HELLOWEEN - Master of the Rings
1994 - ?
Overall Rating: 90/100
After two supposedly "different" albums (Pink Bubbles Go Ape, Chameleon) which I don't have yet (I'm going to get them soon...) Helloween returns to its heavy metal style with Master Of The Rings. Gone is vocal-god Michael Kiske. I guess Kiske and the band, especially Weikath, weren't getting along anymore. That's too bad because Kiske was one of my favorite singers ever. Anyway, replacing God is Andi Deris, formerly of Pink Cream 69. He's a great singer who definitely gets the job done. He's gruffer than Kiske, less clean, but he still has good range. I would just rather not hear him attempt "Eagle Fly Free" though. This album also welcomes Uli Kusch on drums. Kusch is one of the top drummers in the heavy metal world (well, maybe he's second to Hoglan), and is one of my biggest drumming influences. So, as expected, he shines throughout this disc. As expected, guitarists Michael Weikath and Roland Grapow leave nothing to be desired in their peformances as well.
The album starts with the typical Helloween classical intro, (love the title...there's "Invitation," "Initiation," and now "Irritation.") Then kicks in with some excellent drum fills and some great guitarwork. "Sole Survivor" is the title, and its a damned good song, though the chorus isn't your typical Helloween chorus. It's not melodic enough. I love the unpredictability of new-era Helloween though. The next song is one of the best on here, "Where The Rain Grows." Great chorus, lyrics, yadda yadda, ya know. More great songs in, "Secret Alibi," another ballad, "In The Middle Of The Heartbeat," and the driving force of "Still We Go."
This is a great Helloween album worth picking up. The ol' 'Ween isn't up to the classic Keeper-era stuff, but what the hell is? Not much comes close, that's for sure. In fact, one of the few bands in the power metal genre nowadays who doesn't try to copy Helloween are...Helloween.
Mike Hudson
HELLOWEEN - Walls of Jericho [EP]
1985 - Noise Records
Overall Rating: 90/100
Yep, I have the combined version featuring the Helloween EP. The EP starts off with some guy just waking up, he turns on the radio only to hear some silly "Happy Happy, Helloween" song. Kai screams his head off and "Starlight" begins. It's a song about a drug abuser. "Victim Of Fate" is another great song off the EP; the other ones are simply solid. Then the trumpets of jericho sound, and it's time to "Ride The Sky," great heavy chorus here.
My favorite song on the album is "Guardians" with its excellent chorus, and I swear Dimmu Borgir has listened to that keyboard line in "Phantoms Of Death" a lot! The pinball game gone wrong, "Gorgar," is another excellent stomping tune, and the "live" version of "Heavy Metal (Is The Law)" must be heard! "How Many Tears" is another awesome song, though I like it much better with Kiske singing it on "Live In The UK" The cd closes with the bonus track "Judas" which is a solid song.
This album features Kai Hansen on vocals and guitar, Michael Weikath on guitar, Marcus Grosskopf
on bass and Ingo Schwichtenberg on drums. The music is more thrashy, and not quite as polished as they would become on the albums that follow.
Mike Hudson
ILL NINO - Ill Nino
2000 - CIA Recordings
Overall Rating: 70/100
This self-titled release from the New Jersey-based band has been a long time in the making. Formed several years ago, Ill Nino has managed to build up a strong, local fan base through a good live show and local radio play. However, the album just does not live up to those expectations. Sadly, the first five tracks sound way too much like a very Soulfly-ish act. While vocalist Christian Machado sounds much better than Max Cavalera, the support he receives is weak. The guitars are too repetitive; every riff sounds the same. The drums do not stand out very much either, but they are a decent compliment to the level of guitar playing on this release.
This album is not a complete waste. The last two tracks are the best of the album. "El Nino," the band's anthem, is the most intense song on the disc as it is just an onslaught of guitar, drums and vocals. Closing it all is "God is I," a track that happens to continue the level of intensity the previous track produced. Hopefully, when they record their next release they will build on the last tracks of this disc for they could be a promising act.
Mike Daigeaun
IN FLAMES - Colony
1999 - Nuclear Blast
Let me get this out of the way: (ahem) OH MY GOD!! This cd kills! My first exposure to this incredible band was The Jester Race a couple of years ago. I was thoroughly impressed, but never made it out to buy the cd. Last weekend during my weekly jaunt to my local metal shop, I decided to pick up Colony, and have not been this pleased with a purchase in a good, long while. I have played it about nine times and could not resist singing its praises in a review. This is definitely a band that is proud of their metal heritage. Their influences are evident without being overbearing. The best way to describe the band is melodic death metal, but death metal only really applies to the vocal style and in a more decipherable form. It's not all growl, all the time. Vocalist Anders Friden makes use of a little variety. In some spots he recalls the ghost of Icon-era Paradise Lost.
While on track two, "Ordinary Story," you hear a clean, airy, Pink Floyd-ian tone on the verses. A very classy move, in my own humble opinion. The music here is the true grabber. Old school influences amidst soaring melody and ten-ton heaviness! I hear a little Iron Maiden, a little Helloween, a strong European, melodic metal vibe. The NWOBHM colors are well-mixed with a healthy dose of thrash and a sprinkling of death metal. The guitar harmonies here are truly amazing. They call to mind the classic feel of the--up until now--untouchable team of Murray and Smith. Jesper Stromblad and Bjorn Gelotte are future legends in this field, hands down. The riffs are huge, the solos are piercing, and the melodies are enthralling. I just can't say enough good things about this disc. Drummer Daniel Svensson and bassist Peter Iwers hold all the aforementioned elements together with impeccable force and grace. Add to the mix some slight experimentation in the form of Hammond organ and slide and you've got yourself one hell of an album.
This is one band that will definitely leave its mark in the new century, eventually to be mentioned in the same breath as their predecessors.
Shawn Pelata
KATATONIA - Tonight's Decision
1999 - Peaceville Records
At times, this is Katatonia's best album post-Brave Murder Day. With the sharp change in styles, especially the use of the vocals as an instrument, it is difficult to decipher superiority between the prior-said periods. But, to return to the original statement, Tonight's Decision at times is far better than Discouraged Ones, containing heavier and catchier guitar riffs, a greater amount of changes in mood, and equal, if not better, drumming done by session drummer Dan Swano. But contained in Tonight's Decision are many parts which are a bit too catchy; repeated vocal lines, pop sounding shit, and poorly-executed vocals. "For My Demons" and "I Am Nothing" stand out amongst the other compositions, both strong songs throughout their lengths.
C. Stuart
KILLSWITCH ENGAGE - Killswitch Engage
2000 - Ferret
Overall Rating: 89/100
Once upon a time, there existed a band called Overcast. One day this band’s run basically came to an end as the group split up. From this tragedy, a pair of bands was born: Shadows Fall and Killswitch Engage. However, so far only Shadows Fall has really been recognized by the metal-core world, and Killswitch Engage barely amounts to a blip on the radar. To be honest, this is a total injustice as Killswitch Engage is the better of the two bands.
Like Shadows Fall, Killswitch Engage infuses clean vocals with typical metal-core growls, but unlike Shadows Fall, Killswitch Engage keeps the intensity at a higher level when using them. And it is this punch Killswitch Engage packs that makes this band very good. Another reason for this is drummer Adam Dutkiewicz, who needs to be noticed as one of the best drummers in the scene. It is Dutkiewicz’s heavy hitting on the self-titled release that lays the groundwork for everything the band does. "Rusted Embrace" is the perfect example of this as the track varies tempos throughout. Dutkiewicz’s ability to set the pace on this particular track allows for the rest of the group to show their stuff.
The drummer is not the only reason this band is great. Guitarist Joel Stroetzel, bassist Mike D’Antonio and vocalist Jesse Leach are three other reasons. Stroetzel’s killer riffing helps give the release the edge it has. Also, Stroetzel’s talent allows Leach to showcase his vocal skills with his growls and clean vocals. All of this is never more evident than in "Soilborn," which starts out with a nice little hooking riff immediately followed by Leach’s snarling that just generates this level of intense anger that engulfs.
The chemistry on this release and in Killswitch Engage is evident in the music and clearly helps showcase the talents of the individuals in the group. Be forewarned, when this album begins the switch to kill most definitely becomes engaged. And in this case, an engaged killswitch is a good thing.
Mike Daigeaun
KING DIAMOND - House of God
2000 - Metal Blade Records
Another year has gone by, and in the metal world that means only one sure thing: there is a new Mercyful Fate or King Diamond album out. In the year 2000 it just so happens King released a new King Diamond album, House of God. Let it be known to all KD fans (who I'm sure know this already) that House of God is perhaps the King's most solid release since The Eye. Don't get me wrong, I enjoy The Graveyard, Spider's Lullaby, and (especially) Voodoo. But many consider those releases rushed, over-produced or just plain boring. House of God does for King Diamond as 9 does for Mercyful Fate; powerful and catchy songwriting, highly dynamic vocals (his most dynamic vocals ever can be heard on this album), and excellent production.
Even better than all this, however, is the story line. Those of us who thought King Diamond's story-telling skills have declined since Them will be blown away by this album. I won't go into the intricacies of the story, but I will say that it deals heavily with questioning religion, but not necessarily with Satanism. I will also say that his storyline is probably his all-time best. It is indeed a concept album (unlike the slightly disappointing Spider's Lullaby) with no songs that deviate from the story.
Now back to the music itself. The sound of this album is very solid, in the sense that it is heavy and well-produced. Each note is heard clearly and nothing is lost to a bad mix. This in itself is nothing new from the King's latest efforts. The songwriting itself is what shines on this album.
Just like King's other releases, House of God is thrash from start to finish, with the main focus being on the King's falsetto screams. Unlike KD's most recent efforts, however, most of the songs on House of God are mid-paced. There is no speed metal songs here. The King more than makes up for this with the songwriting; no filler songs here, nothing sub par. In fact, the song "House of God" is one of the greatest in the King's career.
Good production, good songwriting, King’s voice is at his best...What’s not to like about this album? Fans of Andy La’Roque’s solos may be a little disappointed, as the guitar wailing takes a backseat on this album. Yes, the solos are there, and they are amazing, but they are oh-so-short. John Herbert gets the job done in the drum department, but at the same time it won’t blow you away (in other words, he’s no Mikey Dee. But who is?)
Long live the King! With this album he has managed to keep the band’s sound fresh without totally changing it, restore faith (so to speak) in his fans, and leave us pondering what religion is really all about. Above all, he has given us another high quality album to add to our ever-growing King Diamond collections.
Anthony Oliver
KING'S X - Please Come Home...Mr. Bulbous
2000 - Metal Blade Records
Okay, first of all I had to turn the cover art over because it's so annoying. It's a guy with a lightbulb head in a suit standing by a door in the middle of a room. Maybe I'm being nitpicky.
I should probably state that I've never been the biggest King's X fan on earth, but I decided to give this a listen and see what they sound like after all these years. Unfortunately, what I found is that they--like a handful of other long-time rock-ish bands have done--have gone lighter. This disc could actually be played on a "Lite Rock" station and people would like it!
The first track, "Fish Bowl Man," sounded like they were trying to be a beat band or should be playing in a Seattle coffeehouse. I can't give the rest of the disc much in the way of compliments because it put me in a trance and I am now allowing myself to only listen to black metal from now on because of it. (Okay, I'm just kidding.)
Really though, I found the entire thing to be sleepy and sluggish, almost literally trance-like (or like one of those meditation tapes?) and not something I'd probably listen to again. Diehard King's X fans...yes. Someone wanting to check out King's X for the first time? NO. Buy something of theirs from the '80s.
Jamie
MASKIM - Battlestorm
1999 - Genocide Music
Maskim is one of those black metal bands that you hear of, but never really hear anything extreme, good or bad. The same could be said for Battlestorm. It neither lends itself toward a compliment nor a criticism.
The opening track features only horses and chanting, which could have awesomely set the scene for a medieval, epic black metal cd. Highly disappointing sound and hardly any drums or bass is what played out instead.
The title track would be a really good tune if the drums weren't so extremely straight forward and only followed one rhythmic pattern. Otherwise, the vocals fit the music well. I can't distinguish the guitar well enough to tell you if it's good or not.
I'd really like to hear their latest cd, Conquest. I realize that this is usually what raw black metal is all about, however, this disc could become so much more with the right production.
Jamie
MAYHEM - Grand Declaration of War
2000 - Necropolis Records
Being a huge Mayhem fan, I was very excited to hear this one when it came out. Having heard mixed opinions on it before it was out, along with a lot of talk about changing styles and using industrial/techno elements, I was also a little nervous about hearing it. Well, after numerous delays of the release date, it finally came out and was available for the rest of us. If you haven't heard this one, let me warn you: this is NOT Euronymous' Mayhem. It is, however, the best new album I have heard in a long time. Do NOT judge this album in less than five spins. The arrangements are too complex and too chaotic for that. This is far more technical musically than any other Mayhem album. Hellhammer's drumming is absolutely inhuman on this album. I have always said that Hellhammer is the greatest drummer out there in terms of skill and speed. His drumming on Grand Declaration of War is perfectly precise, complementing the technical music a great deal.
Maniac's vocals are a huge change from older Mayhem releases; he uses clean vocals, and he uses them more than extreme vocals. This is probably my least favorite thing about this album, as I love Maniac's extreme vocals, but understandable as this is a Declaration and the lyrics are meant to be heard and understood. Blasphemer's guitar work is excellent on this album, proving he has been more than able to fill Euronymous' shoes as far as music is concerned.
If you are a black metal purist, and you listen to nothing other than old Mayhem, Burzum, Darkthrone, and Marduk, don't bother buying this album. If, however, you are a little more open to different things, you should definitely check this one out. It is unlike anything you have ever heard.
Mike McShane
MAYHEM - Mediolanum Capta Est
1999 - Necropolis
This release from legendary Norwegian black metallers is Mediolanum Capta Est, the first official live album released by their latest line-up. Many fans were unsure what to think when Hellhammer reformed the band several years after the murder of legendary founder and guitarist Euronymous, but if Wolf's Lair Abyss didn't impress them, this will.
Recorded in November of 1998, this album includes songs from all the way back to the band's original Deathcrush album through Wolf's Lair Abyss. Hellhammer proves once again with his legendary drumming that he is arguably the best drummer ever, his fast and furious double-bass helping the music reach the black metal standard of chaos and war. Maniac's tortured screams, full of emotion and pain, show that he as well is one of black metal's elite. His demonic screams making the lyrics completely unintelligible to the casual listener. Blasphemer fills Euronymous' old guitar duties well, playing old favorites like "Necrolust" and "Freezing Moon" the way they were meant to be played. Necrobutcher, the original bassist now back with the band, leaves little to be desired as well, his bass adding to the chaos like never before. Maniac's pre-song banter is also a highlight of the album, introducing "Fall of the Seraphs" by proclaiming that "God is dead" and telling Italy that "You guys like war!" prior to "Total Carnage."
Fans of the chaotic noise that is true Norwegian black metal know that Mayhem is king, and Mediolanum Capta Est is a prime example why. The legacy of Mayhem lives on!
Mike McShane
MISERY LOVES CO. - Your Vision Was Never Mine To Share
2000 - Earache Records
Overall Rating: 69/100
Ever wonder about a band’s categorization? Well, Misery Loves Co. is a case where there needs to be some wonder. Largely considered by its record label and others as a metal band, the latest release from the band bucks the trend. Your Vision Was Never Mine To Share comes across as a bit more pop oriented, similar to material released by V.A.S.T. However, don't think Misery Loves Co. is a rip-off as the group has been around much longer.
Musically, the album does have some edgy guitars, but nowhere near the amount to call it metal. As a matter of fact, the guitars seem more like background because they do not really stand out but blend in behind the drums and vocals. It must be noted that Patrik Wiren’s vocals are the highlight of the release as they manage to paint a nice gloomy feel to the music.
In the overall picture, the songs are really good, as is the whole album. However, it is the misclassification that makes the ratings of Your Vision Was Never Mine To Share suffer as it is misleading. If the band, or the album for that matter, was categorized differently then chances are the score for this disc would go up. Yet, when you expect to hear metal from a band thought of as a metal band and get something else, disappointment has to occur. So realistically, not much can be said about this release from Misery Loves Co. (also the band’s last since it has broken up since), as it is not possible to write much of a metal review when the album is far from metal. But if for some reason you are intrigued by the type of music on this album, by all means, get it as it is nevertheless a quality release.
Mike Daigeaun
MORBID ANGEL - Gates of Annihilation
2000 - Earache
Overall Rating: 71/100
Any album with the title Gateways of Annihilation implies that the record will pack some devastating punch. The album, Morbid Angel’s latest, fails rather miserably to meet the standards. And the sad thing about that is from the onset Gateways is rather flat as the opener, "Kawazu," comes across as being very bland. However, the following track, "Summoning Redemption," gives a glimmer of hope that Morbid Angel has made a good album. That is until the drumming becomes too repetitive and the unsuperb vocals come in to take away from the nice eerie groove that the song had.
Gateways to Annihilation seems more like a thrown-together album just to release something. Morbid Angel clearly appears to be going through the motions because the music and vocals do not mesh together. From a musical standpoint, the release is decent, but Trey Azagthoth’s growls are out of place. While Azagthoth’s vocals are gloomy they dampen the music and seem to be out of place with the melody. Another aspect that leads to the belief that the band is not trying too hard is the presence of a second instrumental, "Awakening," that does little to bring anything to the album, making it merely filler. On the whole album, only one track, "I," seems relatively well-done as the guitars are elegant and the vocals blend in fairly well.
Overall, Gateways to Annihilation is a release that could be a lot better than it is. However, Morbid Angel fans should end up enjoying it
in the long run since the album does have one really great quality. Over a span of multiple listens the record does grow on the listener, which in this instance, makes up for a lackluster release musically. While Gateways to Annihilation will not break any ground it deserves a chance to be heard.
Mike Daigeaun
NEVERMORE - Dead Heart in a Dead World
2000 - Century Media
I have been a fan of Nevermore since their '96 release Politics of Ecstasy. I thought that it was one of the heaviest, yet most melodic releases to come out in a good while. Since then, I’ve picked up Nevermore, the In Memory EP, and the monster epic Dreaming Neon Black. With every release, Nevermore proves itself as a band that can consistently write superior quality metal that is all at once heavy, melancholic, and beautiful. Dead Heart in a Dead World aggressively solidifies this claim.
Returning to four-piece status following the departure of guitarist Tim Calvert, Nevermore have released one massive record! Remaining and founding guitarist Jeff Loomis carries a jackhammer of a rhythm guitar sound, heavy and tight enough pound a hole in your head. He is also a serious threat of a lead player, bringing all the shred a rabid guitar fan would expect along with a fluidity that is missing in many of today’s players. The drumming of Van Williams is a relentless combination of machine gun kick drums and mind-bending fills. Bassist Jim Shepherd, while not standing out, provides the necessary welds to hold this machine together. The acidic vocals of Warrel Dane round them as out as one vicious beast of a band!
This disc contains way too many highlights to go into them all in detail, so I’ll point out what’s ravaging my ears right now. "Narcosynthesis" is classic Nevermore! A jagged, up-tempo riff coupled with rapid-fire double kick drumming. And when Dane hisses "Nar-co-SYN-the-sis," you just grit your teeth and go "YEAH!" "The River Dragon" has a great, syncopated groove, with swirling, progressive lead breaks peppered throughout the verses. "Insignificant" oozes depression with its dark lyrics and haunting acoustic layers. "Just a speck in the spectrum/Insignificant am I..." Sounds like Warrel needs a hug. "Believe in Nothing" is as close as Nevermore will (hopefully) ever come to a power ballad. Beautiful and sad all at once, with nice acoustic-based verses and a heavy chorus. In "We Disintegrate" Dane recalls his past with a few high-pitched screams ala his and Shepherd’s former band Sanctuary.
Out of left field comes a cover of the Simon & Garfunkel classic "The Sound of Silence." The good news is that, aside from the lyrics and opening refrain, you’d never know it. Nevermore provided all new music and arrangements to Paul Simon’s grim lyrics, twisting the song into a pounding skull splitter of a track with thrash-like leanings and complex riffage.
All in all a potent and venomous offering from this Seattle quartet. You need this record!
Shawn Pelata
NOCTURNAL RITES - Afterlife
2000 - Century Media
Overall Rating: 93/100
Back with a new album and a new vocalist, Nocturnal Rites has managed to create one killer album. Going in, the biggest question would be how new vocalist Johnny Lindkvist would sound as Anders Zackrisson's replacement, and on the album's first track, "Afterlife," things didn't look too good. Lindkvist's vocals didn't fit perfectly to the music as did his predecessor. However, by the following song it became clear that Nocturnal Rites found the right man for the job.
The biggest surprise is the direction the band has gone musically while remaining true to being a power metal act. The pace at which the music moves is amazing. Through the first several songs there is virtually no time to breathe before getting hit with the next track continuing at the speed of the last. Intelligently, the band knew a whole album of this would be tiring and varied the pace in the latter half. Also, the pairing of Fredrik Mannberg and Nils Norberg on guitar produce some of the best guitar work this year. Along with an excellent effort by drummer Owe Lingvall, the base of this album is so amazingly solid.
The worst part about Afterlife was that it did not finish as fast as it started which was a bit disappointing. In the end, there is no way to help but want more from Nocturnal Rites at the very moment Afterlife is done playing; the album is that good.
Mike Daigeaun
