
   ,- _~. ,,                              ,,                        /\
  (' /|   ||                       '      ||                       ||  
 ((  ||   ||/\\ ,._-_  /'\\ \\/\\ \\  _-_ ||  _-_   _-_,     /'\\ =||= 
 ((  ||   || ||  ||   || || || || || ||   || || \\ ||_.     || ||  ||  
  ( / |   || ||  ||   || || || || || ||   || ||/    ~ ||    || ||  ||  
   -____- \\ |/  \\,  \\,/  \\ \\ \\ \\,/ \\ \\,/  ,-_-     \\,/   \\, 
            _/                                                            
                       ,- _~. ,,                      
                      (' /|   ||      _               
                     ((  ||   ||/\\  < \,  /'\\  _-_, 
                     ((  ||   || ||  /-|| || || ||_.  
                      ( / |   || || (( || || ||  ~ || 
                       -____- \\ |/  \/\\ \\,/  ,-_-  
                                _/                    
  
        CHRONICLES OF CHAOS E-Zine, February 9, 1996, Issue #7

Co-Editor: Gino Filicetti <ginof@io.org> <_DeaTH_ on #metal>
Co-Editor: Adrian Bromley <bw823@torfree.net>
Assistant Editor: Alain M. Gaudrault <alain@mks.com>
Web Page Manager: Brian Meloon <bmeloon@math.cornell.edu>
Mailing List provided by: The University of Colorado at Boulder

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

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

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

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

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

Issue #7 Contents, 2/9/96
-------------------------
* Editorial
* Loud Letters
* Ferocious Features
-- Rainforest Rumblings Revealed
-- Continuing The Crucifixion
-- Resurrecting the Reich
* Chaotic Chat Sessions
-- Past and Present: Belladonna Shoots the Shit
-- Hotrods, Highways and Haircuts
* Independent Interrogations
-- Independent Feature: Aeon
* Record Revelations
-- Hypocrisy - _Abducted_
-- Bestial Warlust - _Blood & Valor_
-- Scorn - _Gyral_
-- The Gathering - _Mandylion_
-- Scum - _Purple Dreams & Magic Poems_
-- Helloween - _Master Of The Rings_
-- Destroyer 666 - _Violence Is The Prince Of The World_
-- Exoto - _A Thousand Dreams Ago_
-- Mortician - _House By The Cemetary_
-- Clotted Symmetrical Sexual Organ - _Nagro Lauxes VIII_
-- Dark Tranquility - _The Gallery_
-- Nightingale - _The Breathing Shadow_
-- Ghostorm - _Frozen In Fire_
-- End Of Green - _Infinity_
-- Disgrace - _Superhuman Dome_
-- Masquerade - _Surface of Pain_
-- Time Machine - _Act II: Galileo_
-- Mass Psychosis - _Face_
-- gut-sonic - _Impetus 23_
* New Noise
-- Nueairea - _Alter The Regular_
-- Mortal Decay - _Brutalizing Creations_
-- Project X - demo
-- Within - _The Unaccepted_
* Chaotic Concerts
-- No Stopping The Locomotive
* What We Have Cranked
* The Final Word

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

                          E D I T O R I A L 
                          ~~~~~~~~~~~~~~~~~
                         by:  Gino Filicetti

     Well, here we are, in the first ten days of February, and CoC #7
is actually ready. Are you all surprised or what? Really  though,  we
thought it was important this time around to get the issue out  at  a
reasonable time, both for your sake, and for ours  in  that  we  will
have more time to put CoC #8 together.
     The first thing you will probably notice  about  this  issue  is
that we have less than our 'usual' amount of feature stories. This is
mainly because of the fact that we had half as much time to  do  this
issue than we usually have. However, one piece of good news  is  that
our  'Independent  Interrogations'  section  is  back,  AND  WITH   A
VENGEANCE! Check out the story on Croatia's Aeon, who are keeping the
spirit of heavy music alive in a country  we  rarely  associate  with
said genre.
     Next, I have a bone to pick with all of you, and that  is  about
the lackadaisical response I received with regard to our Loud Letters
section. I know I can't force any of you to write in  to  us,  but  I
hope you can understand how disappointing it is not see any  response
to something like that. I hope that this time  around,  more  of  you
will have something to say, remember, it doesn't have to PRAISE  this
'glorious' magazine or anything of that sort; just write about what's
on your mind, it could be a reaction you have towards a  story  we've
run, your opinion on 'the  scene,'  what  you've  had  for  breakfast
today, or best  of  all,  a  flame  mail  telling  off  one  of  your
'favorite' writers! So come on everyone, show me  that  you're  still
alive out there. 
     Anyway, hope you enjoy this issue, we  have  more  reviews  than
ever before; that should make up for the lack of stories. Next  issue
is going to be a big one, two of heavy metal's founding  groups  will
be featured, maybe not in their most glorious days, but still kicking
out the shit. Have a good month, see you all next time.

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

                 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 <ginof@io.org> and  enter  'Attention  Loud
Letters' in the subject field. Hopefully all letters received will be
featured in upcoming issues of Chronicles of Chaos.


Date: Thu, 18 Jan 1996 15:39:07
From: Stephen Ryan <cactus911@vt.edu>
Subject: Thanks

Hey thanks for putting out a respectable ezine. A got a real surprise 
in this latest issue when a band from the past popped up..."Sacred 
Reich". An interview with this band would be incredible. Even some 
trivial info would be great. Thanks for a great read and timely 
information.

And of course, I now have to respect your taste since you toasted 
their new record with a 9. OK, so it was Adrian, whatever.

Steve
   
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
    ___________                        .__                     
    \_   _____/__________  ____   ____ |__| ____  __ __  ______
     |    __)/ __ \_  __ \/  _ \_/ ___\|  |/  _ \|  |  \/  ___/
     |     \\  ___/|  | \(  <_> )  \___|  (  <_> )  |  /\___ \ 
     \___  / \___  >__|   \____/ \___  >__|\____/|____//____  >
         \/      \/                  \/                     \/ 
      ___________            __                               
      \_   _____/___ _____ _/  |_ __ _________   ____   ______
       |    __)/ __ \\__  \\   __\  |  \_  __ \_/ __ \ /  ___/
       |     \\  ___/ / __ \|  | |  |  /|  | \/\  ___/ \___ \ 
       \___  / \___  >____  /__| |____/ |__|    \___  >____  >
           \/      \/     \/                        \/     \/ 

The meat of the matter lies here. Read on for the juiciest morsels on
bands ranging from the reknowned to the obscure. No fat, no  gristle,
just blood-soaked slabs served hot and ready. Dig in, readers.


      R A I N F O R E S T   R U M B L I N G S   R E V E A L E D 
      ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                     An Interview with Sepultura
                          by: Adrian Bromley

     Few will argue that Sepultura is one of the most powerful  metal
machines ever conceived. Even fewer will fight  the  fact  that  they
stand apart from hundreds of metal bands and continue  to  grow  with
each album. And with each release, they continue to mold a solidified
rampage of chugging riffs, pounding rhythms and gut wrenching  growls
around the strong political and social issues of their lyrics.
     Listening to the band's latest  and  most  compelling  album  to
date, _Roots_ (release street date March 13th), many will see a  band
at the edge of creativity  and  anarchy.  Fused  by  anger,  tension,
frustration and personal release, _Roots_  finds  itself  home  to  a
truly unique format  for  Sepultura:  the  addition  of  the  primal,
furious tribalistic sounds of the Xavantes tribe, a group of  Indians
living deep in the heart of the Amazon Jungle. 
     Even as some may see this as a gigantic leap of  experimentation
for the band, one has just to point to the obvious  Brazilian  sounds
and styles that  Sepultura  have  always  added  to  their  brilliant
masterpieces. The Brazilian sound  has  always  been  evident  within
their music and always manages to smoothly bind with  their  pounding
guitar  riffs  inspired  by  such  acts  as  Motorhead,  Slayer   and
Metallica. Just listen to songs off  of  1993's  hard-hitting  _Chaos
A.D._ with tracks such  as  "Refuse/Resist"  and  its  use  of  South
American percussion stylings, the rhythmic beats within the true tale
of "Manifest" and the stunning song "Kaiowas", a tribute to the tribe
of the same name.
     This time around, with _Roots_,  the  band  went  right  to  the
source of Brazilian culture and music, and brought out  a  triumphant
taste of generations of music  that  allow  the  album  to  spark  an
interest in how two distinct cultures molded as one for the recording
of _Roots_. 
     Sepultura has not had to take on such a load  of  responsibility
since the transition the band took upon themselves  after  struggling
to release their first  two  efforts,  _Morbid  Visions_  (1986)  and
_Schizophrenia_ (1987) and metamorphosizing their talent  to  produce
such prominent masterpieces as their Roadrunner  debut  _Beneath  The
Remains_ (1989) and _Arise_ (1991). These boys are  more  of  a  band
now, still trying to find their  niche;  as  their  writing  matures,
their visions become clearer. They are searching  for  the  Sepultura
sound that'll keep their fanbase  growing  and  their  integrity  and
maturity intact. In 1993, the band stepped  in  the  right  direction
with _Chaos A.D._. That record opened the doors to a greater  variety
of fans, with the album selling a million  units  worldwide  and  two
years of extensive touring  with  such  acts  as  Ozzy  Osbourne  and
Pantera as well as a successful headlining jaunt. 
     To make the perfect addition to a long line  of  successful  LPs
was a task that lead vocalist/guitarist/lyricist Max  Cavalera  would
have to undertake and in the process, he had to retain a sturdy  will
for the band in the face of commercialism. Cavalera, and his group  -
brother/drummer Igor Cavalera, bassist Paulo Jr., and lead  guitarist
Andreas Kisser - locked themselves away in Indigo  Ranch  studios  in
Malibu, California to create _Roots_. As the album came together  bit
by bit, over a long lengthy process, it was evident  that  the  album
was very personal for the band, but it also helped preserve the music
of Sepultura's homeland. 
     "We thought it was a real important record," starts Max Cavalera
over the phone from Phoenix, Arizona. "We wanted  to  give  the  fans
more than what they expected and that takes time. We want fans to see
and experience what we created, more than what they did  with  _Chaos
A.D._. To be able to listen to the new record  and  every  time  they
hear it to see and hear something new from the record. Sepultura  has
always been known to do different things and try to  play  music  and
show the fans stuff they may  not  have  known  before.  So  far  the
responses for us has always  been  good  when  we  release  an  album
because fans know they will get something  unique  with  one  of  our
records. Working with the tribe is just another experience  for  them
to be part of." Cavalera continues on about  the  recording  process;
"We took a lot of time with this record. More time  and  effort  than
any other record because we recorded the record in  different  phases
and also the writing process was done different so the end result  is
obviously a different record." But Cavalera assures us that the  band
has not lost their trademark aggressive anger. "The main  element  is
that the intensity and heaviness is there and not that it is stronger
than before. It is just that there is a lot going on. It  is  a  very
open record."
     Another component to the makeup of this album is the addition of
several other musicians who helped bring about a certain new slant to
the Sepultura sound. About the other musicians' help - which included
famed Brazilian percussionist Carlihnos Brown, Faith No  More's  Mike
Patton and Korn's Jonathan Davis - Cavalera says, "It was  very  cool
and very experimental." He continues, "I like all those  artists  and
what they do with their bands," speaking about his choice of  artists
to work with. "It was cool that they came  into  Sepultura  and  made
music adding their own style and characteristic."
     The biggest outside contribution to _Roots_  came  from  a  most
unexpected contributor: the Xavantes tribe. Solely for the purpose of
recording with a tribe that has thrived for thousands of years in the
heart of the Amazon  Jungle,  the  band  decided  to  pack  up  their
recording gear and venture into the heart of  the  Brazilian  foliage
for three days to meet, live and be a part of the Xavantes tribe.  It
was without  question  one  of  the  most  amazing  experiences  that
Cavalera and his band have ever gone through,  and  it  is  something
they won't soon forget. Max says, "The band became part of the  tribe
and lived like they did." 
     In order to get this planned expedition off the ground, Cavalera
explained that there was an extensive  amount  of  communication  and
paperwork between the tribe and the record label and the  process  of
actually getting the early November (1995) trek underway took  months
of planning. About the idea for the use  of  the  tribe's  music  and
culture he says, "Once we decided to call the album _Roots_, with  us
wanting to show the roots of Brazil, the tribe had to be included  or
we would have had to call the album something else."  Another  reason
reveals Cavalera: "It was an attempt to  show  people  the  different
sides of Brazilian music and we did that with the Xavantes tribe." He
states, "It was hard to pull it off, dealing with several people  and
the people who were working with the indians. It  took  a  couple  of
months to get it going and we had to work hard to bring in  gear  and
record. I think though, the end result was worth it."  Does  Cavalera
feel that the two extremes, Sepultura's rage and the Xavantes culture
and mystique, clash in any way, shape or form? "I  think  the  tribal
music is very spiritual and it allows us a more spiritual feeling  to
that part of the record and I believe that it is very  strong."  Adds
Cavalera, "I wouldn't say that the Xavantes music is very mild. It is
aggressive in its own way."
     As the music takes on another shape or form this time around, so
does the lyrical content of the album.  Cavalera  explains  that  the
album's music lends itself to being  captivated  by  emotions,  their
political ideas and thoughts are avoided this time; making _Roots_  a
very emotionally charged and personal album for Cavalera. "Every song
is different from each other. The music  is  mostly  about  life  and
stuff like that. To tell people that listen to this kind of music  to
not take shit from no one and believe in yourself. This album is less
political and more personal." He is quick to state  that  the  band's
musical knowledge has not been the only  change  for  Sepultura.  The
actual direction and definition  of  the  Sepultura  sound  has  been
finally discovered; "Our music is very original now. It has  its  own
face and now leaves an impression which is what we have been  looking
for all these years. We don't want to be  the  'next  anything'  like
what most record companies want. We just want to be a band  that  can
sound different and be proud of it."
     And the appeal of Sepultura's music? "We are not trapped in  any
genre and we have created our style and will continue to grow  deeper
and deeper into our style. To become a stronger Sepultura. I hope the
next record tops _Roots_  where  it  will  be  a  more  exciting  and
intricate album."
     While on the topic of success, I ask Cavalera if the band  feels
that, after so many releases, world tours, and respect from  critics,
they have reached a successful point in their  careers?  "We  try  to
reach success that comes together with integrity and fan appreciation
without having to compromise ourselves," acknowledges  Cavalera.  "If
you can do that, it is the best success you can get. For me, that  is
important to me even though we could get bigger than we are by  being
commercial. This way we feel like we have earned it  without  feeling
like a music whore."
     About today's music scene he mentions, "It is fucked up with all
these bands sounding like one another. It is like, why bother ripping
shit off like that? Bands are so disposable. They make the  cash  and
that's that, and that is what record labels like. I am not like that,
don't want to be and never will be like that.  I  am  not  into  that
greed stuff. I do this because I like to make  music  and  watch  how
people react to it."
     If success hasn't changed Max Cavalera's outlook on  life  much,
marriage and fatherhood sure have  (Max  is  married  to  Sepultura's
manager Gloria Cavalera and father to his toddler Zyon). Max relates,
"It hasn't changed me much except maybe that I  spend  more  time  at
home doing some recording with my four track. My son spends time with
me while I record. I used to spend less time with music and more time
just getting fucked  up,"  he  chuckles  and  says,  "Now  I  live  a
different lifestyle but it is in some way or  another  interconnected
with music all the time."
     The topic now turns to the fact that Sepultura will  be  heading
out on tour once _Roots_ hits stores in March and,  like  the  _Chaos
A.D._ tour, it will be an extensive one. "I am convinced that we will
tour more than ever before with this album. We toured two years  with
the last record and it just seems that there is a whole lot  more  to
do and places to play." Cavalera outlines the reasoning  for  such  a
long tour by saying, "We don't see just Europe  and  America  as  the
only places to play. We gotta go everywhere because that is  what  we
are all about: playing out."
     Mentioning  the  possibilities  of  the  band  going  out  on  a
headlining tour, Cavalera says, "I'd like to play at clubs and venues
without seats where fans can be close to  the  band  and  can  get  a
better show. I don't like arenas too much [noting  the  size  of  the
Ozzy tour]. If there is a chance to go out on tour in arenas  with  a
big band, I will do it in order to promote the band and the  record."
When asked about the band's attitude and aggression on the  stage  he
responds, "We are all very different  on  and  off  the  stage.  When
playing, Paulo, Igor, and Andreas just go all out on stage, but  they
are not like me. I just let anything happen sometimes as I don't hold
myself to anything. The stage is  where  I  am  and  do  let  all  my
frustrations and feelings out."
     Seeing that Cavalera has lived  with  his  wife  and  family  in
Phoenix for some time, does he miss living in Brazil? "I go back home
a lot and as much as I love it, Brazil still pisses me off.  For  me,
it is better to be here [U.S.A.] where my head  is  clean,"  explains
Cavalera about all of the problems  facing  his  homeland,  including
drugs, police corruption, illegal government activities, and  so  on.
Many of  these  problems  have  been  the  backbone  behind  numerous
Sepultura songs about politics and social issues. "It  is  all  true.
All the shit that is going on there,  it  is  just  that  people  are
afraid to say things because there is a code of silence amongst many."
     Cavalera is very much aware of the dangers of  travelling  there
too; "When I was there last time, I was  paranoid  that  I  would  be
sabotaged by police or kidnapped. I was paranoid because I think I am
too outspoken. When I was there last time, I  did  a  few  interviews
with some big newspapers and basically said that the police there are
a pile of shit. And now I realized and have thought  to  myself  that
saying stuff like that could cost me my life. So now I don't go  back
as much and it is because now that I have kids and a wife.  Why  risk
it? I mean, why have them kidnapped, tortured  or  killed  when  they
haven't said anything? I just gotta be more careful from now on."
     Back to the grind one more time, Sepultura prepares  once  again
to tour the world, and they are hoping  in  the  process  that  their
fans, as  well  as  newcomers,  pick  up  on  their  'roots.'  It  is
definitely something that would make them proud this time around.

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

         C O N T I N U I N G   T H E   C R U C I F I X I O N
         ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                     An Interview with Immolation
                          by: Gino Filicetti

     Seeing as it has been almost five years  since  you've  probably
encountered the name Immolation, it would be no wonder if you  are  a
bit fuzzy on the details surrounding this band.
     In the fateful year of 1988, Immolation  was  formed  after  the
demise of Robert Vigna  and  Tom  Wilkinson's  previous  band:  Rigor
Mortis. The duo went on to form the first incarnation  of  Immolation
that also included Ross Dolan on bass and vox,  and  Neal  Boback  on
drums.  Just  before  the  recording  of  their  first   album,   the
relationship with Neal deteriorated to the point of  the  band  being
forced to move on. Enter Craig Smilowski to  fill  in  as  a  session
drummer on Immolation's debut, _Dawn of Possession_ and later staying
on for the long bout of touring that followed. Just recently however,
the band decided that Craig was not the right person for the job. "He
just wasn't into it with all his heart. I mean, Craig's a really good
guy but he wasn't one to take initiative. He always had  to  be  told
what to do and it just got to the point were we wanted to move on  to
bigger things, and Craig couldn't handle  it.  So  now  we  got  Alex
Hernandez (ex of Fallen Christ) who  is  an  excellent  drummer,  who
knows exactly what he wants to get out of drumming, and  is  obsessed
by the music. I mean, the guy had to be part of four  bands  just  to
get the amount of practice he desired."
     With the release of their album just around the corner, and more
than one tour already planned, the band is more than psyched  to  get
out there and get back in people's faces. However, it has been a long
time since their previous release (five years). Will this  fact  hurt
the band's chances at all? "No way! I think if anything  it  actually
helps us. I mean, it's not like we are some kind of trendy band  that
lays low and tries to figure out what the next trend  is  so  we  can
jump on it and cash in. No, I think people  appreciate  that  we  are
still the same band we were five years ago. I think that we will have
not lost any of our fans, and we hope to grab  that  many  more  with
this new album."
     One reason that can  account  for  the  gap  between  albums  is
Immolation's label switch. It can be said that the band had to  start
completely from scratch after releasing themselves  from  Roadrunner,
in that they had to shop for a new label themselves. "It was  just  a
matter of us being fed up with the label and all the bullshit we  had
to put up with. Everything was great with them, we recorded _Dawn  of
Possession_, and everything was really smooth. Roadrunner  then  sent
us on a couple of tours, and  they  were  ready  for  us  to  release
another album in the few short months that followed. We tried to tell
them, 'Look, we just won't have the album ready by then.' I mean,  we
all had full time jobs and we couldn't focus our  complete  attention
on the band at that time. But the label wouldn't accept that,  so  we
decided that it was best if we just leave and find someone who  would
be more into our music, and appreciate us in the  same  way  everyone
else appreciates us."
     One of the most unfortunate  things  about  getting  pre-release
promos is that more than likely, the album's lyrics will be left  out
and forgotten. What most labels  fail  to  realize  is  that  (in  my
opinion) half the album's worth consists of  its  lyrics.  Rob  Vigna
shares my opinions; "I know, that really sucks about promos. I  mean,
you'd think that  people  who  are  doing  interviews  and  reviewing
records are the ones that need the lyrics more than anyone." However,
from the song titles alone, it is apparent that Immolation are  still
keeping up with their anti-Christian  beliefs.  What  is  behind  the
lyrical ideas on this album? "Well, I think that this album  is  very
personal to all the members of the band. Very much more so  than  the
last one. There is more of an anti-Christian theme on this  album  as
well. It just reflects what we feel inside. I mean, in my opinion, it
is very hard to write a really good song. I can honestly say that we,
as a band, have always taken our time to deliver the best  lyrics  we
can possibly write."
     In music, we have nasty things called labels. Everyone  in  this
business feels the need  to  categorize  and  pigeonhole  bands  into
certain genres: death metal, thrash, grindcore, black metal, etc. How
does  Immolation  fit  into  all  this?  "Well,  Immolation  is  just
Immolation, plain and simple. Fuck man, you know, we have been called
it all, from death metal to black metal to  death/black  metal.  It's
just stupid I think, but then again, people need a frame of reference
when talking about new bands or unfamiliar bands. I just think people
should spend as little time as possible thinking about  what  certain
genre a certain band is."
     Since their debut album, Immolation has certainly had more  than
their share of road time. The band has  successfully  toured  America
more than once, Europe, South America and even the  greatest  country
on earth, Canada. What are the tour plans this time around? "Well, we
are going to go out with Six Feet Under in support of their  American
tour, and after that we  are  heading  out  to  Europe  to  open  for
Cannibal Corpse. There will probably be an Osmose band opening up  as
well. After that, we will probably follow Cannibal Corpse back to the
US and support their tour here." He continues, "As for  headlining  a
tour, we have nothing planned yet, but these tours will take up  most
of our time for the rest of this year. Maybe late this year or  early
next year, we will put together a headlining US tour.  The  thing  is
that headlining is just so much better. You are in control,  I  mean,
you pick the food and you get first crack on the sound board, and you
go on last, and you get to play all the songs you want.  And  in  the
end you know that if you pack a venue, it's because all those  people
were there to see you."
     As my interview drew to a  close,  I  asked  Rob  if  there  was
anything else he'd like to say to everyone out in  cyberspace.  "Yeah
well, we'd just like to  thank  everyone  for  all  the  support  and
encouragement we've received  throughout  the  years.  We  know  that
without the help of each and everyone of you,  Immolation  would  not
stand where we are today. I hope everyone completely  digs  this  new
album, and hopefully we will see you all on the road."

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

             R E S U R R E C T I N G   T H E   R E I C H 
             ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                    An Interview with Sacred Reich
                          by: Adrian Bromley

     Few thrash metal bands have survived the  destructive  stomp  of
commercialism or the neglect many listeners  have  given  them  while
moving onto other genres of music.  Still  around  since  forming  in
1986, thrash metallers Sacred Reich  are  living  proof  that  thrash
metal is alive and well in this day and age with their latest  effort
_Heal_. 
     _Heal_ is the  quartet's  fourth  full-length  album  (following
1987's _Ignorance_, _American Way_ (1990), and 1993's  brilliant  yet
dismally selling _Independent_, as well as a few EPs) and  with  this
album, the band has regrouped and brought in  a  more  'back  to  the
basics' kind of approach, a direction avoided with _Independent_. The
band felt that a heavier album  with  grittier  songs  needed  to  be
produced in order to get the band back to what they once were.
     "On the last record I thought it was a  really  good  record.  I
just    thought    there    was    missing     something,"     begins
singer/lyricist/bassist  Phil   Rind   about   their   last   record,
_Independent_. "I think it was missing our roots  of  where  we  were
from or what we were about. It was something we  felt  we  needed  to
re-establish. I think maybe we got a bit  too  comfortable  with  the
last record but we thought we were missing out so we decided to  make
a record that was what we are." And what sets _Heal_ apart from their
1993 LP _Independent_? "The songs," responds Rind,  "there  wasn't  a
song like "Blue Suit, Brown Shirt" or "The Power Of The Written Word"
on the last record. I think we got away from that  type  of  material
for a record but I think we realized it in time."
     Along with guitarists Jason Rainey and Wiley Arnett and  drummer
Dave McClain, Rind and his ensemble of thrashers are not  ashamed  of
the direction they took with the last effort. They just felt that  it
was another point in their careers. "You just write where you are  at
at that time. I think it was a transition record with the way we were
at Hollywood Records [their label prior  to  signing  back  to  Metal
Blade] and with a new drummer. It was a weird thing. I  mean  no  one
ever told us not to write heavy songs. I don't know why it  was  done
that way," explains Rind. "You gotta do what you like and  you  can't
ignore a part of you."
     Seeing that a large percentage of bands Sacred Reich played with
or shared the same musical genre with in the mid-80's and early  90's
are all gone for the most part, does Rind see that metal  has  fallen
from the clutches of the mainstream and back into the underground? "I
definitely think so because things go in cycles. There  was  definite
underground and then there was an overexposure, 'flavor of the  week'
vibe to metal and that  kind  of  music  but  that  was  from  record
companies and people in the media. I think that when things  get  too
big it has to revert  back  to  where  it  originally  came  from  to
survive. That is happening right now."
     And his views on the band's  reason  for  sticking  around?  Any
secrets to their longevity? "I think the main thing was that we stuck
it out. We had good times and bad times and we had in between times."
Rind reveals, "There was a point in time when I  quit  the  band  not
long ago, about a year ago or so. I wasn't sure what I wanted  to  do
and I wasn't happy. It was strange but it gave me a new  appreciation
of what I do." 
     He continues, "Sometimes it is easy to get  caught  up  and  not
look around and realize what you got. That was a tough  time  for  me
personally. The record  [_Heal_]  was  done  when  all  these  things
started to happen. I was confused. I think you get to a point in your
life when you reach the crossroads and there  are  a  lot  of  things
going on and you got to stop and not make any rash decisions. Luckily
I was smart enough to realize that I was going through a thing and  I
had to get through it. It [the problem] had nothing to  do  with  the
band and luckily I worked it out and I  feel  very  comfortable  with
what I am doing, who I am and where I am at. 
     "I don't know what brought it about but it is a thing that  just
happened and it is good that it happened because it gave me a renewed
enthusiasm and commitment and joy and happiness," says Rind.
     And things have been getting better for the band as they  signed
back on with their original label, Metal Blade, and are  just  loving
the new album. "I think this is the best one. Every time we do a  new
record I think it is the best record we have ever done. I think  that
is because every time we get better at what we do and we learn  stuff
along the way." And with that growth does Rind find that the  album's
songs and lyrics come easier this time around, especially  after  all
these years of songwriting? "I don't think it gets easier or  harder.
It is just that it is still the same as far as  the  mystery  of  the
creative process is concerned. It is a  mystery  of  what  makes  the
average song come about."
     So with the problems aside and things back on track was there  a
reasoning for _Heal_ to be the album title? "We always  try  to  pick
album titles that mean different things.  Heal  relates  to  physical
healing which is representative by the cover [a  picture  of  a  full
knee restructuring operation]. Heal  can  also  relate  to  physical,
mental, spiritual or emotional healing too. We just felt it to be  an
appropriate album title for the album."
     Seeing the admiration for album number four, does  Sacred  Reich
have any set plans for the immediate future? Aside  from  a  tour  of
both North America and Europe, which  is  a  major  commitment,  Rind
reveals the urge to get back into the studio soon. "I'd like to  make
another record. People always ask me, 'What do you want to do  to  be
more successful?' and I think and I would want to make another record
within a year of the last one. Maybe that will be some way  to  break
the mold of the release of Sacred Reich records," laughs Rind, noting
the long gap between their albums. He finishes by saying, "We want to
do that ... though there are no guarantees."

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
         _______             __  _       _______        __
        / ___/ /  ___ ____  / /_(_)___  / ___/ /  ___ _/ /_
       / /__/ _ \/ _ `/ _ \/ __/ / __/ / /__/ _ \/ _ `/ __/
       \___/_//_/\_,_/\___/\__/_/\__/  \___/_//_/\_,_/\__/
                   ____            _
                  / __/__ ___ ___ (_)__  ___  ___
                 _\ \/ -_|_-<(_-</ / _ \/ _ \(_-<
                /___/\__/___/___/_/\___/_//_/___/


This is the column where CoC sits down to have a  face  to  face,  no
holds barred conversation with  your  favorite  bands,  and  get  the
inside scoop into what's happening in their lives.


             PAST AND PRESENT: BELLADONNA SHOOTS THE SHIT
             ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                          by: Adrian Bromley

     When Joey Belladonna got the boot in  1991  from  his  long-time
band Anthrax, one of thrash metal's premier outfits, everyone in  the
metal community was shocked. What would become of Anthrax? Would they
be able to replace Belladonna? Would  they  ever  tour  again?  Those
questions were soon answered as singer  (ex-Armored  Saint  vocalist)
John Bush stepped in and has since guided them onto two  albums  thus
far. Funny thing is no one ever  asked  what  would  become  of  Joey
Belladonna. Did they care?
     It is now 1996 and Joey Belladonna has surfaced with  his  three
upstate New York musician friends  to  form  Belladonna  and  release
their  self-titled  debut  album  on  Mausoleum/EMI.  On  tour   with
Motorhead and Detroit's Speedball  (the  band's  first  major  tour),
Chronicles of Chaos sat down - round-table style - with Joey and  his
new band made  up  of  guitarist  Darin  Scott  (DS),  drummer  Scott
Schroeter (SS), and bassist Joe Andrews (JA) and  just  talked  about
music, Anthrax, touring and so forth.

CoC: With the way music is changing in the 90's, do you think it is a
     deterrent to be your own original self and stick to your guns by
     playing the music you want to play?

JB: It is good to do what you do best than try to  do  something  you
    can't do or you don't feel comfortable with doing at all.

CoC: Do you find it hard to  go  out  and  tour  now  that  the  main
     emphasis of the music industry's interest has  been  taken  away
     from metal and put towards the punk and alternative music scenes?

SS: Not really. We aren't finding it a hassle. We find people  coming
    up to us at shows and saying, "It is  great  that  you  guys  are
    still doing this [playing metal]."

JA: It is definitely not the old days but there are  so  many  people
    out there that are so into it and still wanting to hear it.  This
    tour is going over better than we  expected.  We  weren't  really
    aware of how it was going to be for us when we started  the  tour
    with how the  scene  has  changed,  but  people  are  being  real
    supportive at the shows.

JB: The Motorhead crowd is also digging the music and that is  great.
    It's also great to see  that  something  else  positive  is  also
    coming out of this tour with them. We are  having  a  great  time
    with this tour.

DS: As Lemmy would say [short impression  of  Motorhead's  frontman],
    'Effem mate, if they don't like it: Fuck 'em.'

CoC: When you guys actually got together, how hard was  it  to  write
     material and join forces?"

SS: When we got together (the three  other  members  had  known  each
    other in the Syracuse, NY band circuit) Joe had already had  some
    material written already. And with that we added our  own  little
    feel to the music and he liked it. And  the  stuff  we  ended  up
    writing as a band it all came natural. It is all working so  well
    for us as a team and a band.

JB: We just added onto all the material that we had. The  more  stuff
    we had, the better choices of songs we had to choose from for the
    album.

CoC: Seeing that you had material for the first album before  it  was
     put together, do you have ideas or material lying around for the
     next release already? What are your plans?

DS: We already have enough songs for two albums. We  definitely  have
    at least a record's worth.

JB: It won't take that long to put another album together  next  time
    around.

CoC: I heard that you do a few Anthrax tunes live? What songs are you
     doing?

JB: We are doing a pretty wide spread of stuff.  About  a  15  minute
    medley of songs. I don't mind doing the Anthrax  numbers  because
    these guys do it really well. Plus everyone is getting a kick out
    of hearing the stuff again. It sounds good to me, if not  better,
    because I am getting a kick out of doing them again.

CoC: How has going from one band to another affected you? Have things
     changed for you? How is it different?

JB: This whole record industry business thing where no one is  taking
    the music serious or they didn't want  anything  to  do  with  it
    because it wasn't what was happening is what bugs me. Other  than
    that it is pretty simple.

DS: He can shine on his own merits  now  rather  than  hiding  behind
    someone else's and show that he can write songs too.

JB: Putting a group together is a challenge because you have  to  see
    if you can get the people to work and see if things will  happen.
    Some people don't have the need and hunger to do it.  These  guys
    do. I am thrilled with the album and to be out again doing this.

CoC: How has press been for the band?

JB: We are seeing a lot of press on us now and it is good.

JA: The word about us is just coming out now. A  lot  of  people  are
    coming up to us now and asking us if we have an album out. A  lot
    of people don't know we are even  a  band.  With  more  and  more
    press, it is going to help us.

CoC: With some bad flack from the press about  certain  qualities  of
     Belladonna's style of music,  comparisons  to  Anthrax  and  the
     like, how is the band affected?

JB: We knew we would be compared to Anthrax. A lot of people say, "Oh
    it is metal and 80's music" and they  may  not  like  it  but  it
    doesn't mean that it isn't good or that we don't know what we are
    doing, right?

DS: A year ago they weren't even talking. Now they are. Good  or  bad
    press, it all helps us.

JA: Sure people say it sounds like Anthrax. I wonder why, seeing that
    we have Joey Belladonna singing for us (laughs)! Of course it  is
    gonna sound similar.

                    ---------------
Check out Belladonna on tour in the United States with Motorhead  and
Speedball throughout February.

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

    H O T R O D S ,   H I G H W A Y S   A N D   H A I R   C U T S
    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                     An Interview with Speedball
                          by: Adrian Bromley


     Inspired by the loud, hard-hitting music of metallic greats like
Motorhead and Black Sabbath, Detroit's Speedball have  always  wanted
to play this kind of music. With their Energy  Records  debut  album,
_Do Unto Others,  Then  Split_,  the  band  has  done  just  that  by
incorporating all the fundamental characteristics of punk,  hardcore,
metal and rock n' roll in one neat little package.  It  makes  for  a
really exciting record to just crank up.
     Speaking with Speedball prior to their opening slot showcase  on
the current Motorhead tour,  singer/guitarist  Chuck  Burns,  drummer
Mike Alonso and bassist  Jeff  King  (the  band  is  rounded  out  by
guitarist Bill Kozy) took a short break to chat  with  Chronicles  of
Chaos before their soundcheck.

CoC: Do you find that it is very difficult for bands in this day  and
     age to go out and tour and be successful at the same time?

JK: The greatest thing about this tour is  that  our  first  national
    tour is the easiest thing we are going to do. If we  were  to  do
    this by ourselves, we'd be lucky  to  be  getting  100  people  a
    night. By doing this tour, even if we are on  first  when  people
    are walking in, we're playing to 300 people a night. And that  is
    great for us.

CB: It is a great opportunity for us to  be  playing  with  Motorhead
    because people obviously know who they are. The response has been
    good and we have been doing really well.

CoC: How would you label Speedball's sound and musical style?

JK: It is kind of hard to describe as we have a lot of influences.  I
    would say that we are a high energy rock n' roll band.

CB: Yeah, a high energy rock n' roll band with really heavy punk  and
    metal sounds as well as the hardcore sounds.

CoC: For a band like you with all those influences, it  can  make  it
     hard for you to  be  categorized.  How  do  you  get  past  that
     response due to the different genre influences?

JK: Sometimes it is a bit of a hindrance because  people  don't  know
    how to peg us. We don't care because we love our music  and  what
    we are doing.

CB: We are just a rock band. We can play with Green Day or Motorhead.
    And we have played with various  bands:  Down,  Korn,  Pennywise,
    Silverchair. We have played in front of a  variety  of  different
    audiences and we did very well.

CoC: How is it being on a smaller label like Energy Records? How  has
     it helped or hindered you?

CB: It has helped because it allowed us to make the album  we  wanted
    to do. As for the creativity factor, it was killer.  But  it  has
    hindered us because being on a smaller label, they  really  don't
    have the money to ram us down people's throats.

JK: I'd rather be on an indie label because we  wanted  to  make  the
    record that we wanted to make, and we did that. I don't like  the
    fact that guys with suits behind desks get to make the  calls  on
    songs or albums or videos.

CoC: And the future? Are you striving for another release soon?

CB: We feel we have more touring to do. We kind of stumbled when  the
    record first came out a bit because we  had  bad  management  and
    didn't get shows booked as well as we should have.  Now  we  have
    good management and the ball is rolling for us.

MA: It seems like the album has been out a long time for  us  because
    we have been waiting for things to happen but I  still  think  we
    have a lot of time left with this record.

CB: A lot of records were out before bands broke  out.  Shit!  I  had
    Guns N' Roses' _Appetite  For  Destruction_  a  year  before  you
    started hearing it on the radio.

CoC: What do you think about the bands that put out debut records and
     the next thing you know they are selling a million copies?

CB: That is because they are  a  product  of  a  record  company  who
    stuffed them down everyone's throats. I don't want to  play  that
    game and be the 'Flavor of the Week.'

CB: The first album on a major label is more of  a  gamble.  For  one
    band that puts out a record and goes platinum, there  are  thirty
    bands on majors where their albums go downhill soon  after  their
    release.

CoC: Is being on a major tour something you guys are proud of?

CB: It is great to be on tour and even a bigger honor to be  on  tour
    with Motorhead. They have been such a big influence on all of us.
    I remember my life changed after seeing Motorhead in 1981 and now
    in 1996 I am on tour with them. Things  couldn't  be  any  better
    right now.

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

       ::::::|       :|                       :|            :|
         ::|  :::\ :':| :~~/ :::\ :~~/ :::\ :':| .::\ :::\ :::|
       ::::::|:|:| :::| :::, :::/ :::, :|:| :::| `::| :|:|  :|
                             :|
 ::::::|      :|                                 :|  ++
   ::|  :::\ :::| :~~/ :::| :::| ,::\ .::\ /::| :::| :| ,::\ :::\ <::<
 ::::::|:|:|  :|  :::, :|   :|   `::/ `::| \::|  :|  :| `::/ :|:| >::>
                                     ,.:/

Here is where CoC gets the inside story on up-and-coming bands. Check
out this column for a variety of fresh, brutal groups.  Should you be
an aspiring band on your way to super-stardom,  send us your demo and
bio; our address is included in the zine's header.


          I N D E P E N D E N T   F E A T U R E :   A E O N 
          ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
                           by: Brian Meloon

"There is no dead which can eternal lie, and with strange aeons  even
death may die." -- H.P.  Lovecraft,  as  quoted  by  guitarist  Paolo
Gavocanov

     Proving  once  again  that  the  language  of  metal  knows   no
boundaries are Croatia's Aeon. I first heard them in  the  summer  of
1995, when their keyboardist Sinisa "Sipy" Bival sent  me  copies  of
their  two  demos:  demo  #1  (1993,  when  they  were  still  called
Dissection), and demo #2 (1994). They were reviewed way back  in  CoC
#2, and their second demo was given unending praise. I recently asked
guitarist Paolo Gavocanov and Sipy some questions about the band  and
their forthcoming debut album.
     Since their inception in 1989 as Dissection, the band  has  gone
through numerous lineup changes and a name  change.  Eventually,  the
lineup settled down, and has remained constant since the beginning of
1994. However, their name is a different  story,  as  Sipy  explains;
"The name has always been a problem, but I don't  think  we're  gonna
change it. I guess that we're not lucky with our name.  I  mean  when
the band was called Dissection, the Swedish guys released their debut
_Somberlain_. We figured it would be appropriate to change the  name.
Now I know of 3 different bands with name  AEON,  but  I  don't  care
about that. We like this name." Hailing from  Croatia  also  made  it
difficult for the band. "The scene  isn't  much  here.  It  could  be
better," says Sipy. "I can say that there are more  people  that  are
listening to underground metal  bands  than  bands  existing  in  the
scene. The problem is always the same: lack of equipment,  space  for
rehearsals and finally there are not so many  places  where  you  can
play." Still, the band has managed to promote itself in the  European
underground, appearing on Dennis Ippel's compilation tapes  _A  Waste
of Tape #1 and #2_, as well as having their video for "Congest" (from
demo #1) shown on Croatia's _Metal Mania_ TV show.
     Although demo #1  was  straight  ahead  death  metal,  the  band
progressed towards a more technical  and  melodic  style.  In  Sipy's
words, "Our music has its phases. If you would listen  to  _demo  #1_
and to the stuff we're doing now, you would see a  progression  going
on. From that straightforward death metal, we built  our  own  style.
The main thing was the absence of Sasa [Ristic, their  former  guitar
player. He left for military service]. Then Paolo,  who's  doing  all
the riffs, is always going for something new, he doesn't like to play
the same thing twice, believe me. The keyboard stuff  did  the  thing
also, especially by doubling scales and melodies to  the  guitar.  It
resulted in a more original musical output. I'm not saying that  it's
unique but it has its originalities. It's technical, melodic,  heavy.
We use many different metal styles and  other  styles  that  are  not
metal to express ourselves." Paolo concurs,  "I'm  a  very  impatient
type of human being, and I really don't like playing always the  same
songs, and I neither like to play always the same type of music,  and
it is reflected clearly in my music."  Personally  I  would  describe
their overall sound as technical, melodic  death  metal,  though  the
band resists classification, with Sipy  citing  the  usual  objection
that, "Kids seem to listen to a particular style only because of  the
trend or something." Paolo is a little more descriptive;  "Our  music
is a sort of progressive metal, and it is the only way in which I can
classify it."
     Currently, the band is preparing to release their debut album on
the newly formed Baldrick Hell's Kitchen Records run by Jordi "Billu"
Bellaubi, formerly of Abstract Emotions. They are in the  process  of
recording as I write this, and should be finished  by  the  time  you
read it. In the meantime, BHK will rerelease Aeon's _demo  #2_  as  a
cassette EP under the  title  _Clean  Hands  of  Eternal  Gods_.  The
re-released version will feature a new  live  track,  "Portent",  but
will be without the keyboard outro "Dissicated".  BHK  will  also  be
releasing a home video of the band including covers and studio  shots
of the band as well as their video for  "Blinded  by  the  Afterlife"
(from demo #2).
     Their forthcoming full-length debut album should  be  a  diverse
offering, as the band has continued to move into a  more  progressive
sound. Paolo mentions that the  new  album  will  feature  "some  old
hippie-groove parts like the old Black Sabbath and Saint Vitus stuff.
Of course there'll be lots of guitar & keyboard solos. I hope  you'll
like this one, they'll not be recorded all  in  half  an  hour.  [Ed.
note: This was my only real complaint with demo #2, see CoC #2],  and
I hope that there'll be lots of samples  (my  new  passion)  on  this
record." Sipy informed me that the sound would be more  like  Atheist
and Cynic than their previous work. When  asked  to  elaborate,  Sipy
explains, "We all listen  to  both  of  them  and  we're  all  highly
opinionated about them, but our goal isn't to sound like them.  We're
going on an original thing. The style will be technical,  that's  for
sure." Quelling my fears that the band were abandoning  the  complex,
technical, melodic death metal style of _demo #2_, Paolo assures  me,
"There'll be different styles on this record because we'll record two
old songs [one from  the  first  demo]  with  some  enhancements  and
modifications, there'll be 4 or 5 semi-old songs, and there'll  be  a
brand new one which will surely sound different, so I guess  it  will
not be boring." Sipy adds, "On the album, we'll have  songs  with  so
many different riffs and many of them are  technical,  melodic  death
metal." 
     After the release of the album, Aeon hope  to  do  a  month-long
European tour to support it, a prospect that Sipy calls,  "Our  dream
come true." What does the future hold for them? In Paolo's words, "My
MIDI-Guitar, and a new Aeon,  with  lots  of  samples  and  overlayed
musical styles. I have plans to do some strange crossovers from  free
jazz, hippie-groove, pure heavy-metal, some melodic  speed-metal  and
power-metal like Pantera."

Band contact: AEON, c/o Sipy Bival
              Laginjina 11, 51000 Rijeka, CROATIA
              Email: sbival@mapef.pefpu.hr 
		 
Label contact: BALDRICK's HELL KITCHEN
               Apartat 14148, 08080 Barcelona
               Catalunya  SPAIN 
               Email: billu@bbs.hnet.es

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

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

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


Hypocrisy - _Abducted_  (Nuclear Blast, January 1996)
by: Gino Filicetti  (8 out of 10)

Back, and with  a  vengeance,  is  Peter  Tagtgren's  own  Hypocrisy.
Blazing at mach speed is the fast and furious _Abducted_, a  CD  that
not only pleases the mind, but wrecks the brain in the process. Their
fourth album to date, Hypocrisy  show  that  their  breed  of  guitar
oriented death metal has not yet died. The album begins with a  weird
opening track called, "The Gathering". It  consists  of  a  distorted
sample  of  some  kind   of   military   radio   transmission   about
extra-terrestrials. Then the music comes into  play  and  seizes  the
listener by the scrotum (or various other genitalia) and doesn't  let
go for the entire rollercoaster ride. The vocals on this album have a
good  variety  in  that  they  go  from  high-pitched  screeches,  to
distorted soft-spoken parts, to guttural growls. Guitar work on  this
release  is  of  the  utmost  perfection,  the  multitude  of   leads
throughout this album proving my point. The production of  this  disc
is of the highest calibre, but the biggest disappointment  was  that,
despite a FULL album liner, NO LYRICS WERE INCLUDED! This is  perhaps
my biggest pet peeve, and especially in this case, I wanted  to  read
about what was being said. The last three tracks of this  album  show
that the band is not modest about being  experimental.  "Reflections"
is a slow, almost ambient instrumental piece that utilizes orchestral
arrangements.  "Slipping  Away"  has  a   melodic   guitar   approach
throughout its course, complemented  by  soft-spoken,  yet  distorted
vocals. And finally, "Drained" is a quiet, acoustic piece that gently
lets the listener exit from Hypocrisy's latest  domain  of  sound.  I
definitely recommend that everyone at least  listen  to  this  album,
because you just might find something you've long been looking for.


Bestial Warlust - _Blood & Valor_  (Cargo Records, December 1995)
by: Gino Filicetti  (6 out of 10)

Herein lies ANOTHER CD which came to me bio-less. Arrrrggh! This must
be the one pet peeve that peeves me the most, but  as  always,  great
writing must prevail (so then why the hell are you reading  CoC?!  :)
The album starts off with the title track, "Blood & Valor". The intro
to this song brings to mind Slayer, back in  the  good  ol'  days  of
_Hell Awaits_. The music then rapidly progresses into  a  barrage  of
black metal acoustical agony. This trend is maintained for the better
part of the album, which in my opinion makes this  CD  seem  stagnant
and one-sided. The vocals on this album are not the usual  ultra-high
frequency yelpings that accompany most  black  metal  releases.  They
tend to be a bit more listenable, but lack the agony and pain of true
black metal. One somewhat unique feature to almost EVERY song on this
disc is the use of lead work. Solos abound  left,  right  and  centre
here, and never seem out of place. The tie for my favorite  track  is
between the instrumental, five minute epic, "Within  The  Storm"  and
"Legion of Wrath", a song that tries to break  away  from  the  blast
beat noise that  is  present  on  all  the  other  tracks,  and  also
possesses a good heavy element of grind to it. All in all, this album
pleased me for the first five minutes, but to  someone  'truer'  than
myself, it could be considered a masterpiece.


Scorn - _Gyral_  (Earache Records, November 1995)
by: Laura Wiebe  (7 out of 10)

_Gyral_ is the newest release from the brainchild of Michael  Harris,
former Napalm Death drummer. On Earache Records and Scorn Recordings,
this vocal-less, ambient electronic album is very dark, not  entirely
suitable for the sunny afternoon on which I first heard it.  Some  of
the machine sounds are quite cool, while others are too  high-pitched
to be anything but overdone and annoying. When the strings  or  piano
parts come in, it often serves as  somewhat  of  a  relief.  Although
_Gyral_ contains some good ideas, I think in most  of  the  songs  it
really wasn't necessary to take so long to express them, and there is
a lot of repetition. The album's least pleasant offerings consist  of
Casio-like hip hop drum loops and  synth-bass  lines.  Despite  these
failings, Scorn works as  eerie  background  music,  but  this  isn't
something I'd play at a party or give the headphone treatment.


The Gathering - _Mandylion_  (Century Media, November 1995)
by: Gino Filicetti  (8 out of 10)

Beginning their life as a 'primitive, Celtic  Frost  inspired,  death
metal band' according to their bio, The Gathering have  come  a  long
way since their inception in 1989. Continuing with the new  direction
of softer, more melodic  metal  that  began  with  1993's  _Almost  a
Dance_, The Gathering have made a major leap forward with regards  to
their music on _Mandylion_, their latest offering to the  gods.  This
album is the first that features the sole vocal abilities  of  Anneke
van Giersbergen. There is absolutely no doubt in my  mind  that  this
woman has the hands down best voice that I've ever heard in  a  metal
band. The difference that sets Anneke out from the rest of the  femme
vox currently singing with some outfits is the fact that she  is  the
lead singer, her vocals dominating  throughout.  The  music  on  this
release is very melodic and very heavy in the same breath.  Keyboards
have a strong presence in The Gathering's music  which  makes  for  a
great atmosphere within the songs. The tempo  on  this  record  never
reaches the red-line, but then again, it wouldn't flow properly if it
did. An alternative influence (!) can be heard in songs  like,  "Fear
The Sea". Another notable mention is the  title  track,  "Mandylion",
which is an instrumental song  featuring  tribal  beats  with  trippy
flute parts. Definitely not something for the heaviest of heavy metal
fans, but if you like to experiment, and especially if femme  vox  do
for you what they do for me, this is the album for you.


Scum - _Purple Dreams & Magic Poems_  (Black Mark, January 1996)
by: Adrian Bromley  (8 out of 10)

Album number two for Finnish death metallers  Scum  (a  follow-up  to
1994's _Mother Nature_) and it seems like we have a winner here. This
effort is full of gems. Look no further than tracks like  "Circus  Of
The Freaks" or "Flames Of The Silver Sea" or even "The Crest  Of  The
Northern Wave" to see that this band is in no way  able  to  be  seen
merely as a metal act. The precision sound and ace  recording  allows
the music of PD&MP to promote a clear direction. The metallic edge to
most of the songs seems to take on a transitional state  as  it  goes
from heavy, cumbersome riffs to tranquil almost hypnotic strides at a
second's notice - truly captivating. It  isn't  about  how  harsh  or
loud, or even how demonic you can be anymore -  it  is  how  you  can
bring about emotions and provoke thoughts. Such is a standard call to
duty provided by other  great  metal  acts  such  as  Paradise  Lost,
Pyogenesis and Mindrot. Carefully crafted but  played  with  vigorous
attention, the music here releases a lot and all the listener can  do
is fall witness  to  emotions  thrown  at  them.  Pick  this  one  up
metalheads.


Helloween - _Master Of The Rings_  (Castle Records, January 1996)
by: Adrian Bromley  (6 out of 10)

What can I say? This is metal that has been  brought  from  the  mid-
80's, and in true heavy metal fashion the music  is  raw,  heavy  and
full of some great guitar solos and riffs. The thing  that  has  kept
Helloween  alive  and  well  after  almost  eleven  years  is   their
persistence to keep their momentum going and never give up.  I  mean,
they have managed to survive band changes and the  shift  of  musical
preferences which occurred in the early 90's and are  still  able  to
call themselves a heavy metal  band.  With  _Master  Of  The  Rings_,
Helloween manages to bring their riffs and ear-piercing  vocals  into
the 90's while still keeping to their roots. While  most  will  write
this effort off as just 'old school' metal there is something special
about it, whether it be its energy, spirit or just the  fact  of  its
loudness. "Where The Rain Goes",  "The  Game  Is  On",  and  "Perfect
Gentleman" are all trademark Helloween  numbers  and  something  many
fans of this musical style will be able to dig.


Destroyer 666 - _Violence Is the Prince of the World_
by: Adrian Bromley  (4 out of 10)  (Cargo Records, December 1995)

Few bands nowadays really, really impress me.  They've  got  to  have
music that is mindbending and riffage to kill (i.e the new  Sepultura
or  Meshuggah's  _Destroy  Improve  Erase_).  Strong  songs  that  in
particular can be seen as heavy material,  despite  any  preconceived
notions of heavy metal. Not the case for Destroyer 666, a band with a
strong name, but little else with their metallic dribbling,  deathish
screams/chants and overplayed theatrics of _VItPotW_. Bored out of my
skull midway through, I found that this act has no backbone, no  real
edge over the hundreds of bands flooding the market. They sound  like
a weak imitation of Carcass, and in my books if you try to  rip  THAT
band off, you've got to do it well. Seven tracks  that  really  don't
pull together much of an album.


Exoto - _A Thousand Dreams Ago_  (Black Mark, Fall 1995)
by: Adrian Bromley  (7 out of 10)

Hailed as the leading death metal band in both Belgium  and  Holland,
Exoto have continued to grow in both speed and  metallic  proportions
ever since their inception in 1989. Several  demos  have  since  been
completed as well as  their  debut  CD  on  Belgium's  Tessa  Records
entitled _Carnival Of Souls_ in 1994. Now a  year  and  change  since
their debut, the band seems to be on fire. Reckless, brutal and  full
of unearthly power, the riffs and  growls  released  on  _A  Thousand
Dreams Ago_ are stimulating to the ear and soul.  Infectious  if  you
ask me. You just feel the anger and speed within the  beats  of  such
songs as "Screams Inside", "Spirit Within Me" or "Thoughts".  With  a
very similar sound to England's Carcass with respect to vocals, mixed
with some classic metal riffs, Exoto seems to take their death  metal
approach one step to the  right,  presenting  a  much  more  standard
sounding death metal album, but  with  a  90's  style  direction  and
conscience. In the end, fans craving speed and metal mayhem will need
to look no further as Exoto has what they want.


Mortician - _House By The Cemetary_  (Relapse Records, January 1996)
by: Gino Filicetti  (5 out of 10)

As I was putting this CD into my BRAND NEW STEREO, I wasn't expecting
a whole hell of a lot out of it. I kind of feel bad that  I  have  to
give the first CD reviewed out of my new kick ass system such  shitty
marks, but hey, it is honesty  that  you  underground  types  cherish
above all else isn't it? Anyways, this is Mortician's latest  release
to the civilized world. There is but one thing to say about this  CD:
sick! The album starts with a sample from some obscure  horror  flick
(Will Rahmer, the vocalist, is a horror/slasher film aficionado) that
proceeds into some monstrously slow and heavy chugging  grind.  Blast
beats also abound on this album, but since the death  of  Mortician's
drummer, Matt Sicher,  the  band  has  been  a  duo;  therefore  drum
machines are used in place of the real "thang" which makes the  blast
beats nothing more than a complete joke. The vocals are probably some
of the deepest, sickest, most guttural type  I've  ever  heard.  I'll
leave it up to the reader to decide whether that's his or her cup  of
tea. Some redeeming qualities about this  album  are  the  covers  of
Celtic Frost's, "Procreation of the Wicked" and the old Napalm  Death
classic, "Scum". The low tunage of the instruments coupled  with  the
depth of the vocals make for an interesting  interpretation  of  said
tunes. I say after you heard the first track, you've heard it all, so
you decide.


Clotted Symmetrical Sexual Organ - _Nagro Lauxes VIII_
by: Adrian Bromley (7 out of 10) (Morbid/Sepulture Prod., January 1996)

Halfway through this album by Japan's CSSO,  a  rather  calm  sampled
male voice says, 'Listen to this if you dare all  of  you  who  think
that you know what grind is.' The statement seems rather important as
it kind of edges us to continue on into  their  world  of  grindcore,
satire and humor. But do we want to continue on? I can't decide.  Not
the most enjoyable thing to slap on and hear, but  there  is  a  sure
sign of excitement when listening to CSSO's album  as  it  goes  from
chaotic noisebashing to grindcore, and back to sampled segments  from
movies, etc. Call them the Japanese equivalent of Penn.  State  noise
rebels Exit-13. The similarities between both bands is  scary.  Along
with noises and other odd bits, you have 80's riffs,  melodic  beats,
screams of anger,  and  a  shitload  of  grindcore  heaviness.  Truly
unimaginable until you hear it. Fans of Exit-13,  take  note  because
these guys are just as  fucked  up.  Not  really  having  a  favorite
number, I  must  insist  that  tracks  like  "Rolling  The  Zen",  "A
Trigonometrical Of Mokuba", "Bara  Bara  Man",  and  "Perversion"  be
cranked loud. Word of caution: If you don't dig the record  by  "Very
Very Blue Belly", don't even bother listening to the rest of it.
  

Dark Tranquility - _The Gallery_
by: Adrian Bromley  (3 out of 10)  (Osmose/Cargo, December 1995)

If speed metal, death metal, and thrash  metal  could  actually  weed
itself out and put all of the imitators and rip-off  artists  into  a
barrel, I'm pretty sure that this  Carcass/Brutal  Truth  clone  band
called Dark Tranquility would be in  there  somewhere.  From  opening
riff of "Punish My Heaven" to closing number "Of Melancholy Burning",
Dark Tranquility seem destined to run around in  circles  with  their
lackluster performance, not to mention the  unoriginal  approach  and
styling of their music. The only moment worthy of praise is the title
track due to its use of the  soft-spoken,  choir-like  female  vocals
overlapping the trudge and ripping chords of  their  instrumentation.
Song after song, the album seems to stray from anything original, and
the band paints itself into a corner and must be  asking  themselves,
"Where do we go from here?" Bland and uninspired music with no appeal
at all - that is, unless you like to hear someone else's music ripped
off over and over again. This one is destined to  become  the  newest
addition to the delete bin at your favourite music store.


Nightingale - _The Breathing Shadow_  (Black Mark, January 1996)
by: Adrian Bromley  (2 out of 10)

I'm guessing producer/musician Dan Swano had some spare time off from
producing an album or two to just sit down and try  to  be  creative.
Well Dan, _The Breathing Shadow_, (an album he  wrote,  recorded  and
mixed) didn't really seem to get anything going except  maybe  a  few
hard laughs from death metal fans worldwide -  not  to  mention  some
unkind words from critics too. This album is not what a lot of people
might expect from the very talented Swano. Nothing at all. More  like
a rock record, _The Breathing Shadow_ is not  really  rooted  by  any
metallic means. Sure, there is some ambience to some  of  the  songs,
maybe even gothic at times, but it sounds more like a carbon copy  of
an 'old school' 80's band like  Dokken  or  Stryper  than  a  musical
mastermind at work. To be honest with you,  I  couldn't  sit  through
this whole record.
 

Ghostorm - _Frozen In Fire_  (Black Mark, January 1996)
by: Adrian Bromley  (6 out of 10)

Metal is metal no matter where you hail from. As long as you are part
of a metal scene, be it small or large,  the  music  still  survives.
Case in point, Lithuania's Ghostorm. Comprised of a very  deep-rooted
metal sound and direction, Lithuania's metallic pride and  joy  carry
their music well. Standard riffs and growls surround the music within
their raw but crisp debut effort, _Frozen In Fire_ (produced by  Edge
Of Sanity main man Dan Swano). Seems as though Swano saw something in
the music of this band and demanded that he  produce  their  debut  -
good choice Dan! What we find in  _Frozen  In  Fire_  is  a  somewhat
generic metal element in the make-up of  the  songs,  as  well  as  a
definite Napalm Death influence with respect to  their  vocal  style.
Generic death metal it may be, but the obvious brutal  influences  of
the past few years (Carcass, Entombed, Brutal Truth) are evident here
as well. Tracks like "There", "Frost", and "Come Back" are  standouts
on this release. Brutal music proves to have no boundaries  (speaking
geographically, that  is)  with  this  timely  release  by  Ghostorm.
Stellar production by Swano is the album's key asset.


End Of Green - _Infinity_  (Nuclear Blast, January 1996)
by: Adrian Bromley  (8 out of 10)

Truly one of the most impressive debuts of this year -  hands  down!!
Germany's End Of Green are quite a  remarkable  four-piece  that  dig
deep into the soul and manipulate the mind with their  own  genre  of
musical  dominance  they  call  'depressive  subcore.'   The   album,
_Infinity_, follows a complex rotation of  moody  epics  that  create
images  of  lost  hope,  anger,  and  loneliness.  Guitarist/vocalist
Michael Huber really stands out with his hypnotic vocals  reminiscent
of  Type-O-Negative's  Peter  Steele  or  Peter  Murphy's  work  with
Bauhaus. Though  far  from  the  emotionally  depressing  reaches  of
Bauhaus, the obvious stylings of fellow countrymen  Pyogenesis  allow
the music to take on the character of gothic metal. But  it  is  more
than that as well. Though each song follows a slow, almost monotonous
direction throughout, it is the lyrics and the use of  Huber's  voice
along with the band's clashing of  riffs  and  beats  that  show  the
dynamics of a true and earnest album. It is very powerful and  I  can
guarantee you will be drawn in after a listen. Tracks to lookout  for
are the thrilling "Away", "Nice Day To Die", "Left My Way",  as  well
as the title track. Hope this band gets a big push from  their  label
and a good tour as they deserve it after creating such  a  remarkable
first effort.


Disgrace - _Superhuman Dome_  (Morbid/Sepulture Prod., January 1996)
by: Adrian Bromley  (6 out of 10)

Finland's Disgrace are a well-knit energetic band  that  incorporates
the fundamentals of a truly dynamic death metal outfit (in  the  vein
of  Entombed  and  Dismember)   and   the   stomp   of   a   standard
hardcore/metallic band. The music here is  somewhat  lacking  in  the
impressive  department,  as  the  music  lacks  originality  or  even
character; but  no  one  can  say  that  this  band  doesn't  have  a
vigorously sharp beat going for them. The music is tight and the band
is capable of making their songs presentable to us without losing our
interest, with a growl here and a head-popping riff there. Heavy duty
action happening on numbers "Distress",  "Forever",  and  "The  Earth
Silence". Not much more to say except that it seems that this  outfit
has more muscles than brains. But that ain't a bad thing now is it?


Masquerade - _Surface of Pain_  (Metal Blade, January 1996)
by: Laura Wiebe  (5 out of 10)

Originally released  in  1994,  the  second  album  by  Swedish  band
Masquerade is only now arriving in North America  courtesy  of  Metal
Blade. Five or six years ago, I might have enjoyed this  album  more,
but now? _Surface of Pain_ has its high  points;  unfortunately  I've
heard most of them before. Overall, Masquerade's sound is somewhat of
a mix between Alice in Chains, Queensryche, Dokken (in the  80s)  and
maybe even Boston. Some of the choruses have got  to  cruise  though,
along with the guitar solos. Because it's all been done  before,  the
listener tends to lose interest fairly quickly  but  parts  of  songs
like "Feels Good" and the chorus of "Say Your Prayer" liven things up
a bit. This isn't a  bad  album  but  it's  not  consistent,  nor  is
Masquerade all that far from the 'tired and monotonous bands'  mocked
in their bio.


Time Machine - _Act II: Galileo_  (Spell, 1995)
by: Brian Meloon  (7 out of 10)

I'm a sucker for concept albums, and this one, loosely based  on  the
life of Galileo Galilei,  is  no  exception.  It's  also  beautifully
packaged and laid out.  The  album  clocks  in  at  approximately  50
minutes, and as you'd expect, there are a number of short  interludes
and sound effects, with  only  7  of  the  19  tracks  being  of  any
reasonable length. Musically, this is progressive  metal,  comparable
to Savatage, but not as cheesy as their new  stuff.  At  times,  they
remind me of a number of bands, including Voivod (_Nothingface_ era),
Saga, and of course Dream Theater. However, they avoid  the  "kitchen
sink" mentality of many prog metal bands. This album is  surprisingly
cohesive, but they don't really have their  own  identifiable  style.
The playing is a little rough, and  the  album  as  a  whole  has  an
amateurish/indie sound, but most of the songs are good (or  at  least
passable), with the exceptions of "Dungeons of the Vatican", which is
a great  instrumental,  and  "Prisoner  of  Dreams",  which  has  two
horrific sax solos, reminding me  of  the  romantic  sex-scene  music
you'd hear in a bad movie late at night on Cinemax. One thing that  I
love about this release is  that  virtually  all  of  the  songs  are
through-composed,  which  means  you  won't  get  bored  too   easily
listening to it, and they also make use of repeated motifs throughout
the album. Both of these characteristics really help the album in  my
opinion. This will be a little hard to find, but it's  worth  it  for
prog metal fans. 


Mass Psychosis - _Face_  (No Bull, November 1995)
by: Brian Meloon  (5 out of 10)

This is a re-release on CD of a bunch of stuff from New Jersey's Mass
Psychosis; their demo _Face_ (1991), seven inches _My  Private  Hell_
and _Goremachine_ (including revocalized versions), and a new  track,
"I Own Your Soul", from 1993. It's all the same  basic  heavy  thrash
mixed with death metal style, but there's a good deal of variety  and
some melody as well. It's not really  innovative,  but  _Face_  would
have been quite impressive in 1991. As  it  is  now,  it's  a  little
cliche. It's still reasonably good, but they never really put  things
together to make a great song. They seem  to  always  manage  to  mix
really bad stuff in with their cool stuff. It's most likely  just  my
personal bias, but it  seems  like  they  have  more  potential  than
they're exploiting. The playing is decent, and the vocals aren't  too
bad, though they can be a little obnoxious. Still, nothing about this
really strikes me as outstanding. Their newer stuff on here does  get
better, so I'll give them credit for that. In any case, I'd  hesitate
to recommend this to all but die-hards, unless you want a version  of
_Face_ on CD.


gut-sonic - _Impetus 23_  (2nd Sun Records, Fall 1995)
by: Adrian Bromley  (7 out of 10)

gut-sonic have been playing the circuit here in  Toronto  for  a  few
years now but after several years of 'playing out', the band  finally
has reason to be seen as something  other  than  just  another  local
Toronto act. With their first full-length debut album, _Impetus  23_,
the band proves that they  are  quite  a  talented  band  with  their
chameleon-like roster of metal, hardcore and progressive songs  found
on this release. The thing that stands out most with this release  is
singer Andrew Sanger's vocals and the fact that the band can mold its
music around the stylings that Sanger reveals with each song. It  can
be tough to keep the multiple stylings of songs fresh throughout  the
CD, but gut-sonic do just that. From the infectious stomp  of  "Frame
313" (my favorite) onto "Knuckle-Head", "Metamorph" or the cool vibes
of "Fear Is Life" or "You!", gut-sonic reveal a sturdy  framework  of
riffs, vocals and stamina. End result: a strong, powerful  concoction
of harshness. Sonically, the band tends to base itself around harmony
and somewhat standard riffs but when the fuel gets going  watch  out.
An ideal band for those wishing to let things go rampant  every  once
in a while. Check 'em out.

Contact: gut-sonic, 599B Yonge Street, Suite #125
         Toronto, Ontario, Canada, M4Y-1Z4
         e-mail: 76702.2073@compuserve.com 

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
                 __                    __      _
              /\ \ \_____      __   /\ \ \___ (_)___  ___
             /  \/ / _ \ \ /\ / /  /  \/ / _ \| / __|/ _ \
            / /\  /  __/\ V  V /  / /\  / (_) | \__ \  __/
            \_\ \/ \___| \_/\_/   \_\ \/ \___/|_|___/\___|

Your best source of information on the newest of the  new,   and  the
lowest of the underground, New Noise is  the place to  read about all
the coolest  shit you never  thought existed! And if you have a band,
don't  forget to  send us your  demo  with a  bio if you  want  to be
reviewed; our address is included in the zine's header.


Nueairea - _Alter The Regular_  (8-track demo)
by: Adrian Bromley

This quartet of progressive metallers hail from East  Bay  (I  assume
that means  the  San  Francisco  bay  area?)  -  home  to  Metallica,
Testament  and  Release,  and  as  far  as  fitting   in   with   the
aforementioned crowd of metal outfits, this band is  flowing  in  its
own direction. Sounding like a shallower, less  powerful  replica  of
Florida's triumphant Savatage, Nueairea do  have  the  metallic  edge
that Metallica and Testament scattered throughout the Bay area;  this
is evident on the epic "Guidance Part I" and "Guidance Part  II"  but
also have a very Pink Floyd-ish vibe within their  music,  thanks  in
part to the use of harmony, melody and keyboards. Plus the lyrics  to
many of the songs are well thought out. But sad to  say,  _Alter  The
Regular_ is missing a more  metallic  crunch  to  keep  the  listener
interested, and that is quite evident with the slow-paced openers  of
"Systems", "Nevermore", and "Comparisons Of Rage" that were chosen to
lead off this eight-song effort, rather than anything  with  strength
or speed like "All" or "The Last  Minute",  the  seventh  and  eighth
songs of the demo. For most fans of both speed metal and  progressive
metal, this album  could  be  interpreted  as  a  stepping  stone  to
something in the future with better,  tighter  production  and  music
construction that emphasizes growth and strength as  songwriters,  or
just another one of those bands that'll have a demo and fade off into
obscurity in a year or so.

Contact: NUEAIREA, 920 Rose Drive
         Benicia, California, USA, 94510
         Voice: (707) 747-5804 or (510) 229-0731


Mortal Decay - _Brutalizing Creations_  (5-track demo)
by: Brian Meloon

This is  semi-technical  death  metal,  well  played  and  reasonably
complex, but way too much like Cannibal Corpse  for  the  band's  own
good. The demo is a little rough, both technically and in  production
values, as you'd expect, but this isn't a problem. The vocals seem to
vary quite a bit, from barely discernible and very guttural to thrash
like shouts, and even some black-metallish  screams,  which  help  to
break up the monotony. Also helping  to  this  end  are  the  complex
structures of the songs, which never seem to get stuck in any kind of
rut, as they're frequently changing tempos and riffs. This does  tend
to leave me without a good sense of each  song's  purpose,  but  that
doesn't bother me. The playing is  on  all  counts  good,  with  some
impressive sections here and there, but nothing that  really  shocked
me, especially not the song titles, like  "Opening  the  Graves"  and
"Soaking in Entrails". Yeah, come on guys, grow up. Still,  for  what
it is, it's well done.

Contact: Mortal Decay, c/o Anthony Ipri
         415 Oak St., Audubon, NJ, 08106, USA


Project X - _demo_ (3-track demo)
by: Brian Meloon

Quite frankly, I wasn't expecting much from this demo,  as  it's  the
reformation of Leviathan without  lead  guitarist  John  Lutzow  (who
wrote my favorite songs from Leviathan's _Deepest Secrets  Beneath_).
However, this demo surprised me, as it's quite well played, and a lot
heavier than I expected. Holding somewhat to the sound of _DSB_, this
is prog metal in the vein of older Queensryche, relatively commercial
sounding, but not sickly sweet. As you'd expect, there's heavy use of
melody and harmony, both done reasonably well. Technically, it's very
good, with precise rhythm guitar work (though  the  leads  could  use
some work), and dense, varied drumming, with healthy doses of  double
bass work. The  vocals  are  the  weak  link,  because  although  the
vocalist has some of the same nuances to his voice as Geoff Tate,  he
lacks Tate's power. The songs are also a little  too  simple  for  my
tastes, mostly holding to some kind of standard format, and at  times
a little too reminiscent of the 80's. The lyrics could use some  work
too, but the production is fabulous. I think  that  most  prog  metal
fans will find this worth having.

Contact: Project X
         6980 W. Polk Pl.
         Littleton, CO, 80123, USA


Within - _The Unaccepted_  (5-track demo)
by: Brian Meloon

This is basically death metal, with a  nice  touch  of  melody.  It's
quite good, as it's technical and has enough variety  and  complexity
to keep it interesting, and it doesn't really sound like a  clone  of
anyone else. The production is muddy though, and the  bass  is  mixed
higher than usual, both of which hurt the overall effect.  Musically,
there aren't any real surprises, but no obvious shortcomings  either.
The vocals vary from a raspy death voice to a more guttural tone, and
the music varies from slow to fast death metal, with frequent melodic
interludes and an almost Maiden-esque quality to some of  the  music.
The songs  aren't  too  simplistic,  and  at  times  show  some  nice
development, avoiding the thrown-together sound of some other  bands.
The guitar solos are a little sloppy, but not any worse than average.
The last song is an acoustic outro with samples, so there really  are
only four songs here, but this is an impressive demo. 

Contact: WITHIN, 565 Durand Blvd.
         Rochester, NY, 14622, USA

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


Here is where Chronicles of Chaos gives  you  the  low  down  on  the
latest shows to come to town. Check out Chaotic Concerts every  month
for the scoop on which bands are brutalizing the  masses  with  their
own form of terror.


         N O   S T O P P I N G   T H E   L O C O M O T I V E
         ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
     Motorhead at Lulu's in Kitchener, Ontario, January 20, 1996
                    with Belladonna and Speedball
                        by: Alain M. Gaudrault

     Previously having co-headlined with Black Sabbath, Lemmy and his
road crew were back with top billing at Lulu's.  It  was  a  pleasant
surprise to see a decent turnout for such a heavy act which  had,  in
fact, already played at the establishment a mere six months earlier. 
     The opening acts provided limited entertainment. Speedball, with
their derivative punk 'n roll, had a lukewarm reception, but were  at
least tight, fun, and fitting appetizers for Motorhead's main course.
Belladonna, featuring ex-Anthrax vocalist Joey Belladonna,  played  a
set of uninspiring 80's  speed  metal  with  a  4-song  interlude  of
Anthrax hits thrown in for good measure. While the  Anthrax  material
went over extremely well, their original compositions were less  than
well-received. For a metal veteran such as Joey  Belladonna,  it  was
sad to see them blown off the stage by Speedball. 
     Of course, there was no love lost once the openers  stepped  off
to make way for Phil "Zoom" Campbell (guitar),  Mickey  Dee  (drums),
and the inimitable  Lemmy  Kilmister,  Rickenbacker  strapped  firmly
around his neck. There's not a whole lot that can  be  said  about  a
Motorhead gig that hasn't been said many times before, and likely far
more eloquently. Motorhead seems  to  consistently  deliver  a  good,
solid show with few surprises. Hell, they opened their set with  "Ace
of Spades"; if that's not predictable I don't know what is. A few  of
their better known songs were noticeably  dropped  from  the  set  in
favour of newer material, which is to be expected from a  band  which
consistently  releases  such  fine,  heavy  albums.  Motorhead   were
pioneers of metal and still command  the  attention  they  rightfully
deserve. As long as they keep writing and touring, there will be fans
clamouring for tickets at the box office. Next time Lemmy and company
roll into your town, cancel your plans, get off your ass,  and  brace
yourself for the onslaught.

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

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

Gino's Top 5

1. Various - _Slaytanic Slaughter_ (Slayer Tribute)
2. Marilyn Manson - _Portrait of an American Family_
3. Unleashed - _Live In Vienna '93_
4. Filthboy - _Not Again_ (advance demo)
5. Sepultura - _Roots_ (advance cassette)

Adrian's Top 5

1. Sepultura - _Roots_ (advance cassette)
2. End Of Green - _Infinity_
3. Only Living Witness - _Innocents_
4. Sacred Reich - _Heal_
5. Scum - _Purple Dreams And Magic Poems_

Brian's Top 5

1. W.A.R. Compilation Vol. 1 
2. Threnody - _Locusts of Eden_
3. Guitar on the Edge (No. 1, Vol. 2)
4. Time Machine - _Act II: Galileo_
5. Nevermore - _Nevermore_

Alain's Top 5

1. Comecon - _Fable Frolic_
2. Samael - _Rebellion_ EP
3. Voivod - _Negatron_
4. Obliveon - _Cybervoid_ (advance cassette)
5. Ministry - _Filth Pig_

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

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

And with this, we close off another issue  of  Chronicles  of  Chaos.
FINALLY we got one out at a reasonable time. Feels good to almost  be
back on schedule. Well, I don't have much to tell  you  all  at  this
point in time, just remember to send in those Loud Letters.  I  can't
tell you how disappointed I was that I only got one this past  month.
I refuse to believe that all my readers are  illiterate!  :)  Anyway,
next issue looks to be a good one. We are going to be having not one,
but TWO Heavy Metal pioneers featured in CoC #8, so  keep  your  eyes
peeled for that, out promptly on March 1st! (Yeah,  in  my  dreams!).
Anyway, have a good one people, and get those fingers typing, I  want
to see some Loud Letters this time around.
     -- Gino Filicetti

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
End Chronicles of Chaos, Issue #7

