This can be really grating and difficult to listen to. However, there are moments that aren’t completely worthless. Not many, though.

Apparently this is a concept album, but without a lyric sheet, I can’t comment much further on that point. Musically, this is a certainly intense combination of Death and Grind, and contains just enough other stuff to make it pretty memorable, too. I don’t like a few moments here and there (like the Alternative Rock beginning of “Camel Song,” for example), but mostly this is great. Now if I only had the lyrics so I could follow the story…

Slightly “hard” “Alternative” run through a distortion unit.

[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.]

The Clay People remind me of Second Coming (and most of you are probably wondering who the fuck they are). This is radio-friendly music, but at least they don’t have the tough-guy attitude. This has a Metal edge to it, and would probably get a better review in the magazine with the same title. Apparently this band has been around for more than a decade and claim that they have a more organic approach to songwriting (because they don’t use sequencers anymore). What a bullshit idea! Organic songwriting would be pulling weeds or slapping the Hell out of trees with drumsticks.

Cianide don’t do too many covers, but Paul Speckman’s Death Strike now stand beside the true Slaughter on this short list. It goes without saying that Cianide do “The Truth” justice, and it seems natural to hear them play it. And on the second side of this monsterpiece is their rerecorded version of the title track of their first album, The Dying Truth. It’s not as thick sounding as the ultra-sludgy original version. The crisper guitar sound and different drumming have altered the track to fit in more exactly with the band’s current, speedier, sound/style. It would be hard to say which version I like more, but I am more used to hearing the old one… In any case, whenever you can get any new material from Cianide, you’d better jump on it.

I’m always extremely glad to see any new material from Cianide. These three songs see them continuing to explore their faster side. In the past, they had been the heaviest of the slow Death kings, and now they are simply masters of all tempos. Cianide prove once again with this flawless release that not only are they the best Death Metal band in Chicago, but that they belong alongside the very elite of the entire world. If you pass this up, you’re a fucking idiot and must be killed.

Man, if only Sabbath could collect royalties from all the acts that are ripping them off these days, the ol’ Sabs could probably afford yet more trips to rehab. This split CD features two bands who would obviously give pints of their own blood to be Black Sabbath in their heyday circa ‘74. Church of Misery relies on sludgy riffs and a bass heavy production to get their point across, while Sheavy opted for a live recording and a singer who sounds exactly like Ozzy. While both these bands are tight and well rehearsed, my advice would be for Sheavy’s vocalist to join Church of Misery, thus forming the ultimate Black Sabbath tribute band. Somehow I doubt that this release will generate the cash necessary to build the time machine both these bands so desperately want.

Once again, Poland’s Christ Agony return to pummel the ears of their listeners with some new material! This CD is deadly, much in the vein of countrymen Vader - if you like Vader, you’ll like Christ Agony. Unlike their last release (which was pretty much a solo album by Cezar), this album has real drums, not the drum machine that was used previously. Also gone are the Techno/Industrial beats that popped up here and there on Darkside. As an added bonus, on top of the 7 new trax, the band’s Epitaph of Christ demo is included for a grand total of 11 trax!! But is it me, or does the cover art of this album remind you of The Ultimate Incantation?

This 2-disc spoken word set is absolutely mandatory listening. The title tells you all you need to know, other than that Dr. Chomsky is an eloquent speaker who does an outstanding job delivering his points in an easy to understand way. And what he says should leave you thinking - and possibly pretty shaken up.

I was expecting another Type O clone. Not even close. They may have a similar subject matter and excellent recording quality, but Charon has a refreshing new angle on it, and is full of musical imagery and a pleasure to listen to. I’ll be there if they ever tour the US and look forward to the next album.

Apparently these guys are “100% pure Hydro Grind.” Well, I don’t know about the band, but whoever designed their, let’s just say, very colorful CD booklet must have been higher than the moon, as its interior is completely impossible to read with an unaltered consciousness. As for the music, it is unrelenting Grind, and the vox are awesomely raw -to the point of gurgles sometimes. And they use one of the same samples my band, Adversary, used on our first album. Obviously they have good taste. So, how could you not like these guys?

I have to at least respect the effort of this one-man Black Metal project, but I’m afraid the result falls very short of convincing. The riffs are repetitive and dull, the drum machine is programmed very badly, the vocals are weak and unintentionally humorous, and the overall 4-track production just doesn’t do a whole lot of awe inspiring. I’m sure this will be marketed as “obscure,” but the only thing mysterious about these four tracks is why a label of any size would actually want to release this. I could think of a few better ways to piss some money away that would not result in public humiliation. Some people try too hard to fit in I guess.

Evil Death Metal with Morbid Angel and Inquisitor covers.

[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.]

As a fan of Centinex and their intense, memorable Death Metal, I’m always glad to see any new stuff from these guys, but I think that only the title track here is new, with the other cut, “Eternal Lies” also being found on their Malleus Maleficarum MCD, so I’m not sure how mandatory this 7-inch is. But, like I said, I’m a fan, so I’m glad to have it, even if it is just the songs on a CDR “promo copy.”

To those of you who might think that using a drum machine in Death Metal sounds queer, may I present proof otherwise: Reborn Through Flames. Not only have Centinex perfected the art of writing memorable songs that spare no brutality, but they’re also geniuses at drum programming. Admittedly, this isn’t the most brutal thing I’ve ever heard, but it is one of the best. Brutality is important, but it can only get you so far. I have to be able to remember the songs. Centinex go that one further and even make the vocals uniquely awesome. You immediately know who you’re listening to, and you’re immediately impressed. Here’s one for the vaults.

Death Rock. Gothic Metal. Whatever you call this supposedly dark stuff. Sure these guys overload on melancholy and depression, but the Sentenced-like Rock bits disturb the ominous feeling of the rest. Actually, this album is pretty good, if you like Tiamat, the aforementioned Sentenced, or their ilk. Plus C of S try some weird stuff every now and then, which almost qualifies them to be “experimental,” and they also sometimes use Death-style vocals. Not the greatest thing I’ve ever heard, but pretty interesting.

Freaky intro. What’s odd is that the guitars sound good, the drums sound okay, but when everything, including keyboards, vocals, and bass, is put together it doesn’t sound quite as good. These guys are scribes of Satan’s conquests. Black throughout. Scratchy screaming vocals to boot. Usually slower auditory evil with some faster parts. I think they kill more with their slower riffs like in “Eve Bewitched,” which is confusing to find an upbeat track such as “Ashes of Eden” right after. It’s a soulful keyboard and guitar tune. But Satan doesn’t really have a soul, it’s more like a black hole where gravity sucks in and crushes all the souls of hypocrites and the damned. It probably helps if you visualize the rain sounds as raining blood for that song. Maybe these guys can’t decide whether they’re Black and at war with Christianity or just… happy. As a chronicle, the movements flow together seamlessly, with highlights being the sludge slower parts. But somehow it all slowly runs out of steam. Favorite track, “Thorns of the Crown.”

Despite the somewhat goofy first song, “Voodoo Fire,” this might be the best Cathedral since the flawless debut, Forest of Equilibrium. Lee seems to finally be 100% comfortable with singing, and doesn’t really even try to have the raw edge to his voice anymore, which was a really good idea, by the way. The music is still very groove oriented, but possesses more heaviness (and a thick guitar tone), so the “Doom” label is not totally misplaced, as it has been on occasion in their past. If only all of this had been as great as “The Unnatural World” and “Satanikus Robotikus,” it might have recaptured their earlier perfection - although, obviously in a much different way.

Not quite as perfect as Bold Statement, but this is a collection of older stuff from these Thrash masters, and not a new album.

[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.]

By the noise on this tape, I’d guess that this Carnage must be very new indeed. Even to their instruments. Basically this sounds like a drum machine set to “fast,” some super distorted guitar feedback, with maybe some notes thrown in here and there, and almost constant screaming. That they attempt to cover “We Are the Road Crew” is just too much for me to bear. I’d say that this is probably about as bad as it gets.