This has some Thrashy elements and screamed vox, but also some mellow parts and “nice” vox. Apparently this is supposed to be considered Hardcore, but I really didn’t get that out of it. Their press release claims that Codeseven “began life as a Death Metal Punk band.” I wonder what that’s supposed to mean… Still, whatever you’d call this style, it’s not bad. Not great, though, by any means.

Oh yeah, this is just what the world needed. As if their “New Metal” wasn’t an unlistenable enough abortion by itself, we’re now treated to some Dance / Industrial / Bullshit remixes, and a couple CD-ROM videos, too. Honestly, I guess these guys suck a little less then most of their peers, but of course that doesn’t apply to these remixes. There are circumstances wherein I might be able to listen to this, but not without considerable incentive. Like a winning 100 million dollar Powerball ticket.

This band hails from Finland and plays Grim (underproduced) Black Metal. As much as I like Blackmetal.com and the folks who work there, this just plain sucks. I don’t know much about this band, and from the sound of things, I really don’t need to know much about them. The raw-as-fuck Black Metal style has already been done to death by plenty of other people and Clandestine Blaze is just another fish swimming in an overstocked pond. I don’t care how “true” this band is, their music is one-dimensional, all their songs sound the same and the production (or lack of production) doesn’t help. If this had been a demo, I might be a little more forgiving but being that I paid $14 for this, I’m not dishing out any pity or mercy. There is nothing new or different on this and everything on this CD was so predictable that it totally comes off a being formula. Clandestine Blaze literally sounded exactly as I expected them to. I must have a dozen albums that sound exactly like this and to be perfectly honest, I really don’t need another one.

Fast new wave Black Metal. I’m a little tempted to call this style Black Grind. Anyway, since Osmose had already signed Immortal, I’m not sure why they felt the need to give these second-stringers a deal, too, but I guess they are pretty good. I mean evil.

This is the latest album by Poland’s second most well known Death Metal act, Christ Agony. One of the things that always seemed to hold this band back was the fact that they always sounded a bit too much like Vader. Musically, that has changed quite a bit since the old days. This album sounds slower and less “Death Metal” than any of the older material. If I’m not mistaken, there are more “traditional” Heavy Metal riffs on this CD and the music itself is not as brutal or heavy. That doesn’t mean that this album is the least bit gay. This is just a different direction (musically) than I was expecting. When a band does Death Metal for a really long time and had, regardless of comparisons, developed a trademark sound, this kind of a change in direction is almost always controversial. After a couple listens, this album grew on me, in the same way that Unleashed’s Warrior album grew on me. It was less heavy than I wanted and less aggressive but at the same time, this is more memorable and more distinctive than all of Christ Agony’s albums combined. All of the songs on Elysium have their own identity, something that was lacking in the older albums. After all of these changes in the music, one thing that has remained constant is Cezar’s lyrics. He still can’t speak proper English but his black heart is still in the right place. Give this one a couple spins before you shelve this album, it takes a while but most Christ Agony fans will not be disappointed.

This band is always described as Black Metal, but this seems more Death Metal to me. It’s not Black Metal in the sense that Immortal is, at least. In fact, this is often more Thrash than anything. Anyway, whatever pigeonhole anyone wants to cram Christ Agony into, this reissue of the band’s 1999 album was a welcome addition to my review pile. Elysium is well-crafted, if not exactly amazing Thrashy Death/Black Metal, but I had hoped for more intensity.

Interesting. New-wave Black Metal screechy vocals, expertly played Thrash, and loud keyboards - but not the usual “symphonic” kind you would expect. Hard to describe, but very nicely done, and well worth a listen.

Oh Hell yes! Combining elements of Doom and Thrash into their traditional speedy Death Metal, The Chasm stands on the brink of perfection.

Solid Death Metal from Germany. Nothing mind blowing or superb, but they are tight, fast enough, musical, and heeeeavy.

Every once in a while a Death Metal band comes along with an album that just completely raises the standards for a brutal, Satanic masterpiece. Where does this album rank in the Halls of Time? How about the first Deicide album? How about Blessed are the Sick? Hypocrisy’s Osculum Obscenum? Or pick a fucking Sinister album. No joke, people; this album is the shit personified. Each track is filled to the brim with guitar riffs that attack with full force. Not too technical, in no way pedestrian, and they’re memorable. These guys constantly use speed as a weapon, and it never gets old. Breakdowns are great - I love ‘em to death - however, Centurian doesn’t need them. They reach the highland through blazing full force beginning to end. And it never begins to dull. The vocals are essentially bestial and deep with ultra-Satanic lyrics. And, by the way, I’m getting a little tired of so-called “critics” bitching about Satanic lyrics. If you have a problem with Satanic lyrics, be true to yourself: Sell your old Slayer albums, go pick up a copy of Metal Rules, and eat a falafel for Christ. This is an album that makes the skip button an unnecessary feature. This will have kids with no hair headbanging, and by the end of the release you will have become an air guitar virtuoso. A modern day Death Metal classic, no argument.

More ass kicking Death Metal, this time featuring a somewhat revamped line up, including a new singer. I guess nothing can stop these guys! This is also available as a 10-inch picture disc from Oskorei Productions of Norway.

Celestia hails from France and plays raw yet atmospheric Black Metal that sounds a bit like Darkthrone but with keyboards and occasional acoustic guitar. The inclusion of atmospheric elements adds an air of gloominess that is welcome as far as I’m concerned. Without that gloomy feeling, this would be just another “Grim” Black Metal album that would instantly be forgotten because there is nothing new or different done to the already beaten to death formula. The only major gripes I have about this album are the guitar sound (which could have had more lower end on it) and the really one-dimensional drumming. I can’t really take a whole lot away from Celestia because I only have four songs to go by. If this band can improve their sound and change up the drumming once in a while - I think they used the same beat for all four songs - I firmly believe that they will be a band to look out for.

Very straight-froward, Cannibal Corpse inspired Death Metal, with some Dismember-ish touches, as well. After several listens, I find that I like this rather short (28 minutes) album, but there is little that really stands out - certainly nothing bad - to merit, or even enable, a longer review.

If you must have an intro, I guess one that describes babies being born on Satanic altars and then eaten alive is probably as good as it’s going to get. No one will ever top the insane intro that started the Exodus classic, Pleasures of the Flesh, but this isn’t bad. And then the fast Black Metal onslaught starts up, strengthened by the excellent production.

I guess this is supposed to be a “fun” joke band, but I’m not reviewing any CD containing a Pantera cover, even if they are making fun of them (which I’d have to think that they are). This totally sucks anyway, though. And isn’t even funny.

I’m not sure what to say about this album. I like it, but sometimes it sounds like the vocals were recorded while listening to just the click track - they’re not wildly out of time, but also don’t seem to have anything to do with what’s going on musically. That’s not necessarily bad, but considering their last few albums, it is a little weird. And that’s not all that’s strange. Sometimes the music gets (dare I say it?) a little too simple and repetitive. Sure, it’s awesome most of the time, but just not always. If I had to guess, I’d think that maybe the band was rushed to get this disc out. Or perhaps they just wanted to try some new ideas with the music and vocals patterns. We should all remember that not all experiments are successes, and that you can’t rush perfection. But still, Bloodthirst is no where close to being a bad album. I guess I just expect flawlessness from these sick bastards.

This is the first time I’ve heard this band and I’m disappointed. Candiria is too eclectic for their own good. An album like this makes me appreciate the individual elements in straight form that put together here like a crooked house. I’d rather listen to Thelonius Monk if I want to hear Jazz; All Out War for Hardcore/Metal; and Cypress Hill for Rap. All these elements are raised together to build an album of pure excrement. My advice to the band: “Quit drinking your bong water.”

Bipolar Grind Gore from Colorado. Heavy and brutally fast at times. Downright goofy and mistaken others. They straddle a dichotomy that isn’t often palatable. Upped for the Ren and Stimpy sample (get the idea?).

Compared to the last album [Daudi Baldrs -Editor], this seems to be somewhat darker and more ominous. For kind of ambient background music, this is great. It’s relaxing. I don’t really mean that in the way it might sound, though. I do enjoy this disc, but it makes me want to lie down and take a nap.

Featuring Death drummer Richard Christy, this Florida Death Metal band covers all the bases, being technical, brutal and to a certain extent, even memorable. Truly this is an amazing release as far as the musicianship is concerned, and clearly in the traditional Florida Death style, but that works both for and against it. The only real disappointment is the packaging of the domestic version, on Pavement, which partially in b&w and missing half the booklet of the initial, completely full-color, release on Still Dead. I’d understand if the smaller label (Still Dead) didn’t have the money for a huge booklet, with all color pages, but they did! So why didn’t a bigger label like Pavement? Track down the import.