _American Volume Dealer_, I  was shocked at how grounded and
sedate it was compared to  their last few releases like _Deliverance_
(1994) and _Wiseblood_  (1996). Here was a band that  had started off
in the true hardcore/punk rock element  in the early '80s and grew as
a  band,  winning over  fans  and  critics  along  the way  into  the
mainstream. Would this record be their demise?
     Another fan of CoC  told me to give it a few  more spins, to let
it all seep  in and let their sound and  message spread like wildfire
before I give my  final say on _American Volume Dealer_.  I did and I
actually am finding  out that I am digging this  record much more. It
is still growing on me and I have come to the conclusion that this is
still Corrosion of Conformity.  Guitarist/singer Pepper Keenan agrees
too.
     "I hope our  fans are surprised at  what we did here  on the new
disc", starts  Keenan. "I  just don't  want them to  go, "Oh  that is
cool." I don't think  they will be surprised in a  bad way. I believe
we think just like our fans do when it comes to the music we play."
     The one underlying  element that has seemed to have  been a part
of each CoC offering  is that fact that they all  bring their own set
standard  of  CoC  and  their  music, each  disc  no  doubt  sounding
different from  the past one.  _American Volume Dealer_  continues on
with the tradition.
     "You just can't be a musician  and make the same record [twice].
It just  sinks in that that  isn't in the cards.  This band functions
very intuitively and we know where we  have to go and what we have to
do. Without that in check, we'd be lost.
     "We are not  too careful in the studio with  what we are working
on. If a song is headed in  a certain direction, like the song "Stare
Too Long" [the slow ballad on the new disc], we don't put it aside or
scrap it. It was just turning into  that kind of a song and there was
nothing we could  do about it. We  had the balls to  carry it through
and not  try to overly  control the tune.  I thought, "This  is crazy
shit. We've never done this before. If  we are going to do this, then
let's do it right."  We just let the song go that way.  If you end up
trying to control your songwriting, you  end up with records that all
sound the same. We don't fucking want that."
     Along with  fellow members  in tow,  bassist Mike  Dean, drummer
Reed  Mullin and  guitarist Woody  Weatherman, Keenan  plans on  just
taking things  as they come in  the new millennium. "We  are proud of
what we did here on this disc,  but fuck man, we could throw that all
out the window next album and  make a blistering punk rock record. We
just go  in when making a  record, write the songs  and just document
the time and the place of the band and where our heads were at during
the recording. It is that simple, bud."
     And the  significance of  the album title?  "We just  thought it
made a lot of  damn sense. Some kid came up to us  one time at a show
after seeing us  like for the tenth  time or so and said  that we are
like America's  volume dealer. We  laughed about  it for a  while and
then realized he was right. It just stuck and it make sense too."
     Success has  been a gradual  climb for  the band, from  the raw,
energized  days of  punk rock  (1983's _Eye  for an  Eye_ and  1984's
_Animosity_) onto the solid, hard rock ditties storming out of CoC in
the  '90s, the  band has  managed  to keep  pretty grounded.  Success
hasn't ruined them.
     "We  have to  be true  to ourselves  and we  know that.  We have
always had those thoughts running throughout the band as the years go
on. We need to  let fans know that this is what we  set out to do and
what  we strongly  believe  in.  If they  know  that,  then they  can
understand each new record CoC puts out."
     He continues: "We have gotten  ourselves in a position now where
we can't put  out stuff half-assed anymore. I don't  care if it takes
four fucking years to make a record. If it takes that long to get the
right record out to  the fans, then so be it. When I  am old and gray
and look back at all that was  accomplished with this band, I can say
that we never bullshitted anyone. We were always straight up with the
music and fans and that is all that matters in the fucking long run."
     I mention  to Keenan the  fact that  many fans and  critics have
said that this album takes repeated  listens to get into. What is his
take on that?  "I know what you  mean and I have heard  that too. But
you  have to  understand that  CoC puts  a lot  of thought  into what
we  do.  If you  put  a  set of  headphones  and  you listen  to  the
motherfucker, you'll  see where we  are coming from. I'll  admit that
there is some soft shit on  the record. I think whatever people think
hardcore music is,  being a band that has grown  up hardcore, this is
being hardcore more  than anyone else is. This is  being hardcore and
willing to  put your neck out  on the line. This  whole recording and
writing process is about that. If not, you do the same fucking record
again and no one wants that.  If people want something really popular
and hard and heavy, go buy  a fucking Static-X record. People have to
understand  there is  more to  making music  than just  trying to  be
heavy."
     Continuing on the same topic, though rounding out the interview,
Keenan says:  "All people  need to know  is that there  is a  new CoC
record out. It  doesn't matter what label  it is on or if  there is a
single. The record is out. Go buy  it, sit back and crank it up. That
is all we ever wanted from all of this. We just wanted to be truthful
to the fans and the music we make and have fun along the way."

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

               S O N G S M I T H S   O F   B A T T L E
               ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                  CoC interviews Wircki of Hin Onde
                            by: Alvin Wee


Relative  newcomers in  the  underground, Finnish  troopers Hin  Onde
boast  a well-received  7" EP  debut _Fiery  September Fire_  as well
as  members already  relatively  experienced in  the scene.  Emerging
from the  ashes of  an obscure Storm-soundalike  called Svartalfheim,
the  renamed  Hin  Onde's   down-to-earth  folksiness  and  ambitious
songwriting should garner them no little attention in the underground
press.  _Songs  of  Battle_,  their  first  full-length  effort,  was
unleashed in August on Norway's  Aftermath Music, a promising slab of
Viking heroics  reviewed elsewhere in  this issue. Thanks  to Haavard
at  Aftermath,  I  managed  to  look up  keyboardist  Wircki  for  an
introductory chat, and got some intelligent, mature answers...

CoC: The  debut  release  of  Hin  Onde  is  finally out,  so  you're
     effectively leaving the days of Svartalfheim behind now.

Wircki: We have left  the Svartalfheim days behind us  long time ago.
        The Svartalfheim era actually consists just of the very first
        weeks  of  the band's  existence.  It's  quite a  meaningless
        period in our history, but somehow  it always comes up in the
        interviews --  I guess it's  a price  you'll have to  pay for
        changing the  band's name, hah. It  was a time when  the band
        was not that  serious yet, our first "demo"  was released but
        it was like our third rehearsal recorded with a four-tracker,
        so not  a very serious  effort by any  means. At the  time we
        weren't sure whether we should form  this band at all, but we
        kept  rehearsing together  and a  couple of  months later  it
        turned out that we had plenty of new songs ready and the band
        was working  out quite well.  So we  started to take  it more
        seriously and  it was obvious  that we also wanted  to change
        our  name to  something more  distinctive. I'd  say when  the
        first ideas  came to take  this band more seriously,  when we
        started  to think  about  things like  booking  a studio  and
        stuff, it was no longer Svartalfheim.

CoC: So what are your expectations?

W: I don't  expect things to change  that much; we are  still a small
   band, but  I hope and  I'm also  confident that _Songs  of Battle_
   will not remain as our only album.

CoC: How  has  the new  album been  received so  far? What  should we
     expect from it?

W: It has  just very recently been  released, so it's a  bit early to
   say. But  from what we  have heard so  far, the feedback  has been
   mostly pretty good  and I'm satisfied with the  promotion too. You
   have to realize  the limitations of being a small  band on a small
   label;  considering that  fact,  Aftermath is  doing  a good  job.
   Distribution is  working and  I guess the  promos have  done their
   mission as there  have been a lot of pre-orders  and interest from
   zines towards us  has suddenly grown. What should  you expect from
   the album? Well, catchy energetic  folk-influenced metal in a more
   mature way than on our previous releases.

CoC: I'm sure there  must be a development on _Songs  of Battle_, but
     what new areas have you explored, especially in relation to your
     Svartalfheim days? You've dropped  the Storm influence somewhat,
     and gone into a more black metal orientation for sure... Was the
     name change to reflect this progression?

W: If  the  name  change  reflects  anything  it  might  reflect  the
   "official" start of the band. What has changed since then, we have
   two new  session members: J. Loikas  has played bass for  us since
   late 1998 (his main band is Nocturnal Winds) and J. Hytonen, a new
   clean  vocalist who  joined our  ranks just  before we  started to
   record  the album.  The  biggest  change is  simply  that we  have
   developed  as  a band.  There  is  nearly  two years  between  the
   recordings of the _Fiery September Fire_ 7" -- I don't even bother
   to talk  about Svartalfheim as it  consists just of our  first few
   humble  rehearsals --  and the  album, so  naturally the  progress
   shows. The musical style itself hasn't changed that much since the
   EP, just  developed; I think we  have found more and  more our own
   way of  songwriting and I guess  from now own we'll  keep on going
   towards a more  distinctive style. I have to disagree  with you on
   that  black metal  orientation, what  songs  on the  album do  you
   consider as black  metal, as I don't seem to  find any? Some parts
   maybe bear a resemblance to  something like Borknagar, but I still
   don't consider it black metal.

CoC: Fair enough. Perhaps it was the  vocal style that changed into a
     more  black metal  rasp...  Now  unfortunately, the  promotional
     copies  of the  CD don't  come with  lyrics (you  might want  to
     suggest that to Haavard), but it's  not hard to tell the subject
     matter. What  in particular  do you see  in ancient  Viking ways
     that inspires you to write such material?

W: First of all I  admit the lyrics on this album  are not very deep,
   some of  them are quite old  and not very good.  Mostly the lyrics
   are  imaginative  stories  of  some sort,  influenced  by  Finnish
   mythology, myths and  history, and some lyrics are  just about old
   times in general,  not necessarily dealing with  any written myths
   at  all. It's  hard  to say  what in  particular  interests me  in
   Finnish mythology. It's the whole  atmosphere, I think some of the
   stories hold a lot of wisdom within them and there are many things
   I can ideologically  relate to. On our album there  are also three
   Viking-ish  songs, lyrics  for all  of which  were written  by our
   guitarist NRQ. Personally  I don't tend to write  about Vikings, I
   feel the Finnish mythology closer to me.

CoC: Sure,  but are such  things really important anymore?  You could
     write about more contemporary issues, for instance...

W: Contemporary issues?  Hmm, well, maybe  if we were a  punk band...
   The relevance of the  ancient way of life for us  today is not the
   most important thing if you  consider us musically. It's just that
   we find  those subjects very  interesting and since those  are the
   things  we write  about  we also  want the  music  to reflect  the
   feeling  in  the lyrics  --  if  we  would lyrically  write  about
   something else,  then I think  we would also musically  sound very
   different. And what comes to that relevance then, well, I think it
   would be good  for everyone to at least know  about their cultural
   heritage,  about the  ways of  life  that were  silenced. In  most
   countries  the  ancient  ideologies  and  beliefs  are  still  not
   officially  acknowledged. Also,  I suppose  anyone who  bothers to
   read about the olden ways of life can find many wise thoughts that
   haven't  become  outdated  after  all these  years.  Actually,  it
   constantly  seems  to  amaze  me how  wise  our  forefathers  have
   actually been considering the world they lived in, the scarcity of
   vital things, the things  we consider self-evident nowadays, which
   probably made them think about  things more dimensionally and made
   them respect, for example, nature and  its spirits in a way that I
   think most  people should  have something to  learn from.  Damn, I
   start to sound like a hippie,  don't I? Maybe I should even things
   up a bit with an ugly trollish grin, grrgrrgrrgrrrg!


CoC: <trembling> D...d...do you see today's culture as being inferior
     to  the past?  Or  would you  rather have  a  sort of  medieval,
     anarchic system than the order we have today?

W: Since I've only lived in the  modern world I don't consider myself
   capable of comparing how life  was in the different cultural eras.
   We  can only  imagine and  all imagined  things are  more or  less
   romanticized. I don't think that any political system is complete,
   there will  always be plenty  of faults  to be fixed  and constant
   updates  to be  done. It's  not necessarily  this modern  era that
   annoys  me, it's  just  the empty-headed  people, this  widespread
   one-dimensional western world thinking, "heat comes from the stove
   and bread from  the store" thing. Everything is taken  so much for
   granted that no one bothers to think about things in more than one
   perspective  anymore. People  even  plan their  careers and  lives
   without ever stopping  to think what they really want  to do, what
   they  personally  enjoy. They  just  do  what  they are  told  and
   supposed to.

CoC: Now a more sensitive question:  considering the themes, etc., do
     you  think that  such  music  is suitable  for  people of  other
     races  or cultures?  There's  always been  a  certain amount  of
     "exclusiveness", etc. in the genre...

W: No relevance  to me whatsoever. The  music just might not  open up
   to  someone  who  has  never  heard  anything  about  Scandinavian
   mythologies, but I don't see that as an issue; it definitely won't
   harm you  if you  learn something about  foreign cultures  too. To
   know yourself  is really  to know  the others  too, how  would you
   really know what are the great  and distinctive things in your own
   culture if it's the only culture, you know?

CoC: That's a great  philosophy in life, really... What  do you think
     is so special about your  music that differentiates you from the
     horde of Viking bands out there?

W: Our  music is  catchy and  quite melodic  -- not  melodic in  some
   extremely technical  way, but rather  in a more  simple triumphant
   folksy way. You could perhaps say that our music is even cheerful.
   At least it's  not very dark or brutally aggressive,  but still we
   have a  lot of energy  in it. And I  think that musically  we have
   probably  less  in  common  with  black metal  than  most  of  the
   Viking-ish/folkish bands. And yes, we  sounded quite like Storm on
   our  first demo,  but  that's  past, we  sound  nothing like  that
   anymore.

CoC: You hit the nail  on the head there, I wish  I'd written that in
     the review!  So what do  you think  of the other  "Viking" bands
     such as Vintersorg, etc.?

W: I liked Vintersorg's  _Till Fjalls_ a lot, but their  new album is
   not that  good, it's too  similar to  the previous one.  Same with
   Otyg, the  first album  was brilliant but  the second  one doesn't
   offer anything new.

CoC: How much are you influenced by their work?

W: In  general  I don't  think  that  we  are taking  much  influence
   from  these newer  bands... well,  of course  everything you  hear
   influences you in some way,  but it's nothing conscious. Like most
   of the young bands, we were more influenced by other bands when we
   started, but now  we are trying to go more  towards our own style.
   We don't consciously seek to  achieve anything, the material comes
   quite naturally. The only things  we sometimes have to think about
   is to avoid writing too songs that sound too similar, etc..

CoC: You guys are also responsible for Azaghal, aren't you? It's more
     a band than a project, right?

W: I'm not involved in Azaghal, but two members of Hin Onde are. It's
   quite  aggressive, a  bit thrashy  black metal  if someone  hasn't
   heard it. Neither  of these bands is a project,  they're both real
   and serious bands.

CoC: Any influences from the other side coming over in Hin Onde?

W: I don't  think they affect each  other much as they  are musically
   quite different and neither of these bands is so big that it would
   steal time from each other or something. There have never been any
   problems about Hin Onde members having other bands too.

CoC: Why  does  Azaghal keep  changing  labels?  I  mean, the  EP  on
     Aftermath  was quite  successful, then  came Melancholy  and now
     Evil Horde... what next?

W: I don't  really care how many  labels they have. But  in general I
   don't think it would be very wise  for any band to sign a multiple
   album deal with some small label anyway.

CoC: I used  to be  in contact with  Morgueldar of  Elven Witchcraft.
     Correct me  if I'm wrong,  but Svartalfheim had something  to do
     with other Finnish bands like Valar (killer stuff!) and Wind.

W: Wind was my old project  and Valar is NRQ's band/project. Valar is
   probably still alive, but I'm not sure.

CoC: Those were great  days, when the music was really  honest, but I
     guess now  it's easier for you  to get more attention.  What are
     your thoughts on making the  transition from Elven Witchcraft to
     a more professional label?

W: Are  you saying  that our  music isn't  honest? [Uh  oh. No...  --
   Alvin] Anyway,  being in a  more professional label  hasn't really
   changed anything.  We are still a  small band and in  contact with
   mostly  the  same  people  as before.  Small  distros  like  Elven
   Witchcraft are still  important to us, those are  still the places
   where our releases  can be purchased from; most of  the big record
   stores are not interested in selling underground metal albums.

CoC: Speaking of Finnish bands earlier,  I'm trying to think of other
     acts from your country, and there aren't many who've made it big
     (in the true black metal  scene that is)... Barathrum, Darkwoods
     My Betrothed  and Horna are some  of the better acts  that never
     could catch on much. Strange, isn't it?

W: I simply don't know why there  aren't more big names from here; if
   I knew,  I would be probably  working for some record  company. It
   doesn't  really interest  me  either.  I think  it's  just a  good
   thing  that the  Finnish sound  cannot be  that easily  defined or
   recognized.  Maybe bands  in  here are  relatively different  from
   each  other and  maybe we  Finns  are too  polite to  rip off  our
   countrymates, heh.

CoC: OK,  back to  the album.  Are you  planning on  playing live  to
     promote  the album?  Any  planned tours  or  shows outside  your
     country?

W: We'll probably  do a  couple of  gigs here  in Finland,  but there
   aren't any tours to be expected,  at least not in the near future.
   We might do some  gigs abroad next Summer, but at  the time we are
   too busy with our jobs and studies.

CoC: What would be a typical live show for you?

W: Our  typical   live  "show",   well,  we'll  see...   nothing  too
   surprising, I guess -- we don't care much about swords, spikes and
   reindeers on stage.

CoC: Finally, what are the plans you have for the future? What can we
     expect from  the band? Is there  a particular dream you  have, a
     musical direction or something?

W: No drastic plans, just the ordinary. Maybe a couple of gigs by the
   end of  the year  and we  also have  some new  songs more  or less
   ready, so we'll  keep on working with them. We  might do more gigs
   next Summer  or then we'll  hide from  the sunshine in  the gloomy
   depths of a studio to record our second album, but it's a long way
   to the  Summer now  and our  plans always  tend to  change anyway.
   You'll just have to wait and see.

CoC: OK, that's all now. Thanks for your time and good luck! Anything
     else?

W: I suppose it's all said, so thank you for the interview. I'll need
   some sleep  now. Not that  I had a  boring time answering,  I just
   happen to be very tired, heh.

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

    A N D   N O W   F O R   S O M E   - M O R E -   G O R E . . .
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
              CoC interviews Leon del Muerte of Impaled
                           by: Aaron McKay


For many reasons, interviews are  a favorite charge on responsibility
list for  Chronicles of Chaos.  This e-mail discussion with  Leon del
Muerte  from  Impaled is  a  prime  example.  Following a  less  than
glorious review of their latest CD, _The Dead Shall Dead Remain_ [CoC
#48], Leon and I began conversing. Due  to an error on my part in the
review, I asked  if I might have the opportunity  to clear the matter
up and  Leon graciously allowed the  interview. When I tell  you this
conversation was  a lot to  conduct, I  mean it. Leon's  answers were
informative and often  very humorous. I believe that you  will get as
much out  of this, on  many levels,  as I did.  Speak to us,  Mr. del
Muerte!

CoC: To  begin with,  Leon,  thanks for  granting  this interview.  I
     appreciate  you taking  the time  to enlighten  the CoC  readers
     regarding Impaled.

Leon: Hey no problem, especially after that VICIOUS SLANDERING OF OUR
      CD, YOU DIRTY CANADIAN! [See issue #48 -- and being American, I
      hope no Canadians take offence at Leon's humorous, good-natured
      assumption that I was from Canada -- Aaron]

CoC: What was your impression of the Milwaukee Metalfest this year? I
     noted that you  were playing early on in the  evening across the
     hall from Fleshgrind.

L: It was cool, actually. This year was better than the last few I've
   been  to. More  bands that  I  wanted to  see, in  general. A  few
   disappointments (i.e., Katatonia... good music, super boring stage
   show). Yeah, we  played at 6:05, which is about  an hour after the
   slightly bigger  bands start, according  to Don Decker. We  were a
   bit  nervous  about playing  opposite  those  guys, since  they're
   Metalfest favorites, but much to  my surprise the small Necropolis
   room was so packed when we played that someone told me they had to
   watch from  the outside just to  see anything. I know  that sounds
   like a lie, but hey... it is!

CoC: I was curious how the  new Impaled material from _The Dead Shall
     Dead Remain_ went over in a live setting to the Metalfest crowd.

L: It went well.  The sound was awful, of course,  as is expected for
   the Metalfest, but there were a  few people up there singing along
   and stuff.  I was most stoked  to hear that all  the Ravenous guys
   watched our set (they were the best band of the fest, hands down),
   and  Mark from  Impetigo, and  the fellas  from Cianide.  Color me
   surprised and chartreuse.

CoC: In my  review of the new  release, Leon, in Chronicles  of Chaos
     #48, I  mistakenly stated  that track four  was "Spirits  of the
     Dead" when it  is actually "Trocar". I apologize.  The thrust of
     that  portion of  the  review was  to  emphasize the  incredibly
     strong riff about the four minute  mark in the song. What is you
     opinion about that track? A favorite?

L: Well, because  I am  a total  ego jerk-off,  and sheister,  I must
   admit that is my favorite track on the CD. I also wrote the entire
   song. I actually wrote it in the  time it takes to play it, and we
   learned it  in the  time it  takes to play  it, and  therefore, it
   sounds as though someone wrote it  in five minutes and learned how
   to play  it in five minutes.  My apologies to anyone  who actually
   paid for this  piece of crap. Amazingly enough, that  riff is also
   the simplest on the entire album, and yet it always gets mentioned
   in reviews.

CoC: It  seems to me  that Impaled is more  of a guitar  driven band,
     than say Cryptopsy's drumming. Would you agree?

L: Yeah,  I would.  We're riff-happy.  Raul is  a great  drummer, but
   everything revolves around the riffs. The next album should have a
   bit better  of a mix,  and people might  actually be able  to tell
   that Raul is not playing some primitive stone/stick setup.

CoC: Broadly speaking,  for the most part,  I think it could  be said
     that bands  like Slayer try hard  to cater to their  fan base by
     not  altering the  group's sound  drastically. Other  bands like
     Ulver seem  to fluctuate their style  almost unconsciously. This
     in mind,  how would  you personally  categorize _The  Dead Shall
     Dead  Remain_ as  it relates  to _From  Here to  Colostomy_ [CoC
     #46]?

L: Well, good  call. As  far as  we go,  there's not  much difference
   between the  two, since three of  the four songs on  _FHtC_ are on
   the album  as well. Things happened  very fast for us:  we cut the
   demo, then  we were  signed and recording  the album  in literally
   less  than a  year's time.  Now we've  had a  chance to  catch our
   breath and sort  things out, the new music is  a little different.
   Not  a lot,  but so  far a  little faster  and more  aggressive, I
   suppose. It'll be strange to see what happens next.

CoC: Is  it your  opinion that  Impaled's subject  matter in  any way
     limits the  direction the band  might want to proceed  toward in
     the  future or  is it  more like  the perfect  variety for  what
     Impaled intends to accomplish?

L: Well,  to be  honest, the  question is  sort of  moot for  us. The
   lyrics  aren't really  all that  important. Sean  does write  some
   amazingly complex  and humorous stuff,  and I really like  what he
   writes, but  we're really a band  that just is concerned  with the
   music.  Some of  the lyrics,  (viz.  "Faecal Rites",  et al)  were
   actually written in the studio just prior to recording the vocals.
   It probably  does limit  our appeal, but  we're not  too concerned
   with that, either. We're too arrogant for that.

CoC: Can you  tell us  a little  bit about  your excursion  with your
     former bandmates  in Exhumed  recently and  expand on  some tour
     possibilities since the cancellation  of the September tour with
     Nile, Incantation and Hate Eternal?

L: It was  fun, it was  really my first  tour experience. I  can only
   hope  that our  November tour  with Nile  and Incantation  goes at
   least as well. I  was only with them for two  weeks (eight days of
   the tour) but we had a lot of fun, especially in Florida, where in
   the south we  met up with friends who bought  us loads of alcohol,
   and in the north we met up  with the legendary KAM FUCKING LEE and
   did a Massacre song with him onstage.

CoC: Speaking of touring, I was happily surprised to see Impaled with
     Yellow Machinegun  and Enslaved early this  month in California.
     Did the show go off without any snags? What is you impression of
     Yellow Machinegun?

L: We've actually  played with Yellow  Machinegun before --  they are
   awesome, definitely  my favorite hardcore band.  They really super
   kick ass. Enslaved ended up not  playing in favor of a bigger show
   in SF a  few days later --  not that I blame them  at all. Another
   group that is  really good, and are really swell  fellas. The show
   itself was great, we play at  the place it was at pretty regularly
   (or  used to),  so it's  just  like a  practice basically,  except
   sloppier and slightly less drunk.

CoC: Winding-up  here a  little bit,  you and  I talked  some earlier
     about European  bands verses  US based groups  -- who  would you
     list as a  couple of your favorite of each  type? Any monumental
     influence on you musically? Engorged?

L: Well, my  favorite European  bands have  all either  wimped-out or
   broken up, i.e., Carcass, Dismember, Entombed, Carnage, Unleashed,
   Grave, etc.. Carcass is the biggest influence on us, obviously. As
   far  as US  bands,  I  really like  Engorged  and Vulgar  Pigeons,
   Hideous Mangleus  and stuff. It's  nice that  two out of  three of
   them are on the same label with us.

CoC: Well, again, Leon, thank you for this interview and good luck to
     the band. If you would like, please feel free to add any parting
     words  you  might  have,  for  instance,  Impaled's  particular,
     soon-to-be-famous finale phrase, "FUCK OFF!"

L: Well, that's very rude an  insensitive! I guess this one will just
   have to live without! GOOD DAY TO YOU, SIR!!

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


Antaeus - _Cut Your Flesh and Worship Satan_  (Baphomet, 2000)
by: Aaron McKay  (8 out of 10)

Nothing quite like the direct approach, huh? No real gray area there,
right?  Any questions  about where  this French  band stands?  Didn't
think so... These guys are quite new  to me. One thing I -do- know is
that  this band  used  to employ  the talents  of  a guitarist  named
Antaeus,  but not  now. Currently  the  group is  comprised of  Storm
(drums), Set  and Thorgon (guitars),  Sagoth (bass) and  MkM (vocals)
and these guys make a point  rather quickly, even without the benefit
of seeing the album title. Massive catastrophic conflagration to make
Hades look  like a  ski resort.  There are no  lyrics printed  in the
inlay book,  but I think  I could wager on  the story they'd  tell if
there were. Eight tracks comprise  _Cut Your Flesh and Worship Satan_
and each song is not without depth. Sometimes I have found that bands
of this  breed devote all  to blast, speed  and fury. While  there is
-plenty- of  that on _CYFaWS_,  Antaeus uses a dimensional  music and
vocal approach together that is more interesting than even some early
Mayhem and Ancient  material; kind of like a cross  between these two
bands I just  mentioned and Crimson Moon. One thing  that I picked up
from  the  CD  inlay  book  is  a Napalm  Death  sticker  on  one  of
guitarist's instruments. It isn't all  that hard to hear an influence
from Barney, Shane and the boys on Anteus's style either. Obscure and
wildly  blunt, Antaeus  is  probably a  band that  you  will need  to
discover for yourself. Words almost fail their function.

Contact: mailto:antaeus@multimania.com
         http://www.multimania.com/antaeus/


Bealiah - _Dark_  (THT, 2000)
by: Alex Cantwell  (6 out of 10)

From the  violent landscape of  religious battles and  social unrest,
Jakarta, Indonesia,  come the black  metal force of Bealiah.  The man
behind  Bealiah seems  to have  three tricks  up his  sleeve, because
Bealiah  takes  on  three  different sounds:  their  first  demo  and
_Weeping at  the Crimson Moon_  are primal, melancholic  black metal,
their EP is comprised of ambient/darkwave symphonic compositions, and
then they  have the  sound which  makes up  tracks 1  to 4  on _Dark_
(tracks 5  to 8  were taken  from the _Weeping  at the  Crimson Moon_
sessions). Those four  tracks have a more rockin' feel  to them, very
strongly influenced by early Celtic Frost, but with the chaotic touch
and  simplicity of  early Mayhem.  You see,  Bealiah have  decided to
forego  progression for  the sake  of just  playing raw,  harsh black
metal  with  less than  great  guitar  sound and  equally  "sonically
challenged" production.  One who still  unfurls the metal  freak flag
with  every passing  day  in  the spirit  of  old-school black  metal
would  appreciate  this  band.  Tracks  5 to  8  were  taken  from  a
previous recording session, and have a different sound and musicality
altogether. With these tracks the band (uh, I mean the man) stretches
out  into the  more atmospheric  leanings of  black metal,  while not
losing any rage or musical brutality whatsoever.

Contact: THT, P.O. Box 1496, JKB 11014, Jakarta, Indonesia
         mailto:thtudg@centrin.net.id


Burial - _Enlightened With Pain_  (Lost Disciple, 2000)
by: Aaron McKay  (7.5 out of 10)

Burial has  it all-together. Pretty  intense brutal death  metal laid
forth on  _Enlightened With Pain_,  the band's debut  release. Having
been around  for more than four  years, this rabid bunch  of guys cut
their teeth in the underground for  more than a significant amount of
time. Launching  Burial's career from Massachusetts,  earning respect
in proper  death metal style fashion  couldn't have been easy,  but I
feel Burial pulled it off skillfully.  This CD is evidence of that. I
see that  comparisons to Cannibal Corpse  must be a dime  a dozen for
Burial, but to  be a bit more  concise and elaborate, I  think I hear
more of  a Malevolent Creation /  Broken Hope or Fleshgrind  mix. The
guitar work  on _EWP_ isn't  something that you might  expect hearing
from a death metal band; it is rather ridged and harsh with masterful
soloing and the  whole thing is chalked full of  nice fat riffs. Well
done. While  a band will  have to go a  mighty -long- way  to surpass
Dying Fetus in my  book, Burial is a firm and solid  band in the same
vein. Good effort.


Carnal Forge - _Firedemon_  (Century Media, October 2000)
by: David Rocher  (7.5 out of 10)

With members  of Swedish melodic  death outfit  In thy Dreams  -- and
formerly Armageddon -- in their  ranks, Carnal Forge already have one
full-length,  the rather  overrated  _Who's Gonna  Burn_ (WAR  Music,
1998)  on  their  rosters.  However, now  proudly  displaying  a  new
vocalist (Jonas  Kjellgren, who also  appears in Swedish  death metal
formation Centinex),  bassist and  label, it  seems Carnal  Forge are
well and truly back in great  shape with a "who's gonna be pleasantly
surprised"  kind  of  release!  Offering  twelve  intense  tracks  of
violent, hateful  and screaming hyperspeed metal,  _Firedemon_ is one
mother  of  an  extremist  thrash metal  dumpling,  roasted  in  true
hellish spicy Swedish  sauce. With their tight,  compact and powerful
songwriting,  Carnal Forge  come at  their listeners  fast and  hard,
and  fortunately display  considerable  evolution  over the  material
showcased on their  first full-length offering --  _Firedemon_ is far
more directed,  enthralling and catchy  an onslaught than  the rather
linear and tachycardiac  growl 'n' moshfest that  their first release
embodied. Oddly enough though, several  tracks on this searing little
bastard are  actually more  than just  reminiscent of  Carnal Forge's
first  effort,  owing  to  their  slightly  inferior  production  and
slightly  less compelling  songwriting  --  simpler structures,  more
"hardcore"-influenced  riffing  just  don't  seem  to  work. However,
Carnal Forge's new  material  won't   fail to  cut,  sear  and mangle
extremist death metal  addicts into insignificantly  small gobbets of
flesh -- in clearer terms, _Firedemon_ reveals an insight into a very
promising future for this five-piece.


Chalice - _Chronicles of Dysphoria_  (Modern Invasion Music, 2000)
by: Pedro Azevedo  (8 out of 10)

Yet  another addition  to  the collection  of female-fronted,  mildly
doomy bands, Chalice opt for  a generally tame metallic backdrop upon
which  to lay  their keyboard  and  violin melodies.  Central to  the
band's sound  is, of course,  their female vocalist, who  uses mostly
soprano-type  vocals  but often  displays  an  interesting range  and
introduces some variety into her  performance. Chalice add violin and
keyboard to a formula that reminds me  much more of early The 3rd and
the Mortal than  the more bombastic likes of  Tristania. The keyboard
work,  although competent,  is not  much of  a highlight,  whilst the
violin is usually more  interesting and sometimes pleasantly entwines
with the vocals. It does, however, suffer slightly from the fact that
it  always emanates  from  the left  side of  your  stereo (not  very
pleasant  if you  prefer headphones).  Chalice have  produced a  very
enjoyable and unpretentious-sounding melodic  doom record that should
be worth your attention if the genre interests you.


Clan of Xymox - _Live_ and _Liberty_  (Metropolis, 2000)
by: Aaron McKay  (8.5 and 7 out of 10)

Much  like the  purifying swig  of  water the  fine wine  connoisseur
benefits  from during  a sampling,  Clan of  Xymox is  a much  needed
watering  hole of  cleansing  alleviation  to the  ear.  Too much  of
anything devoid of  a comparison isn't necessarily good. I  am of the
opinion  that CoX  is  just what  the doctor  ordered.  This band  is
perfect in  its compliment  to the abrasive  elements of  metal. More
dark, electro/dance-esque in their approach, Clan of Xymox is nothing
if not  appealing. I  remember this  band as far  back as  early high
school. Popular among the gothic crowd, CoX (then just referred to as
Xymox) was  a staple of  many a musical  diet in my  formative years.
Always balanced with the devastatingly  harsh death metal scene I was
surrounded by,  CoX, more  than likely,  carved out  the niche  in my
taste that  Mortiis and  Sephiroth dwell  in reverence.  As a  bit of
history, having  only signed with  Metropolis in 1999, this  band has
done very well  giving their fans release after release  from 1984 up
to present.  The recent two  are _Live_,  a double disc  of obviously
live material with a beautiful passage through nineteen songs and two
CD  extra videos,  and _Liberty_,  only four  cuts long  but able  to
provide an amicable,  albeit brief, taste of the nectar  to come from
CoX's  upcoming  full-length disc  very  soon.  Unique but  having  a
similar soothing sound to _First and  Last and Always_ era Sisters of
Mercy (specifically  Gary Marx-ish guitar) and  therefore with little
surprise The  Mission material,  with a waft  of fermented  Jesus and
Mary Chain  essence, too,  I believe. Pay  specific attention  to the
opening of  _Live_. Very few  concert recordings can capture  what it
must be like  to be there in  person, but the back to back "Stranger"
and  "Cry in  the Wind"  tracks do  a damn  fine job!  Well over  one
hundred minutes of  music on _Live_ and  exactly twenty-three minutes
on  the _Liberty_  single,  this two  guy, two  girl  group from  the
Netherlands  whisk the  listener  through luxuriously  dance-darkened
impenetrability. I feel  Clan of Xymox's more than  fourteen years of
experience offers something  more than what I can impart  to you with
this review, so  I encourage you to uncork a  bottle of this aromatic
divinity and flounder in the beat-tastic intoxication that is Clan of
Xymox.


Clandestine Blaze - _Night of the Unholy Flames_
by: Alvin Wee  (7 out of 10)  (End All Life, 2000)

Already somewhat  of a cult  in the black metal  underground, Finnish
Clandestine  Blaze return  with  another full-length  in a  typically
limited vinyl-only  release. Talk about old-school!  Little more than
that can be said music-wise: CB  don't deviate much from the standard
underground black metal  fare. It goes without saying  that any given
"cult"  or  "underground"  album  nowadays plays  like  a  Darkthrone
tribute, the only difference being -which- Darkthrone album it sounds
like. _NotUF_  pays unashamed  homage to _Transylvanian  Hunger_ with
its under-produced  earthiness, never quite achieving  the same level
of coldness as the original but  reaching a commendable level of dark
epicness on tracks like "Chambers". The grinding rawness of "Cross of
Black Steel" brings out the  best in the uncompromising lyrics, which
in any other context might seem somewhat contrived. It's been a while
since  any band  ever matched  such vitriolic  texts with  adequately
forceful music and the lads at  CB obviously have the technique honed
to perfection. That said, most non-fanatical listeners might find the
monotony of the music off-putting, and would attribute the simplicity
of the typical  riffing to a lack of ability  rather than a conscious
effort at simplicity.  Nevertheless, the overall effect  of the album
is impressive,  shrouding the listener  in a veil of  utter blackness
and primal melodies, epic at times, crushing at others, swirling in a
chaotic dark. Somehow,  music like this can seldom be  raved about in
concrete  terms,  but should  rather  be  quietly applauded  for  its
insidious, primitive evil. All in  all, _NotUF_ never once strikes me
as being  absolutely essential,  but fans of  the style  will already
have made up their minds not to  miss out on this cult piece. End All
Life  has put  out  more brilliant  stuff in  the  past --  Warloghe,
Mutiilation  --, but  the  appeal of  this one  to  stalwarts of  the
underground is obvious. $18 from the  label and be fast: 333 numbered
copies only.

Contact: End All Life, B.P. 4, 86 281 St. Benoit Cedex, France
         mailto:eal@wanadoo.fr


Various - _Coalescence_  (Alien8 Recordings, 2000)
by: Gabriel Sanchez  (8 out of 10)

From the get  go this compilation has two great  things going for it:
I) A solid representation of  noise artists from across the spectrum,
and  II) Amazing  efforts  from all  acts  involved. Kazumoto  Endo's
loop-a-thons of  punishing yet  mesmerizing noise  stands up  to more
drawn out  works by Aube  while still finding  a nice niche  with the
purely chaotic compositions of Masonna. Merzbow gets structured while
Knurl gets loud. Crawl Unit  dances eloquently around the noise while
David Kristian pours it over himself. Some of the noise is dark, most
harsh, and all of it a pleasure to take in. The sleeve photography of
artist  Marc Prent's  disturbing sculptural  designs compliments  the
noise. Like the noise, even  their initially appalling design coupled
with wonderment over what could possibly motivate one to bring such a
conception to reality is tempered  with amazement. Amazement over the
complexity of the pieces. Amazement over the beauty that can be found
in something  so overtly gross  and unattractive. Kudos to  Alien8 on
this one. They have truly out done themselves and shown to be a noise
label above any other.

Contact: Alien8 Recordings, PO Box 666, Station R,
         Montreal, Quebec H2S 3L1, Canada
         http://www.alien8recordings.com


Coh Nia - _That Which Remains_  (9 out of 10)
Gothica - _Gothica_  (6 out of 10)
Institut - _Great Day to Get Even_  (7 out of 10)
Ordo Rosarius Equilibrio - _Make Love & War / The Wedlock of Roses_
(7 out of 10)  (all titles Cold Meat Industry, 2000)
by: Adrian Bromley

It has been a  while since we got a good batch of  Cold Meat stuff to
review, so  I decided to incorporate  them all into one  long review.
The titles sent to us -- Coh Nia, Gothica, Institut and Ordo Rosarius
Equilibrio --  all represent the  varied levels of sounds  and styles
culminating within the ranks of  the popular ambient label. The music
found on  all four discs  varies in many ways,  but in the  end their
sounds  rise to  the  occasion  of bringing  uniqueness  to music  in
general, a key element of the  many fine releases from Cold Meat over
the years. The first disc to be analyzed, and my personal fave of the
lot, is Coh Nia, a surprisingly  creepy trip into a darkened realm of
death,  perseverance  and  creativity.  The  music  bellows  forth  a
spectrum  of hypnotic  gothic  patterns and  eerie chantings,  coming
forth to maintain a real brutal edge  to the beauty it casts from its
songs.  A real  gem  for sure.  Next  up is  Gothica,  a pretty  much
rounded gothic  troupe in the vein  of, say, Arcana (another  band on
the  roster)  and American  act  Autumn  Tears.  While the  music  no
doubt illustrates  the real  haunting quality to  their work  and the
atmosphere at times works well, in the  end I am lost within the ways
the compositions  intermingle with one another.  While not cluttered,
Gothica needs to make their music  a bit more gelled and vibrant. The
black sheep of this group is  no doubt Swedish duo Institut and their
power electronic outing. Brash, violent  and no doubt noisy, Institut
lashes out at us with a real overpowering force of sounds and styles,
rarely loosing grip on us as our ears bleed. At times a bit too much,
but fans of this genre will no doubt find something really worthwhile
in  Institut's work.  At  times,  I'd wish  the  blender was  running
instead of the  amazingly crazed noises emanating from  _Great Day to
Get Even_. Finally we come to the continuing saga of Ordo Equilibrio,
though now  it goes  under the  name of  Ordo Rosarius  Equilibrio as
participant Chelsea  Krook has left  the band. Still erotic  in sound
and presentation, ORE  follows the same patterns of  their past work,
but sheds light on newer ambience within the music and possible ideas
of their direction in the  future. Soft chantings and acoustic guitar
work make this  a pleasurable listen, but nothing far  from what they
have done in the past. There will  no doubt be some ideas swooning in
as the years go on to change the aura buzzing from ORE. I shall await
the changes.


Council of the Fallen - _Council of the Fallen_ (<Independent>, 2000)
by: Adrian Bromley  (5 out of 10)

I have to admit, I was just not impressed by the sound quality of the
disc when  I threw  it on  my CD stereo.  While the  fast-paced death
metal charge of Council of the Fallen is adequate in standards to the
realm of death metal music,  the underproduced record doesn't do much
to change my marks. I also felt  that the vocals didn't suit the fast
paced speed  of the  band's three-song  CD. This  disc is  just seven
minutes in length, and  to tell you the truth, it was  just a blur at
best.

Contact: 1208 Naylor Ave., Myrtle Beach, SC 29577, USA
         mailto:vehem@worldnet.att.net


Cradle of Filth - _Midian_  (Music for Nations / Koch, October 2000)
by: Aaron McKay  (8.5 out of 10)

Bigger isn't always better. Some would point out that Cradle of Filth
is the best known and/or best selling "black" metal band on the scene
today. While  I have issues with  calling CoF "black metal",  I would
buy their  "vampyric evil metal"  label. Regardless, Cradle  of Filth
has enjoyed  a lot of name  recognition, for sure. I  have never been
all that fond of their  efforts previously; however, I found _Midian_
to  be very  provoking and  interest inducing  -- some  of Cradle  of
Filth's most promising material to date. Other than Cradle of Filth's
cover  of Iron  Maiden's "Hallowed  Be  thy Name",  from the  limited
edition double disc _Cruelty and The Beast_ in 1998, very few of this
band's  songs have  appealed to  me like  _Midian_, as  a whole,  has
succeeded in doing. I also enjoy  the dichotomy present on this disc,
as  well. Midian,  as some  horror fans  will no  doubt remember,  is
semi-loosely based on  Clive Barker's short story  "Cabal", which was
remade  into  the  movie  "Nightbreed". In  this  world  of  Barker's
creation,  Midian  is  where  the  monsters  go.  For  these  outcast
protagonists, Midian was both a heaven  and a hell. Much the same way
this grandiose effort by England's CoF  is a gratifying lesson on the
topic of torment and tribulation. There are many fulfilling surprises
awaiting  you on  this release.  Maybe it  was the  whole "open  door
policy" with  Cradle of Filth's membership  going on for such  a long
time that would have eventuated a  disastrous end for any lesser of a
band  that gave  this  offering its  edge. However  you  look at  it,
_Midian_ is quite  possibly the proof that sometimes  having too many
cooks  in the  kitchen isn't  a recipe  for disaster.  Furthermore, I
might even have  gone in for an  additional half point or  so were it
not for the completely useless  and utterly unavailing waste of time,
track none, I mean -nine-,  called "Satanic Mantra". YAWN! Other than
that -one-  fifty second foul departure,  the rest of _Midian_  is as
solid a CoF output as I could  have hoped for. They managed to pull a
chiding cynic like me closer to  their fan-base; not an easy thing to
do. _Midian_ is out Halloween (of  course). Grab it up, friends. "You
are no longer Aaron Boone. You are Cabal!"


Dammercide - _Link_  (Negatron Records, September 2000)
by: Pedro Azevedo  (6 out of 10)

Part of  a pack  consisting of Italy's  Negatron Records'  first four
releases, Dammercide  have made an  album that may not  be remarkable
but constitutes a reasonable starting point for band and label alike.
Glancing  at all  of the  four  Italian bands  whose albums  Negatron
are  releasing, Iblis'  and  Glacial Fear's  outputs  are also  quite
reasonable,  and  only Zona  turned  out  to be  rather  sub-standard
[they  are  all reviewed  in  this  issue]. Dammercide  play  thrashy
Swedish-influenced metal, and generally do  so pretty well. There is,
however, a certain tendency for the band to include clean vocals that
don't mix too  well with the better, aggressive side  of their music.
Also,  the  occasional  keyboard  or acoustic  passages  seem  a  bit
misplaced and contrived. Nevertheless, although not groundbreaking in
any respect and  not quite as memorable or exciting  as the output of
their Swedish  counterparts, _Link_ is  still capable of  keeping its
head above the water.

Contact: mailto:negatron@tin.it


Damnation - _Resist_  (Dark Realm, 2000)
by: Aaron McKay  (7 out of 10)

I am  going to briefly  mention this fast then  move on to  the finer
points of  Damnation's newest effort.  Straightaway, I have  to admit
I'm getting saturated with the "Satanic" and "anti-Christian" aspects
ever  more  pervasive  in  music.  It  is  almost  to  the  point  of
desensitization. Consequently,  it honestly has little  bearing on my
perception of a band anymore, by and large. On occasion, I think that
the more  these groups try  to be  "different" by traveling  the "I'm
-so- evil" path, the  more they are just the same  as all the others.
Enough of  that! Other  than maybe incorporating  some of  the shared
perspectives  above,  Damnation  stands  proud  with  their  _Resist_
release. Embattled, confrontational  and impassioned, Damnation makes
a firm statement with this effort. With their "take no prisoners" and
"no guts  -- no glory" approach,  this Polish band reaches  down well
past their  dubbed dark death  metal roots into  uncharted territory.
Sounding  at times  like a  God Dethroned  meets Morbid  Angel (about
their _Covenant_  period) meets  Blood Ritual,  Damnation's strongest
and  most  obvious  feature,  I  think,  is  the  drumming:  wickedly
progressive  firecracker beats  worked effortlessly  and conveniently
around the guttural vocals and bitting guitars. _Resist_ is a shorter
album,  totaling about  thirty-three and  a half  minutes, whereas  I
could  have easily  handled  about forty-five  from this  blast-happy
Clydesdale of a metal outfit. "Invisible Force" is nearly as alluring
as "Doomsday  Celebration" or  "Desolate Ways", if  you permit  me to
reach back a little bit further in the Morbid Angel comparison vault.
One last  bit of interest,  at least  to me, is  the Dissection-esque
cover on the CD rear that would put you in mind of seeing the back of
_Storm of the Light's Bane_. Kinda cool. I believe that _Resist_ will
go to some lengths to draw a few fans to this band's brood.


Various - _Dead Zeppelin - A Metal Tribute to Led Zeppelin_
by: Aaron McKay  (2 out of 10)  (Dwell Records, 2000)

This should have never been done.  Primarily because it is just plain
wrong.  Points ultimately  come from  the bands  who -do-  accomplish
sounding somewhat  like the songs  they are covering, but  outside of
that...  I can  appreciate the  notion  of employing  the talents  of
relatively unknown groups on compilations in an attempt to accumulate
some  support for  their  unsung  efforts, but  having  at least  one
"anchor band", one  much bigger than the rest, could  be a real help.
On this disc  there are none, as  far as I am  concerned. The "names"
that -are- on this tribute, I will list having a working knowledge of
Solus  covering  "Communication  Breakdown",  Postmortem  doing  "The
Ocean", Wasteland dressing up "Wearing and Tearing" and Black Debbath
massacring "When the Levee Breaks". At this point I am not even going
to  waste time  clarifying my  abhorrence  of Black  Debbath as  they
butcher  the little  respect I  have  left for  the overplayed  radio
favorite "When  the Levee Breaks".  Worst track  on here (and  it was
all-too-close of a competition for  this honor) goes to the Singapore
group Doxomedon absolutely assaulting "Living Loving Maid". Assisting
Sorrow covering "Achilles  Last Stand" sounds a lot  like -old- Metal
Church  and Vladimirs  attempting "In  the  Light" gives  off a  real
Danzig vibe.  The best  of this lackluster  bunch is  Anno Daemonicus
cradling  "Immigrant Song"  in a  black  metal shroud.  Not just  too
shabby. If you love Zeppelin, you'll cry at what they've done to your
favorites. If you respect Zep, but  could take 'em or leave 'em (like
me), most of your sixty-three minutes listening to this will be spent
shaking your head  in disbelief. If you haven't anything  good to say
about  Plant, Page  and the  boys, what  possessed you  to read  this
review?


Deicide - _Insineratehymn_  (Roadrunner, 2000)
by: Matthias Noll  (2 out of 10)

In the endless battle  of good vs. evil, the forces  of light seem to
have won a minor victory by successfully stripping Benton's evil crew
of everything that once made them one  of the top death metal acts on
earth. Quite  some years  after their crushing  debut and  the follow
up  _Legion_, maybe  a  bit  over-technical but  brutal  as fuck  and
rather  unique in  style, Deicide  have decided  to no  longer become
associated with stagnation  but finally, even if  only musically, try
to do  something slightly different.  That must have been  the moment
where  some things  did  start to  go seriously  wrong.  I guess  the
original  intention may  have been  to become  heavier and  groovier.
Unfortunately,  slowing down  to almost  doom metal  tempo and  using
variations of  Metallica's staccato  "For Whom  the Bell  Tolls" riff
does  not automatically  summon more  heaviness or  achieve a  decent
groove or flow. The  result must be one of the  most boring records I
heard in  the last ten years.  _Insineratehymn_ is devoid of  all the
elements  necessary  for  a  good  death  metal  record.  There's  no
violence,  no aggression,  no  anger,  no hate,  no  real power.  The
production by  Morris is  competent and better  than Burns's  work of
late, but far too clean and polished, and Benton's vocals come across
as if he finally got tired  of praising Satan (who wouldn't after all
these years) but hasn't been able to  come up with a better idea what
to growl  about. A handful of  songs start with riffs  that are quite
OK, but after the first or second  break the band falls back into the
same plodding rhythm patterns and the faster parts seem only to serve
the purpose of  staying within the unwritten ruleset  of death metal.
Halfway through the record I lost interest in tracking how many times
they dared to use what seems to be an identical section over and over
again. Things are made even more monotonous by Benton's vocals, which
follow the guitar lines come hell or high water. Maybe I'm wrong with
my assessment that _Insineratehymn_ is  a mighty crappy record, and I
might just be unable to identify  the masterplan here, but if there's
a plan  then it's  evil to  the bone: bore  the Christians  to death.
Maybe the DEA should get some copies  to use them next time they have
someone like Noriega  under siege. I'm pretty sure the  bad guys will
give up sooner when exposed to "Insineratehymn" instead of AC/DC.


Desolate - _Eventide of the Orb and Heavens_  (X-Rated Records, 2000)
by: Adrian Bromley  (7 out of 10)

Now this  is what I  like to hear:  dark, seething metal  that exudes
rawness and confidence. Wrapped within  a firestorm of darkened metal
and death metal riffing, Bulgaria's Desolate punish the listener with
music  that basks  in uptempo  riffs and  harrowing black  metal-like
cries of aggression  -- and still keep  it very underground-sounding.
The rawness may be the band's best weapon, as Desolate's _Eventide of
the Orb  and Heavens_ is harsh  and ready to strike  without warning.
Choice cut: "Eventide in Fire".

Contact: X-Rated Records, 3215 NW 10th Terrace, Suite 206,
         Ft. Lauderdale, FL 33309, USA
         http://www.xratedrec.com


Diaboli - _Anthems of Sorrow_  (Full Moon Productions, August 2000)
by: Aaron McKay  (6 out of 10)

"The Stream of Time", a.k.a. track  four, is an incredible segue, but
only totaling about three and a  half minutes. A segue in every sense
of  the word  specifically as  it relates  to the  first part  of the
album, that  I could pretty much  do without, moving toward  the last
three songs, which I view as  considerable. "The Stream of Time" acts
as the  diaphanous conduit of grace  between the two segments.  "As I
Walk  Through  the Shadows"  is  the  next  track after  the  channel
blasting you in  the face as well as sliding  you further through the
silken tones of Diaboli's undertaking  (at least from track four on).
Even though the  Finnish duo find their sound comparable  to (I would
assume -early-) Mayhem and Burzum, about  the closest -I- see them to
these aforementioned greats  is on the second to  last cut, "Majestic
Midwinter Night".  Other than this song,  Diaboli may be closer  to a
_Wrath of  the Tyrant_-era Emperor  and a  touch of the  Crimson Moon
[CoC #33] sound  in there, too. Stripped-down from a  group that once
boasted five  members, Grimn'r  now simply vocalizes  Pete's writing,
guitar,  bass,  drums and  synth  work  within  the Diaboli  fold.  I
wonder if  that is  what you'd  call having the  lion's share  of the
responsibility?


Diachronia - _XX's Decline_  (<Independent>, 2000)
by: Pedro Azevedo  (7 out of 10)

From  Poland comes  this rather  competent self-released  full-length
record  with  which  Diachronia showcase  their  blackened  symphonic
metal. Featuring decent  production and layout, _XX's  Decline_ is an
equally  reasonable  record as  far  as  the band's  songwriting  and
performance is concerned. Mid-  to fast-paced, somewhat blackened but
generally  more  preoccupied  with  good guitar  solos  and  keyboard
passages,  the  songs  flow   nicely,  even  though  there's  nothing
particularly brilliant about them. Diachronia are a band who could be
on their way to  a very good release: they show  skill and some ideas
on this  record, and for the  time being have produced  a pretty good
and quite listenable  album that they can use as  a stepping stone to
achieve something more ambitious in the future.

Contact: mailto:diachronia@poczta.onet.pl
         http://diachronia.cjb.net


Dodgin' Bullets - _World Wide War_  (Facedown Records, 2000)
by: Alex Cantwell  (6 out of 10)

Sixteen minutes of East Coast  hardcore done in West Coast style(?!).
This band consists of members  of Shockwave, No Innocent Victim, Cast
in Stone,  and xDisciplex, and  their style is  most like that  of No
Innocent Victim. Dodgin' Bullets, despite  the sicko vocals, seems to
be kind of a  "joke band", or maybe a "fun band",  for the members of
the more "serious bands", but that is  not to say that the songs lack
intensity  or massive  amounts  of aggression.  "Whining  Rage" is  a
pro-American  song  featuring  Roger  Miret from  Agnostic  Front  on
vocals. I never  thought I would hear  him in a band with  a bunch of
Christians, but sometimes truth is stranger than fiction, I suppose.

Contact: Facedown Records, P.O. Box 1202, Escondido, CA 92033, USA
         mailto:facedown-niv@juno.com


Various - _Economi$ed_  (Economy Records, 2000)
by: Gabriel Sanchez  (7 out of 10)

Purchased on a whim without any prior knowledge of what it contained,
_Economi$ed_ came as quite the shock to  me when I first placed it in
my CD  player. In buying  this album from  a known "extreme  music" /
noise distributor, I was under the impression that the description of
"dark and atmospheric compilation" was  a prep of sorts to experience
some rumbly power electronics. Instead I  am given 63 minutes of club
music on  crack. And  no, I'm not  complaining. _Economi$ed_  is very
much a  trip into unknown  musical territory  for a listener  such as
myself, but  no doubt will  lure in fans  of tribal/industrial/techno
with limited difficulty. The tracks are well constructed, atmospheric
(to say the least) and strangely catchy. Simple drum machine patterns
never sounded so  good when blended with  minimalist musical elements
and ambient  sounds. The possible  surrealistic, laid back feel  of a
trance  disc is  absent though  no piece  reaches the  pounding level
expected out of techno. It is the groove music of he who has consumed
far too much pills  and gin to shake it on the  dance floor but whose
fetish  for  analog synths  must  be  appeased.  I  do not  doubt  my
description will send  most of the metal fans who  read these reviews
diving for  the nearest vomit  receptacle at the thought  of enjoying
(let  alone  purchasing) such  a  disc.  To  these  fine folk  I  say
simply... try it. Even a hardened  noise fan such as myself could not
deny its calling and ability to make  a dancing machine out of me yet
(or not).

Contact: Economy Records, PO Box 820266, Memphis, TN 38182, USA
         http://www.manifoldrecords.com


Enslaved - _Mardraum - Beyond the Within_  (Osmose, October 2000)
by: Chris Flaaten  (8 out of 10)

I have never been  a fan of Enslaved and it  was with some reluctance
that I decided to give their newest album a spin. Well into the first
and magnificent  track I had  to re-check  the cover; is  this really
Enslaved? Atmosphere,  melodies; it's all  there, and luckily  for me
it's  not presented  in their  usual supersonic  tempo. The  music is
greatly varied  and you even  get acoustic guitars and  clean (choir)
vocals. The album has an intense,  cold and brutal atmosphere, due to
both  the choice  in harmonies  and  to the  production, courtesy  of
The  Abyss. Midway  through the  album  they explore  some death  and
thrash-like  metal influences  before  they unleash  the two  fastest
tracks on the  record. With earlier Enslaved albums I  had to concede
listening after  a few tracks. This  time I endured the  entire album
and wanted more.  Still, I do not believe any  fans of their previous
works  will be  disappointed.  Enslaved has  simply  made an  awesome
album, to be enjoyed by all fans of extreme metal.


Eternal Tears of Sorrow - _Chaotic Beauty_  (Spinefarm Records, 2000)
by: Pedro Azevedo  (8 out of 10)

You wouldn't have  been the first to mistake Eternal  Tears of Sorrow
for a  doom band, for obvious  reasons, but in fact  dynamic, melodic
and slightly blackened  metal is what they play  on _Chaotic Beauty_.
Whilst able to bring to my mind bands such as In Flames and Amorphis,
EToS  are also  rather fast  and bombastic  at times  -- and  equally
likely  to slow  down and  increase the  melody level  as well.  This
Finnish  ensemble shows  considerable talent  in creating  memorable,
dynamic and entertaining metal with plenty of melody and a reasonable
dose of aggression. The latter could,  in my opinion, have still been
greater. It  would have  further prevented EToS  from sounding  a bit
"sweet" in spite of the speed  their music often reaches -- their use
of  keyboards  is also  sometimes  the  guilty  part there.  A  cover
of  Edge of  Sanity's  "Black Tears"  from  _Purgatory Afterglow_  is
also  included;  decently  adapted  to EToS's  own  style,  but  less
than  satisfying due  to the  replacing of  Dan Swano's  clean vocals
with  rather monotonous  snarls. Overall,  this  is much  more of  an
immediately enjoyable  album (that's  perhaps especially  well suited
for fans  of Swedish melodic  death metal)  than something to  find a
great deep meaning in, but sometimes this is all one needs.


Fate - _No Sense_  (Mafia Underground, October 2000)
by: David Rocher  (4 out of 10)

With the  fury of  hardcore-tinged social commitment  flowing through
their veins,  this Parisian "brutal  deathcore" act fuse the  rage of
urban  underground  musical  currents  such as  hardcore,  metal  and
rap  with  the outrageous  mauling  sessions  of rather  sub-standard
brutal  death  metal.  Basically,  "brutal  deathcore"  rapidly  sums
up  to  spectacular drumming  and  intensity,  but linear  infra-bass
guitar rumblings,  boring phlegmy grunts and  rants, and interspersed
"wicky-wicky scratch" vinyl molestation dirges. The sneaky feeling of
endlessly being faced with the  same track repeatedly doesn't fail to
settle in,  and all _No Sense_  will achieve is to  leave you craving
for a helping  of raging, angered death metal,  free of grease-sodden
barfs, scratches and "yo"s.


Firebird - _Firebird_  (Rise Above, June 2000)
by: Paul Schwarz  (7 out of 10)

Bill Steer's new  project with Spiritual Beggars  drummer Ludwig Witt
and Cathedral's  bassist/organist Leo  Smee is certainly  a departure
from vintage  or even final  Carcass material. However,  it shouldn't
come as a great shock to anyone  who could hear where Bill was headed
for in Carcass' final days, or who has any knowledge of the output of
Lee Dorian's Rise Above label,  that Bill nowadays commits himself to
rehashing '70s rock. What may be  somewhat more of a surprise is that
the man who once so gruesomely  named his solos has actually not made
too bad a job of it.  It's essentially cliched and unadventurous (and
not of interest, it seems to me, merely for the fact that it has been
penned by Bill Steer), but compared to others of its anti-progressive
character Firebird is  not bad. I'd suggest  listening before buying,
though: somehow  I doubt _Firebird_ will  be of much interest  to the
average CoC  reader, or  the average  fan of Carcass  -- even  if you
-did- like  _Swansong_! I  certainly can't see  myself putting  it on
again.


Galloping Coroners - _Dancing With the Sun_
by: Pedro Azevedo  (4 out of 10)  (Neurot Recordings, 2000)

Admittedly, the idea of an album themed around the worshipping of the
Sun  and the  celebrating  of  its brightness  and  warmth is  hardly
enticing for me in any way, and  that appears to be what this is. Yet
I cast  those thoughts aside as  I played this Hungarian  band's live
recording for  the first time.  However, they wouldn't let  me forget
about  the  album's  theme: their  heavily  psychedelic/folk-drenched
material tends to  often sound like it would make  much more sense if
you  were out  in the  street,  dancing and  celebrating beneath  the
sunshine. This  isn't the case throughout  all of the album  -- it is
varied enough  to avoid that  --, but the rather  over-the-top vocals
(sung in their native language) and the band's tendency to indulge in
long passages  that don't  seem to  really go  anywhere  particularly
interesting can be found in most of the record. Their use of numerous
folk-related  instruments  does  inject  some  more variety  into the
music, but things tend  to become quite  tiresome somewhere along the
record's massive  duration. Ultimately, it's not a matter  of whether
the album is about dancing with the sun or howling at the moon -- the
band just didn't manage to get me interested.


Glacial Fear - _Fetish Parade_  (Negatron Records, September 2000)
by: Pedro Azevedo  (6 out of 10)

Another  Italian  band  releasing   an  album  through  the  debuting
Negatron  Records,  Glacial  Fear  present  a  strange  kind  of  mix
between "nu-metal" elements and the  more traditional side of things.
Featuring a front  cover that probably aims at  being provocative and
shocking  but ends  up looking  rather  silly, _Fetish  Parade_ is  a
collection of  punchy, aggressive and sometimes  relatively technical
material  delivered with  adequate conviction.  Since the  electronic
elements  I was  for some  reason  expecting never  actually make  an
appearance, Glacial  Fear deliver a  far less pretentious  album than
the front  cover and album title  might suggest and simply  churn out
some decent  riffs and rhythms accompanied  by somewhat Cavalera-like
vocals.  The material  does  tend  to sound  somewhat  samey after  a
while, however, eventually highlighting  the lack of real outstanding
passages and thus resulting in an average record.

Contact: mailto:negatron@tin.it


Halford - _Resurrection_  (Sanctuary, 2000)
by: Matthias Noll  (5 out of 10)

After a  short and unsuccessful  intermezzo in the  industrial genre,
Rob Halford's metal heart has miraculously started to beat again, and
in true metal warrior fashion he comes roaring along on his brand new
motorcycle. Crackerjack  clothes have been  replaced by the  good old
leather  outfit  and  old  Rob  looks quite  mean  --  or  laughable,
depending  on  one's  stance  towards traditional  metal  poses.  The
sticker on my  CD says "The metal  God is back", and  being the naive
person I  sometimes am, I expected  "Painkiller Part II" or  at least
something  close to  that.  _Resurrection_  starts quite  promisingly
with  the fast-paced  title  track in  true  "Painkiller" style  with
high-pitched trademark vocals. Track two, the driving "Made in Hell",
is also quite good, even if less powerful. But after these convincing
first two  songs have passed by,  things suddenly start to  get lame.
How someone  can pen a stupid  track like "Locked and  Loaded" is way
beyond  my  comprehension,  and  with the  exception  of  the  disc's
highlight,  "Silent Scream"  (done along  the lines  of the  immortal
"Beyond the Realms of Death") and the duet with Dickinson on "The One
You Love  to Hate", the  rest of  _Resurrection_ is one  filler track
after the other. While the lead  guitar work could easily be mistaken
for Downing/Tipton,  all of the  fillers have some things  in common:
the  serious lack  of guitar  riffs and  song structures  you haven't
heard a  million times before. Surprisingly  enough, Halford's return
to the metal scene is not as  much a showcase for his unique voice as
one might expect,  but also plagued by far too  few outstanding vocal
performances compared to benchmarks set on _Unleashed in the East_ or
_Painkiller_. Looking back  at his output since the  split from Judas
Priest, from which the song "Light Comes Out of Black" (with Pantera)
is almost the only highlight, _Ressurection_ has somehow succeeded in
robbing  me of  most  illusions about  what metal  god  Rob is  worth
without a serious band or songwriter by his side. Don't get fooled by
the hype, of course every track  on _Ressurection_ could have been on
a Priest record (not on _Jugulator_,  though), but as a whole this is
at maximum  on par with their  weaker output (take _Point  of Entry_,
for  example).  Let's  just  continue  to  wait  for  the  inevitable
reunion...


Hin Onde - _Songs of Battle_  (Aftermath Music, August 2000)
by: Alvin Wee  (6.5 out of 10)

Having  somewhat  enjoyed  Svartalfheim's  raw  Storm-isms  on  their
obscure demo  some years back, I  looked forward to more  of the same
from this renamed and infinitely sleeker outfit. Needless to say, Hin
Onde still  churn out heavily  folk-tinged tunes, but  having dropped
the obvious  clone-factor in  favor of  a more  standard ethnic-based
black metal. Catchy folk melodies  have always been the band's forte,
and the eleven battle hymns on offer here firmly attest to that fact.
Opening the  album with an  outstandingly memorable synth  ditty, the
title track sets the mood right from the start. While die-hards might
find the simplemindedness of the tune irredeemably cheesy, it remains
curiously  infectious.  The  band's  weakness,  however,  is  already
apparent on  this first track, when  things take a turn  for the slow
midway through  the song.  The atrocious  clear yowling  that plagued
their otherwise commendable demo makes a regrettable appearance here,
and the liveliness  of the preceding minutes is  veritably wrecked by
the slowed  tempo. This  seems to  be the major  fault of  the album;
the  band's strength  lies  in liveliness  and  memorable tunes,  and
any  departure from  that  norm seems  to  result in  near-disasters.
The  obviously  outstanding  tracks boast  oddly  hummable  melodies.
"Fimbulwinter" kicks off with  a foot-tapping eagerness, the cheerful
tune strangely inappropriate for  the subject matter: "...dark clouds
form in the sky, the winter storms arrive..." just doesn't click with
the  jovial  atmosphere.  No  matter,  it  remains  as  effective  as
the  following "Through  Sinister  Landscapes", which  adopts a  more
experimental  approach, disharmonic  riffs clashing  brilliantly with
the folkloric  background. Hin Onde  seem to  come into their  own on
later tracks, "24th of September..." showcasing a more developed side
of  the band,  weaving the  sonorous  black metal  guitar punch  with
rapidly repeated  chants, quiet  tension-building interludes  and the
ever-present  folk-motif  running  through. Three  bonus  tracks  are
included,  all versions  of other  tracks already  in the  album, not
adding  much to  the overall  effect  except to  lengthen an  already
dangerously mediocre  piece. On the  whole, _SoB_ should  garner some
attention from  the underground,  just how  much is  anybody's guess.
Lack of maturity seems to have  dampened the promising nature of this
album, and should Hin Onde develop  their style any further, the next
record will be something formidable indeed.

Contact: Aftermath Music, Box 721, N-7407 Trondheim, Norway
         mailto:ruholm@online.no


Hypnosia - _Extreme Hatred_  (Hammerheart, October 2000)
by: David Rocher  (7 out of 10)

With the wake and wreckage of the definitely unmemorable black thrash
tidal  still  washing tepidly  over  a  blase extreme  metal  scene's
shores,  the  young  Hypnosia's  musical  orientation  is  definitely
leading them  to tread dangerous  swamps. And indeed, as  the album's
eponymous opener track kicks  in, Hypnosia's interpretation of thrash
just  doesn't seem  to actually  stand clear  enough from  the rather
undynamic  black metal  guitar technique  and screeching  vocals, but
nonetheless  displays some  great, catchy  ideas and  musicianship --
however, by the  time track three, "The Last  Remains", is unleashed,
Hypnosia's  passionate  sentiments for  the  thrash  metal genre  are
revealed very  uncompromisingly. Indeed, with "slight  hints" (in the
same  way  that  Luciferion  occasionally  "hint"  at  Morbid  Angel,
admittedly) at formerly glorious masters  such as Kreator, the wasted
Sepultura, the deceased  Metallica or the long  lost Slayer, _Extreme
Hatred_  cuts, gashes  and  lacerates its  way  through ten  inflamed
tracks of fierce, powerful and  catchy blackened thrash. Boasting the
clear,  ample and  powerful  sound to  match, this  album  is a  very
promising  first  slash at  the  listeners,  and successfully  enough
clears great distance  from the rather boring  "classic" black thrash
which metalheads have  had more than their fair chance  to be plagued
with these past few years.


Hysteresis - _Screen Anarkia_  (<Independent>, May 2000)
by: David Rocher  (8 out of 10)

Well,  it's  been  a long  wait  for  all  who  had cast  an  ear  on
Hysteresis' self-financed  and produced  EP, _Art  Is Entertainment_.
Whereas this  first offering  proudly displayed the  French quartet's
dedication  to  old  but  innovative  thrash  acts  such  as  Coroner
(especially  of  the _Grin_  era),  _Screen  Anarkia_ soon  sets  the
backdrop  for the  69 tracks  and  69 minutes  of bizarre,  powerful,
emotional and  varied metal it showcases.  Fuse Coroner-style riffing
with Arabic chants and music, and you get the amazing "RU 432". Delve
into more traditional  metal tones, with killer  guitar lines, wicked
rhythms and breaks,  and you have the enrapturing  "Dawn of Silence".
Hysteresis  don't  fail to  break  away  from the  traditional  metal
scope  either,  as they  venture  along  more experimental  lines  of
industrially-tinged  musical weirdness  such  as "C.C.C.P.".  _Screen
Anarkia_, in many  a sense, totally escapes the metal  scope in which
its  roots are  nonetheless firmly  set --  Hysteresis have  actually
expanded their original thrash  style to attain dimensions guaranteed
to leave  the most acceptant  of metalheads totally  disconcerted and
disoriented  at times.  However,  with openness  in  mind, they  have
succeeded in creating  an opus of intricate,  extremely elaborate and
meaningful  extreme -music-;  in fact,  _Screen Anarkia_'s  only true
problem is the lack of more  powerful, ample guitars and drums, owing
to  the band's  limited  financial means  --  with a  Metallica-style
production,  _Screen Anarkia_  would very  likely have  attained even
greater dimensions. With this said, however, this creature's sound is
far more than merely acceptable, and  does not impair in any way this
album's  unique  power  and  significance.  In  a  nutshell,  _Screen
Anarkia_  is an  enlightened  69-minute, 69-track  long journey  into
complex, varied and intermingled musical worlds, and clearly deserves
any open-minded metalhead's attention.

Contact: mailto:hysteresis@chez.com
         http://www.chez.com/hysteresis/


Iblis - _Axiom_  (Negatron Records, February 2000)
by: Pedro Azevedo  (6 out of 10)

Starting out  with some intriguing  and atmospheric piano  and violin
somewhat reminiscent of Devil Doll, _Axiom_ (the first album released
by Negatron Records) shows plenty  of potential. From there on, Iblis
introduce their  somewhat blackened metallic elements  to the mixture
and start to alternate between the two styles. The violin is forsaken
during  the  metal sections,  some  keyboard  still being  used.  The
problem with Iblis is essentially  that the metal passages are rather
forgettable and don't live up to  the other parts of the album, which
in the end do constitute a  minority. Furthermore, the two are hardly
integrated with one another, and at  times it feels like the listener
is listening to two different records, one of which is clearly better
than the other. Judging by the quality of some of the violin/keyboard
sections, however, and since the metal  component of the album is not
terrible either,  Iblis may well be  on their way to  creating a more
mature, consistent and remarkable album in the future.

Contact: mailto:negatron@tin.it


Illdisposed - _Retro_  (Diehard, November 2000)
by: Paul Schwarz  (6 out of 10)

For  once,  I   am  thankful  I  received  a  covers   album.  I  had
that  horrible   feeling  _Retro_   might  be  a   Neanderthal  level
"back-to-basics"  death  metal opus;  at  least  this way  the  songs
are  good. Pity  that other  people  wrote these  songs, 'cause  then
this  release would  need filing  under "pointless",  an already  far
overfilled category. Who  wants to hear great to good  songs by great
to  good bands  played  by their  fans in  average  bands? Who  wants
to  hear  eleven  different  vocalists  from  Nick  Holmes  and  Jeff
Walker to  Lemmy and Bon  Scott mimicked by one  rather characterless
death-barfer? If  "me" is the answer  to either of the  above, then I
say  take  note  of  tasty  renditions  of  "Cromlech"  (Darkthrone's
powerful  opener  to their  death  metal  _Soulside Journey_),  "Open
Casket" (Death)  and "None Shall  Defy" (Infernal Majesty),  hope the
amusing linear  notes (displaying Illdisposed's obvious  fandom) from
the press release are included on  the full release, and get ye forth
to  procure  this.  The  rest  of  you  are  advised  to  search  out
_Symphonies of Sickness_ (Carcass),  _Severed Survival_ (Autopsy) and
_Leprosy_ (Death) or at the least save your hard earned cash for some
-original- music,  rather than this.  I'll say it  again, -pointless-
collection of covers.


Various - _In the Sign of the Horns - A Tribute to Venom_
by: Aaron McKay  (6.5 out of 10)  (Dwell Records, 2000)

This  compilation is  much  more to  my liking  than  the tribute  to
Zeppelin  Dwell also  put  out  [also reviewed  in  this issue].  For
starters,  this  disc  is a  tribute  to  a  group  I hold  close  to
my  heart:  Venom. Next,  we  have  some pretty  awe-inspiring  bands
anteing up  for this effort,  like Black Witchery, Diabolic  and Mork
Gryning. Finally,  the song  choices put  forth here,  while somewhat
stereotypical, are solid. Coffin Texts displays a brutal rendition of
"One Thousand Days in Sodom" right  after a nicely done "Black Metal"
cover  by the  Los  Angeles band  Nokturne. Very  good  way to  start
off,  I  say.  There is  a  little  bit  of  a  lag with  one  of  my
least  favorite  groups,  Bloodstorm, doing  "Satanachist"  (snore!),
followed by Venereal Disease and Perverseraph putting out "Lady Lust"
and  "Genocide", respectively.  From  the Depths  brings things  back
around  with an  incredible interpretation  of "Live  Like an  Angel"
sounding  flawlessly  close  to  the original,  but  with  a  perfect
dose  of From  the Depths  flavor. After  Evil Incarnate  ("In Nomine
Satanas") and Black Witchery adding  their two cents worth by pulling
off  "Warhead" authoritatively  (Massacre's  version  still being  my
favorite, however), we find Diabolic at  track nine. If it wasn't for
Osmose  recording artists  Ritual Carnage  ("Welcome to  Hell"), Mork
Gryning ("Leave Me in Hell") and Acheron ("Countess Bathory") on this
collection, Diabolic's effort with "Buried Alive" would be hands down
my favorite  song. Rounding out  the last three unmentioned  cuts are
respectable renderings  by Anal  Blast ("Red Light  Fever"), Noctuary
("Die Hard")  and Morpheus  Descends ("Angel  Dust"). The  last three
tracks  I mentioned  weren't bad  at all,  but just  not my  favorite
Venom offerings.  This compilation  isn't quite  up to  the Cleopatra
equivalent in 1998, but still very good. There is a trade-off between
the two, I  think, where we pick up Diabolic  and Ritual Carnage with
this one, but lose Voivod, Nuclear Assault and Sodom on the Cleopatra
collection. As far as the labels are concerned, Dwell is sporting the
vastly more professional organization and  I think Cleopatra was just
plain lucky with their Venom tribute. RESURRECTION!

Contact: http://www.dwellrecords.com


In the Woods... - _Three Times Seven on a Pilgrimage_
by: Pedro Azevedo  (9 out of 10)  (Prophecy Productions, 2000)

At the  time perhaps unknowingly,  with the release of  _TTSoaP_ this
very talented and rather unique Norwegian band prematurely closed the
circle of their career. They might  not like my representing of their
career as something so linear as a circle, but there has been a great
sense  of symmetry  in ItW's  career due  to the  three 7"  vinyl EPs
collected and  re-released in CD  format as  _Three Times Seven  on a
Pilgrimage_. This because each of  these 7" EPs came out successively
after each of ItW's three full-length albums. This collection has now
been released after what now turns  out to be the final album/EP pair
is out  -- but -not-  after the  final full-length album  that should
have come  out after the last  EP release, as ever  before, and could
have been  a masterpiece. If you  start at one eighth  of the circle,
you have _HEart of the Ages_; advancing  by one eighth at a time, you
have  one  EP  and  one  album  (_Omnio_  and  _Strange  in  Stereo_)
successively  until you  reach seven  eighths, where  the masterpiece
that now will never be should  have been placed; and then "midnight",
where this collection of EPs stands.  The symmetry is now broken; far
worse, the  second masterpiece will be  left undone. And if  you feel
I'm just rambling  on this review, well, I probably  am. Still, if we
leave all  that aside,  ItW produced  not only  _Omnio_ and  two very
good  albums in  the shape  of its  predecessor _HEart  of the  Ages_
and  successor _Strange  in Stereo_,  they also  released three  very
noteworthy vinyl EPs featuring strongly ItW-tinged cover versions and
unreleased  material  (including  the  excellent  "Karmakosmik"  from
the  _Omnio_ sessions),  and  that is  what you  can  find on  _Three
Times Seven  on a  Pilgrimage_, with  all the  unmistakable emotional
male/female vocals,  expressive guitars and unique  doomy atmosphere.
Too bad ItW's symmetry has  been forever broken... but obviously what
is really  bad is that  it's been broken  due to the  band's untimely
demise.


Judas Iscariot - _Dethroned, Conquered and Forgotten_
by: Aaron McKay  (6.5 out of 10)  (Red Stream, 2000)

No  _Heaven in  Flames_, that's  for  certain. When  I reviewed  that
effort just a few months ago in issue #47, I became unhinged with the
raw conviction concerning Akhenaten's dream. This one man black metal
drill is truly  as far-sighted as a clairvoyant  with an astrologer's
map and fortuneteller's crystal. That vision, however, has apparently
become somewhat blurred with this, the newest Judas Iscariot release.
_Dethroned, Conquered and Forgotten_  is not some lost, disassociated
metal effort searching for meaning like  a worldly nomad; not at all.
I keep reminding myself that this is an MCD only totaling some nearly
twenty-one minutes of  music. This being the case,  _DCaF_ is nowhere
near all that bad  as MCDs go, just maybe a  bit inopportune. It does
still suffer  from the  same unavoidable question  of what  was wrong
with waiting  and releasing  a full  (hopefully more  groomed) effort
at  a later  date.  Without belaboring  the  point, Judas  Iscariot's
sound  hasn't been  altered significantly  on this  release, although
I  will  say  _Dethroned,  Conquered  and  Forgotten_  has  a  newer,
blast-grittiness I didn't pick up on _HiF_. To be perfectly frank, my
favorite  piece is  the harsh  abrasive instrumental,  "March Upon  a
Mighty Throne", which is the track before final bonus cut, "Spill the
Blood of  the Lamb". If  I might suggest  something: try the  full CD
_Heaven  in  Flames_  first  and  if  it  is  to  your  liking,  then
_Dethroned, Conquered  and Forgotten_ will  surely see some  spins in
your disc-player too. Fair?


Malevolent Creation - _Envenomed_  (Pavement Music, November 2000)
by: Pedro Azevedo  (8 out of 10)

Writing a  follow-up to a  critically acclaimed album such  as 1998's
_The  Fine  Art  of  Murder_  [CoC  #35]  is  never  an  easy  thing,
and  _Envenomed_  would  inevitably  end up  being  compared  to  its
predecessor. What Malevolent Creation seem  to have opted for was not
taking many chances:  to a considerable extent,  _Envenomed_ tends to
contain more of the  same kind of material found on  _The Fine Art of
Murder_. That Malevolent  Creation have found a formula  they wish to
hold on to  is not very surprising given the  quality of _TFAoM_, and
may be a reflection of the band having finally reached a line-up they
were able to  keep for two albums  and a few years so  far -- whether
the fact that not much has changed in their sound since _TFAoM_ would
be good or bad would always  depend on the quality of _Envenomed_ and
whether it  would be  able to overshadow  their previous  effort. The
answer, from my point of view, is that _Envenomed_ is a mighty album:
intense and perhaps even more aggressive than usual whilst still very
precise and calculated in cold blood; but it was mostly unable to set
aside its rather similar predecessor in  my mind. Having said that, I
don't think this  shorter effort is necessarily  inferior to _TFAoM_,
which should attest to its quality,  but I didn't enjoy it any better
than _TFAoM_  or perhaps even the  recent _The Only Law  Is Survival_
from Hateplow [CoC  #49] -- which actually contains  three members of
Malevolent Creation.  A very  good record  nonetheless, but  hardly a
breakthrough for the band this time.


Mandatory - _Mandatory_  (Psychic Scream, 2000)
by: Adrian Bromley  (5 out of 10)

All the way from across the  Pacific rim comes the work of Mandatory,
a vibrant black/death metal-tinged  music machine that relies heavily
on  rabid  drumming,  raw   production  and  sinister  growls.  While
Mandatory does have the speed and rawness to appeal to many fans, the
band loses  ground in the  variety department. There just  isn't much
going on. A lot of the songs sound the same and I'm left wondering if
the band really  had any set goals while assembling  this. With heavy
nods  to speed,  thrash and  black  metal, Mandatory  makes it  quite
apparent their  influences are  from all  over the  map. Too  bad the
record is too. Stay focused guys, and people may take note next time.
I'll admit there are some nice  guitar solos on this disc. Choice cut
(nice piano work): "Be Guide Me".

Contact: 55, Mukim 6, Kg. Pertama 13500, Permatang Pauh, Penang
         mailto:death_sentenced@yahoo.com


Mayhem - _Mediolanum Capta Est_  (Avantgarde / Dwell, November 2000)
by: Aaron McKay  (9 out of 10)

This is what I  am talking about. In review after  review, I think to
myself,  metal  here  and  metal there,  but  rarely  engaging  metal
anywhere. This -is-, I assure you.  _Mediolanum Capta Est_ is also an
official Mayhem  live album, too, from  what Dwell says. That  in and
of  itself  is interesting,  I  think.  Intriguing also  is  Mayhem's
"offensiveness".  To know  what  I  mean, you'll  have  to listen  to
Maniac's rants between songs. That, my friends, is what is known as a
"tease" in journalism. If you wanted it on just one Mayhem release --
it's  here,  even  an  appearance  by  Tormentor  (Attila)  from  the
_De  Mysteriis Dom  Sathanas_ era  contributing appropriately  enough
vocally  to track  nine, "From  the Dark  Past". The  band skillfully
works  through  their  previous  material as  a  fire  might  consume
thirsty Autumn  leaves. I have no  desire to lecture you  on Mayhem's
accomplishments,  but even  for a  live release,  this is  exemplary.
Necrobutcher's  bass is  clear  in  its perfected  buzz  and hum  and
Hellhammer  no doubt  had to  replace his  set after  obliterating it
during this  performance. Much better  than _Live in Leipzig_,  I can
see no reason fans of all metal wouldn't want this embellishing their
collection.


Merzbow - _Door Open at 8 AM_  (Alien8 Recordings, 2000)
by: Gabriel Sanchez  (8 out of 10)

Masami  Akita's fourth  release  on Alien8  Recordings  proves to  be
another step further away from  the uncompromisingly harsh and mildly
chaotic style most would pin the seasoned noise artist with. _DOa8AM_
is Akita's "tribute" to free jazz  drummers, opening the door for the
use  of rhythm  and  "live" music  as a  backdrop  to the  screeching
feedback  and  stereophonic noise  effects.  It  is debatable  as  to
whether or not  the pieces featured are truly  examples of structured
noise, though there is little doubt to the fact that much thought and
design went behind  each track. Akita's choosing to  finally step off
the beaten  path of noise  is refreshing, to  say the least.  What is
even more enticing  is the fact that Akita appears  to be forging his
own way as opposed to trespassing on the trails clearly marked off by
many of  his peers.  The noise  is sporadic in  parts and  never once
reaches a level that could be  defined as "assaulting". Each track is
far less of  a rollercoaster ride through  madness as it is  to say a
tube ride down  an E Coli infested  river at a Big  10 school; serene
yet  (un)surprisingly bad  for one's  well being.  This lack  of well
being can be seen  as dozens of Merzbow fans throw  on this disc only
to feel cheated and become visibly  angry that their GHB money is now
in the hands of Alien8 Recordings  (or one of its distributors). Such
is the life for  those too ignorant to see all the  signs and far too
dense to appreciate the magnitude of  what they are diving into. Such
is life for  a better part of humanity. After  listening to Merzbow's
reconstruction  of John  Coltrane's "Africa  Brass Session",  similar
reactions over the loss of funds  for unfiltered cigs and cheap mocha
will be  experienced by  snoody avant-jazzhole  extremists. Akita-san
has done well.

Contact: Alien8 Recordings, PO Box 666, Station R,
         Montreal, Quebec H2S 3L1, Canada
         http://www.alien8recordings.com
  

Monstrosity - _In Dark Purity_  (The Plague, 2000)
by: Alvin Wee  (9 out of 10)

Contrary  to all  appearances,  Florida  veterans Monstrosity  aren't
finished yet, and _In Dark Purity_  reaffirms that fact with a brutal
kick  in the  butt. Eschewing  the  grinding brutality  of their  old
days  for  a crunchier,  more  technical  riff-fest, the  band  kicks
things  off  impressively  with  the  strongly  rhythmic  "Destroying
Divinity",  a blazing  collage of  semi-melodic riffs  and a  searing
vocal  performance by  Jason Avery,  who  easily fills  the boots  of
semi-legend  George "Corpsegrinder".  Interestingly,  Avery proves  a
more charismatic  growler than the current  Cannibal Corpse frontman,
injecting his roars  with a more caustic tone  than George's guttural
rumblings. More  impressive is the  sheer intensity of  the following
track, "Shapeless Domination", the  chorus section boasting a thrashy
tightness  and manic  fury missing  from  all but  the greatest  acts
(read:  Vader).  In  a  surprising turn  midway  through  the  album,
"Suffering to the Conquered" countermands  the pure aggression of the
previous  track with  an opening  that wouldn't  be out  of place  on
an  early  Gothenburg album.  Clearly  a  nod to  old-school  Swedish
melodic acts  like Eucharist, the  smooth, epic melodies of  the song
soar  to  their  highest  in brilliant,  effortless  solos  scattered
throughout the  track. The remaining  tracks don't leave much  to the
imagination  regarding  these  old-timers'  abilities,  although  the
slightly technical nature  of the riffing detracts  somewhat from the
brutality of the previous half-hour, but such is hardly noticed after
being pounded  by the coup  de grace, a  cover of Slayer's  "Angel of
Death".  What this  version lacks  in terms  of the  raw hate  of the
original, it  makes up  for in  a vastly  more nuanced,  though still
old-school rendition  of the classic.  Seriously, this stuff  spits a
venom long missing from the glut of latter-day death/grind endeavors,
combining the  bone-crushing heaviness  of their  Morrisound heritage
and the dynamic, technical fury of their European counterparts into a
mind-blowing mix. There's  little more to be asked from  a solid slab
of death like  this (except for better promotion  than their somewhat
unrecognized  second album).  At a  hefty  50+ minutes,  and a  cover
painting  worthy of  a full-size  vinyl release,  this slick  digipak
will  no doubt  garner  some respectable  figures  for the  ambitious
Hammerheart  label. And  rightly so:  both loyal  fans of  _Impending
Doom_  and listeners  weaned on  newer Swedish  acts cannot  possibly
ignore the power of this release.


MSBR / Kengo Iuchi - <split>  (Alien8 Recordings, 2000)
by: Gabriel Sanchez  (9 out of 10)

It is possible that one of the reasons I have been and continue to be
a noise  fan is simply  the genre's  continuing ability to  shock and
amaze me.  If it  isn't Aube  using The  Bible as  a source  sound or
Merzbow covering John Coltrane tunes, it must now be Koji Tano (MSBR)
teaming up with  a... death folk artist. The very  definition of what
constitutes  "extreme music"  that  I had  so  lovingly embraced  for
years was  instantly obliterated  and reconstructed  to fit  this new
sub-genre.  Iuchi  is  given  a  solo  track  along  with  some  live
pairings with MSBR to flaunt  his death folk stylings while screaming
and  plucking  his way  into  my  psyche.  MSBR provides  toned  down
surrealistic backdrops to Iuchi's wailing  and willingly takes a back
seat in order to  let the death folk shine. MSBR's  own solo piece on
the disc  is indicative of his  greatness as a noise  artist who sees
the virtue of patience in constructing  his pieces and brings as much
harshness  to the  noise spectrum  as he  does entrancing  moments of
anti-musical  elegance. The  pairing of  the overtly  ugly with  dark
subtle beauty  in the anti-music field  is not unheard of,  though it
never sounded quite like this  before. If anything, this album stands
as one of the few "must own"  noise recordings of the last few years,
if for  nothing more than  it standing as  proof that while  much has
been done in the noise genre, there  is still plenty of new ground to
be broken.

Contact: Alien8 Recordings, PO Box 666, Station R,
         Montreal, Quebec, Canada H2S 3L1
         http://www.alien8recordings.com


Napalm Death - _Enemy of the Music Business_
by: Paul Schwarz  (9.5 out of 10)  (Dream Catcher, September 2000)

I haven't bought a Napalm Death album since _Diatribes_, and that was
the first  Napalm Death  album I  bought. The  last couple  of Napalm
records just never  tweaked my interest; the  altered approach didn't
quite hit the spot.  However, just when I was on  the brink of losing
all  faith in  them,  Napalm Death  spectacularly  blasted their  way
back  into my  consciousness with  this disorientatingly  aggressive,
pleasantly sporadic beast  of an album. Of course, I  would have been
far less shocked had I taken the time to check out their _Leaders and
Followers_  covers EP:  one of  the only  covers-only releases  worth
owning, in my opinion, even if it is a bit short. My former favourite
from Napalm  was _Fear  Emptiness Despair_, but  after two  months of
listening and  consideration I firmly  believe that _EotMB_  is their
outright best album. The title may seem off-putting in its bluntness,
but it really is surprisingly  appropriate; _EotMB_ may not represent
a revolution  in anti-music  like _Scum_ did,  but it  stands outside
"scenes", "trends"  and "musical  movements", sticks two  fingers up,
and proceeds to slam your face into the dirt over and over again. And
don't  be  thinking that  all  Napalm  have  done  is pumped  up  the
aggression and drawn  fans like myself back into  their fold: _EotMB_
will be enjoyed by fans of the  last three Napalm albums as well, and
I think  as much,  as it  most surely  will be  by the  "old timers".
_EotMB_ a damn fine record with top notch production and songwriting.
Basically, whether  you're a fan of  Napalm from any era,  have never
heard the band, or just  never liked them previously, you're strongly
advised to check  out _EotMB_: I'll bet they'll be  few of you who'll
be disappointed.


Nargathrond - _Carnal Lust and Wolfen Hunger_  (C.D.M. Records, 2000)
by: Pedro Azevedo  (7 out of 10)

This  cassette-only  release  contains   what  can  be  described  as
keyboard-based  darkwave in  which  a drum  machine  and varied  male
vocals  are  also  used.  Vocals   range  from  snarled  to  somewhat
goth-like,  while  the  music  itself can  go  from  funereal  dirges
to  lighter,  classically  influenced passages.  The  generally  dark
atmosphere  that enshrouds  most  of the  music  helps maintain  some
coherency, but _CLaWH_ tends to  become somewhat repetitive at times.
Nargathrond's use  of the drum  machine is mostly competent,  even if
not remarkably  inspired (not of  the quality on  Samael's _Passage_,
for  example). Still,  despite  containing several  elements of  just
average quality, there are quite a  few moments during the album that
do capture an  interesting atmosphere and make  _CLaWH_ a potentially
worthwhile album to look into if you are a fan of the genre.

Contact: http://www.nargathrond.da.ru


Nevermore - _Dead Heart in a Dead World_  (Century Media, 2000)
by: Matthias Noll  (9.5 out of 10)

In times when  one might get the impression that  parodies of all the
things  annoying and  cheesy in  metal have  replaced the  real thing
(HammerFall and the current true  power metal fad), my admiration for
Nevermore grows  and grows.  This band  is one of  the very  few that
manage to remain  metal through and through, have the  skill to merge
old and new  without getting trendy, fuse heaviness  and melody, play
on the  highest technical level  yet always remember that  the result
has to be a  song. _Dead Heart in a Dead World_  sees Warrel Dane and
co. combining the dark and  progressive style of their brilliant 1999
effort _Dreaming Neon  Black_, straighten it up a little  bit and add
some slower, darker and more  melodic numbers. The production work by
Andy Sneap is  simply fantastic, giving every instrument  the room it
deserves without  compromising the  relentlessly heavy  guitar sound.
Speaking of the guitar  work, I have to say that  Jeff Loomis must be
one of the most underrated guitarists of the last ten years. His solo
work is simply breathtaking and the riffs this guy is able to come up
with can't  get enough praise  for their brilliance.  Vocalist Warrel
Dane might be a love it or hate it affair with his clear and somewhat
unusual voice  and vocal  lines, but  even if  you dislike  his style
he  definitely knows  how  to bring  across  emotion and  dedication.
Occasionally he  still uses  the high  pitch like  on the  two highly
recommended Sanctuary records, _Refugee  Denied_ and _Into the Mirror
Black_, but  never throughout a whole  song, only in places  where it
truly  does make  sense. It's  very difficult  to name  highlights as
there is no weak spot on _Dead Heart in a Dead World_. If you want to
get an  impression before buying  this CD, which I  definitely advise
you to do,  then check out the crushing  opener "Narcosynthesis", the
melodic  "The  Heart Collector"  or  the  Simon and  Garfunkel  cover
version  "The Sound  of Silence".  Before the  mere existence  of the
latter puts you off: this is -not- a ballad anymore -- Nevermore made
it one  of the  heaviest and  thrashiest songs on  the album  and the
degree to which they made it their own song is exactly the way I like
covers to be done. In my opinion, this is the best metal album of the
year, all  subgenres left aside, and  even though I doubt  it, I hope
one day this band will get all the recognition it deserves.


Nile - _Black Seeds of Vengeance_  (Relapse, September 2000)
by: Paul Schwarz  (10 out of 10)

Simply put, this  should be a redundant review for  all but aesthetic
purposes: you should all own this  album by now. That said, I'm sorry
that it's taken  me a while to  get round to writing  this review, it
should by all rights have been in CoC #49. Apologies aside, the extra
time has allowed  me to better compose my thoughts,  though I'm still
fathoming and  wondering at  _BSoV_ utter devastating  brilliance two
months after first  checking it out. As many of  you long time CoCers
will  have gathered,  I am  not  a religious  man.  I am  also not  a
superstitious man.  However, I still  find myself disbelieving  as to
quite how Nile can have created  a record that far surpasses _Amongst
the Catacombs  of Nephren-Ka_ [CoC  #32] without some type  of divine
aid. Of course, that's what makes a record like _BSoV_ that much more
wondrous: that it is merely a  human creation, an example of what can
be done  when some of  the most talented  people in their  field push
themselves  to  the  limits.  And  in the  field  of  innovating  and
devastating within a realm which one can still accurately refer to as
"death  metal", Nile  must now  be the  masters. "Solid"  is probably
-the-  key  word to  use  in  describing _BSoV_:  it's  compositions,
structure  as an  album,  the  performances put  in  by every  member
and  the pure  power  it  churns out  in  never-ending abundance  are
things to be  marvelled at. Bursting from  the scene-setting Egyptian
Argoul performed  intro, the  title track's  main objective  is utter
devastation.  Its greatest  part  is  simultaneously traditional  and
beyond the norm in its  death metalness, while the classically beefed
chant which  closes it off is  a sterling example of  truly effective
innovation. "Defiling  the Gates of  Ishtar" follows. Into  3 minutes
and 38 seconds  Nile cram the most incredible musical  journey that I
have ever  witnessed in a song  under five minutes long.  I refuse to
spoil the  surprises, but  sufficed it  to say  that this  song alone
demonstrates how ridiculous a number of light years Nile are ahead of
nearly all death  metal bands currently existent in  the world today.
Nile's mastery of speed is astounding, but their grasp of songwriting
construction and dynamics  is as an example  of near-perfection. Nile
evidence an  expert knowledge  of pace both  in the  relatively rapid
compositions which make  up the majority of _BSoV_'s  tracks and also
in  the crushing,  simplistic  but equally  masterful chugging  final
"song" "To  Dream of  Ur". Nine  minutes in  length, it  provides the
final  clinching proof  that  Nile do  not need  speed  or any  other
particular, basic musical element  to construct excellent, brutal and
invigorating songs. In  a year when death metal seemed  to be showing
its age,  Nile have shown how  monumentous a creation you  -can- make
using  the  style as  your  core  elements, and  have  simultaneously
shown up  how lacking in  ingenuity, creativity, and  even worthwhile
brutality the majority of death metal bands today are.

 
Nyctophobic - _Insects_  (Morbid Records, October 2000)
by: David Rocher  (3.5 out of 10)

I had always heard, read, and  to an extent believed that Nyctophobic
were a referential grindcore band  among this rather happily thriving
and over-productive  scene. Well, Nyctophobic -are-  grindcore -- and
that's  about  it.  Offering  material fairly  reminiscent  of  early
Extreme  Noise Terror,  _Insects_  is  the recording  of  a bunch  of
metalheads  indulging  in a  chaotic  grunt  'n' grind  session,  and
unfortunately  displays not  much more  than the  interest to  match.
Nyctophobic are fun  and appealing for three tracks, but  by the time
track  four starts,  you'll  more  than likely  be  reaching for  the
genuine works themselves, such as Extreme Noise Terror's _A Holocaust
in Your Head_  or Napalm Death's _From  Enslavement to Obliteration_.
Sad,  really --  had  we now  been slowly  heading  towards the  cold
days  of Winter  1983,  Nyctophobic's latest  spawn  would have  been
welcomed as an interesting and  innovative effort; but we're not, and
therefore, neither is _Insects_.


Opus Forgotten - _Demon of Destruction_ 7"
by: Alvin Wee  (9 out of 10)  (Aftermath Music, September 2000)

While the  label prefers to  call this "thundering black  metal", the
term doesn't quite  describe the fast, melodic  style of Scandinavian
blackness  these Norse  neophytes employ.  Kick-ass A-side  "Demon of
Destruction" harks back to the  good ol' days of _Ooimai Algeiou_-era
Algaion,  the  admittedly  "thunderous"  entry  soon  giving  way  to
a  highly  melodic, almost  Swedish  barrage  of riffage  and  torrid
invocations.  Running  through  three  or  four  different  riffs  in
two  minutes without  even  batting an  eyelid,  Opus Forgotten  seem
determined to prove their worth despite their tender age. The crunchy
epicness  of the  closing  riff  seals the  impression:  OF are  more
Swedish than anything, blending the  power of Setherial with Sorhin's
ear  for oddly  satisfying  melody.  "Our Last  Quest"  makes up  the
B-side, equally  furiously, perhaps  even more so  than before.  In a
remarkable  display of  control, the  lightspeed riffing  and frantic
double-bass pummeling only serve to  hammer in the infernal melodies,
Thy Primordial style.  Again, the variety of riffs  and tempos create
an impressively  complex and dynamic soundscape,  reaching a standard
many  more experienced  acts would  be hard  put to  achieve. If  Thy
Primordial, Sorhin and old Algaion are your thing, Opus Forgotten are
certain  to bring  an  evil  smile to  your  face.  This little  baby
couldn't come more highly recommended.

Contact: Aftermath Music, Box 721, N-7407 Trondheim, Norway
         mailto:ruholm@online.no


Pandemia - _Spreading the Message_  (Lost Disciple, 2000)
by: Aaron McKay  (8.5 out of 10)

Here  is what  I like  about  Pandemia: interesting  guitar work  and
fitting vocals  to the material  at hand. This fuckin'  group -knows-
when  to  speed  it  up  when  necessary and  when  to  ease  into  a
killer rhythm  for effect.  Sometimes it isn't  the brutality  or the
inventiveness of the  vocals, but exactly how fitting  they happen to
be to the music at hand. Furthermore, did you hear the uncompromising
solo bleed  into the wicked riff  that finishes out the  seventh cut,
"Leaves  the Storm"?  If not,  listen  again. Perfect.  Know what?  I
-just-  changed  this band's  score  to  an  eight  and a  half  from
an  eight.  I  certainly  appreciate  the  intelligence  and  mastery
Pandemia displays  all-throughout _Spreading the Message_.  Never did
my interest wane; I was engrossed  from beginning to end. The fucking
bass pops nearly  the two minute mark on track  four, "Free Strokes",
is reason enough to  buy this album. I -live- for  that kind of shit!
This Czech  band has all  their skills honed exquisitely.  Chop after
riff after  awesome chop --  just listen  to "The Tones  Are Weaker".
This four-piece has enough inventiveness to use "intros" three places
throughout _StM_  collimating with  an outro  as track  thirteen. Not
before the title track, however. This  bearing all the more reason to
hear  this disc.  "Spreading  the  Message" is  as  addictive as  any
-three- narcotics  I have ever  hear heard about. Try  the incredible
riffing  at key  points through  the song  on for  size, but  the one
around the  two minute mark  is next to  divine. Find out  about this
band, I urge  you. As soon as  they support this debut  in the United
States, I'M THERE! Planetarily impressive!!

Contact: http://www.lostdiciple.com


Point of Recognition / Cast in Stone / Torn in Two -
     _Now the Tables Have Turned_ (split)  (Facedown, 2000)
by: Alex Cantwell  (8.5 out of 10)

A novel idea  indeed from Facedown Records: instead of  doing a split
EP, as is common to do with just two bands, why not have a third band
and make  it a full  length that is worthy  of your dollars?  Cast in
Stone start  things off, and  are quite an energetic  little hardcore
band. With  all of  the audience  cue lines  included on  this studio
effort, I'm sure that those in  attendance at one of their shows that
had these  things memorized would  be quite overcome  with aggression
and  all out  machismo whilst  yelling them  out in  unison with  the
vocalist, which  is what  most of  this new  skool hardcore  is based
around anyway  -- I'm not  saying aggression  and machismo is  bad, I
quite  enjoy it  really, but  if you  take a  step back  it is  quite
laughable. Anyway,  Torn in Two  storm the  second set of  songs with
great original musicality along  with crushing heaviness. They really
set things  off when the  two vocalists  (that's right, another  in a
future long line of hxc acts  to have two vocalists) trade off lines.
Point  of  Recognition's appearance  on  this  CD is  disappointingly
without their  second vocalist,  leaving Aaron  "Wrekinthings" alone.
Refer to issue #49 for a  more involved description of this band, but
I will remind  everyone here that PoR has suddenly  jumped to the top
of the West Coast hardcore heap, as far as myself and many others are
concerned.  The four  songs on  this split  aren't groundbreaking  or
anything, but they are brutal  and aggressive, with doom riffs thrown
in and  even a  chorus or  two, and  let's face  it --  hardcore with
double bass drumming freakin' rules.

Contact: Facedown Records, P.O. Box 1202, Escondido, CA 92033, USA
         mailto:facedown-niv@juno.com


Ram-Zet - _Pure Therapy_  (Spikefarm, October 2000)
by: Chris Flaaten  (7.5 out of 10)

This is not what one would expect from a Norwegian band on Spikefarm.
It's hard to describe their music, but calling it a mix of Meshuggah,
The Project Hate and The  Kovenant seems fitting. Ram-Zet started out
as a solo project by a fairly unknown Norwegian, Henning Ramseth, but
is now a trio joined by  loads of guest musicians. _Pure Therapy_ has
a modern sound with hammering riffs, aggressive vocals and industrial
undertones. To  give the  songs more texture  and basically  make the
music more interesting, Mr. Ramseth, or  Zet as he calls himself, has
used  a wide  variety of  elements. Female  vocals, violins,  choirs,
flutes and  melodic guitar solos  are nicely woven into  their sound,
making the album  sound fresh and original. The only  flaw I found is
Zet's  vocals,  which become  somewhat  annoying  after some  tracks,
mostly due to lack of variation. The female vocals compensate nicely,
so that  is nothing  major. Ram-Zet  delivers great  musicianship and
should definitely be able to raise some eyebrows with their debut.


Ravenous - _Phoenix_  (Metropolis Records, 2000)
by: Aaron McKay  (6 out of 10)

This is  -not- the  band Ravenous  featuring Killjoy  of Necrophagia,
Danny  Lilker of  S.O.D. and  Chris Reifert  (ex-Autopsy/Abscess). In
other  words, this  isn't the  "necro-death metal"  CD _Assembled  in
Blasphemy_ scheduled for release soon  by Hammerheart. This band also
-isn't- to be confused with the  title of the new God Dethroned album
_Ravenous_, accentuated  by the  efforts of Tony  of Angel  Corpse on
drums.  That cleared  up, _Phoenix_  is  a well  put together  mental
massage of relaxed  passages suitable to damn near all  moods as long
as those  moods are  calm ones.  Ravenous is  a relative  newcomer to
music,  sounding  at  times  more like  a  dark-laden,  electro-dance
mainstream  Depeche  Mode  or  Britain's Erasure  than  an  obscurely
burdened  underground  Peter  Murphy  fronted group  like  The  Cure.
Invoking  images of  singer Wayne  Hussey  from The  Mission UK,  Tim
Fockenbrock delivers the listener  a complete package with _Phoenix_.
Social  issues  run  ungoverned  all  through  this  effort;  nature,
relationships, daily life  and religion are just a few  of the topics
explored on _Phoenix_. While no one song sticks out in my mind, in my
opinion a fact  that served only to plague Ravenous's  score, all the
cuts  are very  well done,  even though  moderately forgettable  as a
complete whole.

Contact: http://ravenous.x2.nu
Contact: http://www.metropolis-records.com


Serpent Obscene - _Serpent Obscene_  (Necropolis, August 2000)
by: Aaron McKay  (4.5 out of 10)

Nine tracks of some pretty straightforward death metal totaling about
twenty-nine minutes.  Maybe it  is that there  is -so-  much superior
music to choose from that the average has become almost sub-standard.
Something  like  to  us  a  college  degree  today  is  what  a  high
school  diploma  was  to  our parents.  Anyway,  Serpent  Obscene  is
frustrating, speaking to the point that in their music there are some
massively  impressive and  alluring "breaks"  ever-present throughout
this self-titled debut, but yet  they manage to become meandering and
convoluted very  quickly thereafter. This  is baffling. As  the first
example on  the release,  track two,  "Serpent Prophecy",  around the
minute and  a half mark,  lasting about forty-five  seconds, displays
SO's nice riff capability, choppy and  heavy, but then all that fades
into samey, everyday momentum playing.  If this was designed to tease
the listener that SO do possess  talent and can play metal riffs with
the best of  'em, it worked; but the unwanted  side-effect is that it
pisses me off, too. Very little guitar soloing traded in exchange for
a more  all-out campaign  for speed. Most  of track  five, "Pestilent
Seed (The  Plague)", especially the  beginning, is well  executed and
manipulated  with  promise, so  in  addition  to "Serpent  Prophecy",
"Pestilent Seed (The Plague)" and "Morbid Horror" are my other choice
cuts from  _Serpent Obscene_  showing, I  think, the  band's greatest
promise for future success. Hope  lies dormant for Serpent Obscene as
of now, but this, of course, is just their debut. With the promise of
two more releases for Necropolis and,  I'm told, a strong second demo
awhile ago dubbed _Massacre_, things  could very well turn around for
this group.


Sophya - _The Age of Sophya_  (Metropolis Records, September 2000)
by: Aaron McKay  (6.5 out of 10)

Stop reading  if you are  interested only  in metal; death,  black or
otherwise. No metal  here. What you will find on  _The Age of Sophya_
is primarily lacy vocal wisps of dainty blue-drawn shadows. Stretched
almost  into  the  fanciful,  you could  say  that  Sophya's  musical
textures, and lack thereof when the  need arises, are equitable in an
unbiased fashion to what Mortiis lays  down in his icy cave under the
arctic  mountain. Comparatively,  like Mortiis,  Sophya's mouthpiece,
Sonja Rozenblum, is everything and more  to the group, in my opinion.
Sonja's  vocals  sound a  lot  like  a  much more  palatable  Israeli
equivalent  of  a  mixture  including  Sinead  O'Connor  and  Dolores
O'Riordan from The Cranberries. You  almost get the feeling of hollow
despondency  as you  work  your  way through  _The  Age of  Sophya_'s
seventy-three  minutes. "Sunshine"  exhibits a  more masculine  vocal
approach done by Idan Arutchi, I  would assume, one of the only other
two members in  Sophya. "Sunshine" serves rather well as  a base test
for other  tracks on the CD,  showing beyond much doubt  that Sonja's
whispers are an effective and fundamental component to Sophya's work.
_The Age of Sophya_ includes a hidden track, ninety-nine, in addition
to a  cover of "Inner  Station" by French relocated  Israeli art-pop,
dance-rock group  Minimal Compact.  Generally, indulging fans  of the
Smiths, Wire and  Tuxedomoon would be embraced by the  Sophya camp, I
think, but emphatic metalheads should just keep right on reading...

Contact: http://www.metropolis-records.com


Stampin' Ground - _Carved From Empty Words_  (Century Media, 2000)
by: Alex Cantwell  (8 out of 10)

I know that this is supposed to be hardcore, but the more I listen to
it, the  more Machine Head  I hear. Nevertheless, Stampin'  Ground is
one of the forerunners in the newly burgeoning UK hardcore scene, and
rightly so,  because _Carved From  Empty Words_ kicks  massive booty.
The drumming is  jaw-dropping and is the  most technically proficient
and  creative (ahh,  the cymbal  work,  and those  snare rolls,  ooh)
drumming that  I have heard in  this particular genre, and  it really
helps to push the band to a higher level of professionalism -- not to
mention  manly aggression.  When  I first  put this  on,  I was  head
walking and doing  air vocals like mad,  so it's a good  thing that I
work alone -- someone else in  the vicinity -would- have gotten hurt.
These guys  have also learned a  trick or five from  Slayer, but they
mold  them brilliantly  into their  own  compositions to  make for  a
serious pounding. I feel like I just watched Rocky after listening to
this.


Symbiosis - _Crisis_  (Listenable Records, 2000)
by: David Rocher  (9 out of 10)

Listenable's newest release on the slate, _Crisis_ is the French trio
Symbiosis' first  full-length album  -- thirteen intricate  tracks of
extreme metal,  atmospheric and  aggressive, brutal  and progressive,
frightfully complex yet unbelievably  catchy. Spin _Crisis_ once, and
within  just a  few  seconds,  Symbiosis will  blow  you  away in  an
almighty maelstrom of mind-blowing,  shape-shifting metal assaults --
oozing with  _Heartwork_-era Carcass-style riffing,  crushing rhythms
and supremely powerful and  enrapturing guitar work, godly orchestral
arrangements in the vein of  Samael's majestic _Passage_ and insanely
complex structures and breaks which  Dream Theater could not possibly
sneer at.  Symbiosis' first onslaught  is also pervaded  by extremist
speed, heavy and even black metal dirges and segues, through which it
grows and mutates into a  screaming whirlwind of jaw-dropping musical
maestria, all sealed within this  newly arisen Trinity's powerful and
distressing  musical malpractice.  Graced with  an ample  production,
_Crisis_  is one  -hell- of  an album,  considering it  is Symbiosis'
first offering  to date; in  fact, this rather exemplary  portrait is
only  shaded by  two mildly  irritating drawbacks.  The first  is the
rather uneventful and repetitive vocals -- although they are actually
quite efficient  and rabid in  the making, they actually  don't prove
much  more  than  to  be rather  run-of-the-mill  distorted  blackish
screams. The  second, and by far  most unnerving, is the  presence of
electronic  drums. Actually,  to be  fair, Symbiosis'  utilisation of
this artefact  is more  than precise and  impressive, but  during the
numerous  blasting segues  this  element becomes  just  that bit  too
invasive and  overwhelming. Besides,  it burdens  Symbiosis' flowing,
varied work with  a clinical, robotic feel which  it could definitely
do without. All in all, however,  with flamebearers such as these, it
seems that  the healthy French scene  has more than what  it takes to
contend with  the Scandinavian masters of  the genre -- make  sure to
keep your eyes wide open  for these merciless metalheads, because the
monstrous rush they deal will be way  ahead of what you can cope with
before you even feel it coming!


The Cassandra Complex - _Wetware_
by: Aaron McKay  (5 out of 10)  (Metropolis Records, September 2000)

I  get  a 1970s  sci-fi  television  adventure series  "Buck  Rogers"
vibe  from  _Wetware_,  the   newest  oar-in-the-water  by  England's
The  Cassandra  Complex.  Electro  dance-ish material  layered  on  a
Peter  Murphy-esque vocal  hum-drum supplied  by Rodney  Orpheus, the
band's  founder.  While I  hold  disdain  for  the term  "sci-fi"  in
any  of its  forms  or usages,  it does,  however,  serve my  purpose
well  in communicating  the climate  and  aura packaged  by TCC.  The
science-fiction aspect isn't necessarily so  much in the lyrics as in
the  mood of  _Wetware_. For  example, track  one, "VALIS"  (which, I
gather from  the song, means  "vast and living  intelligent system"),
surfaces images of  robots and androids, but the real  sci-fi feel is
raised  from placid  waterways  long  forgotten in  the  mind by  the
-music- on "VALIS" in particular. An echo of Orpheus's voice sounding
very computer  generated is almost  a dead ringer for  Dr. Theopolis,
the  artificial intelligence  lugged  around by  the  robot Twiki  on
"Buck Rogers".  The material  on _Wetware_ runs  the gambit  from the
aforementioned musical workings to  rather forgettable songs like the
repetitive "When I  Fall in Love" and "My Possession",  setting me up
to think of a "Star Wars" scene  with Jabba the Hut, Princess Lea and
Seal's "Crazy" piped in on the  slave barge. The most arresting track
I found on _Wetware_ is "Dion  Fortune". Nicely worked with a beat to
get  your blood  flowing with  a swift  current. If  more efforts  on
_Wetware_'s nearly seventy-four minutes resembled anything like "Dion
Fortune", I'm sure its score would have been higher. I cannot compare
this release to any other of TCC's vast resume of albums because this
is my  first dip  into their pool  of material. So  far the  water is
a  bit  too  shallow  for  me, at  least  comparatively  speaking  in
relationship to Metropolis's armada of other talented groups.

Contact: http://www.metropolis-records.com


White Skull - _Public Glory, Secret Agony_  (Nuclear Blast, 2000)
by: Aaron McKay  (1 out of 10)

Beat drum, beat  drum, beat drum -- guitar solo  -- deplorable vocals
and even worse lyrics.  In CoC issue #44, I gave White  Skull a 3 out
of 10  for their _Tales  From the North_  release. While at  the time
that  was probably  appropriate,  this _Public  Glory, Secret  Agony_
effort is  the most massive steaming  pile of skunk shit  I have ever
had the misfortune of hearing a  "power metal" outfit barf out. I was
hoping after _Tales From the  North_ White Skull would improve. Let's
face it, there wasn't  much of a direction to go  other than -up-. WS
sure found  the only other way  to go, no questions  about that. They
sound  like guitarists  Erik  Turner and  Joey  Allen (Warrent)  with
Firehouse vocalist  C.J. Snare  trying to  emulate Manowar  by laying
down a cover of "Phantasmagoria"  by Annihilator. As a positive note,
WS's -one- point comes from the  fifth track, "In Caesar We Trust". I
managed to get past the atrocious vocals to some tunes that weren't a
complete and total waste of my time. Not a great song, and the chorus
screws the track up a significant amount, but it is the brass ring on
this  cavalcade  of shit  album.  If  you  value your  hearing,  stay
clear of  _Public Glory,  Secret Agony_ and  White Skull  in general.
Detestable!


Witch Hunt - _Souls Enshrouded Fire_  (X-Rated Records, 2000)
by: Adrian Bromley  (5 out of 10)

While the  record does show  a lot of  promise, I think  the majestic
realm of death  metal that Witch Hunt plays is  a little excessive. A
little too  much going on,  if you know what  I mean. The  vocals are
indeed solid, as  is the playing and the  haunting choir-like vocals,
but as a  whole it misses the  mark. This band has been  around for a
while now, so I'm pretty sure  they'll forge forward (taking to heart
negative comments of reviewers like  myself) and make amends to their
sound. If not, it may be the same comments next time around.

Contact: X-Rated Records, 3215 NW 10th Terrace, Suite 206,
         Ft. Lauderdale, FL 33309, USA
         http://www.xratedrec.com


Zenite - _Brutal Enigmatic Prophecie_  (Ne Figueiredo Records, 2000)
by: Adrian Bromley  (6 out of 10)

Veteran  Brazilian death/thrash  metal outfit  Zenite (who  have been
playing for thirteen years!) has  just released their latest offering
to the metal masses, and while I am not exactly jumping up for joy, I
am somewhat impressed with their  real meaty death metal/thrash metal
deliverance. The tuned down guitars,  meshed with the brutally gritty
vocals, propel  some of  the songs  into a blinding  fury. It  is the
other set  that get  lost within  mediocre song  ideas and  less than
average production. Had  the band scoped out a  better producer, this
record could  have easily  been about  a point or  two higher  in the
rating.  Death metal  can rely  on mediocre  production for  the most
part, but this  is just a tad lower than  mediocre. Sorry, guys. Hope
the next record sounds much better.

Contact: Ne Figueiredo Records, Av. Gentil Bittencourt 449,
         Belem-Pa, Brazil
         mailto:naf@interconect.com.br


Zona - _Splattiparty_  (Negatron Records, 2000)
by: Pedro Azevedo  (2 out of 10)

The black sheep  of the first four  Negatron releases, _Splattiparty_
is a live album  consisting of some bland metal with  one of the most
annoying  vocalists I  can remember  hearing on  record. This  is not
necessarily  due to  the Italian  lyrics;  it's just  that the  voice
itself, what he does  with it, and the way he  often spurts out words
at a rate of  at least ten per second all  contribute to the building
of a massive barrier  that I am unable to cross  in order to possibly
enjoy the  rest of  their music.  Then again,  there's not  much that
could be interesting beyond that  psychological barrier: besides some
occasional  efforts  from the  bass  player to  break  the  lethargic
monotony of  this succession  of  uninspired  riffs,  there's  hardly
anything else  to be  noticed. Maybe  the fact that  this is  a  live
recording has  something to do with  Zona's inability to  inject some
energy and  vitality into  their  music  (let alone  anything  deeper
than that),  but then,  if  that's  the  case,  what's the  point  in
releasing a  live record  as if the  band has  a great  collection of
albums  behind  them?  So,  assuming  the  band  is  supposed  to  be
particularly good live, I can  see  no excuses for the  blandness and
general  mediocrity of  the  music showcased  here. Fortunately,  the
other  Negatron releases  reviewed  in  this issue  show  a lot  more
promise than  this one, and certainly  the label can grow  from those
towards more remarkable releases.

Contact: mailto:negatron@tin.it

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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.     E-mail     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 e-mail).

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


Absurd - _Beyond the Dawn_  (4-track MP3 demo)
by: Pedro Azevedo  (****-)

Swedish metal from Russia, eh? Never  mind -- whether that makes much
sense or  not is  of little relevance,  because Absurd  can certainly
play some good,  entertaining Swedish metal. The band  Absurd tend to
remind me  of most  often is  the sadly  deceased A  Canorous Quintet
circa their excellent  _Silence of the World  Beyond_ album, although
of course Absurd  aren't quite -that- good, at least  not yet. Still,
with  enough technical  competence, decent  production and  plenty of
aggression, Absurd prove  that quality Swedish metal  can indeed come
from places far from Gothenburg.

Contact: http://www.mp3.com/absurdrussia/


Fallacy - _Martirios_  (5-track demo)
by: Pedro Azevedo  (****-)

Here's  a  novel concept:  mixing  jazzy  guitar/bass/drum work  with
Portuguese  folk chants.  Does  it work?  Partially,  in my  opinion.
I  have  to give  Fallacy  credit  for  not following  trends,  doing
their own  thing and  trying to  be innovative  while they're  at it;
furthermore,  credit  is  also  due  for  the  technical  skill  they
showcase. They seem to have gone deep into Portuguese countryside and
villages to  find the folk chants  they merge with the  music in some
occasions --  forget about  early Moonspell if  that's what  comes to
your  mind  when  Portuguese  folk is  mentioned;  this  is  entirely
different.   Fallacy's   jazzy,   progressive  instrumental   section
(clarinet and saxophone  occasionally included),  technically skilled
as it  is, could  still have been  more dynamic  and powerful  for my
taste --  especially  the guitar  work and  sound  itself.  Still, if
progressive  metal  is  your thing,  the music  on this  demo  CD  is
definitely worth listening to for its innovation, experimentation and
technical quality.  Personally, I feel  Fallacy still  need something
more in  order to  fully convince  me. Maybe  they  will be  able  to
improve what  they currently  lack for  their  music  to become  more
attractive  to  me   in  the  future,  more   than  just  interesting
experimentation -- I wouldn't be surprised.

Contact: mailto:fallacy_management@hotmail.com
         http://come.to/fallacy/


Mahavatar - _Demo 2000_  (4-track demo)
by: Adrian Bromley  (****-)

I'll admit it. First  time I heard this record, I  didn't like what I
heard. Too  much going  on in  terms of vocal  styles and  the Middle
Eastern sound was throwing me off. But after repeated listens I found
the music of  New York act Mahavatar very intriguing.  The sounds and
styles  of the  music are  just so  damn addictive,  with the  Middle
Eastern style  on one side and  harsh, heavy tones of  metal music on
the other. Plus  singer Lizza Hayson has got some  deep heavy growls,
but at a second's notice can break into soft-chanting vocal delivery.
The musicianship on this four-song  offering is top notch, especially
the track  "Open Your  Minds". Those  of you who  like their  music a
little bit intricate  and a bit more  ethnic-sounding, don't hesitate
to check this band out.

Contact: P.O. Box 314, JAF Station New York, NY 10116, USA
         mailto:info@mahavatar.net
         http://www.mahavatar.net

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


   D E C L A R I N G   W A R   O N   T H E   U N D E R G R O U N D
   ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                   Mayhem, Aeternus and Red Harvest
                  at the Underworld, London, England
                         September 13th, 2000
                           by: Paul Schwarz


     After visiting their  set briefly and returning to  the melee at
the  bar to  search for  fellow CoCer  Pedro Azevedo,  I caught  back
up  with Red  Harvest  upon finding  our long-suffering  proof-reader
checking out their set: he passed me by, and so, essentially, did Red
Harvest. Not having picked up  their well-received _Cold Dark Matter_
album  [CoC  #48],  I  was  oblivious to  how  accurately  they  were
reproducing their material,  but I must say not only  did I not "get"
their  set, I  didn't  particularly enjoy  it  either. An  additional
drumkit  beefing up  a few  songs  with multi-rhythmic  work was  the
highlight of  a rather  monotonous and  uninteresting set.  Maybe Red
Harvest just aren't a live band; I'll have to wait to hear _Cold Dark
Matter_ to see,  but suffice it to say that  their performance didn't
inspire my confidence.
     Aeternus,  on the  other hand,  I  am quite  familiar with,  and
tonight their  impact was  markedly better  than when  they supported
Deicide in  February 1999  [CoC #36]. The  material from  last year's
_Shadows of  Old_ [CoC #45] was  certainly one of the  reasons behind
this. Combined with a beefy sound uncharacteristic of the underworld,
it made  parts of Aeternus' set  sound more brutal and  -death metal-
than  most Milwaukee/Koshick  metal cannon  fodder that  calls itself
death metal.  With their talent  for dynamics also  punching through,
Aeternus  ripped through  an impressive  set composed  mostly of  the
aforementioned latest album, along with a few older tracks.
     A short  while and a chat  with Jason from Akercocke  (their new
album's due in  February and looks to be pretty  spectacular from the
sample  tracks  I've  heard)  later,  and  Mayhem  were  onstage  and
beginning "A Grand  Declaration of War". Guitars bit  big chunks from
my flesh, Hellhammer's deadly drum  assault (though not matching Dave
Suzuki of  Vital Remains [CoC#48])  was puncturing my  cranium... and
Maniac was delivering the vocal  proclamations of "The Lies Whereupon
You  Lay"  like  he'd  just  run a  marathon.  Maniac's  vocals  were
dispassionate, lacking  both pronouncement and dynamic  punch. Mayhem
played a  very diverse  set which time-warped  its way  through their
various different eras  all the way back to  "Chainsaw Gutsfuck", and
even beyond to  the legendary (though apparently  rubbish) 1984 debut
demo's  "Total  Fucking Armageddon"  title  track.  Mayhem were  damn
impressive  in  managing to  sound  like  a  different band  as  they
shifted eras,  reproducing _De Mysteriis  Dom Sathanas_ in  almost as
authentic-sounding a  manner as they  did the  likes of "A  View From
Nihil". Unfortunately,  Maniac proved to  be a constant weak  link in
an  otherwise  extremely  cohesive  chain, though  it  was  only  his
reproduction  of  the  latest  album's  spoken  sections  which  were
rubbish. Ultimately, Mayhem and Aeternus  together made this worth my
journey into town and the ringing in my ears which I suffered for the
day  and  a  half after,  but  Mayhem  failed  to  live up  to  their
considerable reputation.

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

                    J U D G E M E N T   N I G H T
                    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
           Mayhem, Anathema, Hatesphere and Bronco Busters
                at the Rock World, Manchester, England
                         September 26th, 2000
                           by: Pedro Azevedo


     In  England, people  have a  saying, something  like: "It  never
rains... it only pours." This was  probably the first time I realized
this could also be seen from a  point of view other than the negative
one, as after  having lived in England for nearly  six months without
witnessing a single concert, I got to see two in a couple of weeks --
and nearly  a third  one. Ironically,  however, although  Mayhem were
headlining this show  and playing their last concert of  the tour, my
trip to Manchester was entirely due to the inclusion of Anathema as a
special guest band -- they doubtlessly  are one of my favourite bands
and I  had already seen  Mayhem a couple  of weeks earlier  in London
(supported  by Aeternus  and Red  Harvest) with  good friend  and CoC
writer  Paul Schwarz  [see his  own article  in this  issue for  more
details on that concert].
     Norwegian  female trio  Bronco Busters  were the  first band  on
stage, presenting  their fast-paced, relatively heavy  rocking style.
You're  probably wondering  why such  a band  was supporting  Mayhem;
well,  this  concert  was  part  of  a  bigger,  week-long  event  of
Scandinavian music  that took  place in  Manchester, so  they weren't
exactly part of a Mayhem tour  package or anything. Of course now you
may be wondering what is  Anathema's connection to Scandinavia, since
they were also  playing. Well, none that  I know of, but  there was a
Scandinavian band that  -was- supposed to play and didn't,  and a few
weeks before  the show Anathema  were asked to replace  them. Anyway,
despite having  tried hard, Bronco Busters  received little attention
from an audience that was there  to see either Mayhem or Anathema (or
both). Their  rather shrill  sound just  made me  wish they  would go
away, especially because the show  was already running quite late due
to bass amp problems.
     So far, most people (myself  included) had only guest "metal DJ"
Fenriz  (of  Darkthrone  fame)  and his  obscure  vinyl  oddities  as
something musically interesting to  pay attention to. Hatesphere from
Denmark,  however, changed  that situation.  Playing some  aggressive
Swedish-like metal that reminded me of  bands such as The Haunted and
Soilwork, their  half hour on stage  was certainly intense as  far as
the band's  performance was  concerned. Soilwork  they were  not, but
Hatesphere still managed to entertain  and make themselves noticed --
I cannot recall  ever having heard of them before,  but I was tempted
to find out some more about them after the show.
     With their set  cut down to half an hour  due to the belatedness
of the  whole schedule,  Anathema finally appeared  on stage.  As the
stage was pretty low  and one could get quite close  to it, the whole
thing didn't feel far from  watching a rehearsal -- except Anathema's
performance  that night  was too  -intense- for  that. Still,  with a
woman on the front row unrequestedly revealing everything beneath her
shirt to the band, things were starting off on a weird tone. This was
not a  Manowar or  Metallica-like act,  though, and  vocalist Vincent
Cavanagh's amused  reaction was  just that  "People do  the strangest
things..." Starting quietly with "2000 & Gone", with Vincent reciting
something  (or simply  making  it up  as he  went  along) instead  of
actually singing, they then surprised everyone by linking that onto a
completely  devastating,  approximately  ten  second  long  piece  of
grindcore-like destruction  (brutal enough  for Vinny  to need  a new
guitar afterwards,  though the  drums sure  proved to  be resistant).
After Vinny politely but unsuccessfully tried to get someone to lower
the stage lights that made it impossible for him to see the audience,
the band  played "Deep" from  _Judgement_ and  followed it up  with a
very  aggressive (especially  vocal-wise) rendition  of "Empty"  from
_Alternative 4_. Good sound, plenty  of emotion coming from the stage
and a  very warm welcome  from the  significant part of  the audience
that seemed to enjoy every minute of Anathema's performance.
     "Forgotten Hopes" from  _Judgement_ was next, and  then the band
played one  of the new  songs they've been  working on recently  -- a
psychedelic and doomy  one. They were supposed to play  some more new
material, but  there was  no time  for that; and  thus the  first few
notes of "A  Dying Wish" from _The Silent Enigma_  received a massive
cheer from  the crowd,  myself included. It's  a shame  they couldn't
play the  title track from that  album, but given the  amount of time
they had available,  I'm more than glad they actually  even played "A
Dying Wish" at  all -- and they did so  excellently, generating truly
remarkable intensity. They then finished  their set with a surprising
Iron Maiden  cover that most  of the audience  seemed to enjoy  a lot
more than I did.
     Thanks to concert  organizer/promoter  Alex Nordgaren  (from the
band Fleurety), who proved to be an  excellent host from the moment I
arrived with my  girlfriend at the  Rock World, we had  the chance to
talk to Anathema  vocalist Vincent  Cavanagh for a  few minutes after
the show. As I didn't have  any chance of recording the conversation,
it turned out to be a totally informal chat during which Vinny talked
briefly about the preparations for the recording of the new album and
made some remarks about the concert (the set list having been decided
five minutes before they started  playing, and Danny having picked up
the microphone  and announcing the  Maiden cover that nobody  else in
the  band actually  wanted to  play,  for example).  During the  rest
of  that  brief chat,  which  had  Fenriz's  musical selection  as  a
soundtrack, Vinny was  actually quite inquisitive; a  good example of
that was the concern he showed at my beloved's apparent tiredness and
lack of participation in the conversation. He carefully asked how she
was feeling  -- to  which she  just shrugged --  and whether  she had
liked the concert.  The reason why I mention this  is that her answer
illustrates a lot of what I felt as well: after all the effort we had
expended in travelling  to Manchester and staying  there overnight to
see a  band that  is her favourite  and one of  my own  favourites as
well, a  half hour performance  was less than satisfying.  But still,
Anathema's  live excellence  and a  good  choice of  songs given  the
limited amount of time certainly helped ease that feeling.
     As Mayhem  tore into the second  half of their set  (a shortened
one in comparison to what I had  seen in London -- see Paul Schwarz's
article), we were  greeted by the cold rain outside,  a reminder that
the live Anathema experience was over. Memories, however, will always
remain.

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

                    H A L L O W E E N   H A V O C
                    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 Macabre, Anonymus, Bunchoffuckinggoofs and Blood of Christ play the
                    Kathedral on October 31st 2000
                           by: Adam Wasylyk


"Candy apples and razor blades 
 Little dead are soon in graves 
 I remember Halloween 
 This day anything goes 
 Burning bodies hanging from poles 
 I remember Halloween"
     The Misfits, "Halloween"

     Ah yes,  one of  my favourite  times of  the year  -- Halloween!
Trick or treaters scurry like rats in a never-ending quest for candy,
candle-lit  pumpkins  sit atop  chairs  and  porches, and  home-built
altars with fire  and smoke are monuments to  the obsessive celebrant
of this most Paganistic holiday. For  the metal fan in Toronto it was
a  chance to  experience "murder  metal"  by the  likes of  Chicago's
Macabre.  During my  long  trek to  Toronto, two  buses  I rode  were
assaulted by eggs, while police cars and firetrucks sped by to answer
the cries of  those affected by October's most  infamous day. Indeed,
the full fury of Hell can only be felt on Halloween.
     Having arrived  an hour late,  I was  to discover the  doors had
been closed an  extra hour meaning I hadn't missed  any of the nights
festivities. Cool!  A couple of  Heinekens got  me warmed up  for the
show openers: London,  Ontario's Blood of Christ. The  last couple of
times I'd seen  them they failed to live up  to their full potential,
but on  this night  they delivered  a very  strong set  of innovative
death/black metal with some cool melodic touches for added flair. Two
of the members felt the need to  dress for the occasion, as the first
song was  performed with Jason  and Freddie Krueger masks.  Their new
vocalist, whose voice has easily filled the vacancy left by ex-singer
Conan  Bulani, unfortunately  contributes little  if anything  to the
band's stage presence. This is due to  the fact that the band, once a
foursome, is now  down to trio, with BoC's new  vocalist now handling
bass guitar  duties as well.  Despite this, the guitaring  talents of
Jeff Longo and  the excellent drumming of his brother  Jason were top
notch, especially Jason's  lethal blast beats and  great cymbal work.
Personal  highlights include  "Autumn's Twilight"  off their  amazing
_The  Lonely Flowers  of Autumn_  demo,  and the  leadoff track  they
played (an instrumental, I believe), which was executed in a delicate
yet totally  harsh fashion. Working  on an independent CD  right now,
there's no  question that Blood  of Christ  are one of  Canada's best
metal bands. Great set!
     I was made aware of  Bunchoffuckinggoofs largely through the ads
their  label  took out  in  M.E.A.T.  magazine,  a once  proud  metal
publication which went bust years ago,  but never heard a single note
of their music until now. As I  expected it was punk music, but I had
no idea it  would sound this bad. Generic, lifeless  and boring... if
it's  true that  Halloween is  the only  day demons  and spirits  can
freely walk the  Earth, surely one of them would  have spared us from
this musical  blasphemy! A sore  lesson was learned: some  things are
best left untouched (or in this case, unheard).
     Montreal's Anonymus  followed, sporting  an obvious  metal sound
with elements of thrash and death liberally sprinkled throughout. The
occasional faster  parts made my  ears prick up, but  when regressing
back  to their  normal aggression  levels I  quickly returned  to the
conversation I was having. Not many in attendance were impressed, but
it could have been worse, I suppose. More Heineken would be consumed,
along with a little herb, as murder metal was soon to commence!
     Macabre, simply put, are like no  other band in the metal scene.
To this day I find it surprising that death metal "legends" (a term I
use  loosely)  like  Dismember  or  Bolt Thrower  have  had  so  much
attention lavished upon  them, while Macabre, for the  most part, are
less recognized  for their musical  genius. Macabre are a  cult band,
plain  and simple,  and despite  the lack  of attention  they receive
compared to  other bands, their fans  are amongst the most  loyal and
diehard in metal. And don't be mistaken, Macabre aren't simply a live
band... they are an experience to behold.
     Nearly repeating a classic set of material they executed in fine
fashion this past  March, fine tracks from their  back catalogue such
as "Fritz Haarman the  Butcher", "Nightstalker", "Montreal Massacre",
"Mary Bell", "Vampire of  Dusseldorf" and "McMassacre" were delivered
and  consumed by  their hungry  fans, each  song played  true to  the
original and  full of energy.  In addition, they performed  a healthy
number of tracks  off their latest record, a  concept album revolving
around serial  killer Jeffrey  Dahmer called _Dahmer_.  Included were
"Dog Guts", "Hitchhiker", "Cup of  Coffee", "Bath House", "Trial" and
"Konerak". Maniacal  fans all  throughout the  night shouted  out the
songs they wanted  to hear, as did I, with  fierce mosh pits breaking
out during "Is it Soup Yet?" and "Albert Fish Was Worse Than Any Fish
in the  Sea" off Macabre's underground  classic _Sinister Slaughter_.
Beautiful.
     What  makes Macabre  so special  isn't just  that they're  great
musicians,  but  they  deliver  a performance  onlookers  will  never
forget.  Before  beginning  each song,  guitarist/vocalist  Corporate
Death would  highlight the grisly  details on the serial  killer they
were  about  to sing  about,  recounting  the  stories in  an  almost
sinister fashion. At one point, during a brief pause in between songs
due to a broken bass string, Corporate delighted fans with some fancy
guitar soloing.  Why this man  isn't fully recognized for  his guitar
skills I will never know. When one fan hollered for Corporate to show
his  anger before  their  next song,  he obliged  and  gave the  most
pissed-off look he could muster before striking the first riff on his
guitar.  Now -that's-  a showman,  that  which is  sorely missing  in
today's underground scene.
     My favourite moment on the night  would have to be the preceding
minute to, along with the  actual performance of, "Zodiac". The crowd
(present company included) shouted and screamed out our best and most
twisted  "ZOOOODIAAAC!"  after  which  Corporate  Death  and  bassist
Nefarious  traded off  their own  versions for  a couple  of minutes.
Needless to say my  voice was shot at the end of  the night, which is
always a good sign that a show went well.
     A long trip  home from the venue  left me with a lot  of time to
pontificate  about  this  most  joyous day.  To  nostalgic  childhood
memories  of egging  houses  and trick  or treating,  I  can now  add
witnessing one of the best death  metal bands at their pinnacle to my
chest of memories. Happy Halloween indeed!

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

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


Gino's Top 5

1. Dying Fetus - _Destroy the Opposition_
2. Radiohead - _Kid A_
3. Mundane - _Feeding on a Lower Spine_
4. Various - _King Diamond Tribute_
5. Unleashed - _Live in Vienna '93_

Adrian's Top 5

1. Napalm Death - _Enemy of the Music Business_
2. Cryptopsy - _And Then You'll Beg_
3. Lamb of God - _Lamb of God_
4. Amen - _We Have Come for Your Parents_
5. The Mystic Krewe of Clearlight - _The Mystic Krewe of Clearlight_

Brian's Top 5

1. Lethargy - _Discography '93-'99_
2. VNV Nation - _Empires_
3. Nevermore - _The Politics of Ecstasy_
4. Septic Flesh - _Mystic Places of Dawn_
5. At the Gates - _Gardens of Grief_

Alain's Top 5

1. Punchdrunk - _Music for Them Asses_
2. Immortal - _Damned in Black_
3. Dying Fetus - _Destroy the Opposition_
4. Cryptopsy - _And Then You'll Beg_
5. dead horse - _horsecore: an unrelated story that's time consuming_

Adam's Top 5

1. My Dying Bride - the track "The Whore, The Cook and the Mother"
   exclusively
2. Blood Of Christ - _...Adrift With the River of Contemplation_
   (advance promo CD)
3. Portishead - _Roseland NYC Live_
4. Darkthrone - _Preparing for War_
5. Immortal - _Diabolical Fullmoon Mysticism_

Pedro's Top 5

1. Enslaved - _Mardraum - Beyond the Within_
2. In the Woods... - _Three Times Seven on a Pilgrimage_
3. Nile - _Black Seeds of Vengeance_
4. Malevolent Creation - _Envenomed_
5. Incantation - _The Infernal Storm_

Paul's Top 5

1. Cryptopsy - _And Then You'll Beg_
2. Immolation - _Close to a World Below_
3. Seth - _The Excellence_
4. Naked City - _Torture Garden_
5. AC/DC - _Let There Be Rock_

Aaron's Top 5

1. Setherial - _Nord_ (thanks, Steve)
2. Various - _Campaign of Hate_ (fitting for the U.S political season
   -- thanks, Adam)
3. Cradle of Filth - _Midian_
4. Shape of Dispair - _Shades of..._
5. Epoch of Unlight - _Black and Crimson Glory_

David's Top 5

1. Nile - _Black Seeds of Vengeance_
2. Cannibal Corpse - _Eaten Back to Life_
3. Strapping Young Lad - _City_
4. Cryptopsy - _And Then You'll Beg_
5. Lisa Gerrard - _The Mirror Pool_

Alex's Top 5

1. Overcome - _Immortal Until Their Work Is Done_
2. Point of Recognition / Cast in Stone / Torn in Two - _Now the
   Tables Have Turned_ (split)
3. Iron Maiden - _Brave New World_
4. Haggard - _And Thou Shalt Trust... the Seer_ (thanks to Alvin!)
5. Borknagar - _Quintessence_

Matthias' Top 5

1. Nevermore - _Dead Heart in a Dead World_
2. Napalm Death - _Enemy of the Music Business_
3. Nile - _Black Seeds of Vengeance_
4. In Flames - _Clayman_ and _Colony_
5. Morbid Angel - _Gateways to Annihilation_

Alvin's Top 5

1. Demonic Christ - _Demonic Battle Metal_
2. In Aeturnum - _The Pestilent Plague_
3. Obliteration - _Dying Age_ (demo) (thanx Alex!)
4. Gorgon - _The Lady Rides a Black Horse_
5. Ruthless - _Metal Without Mercy_

Gabriel's Top 5

1. Merzbow - _Door Open at 8 AM_
2. Joy Division - _Complete BBC Recordings_
3. New Order - _Complete BBC Recordings_
4. Various - _Economi$ed_
5. The Urge - _Too Much Stereo_

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


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End Chronicles of Chaos, Issue #50

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