ACID SPEECH
Corrosive Riot (MCD)
(AreaDeath Productions)
18:38min

I sometimes think that this Thrash Metal revival sometimes is not that good. Over saturated, pro-tools enhanced and sometimes very dull. Very few bands are doing something that really stands apart from the millions of releases that just re-hash the riffs, lyrical themes and image of what was once done 20 years or so ago. I don’t mind a good clone band, but to these ears, I can tell if there is soul or not in making metal. Enter Brazil’s ACID SPEECH. While their name recalls a more Hardcore orientated band, this is a straight in your face Thrash Metal band with a tiny bit Trashcore touches. It reminds me of Bay Area Thrash bands like DEFIANCE, TESTAMENT and touches of D.R.I. and early CORROSION OF CONFORMITY. This is actually their debut demo, which possesses a strong guitar sound, with a somewhat poor snare drums sound, but still above average. 'Corrosive Riot' is one of the songs that stands out, particularly that this one sounds a bit different with a more KREATOR-esque approach rather than the more Bay Area sound of the other tracks. After a few more listenings, the band is quite competent and there are some good riffs here and there, but still the way they recorded the snare drum is keeping me from enjoying this one a bit more. While not a second rate retro Thrash band, this is still not up there and there is still a chance that with newer stuff they can make it to greater leagues. Still, I just cannot help to think most of these bands have no damn soul at all…like a good tasting non-alcohol beer; it is still not a true beer. www.myspace.com/acidspeech, http://adp.areadeath.net/

Julián Núñez

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AETERNUS
Dark Sorcery
(Hammerheart Records)
26:27min

It is interesting to note that in the days before every Black Metal band started either playing Death Metal or adopting it's mannerisms, AETERNUS were sounding a damn sight more deathly than perhaps some give them credit for in light of their current leaning, sans corpse paint they are now more firmly entrenched in the Death Metal camp then ever before. Yet this their first MCD still reeks of a downtuned BOLT THROWER fixation long before the likes of BEHEMOTH or GEHENNA were contemplating the full MORBID ANGEL. The one thing you will notice is the Epic folk tinged elements that have largely been forsaken these days that came to fruition on their second and in my opinion most superior recording "And So The Night Became" are very much in evidence here. And at 20 minutes AETERNUS haven't the time to labor their point as often can do but instead hit you hard and fast and thankfully leave you satisfied. "Dark Sorcery" replete here with extra track ('In The Darkest Circles Of Time' – Frank) is a rather excellent if inauspicious beginning for this oft overlooked and under rated band.

Alan Nemthanga

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AGAINST THE PLAGUES
Decoding The Mainframe 
(Vic Records)
44:40min

This is (still) a great album! Swedish AGAINST THE PLAGUE spawns their 2010 album "Decoding The Mainframe". Their debut from 2007 "The Architecture Of Oppression" for some bizarre reason had to be released by the band itself, because most established were too ignorant to pick these guys up and prefered to invest in all sorts of superfluous records. This time the mighty Vic Records proove to be the wisest and took care of the project, so actually this is a re-release but under a different monicker. Some tracks are featured in completely new versions and I hope this pays off for both parties because the result is (still) of fabulous quality and it simply blows away the competition! Everybody who missed them back then, here we go! I can be short about the musicianship, technique and songwriting: it's just awesome! A welcome surprise is to hear Wojtek Lisicki (LOST HORIZON, EINHORN) again on guitars from the marvellous and sadly defuct LUCIFERION. His riffing is catchy, brutal and tight as shit. Marco Martell (DIVINE EMPIRE, MALEVOLENT CREATION) also delivers a superb job on bass and Varyen's excellent drumming simply left me speechless. Orlando Logan Perez's vocal delivery is variating in all directions and comes close to DIMMU BORGIR, effects included. The keyboards and production - mastered and mixed by Dan Swanö - gives this album that modern feeling which one can accuse of being overproduced. Well, usually I'm not too keen on this sound but somehow on "Decoding The Mainframe" this is overshadowed by the amazing quality presented. It feels so harmonic, organic and catchy that it graps you from start to end. I recommend this album to everybody who has a soft spot for bands ranging from DIMMU BORGIR, EMPEROR and even CRADLE OF FILTH to MORBID ANGEL, LUCIFERION, BEHEMOTH, HATE and the likes. In fact EVERYBODY should check this out and AGAINST THE PLAGUE should get an award! Support these guys, this is talent of the highest level and I'm curious how they will top this one! More info at www.myspace.com/againsttheplagues, www.vicrecords.com

Michael Tak

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AGENT STEEL
Skeptics Apocalypse
(Century Media)
39:27min

Most who read this review will already have at least some idea of what AGENT STEEL sound like. Los Angeles, California's AGENT STEEL were among the most compelling Power Thrash bands to emerge in the 1980's. Their first album, "Skeptics Apocalypse", released in 1985, has long been considered a classic and listening to it again today in 2008, it is clear that it has stood the test of time. Musically, AGENT STEEL deliver precise Speed Metal based upon captivating riffs and expert hooks designed to draw the listener into each song. The production is clear, but not polished lending the album a slight rawness that is suggestive of the intensity of the band's live sound. Indeed, parts of the album sound as if they may have been recorded live in studio due to the cohesiveness of the sound and the execution of the songs. The simplicity of the production is part of what prevents this album from being shelved along with so many other hopelessly dated recordings from this sub-genre and time period and what ultimately contributes to the continued vitality of this album after over 20 years. In their playing and songwriting, AGENT STEEL clearly references IRON MAIDEN, and, although not as well-crafted and effective as IRON MAIDEN, "Skeptics Apocalypse" definitely surpasses much of what was being delivered from the U.S. in 1985. Also, although the IRON MAIDEN comparison has been made since their inception, AGENT STEEL play Speed Metal rather than Heavy Metal and thus tend to be faster and more hostile. It should probably go without saying that the vocals on this album, delivered by John Cyriis, are in the shrill falsetto style associated with most 1980's Power Metal. Anyone who doesn't have the stomach for this vocal style will probably be incapable of overlooking Cyriis' vocals here. However, the vocal performance is among the most alluring aspects of the album. Visceral and assertive, Cyriis' vocals work to accentuate the aggressive thrashing guitars that provide the foundation for the album. In addition to the music, it should be noted that AGENT STEEL focused lyrically on science fiction themes involving aliens and other extraterrestrial matters. This theme would persist throughout their career and is one of the more unique aspects of the band, especially at the time of the release of "Skeptics Apocalypse". For anyone who doesn't already own "Skeptics Apocalypse", this CD reissue is worth obtaining. For completists, this CD version may be worth picking up for the two live bonus tracks 'Calling 98 For Skeptics' and 'The Unexpected'. There is also a studio cover of JUDAS PRIEST's 'The Ripper' taken from AGENT STEEL's "Mad Locust Rising" EP. The remainder of the tracks from that EP appear as bonus tracks on the "Unstoppable Force" CD reissue. This album contains the finest work by AGENT STEEL which, although not necessarily novel, was certainly competent and contains extremely memorable songs that beckon one's consistent return to the album (this reissue also has been remastered, comes in a nice digipack with an embossed silverprint logo and features a 12 page booklet with new layout, all lyrics and old photos - Frank). www.centurymedia.com. You can also order a copy here.

Jason Campbell

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AGENT STEEL
Unstoppable Force
(Century Media)
48:18min

Often compared to AGENT STEEL's debut album, "Skeptics Apocalypse", 1987's "Unstoppable Force" revives some elements present on their debut while engaging in some other stylistic maneuvers that bring down the overall effect of the album. Ultimately, "Unstoppable Force" is not imbued with the sort of timelessness that permeates "Skeptics Apocalypse". The guitars on this album are recorded with a fuller sound and are to some degree more aggressive than they were on the preceding album. In addition, the drums and bass were brought up in the mix presumably to give the album a "heavier" feel. Yet the result is simply a more polished studio sound that fans of their earlier work may find unappealing. The riffs themselves are far less catchy and tend toward the generic. Also, unlike on their first album, the vocals also do not have the same effect of guiding the band through the trajectories of the songs. Moreover, the inclusion of frequently used backing vocals causes "Unstoppable Force" to veer heavily toward crossover territory. Considering the recent resurgence in popularity of the "fun" Thrash / Crossover style, this sound might appeal to many who dwell in that territory. This style has never particularly appealed to this reviewer, however. Clearly, AGENT STEEL were trying to expand their approach with this album, and it's difficult to fault a band for attempting to move forward. When a band has already established a respectable and solid formula, however, one wonders why they would choose to deviate from it. Still, "Unstoppable Force" is not a bad album and will appeal to most who enjoy thrashing Power Metal, but it is ultimately less successful and has been treated more harshly by the test of time that their first album. This CD reissue also contains three of the tracks from the "Mad Locust Rising" EP that was released between AGENT STEEL's first album and this one. Note that the other track from that EP is featured as a bonus track on the CD reissue of "Skeptics Apocalypse". This seems to be an unfortunate choice of bonus tracks calculated to force fans to buy both reissues to get the entirety of the EP material (just like the "Skeptics..." re-issue also this one got remastered and gets delivered in a digipack with an embossed goldprint logo, while the 12 page booklet offers a completely new layout, all lyrics and old photos - Frank). www.centurymedia.com. On sale here.

Jason Campbell

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ALKONOST
The Path We've Never Made
(Vic Records)
54:54min

The parallels to one of the biggest “Metal“ bands these days – named NIGHTWISH – could be a welcomed marketing strategy or just an unwelcomed curse / coincidence. For the Russian ALKONOST the parallels are starting and ending with their female singer Alena. The band - which is one of the oldest Russian Pagan bands – is for sure not completely unknown due to heavy support by German label Ketzer Records which released their demos for the European territory since their own founding in the late nineties (“Songs Of The Eternal Oak” 2000). The Dutch label Vic Records is now re-releasing two of their former creations and “The Path We’ve Never Made” was originally released in 2006 by Metalism Records. The very ‘classic’ female vocals and the supreme guitar work are the real ALKONOST trademarks and every of the seven songs is in the position to capture a warm and friendly camp fire atmosphere – but the term Pagan Heavy Metal seems more applicable to avoid certain misunderstandings with any heavily armed Pagan warrior. Nearly all songs are easily exciding the 7 minutes barrier and just concentrating on each single song nothing essential is missing but “The Path We’ve Never Made” in total is nothing more than a “one-song experience”. I can’t say that this re-release was completely in vain but if ALKONOST really want to establish a wider fan base they need to spice up their music, add further influences because “The Path We’ve Never Made” is a nice – means totally average release. www.alkonost.ru, www.myspace.com/alkonostofficial, www.vicrecords.com

Matthias Auch

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ALKONOST
Between The Worlds
(Vic Records)
40:38min

The Russian motherland seems to be an endless source of inspiration especially for the local Pagan Metal scene. ALKONOST are for sure one of the real establised acts in Russia if it comes to the modern understanding of Pagan Metal – but this fact so far hasn’t reached European territory. Vic Records are trying to change this status by re-releasing next to their 2006 output (“The Path We’ve Never Made”) also their 2004 album “Between The Worlds”. But if you check the discography of the band this release is becoming a little complicated. “Between The Worlds” was originally released by MetalAgen Records in 2004 and re-released in 2006 under the title “Mezhmirie” through Metalism Records. Both records are offering the same songs but the second release is presenting the eight songs in an extended version means around 5 minutes longer. The European re-release is using the “Mezhmirie” material with the original album title maybe due to a proper English title. Musically the picture has not changed dramatically – the songs are still dominated by the extremely great guitar work which brings the band in contact with old AMORPHIS releases (“Tales From The Thousand Lakes”/ ”Elegy”). But the dreamy guitar work and the classic female vocals are far better embedded in the presented songs. The compact songs – in contrast to their 2006 release – are shorter and spiced by a lot of interesting ideas for example short drum intermezzo or keys which seem to be inspired by the Italian cult act EVOL. The female vocals are slightly reduced and furthermore far more suitable for the song material – really a surprising album after the disappointing “The Path We’ve Never Made” re-release and for sure more than suitable for all the drinking horn addicts. www.alkonost.ru, www.myspace.com/alkonostofficial, www.vicrecords.com

Matthias Auch

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AMORPHIS
Elegy
(Relapse Records)
75:11min

Even though Finlands AMORPHIS originally started out as a pure Death Metal act in their early days they usually wouldn't get a mention in VOICES anymore these days as they have chosen to walk a different musical path over the years... It was actually this album back in 1996 that lead to my decision not to follow their career any longer, as I wasn't prepared for such a drastic change of style after their incredible "Tales From The Thousand Lakes" masterpiece. Tomi's deep Death Metal grunts got reduced to a minimum with the addition of new frontman Pasi Koskinen, whose unique sounding clean (not cheesy!) lead vocals changed the face of the band around quite heavily. I personally was totally disappointed and as a result didn't give this album a fair chance... As far as I can recall there was already at least one re-release before (with the tracks off the "My Kantele" MCD as bonus material), but this one from 2004 is a little different (again). It comes as a digipack with a nice silverprint logo and has a couple of live bonus tracks instead: 'Better Unborn' (taken from a 1997 compilation entitled "Metalliliito"), 'Against Widows' and 'The Castaway' (both live at Isolaarirock July 12, 1997) as well as another live version of one of the band's most popular tunes 'Black Winter Day', which for some strange reason isn't mentioned on the sleeve though. While listening to the disc again after so many years, I finally discovered its real qualities and overall brilliance! Yeah sure, it ain't the usual Death Metal style anymore, but "Elegy" turned out to be a really unique, Metal album with undenyable timeless qualities. The musical coctail that the band had on offer at the time was simply extremely creative and perfectly combined varies different influences. The basic songs come across like late 70s / early 80s Hardrock / Metal with very dominant, excellent dual guitar attacks. Just take standout tracks such as 'Against Widows' for example, or the middle part in 'The Orphan' which recalls classic THIN LIZZY, while 'Of Rich And Poor' has a MAIDEN "Somewhere In Time" kinda feel to it and the oriental melody lines in 'Better Unborn' and 'Cares' even remind on RAINBOW's 'Gates Of Babylon'. All this combined with clever incorporated death grunts (yes, they still used them here and there at the time), great harmonies and often very 70s like keyboard sounds as well as folk elements and a powerful production (Sunlight Studio) turn "Elegy" into an album that you shouldn't ignore... if you're open minded enough and not as ignorant as I originally used to be. More info at www.relapse.com. The CD is available here.

Frank Stöver

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ANACHRONAEON
As The Last Human Spot In Me Dies
(Stygian Crypt Records)
48:48min

In Metal as in life you meet at least twice and so it’s not really a surprise that our dear Swedish friends ANACHRONAEON returned in good health after the unexpected crash of their flying saucer (I apologize again but their second release “The New Dawn” was just too poor to avoid these mocking words). But the word return is maybe the wrong choice because “As The Last Human Spot In Me Dies” is their underground debut which has been officially re-released via Stygian Crypt. But honestly speaking I’m really impressed by this album because it’s like an unexpected 180% course change into the right direction. Is somebody out there who still remembers the great GODGORY and their fantastic releases via Invasion Records (after their crash the band changed to Nuclear Blast) -  ANACHRONAEON are in some way like their unknown small brother. Both bands follow the same musical paths means the mixture of aggressive / melodic Death Metal with a lot of naturally Heavy Metal parts – in short melody rules here. “As The...” is an album full of good songs and great guitar parts (‘Reborn By Fire’) and universes away from their uninspired second album. Everybody who is still interested in (traditional) melodic Death Metal far away from the circle pits of 2009 should at least give ANACHRONAEON a chance – the potential is for sure there. www.anachronaeon.com, www.stygiancrypt.cjb.net

Matthias Auch

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ANIHILATED
Path To Destruction
(Area Death Productions)
54:50min

I was curious if this was a release from the British Thrash band. My memory still works after all those beers, yet when something is not that good or memorable, it tends to forget things. Let's face it, there were many great Thrash bands in the early '80s but there were also some atrocious and many more mediocre bands. In fact the reason why many of them never really lift from the underground was that they were really fitting in that last category. I remember listening to their debut album "Created In Hate" and not being impressed that much. Well, 21 years after the things have not changed that much. This is an EP originally released in 1986, that sounds quite limited and although one can sense the power in there, and more than a few good riffs here and there like in 'Thunderflash' and 'Shadow Of Fear', the quite prominent Hardcore / Punk touches this band has always been influenced by, more than once clashes with their more Heavy Metal side and it does not come out as exciting as some other bands did. Included here is their demo "Speedwell" which sounds more Hardcore / Punk (if I am not wrong they were previously a pure Punk band so I guess there is a reason for the sound on the demo). In fact I find the demo to be better than the EP probably because of a more suitable production, and that it just sounds more metallic Punk than an early Thrash Metal band. The vocals are an acquired taste as they are not exactly melodic, neither are they all shouted. The lyrical aspect is definitely more Punk orientated with lyrics dealing with environmental problems and social injustice, which for a die hard Metalhead of those days was not exactly out of sight but we then tolerated just one or two songs…nah, just a couple of sentences in a song talking about it before it was labeled as hardcore. So, ANIHILATED sounded in fact like let's say a more metallic DISCHARGE or a more punked out early METALLICA. In this case the fact that they never were considered for bigger leagues is because they didn't earn it. Period. I won't say they were musically incompetent, just they were quite derivative and although having a potential to do better songs, they never reached it. Now, this reissue contains a couple of songs in more than one version, being it demo, the EP or live versions…which by the way, these live versions are form different shows, giving it an uneven sound to it. As a nostalgia factor and for those that collect everything, this might be of interest. For those who are more picky with their choices and do not eat that every 80s band was "cult" this is just another release more. Anyway, my recognition for the label for digging up this obscure band. The band I think is still active, and for what I have heard they are now completely in the Thrash Metal area sounding more like late SLAYER, so I would suggest to better wait for their new material or check their other two full lengths. www.myspace.com/anihilated, www.areadeath.net

Julián Núñez

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ANGEL WITCH
Screamin' 'N' Bleedin'
(Archaic Temple / Iron Pegasus Records)
56:38min

IRON MAIDEN's Steve Harris once said in an interview that ANGEL WITCH probably never made it real big because of their bad management (which was basically Kevin Heybourne's father in the early days), while others probably blame it on this particular record. When "Screamin' 'N' Bleedin'" originally came out almost twenty years ago, the band had the difficult task to deliver a worthy (if not better) follow up to the incredible self-titled debut album on Bronze Records. In other words, they were destined to fail right from the beginning! The legendary three-piece (who had even broken up for a while in between these two records) returned to the scene with a slightly changed line-up (mistake number one?). Original bass player Kevin Riddles (who went on to form TYTAN) got replaced by Pete Gordelier and Dave Tattum was hired as the new frontman for the band, probably to give Heybourne the necessary freedom to focus on his guitar playing exclusively (just a guess, so don't quote me on that). As a result the material on "Screamin' 'N' Bleedin'" of course turned out a little different and more melodic (mistake number two?). And the fact that it got released on a rather unknown label (Killerwatt Records) obviously didn't help the band either. But in retrospect I must say that all the bad press it received back then was not necessarily justified, because "Screamin' 'N' Bleedin'" is definitely not a bad record! If you still like the typical NWOBHM sound, ignore the big shadow of the debut album and furthermore have no problems with bands that deliver big harmonies and catchy melodies (without sounding cheesy in that!), "Screamin' 'N' Bleedin'" is a worthy purchase nevertheless! Fellow Metalheads SATAN had a similar problem when they decided to follow-up "Court In The Act" with (BLIND FURY's) "Out Of Reach", which is not a bad record either (if you listen to it nowadays)... Anyway, the "Screamin' 'N' Bleedin'" CD re-issue (first time on CD ever!) comes with a new coverart (unfortunately) and three additional live bonus tracks ('Frontal Assault', 'Screamin' 'N' Bleedin'' and 'Straight From Hell') from a show in Ridderkerk, Holland from 1986 (featuring Kevin himself on vocals!). Soundwise not more than average, but from a historical point of view still highly interesting. The regular ten album songs offer classic British Metal of the late 70s / early 80s, perfectly composed around Tattum's clean, melodic voice. His way of singing is actually not too far away from Kevin's style (who's also doing some additional lead vocals on this album) and should easily appeal to everyone into similar rooted acts, such as AVENGER (UK), BLIND FURY, BLITZKRIEG and the likes. Lots of great guitar work as well as a bunch of excellent tunes should be proof enough that this album is way better than everyone always considered it! The CD booklet comes up with three full coloured live pics as well as some black and white in the studio shots, but unfortunately is lacking in the lyrics though. All in all this is a very cool re-issue, so get your fingers crossed that Archaic Temple's plans to re-issue album number three as well ("Frontal Assault") will turn into reality soon! If you have trouble in finding a copy of "Screamin' 'N' Bleedin'", contact Iron Pegasus Records (www.iron-pegasus.com), who exclusively distribute it.

Frank Stöver

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ARCKANUM
Fran Marder
(Debemur Morti Productions)
49:28min

The introduction to the re-releases of the first three ARCKANUM masterpieces is in some way a difficult enterprise because I’m a fan of this band since these dark times. The only band member Shamaatae who started his musical career in the Swedish cult act GROTESQUE has followed a very traditional way with ARCKANUM and their music must be defined by all means as a unique form of Swedish Black Metal. During the first musical period (between 1993 – 1998) the band committed only one huge mistake – they signed to the wrong record company. Necropolis Records released all albums on a very low level and so it’s no surprise that the original versions are extreme rare collector items – a fact which is unfortunately applicable for nearly all releases of this US label. "Fran Marder" for example was more or less strictly “limited” to only 2500 items. So let’s start the journey with the debut originally released in 1995. After recording three demos the band entered Abyss Studio to record 50 minutes of occult Black Metal with close bonds to the dark side of nature. Even after a decade the music stands for itself and the presented songs – including older demo material mainly from their 1994 "Trulen" demo – are from my point of view the ARCKANUM material with the strongest true Black Metal tendencies. The split of Occult / Black Metal will find a different mixture on the later releases but “Fran Marder” must definitely be mentioned if it comes to the cult Black Metal releases of the 90s especially if cult means outstanding and independent music and not an extreme bloody band history. The re-release is offering a fresh and new sound – thanks to Andy Classen – plus for the first time the complete track list of eleven tracks in total. Debemur Morti is releasing the album with a simple cover artwork – only the band logo plus the album title - and without any bonus tracks. The ARCKANUM debut is a great release and this re-release without a doubt overdue - so let’s hope that the new dawn of Pans followers has finally arrived. www.arckanum.se, www.myspace.com/officialarckanummyspace, www.debemur-morti.com

Matthias Auch

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ARCKANUM
Kostogher
(Debemur Morti Productions)
57:51min 

The Metal year 1997 must be definitely mentioned if it comes to the extreme commercialization of the Black Metal cult with the "joining" of Nuclear Blast as the record label number one - even if they rejected over years to sell some of these 'evil' satanic bands via their mailorder - and the release of everybody's darling "Enthroned Darkness Triumphant" the megaseller by megaseller DIMMU BORGIR. But not all hope was gone because the year also offered such great releases as the second output from the Swedish Pan fanatics ARCKANUM. I'm more than grateful for this re-release via Debemur Morti Productions mainly due to one fact - the sound. The original is offering such a bad / low one that you must bring your speaker to the maximum to hear the presented 13 songs in a proper way and some sources are speaking of an intentional act to support the dark side of this release. Intentional or not the new sound - again thanks to Andy Classen - is not the only reason to review this album here. "Kostogher" is a great release because it's the necessary bridge between the Black Metal rooted debut "Fran Marder" and the final act "Kampen". The album starts with one of the best ARCKANUM songs ever ('Skoghens Minnen Vaekks') a song which roughly shows the new direction. The main structure is still Black Metal but the archaic / pagan influences - and this time we are talking about the true sense of the world Pagan and not a wild horde of cute and drunken trolls from Finland - becoming more obvious a matter which is later on furthermore proved by the instrumental 'Gamall Uvermark'. If I turn back the time and remember the original Necropolis Records release "Kostogher" never made such an intensive impression on me than the follow up "Kampen" but today - 12 years later - the album shows once more why the ARCKANUM Pan trilogy must be mentioned if it comes to the most influential releases of the late 90s even if the terminus true Black Metal has never been completely applicable for this release. www.debemur-morti.com, www.arckanum.se, www.myspace.com/officialarckanummyspace

Matthias Auch

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ARCKANUM
Kampen
(Debemur Morti Productions)
72:43min

As usual it’s not the easiest task to find the right words for a release which is without exaggeration part of half my Metal life. The third and final ARCKANUM release "Kampen" – final due to the fact that ARCKANUM never properly returned to their roots and these days Shamaatae is far more interested in Chaos than Pan – has been official released in 1998 by Necropolis Records and taking the enormous ebay prices into account it seems that I’m not the only one which “fall in love” with this release. The album marked the climax of the band / project ARCKANUM and it summarized everything this band stands for. Very nature bounded Black Metal without any sunshine and not the lightest flicker of light can be found on “Kampen” – so the dark forces are ruling here. The missing balance between the 2 sides of this band - see the “Fran Marder” and “Kostogher” reviews - finds its perfection here. If the terminus Pagan would not have such a lovely and happy understanding in 2009 it would perfectly capture the essence on “Kampen”. The album is offering one hymn after another but if you missed this essential release you should start the voyage with ‘Kamps Tekn’ or ‘Minir Natz Fughlir’ – great hymns to the former and true ARCKANUM god Pan. The re-release is offering nothing new on the musical side – besides the slightly improved sound by Andy Classen – so don’t expect any kind of bonus track etc. The album reached perfection and even if their current label is still pointing out the enormous quality of their new releases – new means in this case their 2008 / 2009 releases “Antikosmos”/ “ÞÞÞÞÞÞÞÞ” - is “Kampen” also in some way their tombstone because whatever they released since then is not in the position to reach the intensity of this masterpiece. For more info check out: www.debemur-morti.com, www.arckanum.se, www.myspace.com/officialarckanummyspace

Matthias Auch

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ARKONA
Vozhrozhdenie
(Vic Records)
58:33min

The year 2008 had seen a lot of great releases and especially the booming Pagan Metal sector must admit that their scene is a very productive place for a wide range of bands. What makes this scene still so interesting - even if there is an enormous flood of releases with less and / or abyssal musical qualities – is the different understanding of the term Pagan Metal. From bands like FINNTROLL which are taking this style not too serious up to bands like the German KERBENOK or HELFAHRT which are acting more on the Black than on the Pagan shores. The Russian band ARKONA is for sure not a real newcomer mainly due the fact that their fourth album “Ot Serdca K Nebu” ("From The Heart To The Skies") had been released by our Austrian ex Black Metal friends Napalm Records. Founded in 2002 by the female singer Scream the band is an absolute underground diamond for years and resurrected Vic Records (by re-releasing the whole ARKONA back catalogue) are giving the rest of Europe the chance to decide if the cult status is a deserved one? The ARKONA debut “Vozhrozhdenie” ("Revival") originally released in 2004 is one of the few releases which left me behind with only one question – how did I survive without this album. Such a passionate and compact release would be astonishing even for an established act but we are talking about a debut from a so far completely unknown band. Furthermore nearly the whole band left before the recording of “Revival” and the only remaining band member Scream had been in charge for all musical matters (supported during the recording session by some friends from NARGATHROND). The major trademarks of the presented 12 songs are the rough female vocals and the purely Russian lyrics plus great keyboard passages. But even if the ‘resources’ are well known I can’t advise a similar band – the band is in the position to add an unique (you can also call it exotic) touch to their music. With “Vozhrozhdenie” ARKONA released a fantastic debut with so much heart blood which is maybe not physical visible but you can feel it during the nearly 1 hour trip to our ancestors ancestors. www.vicrecords.com, www.arkona-russia.com

Matthias Auch

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ARKONA
Lepta
(Vic Records)
41:35min

Deeply impressed by their great debut “Vozhrozhdenie” I was expecting nothing less than a further powerful release from the new Pagan Metal hope ARKONA. But even if we are still talking about an acceptable release from the Russian warrior princess Scream & Co their second album is without doubt not a release worth to be called a masterpiece. “Lepta” was recorded in 2004 shortly after the release of their debut but to talk in the pagan way of life it seems that the band had become tired of war and bloodshed and had chosen the more relaxed camp fire atmosphere as source of inspiration for their second strike. The basis elements are still there (Russian lyrics and great keys) but the major musical difference is the reduced aggression level. Due to the fact that we are talking about a Metal album it’s one of the essential points (the heart and soul of every album) and the album is passing by without nearly any remarkable moment. Maybe I have to admit that the great debut is quality wise not easy to exceed but if you compare “Lepta” with “Vozhrozhdenie” the conclusion will be the same as the comparison of “Load" / "Reload” to “And Justice For All” and / or “Master Of Puppets” years ago. www.vicrecords.com; www.arkona-russia.com

Matthias Auch

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ARKONA
Vo Slavu Velikim
(Vic Records)
61:33min

And sometimes they return from the valley of death – this is the most important fact about the third release from Moscow based Pagan band ARKONA. Since the very disappointing “Lepta” album which showed the band on a wrong track (with only a handful of really interesting songs) they did not totally refocus on their aggressive debut but ARKONA at least recorded (again) an album full of Pagan hymns. “Vo Slavu Velikim “(“For The Glory Of The Great Ones”) was originally released in 2005 after an intensive recording session and the album shows a further face of this interesting combo. The folklore percentage increased again and ARKONA decided to use only real instruments and as usual you can hear the difference. With these new influences the FINNTROLL fans but also fans of real folklore bands like STILLE VOLK will for sure realize the potential of this new rising star at the Pagan horizon. Based on this release it’s for sure no surprise that their fourth album had been released in Europe in 2007 on a much wider scale via Napalm Records. The essential ARKONA trademarks could also be found on “Vo Slavu Velikim“ which are for sure the remarkable female vocals by their singer Scream and the Russian lyrics which are adding a kind of exotic touch to their music – a fact which is helping every band to survive the ongoing release overkill. Every real Pagan heart will fell the passion and heart blood within this great release (just listen to the various authentic instruments) and I think that with this potential it's not exaggeration to expect further great releases from one of the best Russian Pagan Metal bands. www.vicrecords.com, www.arkona-russia.com

Matthias Auch

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ARKONA
Live… For The Glory
(Vic Records)
68:08min

Victory in battle is the highest principle of every Pagan heart – but it seems that not all Pagan Metal bands are properly prepared for the heat of a live battle. A lot of bands are offering quite complex music on their records but during a live concert everything is falling apart. But the re-release of the ARKONA live album “Live… For the Glory” is showing once more the potential of one of the leading bands. The 11 songs had been recorded during a show in Moscow in late 2005 and the band is in the position to transfer all their passion, heart blood and atmosphere into nearly an hour of blood, sweat and tears. I can only pay my respect to the fact that even very traditional songs like ‘Tuman Jarom’ can be found on the playlist and especially songs like ‘Rus’ with a remarkable audience as background choir are the real highlights of this live album. The circle is now complete and Vic Records finally re-released the whole back catalogue of this really outstanding band. But the label has invested a lot of efforts to give every fan a real overview. You can find on the normal live album as small bonus the 2002 demo simply called “Russia” which is showing ARKONA’s music in a slightly different light. The three songs are all very familiar (can be found on their debut “Vozhrozhdenie”) but the keys have a more mystique touch and the guitar work is more Heavy than Pagan Metal. Next to the normal album a bonus CD is offering the bands side project NARGATHROND with their 2004 release “Inevitability” which is more or less pure Gothic Metal next to German bands like EVEREVE or FLOWING TEARS. It’s a shame that the band is currently not in the position to perform live (their female singer Masha is working on a new pagan warrior generation) but this album is offering everything which old and new fans need to survive until the dawn of a new live battle. www.vicrecords.com, www.arkona-russia.com

Matthias Auch

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ARMOROS
Piece By Piece (3CD Boxset)
(Marquee Records)
204:17min

Every band, it seems, is experiencing a renaissance, regardless of whether or not they're active. Since it's generally agreed upon that the old guard still outstrips most of the young bucks kicking around, there shouldn't be much of a problem with these 3-4 CD retrospective box sets. In the case of ARMOROS, it's perfect. Canadian bands like RAZOR, OBLIVEON, and pretty much the entire kit and kaboodle weren't given the promotion they needed to ascend beyond the cult following. In hindsight, the cult following is why sales are so high today. The ARMOROS box set contains everything they ever recorded, including demos from 1986 to 1993, live shows at Harpo's, Club Soda, Victoria, an additional sticker of the album artwork as well as a fold-out lyricsheet and a booklet with lots of old pics, flyers, a band bio, liner notes and comments from the band on each track. The material is straight up Thrash. High velocity, and in your face Thrash Metal, clearly inspired by not any one or a few bands, but the entire scene. Pieces of all the big acts are present, but the most prominent of them is probably DARK ANGEL. At least, that's the band ARMOROS has the most in common with. Boxed sets like this can be a bit pricey, but they're sure worth it. www.marquee.com.br

Nat Shapiro

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ASPHYX
Embrace The Death (DoCD)
(Century Media Records)
102:50min

ASPHYX. The cult around this band is remarkable. Being disbanded two times, changed name and not to mention having several line-up changes, but… All falls back on its place like it did twenty years ago, sticking to their guns and as always with much class. The spell just can't be broken. "Embrace The Death" was recorded in 1990 and supposed to be the first full-length. Well, things changed and in 1996 it was finally released by Century Media featuring the "Mutilating Process" EP. After the haunting intro, taken from the "Children of the Corn" movie (DIABOLICAL MASQUERADE used this melody for the opening riff in 'This Ghoultimate Omen'), 'Embrace The Death' - which was transformed to 'Pages In Blood' on "The Rack" - takes you to a desolate and dark territory supported by the echoing production. (Late) Theo's grunts are a perfect example of the in-your-face-brutality this album delivers. Nothing forced or fake, just pure brutality. Like it's testing how much you can take. Musicwise it's direct, dark and doomy, with occasional speeding (midtempo). ASPHYX maintaned this style in their entire discography and many songs from this album got re-recorded which emphasizes the essence of this release. This 2009 edition offers a two disc version with (in my opinion) cool and suitable artwork. Disc one covers the original "Embrace The Death" album. Unfortunately, I can't tell you if it's remastered (yep it was! - Frank). Disc two is a real treat and justifies a double purchase. It offers the "Mutilating Process" 7", the "Enter The Domain" demo and the killer "Crush The Cenotaph" demo! On top of that you get 4 rehearsal tracks (1989-1990) including a VENOM cover and a rough mix version of the "Mutilating Process" EP. So a total of 16 extra tracks (14 comparing to the 1996 edition). Personally I enjoyed the second disc more. Not that the "Embrace The Death" album is less, but the overall brutality works better soundwise on these fossils. Especially the "Enter The Domain" demo is a pure Death manifestation and sounds more like a live take. If you ask me, the perfect condition for such simple and vicious music to be utter effective. Listening to the pre album material gives me an idea how disappointed the fans must have been that "Embrace The Death" was postponed for so long. This reissue is the best way to make things up and I personally prefer to listen to the discs in reversed order to get fully asphyxiated! On Amazon the unused 1996 edition sells for over $190,- (!) so which one do you prefer? Get this! For more info, check www.asphyx.nl, www.myspace.com/officialasphyx, www.centurymedia.com

Michael Tak

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ASPHYX
Depths Of Eternity (DoCD)
(Century Media Records)
109:38min

Come 2009 and ASPHYX had reemerged to assert their rightful position in the pantheon of crushing Death / Doom. This is a great thing for all die-hard, head-banging, fist-pounding ASPHYX maniacs. To commemorate and honor the triumphant return, their label Century Media presents "Depths Of Eternity" - a re-release compilation of ASPHYX’s self-titled 1994 full-length and 1996’s "God Cries". Both albums are re-mastered. It also includes two live tracks from the Netherlands (1994) and two demo recordings from 1995 sessions. As you may already know, the 1994 opus benefits from a solid production and features some massive, sprawling riffs that build into intriguing conceptual / mood-setting keyboard-adorned pieces. There are some amazing feats of electric-guitar sustain on this record, with glacial riffs and shimmering leads reaching out through the cavernous ages. There are a few excellent, pure-ASPHYX churners as well. But I have always felt a significant downside to this record is the vocals by Ron Van Pol. They’re overblown at times and just nowhere near as awesome as Van Drunen. So, what about the problem some seem to have with the "God Cries" album? First of all, I’ll point out it represents only a relatively minor departure from the monolithic style that must always be the heart of ASPHYX. The divergence of style successfully accommodates brutal, pummeling hardcore (which is not necessarily out of place considering the influences at the origin of this kind of Death Metal), but unfortunately, also given allowance are a few rays of sunshine where there can only be darkness – folly! Vocalist Theo Loomans’s throat-straining delivery is agreeably hoarse and vein-popping, harkening to the lacerating cords of Martin Van Drunen. Overall, it’s a bit different, and far from peak ASPHYX considering the indisputable weak spots, but "God Cries" is nevertheless rocking and doubtless back-breaking heavy. www.asphyx.nl, www.myspace.com/officialasphyx, www.centurymedia.com

Leonard Likas

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ASPHYX
On The Wings Of Inferno
(Century Media Records)
73:29min

I must be honest. After Van Drunen left ASPHYX I totally lost interest in the band. It seems I was not the only one, as some of the albums recorded without him were not exactly up to the quality of the material released before. Even in the "God Cries" album I have heard more than once that they sounded like a Deathcore band…Ok, Deathcore in the best sense of the word, nothing to relate to what now that word means. Then, this album came out 4 years later. And it seems it was all done to save the band. And Wannes Gubbels, the man from PENTACLE, seemed that he was on a journey to rescue this name of total death from disgrace. First of all, the crushing guitar sound of early ASPHYX albums is recaptured here. Second, the voice of Wannes is doing his best to sound like Martin Van Drunen, but on his own style, and I must add he does it in a great way. And third, the compositions are back to what the band does best: simple and direct Death Metal. This album is definitely a way to make redemption and ask forgiveness to the Death followers for what it seemed like and inevitable end. There might be a few touches that make the band sound more modern, and I think it is all because of the production, but in fact it does add more power to the band instead of taking it away. Whereas some of the more mid-tempo songs of previous efforts where Theo Loomans (RIP) was playing were quite boring to be frank, in this record they have a better effect as they become more dynamic, and of course heavier and deadlier. This new edition gives us the chance to rediscover a truly great jewel, that unfortunately due to probably bad promotion and the heritage of the weaker previous albums, passed by for many followers of the truly grotesque Death Metal. It has a different cover art, whereas in the original it was a black, white and yellow image of a demon thing (similar to the one found in the cover of SOULBURN another ASPHYX related project) this new one is totally different, with a black, red and white cover with a dragon thing devouring a women…well, none of the covers are that good…it contains a bonus CD that besides one song that originally appeared in the compilation "In The Eyes Of Death" with Van Drunen on vocals, also features a full live show from 2000 (with Wannes on vocals and bass) with a quite raw sound, like it was recorded with a normal tape recorder, that although interesting it really does not adds any value, and that could be left aside. The album as it was originally done at only 30 minutes it is worth for it alone. Now that the band has resurfaced stronger than ever with Van Drunen AND Wannes, and released a great album with "Death... The Brutal Way" I recommend that you seek and get this one as it really deserves to be up there along "The Rack" and "Last One On Earth" as this is a killer Death Metal record, that on its time it was haunted by dark ghosts of misery but that now shine with furious power. www.asphyx.nl, www.myspace.com/officialasphyx, www.centurymedia.com

Julián Núñez

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ATHEIST
Piece Of Time
(NMG Entertainment)
56:03min

Hell yes, this re-issue was certainly way overdue and just a perfect idea! Not only because it's been unavailable in its original format for quite a while now, but also because of the highly interesting bonus tracks that were added to the nine regular tracks... Well, I really hope that I don't have to introduce you to these Florida gods of technical Death Metal, cause otherwise you're definitely reading the wrong magazine (if you still would like to find out more details about them just go for the in-depth interview with former ATHEIST guitarist / vocalist Kelly Shaefer in this issue). When "Piece Of Time" originally came out in 1988 it totally blew my mind and it still does twelve years later! This is just the perfect combination of aggression and technical abilities. In the years to come ATHEIST unfortunately lost a bit of the old aggression in order to become even more weird and technical. But no matter what, they managed to set new standards in the scene with their albums "Unquestionable Presence" and "Elements" (both will be re-issued as well) until they unfortunately had to call the quits. Anyway, my favorite ATHEIST album always was "Piece Of Time" and because of some additional pre-album demo stuff this re-issue became even more attractive to me now. In particular you'll get the entire "On They Slay" demo from 1987 (which they still released under their old R.A.V.A.G.E. moniker). It contained the never elsewhere released track 'Undefiled Wisdom' as well as 'Brain Damage' and 'On They Slay', that both also appeared on the legendary "Raging Death" compilation. Then there's two songs from the 1988 "Beyond" demo ('No Truth' and 'Choose Your Death' - which got changed into 'Life' on the actual album) and a 1987 recording of a track called 'Hell Hath No Mercy', which was changed into 'Why Bother' later on. On all of these recordings ATHEIST (or R.A.V.A.G.E. if you like...) sounded even more aggressive, which just suited the material perfectly well. And apart from the production, that's why I definitely prefer some of those demo versions over the actual album standards. The CD booklet comes up with all the lyrics, old pictures and several liner notes. So, if you missed out this classic for one reason or another in the past, make sure to grap a copy now and experience the timeless brilliance of ATHEIST!

Frank Stöver

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ATHEIST
Piece Of Time
(Relapse Records)
67:52min

Back in the days, this vinyl made my air-guitaring reach new heights. And the air-drumming? I wonder, how was it possible that ATHEIST managed to write such complicated tracks, sounding so natural? The drums were everywhere, while at the same time binding the different parts in each song together. There’s no doubt ATHEIST were ahead of their time, with songs that changed all the time and really demanded something from you as a listener. All respect to DEATH’s “Leprosy” and the classic it will remain for all times, but “Piece Of Time” was an album that contained everything you could possible dream of from a metal album. The mentioned drums that were everywhere, guitars that didn’t play one riff for more than 10 seconds (it feels like that), surprising twists that came out of nowhere but never felt out of place and finally a rasping vocal that still sounds fresh and original. ATHEIST never got the credit they deserved. Maybe this will change now with the re-releases marvellously done by Relapse Records. I think the Metallers today have a decent chance to figure ATHEIST’s complicated and technical Death Metal, since we’ve lived with 15 years of straightforward Death Metal that’s good and all, but not too demanding. 'On They Slay', 'No Truth' and 'I Deny' are tracks that can be listened to over and over again, and that today’s musicians and listeners will be able to understand way more. There is more progression in the extreme Metal scene, and even though ATHEIST were 15 years ahead of their time, there is always room for good music. And that time is now. Personally speaking I got the vinyl when it was released all those years ago, and together with the mentioned DEATH album, MORBID ANGEL’s “Altars…” and a few others, “Piece Of Time” was an album that belonged up there… and still does in its remastered form. All three re-releases includes bonus tracks, and I would have preferred if everything was collected into on CD. However, that’s not the case, so let’s take a closer look at the extra material for “Piece Of Time”. The coolest thing is that you get a few tracks you haven’t heard before, like 'Choose Your Death', 'Brain Damage', 'Hell Hath No Mercy' and 'Undefiled Wisdom'. Though, 'Choose Your Death' reminds me strongly of the album track 'Life' and 'Hell Hath No Mercy' is very reminiscent to 'Why Bother?'. These recordings are from the “Beyond" demo, “Hell Hath No Mercy” demo and “On The Slay” demo when the band was named R.A.V.A.G.E. (Raging Atheists Vowing A Gory End), and of course the sound is somewhat bad compared to the album. But it’s a part of ATHEIST’s history, and we have to be happy to get to hear these lost tracks, despite the various quality. These extra tracks surely belong on ”Piece Of Time” re-release, and add spice to an already super album. You can order it here

Roy Kristensen

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ATHEIST
Unquestionable Presence
(Relapse Records)
67:38min

While the former “Piece Of Time” was an album that forced only good songs with a lot of varied song-structures and strange rhythm passages, “Unquestionable Presence” was the album that took this to an even higher level. ATHEIST’s musicianship was even closer to perfect. Every beat on the drum feels right in place, every wicked guitar-riff and melody feels completely natural and Tony Choy’s basslines were out of this world. Roger Patterson, the original bassist, died prior to this recording, and Choy’s bass duties pay homage to Patterson’s writing. It’s like, did Choy’s fingers really survive the torture of hitting every string at the same time, yet bringing the melodies that lifted the already perfect songs. Here and there you may feel that there are four musicians heading in every direction. Flynn’s drumming is at times jazzy, and if I hadn’t seen the photos I am sure ATHEIST had a spider for a drummer. Varied, soft, hard – everything. Some may accuse ATHEIST for not writing songs, they just melted all kind of melodies together. Well, I beg to differ because if you give the songs time to breathe and the instruments time to assimilate to your familiar musical likings, you easily recognize each track in the jungle of riffs. Ok, in every track there are enough riffs to make full albums, but still every track has its own trademark. 'Mother Man' begins with a dreaming short section that rapidly turns into a bassist’s wet dream. And this track is different in the riffing but similar in the lack of structure compared to the rest of the album. Simply said, there is not set structure, each track evolves and bring in new elements, yet it is still easily recognized as ATHEIST. We get melodies that stick to your mind, such as in the massive closer 'And The Psychic Saw'. Listen to the short section around 30 seconds. Here you can see how guitars and one bass talk to each other, accompanied by intelligent drumming. In my favourite ATHEIST track 'An Incarnation’s Dream', the band is at its peak. They open with a calm section that allows you to breathe and prepare for the upcoming musical orgy. ATHEIST also shows us how to arrange a track with numerous breaks, loops and turns yet keeping the pace. The song moves for forward all the time, and it contains one of my absolute favourite parts in music ever. The guitars and the drums actually speak to each other for a few seconds before the guitar evolves into a solo and then back to the talking. “Hey guitars, you’re having a great day?” the drum ask. “Oh for sure, we’re feeling just so good today, giving my best to comfort our common friend, the bass”, the guitars replied and looked at the bass. The bass was new and didn’t know what to think, and was afraid it would stand back compared to the now dead bass that used to hang out with the guitars and the drums. The guitars comforted the bass and said to him that he shouldn’t worry. “You’re doing a great job. Just do your own thing, and I’m sure it’ll work out fine”. And with Kelly Schaefer’s original voice, raspy and surprisingly clear, ATHEIST delivered an album whose presence remains unquestionable. A masterpiece of intelligent music that sounds even better than it did 14 years ago, and that is a necessary item in every Metal collection. A preproduction demo to the album is included, showing us five out of eight tracks. It’s cool to hear them in different packaging, and they are surprisingly strong. Schaefer’s vocal may not be up to par, but still these tracks are worthwhile, no doubt. 'Retribution' and 'Brains' are instrumentals, and can be considered as a guide to ATHEIST’s musicianship if you don’t want Shaefer’s dry vocal on top. As a super-bonus we get 'Enthralled In Essence' which included Patterson’s basslines. An excellent homage to Patterson, despite the somewhat dirty sound on the take. In addition to all this, we get 'Mother Man' and 'And The Psychic Saw' as instrumental, the first one including only drums and bass, while the latter the guitars and drums. Altogether this package consists of worthwhile tracks that add to the already super album. You can order it here

Roy Kristensen

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ATHEIST
Elements
(Relapse Records)
65:37min

While the two former albums, “Piece Of Time” and “Unquestionable Presence”, delivered massive attacks of strange rhythm patterns, wicked influences and an unquestionable desire to challenge the listener, the final album in ATHEIST’s way too short history showed a controlled band that actually wrote something we can recognize as songs. “Elements” was definitely not what we expected 12 years ago. Then again, looking back in time I’m glad today that ATHEIST didn’t repeat themselves and made “Unquestionable… part II”. “Elements” is more justified as an ATHEIST album today, and once again the band showed a capacity that later haven’t been challenged. There are several bands that try and should be credited for this, bands such as THE DILLINGER ESCAPE PLAN, NECROPHAGIST and the Norwegian technicians SPIRAL ARCHITECT. But what ATHEIST showed us via the three full-lengths has not been challenged… yet. “Elements” was a daring album that included “…jazz, deep funk grooves, latin rhythms, flamenco guitar stylings and samba interludes…” (quoted from their bio). It felt awkward 12 years ago, but just as 12 years Chivas Regal, it tastes better now than in the beginning. The catchy songs such as 'Air' and 'Animal' satisfy your thirsty needs all the way to the bottom. Some may find the songs a bit too monotonous, but never change the winning team. If you find a super riff, just build on it and do your damn best. There’s still some wickedness left on “Elements”, but these feel minor compared to the catchiness ATHEIST focused on. So, compared to the other two albums, “Elements” doesn’t challenge me as a listener as much as it challenge me as an ATHEIST fan. And now, I must say that it feels in place as a worthy swansong of ATHEIST’s daring tour from the first seconds of "Piece Of Time" to the final seconds of the track 'Elements', that also ends the same titled album. On this album Relapse and ATHEIST (R.I.P.) have included a live radio show from 1992, where the band played sick songs from their two first albums. It’s really cool to hear this songs in slightly different versions compared to the album versions. Like, the bass more prominent, and Schaefer’s vocals are somewhat easier to cope with. He doesn’t sound as desperate. So, yeah, a cool thing to give the fans and thinking of this as a live performance (without an actual audience there and then), it’s highly impressive to really get to understand what kind of magical musicians the guys from ATHEIST were. Excellent. You can order it here

Roy Kristensen

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ATOMIC AGGRESSOR
Rise Of The Ancient Ones
(Hells Headbangers)
48:50min

ATOMIC AGGRESSOR were one of the South American multitude in the 80s, standing proudly alongside DEATH YELL and PENTAGRAM. This recording contains all of their demo tracks starting from their humble origins, to 1991. Fans who know their Death and Thrash Metal should know what to expect from bands of South America in the late 80s: fast, gritty, murky, sometimes muted, riff salads of the most blasphemous order, and raspy, choked-with-the-dust-of-centuries vocals. For die-hard fans, there exists a vinyl version also released by Hells Headbangers, but in extremely limited quantities. The LP is almost as scarce as the original demos are! Its a worthy purchase, no matter what the format is, for this style of music is almost like a common ancestor for Death Metal, from which many styles, through speciation, have sprouted. http://www.myspace.com/atomicaggressor

Nat Shapiro

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ATOMKRAFT
Total Metal – The Neat Anthology (DoCD)
(Castle Music / Sanctuary)
113:19min

Shit, I like these Castle Records re-issues – I really do! CHATEAUX, AVENGER, WARFARE, BLITZKRIEG, HELLANBACH and so on and so forth. All these classic NWOBHM acts that used to be part of my youth (looooong time ago, hahaha) and which all sounded so fresh and unique back in the late 70s / early 80s. ATOMKRAFT is another fine example of that. Even though they came out a little later and I never really followed their career completely, I always enjoyed their debut full length "Future Warriors" a lot and even managed to catch them live twice at the time (supporting VENOM / EXODUS and AGENT STEEL / NUCLEAR ASSAULT)! This double CD compilation finally features the entire ATOMKRAFT back catalogue… and more. 29 tracks in total, which means the complete, already mentioned "Future Warriors" album from 1985 as well as the band's two follow-up EPs "Queen Of Death" and "Conductors Of Noise" (from 1986 and '87 respectively), which presented them in a slightly changed musical direction. Two tracks off "Queen Of Death" (namely 'Funeral Pyre' and 'Demolition') made it onto this disc in previously unreleased (original) versions, still featuring original vocalist Tony 'Demolition Man' Dolan, who (unfortunately) got replaced by AVENGER frontman Ian Swift after "Future Warriors" (with all respect to Swift, who certainly did a great job in his former band, Dolan's raw voice simply fitted the band better). And there's a bunch of additional, demo- / unreleased songs on here as well: 'Your Mentor', 'Trial By Deception', the cool GIRLSCHOOL cover 'Demoliton Boyz', 'Annihilate The Bride' and 'Dance Of The Immortals' as well as their early 1983 demo, which featured raw version of two of the band's later classics 'Total Metal' and 'Death Valley'. Two live tracks ('Vision Of Belshazzar'  and 'Foliage' ) and the usual, cool Castle re-issue packaging (old pictures, articles and stuff) complete the picture. I personally would've prefered a chronological order of the songs, but hey – you can't have everything, can you? Musically ATOMKRAFT basically started out as the missing link between the typical NWOBHM acts (SATAN, BLITZKRIEG, AVENGER etc.) and the heavier, more Punk rooted TANK, WARFARE and VENOM. Especially "Future Warriors" is an album that every worshipper of early TANK / VENOM definitely should know about. I suppose the fact that they started to lack identity by becoming more melodic (mainly due to the new vocal direction) and the quickly rising US Speed / Thrash Metal scene prevented ATOMKRAFT from the real breakthrough in the end. They probably should've continued on in their original line-up / style... which they luckily seem to do nowaydays! The one brandnew track that Tony supplied me with recently sounds extremely promising already and should please all fans of ATOMKRAFT's early days for sure! So, until a new album gets released, this double CD set is the perfect item to get you into the right mood again. For all further, historical background info, check out our in-depth ATOMKRAFT interview. You can order it here

Frank Stöver

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ATROPHY
Socialized Hate
40:19min
Violent By Nature
41:40min
(Displeased Records)

It's quite easy to say what makes an album a good album. Good songs, atmosphere, variety, good production, great guitar riffs, a good vocalist, maybe musical skills. But what makes it a successful album? To be honest I don't know it. Arizona based Thrash Metal band ATROPHY is a fine example of a totally underrated band. This band released two great albums, "Socialized Hate" (in 1988) and "Violent By Nature" (in 1990), containing everything I mentioned before but definitely can't be called commercial successful or even well known. After just two releases they disappeared into the unknown. ATROPHY played a style rather similar to what more popular bands such as SACRED REICH, FORBIDDEN, NUCLEAR ASSAULT and DEATH ANGEL did back then. Although this is a second generation Thrash band, ATROPHY was not a copycat. Okay, they were not super original but they had their own note and they composed some damned cool songs. Quality-wise they played the same league such as the aforementioned bands but unfortunately never got the attention they deserved. "Socialized Hate" and "Violent By Nature" are full of neckbreaking rhythms, driving drums and intoxicating guitar riffs. Hell-yeah, I really have to mention the great guitar work. That's what Thrash Metal is all about. The fucking guitar riffs which make you wanna bang your head off, isn't it? Both albums have a proper and powerful production and asskicking vocals, Brian Zimmerman has that kinda voice a Thrash vocalist should have. Man, I really love his aggressive and thunderous barking. On the debut the bands presented its more aggressive, straight forward side and on the second album there is the more varied and more song oriented, memorable, yet still aggressive, side. In my humble opinion "Violent By Nature" is the better of two awesome albums cause it's a bit more varied and it contains a couple of first class Thrash hymns such as the title track, the opener 'Puppies And Friends' and the incredible 'In Their Eyes' amongst many others. I read somewhere that some of the musicians tried to resurrect the band in the late 90s with a new vocalist but I don't know if they really did. Anyway, both re-releases come just the way they were original released. That means without any bonus material, there are just different booklets with the band discography listed and they were remastered. I really like those re-releases, this is a good thing, so you don't need to waste your hard-earned money on ebay buying those long-time sold out originals. Okay, enough is said, if you appreciate good old quality Thrash and don't own the original Roadrunner / Roadracer CDs you definitely have to put both re-releases on your shopping list. ATROPHY is a must have!!! Label website: www.displeasedrecords.com. You can also order them here.

Hacker

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AT THE GATES
Slaughter Of The Soul 
(Earache Records)
53:09min

I seriously doubt that this album still needs to be introduced to all those of you who are reading this or like-minded magazine(s) on a frequently base. "Slaughter Of The Soul" was not only the most straight forward, right into your face and therefore fuckin' best AT THE GATES release, it was unfortunately also their farewell offering. I often wonder how the Swedish Death Metal underground would sound these days without its existence as it had a massive influence on the origin of the so-called "Gothenburg sound". Musically it was simply the perfect combination of sheer aggression, intense and to the point razor sharp riffing, excellent musicianship and killer melodies. Due to its top notch songwriting (all killers - no fillers!) "Slaughter Of The Soul" quickly became a classic among fans and media alike. But does all that already justify its re-release then, especially when the original version is still around? Well, I'm not here to judge any business decisions, but fact is that this new edition turned out completely amazing. It comes with a deluxe looking, box-like packaging -- an enhanced booklet with a bunch of pictures, lyrics and liner-notes to all of the songs -- and most important of all -- features no less than six bonus tracks!!! Two raw 1995 demo versions (of 'Unto Others' and 'Suicide Nation') that Earache impressed so much back then that they signed the band straight away, their incredible cover of SLAYER's 'Captor Of Sin' (originally to be found on the "Slatanic Slaughter" compilation from Black Sun Records), an awesome SLAUGHTER LORD cover ('Legion' - originally only available on the Japanese edition of "Slaughter Of The Soul"), a NO SECURITY cover ('Bister Verklighet') and a track called 'The Dying', which originally already got recorded during the album session, but didn't make the record because the guys considered it not strong enough (what a joke...). So, along with Peaceville's "Suicidal Final Art" compilation this album should complete the picture of an amazing and sadly missed band after all. Get it here.

Frank Stöver

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AT THE GATES
Slaughter Of The Soul + DVD
(Earache Records)
53:09min

Doing reissues of CARCASS and AT THE GATES in the year of their big reunion shows is actually the most logical thing Earache can do businesswise and taking a serious look at their 90s releases rooster they have quite a lot of treasures with a sort of timeless sale capacity in their bunker. As far as I know this is already the third edition of “Slaughter Of The Soul”. Compared to my 1995 bought version the CD booklet is much more extended this time; featuring a lot of different photos and some cool retrospective liner notes for each song. Furthermore the audio CD also encloses six bonus tracks that were already published on the second edition, too. Namely we talk about the covers from Australian SLAUGHTERLORD, the SLAYER tribute 'Captor Of Sin', the NO SECURITY cover plus two more “Slaughter Of The Soul” based demo versions and the unreleased track from the same session entitled 'The Dying'. For all of you who don’t know it, you can download all those tracks free and offical from the bands own homepage www.atthegates.se. Wasting more words about the quality of “Slaughter Of The Soul” would be a shame. If you call yourself a Swedish Death Metal crack and you don’t have this one in your collection then run back to your mother’s breast. The ridiculous thing about this album was that “Slaughter Of The Soul” got praised a hell and a lot more years after the releases and the band's split-up, especially in the bigger Metal media. In their days of existence AT THE GATES never got those flowers. Anyway now about the special item on this reissue, the DVD part. First up is a 8 track live show recorded in Krakow, Poland in 1995. I guess this was a show on their last European tour with UNLEASHED. In some way this show was already available via filesharing for a couple of years, but this final version hear comes in a really good quality, actually a lot better then the bootleg I’ve had before. A great setlist and an awesome performance seeing the band at young age enjoying every minute of it. Tompa is a really outstanding and charismatic fronter and I think reunion wise it will be hard to re-create that feeling again. Lucky dudes who saw them back in the 90s; I haven’t. Furthermore there’s “The making of Slaughter Of The Soul” done as a 35 minutes documentary film on the DVD. Imagine musicians and producer come back 10 years after the original recordings and resume this experience. Really a cool idea, although this is more a kind of thing for the musicians under our readers. The most impressing thing of all is that “Slaughter Of The Soul” still holds standards in terms of extreme Metal productions, even nowadays, but most of all it’s still a sort of handmade album compared with todays recording technics – respect! You can check out trailers for both, the livepart and the documentary, at www.youtube.com. At least the DVD comes a bonus, like the full version of the 'Blinded By Fear' videoclip and more minor madness. I must say that this DVD part is really hot as hell for the die hard fans and the package of the booklet is also well done. On one hand this is really done with dedication, but the other way around it’s also a quick way of making money for Earache. If you already have the original version then deceide on your own and those who don’t have that album at all, simply go home!!!  www.earache.com

Ralf Hauber

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AUTOPSY
Severed Survival (DoCD)
(Peaceville Records)
109:26min

Anyone who has not the stomach for AUTOPSY, has not the stomach for true Death Metal in its purest form. In stark contrast to bands like MALEVOLENT CREATION, DEICIDE, NOCTURNUS and even DEATH, AUTOPSY were snarlingly creepy because of the sickly lilting doom-like tempos they used. That is not to say that AUTOPSY was never fast, for they most definitely could be when they wanted to, but it wasn't their first priority. Their chief aim was to craft sickening Metal. The world got its first taste of it with "Severed Survival". The likes of it had never been heard before. The disgusting imagery, the puss soaked grit of the bass, the buzzing of the guitars so like flies feasting on the ear wax of a dead body. These, and more were what made AUTOPSY such poineers in exploring depravity through Metal music. Peaceville finally re-released "Severed Survival" on digipak in 2003. Now, they've re-packaged it yet again, only this time with content they neglected to include on the last edition. This time around, you also get the 2 new tracks off the limited "Horrific Obsession" 7" from 2008 as well as 13 live and rehearsal tracks on a bonus disc. These tracks are an exemplary additon to the album itself, and really should have been on the first digipak six years ago. Disc 1 features the same 3 bonus tracks that already were on 2003's edition: 'Funereality' (from the Peaceville compilation album "Volume 4"), 'Destined To Fester' and 'In The Grip Of Winter' (both from the "Retribution For The Dead" EP). This re-release also features both cover artworks (incl. the banned one) on the cover and booklet respectively, some additional art inside, the original vinyl innersleeve photo collage, all lyrics as well as old gig flyers and pics and an interview with Danny, Chris and Eric. Essential. www.peaceville.com

Nat Shapiro

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AUTOPSY
Shitfun
(Peaceville Records)
72:22min

Continuing with the styling that made "Acts Of The Unspeakable" a largely hit or miss affair, AUTOPSY put the remainder of their new ideas into "Shitfun", their last album as AUTOPSY before reforming as ABSCESS. "Shitfun"'s title was, and is, strange even for AUTOPSY, and the album was greeted with less applause than the first three. It is, by far, the least AUTOPSY like AUTOPSY album. It has more in common with ABSCESS's "Urine Junkies" compilation than anything else, and since ABSCESS is essentially AUTOPSY at Mach 3, there really shouldn't be much to give any fan much to gripe over. The kind of change AUTOPSY went through from "Mental Funeral" to "Shitfun" is rather like MORBID ANGEL's change from "Covenant" to "Formulas Fatal To The Flesh". The music is instantly recognizable, but different enough to give a few fans pause. Unlike MORBID ANGEL, however, who got progressively more eclectic lyrically, AUTOPSY went in reverse, and sang, predominantly, about shit on their last album, as the title no doubt suggests. That is very likely the chief reason for the album's decidedly low ranking amongst fans. As seriously as anyone can take gore lyrics, lines focusing on fecal matter are even less relatable. Nevertheless, the music remains the most important. "Shitfun" is a faster, more MASTER and REPULSION driven album than the previous three, which were entirely of Chris Reifert's masterful originality. You could call it the first ABSCESS album, if you wanted. Peaceville's latest edition comes as a digipack that features the lyrics as well as several live tracks, taken largely from the "Mental Funeral" and "Severed Surival" setlists.There are two or three songs from "Shitfun" included in the live material, but digital technology being what it is, those of us who feel "Shitfun" too much of a departure may skip over those tracks and focus on what everyone may agree was the real AUTOPSY, a twisted mass of burnt decay. The album is a very underrated listen regardless of the band you associate it with, be it AUTOPSY or ABSCESS. www.peaceville.com, www.myspace.com/autopsyfansite. You can order a copy here.

Nat Shapiro

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AUTOPSY
Acts Of The Unspeakable
(Peaceville Records)
77:56min

The music that made AUTOPSY so influential on "Severed Survival" and "Mental Funeral" hadn't completely vanished by the time "Acts Of The Unspeakable" was released. A more definite departure was apparent on "Shitfun", otherwise known as the first unofficial ABSCESS album to some. We all should know what AUTOPSY's primary formula was. Unbelievably deranged vocals, slow, deep drums that sound like Chris Reifert fashioned them out of human skin, and mostly mid paced, heavy-as-a-thousand-corpses riffs. None of that fled. There are some lightly peppered hints of things to come with ABSCESS, but nowhere near enough to deter a die-hard AUTOPSY fan. What separates "Acts Of The Unspeakable" from the first two records, is the sound. The production could have been far, far better, though it does manage to sound gloomy, a strange thing for AUTOPSY who, to my ears, were never anything except evil, and depraved. Like the other re-releases, "Acts Of The Unspeakable" is now packaged with (ten!) live tracks, and the "Fiend For Blood" EP. Only the truest of the true got to hear the EP when it was hot off the presses. This is a treat for all things Death Metal. The album has received a bit of an unfair rating. On the other hand, it does sound like cotton balls compared to "Mental Funeral". Nevertheless, its a worthy record. Who else does it like AUTOPSY? www.peaceville.com, www.myspace.com/autopsyfansite. The CD is on sale here.

Nat Shapiro

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BEHERIT
The Oath Of The Black Blood
(Spikefarm Records)
25:49min

I never thought that this would be on a list of re-releases for some label one day. Not that I would say there’s no point, since the album has surely been bootlegged already who-knows-how-many-times before. The very album I’m talking about here is BEHERIT’s legendary debut album "The Oath Of The Black Blood" that the famous rip-off label Turbo Music from Germany released in the unholy year of 1991 Anno Bastardi and which Finland’s Spikefarm Records has just recently re-released as a limited digipack edition due to some mysterious reason of which I haven’t got a slightest clue at all. I remember when the album saw the light of pale moon for the first time back in the day via Turbo Music. The album was a real oddball in the Metal scene, having 10 songs of the ugliest, noisiest most primitive and rawest Black Metal shit I had ever heard until that day. It felt like something wasn’t “right” on that record and totally out of balance back in those days when playing Death Metal was a big fashion thing amongst the Metal–loving kids and everything else was basically for wussies and wimps. At the same time, and due to all these reasons, BEHERIT’s "The Oath Of The Black Blood" sounded somewhat appealing and addictive to me, representing something totally different. Oddly, they reminded me of the Canadian grave desecrators BLASPHEMY quite a bit due to the similar hateful and malicious outbursts BEHERIT had managed to capture for "The Oath Of The Black Blood". However, even if "The Oath Of The Black Blood"’s musical values and qualifications can be considered somewhat minimal, its meaning and influence for the Black Metal scene for the further years has probably been more meaningful and stronger than many of us can ever truly figure out. BEHERIT started it all, at least here in Finland. They were definitely the uncrowned leaders of the whole Black Metal genre and basically the main influence for many up-coming Black Metal bands that were spawned into the Black Metal community within the nineties. That distinction nobody can take away from them... ever. If you have had problems getting your hands on this, then your burden has drastically been relieved now when this almost luxurious digipack of "The Oath Of The Black Blood" has been unleashed through Spikefarm with all the original BEHERIT artwork from the band’s early years and such. Wanna get polite, but useful advice? Alright then... get this very essential jewel of Finnish Black Metal history before it’s too late for that, once again. Website: www.beherit.tk. You can order it here.

Luxi Lahtinen 

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BELENOS
Errances Oniriques
(Northern Silence Productions)
47:45min

The French Black Metal scene is more or less one of the last strongholds of the true Black Metal style and bands which are mixing Folklore with the essence of our beloved Black Metal style are more than rare in these landscapes. BELENOS are one of the few French bands which is falling under this category but don’t except just another Pagan band. The BELENOS debut “Errances Oniriques” was officially released by Sacral Productions in 2001 but the only remaining band member decided to re-record the album adding 2 bonus tracks instead of using the original material for the re-release. But even if BELENOS is using acoustic guitars or clean vocals as pathways to their Celtic ancestors the core of his music is the ugly face of Black Metal. I really think that a lot of people simply forgot that only 10 years ago the normal understanding of Folklore meets Black Metal sounded exactly like this release. So there is no need to search for drunken Trolls or lovely fairies on “Errances Oniriques” – just expect the normal victims – means frostbitten guitars and an evil atmosphere crossed by slightly folkloric influences. This album is for all the (still mourning) WINDIR fans - they will fall in love with this release (maybe not automatically because the 9 tracks really need quite some time) and this should still be a proof of musical quality. www.northern-silence.com, www.belenos.biz

Matthias Auch

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BESTIAL MOCKERY
Christcrushing Hammerchainsaw
(Hell's Headbangers)
25:56min

Hell's Headbangers presents us a re-release of "Christcrushing Hammerchainsaw", the first full-length in the impressive discography of Swedish necroblasphemers BESTIAL MOCKERY. Originally released in 2002 by Metal Blood Music, this crushing and provocative Black / Thrash inferno was long time out of print untill now! Fans who prefer vinyl should able to forfill their need as this one also comes as a 12" gatefold LP (available from May this year) with an 8-page booklet featuring lyrics and bandphotos or picture disc (don't know any details about this version). Also new is the redone coloured artwork by Chris Moyen. I don't know if it's the same deal in other music genres but it's great to see releases this extreme and filthy treated with so much passion and dedication and therefore coming in such great shapes! I guess most of you are familiar with the style this late chainsaw loving demons unleashed. If not, Eduoard Vergriete gave a pin-point precise description when reviewing their "Gospel Of The Insane" album. Absolutely nothing I have to add to this, besides that this "Christcrushing Hammerchainsaw" is the BESTIAL MOCKERY album that overally pleased me most. None are bad, but this one feels filthier, catchier and less demented than their following efforts. Fans of NIFELHEIM, old DESTROYER 666 will probably get high on "Christcrushing Hammerchainsaw", but also fans of old MARDUK, SADISTIK EXEKUTION, ENTHRONED, old IMPALED NAZARENE could find a gem in this one as well. It carries some ancient spirits! Check www.hellsheadbangers.com for info and prices.

Michael Tak

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BLACKLACE
Unlaced / Get It While It's Hot
(Mausoleum Records)

blacklace was a female fronted New York based band that really kicked ass on this debut! Their "On The Attack" demo was proof this band had a nack for writing good uptempo Metal anthems alongside more in-depth guitar playing à la van halen and a great sense for arrangement! Leading off after the 'spooky' intro with 'Call Of The Wild' the "Unlaced" record just goes all over the place with some amazing songs probably put together during their many years before the album. There's some overly heavy stuff like 'Nightmares' (love the 'Zero The Hero' sounding brooding riff!), and of course you must love the more 'sing along' and 'polished' songs like 'Runner In The Night' and 'Hots For You'! Maryann's voice is something I love (I do know a few friends who dislike it!). It's rather 'high' at times but it works for me. The guitar playing is sizzling as mentioned and the whole band does a great job throughout. Good mix and production too courtesy of manowar's Joey Demaio. I say this is a must own for anyone into classic Hardrock / Metal from the 80s! Being a fanatic for female fronted Metal I was so into "Unlaced" and awaited this follow up record with just as much anticipation! Opening track 'I Like To Rock' is everything I hoped this record would be! Energetic, powerful and convincing. Great opener! Second track (title cut) starts off with some male vocals courtesy of bassist Anthony Fragnito and turns into a 'duet' of sorts! Not really that good to me! Damn my first 'dissapointing' moment in a BLACKLACE record! 'Speed Of Sound' get sit back on track and has a kinda 'Hot For Teacher' VAN HALEN 'vibe' to it! Mostly due to the Eddie worship guitar playing of Carlo Fragnito! As the album carries on it truly hold up as a great folow-up to the legendary "Unlaced" record with some great written songs with good choruses and great messages. A must own indeed! Sadly the band didn't ever 'take off' or make it, but we got these two classics combined onto one CD now to keep the spirit up! Invest and enjoy the call of the wild of BLACKLACE! On sale here.

King Fowley

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BLACK SABBATH
Mob Rules (Deluxe Expanded Edition, DoCD)
(Universal Music)
127:44min

A lot of you reading this will probably accuse me of being an ignorant fool, if I tell you that the original BLACK SABBATH line-up with Ozzy never did anything to me... I simply couldn't stand the vocals (a fact that quickly changed when Ozzy started to release solo records, which I do like a lot!). That's probably the main reason why I never ever owned any classic BLACK SABBATH album. But when former RAINBOW frontman Ronnie James Dio came on board in 1980 for the "Heaven And Hell" album, the band quickly turned into another favorite of mine! The heavy riffing of Tony Iommi in combination with Geezer Butler's pounding bass and Bill Ward's (and later on Vinnie Appice's) effective drumming simply needed a far more powerful vocal delivery... and the "little man with the big voice" was definitely the perfect choice for the band! Okay, the madness and insanity that Ozzy used to be known for was definitely gone, but Dio's strong charisma and perfect vocal delivery easily made up for that in my opinion. Even after so many years, both studio albums that this fantastic line-up recorded at the time still send shivers down my spine and I can't decide which one I like better. 'Neon Knights', 'Children Of The Sea', 'Heaven And Hell' or 'Die Young' (from "Heaven And Hell") or 'Turn Up The Night', 'Voodoo', 'The Sign Of The Southern Cross', 'The Mob Rules' or 'Falling Off The Edge Of The World' (from "Mob Rules") are eternal classics, that easily stood the test of time next to the old standards of the Ozzy-era. So, it's great to see that Universal Music also decided to re-release the 3 BLACK SABBATH albums of this period ("Live Evil", the 1982 live album, completes the triumvirat) in their "Deluxe Expanded Edition" series, as usual with fat booklets and several extra stuff of course.  So, what do we get in the case of the "Mob Rules" album then? Next to the regular nine album tracks Disc # 1 of this "Deluxe Expanded Edition" additionally features a live version of 'Die Young' (taken from the B-side of 1981's 'Mob Rules' single) and - probably even more important - the original demo version of 'The Mob Rules' (from the "Heavy Metal" movie soundtrack), which was even better than the album recording that was about to follow later on. Disc # 2 features an excellent DIO-era BLACK SABBATH live show, recorded at London's Hammersmith Odeon between December 31, 1981 - January 02, 1982. It was previously already released in the US back in 2007 as a limited edition CD entitled "Live At Hammersmith Odeon". The setlist is almost identical to "Live Evil", with the only difference of 'The Sign Of The Southern Cross' and 'Fluff' that got both replaced with 'Country Girl' and 'Slipping Away' here. So, even if you already own the original "Mob Rules" album, you definitely shouldn't miss out on this (or any of the other) re-release(s) as well! Excellent! www.blacksabbath.com, www.universal-music.de. On sale here.

Frank Stöver

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BLASPHEMY
Fallen Angel Of Doom
(Nuclear War Now! Productions)
26:15min 

After years of unavailability and a couple of bad quality bootlegs, Nuclear War Now! Productions came up with what is considered to be the ultimate edition of BLASPHEMY's classic debut album "Fallen Angel Of Doom…". Originally released in 1990 by one of the biggest (if not THE biggest) rip-offs of all times, Wild Rags Records, BLASPHEMY's first full-length offering is without a doubt one of the most harsh, brutal and provoking releases of the early 90s. Deeply influenced by SARCOFAGO and closely affiliated to BEHERIT (remember the 'War Command' cover BEHERIT did…), BLASPHEMY managed to establish themselves as one of the first, "second-wave" cult underground Death / Black Metal acts not only with their "Blood Upon The Altar" demo-tape but also with their contradictory "Black Metal Skinheads" image that they incorporated. Even today, almost 18 years after its original release, "Fallen Angel Of Doom…" is still considered to be a cult gem for those into the so-called bestial Death / Black Metal and - in its original version - it is by far one of the most sought-after items around. Nuclear War Now! Productions did a good job with this re-release including both the lyrics of each song plus some rare pictures of the band. I would prefer to see some additional stuff in this re-release, like bonus material or perhaps some live recordings / rehearsals but I guess the label wanted to stick to the original format of the Wild Rags version... Anyways, I left the most impressing part for the end: not only Nuclear War Now! released it on noble LP with thick cover, booklet and huge poster, they also released it on 4 different die-hard versions, each one containing the album in splatter vinyl plus a picture LP version (with one side containing the actual cover and second side containing a picture of a different member of the band for each of the 4 versions!). We are talking about TOTAL DEDICATION on behalf of the label, well done!!! I am not quite sure what else to add here, except… Ross Bay Cult Eternal! www.myspace.com/99274722, www.nwnprod.com

Manolis A.

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BLASPHERIAN
Allegiance To The Will Of Damnation (MCD)
(Die Todesrune Records)
32:37min

Texas rarely, if ever, lets the underground down. Always churning out something tasty, the Lone Star State's latest and greatest achievement is BLASPHERIAN, consisting of long-time scene veterans, including former members of IMPRECATION. There are very close parallels between BLASPHERIAN and IMPRECATION, but BLASPHERIAN stand on their own as masters of dark, evil Death Metal in their own right. Not particularly slow, nor fast, the band balances between the two extremes with unquestionable finesse. This is true of many a band, but whether fast or slow, the one thing that sets BLASPHERIAN apart is their heaviness. That is to say, heaviness with regards to the punishing weight and resonance of the riffs. INCANTATION, to name one of the few American bands who does this, made similar use of heaviness in their music. I don't mean to suggest that BLASPHERIAN are one of the exalted few who know the only way to write Death Metal, but rather I mean that their approach is rarer to hear than you might think. Mixed with the vocals, the thundering drums, and the plodding weight of the gristly guitars, heaviness is at an all time high on this EP. One is left with an imprint of BLASPHERIAN, rather than an impression. This MCD edition includes 2 bonus tracks ('Of Unholy Blood' and 'To Walk The Path Of Unrighteousness') from the band's split EPs with ADUMUS and EVIL INCARNATE. More info: www.myspace.com/blaspherian, www.myspace.com/dietodesrune

Nat Shapiro

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BLIND FURY
Out Of Reach
(Majestic Rock Records)
42:55min

I suppose (and I hope) that many of the VOICES readers are also interested by traditional Heavy Metal the way it was played in the 80s. I admit that I overlooked this one and only BLIND FURY offering when it came out in 1984. But better late than never, I am glad to present this reissue to you. Some of you may know that BLIND FURY are none other than an offspring of the mighty SATAN, a legendary UK band who put out one of the ten best Heavy Metal albums of all times, namely “Court In The Act”. Tired and annoyed by what they saw as a rather cliché and inaccurate moniker, the SATAN’s musicians choose to release their second album under the name of BLIND FURY, with a more commercial approach, according to them that is. Well, with hindsight, this album is anything but commercial - sounding to me, only a bit more melodic than the first SATAN, but delivering the same aggressive energy. Expect a fantastic slab of furious Heavy Metal mayhem unrivalled until today. BLIND FURY combine stellar musicianship (the guitar solo trade-offs by the pair Steve Ramsey / Russ Tippins can make frantically salivate every self-respecting Metalhead), superb vocal work courtesy of Lou Taylor (who replaced the already exceptional Brian Ross, the singer of SATAN and BLITZKRIEG), a solid rhythm section and above all an outstanding ability to compose very intricate songs. To give you an example, a track like ‘Evil Eyes’ could have been featured on any of the two first MERCYFUL FATE albums, so much the style is the same. And no wonder, as the members of SATAN / BLIND FURY shared a mutual admiration and a friendly rivalry with the Danish gods of Dark Heavy Metal, and also they were on the same label, the sadly defunct Roadrunner Records (lost for the Metal world that is). Strangely enough, BLIND FURY are not English sounding, they rather share a lot of common traits with their American counterparts. And yet “Out Of Reach” was initially issued in 1984, in a time when the classic melodic American Heavy Metal had not fully reached its plenitude. So I am sure BLIND FURY had an unsuspected influence on bands like VICIOUS RUMOURS to give you an example (listen to ‘Back Inside’, it could have been on “Digital Dictator” without any problem). One of the most striking points of “Out Of Reach” is certainly the aforementioned superb vocals of Lou Taylor, it is truly a delight when he takes the high notes. It was then the golden era of very powerful high pitched vocals, sadly gone today. I regard this album as essential in any serious Heavy Metal collection. Total Metal mastery, and yes, out of reach of many aspiring Metal “stars” of the present days. You can order it here.

Edouard Vergriete

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BLIZZARD
Pure Filth And Mayhem
(Evil Spell / Undercover Records)
51:16min

VENOM!!! MOTÖRHEAD!!! And as well I can end the review here. But then again, that’s not what a review is for, right? Well, BLIZZARD might evoke an IMMORTAL album, but no, it is on a different way. To start with they are a German trio founded back in 1998. Members of the band are also active in other bands like MORRIGAN and WITCHBURNER. So this might be a project for the members to have some good fun and talk about beer and being a mindless Metaller. Which is basically what the lyrics are all about with titles like 'Alcoholyptic Nightmare', 'Rock’n’Roll Terrorist', 'Metal Is Violence' or 'No Beer Until Metal' I just let your mind to make conclusion on what the lyrics deal with. So, do we really need another crazy beer-lust Metal band? Well, on one hand, this kind of music style is for a casual Metal listening. I mean, the one you put in your car, while driving a convertible with beer in hand…well, if that is legal in your country. It is a no-compromise, no-brainer riff-o-rama of very simple structure, thus sounding a lot like old Rock'n'Roll, hence I compare it with the bands on the beginning of this review. Then again, most kind of recordings fits the music really good, and in this case, it sounds raw, yet well produced, if maybe, they do use and abuse of the bass overtones. The vocals are more in the Cronos vein than in the Lemmy territory, but it is noticed that the vocalist tries hard to pronounce the words even in that raspy style he uses. After a while, I must admit that the vocals are probably the reason why this sounds all way too similar, given the fact that the simple way of performing also makes it all sound alike. Add here and there some well done guitar solos, and some tempo changes, and voilá, it is done. This album I must add, is a re-release from their debut from 2001 and added their EP of 2008 “The Return Of Pure Filth And Mayhem” now combined onto one CD and both available for the first time in that format (both chosen titles also reveal two other obvious influences of BLIZZARD: TANK and WARFARE - Frank). As it is, it does not offer nothing we have not heard before, being it from the originators or the countless other bands of similar style. Yet, it is an entertaining album, for those who don’t care to listen to the same thing performed by different musicians. On the other hand, I am getting sick and tired of those bands more akin to Rock'n'Roll done by Metal musicians. I like my Metal the way some keep it, thank you. I feel no need to get back to the origins of Metal music. That’s why I have KREATOR records and not LITTLE RICHARD vinyl. They might have come from the same source, but in the end I only choose one way. And, add to that the fact that NO ONE can top VENOM or MOTÖRHEAD in their good days…not even themselves. So, why try? In this case, I like the main bands of the members more than this project, and although I must admit it is at times so dumb it is fun. At the end of the day, it would be one of those discs that will be collecting dust for long time. Metallers with less ambition in their music and not wanting to hear the original ones will dig it. The more picky ones might like a few songs until they want something more Metal or just go back to the originators of the style. www.myspace.com/blizzardoffiziell, www.undercover-records.de

Julian Nuñez  

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BLOOD FEAST
Remnants: The Last Remains
(Militia Records)
47:06min

If you have checked out our massive interview feature on this classic 80s Thrash act from New Jersey you should already be aware of every little detail concerning BLOOD FEAST's history, so we can exclusively focus on this eleven song release here. Unfortunately "Remnants: The Last Remains" is not a new studio album by the band, but a collection of rare and / or hard to find recordings of the former New Renaissance Records recording artists, quite obviously destined to satisfy the needs of their die hard following in the first place. The disc kicks off with their classic "Suicidal Mission" demo, which they still released under the BLOOD LUST moniker way back in 1986. Its four raw and aggressive cuts ('Menacing Thunder', 'The Evil', 'Blood Lust' and 'Suicidal Mission') all made it onto their debut album "Kill For Pleasure" later on, but are featured in the original versions here, that started it all for the band. Some of you may still remember them as that demo got heavily spread around by tapetrading back in those days. Another two song demo is next (a pre-production recording of the songs 'Kill For Pleasure' and 'Vampire') and should be a little bit more less known, as it was never officially released before. These were actually the first two songs that the band recorded for their debut album, after having been picked up by New Renaissance Records. Soundwise not necessarily completely convincing, but it's still cool to hear their evolution this way. If you already own the regular BLOOD FEAST albums the most exciting stuff for you is probably the material which comprises the second half of this CD... There's three previously unreleased studio recordings (actually the last to feature original guitarist Adam Tranquilli), which were meant to appear on BLOOD FEAST's never released final album "The Last Remains" (yep, that's where this compilation's title is based on). They are far more convincing than most of the stuff which later came out on their "Chopping Block Blues" record, especially the extremely cool 'Holocaust' and 'Curse Of The Womb'. Being an old KISS maniac myself for many many years I'm not too sure what to think of the band's rather unconventional Thrash Metal version of 'Black Diamond', so I better leave that up to each one of you individually here. The album ends with a great live version of 'Menancing Thunder', which is - according to the CDs liner notes - their only live recording which doesn't suffer from a poor sound quality. So, all in all a very interesting compilation to complete BLOOD FEAST's rather shortlived musical legacy, packaged in a pretty cool Pat Thompson artwork. Label contact: www.militiarecords.com

Frank Stöver

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BREAKER
Accept EP
(Auburn Records)
30:00min

After nine years of inactivity, Cleveland based Auburn Records has finally returned to the scene with a new release. And the choice couldn't be better! The "Accept" entitled, quite lengthy EP (with a playing time of approx. 30 minutes) by legendary melodic Heavy Metal masters BREAKER will certainly appeal to a lot of underground Metalfans. It features a brandnew recording, the welldone cover  of the old ACCEPT classic "Breaker", two tracks off their soon to be re-issued "Get Tough" album (the alltime classic "10 Seconds In" and the "Heavy Artillery" compilation track "Still Life") and a couple of previously unreleased demo versions, dating from 1982 and 1990. The coverart will bring a smile on the face of every longtime Metalhead, as it's a parody of ACCEPT's "Breaker" sleeve. BREAKER still have a die hard following (especially overhere in Germany), even though "Get Tough" originally was released more than ten years ago, which undoubtedly speaks for the high quality of the band's material! These guys just knew how to come up with strong compositions.Their combination of clear melodic vocals and powerful traditional Heavy Metal could've been a strong foundation to build a longlasting career on. Unfortunately several problems stopped the band on their way to the top and a second album never saw the light of day. But at least "Get Tough" will finally be re-issued in January as a double CD set with a bunch of bonus tracks, so watch out for that! The first pressing of this limited edition EP sold out immediately, but don't worry - a second pressing is already available and that even features an additional "secret bonus track" (a demo version of "10 Seconds In")! So, don't hesitate too long and make sure to buy it!!! If you can't find it in your area, contact Auburn directly for further ordering information at: Auburn Records, P.O. Box 925, Medina, Ohio 44258-0925, U.S.A., e-mail:auburn833@aol.com , website: www.auburnrecords.com 

Frank Stöver

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BREAKER
Get Tough (DoCD)
(Auburn Records)
40:10min
68:29min

The long wait is over – it's done, it's here and the result just turned out absolutely fantastic! After 13 long years, BREAKER's legendary "Get Tough" album is F.I.N.A.L.L.Y. officially out on CD for the very first time! Even if you already own the lousy Reborn Classics bootleg version of it, you gotta go for this one here as well as it features an additional free (!) bonus disc with no less than 16 (in words: sixteen!!) tracks!!! So, as you can easily imagine – everything of importance made it on here! BREAKER's contributions to the "Heavy Artillery" and "Cleveland Metal" compilations (the incredible 'Still Life', 'Walking The Wire' and '10 Seconds In' – in a different version to the actual album recording), both tracks off their 7" from 1983 ('Afraid Of The Dark' and 'Blood Money' – also in a different version of course), the "Get Tough" cassette bonus track ('Touch Like Thunder'), two verrrry old 4-track recordings from 1982 (when the band still used to be called IMPOSTER), a live recording of the old SMALL FACES classic 'All Or Nothing' from 1983 and a bunch of good quality demo songs which they recorded throughout the years. Except for a pretty unusual three song session from 1984 (which their management forced them to do back then) all of the songs are in the typical BREAKER style: melodic, heavy, catchy and unique! I seriously doubt that I have to mention the brilliance of the "Get Tough" material here as all ten tracks stood the test of time in any way, which should speak for itself. A massive 28-page booklet with lots of old pictures, all the lyrics, a band history and liner notes complete the impressive picture. The most essential (and valuable) re-issue for quite some time! So, all hail to Bill Peters who finally made it happen and who did an awesome job on this. In case you should have difficulties in finding a copy at your local CD dealer, don't hesitate to contact the label directly: Auburn Records, P.O. Box 925, Medina, Ohio 44258-0925, USA, e-mail: auburn833@aol.com, website: www.auburnrecords.com

Frank Stöver

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BRILLIANT COLDNESS
Poisoned Reality
(Apollon Records)
57:42min

Originally released in 2006 by  Eternity Records, I keep asking myself a really good reason to re-press this album. BRILLIANT COLDNESS, which if you ask me is a quite weird name, plays the kind of technical Death Metal with dangerous mosh/core sound that many Death Metal bands in that technical style devour. Traces of DEATH, CYNIC, and CRYPTOPSY and so on can be found here. I must admit, that they sound VERY tight; they have a powerful production, a heavy and pounding guitar sound, and precise drumming. Still, most of the time, this sound without a soul. I have always felt that there is a contrast between Death Metal and a too precise performance; you see, whereas death might be cold, grisly, burning, fast or slow, it is by all means unpredictable. Transformed into music, I can only foresee more brutal and less technical sound. Few bands can achieve a technical sound and still be a brutal Death Metal band, as they sometimes get lost that much in proving how many "figures" and "passages" they can put in a song rather than creating memorable riffs. It is not that all is lost, as they have some heavy and, yes, even brutal songs like in 'Cobweb Of Self Destruction'. I have to give this one several spins to try to "catch" the idea of the band, and few things have changed. I can foresee that yes, the main core of the band is Death Metal, but as with some of the aforementioned influences, when something sounds to precise, technical and tight, something gets lost. Vocals are also a bit one-dimensional, and they tend to use a lot of that start-stop-start thing. Although most of us dealers of extreme music sounds are actually looking for a good performance, sometimes too much is not that good. And whilst this is not the most technical band I have heard in the style, neither it is one of the best. There is still room left in the creation department to reach the level of bands like SCEPTIC or even NECROPHAGIST that whilst being technical and somewhat complex, they let the metal flow in a more unrestricted way. Still, this is for now a 4 years old recording, and for some parts contained in songs, if the band keeps its focus, we might in for a surprise in the next recording. So far, this is just interesting for fans of more technical / progressive bands. Unless they are able to create more with their (rotten) hearts than with tempos, straight ahead Death Metallers should proceed with (technical) caution. www.myspace.com/brilliantcoldness, www.apollonrecords.nl

Julian Nuñez

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CARCASS
Reek Of Putrefaction (Dual Disc)
(Earache Records)
59:27min

Saddening as it may be for the young, who will likely never see CARCASS record another album like "Reek Of Putrefaction", and the old(er), who know better than anyone, what they and the current generation are missing, there is still the record itself which is available once more with the original artwork, the demo tracks, DVD footage, and a plethora of other features. "Reek Of Putrefaction" served as one of the several tipping blocks that pushed both Grindcore and Death Metal to the fore. It is a nasty and raw collection of tracks whose only real flaw is in the production, which really is not all that bad contrary to... well, the band's new fangled beliefs, not anyone else's. Being one of the first of its kind, it's rather difficult to criticize and compare it with anything. If one negative thing must be said in addition to the comment on the production, it is that the songs are a tad on the repetitive side. But, that's a small grievance. The sound of the record alone is quite enough to mangle flesh. They became much better songwriters afterwards, as we all know. CARCASS's influence was extremely widespread. Sweden's TRAUMATIC, masters of Grind themselves, recorded a cover of 'Genital Grinder'. They were one of many who drew inspiration from them. This dual disc edition comes as a massive digipack that features the originally banned artwork (packaged in a white "medical" bag), a bunch of old pics, lyrics and small articles. The audio side has the entire "Flesh Ripping Torment" demo from 1987as bonus tracks (13 songs, still with original vocalist Sanjiv), while the DVD section on the flip side comes up with part 1 of the CARCASS history "The Pathologist's Report" (dealing with the band's early days). For all further info check out www.myspace.com/carcass, www.earache.com

Nat Shapiro

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CARCASS
Symphonies Of Sickness (Dual Disc)
(Earache Records)
67:17min

Someone has to tell Jeff Walker and Bill Steer to stop pissing on their early discography. CARCASS may be an institution now, but that doesn't mean they're free of error. Contrary to what they'd have you believe over in CARCASS camp, the band did not come into its own on "Necroticism". That was, in fact, when their truest fans started looking askance. No one would have dared second guess the band on "Symphonies Of Sickness", however. That album, with "Reek Of Putrefaction", won them the entire Death Metal underground, and for good reason. Picture a deranged medical pathologist performing an autopsy on a leper in a back alley somewhere far beneath the sewer, and you have a fairly apt idea of what the guitars sound like. CARCASS' riffs do tend to meander along reptitively from time to time, but the filthy, putrescent production both rescues and enhances the fury of those riffs. CARCASS obviously learned a few lessons from earlier Metal bands and put those lessons to more extensive use later on, but as "Symphonies Of Sickness" suggests, they were fully immersed in developing Grindcore and Death Metal. NAPALM DEATH, XYSMA and REPULSION are some of the few bands who were on, relatively, the same musical wave lenghts as CARCASS at the time. Even if you aren't a CARCASS fan, you should at least listen to this album for its historical value. The audio side of this dual disc also features the 6 songs of 1988's "Symphonies Of Sickness" demo as a bonus, while the DVD side has part II of the CARCASS history "The Pathologist's Report" on offer, packaged in the usual deluxe digipack format. www.myspace.com/carcass, www.earache.com

Nat Shapiro

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CARCASS
Necroticism: Descanting The Insalubrious (Dual Disc)
(Earache Records)
60:57min

Kinda weird to start a re-issue series with its third volume, but from what I've heard from Earache recently, this was done due to the fact that "Necroticism – Descanting The Insalubrious" is out of print for quite a while already. So, the demand for it might be a little bigger nowadays than for the other CARCASS' releases, and therefore the decision definitely makes sense. All of the band's albums sounded different from each other, yet maintained a unique CARCASS note to 'em. While their debut full length "Reek Of Putrefaction" was still pure filthy Grindcore, they already perfected that style on "Symphonies Of Sickness", whereas "Necroticism…" showcased a completely "grown up" band, with a songwriting that was definitely more rooted in the (Thrash) Metal genre. Improved technical abilities and a stronger focus on melodic leads (courtesy of newly recruited, second guitar player Michael Amott) dominated the whole record and resulted in quite controversial reactions. While the die hard CARCASS fans already accused the UK bunch of having sold out, their following in general became a lot bigger along the way. All of a sudden the band was taken seriously and accepted by ordinary Metal fans around the world, Metal fans that previously never cared for their past material. The two professionally shot promo videos for the tracks 'Corporal Jigsore Quandary' and 'Incarnated Solvent Abuse' got played by MTV quite a few times and definitely helped to get the name out even more. This re-issue comes as a digi-pack dual disc that also features the three non-album tracks of the "Tools Of The Trade" EP on the audio side, while the DVD side offers a fresh 25-minute interview with the whole band and as a bonus, a classic interview with Jeff and Michael from 1992. Combined with all other re-releases (that are about to follow soon as well) this will result in a complete, historical documentary on the band. So, CARCASS fans should definitely make sure to buy them all. By the way: if you put all digipacks together in your CD-shelf, the combined collection will result in an old picture of the band. Quite a cool idea! www.myspace.com/carcass, www.earache.com

Frank Stöver

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CARCASS
Heartwork (Dual Disc + Bonus CD)
(Earache Records)
85:25min

"Heartwork" is Earache's second CARCASS re-issue in the current dual disc series and it easily blows away the "Necroticism" re-release. Not only because "Heartwork" was musically the way better album (no, to me the band had definitely NOT sold out with it!), but also because of the very impressive extra stuff that comes along with it this time. The DVD section (approx.35min) offers part IV of the CARCASS history interview... Bill, Jeff, Ken and Michael are discussing topics such as the production of the album with Colin Richardson, H.R.Giger, their vegetarian / vegan way of living and Michael's departure from the band. But apart from this already pretty interesting little extra, you're furthermore getting another audio disc this time that features a 10 song pre-production demo that CARCASS had recorded in February 1993 prior to the "Heartwork" album recordings. Songwise it's exactly the same, except for the fact that 'Deliverance' got renamed to 'Embodiment' and 'Arbeit Macht Frei' to 'Arbeit Macht Fleisch' later on. It's highly interesting to check out these original versions nevertheless as they showcase pretty good how tight and well prepared the band already was at the time, still managing to improve certain parts of the songs on the actual album. When it comes to the "Heartwork" album itself, I must say that I never really understood why so many people didn't seem to like it. Ok, the band had left behind their Grind elements completely at this point of time, but on the other hand they had increased the level of pure aggression immensely. To me "Heartwork" is a milestone of perfectly produced, stripped to the bone, raw, intense Thrash that offers countless killer riffs, very strong, pissed off sounding vocals and on top of it those catchy, melodic leads of Michael Amott. When I listened to it again due to this re-issue I was blown away in the same way as back when I've heard it for the first time. So, to me "Heartwork" is definitely the most underrated CARCASS album ever! I just hope that it will get a second chance now, due to this new edition, which also comes as a massive digipack, including all lyrics to the album tracks. So, ignore all the stupid comments of narrow minded Grind diehards (yes, I definitely agress that "Symphonies Of Sickness" is another masterpiece in the history of the band!) and make sure to get yourself a copy of it now! www.myspace.com/carcass, www.earache.com

Frank Stöver

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CARCASS
Swansong (Dual Disc)
(Earache Records)
50:59min

"Swansong", the last album in the history of CARCASS, by no means lived up to the high standards that the band had previously set with "Heartwork"... Apart from the great opening track 'Keep On Rotting In The Free World' the whole record pretty much lacked the intensity and aggression of its amazing predecessor and therefore to me always sounded more like a collection of songs that simply weren't good enough to be included on "Heartwork" instead of a worthy follow-up. The band came across a bit too uninspired for my taste and you could easily notice that at that time their hearts weren't really into it any longer. While "Heartwork" still was a really hard hitting and to the point, thrashy record, "Swansong" offered a bit more 70s inspired guitarwork that obviously lead to an even rockier and overall more relaxed sounding musical approach. I guess it's safe to say that newly recruited guitarplayer Carlo Regadas wasn't exactly able to fill into the big shoes of Michael Amott who had left CARCASS to continue his career with SPIRITUAL BEGGARS... All in all "Swansong" is not exactly a bad record, but definitely not of the same quality as their previous releases either and certainly not something that fans wanted to hear from a band that had already served us eternal classics such as "Symphonies Of Sickness" and "Necroticism" before. This dual disc version once again comes as a massive digipack and apart from all the lyrics it also includes stickers of 6 CARCASS album covers in CD size. There's also a bonus track on here, entitled 'Death Rider Da', which already appeared on the original "Swansong" Japanese edition several years ago…It is not really an unreleased CARCASS track, but an instrumental, fun version of the album track 'R**k The Vote' with producer Colin Richardson screaming 'Death Rider Daaaaaa' here and there. The DVD side of this dual disc comes up with part 5 of the CARCASS history and deals with the "Swansong" album (obviously), the end of the band and Ken's illness. Really amusing are the outtakes in which you'll see Jeff's various attemps to explain the origin of the "Swansong" cover artwork… www.myspace.com/carcass, www.earache.com

Frank Stöver

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CARCASS
Wake Up And Smell The Carcass (+ DVD)
(Earache Records)
75:52min

If you're a die hard CARCASS fan and you've bought everything by these guys in the past already, there's absolutely no need for you to consider a purchase of this re-release as it features previously already available material exclusively. The only difference between the original "Wake Up And Smell The Carcass" release and this new edition is that it now combines both (the audio and video) formats. As you may (or may not) know, "Wake Up And Smell The Carcass" originally got released as a VHS video in 1996 (the DVD version followed in 2001), while the audio part comes up with 17 rare CARCASS recordings, that you won't find anywhere else (like the unreleased tracks from "Swansong" album or 1994's BBC Radio 1 Rock Show session), while others simply have become pretty difficult to track down in the meantime (the exclusive songs from the "Heartwork" and "Tools Of The Trade" EPs and the band's contribution to 1989's "Pathological" and "Grindcrusher" compilations). The video features the five CARCASS promotional clips for 'Corporal Jigsore Quandary', 'Heartwork', 'Keep On Rotting In The Free World', 'Incarnated Solvent Abuse' and 'No Love Lost' as well as two classic live shows from the London Astoria (March 18, 1992 - 10 tracks) and Nottingham Rock City (November 14, 1989 - 7 tracks). As the original "Wake Up And Smell The Carcass" CD release already dates back to 1996 now, it already might be pretty hard to find as well nowadays, so that this re-issue certainly makes sense. The booklet wasn't changed at all, but an additional slipcase was added to the whole release now. An essential collection of CARCASS material for fans of the band that don't own the originals already! www.myspace.com/carcass, www.earache.com

Frank Stöver

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CARNAGE
Dark Recollections
(Earache Records)
57:07min

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Frank Stöver

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CAULDRON BORN
Born Of The Cauldron
(Stormspell Records)
55:42min

As CAULDRON BORN’s 1997 full length debut "Born Of The Cauldron" (back then on Underground Symphony Records) reached prices of over than $100,- at eBay already, ten years after its original release Epic Metal fans who didn’t heed the call back then can finally lay their hands on this underground gem, thanks to Stormspell Records. In my opinion, CAULDRON BORN didn’t really fit into the ‘Epic’ Metal label people used to label the band. Sure, most of the songs (e.g. ‘Crusader’, ‘The Final Incantation / In the Dreaming City’) have big epic parts but Howie Bentley (guitar) and Shawn Kascak (bass) used to come up with loads of breathtakingly fast and sophisticated ideas, so there was definitely a strong progressive element as well. Even though CAULDRON BORN didn’t sound like MANILLA ROAD at all, I always have to think of the Wichita (KAN)-based lunatics when comparing Atlanta’s CAULDRON BORN to other bands. Another highly unique part of this recording are Danny White’s insanely high-pitched vocal assault combined with quite an unusual style (especially concerning the phrasing). When I saw the band at the Kalamazoo Classic Metal Festival in 2001, the band already gave hints of what they would sound like on their next CD. Indeed, the follow up ‘… And Rome Shall Fall’ showed a more Power Metal influenced side of Howie Bentley’s vision (but still a highly recommendable album). For some reason, the re-release of "Born…" has been remastered (I liked the original sound and it’s considered to be the best sound they ever had on an album as the "Rome" - album offered a rather plastic drum sound and the demos don’t count). Apart from that, the new version contains a cover of WARLORD’s ‘Lucifer’s Hammer’. As CAULDRON BORN disbanded in 2004, this might be a reason for die hard fans to get the re-release as well. People into US underground Classic Metal who don’t own this CD should at least listen to the streams at the Stormspell site and hopefully order "Born Of The Cauldron" the next minute. www.stormspell.com

Cunctator

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CENTURY MEDIA DEATH METAL CLASSICS Part I

Century Media Records have just re-issued a bunch of their Death Metal classics due to the fact that most of them have been unavailable for quite some time now. And the good thing is: each one of them is being sold for about 10,- Euro now! Instead of analysing the music here again (which would be pretty useless as almost everyone of you will be familiar with them anyway), we decided to give you all the necessary information about how the re-issues differ visually from the originals and what kind of bonus material they have to offer:

ASPHYX - The Rack (79:08min)
The logo is a bit smaller now and was moved from top middle to top right, while a different section of the full artwork was used for the frontcover (unfortunately too blurry and dark). The foldout booklet lacks the thanx list of the original release, but features all the lyrics, various color shots (live- and promopics) and a big bandpicture on the flipside. Bonus material: 11 ASPHYX live tracks that got recorded in Holland, 1991. On sale here.

ASPHYX - Last One On Earth (74:21min)
The color of the logo was changed from red to white and the quality of the artwork turned out a bit worse. The album's title is no longer on top of the logo, but is now centered at the bottom of the front-cover. The whole layout was inked into a dark blue, the lyrics are included, but the backcover pic and thanxlist is missing. The frontcover artwork of the "Crush The Centotaph" EP ended up on the booklet's backside, but turned into blue as well and not in its entirety. Bonus material: the 5 tracks off the "Crush The Cenotaph" EP as well as 3 songs off a self-titled ASPHYX promo demo that got them the deal with Century Media. On sale here.

GRAVE - You'll Never See (59:48min)
The album title was downsized a bit and printed in an old white font, instead of the big orange letters that got used on the original release. The logo is in white now (the original was orange as well) and moved from top left to top right. The entire artwork was enlarged to fit the full frontcover now, but its quality unfortunately suffered as it became way too dark now. The booklet was turned into a fold out version, features all the lyrics, but lacks the individual member live shots (the bandpic from the "And Here I Die" EP backside was used instead, while the EP cover - into a dark red now - can be found behind the CD in the crystal box). Bonus material: the 6 tracks off GRAVE's "And Here I Die" EP. On sale here.

GRAVE – Soulless (43:41min + 3:02min video)
The album now comes with a white logo, instead of an orange one and the frontcover artwork has been inked into a dark red. The backcover looks less chaotic due to its overall darker approach and features the original booklet's backside (also turned into a dark red). The songtitles are better readable because of this. The booklet itself lacks the individual member shots but has got a bandpicture in the middle instead. All lyrics are still included. Bonus material: the promotional video clip for 'Soulless'. On sale here.

UNLEASHED - Shadows In The Deep (63:14min)
The golden band logo that got used on the frontcover of the original release has been replaced with a white logo now, while the quality of the artwork unfortunately doesn't match the quality of the original release. The backcover pic and thanxlist is completely missing now and the booklet was turned into a foldout version with various full colour live pics, a bandpic, lyrics and the album's artwork in "poster" size on the flipside of it. Bonus material: 6 tracks off the "Live In Vienna '93" album. On sale here.

UNLEASHED – Victory (53:45min)
The album's frontcover received a black background around it now, but as with almost all these re-releases the quality of the artwork has gone worse (a bit too dark and kind of blurry). The booklet is pretty close to the one of the original release, also a foldout with a bunch of pics (some in colour now) and the lyrics, only layouted differently. The thanx list is missing though. Bonus material: 6 tracks off the "Eastern Blood – Hail To Poland" live album. On sale here.

UNLEASHED – Warrior (41:12min)
"Warrior" is no longer a digipack, a different font was used for the album- and songtitles and unlike with all the other re-releases, the quality of the frontcover turned out for the better (brighter and more clear now). The booklet is similar to the original version, a foldout, but layouted differently and another picture. I prefer the original version here. Bonus material: none. On sale here.

Frank Stöver

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CENTURY MEDIA DEATH METAL CLASSICS Part II

Here's the second bunch of Century Media's classic Death Metal re-releases. Once again we expect you to know the musical side of the originals good enough so that we can focus on the packaging / extras exclusively here as well.

BLOODBATH – Breeding Death (21:12min)
The almost non existing booklet of the original got changed into a foldout version and has all lyrics inside now, as well as the eerie looking individual member shots. The flipside features Axel Hermann's Vincent Locke type artwork (best known for his work for CANNIBAL CORPSE) in maximum size. The originally red colored logo got changed into white now and the album title was centered at the bottom of the artwork (also in white instead of red and with a different font). Due to the fact that the full artwork had to be folded, only one quarter of it is featured on the CD-front and the silly "parental advisery" note is luckily missing now. Bonus material: demo versions of the songs 'Breeding Death' and 'Omnious Bloodvomit'. On sale here.

MORGOTH – Resurrection Absurd / The Eternal Fall (41:04min + 19:47min video)
The frontcover features an enlarged part of the creature's head from the "Resurrection Absurd" artwork, while the booklet's backside has a slightly reworked version of the "Eternal Fall" cover (so the total opposite of the original booklet on which the "Eternal Fall" art is on the front and vice versa)). The individual bandmember pics from the original CD's backside ended up in the booklet's middle now, accompanied by the lyrics (the thanx list got dropped). Bonus material: four intense live video tracks from a 1991 MORGOTH show in Bayshore, New York (unfortunately the audio part is a bit asynchrone and doesn't exactly match the visual side of the video). On sale here.

MORGOTH – Cursed (40:02min + 28:34min video)
The frontcover art was enlarged and turned out a bit darker, while the tracklist on the CD's backside was centered (and it is better readable now). The foldout booklet features all lyrics as well as a bandpicture and a big silhouette type pic of the band on its flipside. The bronze style color and thanxlist of the original release is gone. Bonus material: 6 video-songs of a MORGOTH show in Frankfurt, Germany on September 09, 1991 (all from the "Cursed" album, but just like the video stuff on the "Resurrection Absurd / The Eternal Fall" re-release, unfortuanately also a bit asynchrone). On sale here.

TIAMAT – The Astral Sleep (60:01min)
I don't own the original version of TIAMAT's "The Astral Sleep", but from what Jeroni told me, it seems that the front- and backcover wasn't changed for the re-release at all. The black background inside the booklet got replaced by the almost golden looking color of the frontcover and there's no skeleton background behind the lyrics anymore (which makes them way better readable). The booklet has become a foldout version now, with a big band picture and logo on the backside. The CDs back features all songtitles, but no logo or anything else any longer. Bonus material: the two tracks from 1990's "A Winter Showdow" EP ('A Winter Shadow' and 'Ancient Entity'). On sale here.

UNLEASHED – Across The Open Sea (37:31min + 3:03min video)
This was actually already part of the first bunch of Century Media's re-releases, but due to the fact that we received it now, it ends up here... The album's title got printed with a different font and reduced a bit in its size. The front-cover turned out a lot clearer and you can see the entire ship now (as opposed to only a part of it, which was the case on the original CD). On the backcover the tracklist is centered now (also printed with a different font) and the whole background art got replaced by another one. Just like with the original release, the booklet is also of the foldout type and all lyrics are featured. Instead of the two promopics and the thankslist (which is missing now) you get a whole bunch of full coloured live pics. The flipside of the foldout booklet features the album's artwork in its entirety. Bonus material: the band's promo video for the track 'The One Insane'. On sale here.

Frank Stöver

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CIANIDE
Death, Doom And Destruction
(Razorback Records)
38:15min

CIANIDE were never as renowned as MORBID ANGEL, but they were obviously good enough to pound through the mid-90s, whereas countless other, equally proficient bands disintegrated in the decidedly anti-Metal atmosphere. CIANIDE released "Death, Doom And Destruction" in 1997, a year that for obvious reasons will not be remembered as particularly interesting, though we did see the rise of HAMMERFALL. Despite CIANIDE's average songwriting, their refusal to stray from their original influences is tremendously encouraging, and given the year of "Death, Doom And Destruction"'s release, CIANIDE could have probably contended for the top. This album is brutal, as a Death Metal album should be. However, it is not brutal in that the blast beats are incomprehensible, and the vocalist sounds like he has a wet french roll lodged in his wind pipe. The brutality lies in the mood, the atmosphere. In CIANIDE's case, that atmosphere is a mix of the Swedish style, AUTOPSY and MASTER. In fact this re-release contains a cover of MASTER's 'The Truth'. They may not have pushed boundaries, but they most certainly helped remind people in a dark age of a better time. www.myspace.com/cianidekills, www.razorbackrecords.com

Nat Shapiro

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COFFIN TEXTS
Gods Of Creation, Death, & Afterlife
(Nuclear Winter Records)
26:27min

Having never heard this album before (shame on you Jason ;-) - Frank), it is certainly a profound experience for me to hear it now for the first time as a vinyl reissue on Nuclear Winter Records. On “Gods Of Creation, Death, & Afterlife”, their first and only album originally released in 2000, COFFIN TEXTS delivers an astounding work of pure Death Metal. Hailing from Los Angeles, COFFIN TEXTS only released this one album (originally only on CD) and a subsequent demo as well as a handful of compilation tracks (they are apparently still active, however, and currently working on a much anticipated second full-length album). On their debut LP, COFFIN TEXTS strikes a harmonious balance between technicality and passion. As a result of this perfect integration of these two elements, “Gods Of Creation, Death, & Afterlife” deserves to be heralded as among the best U.S. Death Metal albums of the decade. Thus far, however, it has remained an overlooked classic receiving nearly universal praise from those who are familiar with it. While highly musically proficient, it is clear when listening to the album that, in addition to their musical skill, there is a tremendous depth to COFFIN TEXTS’ work that is lacking in much of the other more technical Death Metal that was released in the early part of this decade. This may be due to the obsessive thematic dedication to Egyptian myth and ritual. Obsession is often necessary to build identity, and in the case of COFFIN TEXTS, the focus on Egyptian lore permeates all of their work and manages to seal it into a coherent stylistic approach distinct from much of that of their peers. Musically, COFFIN TEXTS, like many other bands in the Los Angeles scene at the time (e.g. SADISTIC INTENT, INFAMY, ENTETY - all of which share members with COFFIN TEXTS), borrow heavily from MORBID ANGEL, BOLT THROWER, IMMOLATION, and other 1990s technical Death Metal. Yet where some bands become stale and mechanical, COFFIN TEXTS maintains an organic fluidity to their playing as they concentrate on overlaying austere and depressive melodies atop the horrific and precise madness of the songs’ rhythmic framework. COFFIN TEXTS accentuates the melodic elements of the songs, and, rather than simply relying on aggression and speed, COFFIN TEXTS demonstrates a substantial amount of compositional detail throughout the album. Refusing to allow the songs to simply degenerate into a frenetic blur, COFFIN TEXTS tends to rely mostly upon mid-paced tempos carefully interspersed with blasts of furiously energetic speed alternating with devastatingly dark doom. The production, thick but not sterile, lends itself superbly to capturing each of these essential stylistic elements. Rarely does COFFIN TEXTS stumbles during their presentation. Each of the songs is intensely dynamic, and the transitions between song parts seldom feel forced or contrived. Skillfully crafted transitions within the songs build the tension and suspense, ultimately giving way to passages that allow the listener breathing room to gaze in awe at the majestic power summoned by the structural integrity of the songs. In this manner, COFFIN TEXTS adeptly guides the listener through dark and claustrophobic corridors in which the fear of death abounds before leading him into open, cavernous chambers within holy temples only revealed in the afterlife. Ascetic and ritualistic, the sacrifice is made under the watchful gaze of Osiris (*note: this review pertains to the Nuclear Winter LP reissue. The original CD version contained two cover songs and a subsequent CD pressing included yet another cover track. Nuclear Winter chose to include only the original tracks to enhance the cohesiveness of the album). www.nuclearwinter.cjb.net, www.myspace.com/nuclearwinterrecords

Jason Campbell

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CONVULSE
World Without God 
(Relapse Records)
60:29min

This one is for oldschool Death Metal completists! Relapse Records has released a remastered version of the debut CONVULSE album "World Without God" which originally came out in 1992 on Thrash Records. Besides the said album this re-release also got 4 tracks from "World Without God" demo'90 and 2 live cuts - VENOM cover 'Countess Bathory' and their own 'Incantation Of Restoration'. After checking this "updated" CONVULSE album I immediately downloaded the original release on Thrash Records to see the difference and now I can surely say that if you like your Death Metal muddy, ugly and raw, with lots of low end, not unlike the early AUTOPSY and DISMEMBER, then you'd much rather get the first release instead of this cleaned up Relapse version. As mentioned above, CONVULSE deal us an uncompromising dose of early Death Metal, varying in tempo between grinding outbursts and slow, punishing drags through scum filled doomy passages, with low, grunting vocals, just the way Death Metal from pits of Hell has to sound!! Imagine a stinking mix of NIHILIST, CORPSE and TREBLINKA with sulphuric "Abominations Of Desolation" era MORBID ANGEL moments and there you have it. It's cool that Relapse are bringing out old albums like that, though I wouldn't call it a lost gem and I prefer the filthy sound of original album much more, but give it a chance and you might (re)discover a great band from the Finnish 90s underground. www.myspace.com/convulsedeathmetal, www.relapse.com

Mindaugas "Plix" Lapinskas

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CORPSE MOLESTATION
Holocaust Wolves Of The Apocalypse
(Necroharmonic / Bloodharmonic)
66:39min

CORPSE MOLESTATION is one of those mandatory listens if you really want to delve deep into the underworld of bestial Death / Black Metal. I have always considered their short-lived tenure as the continuation of what BLASPHEMY achieved with their "Fallen Angel..." episode. I would even venture to say that the Australians were able to perfect the frenzied wall of noise of their ancestors and bring it to the next level of evil perfection. It is really rewarding to have this band body of work re-released and be able to permeate the younger generations of underground Metal fans on how blaspheme, creepy and utterly raw Metal sound like. This CD conveniently conveys ALL the cult demo recordings on ONE release. Starting with their ripping "Descension Of A Darker Deity" up to their last recorded rehearsal dating back from 1993. No doubt this really deserves the vinyl treatment somewhere along the way. Just by pressing play on your CD player you will feel how darkness, desperation and an adequate dose of hypnotic madness will spread in the room. This is the soundtrack to the end of the world. I find rather useless to elaborate on how CORPSE MOLESTATION sound, I just can say that they were, are and will ever be one of the best band to emerge of the early 90s scene. www.myspace.com/corpsemolestation666. Get one of those CD + shirt deal here: www.necroharmonic.com. 

Mario Cubero

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CREMATORY
Denial
(Necroharmonic Records)
73:20min

Read carefully cabrones! This is NOT the wimpy German CREMATORY, this is the real bad ass CREMATORY from Sweden and a hell of a talented band to anybody you ask. Perhaps, I have been longing for this CD more than what I did for the old shit compilations of NIHILIST, DISMEMBER, NIRVANA 2002 or similar back-in-time trips to the glorious era of the European Death Metal. Apparently the first pressing of this album got screwed up by the pressing plant and completely ruined the audio quality of most of the songs. Luckily enough what I'm holding here is supposedly the "fixed" version that got released in order to correct the previous defective version. I think these recordings were intended to be filthy back in the day when the were spawned so I won't have something to criticize on that matter. As a matter of fact that is simply the charm of it all! This is probably the most evil, disturbing and utterly gloomy Metal of Death you will ever get to listen. From start to end this a fest of gut-wrenching tuned-down brutality with songs that can be easily put side by side with the aforementioned bands and if CREMATORY have had the right chances they would have gotten really big in the early 90s underground scene. This band had among their ranks current / former members of pretty famous Swedish acts like NECROPHOBIC, NASUM, AFFLICTED and GENERAL SURGERY so if you are curious where all these deranged bastards came from you have to get a copy of this CD damn fast (it features everything these guys have ever recorded - the three demos "The Exordium" - 1990, "Wrath From The Unknown" - 1991 and "Netherworlds Of The Mind" - 1992, the "Denial" mini LP and 'Mortal Torment', a one song promo from 1989 - Frank). It should be available from the label at www.necroharmonic.com. More info and sound samples at: www.myspace.com/crematoryswe

Mario Cubero 

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CROSSFIRE
See You In Hell / Second Attack
(Mausoleum Records)

Well crossfire from Belgium was always a band I could take or leave when putting their records on. They had some very good songs and then some 'throw away'  unmemorable tracks as well. The vocals were very reminiscent of Marc Storace of krokus fame and the music just your 'typical' 80s fare, with sadly no stand-out players in any category! This, theirr debut record "See You In Hell" is not very spectacular, kinda as 'average' as the LP title itself! A few songs, 'Killing A Cop' and the more lengthy and catchy 'Fly Away' are probaly the best tracks. Though honestly this record is a bit too one-dimensional across the board for its own good! 'Starchild' has a great interesting opening riff but then like so many crossfire tunes just falls into the 'crossfire curse' of losing power and just kinda 'pacing' through a 'Heavy Metal' song! 'See You In Hell' is at least more up-tempo and closes on a better note! But in all honesty this record isn't THAT good! By farrrrrrrrrr a better record than "See You In Hell" right from the get go is "Second Attack"! Seems a raging fire was lit under their asses and that worked real well in increasing tenfold the 'energy' level! Almost becoming a speed band exclusively! Opening with the up-tempo title track and then plumaging through seven more Metal rockers with much more depth and truly thriving 'conviction'. I'd much more recommend this record to anyone into checking out the 'fire! My fave tracks being 'Feeling Down' (great chorus and awesome solo section!) and you can't deny the amazing moments in 'Atomic War'! Hell, as I listen to this record I realize even more now just how powerful crossfire was later on in their career! Speed on top of speed is always good when it's got good riffs backing it up! And this record surely does! Hell let me now say on this record they got it 'right', and in the end this is a great, great, great record and maybe their best and 'finest hour'! You can order it here.

King Fowley

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CROSSFIRE
Sharpshooter / Live Attack
(Mausoleum Records)

After the "Second Attack" record it was now obvious crossfire was going for more 'speed' and less 'laid back' moments in the band. 'Break Out' opens the events here and it's heads-down Speed Metal with some great gruff vocals and a great 'driving' riff to put your Heavy Metal pedal to the metal! The record slows it back down though and it treads back to "See You In Hell" forgettable sounding material. Yes, overall it's not as 'catchy' or as totally 'vicious' as the "Second Attack" material, but it's still years better then the rather boring "See You In Hell" fiasco of early 'fire! Hell, they even throw in a few 'live' songs in 'Motorcycles' and their theme song... 'Crossfire'! Being that this was 1985 crossfire was 'ahead of the game' on most accounts, having already released a few records! They were leaders in the Belgium Metal scene and were trying to branch out to other parts of Europe and even getting their records into American shops was encouraging! Sadly it didn't realy 'take off' for the band and we are left forever to just add them to the never-ending list of bands in Metal that never quite 'made it'! With the screaming Peter De Wint yelling to us all "Watch your ass, save your neck, we're on to our second attackkkkkkkkkkkkkkkkk!!!" 'off' we go! This live record is just fucking great! The power and speed of the 'better' crossfire material is all here for the bangers of the world to bleed for! Ferocious integrity and power pour from the stage and the songs are just really really 'moving' on this one. Heavily dominated is the set list from "Second Attack" (yep, their best material to me) including every song from the record minus only 'Running For Love' (the only 'mellow' moment of "Second Attack" anyway)! The "Sharpshooter" material (which is basically recordings left over from earlier sessions anyway) is completely ignored! I must add also after reviewing these two re-released CDs that the 'story' of crossfire is well told in liner notes and the pics are very good to 'remember' the band in their visual 'heyday'! Sadly without lyrics, this could have made the 'finishing touches' on the crossfire CD re-issue legend! But all in all these two double discs are the 'crossfire goods' and for the Metal community to eat up and enjoy! Cheers Belgium bangers for the Metal!!! On sale here.

King Fowley

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CRUX
Rev Smrti - Scream Of Death
(I Hate Records)
41:31min

The Czech three-piece CRUX was formed back in the late 80s by ROOT's mastermind Petr "Blackosh" Hošek, who at the time had joined forces for this side-project with bass player Roman Kríbek and drummer René "Evil" Kostelník. Unfortunately though CRUX was rather shortlived as ROOT was demanding more and more of Blackosh's time, so he had to quit CRUX again in order to focus on his main band with "Evil" following him shortly after... Their only official musical legacy was the seven-song demo "Rev Smrti", which was recorded and released in the early 90s. Fans of obscure underground releases will probably know that there's already been a CD re-release of this particular demo a couple of years ago... But back then the recordings were simply taken from an ordinary cassette, while this re-release on I Hate Records finally offers the original master tape version. And the sound is indeed suprisingly good, considering the fact that the band basically had almost no money nor the best equipment at the time. Even though I've personally never been a big fan of the Czech scene (i.e. ROOT, TÖRR and MASTERS HAMMER), I gotta admit that they were all very unique in their own way. And that goes for CRUX as well. All of their songs are skillfully performed, with various acoustical parts thrown in, while the spirit of old VENOM shines through in the writing in the same way as classic Thrash the old KREATOR way. The vocals are very charismatic and partly remind me on good old Abbath and add a little Black Metal flair to the whole phenomenon. Raw and catchy at the same time and best reflected in my personal favorite on here, the amazing crusher 'Demons Of Darkness'! This CD also features 4 additional bonus tracks, while the 20-pages fat booklet offers in-depth liner-notes by "Blackosh" himself, as well as a bunch of old pictures and the lyrics for all of the songs. For all further info and ordering details head to www.ihate.se

Frank Stöver

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CRYPTIC SLAUGHTER
Convicted
54:17min
Money Talks
60:48min
(Relapse Records)

Hell, seems like Relapse have decided to unveil some old forgotten true cult stuff to the masses! After PENTAGRAM and REPULSION, Santa Monica's CRYPTIC SLAUGHTER have received the Relapse reissue treatment and again they did a kicking ass job. Now you boys who think that CANNIBAL CORPSE and the likes are the fastest combos on earth and think that nothing fast existed before those uninspired bands appeared, check out CRYPTIC SLAUGHTER and their brand of ultrafast mixture of Metal and Punk! "Convicted" was a non stop 14 tunes aural assault with Scott Peterson's drumming coming out as particularly impressive (no 10 seconds crappy blast beats, just non stop ultra fast drumming!) even if his timing wasn't that good at times to say the least but the guy was raging! 'Little World', 'Rage To Kill', 'Rest In Pain' etc. remain Deathcore classics, non stop metallic riffing mixed with angry Punkish vocals from Bill Crooks. As bonus on "Convicted", you get the famous "Life In Grave" '85 demo which started everything back then for the band and just for the totally raging song 'Necessity Supreme' you must get this CD - it's that great! - and there's also some live tracks from '88 with later material. "Money Talks" was released in '87 and the Hardcore influences were more upfront, the material not being as effective for most of it and sounding quite childish at times as far as the riffs goes, still stuff like 'Could Be Worse', 'Menace To Mankind' or 'Tables Are Turned' need to be heard, it's just that the Hardcore / simpler direction was becoming too strong, it was my opinion back then and 16 years later this feeling remains the same. Bonus stuff on this one come in the shape of rehearsal tracks for the 3rd album (weakest of all 3 from the original line up) and numerous live tracks from CRYPTIC SLAUGHTER's last shows in '88. I wish that they had used soundboard recordings from their earlier / more raging days such as the one from Ruthies Inn 20 / 12 / 85, but I suppose they were prouder of their later stuff. Add to this a great booklet / layout job for both, definitively two recommended releases from an act who were labelled so rightly as one of the fastest band on this planet back then with the likes of INSANITY, NYC MAYHEM, early WEHRMACHT and GENOCIDE. For those who purchase both CDs directly from Relapse (www.relapse.com) will get a bonus CRYPTIC SLAUGHTER 7" featuring cover tunes that the band did in live situations back in the day - it's just too bad that they omitted the great VENOM / SLAYER covers that they were doing in their early days. Otherwise they're also on sale here.

Laurent Ramadier

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