Edge of Sanity - Crimson
This single, 40 minute long, track contains virtually every style of Metal in varying degrees and durations. It really sounds like a bunch of different songs all tracked together, rather than one cohesive unit. It’s an interesting, well executed, idea, but some parts really tend to drag on, and occasionally the clean vocals are somewhat weak. I also must wonder how many people have the necessary attention span to really appreciate a 40 minute song.
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Edenrot - Ashes of Forever
Whoa! The lead vocalist of this band is in definite need of a throat lozenge. Their music is really cool and well orchestrated traditional Heavy Metal. Strong, bold guitar riffs that are catchy in spots. A few of the songs have more of a White Zombie feel to them. But, I think this vocalist needs to tone down his extreme Death Metal style a tad. Other than that, the production was well done and quite clear.
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Econoline Crush - Affliction
Hi, we’re interested in being the next Nine Inch Nails. But unlike them, we don’t have a whole lot of talent, but… we are attractive guys and we have great fashion sense. We have top of the line equipment (the best that Mom can buy), and I’m sure that with enough marketing we could be really big. Think about it and get back to us.
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Earth Crisis - Gomorrah’s Season Ends
Well, I guess I won’t be inviting these guys to my annual “eat a cheeseburger while raping a nun in a burning church” party. Anyway, EC play fairly intense ‘core, although sometimes the riffs get a little gay - oh pardon me, I mean “wimpy” - and the lyrics are extremely preachy. Do they really believe everything they say? I wonder how many times these a day guys smoke some weed and eat a big slab of ribs. Didn’t someone famous once say, “You can’t please all of the people all of the time”? Maybe if Earth Crisis would stop trying so hard to be completely politically correct and inoffensive at all time, I might be more interested in what they have to say. For the record, their bassist, Ian (or perhaps Tom, the “provider of fretless bass”), is amazing, and except for a few of the above mentioned dorky start-stop kind of riffs, this album is musically exceptional.
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Drawn and Quartered - Drawn and Quartered
Primitive, simple Death Metal. Very intense and brutal, though. It’s nothing extraordinary, but this is fairly well played, and when they slow things down, it can be deadly.
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Downfall - Departures
The first track is all acoustic, with droning vocals. I woke up in time to hear the somewhat better second track (also acoustic, as are they all). Imagine acoustic Type O Negative and an unsuccessful attempt at **Dead Can Dance - it’s not bad, but I’m not interested. Maybe I’ll give this one to my girlfriend.
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Doughnuts - Feel Me Bleed
These Hardcore gals are occasionally a bit more Groove oriented than I like, and Asa’s vocals sound very restrained, like she wants to really cut loose, but for some reason can’t or won’t. Still, not at all a bad release.
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Distorted View - The New Breed
Sometimes when I listen to bands that are part of the “revival” of Thrash and “Classic” Metal I can only wonder where they were (or what they sounded like) five years ago. Well, I know what DV were doing at least 4 years ago, and it’s pretty similar to what they’re doing now: Thrash. Well, that’s not exactly true. Since their Twisting Your Mind demo (from ‘94), they’re certainly gotten heavier and now incorporate occasional (and very well done) Death Metal vocals, in addition to their normally “gruff” clean vocals.
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Disinter - Storm of the Witch
The delicate acoustic intro melts into an absolutely blistering Death Metal barrage. The intensity of the music is matched by the brutality of the vocals, and the excellent production. I wish that the bass guitar had been mixed a little higher, as it’s almost impossible to hear, but that is my only musical complaint, and probably not the band’s fault anyway. What really keeps this from a flawless rating is how the vocal lines are phrased; sometimes the vocals just don’t go with the music at all, almost as if they were sung while listening to only the drum track, with no thought of how they would sound with the riffs in place - they’re timed correctly, but are not “with” the riffs. It’s enough to keep them from perfection.
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