Hecate Enthroned - The Slaughter of Innocence, a Requiem for the Mighty
More intense than Upon Promeathean Shores, if you can believe it. It’s more tortured, atmospheric, and faster. It’s probably not as memorable, but its extra helping of Satanic whup-ass makes up for that.
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Lividity - Fetish for the Sick
Twenty minutes of extreme Death Metal porno sickness. Plus a Cheech sample. It’s well written, well played, fairly memorable and heavy as fuck. What more do you need to know?
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Iron Monkey - Iron Monkey
Heavy, sludge Metal, with vocals from another dimension of raspy screeches that can somehow be low pitched. And the lyrics seem to come from smack-induced fever dreams. Insanity Sludge Junk Metal. Whatever it might be called, it’s pretty cool.
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Gods Tower - The Turns
Heavy, technical Death/Thrash/Doom.
[Metal Curse #11 had an additional loose page (“Last Second Additions”) inserted into the centerfold of the zine, featuring a bunch of even-shorter-than-usual “bonus” reviews of stuff that arrived after the deadline for that issue. This is one of those “Last Second Additions” reviews.]
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Gods Tower - The Eerie
More well played crushing Death/Doom.
[Metal Curse #11 had an additional loose page (“Last Second Additions”) inserted into the centerfold of the zine, featuring a bunch of even-shorter-than-usual “bonus” reviews of stuff that arrived after the deadline for that issue. This is one of those “Last Second Additions” reviews.]
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Vore - Dead Kings Eyes
Absolutely kick ass Death from beginning to end. Everything about this disc is close to perfect, and I expect to see them signed soon.
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Monstrosity - Millennium
As fans of the band’s debut, Imperial Doom, would expect, this is a monstrous slab of technical, yet brutal Death Metal. I think that this has a somewhat more individual identity than their aforementioned debut, but the real question about this band is what they will sound like with their new singer, Jason Avery (their original singer, George “Corpsegrinder,” did the vox on this disc). But for now, we’ll just have to listen to this a few hundred times and see what the future holds.
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The Misfits - Static Age
When the box set came out [1996], I thought it was supposed to have all the Misfits’ songs, but this has some long lost gem called “In the Doorway.” I’m sure all real fans have most of these songs on the collections (although this supposedly has different mixes of “She” and some others) and/or Legacy of Brutality, but it’s pretty cool to have the album as it was intended. Of course if you have the box set, you already have that (plus a nice booklet with all the lyrics, which stupidly aren’t included with this release), so I’m not sure how important it is to hear the one newly discovered track. If this entire album hadn’t just been released in the aforementioned box set, then it would be truly mandatory. I’m torn about recommending this. On the one hand it has the extra track and the differently mixed versions of a couple songs, but on the other hand, anyone who would give a fuck about just one new song and different mixes very likely already shelled out $60-$70 for the box… As much as I love this album, I think Caroline got a little greedy here. However, if you somehow have not heard the Misfits (have you been on Mars for the last 20 years?), and have $15 (but not $60 for the box), then by all means pick this up immediately. My rating is based strictly on the seminal Punk on this all-time classic album, and not anything else.
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The Misfits - American Psycho
I really thought that a Misfits album without Glenn Danzig would be like a blow job with no mouth involvement. I was wrong. This is not the Misfits of old, though. The playing is exact, and the production thick and flawless (as I would expect from a major label release). The first track, the instrumental “Abominable Dr. Phibes,” is heavy on a Forest of Equilibrium level. I was not ready for that at all. After that, this album combines the Punk I expected with a real Metal edge. And they do it right. Danzig’s “replacement,” Michale Graves, does a near-perfect job with the vocals. He varies his style from basically yelling to a fairly emotional, more traditionally Rock, sound. The song-writing is also very impressive, especially considering that none of the guys in the band now ever wrote a Misfits song before (although that probably explains why none of these songs sound like “Angelfuck” or other classics). The only disappointing thing about this is their cheap shot at Danzig: the lyrics of the song “Speak of the Devil” (“Some call me the Son of the Morning” and “I drink my water from a wolf’s footprint” for example) are clearly intended to lampoon their former leader. He did give them Hell about using the name, but maybe it’s really not the Misfits without Glenn? I don’t know about that shit. All I know is that these guys have made a kick-ass album.
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