Foeticide wisely trade in a little brutality to make the songs catchy, but are still very much in the circle of Death. They also experiment a little, and vary their speed a lot. The production is a bit raw, which is too bad, since the songs are great, but I’m sure it was the best sound they could get. I hope American Line (or whoever) can afford a better studio for Foeticide next time, since they deserve it.

These guys are like a jumpier, funkier, thicker Alice in Chains, and believe it or not, their singer is just as bad.

Any band with song titles like “Dancehard,” “Who Can Love You,” “I Miss My Baby,” “Makin’ Money,” and “Sexxx,” obviously has got to fuckin’ suck. I think the singer is the sister of the guitarist from Extreme, or whatever. It was even worse that I thought it would be. Good for a laugh, though.

Originally, I had planned on saying some bad things about Eric’s vocals, but as I listen to this, over and over, I am finding the good outweighs the bad. Musically this band is really there, but Eric’s old-school vocal stylings (pre-Thrash singy “yells”) are a bit hard to get used to, and sometimes really mess it up. But his great bass playing makes up for it. More yelling, less singing, would make this band great.

I shit when I heard this. Back from the grave with a new line up, this is heavier, and fuckin’ meaner than Beyond the Veil, but still as weird. And Dawn’s vocals are better than ever (if you can imagine them being better). In case you don’t know, she goes from to a raspy Thrash voice to a ripped-out-throat shriek. Often with another track of hypnotic, smooth vox in the background -she’s simply amazing. Although there is less multi-tracking of the vocals here, it is still present, and I still like it. I wonder what she sounds like live. Not a bad track on here, not even a bad second. This is unbelievable.

These guys are simply by far the best of all the Progressive Metal bands. If you like such artists as Dream Theater, and so on, then check this out. The songwriting is out of sight, and so is everything else, but I’m not really very interested in this style. They do have my sincere respect, though.

Back and more Progressive than ever. This album is musically unbelievable, and they have even made the songs more memorable this time. Vocally, as you would expect, very smooth and melodic -not exactly my favorite kind of vocals, but they certainly fit here. As impressive as the songs and recording are, this just didn’t move me very much. And guys, you know better than to rhyme “fire” and “desire.”

Enough already! Stop making this crap. Can it be that someone actually likes this puke?

The production on this tape is very clear, although thin. I would have thought the band would have wanted a thicker, heavier production. Other than that, this is pretty good. Thrash, with an occasional nod to Death Metal, I suppose. Lots of double bass, which always seems to help for me, and several distinct vocal styles, which for once are all cool.

Very straightforward Thrash. The excellent recording and mix help out, but the gruffly yelled vocals sometimes detract a little. The playing is great (especially the bass), but the riffs are often very standard. Even when they try to incorporate alternate styles or “weird” sections, they’re not revolutionary. The second track, “Godman,” has some superb parts, but this intensity is unfortunately not held throughout the entire song, much less the remaining three. I think that with time, Fallacy might develop into a world-class outfit, they certainly have the talent.

Fourteen newly recorded pieces of extreme Hardcore/Grindcore brutality. So sick that one vocalist could not do the job. Prepare to bow before the onslaught of their twin vocal destruction. These guys have been around forever, but if you missed out, consider this an essential history lesson.

Pretty Thrashy music, with melancholy vocals, not unlike those on the first Cathedral album, but maybe less raw. It’s an interesting sound, and I welcome hearing more from them.

They’ve always been fine in their grinding Dopecore mode, but now they’ve taken far more ambitious steps in new directions and turned themselves into a unique and imaginative band with this opus magnus. Their “thank you” list shows that they admire Progressive Rock (King Crimson!), Grindcore, Classic Rock, Death Metal, and Ambient bands, and the list extends to include radical authors as well as Japanese and UK Noise bands. The miracle is that they pull things from all their influences and rarely sound forced or awkward. It’s a thrilling 700MPH pot-fueled journey through activism and sickness of many kinds.

Massively brutal Death Metal, with extreme gore lyrics. The songs are constructed and played very well, and the sound is not bad. Fans of such bands as Cannibal Corpse should stop puke-fucking their dismembered corpses and check this out immediately.

Heavy, memorable Death Metal. Interesting riffs and so on. It’s really good, but for some reason didn’t seem like it had something. I’m not sure what. It’s probably just me, though.

Beyond the very impressive full color fold out cover, we have four songs of deadly Thrash. The sound is as good as the packaging, and the songs are even sort of memorable, despite how technical they are. But these guys throw in a little experimentation here and there, which I really appreciate, and that really helps then develop a unique sound. A very high-quality demo all the way around.

This is the best one-man release I’ve heard since Parricide’s A Future of Suffering [which actually had a second man playing the guitar leads. -Ed.], and maybe the best drum programming I’ve ever heard. In fact, I didn’t even realize it wasn’t a human drummer, until I was so impressed that I decided to see if the guy from Macabre was sitting in on this skins. The quality of every aspect of this is just awe inspiring. The only “flaw” I can detect is that the vocals aren’t as brutal as the music. Carcass Chris sounds quite a bit like Dave from The Dead Youth, but I think there is a little Rob Zombie in his delivery, too. I like his vox, but those of you who think that Chris Barnes wimped out on The Bleeding probably won’t. As far as I’m concerned, only the lack of audible bass-lines keeps this from perfection, but considering that Chris did everything himself, I almost gave it a 10 anyway.

This is a really intense Thrash, perhaps somewhat like Demolition Hammer. It’s very vicious, but still memorable. Hopefully I’ll be hearing more from this band soon.

They cover Ozzy and D.B.C. on side two and crank out two of their own on the first side. It’s standard, though speedy, Death Metal, but the sound is really good, and the two covers make it a pretty nice addition to the collection.

These guys have obviously worked on their songwriting. Not only is this album heavier than Decameron, it’s also more Death Metal, less Thrash, and way more memorable. Every single part of this is better than ever before. If they improve this much again, they will be the best band on Earth. Excellent job, guys.