TTI Archives: September 2000

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

5/5
AGENT STEEL
Omega Conspiracy
2000
Candlelight Records
old school speed/thrash
Damn, I was not expecting this. After 13 years of silence the legendary Agent Steel are back with a new album released via Great Britain’s Candlelight Records, traditionally specialising in black metal. Don’t be afraid, the band, which now comprises three original members and two newcomers, has not turned to black. Agent Steel did add a lot of heaviness to their proto-speed metal style, so the music on “Omega Conspiracy” is almost pure old-school thrash, but the glorious Steel-style is recognisable in each song. Traditional sci-fi lyrics are also in place here, but despite all these factors, the overwhelming majority of reviews that I have read lashed out at the record, saying it is just a shadow of the band’s earlier releases. I would not say so for one simple reason – I really dig “Omega Conspiracy.” I did not manage to witness the band’s heyday in the mid-80s, as I was just about 10 years old (what a lame excuse... -- the ed.), so I’m not nostalgic about those times, but I enjoy both what the band was doing back then and what they are doing now. The new record is excellently produced, it is really heavy, but melodies and slow parts are also there, Bruce Hall’s voice is no way inferior to that of the original signer John Cyriis, and the songs are dynamic and catchy. I guess many people are unhappy with the band not being as innovative as it was in the 80s, but I would have been really disappointed if they had reformed after all these years to play grindcore or avant-garde jazz. Agent Steel are doing what they are masters in, and very few current bands can beat them. Probably, “Omega Conspiracy” is not a classic, but it is definitely a treat for all fans of old school speed and thrash. Thanks a lot boys (or should I say middle-aged men?) and keep it going. (Maniac)

BARATHRUM
Okkult
2000
Spinefarm Records
war metal
I don’t know, I kind of have very controversial feelings about this record. I mean I have been following the band since their very first albums when they had all of this hype about them like the drummer was playing with human bones and there was two basses and no guitars and stuff. That was pretty cool. Of course the music was quite basic and, let’s face it, crappy. But it really didn’t matter, because back then they were unique. They were the only ones like that. They had the guts. Then sometime around 1998 they changed their underground label to a bigger Spinefarm and put out the «Saatana» record, that we reviewed back in May. Well, if you heard that album, Okkult is done pretty much in the same key though it is probably a bit more complicated and mature. The riffs have moved in the direction of old-school heavy metal a-la Manowar, there’re more keyboards, more harmonies, and, unfortunately, less and less guts and attitude. Although still recognisable as Barathrum this album (as well as the previous one) sounds to me more like a feeble bad-taste attempt of the band I used to like. Then again to be objective I have to admit that musically the finns have developed quite a bit and at is most likely that their new works will have a much wider reach and appeal than their first two records. They are more diverse, probably more interesting and less monotonous, and they are still very evil, so... Well to draw the line at this one, the fact that I do not like this record does not mean anything and should in no way prevent anyone from checking it out and making their own judgement. You might find it quite good. And I am not rating it. (Troll)

5/5
CREMATORY
Believe
2000
Nuclear Blast
gothic doom/death
Yeah baby, it finally happened and I'm holding the latest masterpiece of Crematory. It's already the seventh album of the German band and as for me I consider it to be one of the best. But let's try to start from the very beginning (that's kind of original, doncha think - the ed.) When I bought the CD and understood that I would have to write a review of it I was definitely scared shitless. And I tell you, guys, why. Every Crematory album (not taking into consideration the first two '…Just Dreaming' and 'Transmigration', though they were not so bad, were usual for death music) is a 'two-edged sword'. I'll explain myself - on the one hand, there is almost no musical development. But, on the other hand, on the 'Act Seven', for instance, we found female vocals, starting from 'Awake' Felix (the lead singer) has somehow given up half of his vocal parts to the other band member with clean vocals. The self-titled album 'Crematory' comprised ONLY German songs (Oh! How I like this album). So as you can see every album that preceded the 'Believe' has something that made it different from other CDs. And I think that the latest release also has something in it that distances it a bit from other Crematory works. Let's first of all say what is there in 'Believe' that makes me thinking of the previous albums, them so-to-say similarities (in the positive meaning of the word). First of all the record is 55 minutes and 12 songs long, which is kind of traditional for this act. All the songs deal with grieve, lost love, tears, endless existence, time, etc. The fifth song is called 'Act Seven' also already a tradition for Felix &Co to name one of the songs on the latest release after the title of the preceding album. The name of the sixth song 'Time for Tears' caused a slight grin on my face - supposedly if you ever heard Crematory you might have heard the song 'Tears of Time' which is a classical one for the doom genre. And the last similarity for now is definitely the last song that is a ballad with clean vocals. Frankly speaking it's the only song that I liked only because it was Crematory since, let's face it, it is a bit dull. But nevertheless, on with reviewing the 'crematory remains' of the album. The music surprisingly became more electronic. I think, the guys simply liked the idea of transforming their music into dance tracks. But don't you ever think that the Crematory music is now like that of Paradise Lost, no way! The electronics just make the rhythm and some solos. As for the vocals Felix decided the he was wrong singing or growling only half of the vocal parts - now it's almost 75 percent of growling. But the other band member, who was producing clean vocals shocked me by turning them into something that reminded of Paradise Lost 'singing'. Another definite asset for this record is the German lyrics on the track 'Take'. There are no more female vocals. The guitars are the same deadly stinging and beautifully crushing. All-in-all the album is more harsh, brutal and at the same time more melodic. It's not so usual for doom/death metal that you can resing the song. The absolute hits are 'Take', 'Time for Tears' and …sorry guys but i like the whole album! Five and nothing less. (Felix the Katt)

5/5
DIE TOTEN HOSEN
Unsterblich
1999-2000
JKP Schallplatten
German punk rock
You can hardly name this album a novelty but it's sure worth mentioning on these pages. Die Toten Hosen has always been one of my favorite German bands and each time I pick up their new record I'm almost sure it's going to be something! No matter that the sound of this band hasn't changed a lot since the beginning of the eighties, no matter that most of their songs are in German (from my point of view that's only an advantage) - they're still popular and they possess their own unrepeatable and inimitable style. To tell the truth as I started listening to "Unsterblich" I was something like "Ok, it's just another Hosen album…" But I was really amazed at how they have changed since their last release. This doesn't mean that they don't play their famous entertaining and humorous songs anymore - there are plenty of them on this record. But what we witness on the "Unsterblich" album, in my opinion, is the other side of Die Toten Hosen - the band has matured not only in their lyrics but in their music as well. The songs and arrangements became more composite, the lyrics deeper. You can hardly name Die Toten Hosen just a punk band now - the diversity of the music displays the Germans as a band that plays in different styles and writes great lyrics (such songs as "Regen", "Unsterblich" and "Call of the wild" are really more than I bargained for). There are even some ballad-like tracks on the album! Striking a balance I think it's a great album and an obligatory must-have for all Hosen fans but it's also a perfect record to get a glimpse of what the Die Toten Hosen are. (Big Daddy)

4/5
DISASSOCIATE
Imperfect World
2000
M.I.A. Records
grind punk
This is just unbelievable, I swear to God. Really, I've never expected I would be so much amused by a grind core record. Well, imagine, a grind core band with hard core attitude and a good sense of humour… hmm, yeah, well, that's kinda hard to imagine I know, but at least try to. Moreover imagine a grind core band, that tries to be creative and to put some diversity into their stuff. (Right, you've caught me there, that's even harder to imagine.) But I mean, it's true this one. Well, if any of you remember a cult band called Lawnmower Deth, Diassociate would be the same but more grind-corish… or something. The 19 tracks on the record include such undoubted masterpieces as "Bad Fish," "Bill Clinton Is a Nymphomaniac" (featuring the soon-to-be-former-US-President on the backing vocals), "Untitled (the Love Song)," "The Whistle Song," "Sit & Rot," "Bad Science" and many other hits, that are not put into the national charts, for the simple reason, that they would surely scrap out the rest there, making the competition in Top 20 a start of WWIII, with only one free slot. Seriously though, this is probably the most interesting and complicated grind record I have ever heard. This is not your usual ear-blasting AAAARRRRGGGGHHH for 45 minutes, Ralphy Boy and Co. have definitely put some effort into their work and believe me, folks, it shows. There a bits of punk, hard core, thrash, modern tribal metal in the vein of late Sepultura and Soulfly, old-school death metal, industrial, and some totally off-the-wall stuff that was probably recorded right there and then in the studio. And although, the mixing could have definitely been better, it does not really spoil the work, somehow making it a more of a live-record, that would have never been possible with an expensive producer of some big-shot C.R.A.P.-LLC™ records. To sum it all up I will say that S.O.D. can be proud - they have bred a bastard that would surely live up to everyone's worst expectations. Kewl! (Troll)

3/5
DISPATCHED
Motherwar
2000
Music for Nations
Speed'n'black
The band members were enlisted in the metal scene in 1991. But they have released no CDs until 2000. There were 2 MDs, but as long as I don't live in Sweden I have no idea what was on the tapes. The only thing that made me curious - the guys have changed their logo from the usual Nordic unreadable symbols to a 'normal' one. They explained that step with growing up and that it's just much easier to READ! Cool, isn't it. I remember the 'Load' times of Metallica when they also changed the logo style and almost everyone considered that a sell-out and started slagging Hetfield&Co. It was late '99 when the band members met Tommy Tagtgren (oh no, not him again) and got an offer to record their CD in the Abyss Studios, which certainly lives up to its title. Can anyone count the abysmal number of bands, that were recorded there? I can't. The dispatched style of the band, as mentioned above, is definitely speed metal with black vocals. Let's think a bit - do you remember any bands playing in the same style -Yes! First of all, the leading brigade is of course Children of Bodom, there are also Brimstone, black'n'rollish Absurdus and a legion of others. It seems like playing that type of music becomes trendy (Yeah, no shit, Sherlock - the ed.) The musical content represented on the CD can be described as follows: early Helloween-like guitar and standard black vocals. Well seems we started talking about CoB let's do a bit of comparison - the music of Dispached is much less melodic and what annoyed me mostly is that almost all songs are alike. I could draw a parallel (though the comparison might seem far-fetched) with early Napalm Death stuff ('Scum' etc.) where the songs differed only by the intros. Here we have standard 'AAAHHHHAHAHAHHgggghhh' in the beginning followed by one and the same riff. But not everything is so wasted - in the title song we find an excellently played, though a bit altered, part of Mozart's '40th symphony'. Another bonus comes in the middle of the album - 'The Final Countdown'. Yeahhh, the Europe song, the guys have decided to win some more fans by re-playing this classical thing, written by Joey Tempest back in 1986. This is actually why I have bought the CD. You know I like tributes but this song was replayed only (as far as I know) by three bands - Elakelaiset, Laibach and BoneyNeM. The song is definitely recognizable but played in the usual 'dispatched' style. Fans only. (Felix the Katt)

2/5
EXHUMED
Slaughtercult
2000
Relapse Records
American death/grind with Swedish school elements
Had I heard this record some 10 years ago, I would most probably have instantly become a fan of it. I mean - fast and brutal death/grind with tons of blood on the cover, an unreadable logo, and the musicians’ specialities stated as goresaw and deathroat, corpseblaster and electric exorcism and ribcage rupture! Oh boy, does that smell like my grind core kid-years! These days however, it takes a bit more than that to impress me. Yeah, they are quite professional, yeah, they try to put some new elements into their style by mixing classic gore metal with elements of Swedish death, yeah, they got a couple of cool riffs - but, G, it’s just so damn boring and monotonous. Imagine, one and the same guitar base and beat structure for 38 minutes! Awful. Hearing one of Exhumed songs on a compilation would quite possibly have got me going, for the band positively has a lot of drive and I like the way their guitars are mixed... but a whole album of this unconvincing madness? Gimme a break! I ain’t impressed. At all. Their singer is crap too... ;) (Troll)

3+/5
THE FIRSTBORN
From the Past Yet to Come
2000
Guardians of Metal
black/heavy/thrash/progressive?
Hmm, that's pretty cool, actually, I have to say. This is a classic example of what a good record should be done like. Basically, what we deal here with is the so-called sympho-black metal that is glazed with some classical heavy-metal arrangements and elements resulting in a work that is kind of evil, kind of melodic, kind of brutal, kind of classic, but all in all quite good and easily listenable. Probably not the best and definitely not the most original as these Portuguese are, they have decided to concentrate their efforts on the quality aspect of the record and on putting as much diversity into it as possible staying within the stylistic limits of the genre in question. And well, they have certainly managed their best in that. As a result what we get is an album of a band that obviously displays both talent and professionalism, which they know how to put to good use. If the basic purpose of art, and music per se, is entertaining - then this record perfectly fits the description. Another definite asset of "From the Past..." is the mix, which has positively been paid much attention to. If you dig amusing yourself by switching your focus from one instrument to another as you listen (those who know how to do it, will understand what I'm talking about ;) - this is like THE one. Not only can you listen to the bass, or guitar, or keyboard separately - you can actually hear each of the strings on the bass picked and each of the different cymbals. Everything is done with taste and a perfect sense of balance, I would probably even go as far as saying that with time, the band might evolve into forming a new trend in the genre - that is progressive black metal, they have all the potential for this. A solid three plus. (Troll)

4/5
GLOOMY GRIM
Life?
2000
Holy Records
black
Have you ever thought what evil was like? Does it always appear at night, dressed in black or blood- red garments and says something pathetic? Is it like an obligatory gothic church or castle or dungeon? Well, not necessarily if you ask me. Sometimes evil may appear at dawn, in a desert, just as the sun rises above the sand, colouring the skies in a beautiful deep blue and throwing its first rays onto a magnificent citadel standing in the middle. It will take a form of a skeleton in a dark brown robe that would stroll slowly towards the tower and stop several hundred yards away as if to admire the view. There is no need to be in a hurry, it knows, for no one can ever escape it - no matter how thick the walls of the tower are. Life? No life has ever escaped death. Yes, sometimes evil can appear like that, at least this is the way it shows up on the cover artwork of Gloomy Grim's latest release. I can't really explain it but somehow evil is oozing out of every groove and digit on this CD. If I were to compare this to anything recent, the closest match would fall somewhere in between Morgul's "Horror Grandeur" and Kovenant's "Animatronic." The music on the CD is well structured and is done at the highest possible professional standard. Bombastic and complicated keyboard passages, snatchy guitars, and a squealing creepy-crawly voice of the singer mould into an extremely hot and poisonous mixture that you are expected to sip elegantly from a silver chalice, slowly descending into the dark est pits of your subconscious hell. L-l-l-l-lovely! Not true and evil, you'd say? Well, it depends, on what you consider true and what you consider evil. Everything is moving and developing and black metal is no exception. This new form is just more sophisticated and innovative probably, more civilised and smart, but it surely is no less evil. I wouldn't rush with the conclusions, if I were you. Listen to it first… I dare you... (Troll)

4/5
GURD
Bedlam
2000
Century Media
thrash
«Sometimes what happens is that word gets out that you’re a good player, extra attention gets paid to you and subsequently your name doesn’t appear on the score-sheet quite as often...» This phrase taken from the EA Sports NHL’98 PC perfectly suits the occasion. I don’t know was it some part of a plot against the band or something, but this is actually the first time I ever hear about them only to find out this is already their sixth(!) album. Yep, the boys have been in the gig since 1994 forming the band on the remains of a formerly cult band Poltergeist. Then again the fact that I ain’t heard of them can as well be explained with my usual ignorance... Anyhows, better late than never, as I always say - so let’s get down to biz. The moment you insert the CD into your rack make sure you move away quickly, for otherwise you seriously risk your jaw being snapped in half by the most brutal and heavy musical uppercut. Musically «Bedlam» offers you a nice (not!) mixture of modern-edge crossover and 80ies thrash riffs in the vein of early Testament or Exodus, that is simply bound to send you slamming and bouncing all over the place in your best King-Kong style. But there’s even more to Gurd than just this raw power and energy. Their songs are also quite melodic and complicated and if you manage to stop yourself from jumping around the floor for a couple of seconds, you will notice that the riffs are extremely sophisticated and well-structured and at the same time very catchy and memorable. Well, what else do you need, really? A Mike Tyson with an IQ lots higher than the average - four fists. (Troll)

4/5
HAMMERFALL
Renegade
2000
Nuclear Blast
power/speed
Well, well, well, strange as it may seem, but this time I have decided to steal the Maniac’s thunder, and do a review of a speed/power band myself. The two main reasons behind such a decision are as follows - first, the Maniac is off for one week’s vacation. Second - who the hell is the boss here? I can do whatever I want! ;) (Nah, just kidding...) Anyhows, since I’m doing this, I better make a disclaimer from the very beginning - I am not and have never been a fan of this trend in heavy music! (bite me! ;) But nonetheless back in the times when I was a teenager I have always liked Helloween (esp. the first «Keeper...»), and I still like Manowar, and well, let’s face it, every once in a while such music is pretty good a listen. And Hammerfall are just one of the very few new bands in the genre (if not the only one) that I have really liked from the very beginning. The reasons for that were plenty. When their debut LP appeared on the market - it was just the beginning of the power-hysteria that possessed everyone later and resulted in the endless line of mediocre bands that were signed just because they played this type of music. The market was hungry and tired of black metal, and wanted something old-school, nostalgic and melodic. I mean, back in my times we used to have this sort of a joke that it would have been cool if there was a band like «Hellowar» or «Manoween» - and that’s exactly what Hammerfall have become. While not having put anything new into the music they were just so good, so fresh, so professional and what is probably the most important - so convincing that it already did not matter if they were original or not. I still like «Glory to the Brave» and think that it was an excellent record. However its successor was already not as good and should I say to me it sounded a bit squeezed out - as if the guys were forced to do a record they did not want to. But, what the hell, we’re talking about the new record here, aren’t we? Well, honestly, there is not really much to say. Same ol’ speed/power metal with long twin-guitar passages, high-quality clean vocals, heroic and slightly pathetic choruses, and all the other obligatory attributes of the genre. But dammit, I can’t help it, I just like this record. I guess, the main trade secret in this trend is finding a sort of a perfect balance between all of the composites you put into the music - and then, bingo, you get the cigar. If this proportion is altered, then you’re ruined. Well, the balance on «Renegade» is perfect, and - hoop-la-la - we have a record that is easy and nice to listen to, without getting too much under your skin and without getting you bored or nothing, and moreover, at least for one second you would believe the «Templars of Steel» «Always Will Be» «Living in Victory» and «Destined for Glory», and you will too want to feel like «The Champion», «Raise the Hammer» and «Keep the Flame Burning». Pretty good. (Troll)

5/5
HYPNOS
In Blood We Trust
2000
Morbid Records
death
Once me and a friend of mine were arguing which weapon was better for an assassination - a sniper rifle or a remote controlled bomb. Finally he managed to convince me the bomb was much cooler because it went «KABOOM!» I tell you what, folks, a full LP is also helluvalot cooler than a mini because it goes KABOOM in a much cooler, louder, and longer way than a mini. Something like a month ago we have already talked about this band in the context of their first mini, and, if memory serves me right, I was not exactly impressed by the work, basically because of the reason that it was not a full disk. Well, it has arrived... and with it the times of old school high-quality death metal that used to be big and cool in the early nineties. The Slovaks definitely know what their shit is all about. Big, phat and angry that this c*cksucker is, it is becoming quite clear and obvious that the guys will not be satisfied with your average good-death-metal-what-is-next status. No way. I’d say such big shots as Morbid Angel and Deicide are better keep their ears pricked up, for the throne has started shaking big time under their collective behinds. Personally I consider the fact that Hypnos was released just a couple of weeks before Morbid Angel’s much anticipated «G»-album rather symbolic. Let’s see who is the big bro in the neighbourhood... Describing the music recorded on the LP would be rather pointless in my opinion - I mean, just take up every good thing you have ever heard in death metal and put it all together in perfectly arranged songs and you’ll hit the bull’s eye. The drive and the technique here are pushed to the extreme literally «hypnotising» you with the sheer power, energy, and heaviness that are pulsing in the music. A must! (Troll)

4/5
MANOS
Living Burial
2000
Morbid Records
death
Now let’s have this straight out right now - this record is unbelievably, unspeakably and irrelevantly dumb. It is as dumb as a drunken Troll and even dumber than that. If there ever was a dumb contest it would make it only to the first runner-up because it is dumb. At the same time, whoever says everyone has to be smart? I mean, what for? Fuck smart! As long as it is fun to listen to personally I don’t care. And neither should you. Honestly though - first and foremost, the guys from Manos are professionals. The seeming stupidity and straightforwardness of the music conceals quite a sober approach and a great deal of good-hearted humour and even self-ridicule. Just imagine the lowest possible pitching you could ever think of (multiply the result twofold and you will get pretty close ;) then apply this to every damn cliche you have ever heard in death and thrash metal, and then randomly cut in rock’n’roll elements and basic musical fuck-ups, like wrong notes, incorrect timing, and even irrelevant and non-tuned fiddles. Nice, enit? Now, that’s not all yet. Take up the cheapest and the most primitive drum machine ever produced and let your four-year-old kid programme it for you. Finally find a record of, say, early Cannibal Corpse and sample the vocals with gulping, gurgling and burping effects and you get what you deserve - «Living Burial». An excellent parody of death metal and grind core done with utmost exactness and professionalism. Night of the Living Dead - III in music. (Troll)

3+/5
MOTLEY CRUE
New Tatto
2000
Motley Records/Beyond
glam rock
Ok, it's Motley Crue once again and they're back with their all but classical line-up, except Tommy Lee playing some sort of (c)rap metal with his recent MoM project. The band's back not only with the line-up but with the good old lyrics as well (you know all that girls, sex and sex again stuff). If you wanna get a feel of how the album sounds without hearing it take for instance the sound of the Crue in the late eighties, it's similar to "Girls, girls, girls" or "Dr. Feelgood." On the one hand that's really great, however on the other we witness the fact of self-dubbing, unfortunately, not only this band's problem these days. But what was really disappointing to say the least - Motley Crue just don't kick ass anymore! I mean their great, their back but after hearing the album once or twice you simply can't retrace the songs and melodies. And that's really annoying!!! The Crue was never a boring band, such titles as "Girls,…", "Dr. Feelgood", "Smokin' in the Boys Room" or "Kick-start My Heart" simply blew your mind away with that crazy rhythm and raw energy. Unfortunately what we witness on the "New Tattoo" release is much too far from that. Maybe I'm too subjective and maybe the record isn't that bad, but there's one thing I can tell for sure - It's just not as good as I wanted it to be. I know that's unfair but you just can't do anything about it. But enough of criticism and why it's a 3+ - it's still 100 percent Motley Crue and after all it's great that they're back. (Big Daddy)

5/5
OMEGA
Koncert'99
2000
Hungaroton
no style - this is unique, folks!
This is a monument. A monument to Hungary's #1 band and possibly the most underrated talent in the world of rock music. Having existed for 38 (!) years and recorded 15 albums, most of which are undeniable classics, the band now enjoys an astonishing popularity at home, but is practically forgotten abroad, which is a damn shame. A rumour says it that the musicians decided to call it a day right after the recording of this live album, and if this is so, the disc is apparenly supposed to sum up their career. This double CD features the entire show they played at a packed stadium in the Hungarian capital Budapest in September 1999 - 141 minutes of hits written in between 1967 and 1997. Stylistically, the songs range from dynamic hard rockers sometimes reminiscent of classic Deep Purple, early Uriah Heep and Whitesnake (of course, played with up-to-date sound and mixing) to atmospheric tracks in the vain of late Pink Floyd to beautiful, but not poppish ballads that are totally unique - when it comes to writing a slow tune with catchy melodies and romantic atmopshere, Omega is second to none. Most of the songs are in their native Hungarian, but there are two tracks in Engish - "Soldier of Time," written by the band's guest guitarist Tamas Szekeresz, and the famous Scorpions' hit "White Dove" of which Omega's former keyboardist Gabor Presser and poet Anna Adamis are the proud authors (and you thought Klaus Meine and Rudi Schenker composed this? Haha, they only wrote the English lyrics). All Omega classics are represented here, but I wish they'd included some songs from their later works as well. I won't go into details describing how great the album is and why you should go out and buy it right now (I mean go out and start searching desperately for this release everywhere, as if you are unlucky to live in the coutries like the States or Britain, you'll never find it in stores). I will only tell you one thing - Hungarian bands have always been different from the rest. There is a sort of national colour in their music, which alone is intriguing and worth listening, and Omega is definitely the best and most interesting band of that country. Moreover, "Koncert'99" is a documentary (a rockumentary, if you please :))) -- the ed.) of musical changes through which the group has undergone through the years, so the tracks are varied but equally impressive. An absolute masterpiece. Omega rulez forever!!! (Maniac)

4/5
ORPLID
Orplid
2000
Prophecy Productions
dark folk
Here we got something for those who are tired of black, death, thrash, speed or even heavy metal. If you feel like you've had enough of horrifying guitar shrieks, earth-shattering blast beats, gore lyrics and Godzilla-like vocals, try this record, for it has nothing to do with everything that I mentioned above. It is actually not rock music at all, but a totally different sphere of art. Orplid's songs are mostly based on acoustic guitars, sometimes piano or other keyboards, and graced by touching clean male and female vocals. There are also some electronic noises, samples and sound effects in the background, but they only add to the atmosphere of this album, very dark one, I must admit. Orplid are smart enough not to repeat somebody else's foul words about joy and love, their German lyrics mostly deal with sadness, pain and injustice of this world, so the songs sometimes acquire an almost apocalyptic feel. This is not the music for relaxation or (God forbid!) sex (why not??? -- the ed), but rather for some thinking, when you need to look into yourself or make an attempt at discovering the meaning of life. OK, many people would call it monotonous and repetitive, and I can understand their point of view, but the album is so stunningly beautiful that I can forgive that. After all, Burzum and Darkthrone were also monotonous and repetitive, but look - now their early records are considered classic (a very challengeable statement, Troll would say) (oh, yes, he would -- the ed). If you're new to dark folk and not afraid of challenges, I suggest that you try this and probably a whole new world will open the gates for you.
P.S. The album is actually a reissue of the band's 1998 debut, the original pressing of which was sold out long ago. The reissue is packed with three bonus tracks from obscure 12'' releases, but it is also a limited edition with only several thousands of copies printed. In case this review aroused your interest, start searching for the CD now, as nobody can tell when and where it will be out again. (Maniac)

PLASMA POOL
Drowning
2000
Scarlet
dark wave?
Back in the sick house we’re. This project brought forward from Scarlet by one of the former Mayhem musicians could easily run for the title of the most deranged album of 2000. I mean, if sick was a boot then it’d fit it. The album spins into motion with a middle-eastern styled intro called «Fear», followed by some totally stylistically indefinable composition entitled «Brainsucker» (gotta admit it though that the name perfectly suits the vibe of this song), which is then replaced by a techno dance-like «Sick of Rain». Well, needless saying that the whole record keeps rotating like that in a mind-raping extravaganza, shifting from one groove to another, spitting out the most weird and unthinkable sounds, and finally leaving the listener lying sucked dry in the end. The overall impression I got from «Drowning» was that of a soundtrack to a restricted funny farm. Falling somewhere between Whores of Babylon (not to be mixed with Babylon Whores) and Mr. Bungle, Plasma Pool is definitely intended for tasteless loonies like myself, who would utterly enjoy this album, people with vulnerable psyche, however, will be better off without knowing what it sounds like. Too specific. No rate. (Troll)

5/5
ROTTING CHRIST
Khronos
2000
Century Media
black
For once, man, for once a Peter Tagtgren-produced record does not sound like one! I almost can’t believe it. I am serious though, recently you just might have noticed a sharp increase in the number of bands produced by the Tagtgren Bros., and well, the good point was they all sounded pretty cool. However the other side of the coin was that all of them sounded alike, which, if put into Beavis and Butthead terminology, basically sucked. In any case, Rotting Christ here were smart enough so as not let Peter have it all his own way and ended up with an excellent record that is original, recognisable, heavy, melodic and excellently produced. For this reason or that I kind of never followed RC's career closely and well after hearing Khronos I already start to regret it. I mean, nowadays it is very rare that a band manages to develop musically over the years without losing its original sound and style and staying within the frames of one genre. Don’t get me wrong, I am not the one to label anyone a sell-out just because they started playing a different type of music, cut their hair off, changed their logo or whatever, but if a band manages to develop retaining its unique stylistic and musical identity and not become boring or self-repeating, then I say, go for it. The album itself presents a nicely contained mixture of deathesque black metal with extremely good and memorable soloistic guitar-riffs, powerful drum beats and naturally flowing keyboard passages that add to the melodic component of the record. The closest comparisons for «Khronos», in my opinion, would be Samael’s «Passage» and Moonspell’s «Irreligious», with a touch of industrial element and even some U2-like passages and flow, but, time and time again, inevitably recognisable as Rotting Christ. Another pleasing surprise for me here were the guitar solos. I mean, I’ve never really been a fan of Malmsteem or Vai, firmly standing on the ground, that the speed and technique have very little to do with music and are more of a cool way to show off one’s instrument-handling skills (huh-huh-huh, pun intended ;). With Rotting Christ however, the solos, though excessive and even bullying at some points, are so naturally inter-webbed with the rest of the record that you do not really notice them as such. You could go through six-to-seven different guitar harmony structures in one song on this album and not really get tired of them, that’s just amazing, I say. A cool fiver. (Troll)

2/5
STRATOVARIUS
Hunting High And Low (mini CD)
2000
Nuclear Blast
speed
This is a rip-off. The latest single of Finland's most distinguished power/speed metal band features two tracks from their 2000's full-length "Infinite" ("Hunting High And Low" and "Millenium"), demo versions of these two songs, and a sole new track "Neon Light Child." I don't think you are impressed by the tracklist, but you will be even less impressed if you decide to buy this "masterpiece." The problem is that demo tracks are practically identical to the album versions on "Infinite" (and on this mini CD as well). I mean, demos are not supposed to be totally different, but this case is the limit - I would never tell the album version from the demo if I hadn't seen the tracklist. As to the only exclusive track, it is a typical and ordinary Stratovarius song, not a hit or something, and it is not worth the price of the disk. Don't get me wrong, I'm a huge fan of speed and power, and Stratovarius is among my favourites, but it is my firm belief that a mini album needs to have something truly interesting and not just be a collector's item. OK, die hard fans of the band will buy it anyway, but even they will admit after hearing the record that it has nothing worth the money for the outside people. If you are not hooked on Stratovarius, I would recommend staying away from this release. (Maniac) -- (I'm just wondering why is this two fists then? -- the ed. ;)

3+/5
VIKING CROWN
Innocence from Hel l
2000
Baphomet Records
true and evil black
«Let it be known to all the spirits that a spawn of daemons from Viking Crown have unleashed their second release at Baphomet Records and now the last sign of the coming Armageddon has been exposed...» This one requires an explanation though, however, since it is supposed to be an album review I’ll try to limit myself to a couple of sentences. Baphomet Records was formed by the notorious Killjoy of Necrophagia who also happens to be the lead screamer on this CD. The project also involves a certain Mr. Anton Crowley (who is put in charge of the six strings in Necrophagia and is parallelly engaged with a minor metal band called Pantera where he is known by the name of Philip Anselmo). OK, now some of you just might have heard that both Crowley and Killjoy were signed to an all-star project entitled Eibon together with Satyr (Satyricon) and, if I’m not mistaken, Fenriz (Dark Throne). So the songs introduced at «Innocence from Hell» were originally written for Eibon but the word around the campus says Satyr has considered them «too raw and brutal...» Don’t you just love this!? Another funny point about VC is that Crowley plays all of the main instruments apart from the keyboards - that is bass, guitars and drums. As a result what we have here is true and evil black metal as seen by a dude from Pantera. Well, should I say that’s a pretty damn ugly sight - raw, fast, uncompromising black in the vein of early Mayhem with soul sucking screams of Killjoy and a lot of atmosphere created by the keyboards under the beautiful hands of Opal Enthroned. Very atmospheric and very evil at the same time, just the way it was supposed to be in the original I guess. The crushing blast beats and regurgitated riffs on the disk are replaced with long ambient-like keyboard tracks and back to the slaughter again. A very professional and interesting record, most of the black metal fans should seriously consider. Pantera fans might also take interest in what Phil is doing in his meantime. Sick... (Troll)