DARKMOON
'Seas Of Unrest' CD (Music For Nations)
Are you part of Dark moon's precious bloodline? If not, or are
just curious to know, then after listening to this you may wish
a transplant, just to be in with them. Darkmoon's rabid anti-Christian,
anti- Capitalist, anti- Modern stance is admirable, but this
trio are a fearsome bunch, who demand total loyalty to leadership.
Some are surprised by Darkmoon's rise out of nowhere, but maybe
that makes them all the more enigmatic. Leadership bestowed upon
the obscure demands a special quality and strength of character.
Darkmoon have that. Few bands have carried such a weight upon
their shoulders as have Darkmoon, but it due to part music and
part guile. Thus, armed with swords and protected by chainmail,
they along with brothers Enslaved, go into battle with this astounding
album of blasphemous black metal that has all the ingredients
taken from the early days of black metal, while overlaying it
with a wash of melody, death metal blastbeats and studio effects
to set the scene. The lyrics do the rest. I'm excited at the
prospect of where they'll take their War and battle hymns the
next time round. A revelation.
7/10
DARKTHRONE 'Plaguewielder'
CD (Moonfog)
I'm almost tempted to dig up Darkthrone's past efforts as points
of reference. Yet, I'm more inclined to approach 'Plaguewielder'
on its own terms. I want to get away from the controversies,
the implications of their 'founding father' status or even the
image. Black metal- that is what Darkthrone play and will always
play- has moved ahead too far to try and find some tenuous link
to some distant technique. True black metal can either be raw,
or it can be atmospheric. I am inclined to place black metal
in either of those categories because that's what it lends itself
to.
'Plaguewielder' stands well on its own terms. As black metal
it is an album that throws out piercing riffs, and the vocals,
with their deep reverberations, have definitely once echoed through
the most unholy of landscapes. As on 'Sin Origin' Darkthrone
cannot resist the speed metal interludes that gives their music
the menace and power it craves, but above all there is a keen
sense of structure that desires complexity. Darkthrone melodies
are basic and effective because they are so basic. To some, they
may sound amateurish or simplistic, but they don't reckon to
the multilayers that exist in each song. 'Plaguewielder' works
well because it has many veils that need to be pulled back before
you reach the album's true core. This keeps things interesting.
It is an intellectual album, and part of its focused intent must
be due to having just two people in the band. Fenriz and Nocturno
Culto concentrate their ideas to sequence eleven songs, even
at the expense of fluidity. The slight loss of rawness may detract
many 'old school' black metallers, though I'm sure Darkthrone
would prefer appreciation from a broad audience at this point
in their career.
8/10
DEAD AND GONE 'Shiny and
Black' Dbl 7" (GSL) $10
There's no doubt that Dead And Gone are one of the defining bands
of dark, nihilistic hardcore, and the four songs on this release
are as good as the band can deliver. But the format of a double
7" with one song on each side worksa against them. The songs
aren't long, so it's a nuisance to keep turning the records over,
thus losing the momentum and energy if the songs were running
continiously. I guess the point is that you're supposed to focus
onto each song in with greater intensity but it doesn't work.
Nevertheless if you tape this onto cassette then it's a whole
different ballgame. Then we can think seriously about Dead and
Gone's music. So do that and then enjoy. The title track is everything
you'd expect from the band while 'The Eye' has a slowed down
tempo with noirish narrative before suddenly exploding into complex,
pummelling grind and finishing on that slow tempo. 'Frozen's
chunky riffs, Fudgetunnel like heaviness, and multi textures
shows us another side of the band . The last song, 'Gay Black
Mansion' is the most distinctive of the lot and seems to consolidate
all the best elements of the songs before it. It's an essay in
time changes, surprise, and unpredictablity, though it's way
too short for me. This record took a lot of listens for it to
really get into it, but I think the effort was worthwhile.
7/10
DEATH OF MILLIONS 'Frozen'
CD (Dies Irae)
DOM want to be Austin Texas' heaviest band, and by golly I think
they've done it (now that Today Is The Day have moved to New
York). 'Frozen' is pure death grind in the manner of Sadistic
Intent and Suffocation but with enough of an atmosphere created
by technical playing to please the Immolation/ Incantation crowd
too. Okay, there's a bit of dodgy mixing at production level,
and the style seems to change a bit near the end of the CD but
I think a little more focused thought could make DOM as musically
rich as those other bands I've just mentioned. Texas death metal-
sounds good to me.
6/10
DECAPITATED 'Winds Of
Change' CD (Wicked World)
The effect Vader have had on the Polish death metal scene is
immense and compatriots Decapitated have not denied that influence.
Vader are on another level and the Decapitated teenaged guys
are only getting off the ground, but this consistent and focused
album shows that they are skilled musicians on all levels so
I'm hoping all that technical wizardry will finally give way
to raw emotions and anger befitting true death metal. It's a
safe bet that Decapitated will soon have the Polish metal scene
standing on their shoulders. Look out for 'em.
6/10
DECEMBER 'The Lament Configuration'
CD (Earache)
Falling into the violent sound gang of Today Is The Day, Lamb
Of God, God Forbid and The Dillinger Escape Plan, December from
Nevada go the whole hog with ten over the top, earsplitting metalcore
attacks. Like fingernails scraping on blackboard, December's
abrasive assaults don't take long to make you grit your teeth.
That's not a put down because a certain level of discomfort is
their intention. The songs may sound similar but it's the underlying
melodies and guitar breaks that keeps this in a listenable direction.
7/10
DEEDS OF FLESH 'Path Of
The Weakening' CD (Erebos)
My only other experience of DOF was their 'Trading Pieces' CD
which would have promised much if it didn't sound like it had
been recorded in a woollen sack. So I was quite looking forward
to this, their third album. It's a good listen if you like brutal,
yet technical death metal. Sometimes they get too intricate at
the expense of pummelling aural violence, but on the whole, 'Path...'
promises much. They're still not in the league of your Niles
because they lack the idiosyncrasies which stop you being indifferent
to it all. I think this is for the die hards.
6/10
'Defenders Of The Underworld'
comp LP (Jazz Fudge)
Mad Child of the renowned Canadian crew, Swollen Members compiles
a stellar host of predominantly Left Coast artists on his Battle
Axe label. For the majority of this album he has done a good
job, blending a mixture of previously released gems like Swollen
Members own 'Bottle Rocket' with some exclusive tracks from the
likes of Defari and Aceyalone. 'Trinity Lost' by the forgotten
Hieroglyphic, Pep Love is a theological masterpiece, which swells
with menace throughout. This is counterbalanced by the feelgood
skillfest of The Arsonists' 'Fat Laces'. Unfortunately, it isn't
all good baby: Psycho Realm drag the album with their 'effort'
and the deadly production of the The alchemist on 'worst enemy'
is negated as soon as Buc Fifty opens his tinny mouth.
[Joe Maximus] 6/10
DEFLESHED 'Under The Blade'
reissue CD (Hammerheart)
'Under The Blade' was originally released in 1997, but what better
timing than to re-release it at a point when death thrash is
making waves again. With bands name dropping Destruction and
Kreator once more (and incidentally this album features a cover
of Destruction's 'Curse The Gods') heavy metal seems to be fast
becoming the antidote to the sterile power metal resurgence.
I suppose these things happen in cycles all the time. As with
fellow metallers Destroyer 666, Defleshed have balanced the need
to kill with the desire to keep hold of a decent melody. Defleshed
are less technical at first hearing than D666 but closer inspection
reveals a quality similar to mid era Morbid Angel. That's a tough
act to follow, and to be fair, Defleshed have an agenda that
simply demands respect. Defleshed are one of the bigger, better
European death thrash bands, but I don't think even 'Under The
Blade' is as developed an album as you should expect. In time,
I can really see this band doing big things with more substantial
impact in a way Cryptopsy did. High hopes indeed. This reissue
CD also features five live tracks and their first 7" ep.
7/10
DEFLESHED 'Abrah Kadavrah'
/' Ma Belle Scalpelle' reissue CD (Hammerheart)
'Abrah Kadavrah' (1996) and 'Ma Belle Scalpelle' (1994) were
released at a time when Swedish Death metal led by the likes
of Hypocrisy and Dismember were really making waves, so these
reissues won't embarrass Defleshed. It's with hindsight we can
say what a great time it was for death metal and anything from
that period should be cherished. Okay, the production is pretty
basic (much better on 'Ma Belle Scalpelle')but that's not going
to obliterate the quality from this band. They have a sound that's
old school and brutal like early Cryptopsy, with lots of time
changes and good effects, and classic gore lyrics to match. There's
also two live tracks that are pretty killer emphasising the band's
need for speed and chugga chugga riffs. Definitely a CD to include
in your ever more discerning death metal collection.
6/10
DELACOURT/ DOCKX/ PIJL/
POHLE/ VANDERPLAS/ VERWIMP 'Curious' CD + magazine (Curious/
Conspiracy)
Physical space and sound are entwined, but no space can have
its own definable sound. Play three different sound pieces in
one room and they'll all be valid. So this CD and magazine collaboration
is definitely worthwhile but certainly not absolute.
The seven electronic pieces by the artistes (all involved in
architecture as well as electronics) originate as integral parts
of performance spaces and are titled such as 'Inside (Radiator)',
'Inside (Window)' to physically place them as part of the architecture.
But to the listener at home this is never going to be the case,
as the sounds become part of their own architecture/ spatial
environment. This leaves the work open ended and open to interpretation,
which I think is a better alternative than to being fixed to
a specific location.
At its most basic, the seven pieces cover electronica from the
opening harsh noise effort to the reverberating ambience of 'Outside
(Door)'. No track is structurally similar because their form
has been dictated by spaces, but as a whole, the CD is far from
disjointed. There's almost a filmic quality as each piece is
a soundtrack to its own scenario, and the use of atonal structuring
with organic rhythms make space into breathing entities- the
essence to to truly good modernist architecture.
The CD packaging opens up as the magazine and features a mish
mash of project photos, drawings and interviews which looks quite
formidable at first sight. And like all the best architectural
writings, this needs deep concentration before the ideas begin
to hit you. Prepare to be baffled before being pleasantly enlightened
because a lot of interesting and important points are made.
7/10
DELICATE AWOL 'Our Genome'
CD (Day Release)
This UK indie guitar combo do a fine job of marrying a sort of
lounge fusion with Codeine style dirges and space rock. Whether
they realise it or not, the ground they cover is done with elegance
and restraint. Even vocalist Caroline Ross delivers her prose
with effortless naturalness. Maybe they are a bit too lazy and
don't want to force out more than they feel they need to, but
the end result is a satisfying work that starts off with soothing
tones before ending with neo psychedelic electronica. Clearly,
hindsight will show the band where the weaknesses are and where
they could have instilled a little more energy. A good debut
effort that easily grows on you because of the strength of its
songs.
7/10
DEMENTOR 'Enslave The
Weak' CD (Osmose)
Slovakia's Dementor played a blinder with their debut 'Kill The
Thought On Christ', an album of raw but devastating death metal
power. Maybe it was too raw as the band have rethought their
sound this time round. Okay, they sound more technically able,
but they show their Immolation influences too loudly. I can't
think of any better band than Immolation to mimic, but Dementor's
abilities lack imagination and individual songs are devoid of
pulling power. I suppose in this age of Nile we're prone to demand
a lot more from death metal, and anything pedestrian is there
to be shot down.
6/10
DEMOLITION DOLL RODS 'TLA'
CD (Matador)
Deceptively basic and raw garage trashrock is given the once
over by this sex driven quartet of glam guys and gals. Read somewhere
that they're "death defying, life affirming rock n roll
like sex on a stick." They're from Detroit, so they know
rock n roll, like fellow motor city stalwarts Hentchmen. While
laying down some serious guitar licks they also seem to enjoy
the American kitsch as subject matter- more 'Roseanne' than 'Friends'.
Rednecks may think they're one of them. Hellfire, that shall
never be because rocknroll is the devil's music and he does quickie
weddings in Las Vegas. Yes siree.
6/10
DERANGED 'Deranged' CD
(Listenable)
When bands title their albums eponymously you feel they're suggesting
a rebirth, like a back to basics. I'm not sure if that's the
case here because previous albums like 'Rated X', 'High On Blood'
and 'III' are nothing to be ashamed about. However, there are
subtle developments because listening to this new one reveals
an approach that's much more straightforward and brutalising.
Gone is the complexity of 'III' which in hindsight I found to
be quite bland, warranting only a few listens. 'Deranged' is
on another level. As soon as the album kicks in with it's pummelling
blastbeats and double bass drums, you do feel a freshness not
heard before. It almost borders on grindcore such is its extremity
of volume and speed, especially with Rickard's earthquake inducing
vocals. Later on in the album they do allow themselves some metal
grooves a la Six Feet Under, and those infernal short, squealing
guitar solos but that's just to break up any monotony. Clearly
these Swedes are there to out do all preceding works with a vengeance,
They're out to seriously make metalheads take notice. I feel
Deranged always seem to get sidelined with each release in the
face of bigger competition, so in many ways this album is make
or break for the band. Even if fans failed to take notice, Deranged
would still continue in obscurity, though that's not what they
deserve. Anyone who believes death metal begins and ends with
Immolation will find Deranged well up to the mark, but they seriously
need a unifying theme or concept behind their albums. Each Deranged
song stands out individually and lacks idea. Nile, Cryptopsy
and Immolation have proved how much better an album sounds with
a concept behind it. But don't worry, Deranged have proved they've
got a lot more albums in them yet. Excellent stuff.
8/10
DERANGED 'III' CD (Listenable)
Rikard Wermen of Sweden's Deranged claimed that 'Rated X' wasn't
a very good album. I thought it was one of the most brutal death
metal albums out. But he was speaking with hindsight. 'III' is
a better album in the way of song structures and production,
but it's as pure a death metal album as any thing else they've
done. They may be a trio but the aural effect belies that. They
sound like a band three times as big. Deranged are another band
that have stuck to their guns and have kept the flag flying for
death metal, when other bands are trying too hard to be different
or have jumped ship. We salute Deranged.
7/10
DESASTER 'Hellfire's Dominion'
CD (Merciless)
That long tradition of German thrash, heralded by Sodom and Scorpions
may have disabled many a critic looking for deep meaning but
as Kiss proudly claim, "we don't understand irony",
so 'Hellfire's Dominion' initially comes across as a one liner.
Once you get the joke there's not much more beneath. That was
my feelings on first listen, but there IS something there. Desaster's
necessary adherence to black metal comes as a saving grace and
after many a release, they've developed a sound that is skillfully
produced but wants to deny it in case of loss of credibility.
The joke's over.
7/10
DESECRATION 'Pathway
To Deviance' CD (Copro)
Desecration's main problem has been that they are so unassuming
and old school there's not too much to take away in the way of
lessons, after hearing their albums. Sure, they are satisfying
and gloriously brutal. But sometimes, we want that little bit
more, that little something that throws the band slightly left
field. I'm not looking for gimmicks, but an original interpretation
of their genre. There's pros and cons to this- what's the point
of being original for the sake of it? True, but Desecration are
onto their fourth album and little has moved on. They're still
determined to sicken and brutalise. Songs like 'Bloody Human
Carvery' outbludgeon even the severest Suffocation efforts, while
the strongest song 'Frosted Breath' piledrives craniums powered
by the best Sadistic Intent riffs. Maybe it's to our benefit
that this album clock in at just half hour, because the brain
should by now be left looking like one of the messy autopsies
this band so revere. Underground death metal won't have more
arrogant and unapologetic ambassadors than Desecration. They
epitomise everything that's good and bad about the genre and
'Pathway' is proving itself to be an album that will defy those
detractors that want to make death metal accessible to all, by
rubbing their faces in their own shit.
8/10
DESERT SESSIONS 'Vols
7 and 8' CD (Rekords Rekords)
The Desert Sessions tradition of the unexpected is maintained
in this strong collection. Again it's all down to another line
up of invited musicians and, with the exception of a few dodgy
passages, is remarkable in the quality of songs. Originally,
the idea was to go in the studio and throw out whatever comes
out. This time round the songs seem more thought out and developed
as if mastermind Josh Hommes sees this as a serious vehicle for
solid songwriting, especially in reflecting the influences they
have absorbed along the way. Weird.
7/10
DESTROYER 666 'Phoenix
Rising' CD (Seasons Of Mist)
I remember their previous effort 'Unchain The Wolves' being an
incredibly ferocious heavy metal album with limited technical
pretensions. It was everything a heavy metal album had to be.
'Phoenix Rising' now finds D666 revealing technical pretensions.
Call it being more thought out if you want, but the speed and
aggression has had to accommodate structured melodies, songs
with proper verses and chorus', and that inevitable need to display
guitar wizardry. Before all you die hards wince, let me tell
you that 'Phoenix Rising' is still a great, accomplished effort.
The opener 'Rise Of The Predator' is old school D666 with its
strangled vocal opening, but in no time the new D666 takes over
with riffs and bass lines that rivals anything from the best
of the Osmose black metal roster. Warslut's vocals have been
retrained to make this record work, and while there is the danger
of too much of the same, he avoids monotony by weaving in and
out of the rhythms in a truly musical fashion. Not sure if that
is the way to perceive D666, but I hope it's a new phase that
mixes the best of the old school barbarity with quality songwriting.
7/10
DIE APOKALYPTISCHEN REITER
'All You Need Is Love' CD (Hammerheart)
Having ranked label mates Arcane Sun as one of my absolute favorites
for the past couple of years, I was certainly looking forward
to hearing this band. While they weren't at all what I'd expected,
I was floored anyway: this German band has churned out some excellent
death metal that is both vicious and left-of-center in nature.
The packaging had me expecting something very odd (for example,
the band list Abbath, a dog, as one of their members!), perhaps
along the lines of Arcturus or In the Woods..., but this is a
far more metallic proposition than those bands. What impresses
most are Skell's vocals, alternating as they do between a vintage
Martin Van Drunen scream and a more guttural roar. Also pleasing
is the band's restrained, timely use of melody; unlike many bands
today, who have overemphasized this aspect to the point of neglecting
heaviness, DAR know precisely when and in what dosage to employ
more tuneful parts. Occasionally the band's sound is reminiscent
of early At the Gates, when they merge blast beats and throat-busting
howls with high-speed depressive melodies. Keyboards are used,
but those of you who cringe at the mere mention of Nightwish
can find comfort in the fact that they are used to accompany,
not dominate, the music. Elsewhere, the band contrasts clean,
almost folky singing with wrathful death metal sections, and
I think ultimately this is the reason 'All You Need Is Love'
is such a strong album: they've managed to incorporate all sorts
of odd, atypical passages and influences into their overall sound,
but have done it in a seamless way. Of course, this is a time
when the 'throw-in-everything-but-the-kitchen-sink' approach
is commonplace, but DAR are one of the few to pull it off successfully.
This is an album that splendidly bridges the seemingly boundless
gap between Asphyx and Opeth.
[Seth Patterson]
8/10
DIESEL BOY 'Rode Hard
And Put Away Wet' CD (Honest Don's)
Diesel Boy are pretty much everything you'd expect a pop punk
band to be- nothing out of the ordinary but guaranteed to uplift
you if you're feelin' sad and down. It's funny with a bit rude
lyrics, and it's catchy if you listen to it enough times. Which
all adds up to an album that's harmless and inoffensive (even
when they're being rude). Gotta give full props to the lyrics
to 'Emo Boy' and 'Stroking My Cat'. Believe me, there are so
many people like that, it's just frightening. In fact the lyrics
come out stronger than the music. Happens like that sometimes.
5/10
DILATED PEOPLES 'Expansion
Team' CD (Capitoal/ABB)
So, how would you follow up a classic debut album like 'The Platform':
an album steeped in high production values, rare breaks and an
avalanche of innovative flows, "cold like ice from jewel
heists"? Dilated Peoples have answered this sonically, by
asking Premier to bless them with his finest beat in years, by
telling The Alchemist not to bring those weak, thug beats to
the studio that he's become fond of, and by inviting Babu further
into the production process. Verbally, Evidence and Iriscience
address their sophomore ascension, with less battle rhymes, more
political poetry and an appreciation of their position within
the musical world. Evidence's voice seems to have become nastier,
if that's possible, with his energy emerging from the deliberate
pace of his rhyme flow: he can still average "eight words
per bar". In contrast to their debut, Iriscience is the
vocal star of the show with his depth of thought, and precise
timing making his verses a joy to listen to. His verse on the
Juju produced, 'Self Defence' is a phenomenal warning sign to
other crews, stupid enough to disrespect their talents, filled
with martial arts imagery that will numb your mind.
The contribution of Babu has increased to include the production
of five tracks and a greater inclusion of his turntable skills
into the structure of the songs. His beats are a revelation from
the funk of 'Proper Propaganda' to the sublime jazz of 'Pay Attention',
with a subtle consideration for arrangement and timing throughout.
His name will be one to search for in the producer credits of
future material.
From start to finish, 'Expansion Team' exudes class and innovation
within the traditional arena of a hip-hop group with two emcees
and a DJ, reminiscent of the glory days of EPMD and Run-DMC.
Fresh breaks, deep beats and strong rhymes, the ingredients for
a classic hip-hop album. I'd like to see them top this one, if
they can!
[Joe Maximus]
10/10
DIOXIN 'Saving California'
(2nd demo 11 songs - tape= blank tape + sae/IRCs)
Little surprise that Dioxin's warped sound comes from the same
insane world of Bloodthirsty Massacre as both feature Paul Hutton.
But this duo (with Mark Burns) is a tad more industrial employing
a stronger programmed element with grind vocals. Almost like
a rawer GGFH. But GGFH too were obsessed with the sick bastards
that roam our streets. It's just that California was tailor made
for them. Something to do with cults and drugs. That's what Dioxin
are about and they love it. Scary.
27 Harrogate St. Barrow In Furness, LA 14 5JE
7/10
DIRTY HARRY 'Eye' CD-R
single (Dirty World)
I think Dirty Harry aim for too much by actually doing too little.
They want to be taken as a low down and dirty dance/hardcore
unit that's loud and brash but the song 'Eye' is too repetitive
with the minimum of melodies which ultimately goes nowhere. Clearly,
writing a good, simple song is beyond them at this moment, and
the lack of imagination is further expressed by a pointless remix
(by Youth) which will appeal neither to clubbers, indie ravers
or techno freaks. To be fair the band tried to sound as energetic
as possible to make a first impression but the listener ain't
stupid.
3/10
DISARM/OBBROBRIO split
7"ep (Borys Catelani) $5
Shoestring budget productions aside, this split 7"ep is
the dog's bollocks, the fuel for the hate game, the er.. it's
fucking evil okay? Disarm's six songs are a blurrr of power violence
meets Swedish fast crust. You may think they're playing at 45rpm.
Obbrobrio play the numbers game by giving us a lucky thirteen
songs. Any blurring on this side is unfortunately due to a sound
recorded on a broken bedroom 8 track. Just like they did in the
classic old days. But you can tell these guys are the business.
Pure grindcore combined with some slower sludge where it matters.
6/10
DISARRAY 'A Lesson In
Respect' CD (Eclipse)
Disarray's death thrash cum metalcore is a well conceived, if
unadventurous effort that has a very UK friendly sound- fair
to say that Medulla Nocte and Earthtone 9 are in the same vein?
Well, the anger level is certainly on a high- these guys have
an axe to grind and use words that many may find a tad too much.
All about the downtrodden hitting back and lack of dignity. You
may think that things will lighten up with a version of Lynyrd
Skynyrd's 'Freebird', but once you hear it you'll realize that
it would be very difficult to make an uglier version- kinda like
Sid Vicious doing 'My Way'. Punk.
5/10
DISCORDANCE AXIS/ CORRUPTED/
324 three way split CD (HG Fact)
It's all about compression. Take three very different grind bands
and ask 'em to put down their best stuff in a limited space of
time. It shouldn't work. It should be a mess. No way, Jose. This
3 way split is a cohesive, complex and domineering work that
sees Discordance Axis fucking destroy with their first track
and then have the nerve to put in a slow drone piece. Corrupted
give two songs across 16 mins. of heartstopping doom crust, and
324 finish off with three very fast crust punk slabs. Amazingly
this CD just feels twice it's 28 min. length.
8/10
DISMAL EUPHONY 'Python
Zero' CD (Nuclear Blast)
This oddly titled offering starts off as uneventful, rather pedestrian
gothic metal but is redeemed by the excellent, more left-of-center
songs that make their appearance about halfway through the album.
In a nutshell, then, what the listener is presented with is an
opportunity to sample both the good and bad sides of this much-maligned
genre within the space of a single disc. Unfortunately for the
band, many won't have the patience to wade through 'Python Zero''s
early, less inspiring tracks: initially the band seems perfectly
content to plod through midpaced, double-bass driven tedium complete
with male-female vocal exchanges, and it's at this time when
most people will feel tempted to jump this boring Euro-Metal
ship in favor of more compelling waters. The force with which
this disc does a complete 180 degree turn, though, is profound:
overused cliches are dropped in exchange for actual "songs"
of a dreamier, hazier nature that occasionally remind me of the
depressive splendor found on Anathema's "The Silent Enigma".
I'll go so far as to say that "Needle" is one of best
songs I've ever heard from this sort of band- of course, this
just raises a lot of "Why?"s and "What if... ?"s
in my mind. While the album's first half is characterized by
a warm, sensual feel, however trite, the second is very cold
and barren. I don't know if this is a coincidence, but the songs
where the female vocalist dominates seem to be better than when
she splits the duties with her male counterpart. Hinting at possible
future developments, the final song even introduces an indie-rock
side of the band, which will either have you grinning or retching,
depending on your tastes. Overall, a mixed bag, but promising
nonetheless.
[Seth Patterson]
6/10
DIVINE EMPIRE 'Doomed
To Inherit' CD (The Plague)
Floridian death metal bands are always there to save the day
when things are looking down. Whenever there's the mumblings
of "death metal is dead" emanating from the anus' of
metal journalists, along comes a brutal death metal band from
Florida to prove things are ticking along nicely. In Divine Empire's
case we should take that little bit extra notice because they
are that little bit extra special. Though really a duet of Jason
Blachowicz and J.P. Soars, they're helped out on drums by Alex
Marquez (Malevolent Creation/ Demolition Hammer). Previous drummer
Derik Roddy is now with Hate Eternal. In truth, just when there
is the temptation to hail Divine Empire as saviours of old school
brutal death metal, they throw in elements that are so Now, like
black metal screeching vocals and melodic grooves that wouldn't
embarass Six Feet Under. So there is an attempt to be something
different with the willingness to expand the sound. Maybe DE
are still trying to define themselves, but 'Doomed To Inherit'
is a consistently good and entertaining release that spans the
extreme metal spectrum.
8/10
DJ VADIM 'USSR: Life From
The Other Side' LP (Ninja Tune)
"How many DJs do you know that's from Russia?", Blade
asks on 'From Russia With Love'. One, and that's the workaholic
known as Pierre Vadim, who has decided to add some voices to
his musique concrete inspired pieces. Talent from both sides
of the Atlantic congregate to advance Vad's abstract cause. Thus,
it doesn't seem out of place to have El-P, Toatie Taylor and
the demented Moshun Man on the same record. The usual instrumental
pieces and skits adorn the album, adding a nice level of humour
to the spooky goings-on.
[Joe Maximus] 7/10
DJ YODA 'How To Cut And
Paste: Mix-Tape vol.1' tape (Antidote)
DJ Yoda's notoriety amongst underground lovers of He-Man and
yoga instructional records, spliced with raw breaks and beats,
will welcome the 'proper' release of his latest mix-tape. Following
on from the tapes released with DJ Greenpeace via the Fat Lace
collective, this new adventure follows a similar formula. Exclusive
tracks from the likes of Quasimoto and
The Nextmen, keep the heads nodding, whilst the comedic interludes
keep the ribs well tickled. This is what sets Yoda apart from
other mix-tape producing DJs, his deep sense of intense stupidity.
How many albums have you picked lately with song titles like,
'Stupid Poo' and 'Perverted Disturbances'? I won't spoil the
jokes that lie within, but they are well worth listening to over
and over again.
His sample selection is a tad limited, I presume due to clearance
issues, as it is an official release, but the plundering of Bob
James' back catalogue can't be half bad! As a progression from
his previous tapes, Yoda,'s mixing and cuts has improved and
there are scratch interludes from the likes of DMC World Champion,
Plus One and the prodigious Canadian, A-Trak to keep the itchy
parts of us satisfied. Of the hip-hop cuts, the stand out is
the aforementioned Nextmen track, 'Global Warming' featuring
the hot, new talent of Kerosene: the patented funk is still there,
but the darker undertones provide a perfect foundation for Kerosene's
flammable punch lines.
As both an introduction and a continued journey into Yoda's insane
world this is perfect, and I would recommend seeking out his
previous excursions, 'Jewbonics' and 'Jews Paid (Too)' if you
haven't already done so.
[Joe Maximus]
8/10
DOWN IN FLAMES 'Start
The Fucking Fire' 7"ep (Gloom)
I wish it was the hardcore thing to be allowed to call a band
the next big thing. But such trend chasing accolades are against
what hardcore is about and definitely against all Down In flames
stand for... but I'm going to say it anyway- Down In Flames could
or should be the next big thing in hardcore. This ep is so old
school, these guys still hold hands in the playground. They were
probably still in shorts when Go! were the band kickin' everyone's
ass. Coupled with affecting lyrics, this is an essential purchase
for the H/C massive.
8/10
DRAGS '45x3' comp LP (Empty)
'Stop Rock And Roll' is one of the greatest rocknroll albums
ever even if it sounded like it cost $10 to record. '45x3' is
also destined to be one of the greatest rock and roll albums
ever even though the three 7"s that are featured sound like
they only cost $5 to record. But that's the Drags. While other
Hellacopters-type bands are trying too hard to sound bummed out
and go for slick production, Drags have a naturalness to them
that says rock and roll belongs only to them. Fast, memorable
songs, minimal amps, feedback, blindingly acute lyrics and a
good taste in cover songs. Do I need to go on?
8/10
DRILLER KILLER 'And The
Winner Is...' CD (Osmose)
Consistently fast, consistently brutal, consistently angry, consistently
good. The ol' faithful crust punkers have been churning out this
kind of stuff since day one, but you know what they say about
if a thing ain't broken. 'And The Winner Is...' therefore can
only stand out through the lyrics. Those Swedes don't hold back
on those either covering topics as child molesters, sell out
bands, immigration, drug abuse, but with a vehemence that sees
them wearing their politics proudly on their sleeves. Definitely
an album that's difficult to ignore.
7/10
DROGHEDA/BRUTAL INSANITY
split CD (Extremist)
The Drogheda side is titled 'Celebrating Five Years Of Violence'.
That's five years wasted lying in the outer edges of obscurity.
Bands like Drogheda deserve to be regular 'Top Of The Pops' fodder.
Their ten hits from '95-'97 on this CD should really go down
well with the teenyboppers. If they like bastard drumming, spewed
like shit vocals, bludgeoning axes and high speed power violence
that is. Brutal Insanity aren't half bad too, but following Drogheda
on here is an uphill battle. B I just about do it with their
purer grindcore with complex touches across four tracks and a
gig recorded at Suicide Central that is Milton Keynes. I guess
they're the rival sweethearts for all the girlies. Er... yeah.
8/10
DUPLO REMOTE/ COM.A split
12"ep (Fat Cat)
Duplo Remote is the brainchild of Myles Haughton (he's at Uni
and grew up on digital hardcore) and like most electronic upstarts
comes armed with a package of software for PC, and synthesisers.
His five pieces on here show great competence in utilising this
'ammunition' to create cuts that are constructed with elegance
and precision while taking on an organic quality. It's something
that can only be done through years of training and understanding
the full potential of computer music. He applies his knowledge
with vigour and the digital glitches and beats are layered, panned
between channels and processed in ways that are remarkably melodic.
Com.A utilises similar technologies but is less melodic but more
challenging, opting for dissonant twists and turns with the upfront
attitude of psuedo techno. The full gamut of software processing
options have been given the once over by this young Japanese
lad. Being a twelve inch with limiting space I suspect both artistes
had to compress all their ideas/abilities so a full length recording
from each would most probably reveal an approach that was less
haphazard and more coherent.
7/10
DWARVES 'Come Clean' picture
disc LP (Cold Front)
The Dwarves no longer need to scream profanities to be the most
dangerous band in the world. They've proved that already. They're
dangerous because of a state of mind. Nothing they do is serious
but nothing they do can be discounted. Whether inciting riots,
aggravating women, celebrating flesh or simply destroying musical
concepts The Dwarves have done it slyly. 'Come Clean' is therefore
a triumph. Taking cheesiness to new heights the eleven super
fast, super short songs are a mixed bag of styles from bad dance
techno to pop punk and even grindcore!!! The Dwarves simply want
to turn everything you liked in music on it's head, and while
you think that's such a Dwarves thing to do you're never sure
what their intentions are. That's been the whole history of the
Dwarves. What are they really about? If that's too deep a thing
to think about then just enjoy 'Come Clean' for what it is, an
amazing record of strong songs, witty lyrics and that Blag factor.
On the end of side A, there's a telephone message from a fourteen
year old girly begging some attention. Are The Dwarves a vehicle
for her teen rebellion or did she get into them because she buys
all the trendy Epitaph stuff? Like dirty old men The Dwarves
simply revel in luring the unsuspecting into their seedy little
worlds. Ha!
8/10
DYING FETUS 'Destroy The
Opposition' CD (Relapse)
I'm very inclined to say that there's very little differentiating
Dying Fetus from Cryptopsy. The most obvious factor being the
severe technicality and control. Dying Fetus' third album is
thus an accomplished affair that recognises the seriousness of
the death metal sound and instead of wasting it on juvenile lyrics,
opt instead for uncompromising rants on a political level. That
bludgeoning violence now seems relevent. It's almost as if Dying
Fetus have reclaimed death metal in tribute to its origin in
anarcho crust punk and hardcore.
7/10
DYNAMITE BOY 'Somewhere
In America' CD (Fearless)
Somewhere in America there are kids with hang ups, broken hearts
and misfortunes. Dynamite Boy has given all those kids an album
they can relate to. Through melody, rousing vocals and that pop
punk sound alt./college kids identify with 'SIA' is only about
emotive power. The songs do vary from the tried and tested to
the revelationary ('Lullaby') but essentially they have presence,
like the great stuff Gameface or J Church keep throwing out.
If anything, Dynamite Boy's rock is a kind of folk music because
it connects.
7/10
EBOLISM '... And We All
Hate Ourselves' CD (Erebos)
Slovakian grindcore merchants Ebolism do a pretty good job of
vomiting forth fifteen gargling tracks if that is all you want.
But even by grindcore's uncertain standards, you have to wonder
exactly where all this is leading. The songs sound the same,
the riffs are limited in scope and the vocalist has a tendency
to literally make vomiting noises, I think just for the sake
of it. That's not a good start, as it makes the whole CD sound
less serious. I want grindcore to have urgency or be very very
silly. This just sounds bored.
5/10
EBONY LAKE 'On The Eve
Of The Grimly Inventive' CD (Cacophonous)
'Grimly Inventive' is an appropriate description for the latest
product of the fetid spawning ground of metal that is Dewsbury.
And it is their hometowns favourite sons My Dying bride that
come through as a huge influence, as well as early Carcass. However,
Ebony Lake are a very eclectic band drawing sounds as far and
wide as black metal and classical. Keyboard parts and female
vocals are thrown in apparently at random which serves to embrace
the whole eccentricity and quintessential Englishness of it all.
Listen to it a few times.
[Simon Fairfax] 7/10
ECLIPSE 'Dorsacharms Venomous
Colours' mCD (Blackend)
Firmly positioning themselves under the shadow cast by black
space metal (Vulpecula, Limbonic Art, Emperor, Dimmu Borgir)
Eclipse's debut effort still manages to shine brightly. The melodies
are fat with keyboard atmospherics and rippling guitar licks
with the occasional leap into speed and aggression but essentially
this Polish duo (plus session musicians) have kept a tight reign
on their signature elements . The next step is to subvert all
they've learned and go forth in search of an original sound to
really prove themselves.
6/10
ELECTRIC WIZARD 'Dopethrone'
CD (Rise Above)
It's been a long time coming but 'Dopethrone' has risen gloriously
to expectations. At it's most basic, it is typically Electric
Wizard so don't expect any surprises. But do we want anything
else that we haven't heard and enjoyed on 'Come my Fanatics'
and 'Supercoven'? I doubt it. Electric wizard are like a shot
in the arm. At regular intervals you want a fix of their stoner
doom to fry the brain for sixty/seventy minutes at a time, and
nothing more nothing less. I'm sure the boys in the band will
say they have more to offer, but is anyone listening. if anything,
Electric Wizard sound a lot angrier, and the fluid riff from
'come My Fanatics' sound like they're being forced out- painfully,
while the increased backing drones enrich the spacier aspects.
One wonders how differently 'Dopethrone' would have come out
if the band hadn't suffered all their misfortunes. They've certainly
had time to think about what it should be. But I don't want to
give the impression that Electric Wizard are a one liner band.
They do have an interest in electronics and understand the power
of volume and sustained sounds, structuring long songs, and making
the drums count even during the painfully slow parts, while the
lyrics are steeped in mysticism that is seriously derived from
an age before bloody Christendom. Is there any band close to
Electric Wizard? Maybe Burning Witch but they've been out of
action too long to count. Corrupted? Their doom is approached
from a different angle. Just cherish Electric Wizard for what
they are and while they're still around.
9/10
ELECTRIC WIZARD
Upstairs at the Garage, London, July 2000
Just when everyone thought Electric Wizard had disappeared like
a cloud of er... pot smoke, suddenly Music For Nations announces
a new album. Little wonder that a sizable crowd turned up to
witness a band that would have been more sorely missed than any
other if they had split up. But Justin Osborn's health problems
put the band in limbo long enough to take away any refinement
of performance but hopefully long enough for them to devote loads
of effort to forthcoming release 'Dopethrone'. We expect it to
be even more devastating than 'Come My Fanatic..' probably one
of the best metal albums ever.
Did I say loss of refinement in performance? If one was expecting
the fluidity and strong melodies of songs on 'Come My Fanatics...'
then I'm afraid you had to make do with distortion, and an emphasis
on heavy handed sludge. Paradoxically that's good. I like space
doom full of distortion and sludge. The opener 'Supercoven' was
made for that kind of treatment. The trademark Electric Wizard
build up and the up hill battle to maintain momentum was admirable,
even when Jus Osborn flew into leaden acid rock solos- he's no
Jerry Garcia- but who is? I couldn't stay 'til the end so I don't
know how much new stuff was played, but 'Come My Fanatics...'
featured heavily in the set. Who was complaining? As 'Wizard
In Black' and 'Return Trip' moved into full throttle, you could
sense the whole audience being mesmerised, hypnotised, tranced
whatever you want to call it. That's the essence of this band's
doom- to ensnare so despite limited means, the liquefied bass
of Tim Bagshaw and the Sabbath drums of Mark Greening held up
Jus and those dodgy solos while creating a sound that thrives
on bludgeoning power.
No one was expecting a top performance from the band, most people
like myself were just thankful that Electric Wizard are back
again.
ELECTRIC WIZARD 'Come
My Fanatics.... /Electric Wizard' + 'Supercoven' reissue CDs
(Rise Above + Southern Lord)
Whatever has become Electric Wizard? They came, they went. But
in that time they released these gems that are the last word
in true sludge doom and acid rock. Their eponymous CD only hinted
at what was to come, with it's straightforward interpretations
of where stoner doom was going. At the it time may have sounded
way fucked but I think it was just too many songs and not enough
of a loose groove (6/10). Which can't be said of 'Come My Fanatics'.
While maintaining a raw, live feel the added f/x, drones and
eastern tinged ramblings gave the album a sinister edge that
elevated the band to a level where we began to believe they really
were out of their minds. Space doom maximus (9/10). Increased
extremity and purity was searched for in 'Supercoven' and for
the most part was achieved. By now EW were never going to be
sophisticated listening, so the two songs 'Supercoven' and 'Burnout'
spanning a torturous thirty minutes allowed the trio free rein
with any number of Sabbath/ St. Vitus riffs they could grasp
at through the thick smoke of pot. This reissue features two
dirty sounding live tracks which reinforce the band's claim to
kaning harder (8/10). Let's hope they can get their shit together
for the future because there's room for a heavy raw assed rock
n roll band in the UK. Essential.
ELYSIUM FESTIVAL
5th May 2001- Canberra , Australia : Bloodduster & Alchemist
This concert was put on
by the guys who organize Metal for the Brain , Australia's largest
annual metal festival , it featured over 20 bands from all different
genres of music , from folk to grindcore. The bands of most interest
for me were Melbournes Gangsta Grind kings Bloodduster and hometown
metal warriors Alchemist. Bloodduster hit the stage in their
custom made leisure suits complete with pentagrams down the arms,
playing a mixture of tunes from all releases including Albert
, St8outofNorthcote, Dereck and the hit single Porn Store Stiffy
from the tastefully titled new release C**T. Duster are always
an entertaining band to watch live with Bandana wearing singer
Tonys Porno/Gangsta between song banter , guitarists JJ La Whore
and Matty Lowpantz trading glam poses with bassman Jason P.C,
while the rock Matty Rizzo blasts a long at a ridiculous pace.
US fans of Bloodduster can look foward to seeing the band in
the states around August, I think they are playing Mil. Metal
Fest. Australia's most respected metal band are up next , if
you have not heard Alchemist before you are doing yourself a
diservice, they are one of the most original bands around and
cannot be categorised . With a new release Organasm out on Displeased
records , Alchemist put on a tight , professional performance
which shows the benefits of touring ten years with the same lineup.
They soon have the large young crowd of around 500 headbanging
, skanking and throwing the devil sign at every chance. This
gig was a great success, though I feel the main stage which had
the best bands , lacked a bit of atmosphere , due to it being
an all ages area (Grog free) and the big circle pits that were
always part of B.D or Alchemists gigs in the past , seem to have
gone with the changing crowds.
[Andy Dykes]
EMPEROR 'Prometheus: The
Discipline Of Fire And Demise' CD (Candlelight)
Each release gives us an Emperor that demands to be analysed.
This is black metal that no longer settles for traditional routes
and a language we can understand. More than previous releases,
'Prometheus' over spills with references to Bathory and Frost
with the Classical intro to 'The Eruption' adding a level of
pomp which characterises the better parts of the album. Ihsahn
understands how vocals can make metal sound monumental, or how
keyboards can positively lift a song out of its mire of wailing
guitars. But are Emperor mimicking the sound of a classic metal
album, or are they actually creating a classic metal album? It's
the latter. Not everyone will be taken by the over complex structuring,
the open ended song constructions, or its general busyness, but
there is a greater organic feel than any formal rigidity, which
makes the sum of the parts more cohesive and intriguing. In other
words, they've thrown in all the good bits that make metal what
it is and created something very idiosyncratic. I think that's
what makes classic metal albums. And if 'Prometheus' really is
the last one by Emperor, they gone out magnificently.
9/10
ENTHRONED 'The Apocalypse
Manifesto' CD (Blackend)
Enthroned's self torture is always conveyed with the perverse
attitude that keeps telling us, "yes, we may be pained,
but we're enjoying every minute of it." Thus, such black
metal mayhem is in danger of disappearing up its own arse simply
for the effect, but those of us lucky enough to have heard their
'Towards The Skullthrone Of Satan' CD will excuse this Belgian
band's excesses. All the old school elements are there, and experimental
a la Emperor influences aren't apparent, which makes for an album
that looks back to move forward. Hard and nasty.
8/10
ENTOMBED 'Morning Star'
CD (Music For Nations)
What do fans want from Entombed, even in this late period of
their existence? True, you never know what you're going to get
and they have the ability to divide the pure death metallers
from the groove rockers. 'Morning Star' will do little to heal
any wounds, but rest assured, this is an Entombed album. No one
will ever sound like them, and even if there is a severe lack
of brutality on offer, Entombed songs are always accomplished
as you would expect from a band of such high calibre and experience.
So what is 'Morning Star'? It is an excellent and infectious
hard rock album.
8/10
ENVY 'The Eyes Of Final
Proof' 7"ep (HG: Fact) $8
Envy, from Japan, play intense hardcore that is in equal measures
dark and dismal, heavy and thunderous, intricate and direct.
In fact, it's very Germanic a la Dawnbreed, Acme, or Ambush,
especially in the way lighter melodies are woven into the patchwork
of brutality. Equally dense are the lyrics that have disturbing
images using beautiful words (in the English translation). However,
I don't think the 7" format is the best for Envy because
you feel they want to put more in if it wasn't for hte time limits.
All the more reason to check out their album, 'Angel's Curse
Whispered'.
7/10
ENVY 'The Eyes Of Single
Eared Prophet' CDep (HG:Fact) $8
Another cryptic title introduces us to the brutal world of Envy,
and just as their 7" hinted at something special, this follow
up confirms the band's potential. Their vast, monumental sound
reflects the paradoxically beautiful lyrics that are coloured
by Nature- a nature that is sometimes the giver of life but most
often in a state of decomposition. Envy are always vague about
who and what they refer to but that's always been the case of
emo-violence, just transfer the feelings to personal experience.
Maybe Envy's deep meanings will finally undo them because no
one likes a smart alec but that's a long way down the line because
everyone's going to be too bowled over by the music to worry.
8/10
EVANCE/ JABARA split CD
(HG:Fact)
Two Japanese punk bands give it the Swedish fastcore treatment
which will probably appeal more to their countrymen than to Europeans
who have already heard it all before. I think the Japanese will
dig that they've got bands that play this shit so well. Evance
are the more brutal of the two and have a singalong feel to them
but like to throw in melodic guitar breaks here and there, and
their sound is a lot fuller. That could be down to the production.
Thankfully they'll always be bands like this but I'm wondering
how they'll proceed in the future with such familiar and overused
styles.
6/10
EVANESCE 'Sower Of Sedition'
CD (Retribute) £8 / $13
There's much here on this album to make 'Sower Of Sedition' the
best release yet on Retribute. I guess the strongest plus point
for any debut effort is that because it's so focused, you get
the impression this band has been going a long time and have
got their shit together. No half measures, matey, oh no. So as
this UK band kicks things in with 'Inertia' you suddenly feel
you're listening to refined Scandanavean influenced death metal
a la Sentenced, In Flames, Gehenna or Gandalf. They've worked
hard to get that sound near perfection, but before getting into
a rut where it's done for its own sake, the album progresses
steadily towards harsher tones as songs like 'Second City Of
Empire' and 'On Wing We Tread' confirm's the band's interests
in the strangeness and transcience of death while reinforcing
their stance as true blue death metallers. It's the balance between
the technical melodies and sheer brutality that makes this work.
When the band claim that Dave Chang has produced the record they've
always wanted to hear, then you're inclined to give them the
benefit of the doubt. It's a full on production with depth down
the line that allows Jay's versatile vocals to carry this along
with sufficient forcefulness. Hugely promising and inventive.
But that name? Can't spell it, can't pronounce it, don't know
what it means. How about something more appropriate like... 'The
Virgin Mary's Raped Ass'? Just a thought.
8/10
EXCRUCIATING TERROR 'Divided
We Fall' CD (Pessimiser) $13
In case you were under the impression ET were a Backstreet Boys
type band, the song titles and the sleeve photo gives the game
away. There's no hiding the fact. ET are a grind band. A very
heavy, brutal grind band. Still, there's plenty of photos of
the boys for you girls to swoon over. They could be Backstreet
Boys if they wanted to. But I think they prefer to be what they
are. Anyway, who wants the fame and fortune to go with being
Top 40? It gets boring. ET are never boring. So here's to very
heavy, very evil grind. Thank you, God.
8/10
EXHUMED 'Slaughtercult'
CD (Relapse)
I wish I had the lyrics to Exhumed's 'Slaughtercult'. If they're
anything like those on 'Gore Metal' then I could say we're in
for a treat. But I think you can get lyrics on the band's own
website www.vacantgrave.com. However, I think the violence of
the music and the horror of the death grind vocals will be enough
to put the fear of God in anyone. In the time it takes to finish
off the lucky thirteen songs Exhumed have inflicted the masses
with a non stop barrage of speed, blugdeoning riffs and bombastic
drum rolls. It's a lethal combination for their brand of heavy
metal which at times reminds me of the paranoia of Macabre's
'Sinister Slaughter'. The band has perfected their devastation
gloriously despite the unstable line ups though I guess each
new line up has the band feeling fresh and ready for mass murder.
Can't complain, can't complain.
9/10
EXHUMED 'Gore Metal' CD
(Relapse)
"Licking the sickening twat, the foul stench of the blistering
crotch, drinking the menstruated slop, delight in each pustular
drop... passing blood clots, eating crotch rot, septic blood
and pus, consume the runny crust, urine flows out of the slit,
piss washes over the clit, taste the blood and piss, nothing
compares to this... my face fully buried within, the pubic mound
of grumes and warts, voraciously lapping up excrements of every
sordid type and nauseating sort..." (Vagitarian II). This
CD is what Exhumed believe Clinton's America is about, and they've
got a point. Maximum sick, brutal grindgore.
8/10
'eXistenZ' (film) Dir.
David Cronenberg (UK/Canada 1999)
After a decade spent adapting other people's work for the screen
David Cronenberg finally returns to some of his own pet obsessions.
'eXistenZ' is a companion piece to 'Videodrome' being similarly
concerned with the reality bending qualities of the media. As
if to reinforce this link it features some of the same motifs
as the earlier film: bio-organic handguns, hardware that plugs
straight into the body and a shadowy, ill defined conspiracy
that looms over everything. This time though it's computers in
the firing line rather than television as ace game designer Allegra
Gellar (Jennifer Jason Leigh) goes on the run after an assassination
attempt at the premier of her latest creation. She is accompanied
by Ted Pikul (Jude Law), a woefully ineffectual bodyguard. Fearing
that her new game (the 'eXistenZ') has been damaged in the attempted
shooting Gellar insists that she and Pikul plug themselves into
her semi alive Playstation style 'pod' to see if eXistenZ still
works. This necessitates a visit to Willem Defoe's creepy garage
mechanic-cum-body piercer so that Pikul can have the requisite
plug port punched into his spine. The scene that follows is funny
and horrible by turns and this sets the tone for most of the
film. As Gellar and Pikul are drawn deeper into eXistenz's game
within a game sly humour alternates with gross out imagery and
stark violence: Ian Holm turns up as an amusingly stereotypical
mad scientist complete with bad East European accent but then
proves adept at butchering and cannibalising pods in fairly bloody
fashion. The one dimensional nature of computer role playing
games is cleverly sent up by Gellar and Pikul encountering a
shop owner who is incapable of doing anything unless asked exactly
the right question. The character is soon callously bumped off.
Like 'Videodrome' 'existenZ' finally loses its way and its sense
in multiple layers of reality, virtual or otherwise. The ultimate
explanation that everything, even Ian Holm's crazy accent, is
just part of a game seems like a cop out. It's partly invalidated
by the downbeat climax anyway. Still, this is thought provoking
stuff from Cronenberg who as well as exploring his main theme
manages to include a sub text about animal exploitation by having
the pod's technology derived from specifically mutated amphibians.
In these days of cloning and genetic modification the film's
gruesome scenes of animal harvesting and butchery give it a relevence
that goes beyond concerns about computers and the new information
age.
[Linden Dunham]
EXTREME NOISE TERROR
'Being And Nothing' CD (Candlelight)
Despite the shrieks and screams you'd expect from any Extreme
Noise Terror album, the band, on their third full length, are
a fully fledged and thoroughly ripping death metal band. Tracks
like 'Damage Limitation' and 'When Gods Burn' are blastbeat extravaganzas
that revel as much in pummelling speed as they do in intricate
melodies. Adam Catchpole's guttural vocals totally dominate proceedings
but old boy Dean Jones' grind delivery ensure variety to the
aural destruction. Beyond that, the rhythm section deliver beyond
the call of duty considering that previous album 'Damage 381'
was a huge disappointment. That album's lack of vision and focus
is fully redeemed here but I suspect a large part is played by
the natural death metal instincts of the new members. Adam Catchpole
and drummer Zac O'Neill also play in the even more brutal Failed
Humanity. ENT have come a long way creatively since the beginning
and the downer years spent mucking about with KLF, so I'm hoping
it's not just a case of old hands having another go, but a serious
onslaught on the revival of the UK death metal scene, through
fresh legs.
8/10
EYEHATEGOD 'Southern Discomfort'
comp CD (Century Media) £12/ $16
The Eyehategod resurrection continues in full swing with this
more than welcome between albums filler. Collecting their 7"s
plus various comp tracks and out takes, 'Southern Discomfort'
is still remarkably consistent in its own right, and anyone who
says these bands can't hold a tune more than three minutes are
welcome to taste their 16 minute 'Dopesick Jam'. Eyehategod are
everything you wanted your band to be with the name you wished
you'd thought up. Raw and dirty to the max with the ultimate
in hatefilled vocal attacks.
8/10
EYEHATEGOD 'Confederacy
Of Ruined Lives' CD (Century Media)
How strung out is Eyehategod? Even by stoner/crust/doom standards
this new album sounds totally fucked. Don't think about approaching
it as you would 99 % of other albums you listen to. This is not
a simple collection of songs extolling the technical and artistic
competence of a band. Eyehategod have gone beyond that (probably
without even realising it). Call it a lack of technical and artistic
competence if you want but the EHG sound comes across as supremely
unstructured, simplistic, tortured, and existing for no one but
itself. This inwardness appropriately alienates the listener
while strengthening vocalist Mike Williams' own eternal despair.
It's going to be a job and a half trying to make sense of the
songs as 'songs' because there's not much to separate one from
the other besides a few indentifiable riffs. As they eventually
melt into each other it's monotonous dirge all the way, but done
with heaviness in mind, so whatever feeling you're left with
at the end, you'll know you've experienced one fucking brutal,
hatefilled and demanding record. I think that's the only thing
that Eyehategod are interested in- clever dumbing down in a Homer
Simpson sort of way.
8/10
FABULOUS DISASTER 'Put
Out Or Get Out' CD (Pink And Black)
According to legend, Fabulous Disaster caught the attention of
Fat Wrecker/NoFX's Fat Mike when their drummer gave him a lift
on her chopper. Mike, along with Ryan Greene, have produced this
debut and it shows. This is punk rock heavy on melodies and poppy
hooks recalling anyone from Descendants to Wives. So expect a
pretty slick affair. As far as pop punk goes, it's standard fare
like most stuff on Fat Wreck, Hopeless or Honest Don's but that's
not a negative comment (okay, maybe a bit cynical). Fabulous
Disaster do have a lot going for them with their tight vocal
harmonies, witty lyrics, and a blistering line in guitar breaks.
And they're not whiny, unlike their male counterparts! So there.
6/10
FAILED HUMANITY 'The Sound
Of Razors Through Flesh' CD (Candlelight)
Failed Humanity indeed have a sound as spine curdling as razors
ripping through flesh. No doubt about it, these brutalising death
metallers have gone out there to literally rip to shreds any
competition. Their history stretches back to 1994, so in seven
years, they've perfected a sound that is as professional as the
best of them, and for this to be overwhelming on a debut says
a lot about them. Admittedly, no single track stands out, such
is the nature of their death metal, but a song like 'To Die A
Thousand Times' reveals an approach that mixes old school purity
with modern day technical structuring a la Cryptopsy. As with
his Extreme Noise Terror involvement, Adam Catchpole's vocals
lifts things to greater heights simply because they do what we
want death metal vocals to do. Not that he overshadows the rhythm
section. Their need for speed and lust for blood is gloriously
highlighted on 'Full Of Hate' and we can even forgive them the
guitar wank passages, but hey, they deserve a bit of self indulgence.
For such a great album to start off this year, it's going to
be an uphill battle for any band to better it.
9/10
'Falco- Rock Me Amadeus'
comp Dbl 7"ep (V/VM Test) £5.00/ $10
Six noise acts exhume the music of their peer Falco and then
proceed to desecrate that man's contribution to pop culture.
Of course, I use desecration in a positive way, because the music
of the much missed Austrian was a big hit with our Teutonic cousins
though most people only know him as the one hit wonder who gave
us 'Rock Me Amadeus'. That record was surreal in itself so no
surprise that it should inspire such odd adulation and lend itself
to the destruction capabilities of V/VM, Rehberg + Bauer, The
Notorious P.I.G., Goodiepal + Steuea, Butcher Claws and Cock
E.S.P. Methinks half of these acts are V/VM pseudonyms though
Cock E.S.P. and Rehberg + Bauer are faces around town. Whatever
the case, disharmonics are in abundance as splinter noise, digital
hardcore, cut and paste and power electronics breathe new life
into the man's oeuvre. It's exhilarating, hilarious as well as
exasperating and miles away from the predictable path of simply
remixing an old song with trendy dance beats. Nothing here is
remotely danceable. Show me the person who can strut their stuff
to Butcher Claws and I will hand over every record reviewed in
these pages! Falco must be looking down on V/VM with a wry smile
rather than turning in his grave.
8/10
FARTZ 'What's In A Name?'
CD (Alternative Tentacles)
Fartz are old school punk for those who are a little suspicious
of today's pop punk but still want a bit of melody mixed with
metal. In their time (the 80s) Fartz were almost up there with
the likes of Dead Kennedys. Now they might almost be up there
again with this CD of reworked old material. Which is a good
taster for any new stuff in the pipeline. One reviewer suggested
they now sound like the Accused. But no one is expecting them
to remain with the same sound. The metallic edge does add bite
and drive to the songs. Just check out how they punk up Black
Sabbath's 'Children Of The Grave'. That downtuned riffing sits
in well with their own material. Totally underground, totally
rockin, and it'll be interesting to see if time has diluted any
of their progressive values. The CD sleeve doesn't give much
info on this material and the extra 'hidden' stuff so I guess
you had to have followed the Fartz from the beginning to understand
it all. Are they as vital now? With so many punk bands around
now, most sounding a lot angrier, I doubt Fartz will make a real
real big dent outside of that old school crowd, but at least
there's a band out there playing it like it should. But then
again I could be wrong. Pop punks can be a bit fickle and Fartz
still have that fun, moshpit friendly, good time edge in their
melodies to get them decent slots at the big shows.
6/10
FENNESZ 'Endless Summer'
CD (Mego)
Welcome to the wunderkind of electronica. Anyone who reads 'Wire'
or browses the avant garde CD sections in stores will know that
Austria's Christian Fennesz is the hottest thing around. And
deservedly so. 'Endless Summer' is an incredible construction
of computer music utilising digital noise, pseudo trance and
guitars to create pieces rich in atmosphere and mood to evoke
memories. At times complex, at times deceptively simple, this
CD is not there to be analysed, but to be experienced, like looking
through cherished photographs of better days.
9/10
59 TIMES THE PAIN 'End
Of The Millennium' CD (Burning Heart)
Shouty hardcore anthems aplenty makes this a possible contender
for the second best singalong fists in the air streetpunk record
after Dropkick Murphys' 'The Gang's All Here'. The inclusion
of 'Me Against The World' may even inch 'em ahead. Those familiar
with 59TTP of old are going to wonder about the change of style
from the brutal H/C days of 'More Out Of Today' but even that
hinted at the no nonsense full on shit these Swedes are into.
Especially knockout is 'Need No Alibi'. The printed lyric begins
"1,2,3 Go!". Just perfect rock.
7/10
FILTH OF MANKIND 'The
Final Chapter' CD (HG Fact)
Poland's FOM have unleashed a devastating crust album. As black
and despairing as the sleeve graphics, 'The Final Chapter' is
both musically and lyrically enraged. Of course, they say all
the things true humanitarians are prone to say, like respecting
differences, anti-war, and distrust of the police.
In a way, to hear this coming from a Polish band is especially
enduring. Poland's pro American mentality and the full embrace
of Right wing politics is the first step towards a society ready
to become docile and subservient. It's a Western model that will
take the country out of the shackles of Stalinism into the chains
of Capitalism. To have a band like Filth Of Mankind say publicly,
and very loudly, that is wrong must be encouraging for the underground
punk scene. Of course, I'm sure there are many other bands in
Poland who feel the same way. Filth Of Mankind just say it better.
How many of them can cut an album as good as 'The Final Chapter'?
Taking its cues from bands like Amebix and Discharge to death
metal, the album is nothing less than a hurricane. It works on
two levels- the fast, crust attack, and a melodic back beat that
prevents the whole thing becoming monotonous. The music just
overwhelms even to the point of using black metallish keyboards
as on the mighty 'Insane Reality', or the Morgion-like title
track, to attain that extra feeling of menace. Apocalyptic and
devastating.
8/10
FIREBALLS OF FREEDOM 'Total
Fucking Blowout' CD (Estrus)
I don't know if Estrus is getting too old but they seem to have
let a touched by prog rock through the net. Okay, the album starts
off pretty well, coming across as very New Bomb Turkish with
a hint of Oblivions- you know, fast, raw and rockin'. Suddenly
half way through the songs start getting longer and the music
is all solos and complex structures. Well, the punkest been taken
out of it. But... it still sounds cool but the let down is the
album's failure to work as a consistent whole. Halfway between
the two is a great band just waiting to get out.
6/10
FIREBIRD 'Deluxe' CD (Music
For Nations)
As with their debut, Firebird restrict themselves to the aesthetics
of 70s rock, but like the retro rock of labelmates Goatsnake
they manage to come out of a potential rut with integrity. However,
Goatsnake, at this point, are a better band, because they haven't
forgotten to be heavy. Firebird needs to push that side a little
more. On other levels like vocals, musicianship, songwriting,
dress sense they are on a par. Out of place, out of time? In
this day and age of eclecticism, such considerations are trivial.
Firebird should just be appreciated in one way only- as an entertaining
and intelligent rock band.
8/10
FIREBIRD 'Firebird' CD
(Rise Above)
If I listened to this without knowing anything about 'em I'd
say Firebird were the real deal. 70s rock lives again as the
spirits of Santana, Free, Thin Lizzy, Grand Funk Railroad, early
Fleetwood Mac, Cream and Lynnyrd Skynyrd flow though the songs.
But this is music of the 21st Century featuring Bill Steer (ex-Carcass),
Ludwig Witt (Spiritual Beggars) and Leo Smee (Cathedral). We're
talking masters of heavyweight guitars and hook laden riffs.
To many revivalist rock is ultimately disposable but the more
I listen to it the more I believe that today's music needs that
tried and tested shot in the arm.
7/10
FITTED KITCHENS
OF THE LIVING DAMNED no.3 (N. Ireland fanzine)
A4 40 pages £2 / $4 ppd (fittedkitchens @hotmail.com)
Interviews with Voivod, Morbid Angel, The Haunted, Dismember,
Godflesh, Irish Scene Report etc.
As with the previous issue, the content is split between big
metal bands to atttract the readers and underground bands from
Ireland. Not much else has changed so you still get a clear layout,
great photo quality, good in depth interviews, demo reviews and
'zine humour'. Fine stuff.
c/o A. Orr, PO Box 1056, Belfast, BT9 7JH, N. Ireland, UK
7/10
FITTED KITCHENS
OF THE LIVING DAMNED no.2 (N. Ireland fanzine)
A4 36 pages £2 / $4 ppd (fittedkitchens @hotmail.com)
Interviews with Metallica, Solstice, Entombed, Cathedral, Paradise
Lost, Skinlab, Epoch, Mourning Beloved etc.
This is called the 'sell out' issue the premise being that you'll
buy this for the famous bands and then learn about the underground
scene. Hmmm... anyway, it's well, if typically, laid out a fine
style of writing. The interviews cover much ground but essentially
this zine is about getting local bands to the masses. Promising
and useful.
c/o A. Orr, PO Box 1056, Belfast, BT9 7JH, N. Ireland, UK
7/10
FLIGHT OF FANTASY promo
(2nd demo three songs - tape= free with sae/ IRCs)
Richard Summers' instrumental project has a lot of work ahead
of it if he plans to take off. At the moment he's stalling with
this uninspiring demo of bland instrumentals that vaguely fall
in the atmospheric metal vein. It's all squealing guitar solos
and gothic keyboards but the end result is emotionally vapid.
Richard obviously loves to play his instruments but in our rock
and roll world skill is less important than sending a shiver
down the spine with some primal, from the heart playing. Forgettable.
PO Box 26278, London, W3 0WG, UK
4/10
FONN 'Field 831' CD (Fat
Cat)
It may take the first few tracks for this to lift itself out
of the mire of dull math rock but once 'Aviator' kicks in it's
a whole new album. The diversity of the band's interests pulls
in space rock, scratching, psychedelia, drone and whatever's
left field that took their fancy. Think of Don Caballero with
balls and funny fags! The stand out is 'Rabbit Man' which mixes
reverberating guitars with a post rock drum and bass. But it
all fits together surprisingly well considering the songs are
compiled from studio sessions, bedroom sessions, improvisation
session and individual contributions. A definite gem.
8/10
FORCED TO DECAY 'Forced
To Decay' CD (Per Koro)
Few albums are as immediately overwhelming and bludgeoning as
Forced To Decay's third album. Only Morser did that. But hey,
both bands hail from Germany and play metallic hardcore/grind/death
crust. That must tell you something. Okay stupid... German metallic
hardcore is the most potent of extreme hardcore. It takes the
best power violence has to offer (screaming vocals), its got
emo's intricacy and falling down the stairs chaos, its got death
metal's more brutalising riffs and its got the essential beatdowns
that light up the mosh pits. Morser did it with last year's '10,000
Bad Guys Dead'. And no doubt, next year some other mulleted upstarts
will give us something even more devastating. These things tend
to go in cycles. It's a shame that the scene hasn't expanded
as much as it deserves to. But hey, that's not what this review
is about. 'Forced To Decay' the album works on many levels whether
they opt for the short fast loud onslaught of 'Analogis' or the
bass bludgeoning crust of 'Wollen'' or simply the messing about
with rhythms horror on 'Ndhh', the common denominator is oh so
obvious. Also obvious is the limitless number of paths these
guys can follow which only leaves me excited for more. Awesome.
7/10
FORKED TONGUE
no.1 (UK fanzine)
A4 44 pages £2/ $4 ppd. (forktongue@hotmail.com)
Interviews with Akercocke, Pig, Meat Puppets, Dawn, ...And Oceans,
Brutal Delux, 7th Child, Thryfing and more
A mixture of bands and enthusiastic writing makes for a good
debut. But it's still run of the mill stuff- long interviews,
wordy reviews and not much else; with a bland computer lay out
and low resolution photo scans. Needs a personality or identity
that'll make you come back for more. Almost there. Hoping to
be bi monthly.
PO Box 29774, London, NW3 1FN, UK
6/10
FORWARD 'Just Go Forward
To Death' CD (HG Fact) $13
Fans of Uncurbed look up! Japan's Forward deliver eleven cuts
that rivals anything those Swedish crusties can throw out but
with the added bonus of cool female vocals and even a harmonica
that counterpoints the gruff vocal attacks of Ishiya. All the
songs are played at an unstoppable pace with the simple structure:
hardcore> melodic guitar breaks> shouted chorus. Do you
want anything more from your punk rock? How about a great, full
on production? You've got it. It's all sang in the native tongue
but good translations reveal intelligent lyrics that focus of
self liberation from the daily drudgery.
7/10
4 HERO 'Two Pages: Reinterpretations'
remix LP (Talkin' Loud)
Hot on the heels of the acclaimed 'Two Pages' LP comes this collection
of scorching remixes from a host of disparate producers. The
original album was a straight division of soulful steppers and
harsher, futuristic drum and bass: here we have a more varied
selection. The deep house of Ron Trent rubs shoulders with the
afro funk of IG Culture forming two distinct versions of the
single fave, 'Escape That'. In many ways this album overshadows
its parent, but it would be nice to have seen new rubs of more
of the originals.
[Joe Maximus] 7/10
FRANKENSTEIN DRAG QUEENS
FROM PLANET 13 'Night Of The Living Drag Queens'
CD (I Used To Fuck People Like You In Prison)
The drag image thing may have been pushed to the front but that's
just gimmick. The music's got to kick ass first. So bend over
'cus the Drag Queens do that with relish. Crossdressing's finest
contribution to punk have given us this fast and furious sixteen
tracker of sleaze garage like The Dwarves meets EC comics. Lots
of violence, lots of guts, lots of f- words. Hey, is that politics
on 'Full Metal Jackoff'? They must be slipping. Okay, don't expect
sophistication here, just fun punk all the way.
6/10
FREEBASE 'Nothing To Regret'
CD (Hard Boiled)
The Midland's Freebase deliver probably one of the best metalcore/
old school Oi/ punk crossover albums. It's got everything you
could ask for- heavy duty riffing, gruff world weary vocals,
shoutalong chorus', songs are are actually songs, a full on production,
and University Of Life lyrics, values tattooed on their hearts
if not their arms. most metalcore bands tend to follow the beaten
track and you more or less know what to expect, but Freebase
have instilled the genre with a freshness without compromising
their debt to the hardcore they grew up with. A classic already
and it's their debut.
9/10
FUCK ON THE BEACH 'Power
Violence Forever' CD (Slap A Ham) $13
This is the kind of thing I dread: a band making a mockery of
something I like. Japan's FOTB probably got together so they
could impress their trendy mates that they might get something
released by Slap A Ham. I expect Chris Dodge bet them that he'll
only release their CD if they literally kissed his ass. He lost,
so here it is. Twenty one songs, plus an abysmal CD only live
set all sounding like a bad Hellnation. Don't let any jaded power
violence freak tell you this is the shit. It's just shit. As
welcome as sand on your dick or in your cunt.
4/10
'Fuck The North South
Divide (This Is The Midlands)' comp CD (Hideous Eye) £5/
$10
Remember the UKHC CD on Household Name? This is similar in approach,
but concentrating solely on Midlands bands. The first point of
interest is the two new Assert tracks which offer a nice taster
for what is to come later in the year. Alongside known bands
Medulla Nocte and Stampin ground, Britt has compiled a selection
of metal, punk and H/C bands. From the old school H/C of Set
Against, the grind of Sarlac, the brutality of Primate to the
slick metalcore of Ackbar. 22 tracks and there's not a bad song,
despite some weak production.
[Simon Fairfax] 8/10
'Funeral Songs' comp CD
(Crowd Control/ Release Entertainment)
'Funeral Songs' is an effecting and intriguing compilation with
electronic, avant garde, atmospheric artistes exploring the theme
of mourning. As a concept, 'Funeral Songs' is becoming increasingly
relevant today, but it has to be said all the artistes have approached
their ideas sensitively without any of the contrived melodrama
that would have destroyed this album.
Raison d'Etre- church bells and synthe rise to a crescendo
in an ambient funeral lament before grinding into a haunting
piece with whispered vocals.
Tertium Non Data- spooky intro with high pitched tones
lead to a subtle industrial track that reminds me of the theme
to the 'Shadowman' computer game.
Amber Asylum- probably the album's strongest track with
a brash, lovelorn lament over doom laden strings and pulsating
beats. Strangely erotic.
Agnivolok- darkwave ambient piece with sombre washes of
drone and foreboding atmosphere which erupts into reverberating
noises and tribal chants.
C17H19NO3- unstable harsh noise and clattering metal sounds
evoke violent imagery of death and a highly emotive sense of
despair.
Shinjuku Thief- a slight oriental touch with sombre chamber
quartet feel leads this slow and delicate piece though it belies
a strange monumental aura.
Raison d'Etre- a vast filmic sound with a Gregorian chant
is the basis of a piece made to be contemplated on with its air
of calming peace.
Alio Die- the sounds of wailing cats in the distance over
a graveyard friendly ambience sets the tone for one of the spookier
pieces on the album.
Gruntsplatter- drum rolls and pipes introduce an ambient
noise track with pulsating sound levels and sizzling sound effects.
Dreams In Exile- a gentle acoustic song of remembrance
with light as air vocals, whispish guitars and a strange bass
rumble a la Amoeba.
Nasopharyngeal- synthe fronted ambience in the manner
of Megaptera but not as menacing. The highlight is the use of
piano to emphasise the moroseness.
Chaos As Shelter- a hugely minimalist piece that ebbs
and flows with its electronic drones. A level of alienation reinforces
its haunting power.
House Of Low Culture- a rather theatrical effort that
is dominated by the sound of footsteps along a gravelled path
leading to places of darkness and mourning.
27- probably the most conventional song on here. A slow
post rock effort with touches of Scrawl in the female vocals.
A fine way to end the CD.
7/10
FUTURES 'Broken Roll For
Junk Boys And Scum Girls' 7"ep (Jerk Off)
Ten tracks of quirky Japanese fastcore punk on a 7" should
satisfy anyone's appetite. Those hungry for an element of garage
and melody are especially well served by a lo-fi production that
reminds us what CD-only nerds are missing out on. Bands like
The Futures make listening to vinyl 7"s a consistent joy.
But can they offer anything if they went to CD? With the production
they deserve their heavier side would certainly keep in with
the thrash crowd, alongside that necessary distortion and feedback.
What more could anyone ask from a band?
7/10
GAFFI STICKS 'Gaffi Sticks'
(1st demo nine songs - tape= $6.00)
This band play the kind of indie guitar rock that may not find
much favour with fans of hardcore or punk, but "I know what
I like". Gaffi Sticks play emotive, harmless music that
tangentially impinges on sounds associated with Revelation Rec.,
Homestead Recs. (circa late 80s), and even Nirvana. But this
mish mash works because it's well sung and played. They now need
to work on a single identity to get the undecided on their side.
The sound quality and production is professional standard.
goblin10@pipline.com or psaucer@aol.com
5/10
GAMMERA 'Smoke And Mirrors'
CD (Audio Demolition)
Immediately brutal, immediately overwhelming, 'Smoke And Mirrors'
is the acceptable face of stoner rock. Heavy, raw and dirty,
with a lazy-ass blues feel, these Californians are dipping into
the same stash as Bongzilla, Grief, Eyehategod and High On Fire.
Lumbering pace, psychedelic riffs, doomy sludge, drawling vocals
and groove rhythms combine to keep this alive and fresh throughout.
The inner sleeve features a photo of mountainous bison grazing
in a red haze. Put music to that and you've got Gammera. Mesmerising.
7/10
GASP 'Drome Triler Of
Puzzle Zoo People' CD (Slap A Ham) $13
I spent some hours wondering whose was the better grind album-
this or Stalingrad's. I chose Stalingrad's, for two reasons.
Firstly, the album title is quite silly, but more seriously there
is uneven balance between the emo violence and the noise/ electronica
intrusions. Just when the band build up a momentum with the former,
they just kill it with the latter (which in itself is dark and
moody). But once you get round that (and it shouldn't take too
long), then just lie back and let Gasp's potential genius unfurl
with each song. Don't fret over what they're singing about- I
don't get it either- but abstraction seems to be the key thing
here. This is what The Locust should have been on their 12",
though much of the credit has to go to Bart Thurber's production.
I had given up hope of ever hearing a well produced album from
Slap A Ham, but this is as good as it'll get in this genre. Tape
loop collages, cut and paste drum rolls, fast hardcore, and good
old insane screamed vocals is constructed seemlessly like some
bizarre jigsaw puzzle, but the final picture is as incoherent
at the end as it is in the beginning. One to experience.
8/10
GCTTCATT 'Amperase' CD
(Mego)
GCTTCATT is Martin Ng from Grob and Straubgold and Mathias Gramchi
of Farmers Manual, Skot and Fuckhead. Together they have produced
in 'Amperase' an absolutely chaotic and insane marriage of data
processing, turntablism and CD manipulation. Whatever they've
done, 'Amperase' is probably like nothing you've ever heard before
even if it so obviously stuck up its own arse most of the time.
'Amperase', if I can make sense of it, is abstracted digital
noise/ computer music that relies on immediate aural responses
rather than working up some progressive narrative or concept.
The structuring is less to do with creating recognisable pieces
than it is to do with technical gymnastics. If there is a feeling
of arbitrariness about the whole thing, with its almost make
it up as you go along feel, then it is dangerous territory to
tread. Those in the know regard works, especially electronica,
apparently done for their own sake as pointless showing off.
I can see GCTTCATT being similarly accused but for once I think
that would be unfair. If there is one description that saves
'Amperase' it's 'joyous'. The sounds and effects these guys generate
really are fun to listen to and the high velocity will keep you
hooked to what's going on. Obviously, a work like this will require
more than a couple of listens to get into, but your feelings
of hearing something that's the equivalent of heavy metal guitar
masturbation are soon replaced by the knowledge that we're witnessing
music taken to its furthest limits. The concluding track 'U R
The Sony Of My Life' is the culmination of all that's great about
dangerous computer music. The speeded up turntablism pounds like
industrial jackhammers, becoming almost like hard techno if not
for the many layers of noise, digital signals and feedback. If
this represents the future of GCTTCATT then I'm all for it.
8/10
GEHENNA 'Murder' CD (Moonfog)
Sanrabb has come a long way, since the days of 'Seen Through
The Veil Of Darkness' but only in terms of quality. No one can
dispute the quality of that atmospheric black metal masterpiece,
but the death metal of 'Murder' really is in a higher league.
To Sanrabb, the change in style is part progression, part an
acknowledgement that they had achieved all thay wanted with '...Veils
Of Darkness'. At first few listens, the album rolls along in
the Scandanavian fashion, with that fine mixture of melody and
brutality, but Gehenna are no In Flames. The death metal of 'Murder'
is much less laboured, contrived and formulaic. It has a flow
that's natural yet basic, but layered with enough complexity
to throw up new discoveries with each listen. It's a special
kind of death metal. Not the unrelenting destruction of Nile,
Deranged or Failed Humanity. This is death metal, where you have
to accept a certain level of restraint so the ideas are allowed
to ferment. And anyway, Gehenna has always been about a certain
level of atmosphere whatever their musical style. It's possibly
the strongest Gehenna line up we're likely to hear. Lyrically,
'Murder' is a strange one. The lyrics aren't typical, yet they
have a violence most associated with gore grind bands with a
certain anti religion undertone mixed in. That's something that
definitely deserves as much attention as the music. It's fair
to say 'Murder' is a typically quirky Moonfog release and that
can only mean good things.
8/10
GLASSJAW 'Everything You
Ever Wanted To Know About Silence' CD (Roadrunner)
I have to admit that when the editor sent me this CD for review,
I didn't expect to like it. We all hold preconceptions and stereotypes,
like it or not, and 'Roadrunner' and 'Ross Robinson' have been
the victims of many of mine over the years. After all, this is
the label that has dropped the likes of Malevolent Creation,
Pestilence, Cynic, and Gorguts in favor of nu-trash like Coal
Chamber and Soulfly, so a certain measure of ill-will is justified
but, damnit, Glassjaw are actually pretty good! I'm no expert
on hardcore, but Glassjaw's sound reminds me of the sort of stuff
people referred to as 'post-hardcore' a few years back: you know,
Quicksand, Shelter, that sort of thing. It's edgy and fairly
confrontational, but not bludgeoning enough to be considered
true h.c. a la Agnostic Front or the Cro Mags. These are very
emotional tunes dealing with things like failed relationships
and misplaced trust, but I think it veers safely clear of whiny
Emo territory. Much of the music is fairly streamlined and rock-y,
but Darryl Palumbo's "I've-got-many-unresolved-issues,-and-it-shows"
vocal style keeps things pretty unpredictable and off kilter.
He screams, he shouts, he croons-kudos for the versatility, my
friend. At the end of the day, my record collection will never
hold a great deal of room for this style of music, but Glassjaw
are a welcome exception that said, the narrow-minded metaller
inside of me still hopes Ross Robinson won't produce the next
Emperor record!
[Seth Patterson]
7/10
GLUCIFER 'Tender Is The
Savage' CD (White Jazz)
Sounds like the Scandinavians have finally cornered the market
in heavy weight Satanic rock and roll. Hellacopters and Turbonegro
got the ball rolling with Turpentines pushing it as far it could
go. Glucifer have been running alongside those bands for a couple
of years sending clouds of dirt into the faces of stragglers
everywhere. Okay, I ain't gonna call this pure garage because
it's way too slick and though out, and the production is just
so three dimensional. It's just fast, catchy, bob yer head along
to it rock and roll. Can't say more than that. Are you looking
for more than that?
7/10
GOATSBLOOD 'Goatsblood'
CD (Rage Of Achilles) $12/£8
Yet another down and dirty sludge release from the Achilles boys
following on from the terrifying ordeals of Molehill and Abdullah
(note the similar black and white pen and ink graphics). The
quality may be don't give a fuck demo level, with distortion
being the unsung hero but these guys know how to make it work
for 'em. Goatsblood, from somewhere, add a blackish tinge to
their already blackend crust reminding me at times of Total Fucking
Destruction, when they play fast and Grief when they slow right
down to a mindnumbing pace. Don't play this on your shitty little
walkman. Blast it out loud through a pair of big fuck off speakers
and watch your neighbourhood run to the hills.
7/10
GOATSNAKE 'Flower of Disease'
CD (Rise Above)
The Snake promised much after the '1' album and delivered the
goods with 'Dog Days' but I don't think I could have expected
them to make 'Flower Of Disease' as awesome as it is. To paraphrase
someone, 'do not underestimate the power of The Snake'. Okay,
they flog the Sabbath thing for all it's worth, but there's something
deeper and more meaningful in the way they latch onto the deeper
elements of 70s rock. While most bands are content with just
the riffs, Goatsnake have gone for the feel- they've got bluesy
mouth harps, lap steels, reverberated vocals, gongs, high pitched
vocal harmonics- all the stuff bands of today forget about or
dared not touch. Greg Anderson proudly wears a James Gang t-shirt.
What more can I say! But Goatsnake isn't a gimmicky retro band,
because they are master songwriters and composers. Usually, with
an album, you can pick out one or two tracks that stand out as
classics. 'Flower Of Disease' has eight songs that all stand
out as classics. Whether it's the acidic blues of the titles
track, the heavy dirges of 'Prayer For A Dying', the bar room
blues of 'El Coyote', the St. Vitus doom of 'The Dealer' or the
truckin' rock and roll of 'Live To Die' each song hits home with
maximum impact, and minimum aggravation. Every rock style has
been pillaged from the past. But they've avoided being cheesy
because Pete Stahl has a genuine understanding of rock vocals.
Call it an understated style that never needs to go over the
top to emphasise emotions. Have the rhythm section been studying
their old records hard? Seems so. Call it note perfect pastiche
that avoids the contemporary weirdness factor, but that at least
allows the musicianship to dictate the whole nature of the band.
At this point in time, Goatsnake could continue churning out
the same high quality record as many times as they wanted, so
here's hoping they put all that talent into something totally
different for the next one.
10/10
GOATSNAKE 'Dog Days' picture
disc mLP (Southern Lord)
If you still had doubts about Goatsnake's worthiness to ascend
the throne of true guitar rock then 'Dog Days' should confirm
their supremacy over all pretenders. Despite talk about them
sounding harsher, this is pretty consistent with their album
though Pete vocals are a little more menacing while the rhythm
section have gone for darker tones. It's still rock for the future,
but the inclusion of Free's 'Heartbreaker' reveals where their
hearts really lie. The opener 'The Orphan' is them at their best
reaffirming the spookiness of the band's name.
8/10
GODFLESH 'Hymns' CD (Music
For Nations)
I've been listening to a lot of Swans recently, having missed
out on them when they were in their prime. Their albums like
'Filth', 'Soundtracks For The Blind' and 'The Great Annihilator'
are wondrous expressions of gut wrenching emotions expressed
through soundscapes that span the most delicate acoustics to
the most darkened doom. Godflesh, through their years, have mirrored
the aesthetics of Swans in their own distinct manner, and 'Hymns'
is that culmination of coupling power with effecting songwriting.
Whether it's the dancified beats of 'Antihuman' or the grind
of 'Voidhead' or the spaced atmospherics of 'Regal' Godflesh's
approach to their music is unrestricted by conventions. The addition
of a live drummer has allowed the music an extra 'warmth'. Miles
away from the harshness of 'Streetcleaner'. The closing 'Jesu'
could be described as a return to the Godflesh of old, but is
there such a thing as old or new Godflesh? Consistency has always
been the case with Godflesh despite their progressions, and like
Swans their diversity but adherence to brutality will always
be their saving grace.
9/10
GOD FORBID 'Determination'
CD (Century Media)
There's so much happening on here, it's a problem at first fathoming
out where these guys are coming from. Their style is a mish mash
of metalcore, melodic death metal and all kinds of lesser influences(At
The Gates?) that colour the songs. But repeated listens reveal
an overriding factor- God Forbid write excellent songs both lyrically
and musically. most metalcore albums get monotonous after a few
songs but these guys have made sure there's something there to
maintain the momentum by intelligently utilising that mix and
match. When the album does finally begin to register... oh nelly!
8/10
GODSPEED YOU BLACK EMPEROR!
'Lift Your Skinny Fists Like Antennae To Heaven' Dbl CD (Kranky)
The problem with promo CDs is that sometimes you get one without
any info or song titles. Most of the time that is annoying but
in some cases the anonymity lets you approach a work without
too many preconceptions. With Godspeed's latest album, that's
a bonus. Much has been written about these Canadian guitar and
violin noiseniks and most has been unqualified raving. That's
when you feel you don't want to miss out on the Godspeed phenomenon.
That is until you actually hear the stuff. As good as this is,
no way is it as revolutionary as I was made to believe. Okay,
mainstream music hacks probably think a rock band that employs
violins and cellos in huge washes of ambient drones are like..
really out there, man. Just as Sonic Youth used to be be revered.
But to these ears that have witnessed harsh ferocity from the
likes of Aube, Namanax, Merzbow, V/VM and Bastard Noise, Godspeed
are remarkably middle of the road. Rather than being atonal,
they opt for traditional structuring where every block of sound
fits comfortably next to the other and instruments are played
in a conventional manner.. ie, there is no extremity or invention.
In this respect, the band are closer to the 70s/80s prog rock
scene of Popol Vuh and Swans (both of whom are infinitely better)
and even this ages's Amber Asylum. Thus, I'm not exactly sure
what their overall intentions are- to be extreme (but failing)
or to be pleasant-to-the-ears ambient artistes (with some success).
I guess it's the latter because reports of their live shows all
centre on the experience of 'being there'. Hmmm... I'm leaving
this one up to you guys.
6/10
GORE BEYOND NECROPSY 'Noise
A Go Go' CD (Relapse)
Where do I start? 59 tracks in 25 minutes of harsh grindcore.
There's a collage of dead babies on the sleeve, the song titles
are cock rock or anally fixated (as those of you who survived
their collaboration with Merzbow will remember). Can we take
this seriously? If we did, will we throw ourselves into some
sort of trap, open to accusations of being pretentious, for finding
Reason for it all? Well, I'm steering clear of any of that by
simply telling ya that I like grind that's harsh and kills. GxBxNx
play grind that's harsh and kills. Go figure.
7/10
'Gore Is Your Master vol.1'
comp CD (Razorback) $10
Rather than being an obscure and makeshift collection of bands
who you'll probably never hear of again, 'Gore Is Your Master'
is a knowledgeable introduction to underground gore groups who
are actually making their names felt on other bigger labels or
largely circulated flyers. The likes of Regurgitation, Engorged,
Cock And Ball Torture, Grot, Mucupurulent, Gore, Last Days Of
Humanity and Impaled are familiar to those in the know and serve
this compilation well, but ample support comes from other mad
fucks like Trephination, Brutal Insanity, Sublime Cadaveric Decompostion
so it's a good quality end to end celebration of violence and
depravity destined to make social misfits cum and leave the rest
of the world baffled. That's what true extreme music should be
about. The only let down besides the occasional poor sound quality
is the lack of lyrics. Then it would have become a competition
to see who really is the sickest fucking bastard of 'em all.
Instead make do with song titles like 'Aroma Of Vomitory', 'Gargling
With Rancid Pus', 'Filthy Phone Fuck Sluts' and 'Menstrual Cykill'.
Hmmm. The underground definitely needs to be made aware of gore
grind at a time when we're all being submerged in horrid pop
punk sampler comps. Now what's that cliche? Oh yeah- "support
the underground"
7/10
GORELORD 'Force Fed On
Human Flesh' CD (Baphomet)
Norway's Gorelord play a pretty good blend of old school death
metal and guttural gore metal. While not reliant on speed, the
punishment is delivered through meaty chunks of heavy riffs and
the acid scarred throat of Frediablo Prytz (also of Necrophagia).
With guest vocals from Killjoy (Necrophagia) and Maniac (Mayhem)
this is a pummelling exercise in good song structuring. But the
lyrics are woeful and the themes repeat themselves in each and
every song. Forget the 'horror' cuz there ain't any. Just dig
the metal sounds.
6/10
GOREROTTED 'Mutilated
In Minutes' CD (Dead Again)
Gorerotted are not a band you'd want to intellectualise over,
by writing reams on the symbolism of fictional violence in relation
to true violence in our society. I think the band just entertain
obscure fantasies and put them to paper and digital signals.
Nothing more nothing less. This is gore grind. But is it good
musically? Too fucking right. Dave Chang's production is amazing
and has brought out the best out of each of the members. It's
hard to believe that a UK death metal band could produce something
on world class levels with their debut. By gum, Gorerotted have
gone and done just that. Brutal.
8/10
GOTHIC 'Criminal Art Motivations'
CD (Mafia Underground Productions/ Apparition Distro)
France's Gothic mix and match their death metal with techno grind
with whatever. It's a bleak but characteristic sound that makes
an effort to be different and that's a good thing. Call me silly
but I can't help but think that if these guys wore orange boiler
suits and funny masks we could call 'em Slipknot. I'm sure that's
the last thing Gothic want but both bands have the same approach
to extreme metal. As far as I'm concerned Gothic have produced
a great record that is slightly unfocused. I'd love to know what
they're singing about.
6/10
Philip GOUREVITCH
'We Wish To Inform You That Tomorrow We Will Be Killed With Our
Families' book (Picador)
One of the greatest false promises of humankind was to never
allow genocide to happen again after the Nazi Holocaust experience.
The worldwide community was supposed to join forces to prevent
it happening again. And yet it did. Pol Pot instigated genocide
in Cambodia, as did Saddam Hussein against the Kurds.
Philip Gourevitch's book is about the genocide that the world
community allowed to happen in Rwanda as recent as 1994. To many
Rwanda was only known as the setting for 'Gorillas In The Mist'
otherwise it was the typical small and mysterious country in
deepest, darkest Africa. But then news reports on T.V. started
reporting unrest and mass killings when thousands of bodies began
being washed up on the shores of Lake Victoria. At the time the
reports made it unclear who was killing who and why. All that
mattered was that the world had to do something. By then it was
too late. In a period of 100 days 800,000 civilians of the minority
Tutsi tribe were massacred by the majority Hutus (statisticians
like to mention that meant a faster killing rate than the Nazi
extermination of the Jews). It was a culture where it was the
duty of every Hutu civilian to kill a Tutsi- men, women, children,
babies. The Genocide radio station RTLM urged no mercy. Philip
Gourevitch's book is an attempt to explain the events that led
to this unbelievable event of inhuman brutality and gullibility.
While the colonial history of Rwanda is touched upon Philip also
refers to more sinister factors- the influence of crackpot anthropologists,
the establishment of a Hutu Ten Commandments, the planned killing
of the Hutu president by his own people, and even the sightings
of The Virgin Mary that foretold great violence if Hutu purity
was to be achieved. But nothing is comparable to the personal
accounts of the massacres as survivors talk about the total sense
of defeat and the acceptance of their fate. The title for the
book is a passage lifted from a letter begging intervention from
the collaborating Catholic priests. It's author was killed.
As horrific as this book is I couldn't put it down because Philip
tied all the facts about Rwanda is a seamless flow with a clear,
unambiguous analysis that leaves blood on everyone's hands from
the United Nations who denied there was a genocide to the humanitarian
aid groups who blindly fed and clothed the killers in the post
RPF invasion Hutu refugee camps so they could prepare for further
slaughter. It's a detailed breakdown of abandonment and failure
that will leave the reader angered and wondering how it all got
as bad as it did.
It got bad because the world didn't care about some tin pot banana
republic. As far as we were concerned Rwanda was going through
the typical unrest all these 'savage' African countries seem
to go through. We were past caring. Though Philip wisely points
out that we should all care whether its one person or 800, 000
killed it's everyone's duty to protect the innocent. As the UN
Peace Keeping Force's General Dallaire recounted,
"Genocide is a cheese sandwich... what does anybody care
about a cheese sandwich? Genocide, genocide, genocide, cheese
sandwich, cheese sandwich, cheese sandwich. Who gives a shit?
Crimes against humanity. Where's humanity? Who's humanity? You?
Me? Did you see a crime committed against you? Hey, just a million
Rwandans. Did you ever hear about the Genocide Convention? That
Convention makes a nice wrapping for a cheese sandwich."
Such insights are continually pounded out throughout the book
but they seem pretty ineffectual. In 1998, on the day after President
Clinton apologised for the world abandoning Rwanda, 300 Tutsi
were massacred by Hutu Power terrorists. Everything was always
done too late. And there seems to be no end. Even when the Tutsi
led RPF Government allowed Hutu Refugees back in the name of
stabilisation those bent on violence continue. Right now the
War Crimes Tribunals are slowly kicking into gear and the only
ones to face prosecution are the leaders and organisers. To put
every Hutu guilty of murder on trial would mean putting the whole
nation into prison or in front of a firing squad.
It's inconceivable that something like Genocide and mass murder
could still happen now but the experience of Rwanda suggests
that the world has yet to learn it's lessons. Philip Gourevitch
can't help but feel angry in his writing and is clearly admiring
of the Tutsi armed forces led by General Kigame though I guess
within this madness he needed to cling to a hero figure to prove
that there can be a way out. Whatever your politics this book
will involve you on one level or another. Essential.
10/10
GROINCHURN 'Whoami' CD
(Morbid)
Alongside Cripple Bastard's 'Misantropo A Senso Unico' this is
going to be the grind record of the year. And yet both bands
are so different from each other. While CB play fast, thrashing
grind in the way we expect it to be played, Groinchurn have proved
that you can construct complex songs and yet still maintain the
momentum to be punishing. In this sense, Groinchurn are very
close to Brutal Truth circa 'Sounds Of The Animal Kingdom'. For
those who miss Kevin Sharp's primate vocals, Groinchurn will
more than fill any vacuum left by that band. But Groinchurn are
more than just the next Brutal Truth. These South Africans have
worked hard to encompass a language that transcends mere grind.
They've put a groove into proceedings that leave the songs annoyingly
memorable. I'm tempted to say, that's in line with the noisecore
leaning of Converge of Dillinger Escape Plan, but the instruments
are tuned a lot lower almost journeying into death metal territory,
and any fanciful guitar flourishes are kept as restrained as
possible. Groinchurn just want to go out and be brutalising,
but can't help themselves to be clever. It's in their nature,
and god forbid if they ever try to dumb down their sound just
to please the pure grind freaks. There's lots of bands who are
just simply dumb. Accept Groinchurn for what they really are-
something special.
9/10
GROW 7" (Devour)
Are Japanese hardcore bands moving away from the straightout
fastcore sound and adding a lot more of a rock and roll edge?
I don't mind if this 7" is anything to go by. Their two
songs are fast melodicore in the vein of Pennywise- totally hyper
but with enough space for driving melodies and infectious rhythms.
With the two songs titled 'Fighting Youth' and 'Strong Rule'
you've got to expect a bit of muscle. And unlike most other vinyl
7"s I've heard, the production is killer. Just what this
record needed to make it one of the more memorable efforts. Any
reason why a full length should be any worse?
8/10
GUITAR WOLF 'Jet Generation'
CD (Matador)
We are indeed living in the jet generation. Everything's got
be faster, our attention spans are shorter, if we rest, life's
bound to pass us by. This is for those paranoid about this kind
of thing. Faster faster. Recorded at impossibly high sound levels,
these garage trash thrash gods deliver fleshpeeling pieces disguised
as songs. Lo fi and sloppy like the Oblivions but rock and roll
like The Hentchmen, Japanese like Teengenerate, Supersnazz, Merzbow,
5,6,7,8s and Mad 3. A friend once told me to check out a band
that played like they didn't give a fuck. That excited me. It
was Guitar Wolf.
7/10
F I L M
"HATED"
Dir: Todd Phillips
US 199?
Hated is a documentary about punk rock outlaw GG Allin. If you're looking for outrage Allin's your man and this film won't disappoint: See GG perform naked covered in blood and shit, see GG stick a banana up his arse then pull it out and chuck it over the audience, hear about GG's friendship with serial killer John Wayne Gacy. And that's not even the half of it
Yet once you look beyond the shock tactics you realise that director/narrator xy has put together an impressive warts and all portrayal of his subject. He does a commendably thorough job in interviewing Allin's former teachers, school pals as well as members an fans of his band the Murder Junkies in an attempt to figure out what the hell GG's all about. Many of these interviewees, while not in Allin's league are pretty damn colourful in themselves. Murder Junkies drummer Deano is a convicted weenie wagger and full time space case who, like GG, prefers to play in the buff. Bassist Merle happens to be GG's brother and comes across as a reasonable chap despite an unconventional approach to hairstyling and personal grooming that makes him look like a cross between a spaniel and Adolf Hitler. Then we find out from GG's old pals back home that his aberrant behaviour dates from the time Merle secretly plonked some LSD in his drink. The old pals seem like regular guys until they reveal their encyclopaedic knowledge of small arms and ammunition.
Unsurprisingly the closest the film gets to any insight into Allin is when the man himself says a few words about his philosophy: GG wants to make rock 'n' roll dangerous again. To this end he lives a simple transient lifestyle unencumbered by possessions which enables him to go and do a gig anytime, anywhere at a moment's notice. This is near visionary stuff but the reality falls way short of the rhetoric. Hitting yourself with a microphone and rolling around in your own excrement isn't going to accomplish much beyond winning a tiny audience of jaded, hard drinking, twenty-somethings. Ex-Murder Junkies member Chicken John emphasises this point before going on to suggest what Allin could achieve if he actually thought about what he was doing. Chicken John conjures up the genuinely alarming prospect of Allin as the Mansonesque leader of a politically motivated, violent cult. Whether Allin would have wanted such a thing seems doubtful. As the film's title suggests this was a man who actively set out to inspire hatred rather than approval or adoration from any quarter, including his own fans. In the end it seems Allin only made rock 'n' roll dangerous in a limited sense i.e. if you happened to be in the vicinity of one of his gigs.
"Hated" finishes with Allin's funeral, a surreal spectacle which provokes both hilarity and pathos as it becomes all too clear that GG's nearest and dearest have no idea whatsoever how to carry a coffin. I guess it's the film's crowning achievement that you're left feeling sympathy for such a stubbornly dislikeable individual. Not that Allin would have wanted or sympathy, alive or dead. Fuck you, you motherfuckers he'd have said. Probably.
I'm told the DVD version has footage of the riot that followed Allin's final gig so that's probably the one to see if you can.
[Linden Dunham]
'Enemy
at the Gates'
Dir: Jean-Jacques Anaud
US/Ger(?) 2000
'Enemy at the Gates' is loosely based on the real life exploits of Vassily Zaitsev (Jude Law), a Red Army sniper whose talent for killing Germans brought him great fame during the battle of Stalingrad. The film is primarily based on Soviet propaganda material quoted in William Craig's book Enemy at the Gates: Zaitsev's tally of enemy soldiers became so large that German morale began to collapse and the Wermacht brought in its own star sniper Major Koenig (Ed Harris) to hunt him down. A personal duel then ensued with each man stalking the other through the rubble of Stalingrad. Despite this dramatically promising, if historically dubious, source material 'Enemy at the Gates' is a disappointment. It looks amazing: The nightmarish landscape of a city that has been bombed and shelled into the stone age is brilliantly evoked. The battle scenes, both the mass attacks and individual sniper duels are also well done. Where 'Enemy at the Gates' falls down is in its scripting and acting. The script is full of blind alleys and inconsistencies e.g the film does a reasonable job of spelling out the strategic situation at the start of the battle. Yet it gives no explanation for the Germans' final defeat which takes up the film's final scenes. In another scene we see Zaitsev's former friend (Joseph Fiennes), jealous of his relationship with a female comrade (Rachel Weisz), dictating a report denouncing him to headquarters, but we never see Fiennes's character recanting. Instead we're just left to assume it when he sacrifices his life to expose Koenig's position. Performances range from adequate (Fiennes, Law) through amateurish (Weisz) to outrageously hammy (Ron Perlman, Bob Hoskins). Only Ed Harris acquits himself well in this department, even managing to evoke some sympathy for his glacial Prussian killer.
'Enemy at the Gates' is not a great film. It's probably not even as good as Joseph Vilsmaier's "Stalingrad" which received a less than ecstatic review in 'Friend Of the Devil' zine a few years back. This is a shame because Stalingrad was arguably the decisive battle of World War II and deserves a better celluloid account than it's received so far.
[Linden Dunham]