This is more of a CD-single than EP, I suppose, with just one new song, two versions of the title track, and a CD-ROM video for “Sol Niger,” which is pretty cool if you have the equipment to view it. If you need just a little more “Death Rock” than was provided on King Fear, here you go. For major fans of the band only, since there’s not exactly a lot of bang for your buck here. Still, I like what there is.

This was a major disappointment for me. Axel had showed such an improvement between the The Ballads II and Oceans of Time that I was expecting another impressive display of melodic Power Metal. It was not to be. Gone is the style and maturity that made Oceans of Time such a great album. Axel has returned to the cheesy Glam Metal formula that reared its ugly head on The Ballads II. The Masquerade Ball is pretty much just as bad. Stay away from this dud.

Yeah, I know that reviewing this is sort of hypocritical. If any other mag did this, I would probably be up in arms about their lack of journalistic integrity. Face it, it’s hard to be objective about a band whose album you just released. How can I pull it off, you ask? Well, for starters, since I fucking paid $14 for this at a fucking record store, I think I have the right to say what I think about it. I’m pretty sure that Ray would have given me a free copy if I asked for it [I sure would have! -Editor], but I believe in supporting labels by actually paying for their releases. Anyway, on to the review. Avernus is probably the most underrated Atmospheric Doom band in the world today. If this retrospective look at their early days is any indication, I’d have to say that 90% of the record labels out there must have had their heads up their asses if they missed out on this band. Seriously, they’re that good. For a retrospective look at their demo days, this is one of the heaviest releases I’ve heard in a long time. There is a lot of My Dying Bride in the earliest material, but at the same time, the later material takes that influence and runs with it. There is some Eastern musical influence on the post-Sadness material and some Dead Can Dance begins to make its way into their sound around the 6th track. All of that comes together to make this a really solid, heavy CD that packs more depressive feelings in one place than the Prozac line at your local mental ward.

Artsy-fartsy keyboards and operatic yet quirky female vocals are basically the total hype surrounding this otherwise average Goth Metal act. There is talent here, but I just can’t get into this. Ironically I protest, do not believe everything you read.

Hailing from the Land Down Under (Australia), it isn’t surprising that Atomizer has a bit in common with fellow Oz Death Metal maniacs Destroyer 666. Like Destroyer 666, they have a Thrashier sound than most of the other War Metal bands (Abominator, Bestial Warlust or Sadistik Exekution to name a few) from that area. The music itself isn’t all that technical, sticking to simple, memorable stuff that packs quite a punch. Some of the lyrics are a bit hokey (such as on the song “Atomic Metal Power”) but for the most part, this is some kick ass Death/Thrash. one problem I noticed that they had towards the end was the lack of song differentiation. Most of the bands from Down Under have a similar problem because they concentrate on the “all-out assault” style of delivery. If they can diversify their attack a little and inject their songs with some more individual identity, Atomizer will be up their with the kings.

I have no idea how to review something like this album, and I am extremely happy about that. I assure you that you will want to avoid this celebration of weakness at all costs.

This Aussie Black Metal legion sounds a lot like Dissection. They have the intensity, they have the same style but they don’t have the clear studio sound that made Dissection’s attack that much more potent. The rawer sound makes this a little more brutal but at the same time, it muddies up the guitar harmonics up a bit. This doesn’t detract from Astriaal’s extremely high ass-kickage rating in the least. The only major detraction is that this is so short. I’m not sure that many bands realize that putting out a really kick-ass EP just annoys people because just when you start getting into it, it’s fucking over! I honestly felt cheated when this ended. It’s like listening to a band playing their best song and then the PA goes out and forces them to stop playing right in the middle. You don’t get that feeling of completion and you definitely notice it.

Another reissue, this time from 1999. Flowers is not far removed from the sound of the previous album, although there is even more of an emphasis placed on the singer’s voice, and perhaps an overall softening of the music. However, this does have moments of atmospheric heaviness mixed in with the more electronic elements. The vocals are generally stronger this time, and I found myself liking more of this album than I did In Nomine…. You also get a bonus video track and some other “multimedia” extras. Gothic Metal fans should probably check this out.

Fast and raging Kreator-inspired German Thrash that could have been great. A poor vocal performance reduces Hot on the Trail to an average recording. The vocalist doesn’t scream or sing. He shouts in an almost Hardcore-flavored manner which just doesn’t fit the music. It’s really a shame too, because the music is incredible. Head-banging speed, monster-riffing, and dizzying solos are all over this release. The production is outstanding as well. I really hate to give these guys a lower score because the music is so damn good. Let’s put it this way - vocals aside, this is the album Kreator should have released after Coma of Souls. ‘Nuff said!

Expanding the awesomeness of their 8-minute EP (see review) into a full length album of life-draining gloom must have been nearly impossible, but Arcana has done it, with cold majesty to spare.

I guess I don’t dislike this band as much as Jack does, but their drum-machine powered Grind is certainly as monotonous as it is intense. Fortunately, this EP is only about 15 minutes long, which is a good duration for this band.

Holy shit, this is truly brutal overdriven Noise! I’m sure that some like this sort of thing, but I’m not among their number, so it was a real chore to sit through this disc. Nice “money shot” cover art, though.

Most of the time this Black Metal band stays more toward the “symphonic” end of the spectrum, with lots of keyboards and so on. They even inject a little of the early Necromantia feeling into that, which I especially appreciate. But, they also speed things up occasionally, and have very powerful drumming throughout. I should also mention the excellent guitar work (including a couple of acoustic solos). There are a few passages wherein the vocals seem a little goofy, but it’s never too bad, and that’s more or less the only flaw on what is otherwise an outstanding album.

A split CD of two Doom / Death bands… Oh boy, my therapist is going to love this. First off is Asunder, a band hailing from the East Bay (Oakland, I think) and arguably the better of the two bands on this CD. If any band comes to mind, I’d have to say it was Thergothon but without the drugged out keyboard parts. This took me by surprise as I’ve seen them live several times and when they’re on stage, they sound like old My Dying Bride. I know there isn’t much difference, but Thergothon was slower and sounded more stoned out than MDB. Compared to Like Flies on Flesh, Asunder has a heavier guitar sound and seems a little more Death Metal oriented. Like Flies on Flesh has a thinner guitar sound and though they seem less heavy, they are still pretty good. The use of female vocals adds some atmosphere and some occasional keyboard parts help too. Still, they just don’t have that same feeling that Asunder has - you know, the one that makes you want to draw pictures on your body with a razor blade.

Uninteresting Black Metal masquerading as Doom. Their lyrics and album covers (always featuring the one hot Goth chick they know) would lead a Doom fanatic as myself to believe there are depressive melodies within. Nowhere near. Four more tracks of bland Black. I pass.

Usually I like a little more super-heaviness in my Doom, but this band’s more Gothic take (keyboards, female vocals) gets the job done okay. I could list a lot of bands that do this style better, but that doesn’t mean that AYL is bad, just not the best.

Why does Ray give me the hard ones? [Because I’m sadistic? -Editor] There isn’t anything informative I can describe to you about this band, except that they play Black Metal. Some riffs are fast, others are slow. The vocals are screechy. One song starts off by the singer screaming “Rock ‘n’ Roll!” If you’ve never heard Black Metal before, pick this album up, because it’s what about 95% of it sounds like, except the “Rock ‘n’ Roll” part.

This album is all over the damn place. There are some kind of lightly Thrashy rockers, and softer stuff, too. I was sort of interested to see what John Bush would do back in this band, since I think Anthrax really went downhill fast after his first album with them [Sound of White Noise -Editor]. But as talented as these guys are, I just don’t derive much enjoyment out of this at all. I wouldn’t say it’s bad for what it is, I suppose, and I am glad that there is zero stupid “Nu-Metal” influence, but for the most part, I kept hoping the next song would start soon.

You may recall my review [In Metal Curse #12 -Editor] of what may have been the demo version of this album (or a demo of the same name). What we have here is raw Black Metal that is almost majestic in its speed and simplicity. Man, that has got to be a drum machine! Also, the bass seems to be mixed pretty high, sometimes giving this an almost Necromantia-like feel.

According to information I got through various magazines and such, this band was supposed to be experimental and far enough out there that most people wouldn’t get it. Instead, former Frosted Flake Tom G. Reznor (oops, I mean Tom G. Warrior/Fischer) takes us on a spin down Nine Inch Nails boulevard and checks us into the Marilyn Manson hotel. I don’t know about you, but if having your head so far up Trent Reznor’s ass that you can clean his spleen with your tongue is considered “experimental” then I must not “understand” this album enough. This literally sounds like Nine Inch Nails (Downward Spiral era) doing remixed renditions of their favorite Marilyn Manson tunes. Honestly, I expected so much more from these guys considering the fact that Mr. Fischer was one of the guys behind Into the Pandemonium. I guess that after Cold Lake, I should have learned my lesson. Good points, though: nice thick guitar tone, good production and tight playing. Fans of Kovenant, the new Malignant Eternal, Pain and the previously mentioned NIN and Marilyn Manson will probably think this is OK, but I sure don’t.