THE MALLET OF THAAAAWWWWWWWW

2007-06-11T02:26:00.000-07:00

'EAT ME, DRINK ME' - MARILYN MANSON

A lot of people don't like Marilyn Manson. They dont' like him because he they consider him obscene, outrageous and extreme. They don't like him because he unapologetically stands for everything they fear and despise. Because he is a disciple of Satan. But anyone with an ounce of patience and an even slightly open mind will soon discover he is serious, intelligent, honest and remarkably good humoured. They will also realise that he is not only a sensationally talented artist, but an undeniable genius. This latest album is a fine example of some of his greatest, and most emotionally charged work.

Perhaps surprisingly 'Eat Me Drink Me' is a lot more chilled out than previous releases. You wouldn't necessarily think so judging by the track names - 'Mutilation is the Most Sincere Form of Flattery', 'They Said That Hell's Not Hot' and 'Just a Car Crash Away' being some examples - but the sound is a lot less violent, the mood a lot less aggressive. Look closer though, especially at the lyrical content of the album, and you will see it streaked with blood-soaked venom and animosity. Marilyn Manson is still not a happy bunny, and these are more than just songs - they are works of art, reflecting his innermost torments and desires. The combination of such dark, disturbing imagery and a very clearly pop-orientated attitude makes for a fascinating listening. Like the man himself, you can take this album at face value if you want to. But it is far more interesting if you're willing to close your eyes and delve inside.

6/7

2007-05-30T04:46:00.000-07:00

‘UNITED ABOMINATIONS’ - MEGADETH

Megadeth supposedly played their final show at Download festival at Castle Donnington in 2005, before quitting music for good. Yeah right! Not even 2 years on and they’ve released an album that can probably be considered as one of their best. Capturing all the speed, excitement and unpredictability that made them so unique in the past, they have skilfully honed and condensed these elements, formulating a powerful yet easily accessible record. And for once Dave Mustaine even sounds interested in what he’s singing about.

The thing with Megadeth is that they're incredibly technical and insanely proficient musicians, so sometimes they can lose themselves in themusic and sound up their own arse. Fortunately United Abominations is just not like that. This is a very focused album. ‘Sleepwalker’ opens up like a high-speed train without any brakes, and will surely prove to be nothing less than a classic. Dark and menacing 'Washington Is Next' creeps through the speakers like some snarling predator until you can almost believe it's sat right in front of you, leering and sneering into your face. Set over a news broadcast-style tirade of rhetoric, the title track adds a disturbingly blunt and venomous rant against the UN. But perhaps the nicest touch to this album is the re-recording of 'A Tout Le Monde'. Sang in duet with Lacuna Coil's Cristina Scabbia and with far more sentiment than the original version, this adds a nostalgic edge to what is an otherwise uncompromising and unnervingly scathing political album.

The break has clearly done the trick because United Abominations is like one serious punch in the face, and it feels soooo gooood! Welcome back boys.

6/7

2007-05-15T05:47:00.000-07:00

‘IN SORTE DIABOLI’ - DIMMU BORGIR

Dimmu Borgir have never strictly adhered to the standard black metal formula, preferring to offset the raw, often painfully abrasive brain-grating cacophony with powerful keyboard and orchestra driven theatrics. The result is far more accessible than the ear-splitting din produced by many of their contemporaries. But more importantly rather than detracting from the spite and malevolence inherent to this style of music, this extra depth quite overwhelmingly emphasises the emotional nature of black metal.

With 'In Sorte Diaboli' Dimmu Borgir have surpassed themselves. It is so mind-blowingly, beautifully savage it makes you want to scream, murder someone and cry, all at the same time. Anyone who's knees don't tremble while listening to the nefariously delightful majesty of opener 'The Serpentine Offering' is surely dead from the waist down. Shagrat's repeated lament 'My descent is the story of every man. I am hatred, darkness and despair' quite literally brings tears to the eyes as all synapses overload, disintegrate and implode. Yet that is just the beginning. The rest of the album continues in a similarly veiled-vicious vein, 'The Chosen Legacy' kicking off with a spectacular drum intro before the hellmouth itself opens up with an almost trance-like blast of riff and double-kick. 'The Fallen Arises' offers an interesting instrumental interlude - reaffirming the setting of the album's theme in medieval Europe, as the it follows the story of a priest who turns to Satan - before 'The Heretic Hammer erupts in a devastating maelstrom of Stormblast-esque battery. As a finale 'The Foreshadowing Furnace' offers a perfect analogy to his discordant and chaotic demise as he burns to death on the stake.

In Sorte Diaboli. The very name instils fear - it conjures hordes of hooded black-clad riders emerging from a gnarled and shadowy woodland to take your life, your soul. If mankind ever has to experience apocalypse then this album will play a superb and fittingly terrifying soundtrack.

7/7

2007-04-18T17:03:00.000-07:00

boyhitscar - 'The Passage'

Apparently this kind of music is called love-core. If there has to be a name for this rock, punk and eastern-style hippy fusion then that is as good as any. Unfortunately on 'The Passage' the blend of whimpering angst and spitting aggression is not quite right and much of the passion that made their debut album so powerful is completely lost. It's like they have taken all the bits that made 'boyhitscar' so energetic and exciting, and completely damped them down. There are hints of it here and there, for example the barely restrained tension on 'The Sound of a Breaking Heart', and the unexpectedly explosive 'All The Love We Hold Inside' but for the most part the fire is gone. That wild, wide-eyed and slightly deranged edge has been replaced with an uncomfortable amount of droney whining and whingeing. Although 'The Passage' is not necessarily utter shite - it does have it's redeeming features, especially for those who have never heard Boyhitscar before - there really is very little reason to listen to this album twice.....or even all the way through a first time.

3/7

2007-03-22T19:04:00.000-07:00

Celtic Frost + Kreator.

Wolfrum, Wolverhampton, Wednesday, 15th March 2007.

Where is the Wolfrum Hall? No idea mate. Seriously, if you're planning on going to see a concert in Wolverhampton make sure you get there very early, because you'll spend most of the evening trying to find the venue. And once you're there you won't be particularly impressed. The Wolfrum is essentially a community centre / church hall. There's even a weird little motto above the main hall doorway. The sound quality, as you might expect, is a bit pants. Kreator, who unfortunately have almost finished by the time I arrive, don't seem to realise this however and are trying their very best to obliterate the building - and half the surrounding town - with their death thrash cannonade. They're not doing a bad job either. It really is a shame to have missed the vast majority of this set.

Celtic Frost on the other hand, are slightly more eyebrow-raising. This is a band who have inspired countless others, and who are looked up to by just about every musician interested in the darker side of life. There may be an incredibly good reason for this......but from this perfornamce it is really quite difficult to tell what it is. There is no doubting that the music is good, there is certainly no lack of talent or technical ability. But at the same time it is almost inpenetrable and after a while becomes a bit of a drag. Not quite sludge, but rarely rising above a crawl either, it quickly becomes monotonous and quite boring. This is not music you can headbang to and there really is little to do other than lean against the wall.

Maybe it's a cult thing. Maybe Celtic Frost are like a fine wine, an acquired taste. But maybe there is just some music that does not work well live. For all that CF have to offer, they are perhaps just too inclusive for most people to 'get' first time round.

3/7

2007-01-21T18:47:00.000-08:00

'A MATTER OF LIFE AND DEATH’ – IRON MAIDEN

Some people say that Iron Maiden just make the same album over and over again. But then again some people are stupid and a bit short-sighted. Yes Maiden have a very distinctive sound, but if you listen to a selection of their albums in sequence there is a clear natural progression, as both the music and the sound evolves and develops. Certainly the three most recent releases (‘Brave New World’, ‘Dance of Death’ and this one) are very different from the early days of ‘Iron Maiden’, ‘Killers’ or ‘Number of the Beast’
‘A Matter of Life and Death’ is a big album. No, not big: HUGE! It is wild, adventurous and tremendously exciting. From the opening crash OF ‘Different World’ there is no let up. This is the kind of heavy that doesn’t rely on an incomprehensible din of screaming, screeching and seismic thunder, but on the ability of the music to penetrate every cell and synapse, to make you shudder in awe and horror. Heavy doesn’t have to pick you up and throw you against the wall, sometimes it just crawls right underneath the skin and freezes your blood. And this is precisely what this album does. Every last song instils terror and revulsion – so much so that you’re almost glad when it finally ends….but not quite.

Indeed this may even be Maiden’s finest album. Certainly it is their strongest release since Bruce Dickenson returned on vocals. The musical content is cleaner and more focused than ‘Dance of Death’, and it does not fade to monotony mid-album like ‘Brave New World.’ It is also far more intense – ‘Brighter Than A Thousand Suns’ and ‘The Longest Day’ are both spine-tingling and perhaps two of the most alarming tracks Maiden have ever wrttren. Meanwhile ‘These Colours Don’t Run’ is clearly a song destined to remain in their live set-list for eternity.

So yes, this is another Iron Maiden album, and yes it does sound like Iron Maiden. If this surprises or horrifies you, follow my simple advice: don’t fucking listen to it!

7/7

2007-01-21T18:12:00.000-08:00

‘KILL’ – CANNIBAL CORPSE

You’ve got to love Cannibal Corpse. Anyone with even the vaguest sense of humour can’t possibly fail to find their gore-thirsty and astonishingly violent lyrics at least a little bit humorous. There’s no subtlety here. None of the normal tongue-in-cheek suggestion, this is simple, blatant, psychotic carnage. And it’s great! Few bands, even death metal bands, have the balls to approach murder and mutilation in this way. It is really quite refreshing. With song titles such as ‘Five Nails Through the Neck’, ‘Barbaric Bludgeoning’, ‘Brain Removal Device’ and ‘Submerged in Boiling Flesh’, it is difficult to miss the theme of the album. More refreshingly perhaps, is that the music completely lives up to the preconception formed by such vicious names. There is simply no let up. Each song delivers its lethal blast of frenetic jackhammer/ripsaw malice with such dazzling precision and vehemence that by the time you realize it’s over, the next song has already started. But the effect, rather than being a confusing and painful din, is in fact enthralling. If you like heavy music at all, you will love this! You just can't fault it.

7/7

2007-01-06T17:42:00.000-08:00

CRADLE OF FILTH + Sabbat + Deathstars.
CARLING ACADEMY, BIRMINGHAM, MONDAY 18th DECEMBER 2006

Sweden’s Deathstars have done well for themselves over here in the last year. Having already completed a UK tour with Lacuna Coil back in March they are proving an impressive live band, giving a solid and invigorating performance. Sounding like some twisted circus hybrid between Rammstein and Marilyn Manson, they rock the Academy and could easily be headliners rather than ‘local’ support band they are billed as.
Sabbat are one of those bands that seem to have been around forever, without having done anything or gone where. For some reason they are also often referred to as ‘the mighty…..’, but on what basis is not clear, because tonight they are little more than boring. The guitars undeniably shred a few faces here and there, but the drummer desperately needs to learn a new beat and aside from the awesome set closer ‘For Those Who Died’, it is difficult to describe them as anything other than a mildly camp dad’s band Slayer rip-off.

After their slightly disappointing Thornography album, there is a lot of anticipation about tonight’s show. Cradle of Filth are legendary as much for their theatrical sets as they are for their savage and dramatic music – will they set Birmingham on fire, or will they crash and burn? Well it was a bit of a stupid question really, wasn’t it! Any doubts should have been left at the door. They fucking rule! Concentrating less on extravagant set design (and ludicrous trapeze artists too, thankfully) and more on the quality and quantity of the music, pays dividends and adds immensely to the atmosphere and ferocity of the show. It has to be said that the new material is also far better when played live than on CD. Extra speed, no doubt at least partly attributable to new drummer Martin Skaroupa – who by the way is simply phenomenal – injects a huge amount of energy into the music. Besides this, a full compliment of guitars and keys once again enables them to unleash their full aural arsenal, giving the audience the full abysmally multi-layered Filth experience. Unfortunately this also works against them at times, making one or two tracks unidentifiable until halfway through. But this deters neither them nor the crowd, and that adds much to tonight’s show. A gig is about the atmosphere, as well as the music. And Cradle of Filth always know how to make people have a good time. This evening was no exception.

6/7

2006-10-19T15:56:00.000-07:00

'THORNOGRAPHY' - CRADLE OF FILTH

As a typically dramatic and theatrical musical intro leads into the snarling 'Dirge Inferno', pulses quicken and blood pressure rises, in anticipation for what surely promises to be a completely explosive album. The first 5 or 6 tracks do not exactly disappoint, but right from the start there is the sense that something is not quite right. As usual, Adrian Erlandsson appears to have sprouted a second pair of limbs. Aside from the bass drum resembling some bloke banging a block of wood with a few sheets of sandpaper, the sound is faultless – the production being at that precious stage where it is good but not too good. Dani’s screeches and grunts are as demonic as ever. The riffs are powerful and meaty enough to threaten evolving into monstrous lifeforms of their own at any moment. So what IS it that’s missing?

It’s only after 'Lovesick For Mina' that it finally becomes clear. After building and building and building………….there’s nothing. No apocalyptic climax. No vicious outburst of cataclysmic proportions. The song just ends. Armageddon seems to have been delayed. Indeed it seems that devil and his bestial hordes have decided to stay at home with a nice cup of cocoa. Aside from a brief respite during 'The Foetus Of A New Day Kicking', the rest of the album (and most of what comes before it) remains decidedly tame. It’s as if they’re holding back, afraid to let themselves go. Once you realise this it just gets annoying, and that kind of ruins it really. In a lot of ways this album is very similar to ‘Nymphetamine’, but where that had 'Medusa and Hemlock', 'Gilded Cunt', 'Coffin Fodder' and 'Nemesis', ‘Thornography’ makes do with 'I Am The Thorn', 'Rise of the Pentagram' and 'Under Huntress Moon'. Certainly not rubbish, but ever so slightly disappointing.

Cradle of Filth have everything here for an outstanding album. Everything, perhaps, except the fire. ‘Thornography’ has been made because they thought it should be, rather than because they had to make it. It is by no means a bad album; it is still a very good one…..but sadly it lacks the burning conviction to make it as remarkable as it could be.

5/7

2006-10-19T14:22:00.000-07:00

'THE OPEN DOOR' - EVANESCENCE

Amy Lee has received a lot of flak since Evanescence erupted quite literally from nowhere into the charts, during the summer of 2003. She’s had hassle for the band’s last album ‘Fallen’, for being a moody bitch, for being melodramatic and egocentric both in the portrayal of her own life and the band’s videos, for being so popular and so successful so quickly, for being a despotic control freak, as well for taking so damn long to write this years ‘The Open Door’. But regardless of whether you like her or not, despite what you think of her, one thing is indisputable – she has one truly superb voice! And now that Ben Moody is out of the picture it might also be fair to give her some credit for the quality of Evanescence’s song writing. She might be confined to mildly nu-metallic theatrical balladry, but what she does she does incredibly well. Each of the tracks on this album is immediately accessible, their catchy pop-metal hooks flirting with irresistibly finger-tapping drums. A piano melting so well into the background it’s almost unnoticeable, combined with Amy’s beautifully dark, luscious crooning give it a nice depth – the invitingly blackened puddle that hides what may well be an abyss. The consistency between each track could be construed as a bit samey – certainly ‘Open Door’ is not an album you could listen to in any old mood – but this same consistency also adds greatly to the flow of the album. Each song plays almost seamlessly into the next and before you know it the entire thing has ended, and you’ve lost an hour of your life.

Even the hardest Evanescence critic must be forced to admit that this is a quality album. Put your biased preconceptions aside and give her some slack guys. Amy has worked very hard to produce a record like this, and it is a good record! Give her the credit she’s due.

7/7

2006-10-14T18:35:00.000-07:00

‘NOW, DIABOLICAL’ - SATYRICON

Considering Satyricon comprises only two fulltime members, they make one hell of a racket. For a Satanic black metal band, they are also surprisingly bouncy. Unlike much of the aggressively bleak and hopelessly desolate material that is produced in the name of the dark lord, Satyricon’s lively riffs and stampeding drums produce a sound that is impossibly catchy. Anyone who listens to this album without bopping their head has surely had their spinal cord severed.
It is for this reason – its exceptional accessibility – that ‘Now, Diabolical’ will prove to be an incredibly important album, not only for Satyricon but also for black metal in general. It will open this often impenetrable and ridiculously self-serious style of music kicking and screaming (for better or worse) into the mainstream.

Its significance aside, ‘Now, Diabolical’ is a fantastically composed album; the musicianship is flawless, the sound perfectly balanced, the snarling lyrics so addictive you’ll be singing them all day without even realising it. Until now Satyricon have remained relatively obscure, but this album will undoubtedly change that. A definite contender for Best Album of the Year.

7/7

2006-08-30T01:25:00.000-07:00

‘COME CLARITY’ – IN FLAMES

During their performance at the Download festival 2005, In Flames screamer Anders………….informed the crowd that their new album would most certainly NOT be another ‘Reroute To Remain’. In that he was not wrong. Where their previous smash masterpiece possessed an almost laid back air, ‘Come Clarity’ is a far more intense, urgent record. The shrieks and searing guitars of ‘Take This Life’, ‘Scream’ and ‘Crawling Through Knives’ exude a vehemence that verges on agony. Meanwhile the title track is as close to a lighters-aloft ballad as In Flames are every likely to get, and ‘Vanishing Light’ promises to be an infectious mosh-pit classic.
If you are new to In Flames you could certainly do worse than ‘Come Clarity’. As it stands alone this album is pretty rock solid. If you are an established fan however, you will have likely realised that there is a formula to In Flames and regardless of the album content everything they do still somehow manages sounds the same. This album is no different. If you like In Flames or have never heard them before you will love it. If you don’t you may get a bit bored.

5/7

2006-08-30T01:18:00.001-07:00

'THE POISON’ - BULLET FOR MY VALENTINE

This time last year Bullet won Best British Newcomer at the Kerrang! Awards. After listening to this, their debut album, it is still not clear why. Playing live, Bullet are very very good. They are raw and furious, you can see the sweat and spit flying, and they manage to engage every single person in the audience. They are bona fide born rockstars. But with the polish of production much of this is lost, and this saps the music of its energy and vitality. The music is still often high quality in technical terms, but that by itself does not make a good album.

Unfortunately ‘The Poison’ also suffers from its lack of originality. Nothing here is new.
The chilling tones of opener ‘Intro’ are undeniably beautiful, and this is enhanced by the sudden (if slightly clumsy) explosion into ‘Her Voice Resides’. The result of this may be impressive but any fan of Cradle of Filth, Atreyu or Trivium will have seen this gentle/violent thing before, and to a much greater effect.

The rest of the album, too, is only average. Proficient in musicianship but average in delivery. Bullet For My Valentine are by no means a crap band. The shame is that this album does not do them justice.

4/7

2006-07-03T09:39:00.000-07:00

DISSECTING THE FILTH

Cradle of Filth were formed in 1991 in the unsuspecting and slightly desolate countryside of Essex/Suffolk. Over the years the band has grown not only in number but also in ambition, their sound evolving from raucous clamour well known to many extreme black metal bands, into the astonishingly coherent thundering and beautifully intricate symphonics that makes them so immediately identifiable and unforgettable today. Their gruesome theatrics and gothic imagery give them a unique style that lures their fans into a world that is about more than just the music, making them one of Britian’s best loved and most inspirational metal bands. Over the years their infamy has developed also, and they have toured with Paradise Lost, Cannibal Corpse, Anathema, My Dying Bride, At The Gates, Napalm Death and Slayer as well as festival dates with Dimmu Borgir, In Flames and most recently with Guns 'n' Roses at Download festival 2006.

What follows is a short 'where to start' guide to most (not all) of the musical catalogue, from one of the world's most exciting and important bands.

BUY THIS ALBUM:

Midian - Music For Nations, 2000.

This album is a true masterpiece. A work of art of sheer demonic brilliance. This is Cradle of Filth at their absolute, ferocious, blood-thirsty finest. There are no words to describe the savage malevolence and seething spite that is maintained throughout the duration of this album. Lyrically Midian is simply unsurpassable; Dani is a
poetic genius - never have the subjects of rape, sodomy, necrophilia or bloodlust sounded so exquisite, nor will they ever again. The permanent fixure of Adrian Erlandsson behind the drumkit adds an inhuman gutteral pounding that enhances both the depth and complexity of the music giving it a stunning ferocity. The interplay between dark infernal morbidity, fearsome brutality, haunting symphonic intricacy and moments of operatic beauty make this nothing less than spectacular. This is the definitive Cradle of Filth album. 7/7

BUY THIS ONE NEXT:

Dusk And Her Embrace - Music For Nations, 1996.

Retaining the cacophonous nature of 'Principles of Evil Made Flesh' but less sprawling and with a greater sense of direction and splendour, 'Dusk...' shows Cradle of Filth at their near best. A higher standard of production allows the listener to fully appreciate the immense depth to the music, as well as the impressive level of musicianship. Cradle are finding their own identity and are unwilling to compromise. A greater use of symphonics than on 'Principles...' and the angelic operatics of Sarah Jezebal Deva contrast with Dani's violent screams perfectly, and with their increased focus this album sees Cradle playing to all of their wonderfully morbid strengths. 6/7

THIS IS DAMN GOOD TOO:

Cruelty And The Beast - Music For Nations, 1998.

This epic album, influenced by the life of Countess Elizabeth Bathory, confirms Cradle's position as masters of symphonic brutality whilst also demonstrating the full potential of Dani's poetic abilities. This album undoubtedly contains a fair chunk of their most impressive works but unfortunatly the momentum disappears little over halfway through and although the remainder of the album is by no means rubbish, the potency is needlessly lost and it begins to drag. Slicing two tracks and 13 minutes of playing time, would easily promote 'Cruelty And The Beast' from being an album that is merely bloody good, to one that is exceptional. 6/7

THIS IS A WEIRD ONE:

Nymphetamine - Roadrunner Records, 2004.

To the chagrin of many devoted fans this is Cradle's most accessible effort, and hence also the most commercial. However there is no question as to whether this new direction dulls or diminishes their sound. It could even be argued that it stretches it further. There are admittedly a greater number of 'ballads' (if you could ever dream of calling them that) and on the whole the album does lack the brutally relentless onslaught of 'Midian', but there are also a fair handful of finely crafted sledgehammer tracks that are uncompromisingly in both their ferocity and skill. No matter what you're used to listening to there is no way you could call this a weak album, nor a soft one. Those of us who are not quite so snobby would even dare to say it's one of their best. 7/7

THIS ONE ISN'T BAD EITHER:

The Principles of Evil Made Flesh - Cacophonous Records, 1994.

The low quality of this album makes it a difficult one to get into. Being their earliest properly released album, Cradle of Filth have yet to develop their trademark sound - although there are unmistakeable hints at their future path, the extreme rawness on 'Principles...' is much more reminiscent of bands such as Emporer, Bathory and Dimmu Borgir. There are also far too many instrumentals, and whilst on future albums they give crucial support to the theatrical and dramatic nature of the music, here they just seem to be fleshing out the gaps. The recording volume is low but if you turn this up loud you will discover some great black metal stomps, and although it's still early days there are clear hints at what is to follow. 5/7

THIS IS THE LEAST WORTHY:

Damnation And A Day - Sony Music / Abra Cadaver, 2003.

Concept albums must be incredibly difficult to write, not to mention frustrating - especially one of this length. Perhaps then Cradle of Filth can be forgiven, because it certainly shows. Although 'Damnation And A Day' maintains the merciless aural assault of earlier albums (thanks largely to Adrian Erlandsson's phenomenal drumming) it is also distinctly lifeless. Aside from a smattering of positively spellbinding tunes most are pretty immediately forgettable, and despite some nice special effects and atmospherics much of the album is flat and tuneless. It is a real shame because with a bit of effort and a smidgen more inspiration this could have been a proper corker of an album. As it stands 'Damnation And A Day' remains sadly below par. 4/7

MORE FILTHY STUFF -

Lovecraft and Witch Hearts - Music For Nations, 2001.

Concluding their four year contract with Music For Nations, 'Lovecraft...' is an album of truly epic proportions. For any newcomer or hardcore Filth fan alike, this should be an essential purchase and a treasured part of your CD collection. Containing some of the strongest tracks from perhaps their four finest releases ('Dusk...', 'Cruelty...', 'Midian...' and '...Enslave') as well as a collection of rare and unreleased tracks, re-mixes and covers, this is one album you simply can't do without. But it's not just its content that makes this such a spectacular trophy, for its whole is undeniably far greater than the sum of its parts. It's not the tracks themselves that make this album so incredible, it's the way it's been put together. Play both CD's back to back and a terrifying, grotesque yet beautifully seductive story unfurls. This was the first Cradle album I ever listened to, in the early spring of 2002, and I still find myself completely overwhelmed by it's pure, unadulterated, cruelly hypnotic power. If I had to take just one album with me on my journey into the rest of my life it would be this one. Indeed, if you don't mind missing out on their later stuff, don't even bother making the Ultimate CD that follows, just buy this one. 7/7

FROM THE CRADLE TO ENSLAVE - Music For Nations, 1999.

This E.P. sees Cradle of Filth having reached their terrifyingly formidable, bloody-minded peak. A seething, thunderous sound leaves the screeching of 'Principles...' far behind; this is meatier, heavier, louder, more aggressive, more focused, more experimental and self-assured, more vicious, and ten times more fucking scary! Containing two new head crushing tracks, one fantastic re-mix and two awesome covers, this is more than just a stopgap between albums (and drummers - '....Enslave' features 3 drummers playing on a grand total of only 6 tracks); this record marks the turning point of a band who have discovered their true calling and are determined to tear everything else to ribbons. 7/7

HEAVY LEFT HANDED AND CANDID (DVD) - Abra Cadaver / Worldwidetribe, 2001.

This DVD, encompassing live footage from Nottingham Rock City, a rather strange and mildly amusing tour diary/"shlockumentary", three videos ('Born In A Burial Gown' and 2 edits of 'Scorched Earth Erotica'), and a number of other extras, is really only for besotted hardcore fans. For those who haven't seen the Filth play live then the concert recording is a worthwhile taster of what to expect should you do so. The set-list is an impressive one, containing a fair number of the tracks on the Ultimate Filth CD list below, and the performance more than adequately demonstrates their ability to rock, although Dani's continued efforts to rile an otherwise sedentary crowd get a bit embarrassing after a while. Likewise with his narration between features on the DVD itself, which are just cringy. The videos are an excellent and absorbing insight into Cradle's twisted psyche and are well worth watching, as is the 'Cradle of Fear' trailer. The 'Blair Twit Project' is just pointless and a bit confusing. If you're not a fan of Cradle of Filth then definitely don't buy this because on the whole even if you are a fan you'll find most of it a bit irritating. 4/7

THE ULTIMATE FILTH PLAYLIST

The Forest Whispers My Name (The Principles of Evil Made Flesh) – A ridiculously catchy and unavoidably finger-drummy tune. Varying between borderline sludge to the kind of speed that leaves headbangers with broken necks, this is a regular feature of their live shows - and rightly so!

Summer Dying Fast (The Principles of Evil Made Flesh) – Opens with some funky drum work before Dani launches into one of his infernal screams. Another helplessly catchy tune with a rawness that even the Sex Pistols would be proud of.

Dusk And Her Embrace (Dusk And Her Embrace) – The thundering drum fill opening this song is a magnet to anyone with ears, and then Dani shrieks like the possessed………what follows is an exceptionally piece of music. This has everything you could ask for from a Cradle of Filth song. Fucking superb!

Thirteen Autumns And A Widow (Cruelty And The Beast) – Perhaps not as inventive musically as it could be, this is however one of Dani’s lyrical masterpieces and immensely headbang worthy.

Cruelty Brought Thee Orchids (Cruelty And The Beast) – This too is a poetic work of art, but unlike ‘Thirteen Autums….’ this also has stunning musicianship and a dead catchy tune. This is an outstanding piece of music and easily one of the greatest they’ve ever written.

The Twisted Nails Of Faith (Cruelty And The Beast) – At first this vicious cacophony is almost too painful to listen to, but underneath it all is another incredible (and spectacularly crafted) piece of black metal poetry.

From The Cradle To Enslave (From The Cradle To Enslave) – A deeper sound gives this a brutal rumbling effect that is nothing less that horrifying. The repeated line “this is the end of everything” makes this song a perfect closer to Filth’s live shows. The video is quite good too, if you can get hold of it.

Of Dark Blood And Fucking (From The Cradle To Enslave) – Slayer have covered this live. Says it all really.

Funeral In Carpathia (From The Cradle To Enslave) – Although ‘Funeral…’ features on the ‘Dusk...’ album, the bassier sound on this re-mix increases its depth and intensity tenfold.

Cthulu Dawn (Midian) – By rights the entire Midian album should go on this playlist, but that just seems be a bit lazy. Wittling it down even to five songs is a next to impossible task, but this is one song that must go on any playlist. Chtulu Dawn is an insanely punishing tune about a giant worm sea monster, and is another live favourite. Awesome drum work and perhaps the meatiest, most tangible riffs you’re ever likely to hear.

Saffron’s Curse (Midian) – This song is about necrophilia, and is perhaps one of the most beautiful pieces of poetry ever written.

Lord Abortion (Midian) – This song defies all comprehension. Easily the most vicious and brutally visceral song Cradle of Filth have ever written, Lord Abortion tells the story of a necrophile rapist serial killer. Read the lyrics – pure poetic majesty! Lord Abortion grows on you, and grows……and grows. Note: this song must be listened to VERY FUCKING LOUD!!

Her Ghost In The Fog (Midian) – This is a work of such moving tragedy that even Shakespeare would have been proud of it. Dani’s screams seethe with agony and tortured rage, complimented by Adrian’s phenomenal drumming, a beautifully tinkling piano and Sarah Deva’s sirenic operatics - to stunning effect. A tale of loss, misery and vengeance that is not only brain-mashingly headbangy, but also incredibly stirring.

Tortured Soul Asylum (Midian) – This is another infectiously catchy tune and another great piece of lyrical mastery. You’ll find yourself singing this for weeks afterwards.

For Those Who Died (Lovecraft and Witch Hearts) – At first this tune seems very un-Filthy, but once it gets going you start to realise that it’s actually another fucking good cover – and one that was made for Cradle of Filth. Another thrashy headbanging tune that must be played at full volume!

Amor E Morte (Lovecraft and Witch Hearts) – I’m cheating a bit here, because this is actually another song from the Midian album. Although it’s arguable whether this remix is better or not, it has a primitive unpolished quality that gives it an ethereal and rather disturbing energy that is certainly lacking on the original version.

Dance Macabre (Lovecraft and Witch Hearts) – A weird electro tune that sounds like it shouldn’t really belong on any Filth album, ‘Dance Macabre’ in fact sounds unnervingly good! It takes its inspiration from the ‘Cradle Of Fear’ film and only really makes sense if you’ve seen this (bringing a whole new meaning to the phrase sick room!) Nonetheless, a very dancey tune in all its wonderful twisted morbidity.

Hell Awaits (Lovecraft and Witch Hearts) – This is a Slayer cover and as such completely rocks! But this cover version has a vehemence that greatly adds to its haunting demonic ambience. Get down and worship Satan, innit!

Hallowed Be Thy Name (Lovecraft and Witch Hearts) – This is without a doubt one of the best Iron Maiden tunes ever written, and is perhaps also one of the best covers ever made. Cradle of Filth have managed perfectly to recapture the essential elements of this great song, whilst adding their own unique style – and without completely murdering it! Fucking awesome!

Hurt And Virtue (Damnation And A Day) – This instantly catchy track is probably also the most tuneful from the ‘Damnation…’ album. Simple yet surprisingly heavy. Truly inspired!

Better To Reign In Hell (Damnation And A Day) – Another head-crusher, made all the more effective by the eerie whispered/screeched/whispered lyrics.

Mannequin (Damnation And A Day) – Yet another track of creeping-up-on-you heaviness. Eerie back wailing and the use of other special effects make this a particularly interesting tune. Rock on! This, too, has a video well worth watching.

Gilded Cunt (Nymphetamine) – An awesome album opener, but also a formidable track regardless of its position on a playlist. Scorching guitars and merciless drums immediately grab you and pull you headfirst into a mental moshpit. You can’t help but love this song.

Medusa And Hemlock (Nymphetamine) - The insanely addictive opening of ‘Medusa…’ is a perfect demonstration of how Cradle of Filth combine battering drums and powerful guitars to snare unsuspecting ears, before plunging into a fetid soup of strangely pleasant noise.

Coffin Fodder (Nymphetamine) – Much of the Nymphetamine album is unavoidably moshy, but this is one of the true classics, and also one of the heaviest.

Filthy Little Secret (Nymphetamine) – The face-melting brain-liquifying guitar that opens this track promises crushing riffs of spine-snapping headflinginess. The rest of it does not disappoint.

2006-07-02T09:41:00.000-07:00

‘KARMACODE’ – LACUNA COIL

Lacuna Coil have surfed the European underground metal scene in relative obscurity, with their warm, sunshine-tinged operatic goth. With the release of ‘Comalies’ in 2002, they not only took their first towards worldwide mainstream success with the likes of Nightwish (and the myriad others who were to shortly follow), but they did so with an album of exceptionally high musical and production quality – setting themselves a seemingly impossible goal to beat for any future records. Karmacode shares the same high production levels as Comalies and once again the music is technically brilliant. Andrea Ferro’s growling gives perfect contrast to Cristina Scabbia’s honeyed tones, and her sultry wailing gives the album a distinctive eastern flavour. The guitars provide a wonderfully mellow yet mildly spiced backdrop to this, and whilst Cristiano's drumming does little to mask the sluggish pace of the album it certainly adds a touch of inventiveness. And this is where Karmacode lets itself down. While songs like 'Fragile', 'Our Truth' and 'Closer' are clearly going to be great crowd-movers when played live, they do not really deviate from the same formula - and indeed from the same formula found on Comalies. They are all great songs on their own, but after a while they start to drone a bit. They are just too clean, too nice! At times you just want someone to let out a banshee scream and for the rest of them to erupt into something more energetic, more challenging, more exciting!!! But it never happens, and as the last notes of 'Enjoy The Silence' (which by the way is a fantastic cover) fade away you can't help but feel a little bit cheated. 5/7

2006-06-12T12:39:00.000-07:00

DOWNLOAD FESTIVAL, DONNINGTON PARK, UK.
9, 10, 11 JUNE 2006.

On the 3 hottest days of the year so far, the worlds perhaps best loved metal festival visited British shores once more...........and bludgeons every single person here yet again! With temperatures rising into the 30's and precious little cloud cover, and even less ground cover, merely turning up brought punishment enough. But armed with a bottle of water and a handful of beer tokens I, along with 85,000 other dedicated metal-heads, tried my best not to collapse from heat stroke in the name of rock n roll..............

FRIDAY 9th

Amplifier (Main Stage) - At times a bit like a heavier Nirvana, at other times more akin to a heavier Coldplay. Not too aggressive, but not made of cotton wool either, this was perhaps the perfect band for kicking off the festival. Ideal warming music for a sunny afternoon (5/7).

Throwdown (Snickers Tent) - Throwdown are loud, heavy and also rather good. Even sat at the very back I could hear and enjoy their vicious cacophony. The only thing ruining it was yet another Dimebag Darrel tribute. I don't mean to sound disrespectful but GET OVER IT!!! It's been 18 months since his murder and I'm sick of hearing every band under the sun milking his name because it's the cool thing to do. Despite this irritation, a damn good show. 6/7

Gojira (Snickers Tent) - What the fuck? This is just weird! Slipping from supersonic Deicide-esque death metal to dead) - There is a point where blistering speed and relentless brutality become a blur and make snail sludginess, often within the space of only a few bars, and filling the middle bits with intricate dynamic changes that are just bizarre....there is just no name for music like this and it has to be experienced to be believed. Gojira are headed for great things, if only out of curiosity for their obscure catchiness. The drummer's a bit good too. 7/7

Bleeding Through (Snickers Tent) There is a point where blistering speed and relentless brutality become a blur and the music becomes a bit pointless. Unfortunately BT are creeping dangerously close to this line. But the tent is so jam-packed, who's to complain? Marta is looking slightly out of place wearing what appears to be a wedding dress. 4/7

Soulfly (Main Stage) - Max Cavalera is a god! Taking the best elements of early Sepultura and honing them to a fine and formidable edge, Soulfly rock harder and are more exciting than all the other bands this afternoon, put together! Jagged belched vocals betray their unmistakeable roots (heheheh, yes that pun was intended) but greater musical ability and precision make them far more accessible. Rock the fuck out! 7/7

Coheed and Cambria (Main Stage) - This is the perfect band to listen to if you're building model airplanes or reading fantasy comics, but not for an early evening slot at a metal concert. Awesome musicians undoubtedly, great tunes, and fantastically tight, but not exactly horn-throwingly inspiring. And besides, Claudio Sanchez looks like a poodle. 5/7

InMe (Snickers Tent) - The singer can't sing very well. Musically they're not bad, but unfortunately a song is quite a lot about the vocals. Perhaps it's because they haven't played a show in 6 months. Perhaps it's because his voice hasn't broken yet - he must be about 12. Who knows? Quite possibly the flop of the day. 2/7

Atreyu (Snickers Tent) - Explosive! Fast and brutal (without getting carried away and completely overdoing it!!) and with plenty of Maiden-style riffing, Atreyu play awesomely heavy music that is thoroughly enjoyable and exceedingly moshable. 6/7

Tool (Main Stage) - Wow! Perfect sound, even from the back - which considering the size of the crowd is pretty damn far. Are they only playing here? It looks like they live on that stage! With no visible effort at all, Maynard Keenan commands both stage and crowd, giving the impression he doesn't even realise anyone's watching. The band are wonderfully tight, the dynamics of the music constantly changing, alternating between light and dark, soft and heavy, fast and slow. Combined with a stunning psychadelic video backdrop it's almost impossible to tear your eyes or ears away for even a second. Very good show indeed. Rock on! 6/7

SATURDAY 10th

Down (Main Stage) - The first bass note reverberates around the arena, wobbling beer bellies and unsettling fragile stomachs throughout the crowd. Heavy as a blue whale and with Phil Anselmo's deep throated roar (not to mention his remarkable vocabularily-challeneged eloquence), this makes perfect beer-chugging metal. And for once a Dimebag Darrell tribute that isn't just a pointless ego trip! 6/7 -- QUOTE OF THE FESTIVAL -- "Stop staring at me n' shit" Phil Anselmo, Down

Satyricon (Main Stage) - A sunny Saturday lunchtime is not the optimal time for the forces of darkness to infiltrate mankind and walk upon the face of the earth. But Satyricon don't really seem to care about tradition, their raw and spiteful satanic black metal thunder making it well worth risking skin cancer for. If they are this powerful at midday, what are they like at night? Scary scary thought! 7/7

Sikth (Snickers Tent) - Talk about punishing! I seriously didn't expect this! Even from the bar at the back of this huge tent this was clearly a brilliant performance......ignoring the obscure ramble about Watford, that is. I expected some kind of weird hippyish indie-metal, not this heavy-as-shit blistering racket! Nice one guys! 6/7

Arch Enemy (Main Stage) - It is a well known and accepted fact that Arch Enemy fucking slay, without an ounce of compromise or compassion. Well this afternoon the gusty winds ruined the sound a bit and Daniel Erlandsson was a bit over-excited on the drums, so today they merely bludgeoned enthusiastically. 6/7

Secret Machines (Snickers Tent) - A pleasant crunchy stonery sort of feeling emits from the stage, with a sadly sparse crowd. It's a shame because this is ideal music to sit and sip a cold beer to - a wonderfully deserved respite from heatwave outside. 5/7

Within Temptation (Snickers Tent) - It's astonishing how so few props can be so stunningly effective - with just a couple of foam pillars and some ivy draped over the drumkit, WT somehow manage to convincingly transform the entire tent into a secluded woodland grove. As a frontwoman Sharon den Adel is simply mesmerising. Her voice is just beautiful, and she has a stage presence that is impossible to ignore. The music, too, is incredible. Their ethereal goth airyness, which may at times sound fragile on CD, proves to be some of the most powerful and moving music played all weekend. 7/7

Opeth (Snickers Tent) - You really can't fault Opeth on their music. It has an intricate depth and complexity that is not only bewildering, but also technically perfect. Combined with a quiet confidence that is truly awe-inspiring, they are a band that you have to watch as well as listen to. Unfortunately, the thing about epic voyages of discovery is that they drag on a bit, and it can get a weeny bit tiring for everyone else. 6/7

Killing Joke (Myspace/Gibson Tent) - After a seemingly endless wait - one which almost make me give up completely to go and watch Metallica after all - the Joke wander on stage amid smoke, thundering drums and throbbing guitars. What follows is easily worth the wait. Jaz Coleman flirts briefly with the crowd before clicking into character, and for the next hour and a half stumbles, lucrhes and jolts his way through the performance like a rabid zombie. The atmosphere is so solid you could chew on it. Even from my vantage point, sat on the floor at the farthest reaches of the tent, KJ are nothing less than fantastic. You have to see them to know what I'm talking about. 6/7

SUNDAY 11th

Hatebreed (Main Stage) - I only caught the last half of this short show, but the first half couldn't possibly have been as punishing for the simple reason that there were still people alive in the crowd at the end. Nobody could survive that much brutality! And there is no reason whatsoever for a band this fierce and coherent to be so low on the bill. 6/7 -- STUPID QUOTE OF THE FESTIVAL -- "What is the time? The time is now!" Jamey Jasta, Hatebreed.

Dragonforce (Main Stage) - Okay so Dragonforce play as fast as the say they do, and they are just as energetic on stage as they like to brag. But that whole speed-over-clarity thing is evident again. A football striker doesn't spend his time booting balls aimlessly into the crowd. Sometimes it's better to show some control and direction, and try to aim for goal. Dragonforce are good, but it's difficult to tell how good because I can't bloody hear them! It becomes very tiring trying to listen to song after song of supersonic power-gallop. So much more could be gained from just slowing down a bit. 4/7

From First To Last (Snickers Tent) - Okay yes so I saw FFTL and I'm truly sorry, it won't happen again. But I didn't really have much choice - it was that or sit outside and die from heatstroke. As it happens they're not all that bad, but My Chemical Romance should be checking their copyright, because the only real difference between the two is the make-up . FFTL are another sceny clone and and it's getting really tedious now. Although they're not awful, they're not nearly as good either. Go away please, and stop copying. 3/7

Fightstar (Snickers Tent) - After a slightly worrying start due mainly to sound levels, this set finally explodes into an incredible and completely unexpected storm of jaw-dropping metal. They've been in the news a lot over the past year and a bit, for one reason or another, but from this show two conclusions can be made: 1) Charlie Simpson's eyebrows may be big but they're certainly not ugly. 2) Fightstar kick serious letal arse! A very pleasant surprise........the music I mean, not the eyebrows. 6/7

Aiden (Snickers Tent) - Yet another MCR-alike. But it has to be said they're certainly not the worst of the bunch. In fact they're pretty good. That is probably because rather than just relying on a slight variation in makee-up, they actually have their own unique and morbidly-cheerful style. It's a little bit infectious really. 5/7

Lacuna Coil (Main Stage) - I only caught the last two songs of this set but it sounded pretty damn awesome to me. Mediterranean goth metal may sound a bit of a contradiction in terms, but Cristina Scabbia and chums demonstrate that it does work, and on a spectacularly sunny summer's day such as this, they shine very very brightly indeed. 6/7

Cradle Of Filth (Main Stage) - CoF are, of course, completely brilliant live performers. You wouldn't expect anything less from such an iconic theatrical band. Ironically the hottest and brightest sun of the day emerges at the very moment Dani Filth walks on stage and remains for the entire set, but Cradle shrug this off effortlessly and let rip with a barrage of truly ferocious tunes. The majority of the crowd are here out of mere curiosity and Dani cheerfully slags them off for being boring and for throwing - of all things - apples. The rest of us are happily pummelled into submission and walk away wearing stupid grins and sunburnt noses. 6/7

Guns 'n' Roses (Main Stage) - This is the big one. The one I've been waiting not only the whole weekend for, but the last 15 years besides. And I am not disappointed. This was incredible, simply fucking incredible! Yes there were a few small hiccups, yes Axl stormed off stage in a huff for 10 minutes, and no the guitarist was not Slash - but ignore these minor (and to be fair, not entirely unexpected) glitches and what remains is a show that will go down in history as one of the greatest and most memorable ever, if only in my own mind. Axl is showing his age a bit now but he's got so much charisma it really doesn't matter. He seems chilled out and even happy, and it completely shows in the music. They open the show with a stonking 'Welcome to the Jungle' and play just about every classic G'n'R song worth mentioning including a breathtakingly beautiful 'November Rain', a completely headbang-worthy 'You Could Be Mine', as well as a fair selection of new stuff - showing that there could well be an album out this year after all!!! This show has met and completely annihalated all expectations. Guest appearances from ex-band member Izzy Stradlin as well as Sabastian Bach (of Skid Row) may appear slightly gimmicky to the cynical, but to the G'n'R devotees it adds icing to an already unforgetable experience. Absolutely, tear jerkingly, incredible. And to all those who turned up just to provoke and criticize? Get in the ring, motherfucker. 7/7

2006-04-16T10:48:00.000-07:00

'ARE YOU DEAD YET?' - CHILDREN OF BODOM

Following 2003's 'Hate Crew Deathroll' Children of Bodom have not done themselves any favours. They have a lot to live up to. At the first listen it has to be said that 'Are You Dead Yet?' doesn't quite meet expectations. It is by no means a bad album, or even a mediocre one for that matter, but it does lack the energy and thrill of its predecessor. It is however a bit unfair to judge a new album solely by comparison with a band's last (and perhaps best) work.

On it's own merits 'Are You Dead Yet?' is an undeniable fine album. Alexi Laiho is a guitarist of insane ability, and has the yowling howling screech of a pissed off banshee. The rest of the band aren't exactly crap either. The combined musical skill of this band just cannott be overexaggerated.

'Living Dead Beat' and titletrack 'Are You Dead Yet' kick off the record in a typically fast paced (and surprisingly catchy!) melodic fashion, before disappearing off into a strange world of inconsistent and unpredictable rhythms ('If You Want Peace....Prepare For War'), and what can only be described of as extreme metal ballads ('Punch Me I Bleed'). After this the album finally settles into a weird sort of middleground, with tracks such as 'Bastards of Bodom' and 'We're Not Gonna Fall' containing all the ferocity and fire you'd expect from CoB but lacking the sincerity, and seeming slightly deflated. Like a good wine it improves over time, and it does help if you listen to this on a decent set of super-bass speakers, but of course this shouldn't be necessary. A damn good album yes, but a masterpiece......not really.

4/5

2006-04-16T06:20:00.000-07:00

CHILDREN OF BODOM + One Man Army.
THE ASTORIA, LONDON.
THURSDAY 26th JANUARY, 2006.

Finally lurching into the foyer of the Llondon Astoria after more than an hour queueing in the rain, half-pissed and desperate for a visit to the men's room - not to mention panicking I won't get in at all because I accidentally tore off the ticket stub - this is one gig I am determined to see and enjoy to the fullest. Having relieved myself and re-stocked my beer supply, I race up to the balcony in near-hysterical anticipation for the infernal payload that is about to be unleashed upon our eardrums. Although the place is still only 3/4 full at the moment there is an air of nervous anxiety that could be sliced with a razor.

One Man Army do not fail to impress, proving themselves with chainsaw riffs and a sound that's reminiscent of a city being carpet bombed. But no one is really here to see them and under the appreciative applause lurks an impatient politeness. By the time they leave the stage the Astoria is packed and there is no hope whatsoever of me getting more beer without losing my vantage point. Sacrifices must be made, and I root my feet firmly to the floor.

This is why the rest of the evening is so utterly frustrating and disappointing. I know Children of Bodom are good and it's perfectly clear that there is something very special indeed going on down there..............but the sound is so shite I can barely identify what song they're playing! The keyboards are turned up way too high and consequently drown out any vestige of tune or rhythm that might have existed, while the lead guitar is simply swallowed by the blanket of noise emitting from the speakers. This continues for half an hour, leaving half of the show an incoherent mess. Even when the soundman finally wakes up it does not improve by much - although at least now I can work out what they're playing.

Visually CoB awesome - it's OBVIOUS there is magic going on onstage. Alexi Laiho is not only a spectacular guitarist, but he's also a captivating fronman - it's impossible to take your eyes off him as he dances and struts on the bonnet of a car, flicking his beautiful long blonde hair almost constantly. Meanwhile Jaske (drums) and Janne ( keyboards) add further entertainment as the engage in a drumstick slinging contest. Unfortunately however, visuals alone are not enough for a heavy metal band and especially not one of this calibre. I can see that tonight I am witnessing a truly dazzling show, it's just a shame I can't hear it also.

3/5

2006-04-16T05:24:00.000-07:00

'CURTAIN CALL' - EMINEM

As much as I despise rap, hip-hop and all things chavvy, there is somehting about Eminem that's strangely alluring. After a struggle lasting several years my resolve has finally collapsed and armed with a WHSmith's giftcard (a Christmas present from my Grandparents) I purchases 'Curtain Call - The Hits'.

The ultimate crime has been committed and it has to be said I don't entirely regret it. Whereas most 'hood' music makes me want to rip the flesh from my face, I can listen to this album without wanting to self-harm. Instead of some big dumbfuck wearing a ridiculously oversized fur coat and raving on about bitches, Eminem's lyrics show an intelligence and (yes believe it or not) a maturity that is quite honestly poetic, and surprisingly thought-provoking - the most powerful tracks covering topics such as personal loss, broken families, drug addiction and trying to overcome life's adversities.

Lyrics aside, there is a musical depth that is often spine-tingling. Rather than acting simply as a cool beat and funky rhythm accompaniment, Eminem uses music and sound to create an atmosphere perfectly conveying the emotions of the song. His ability to do this is simply mindblowing - the best examples being 'Loses Yourself' and 'Toy Soldiers'. Not that everything here is serious and heartfelt though. There is a Beastie Boys feel to much of the album (e.g. 'Guilty Conscience and 'Fack') that is quite hilarious, not to mention the compulsory sprinkling of bling and homeys ('Shake That') to satisfy all the badass gangstas.

Whether you like Eminem or not, after listening to this album one thing from this album becomes abundantly clear - this is one exceptionally talented guy, who is capable of producing music that is powerfully evocative yet entertianing, diverse yet impressively accessible. The man is a genius and completely deserves the level of success he's achieved. Go and buy it - RESISTANCE IS FUTILE!

4/5

2006-04-16T05:04:00.000-07:00

'THE ALL-STAR SESSIONS' - ROADRUNNER UNITED

To mark the 25th anniversary of the Roadrunner record label the Roadrunner management team decided to do something a little bit special and a little bit unusual. The idea was simple - select 4 song-writing team captains from Roadrunner’s long and distinguished history, and get them to write a series of heavy-as-shit tunes which would then be performed in their entirety by Roadrunner artists. The result was this: probably one of the finest, not to mention heaviest, metal albums you’ll hear this year. But certainly the most talent-packed.

The line-up alone is a metal-head’s wet dream. The potential for sheer metal punishment is unthinkable! Not forgetting the historical significance - Max Cavalera's howls backed by Robert Flynn and Jordan Whelan’s axe-grinding ; Joey Jordison battering his drums to merry death to the guttural grunts of Glen Benton; or Matt Heafy’s melodic tones accompanied by Dino Cazares beautiful rhythms and Roy Mayorga’s skull-bashing. It’s all here. Some of the greatest names in metal history rocking out together and producing a record of truly epic proportions. The music isn’t bad either. It’s diverse, as you might expect, ranging from seething death metal to almost chart-worthy pop-punk, but there is no lack of skill and this album is far more than just a show of celebrity faces. This will no doubt earn a prized place in any diehard metaller’s CD collection, but for the beginner it offers a superb introduction to some of the mightiest legends in metal history, as well as a fair selection of future legends too. For anyone who cares to listen, this is a great album displaying the awesome capacity to kickass that exists in the world of rock.

For the pure metal-nerds among us, the additional ‘Making of….’ DVD gives an interesting behind-the-scenes with interviews and cuts from recording sessions.

4/5

2006-01-09T07:07:00.000-08:00

ARCH ENEMY + Strapping Young Lad + Throwdown.
THE ASTORIA, LONDON.
THURSDAY 15TH DECEMBER, 2005.

Holy shit! What can I say that will do justice to tonight's performance? The Astoria was built for music like this and for nights like this - if not for tonight alone! First up, Throwdown. It's a wonder this lot are only first on the list. On entering the doors onto the main floor the barrage that hits you is almost enough to knock you over. Powerfully muscular guitars twine with vocals matching the potency and aggression of Corey Taylor, creating a wall of sound that Slipknot would be proud of. Indeed on several occasions it seems they are going to break into 'Only One.' Alas they don't, but as they disappear off stage they leave the crowd, and probably most of London, with no doubt about their might. Never have skinheads looked so cool headbanging!

Although lacking the raw power of Throwdown, Strapping Young Lad more than make up for this with stage presence and entertainment value; and once they get the sound problem sorted out with their keyboard, with a surprising depth and intricacy too - especially for a bunch of old long-haired balding men with rather large beer guts. Not forgetting that they are also heavy as fuck! A fine and deserving support band.

Bathed in blue light, the audience are rapturous. And rightly so, because after a few moments of electric anticipation Arch Enemy explode into action, and then there is nothing but oblivion! Never have I seen a band play like this! EVER! Angela Gossow not only looks fantastic, as she prowls the stage like a lioness leading her pack on the hunt, but she sounds.........she sounds like nothing else on earth! How can she possibly make ver voice do that? Most men couldn't sound like that! The music, too, is amazing. Incredible. Fuck it, there is no word that can adequately describe this. Technically it's outstanding. Talent is something these guys do on their day off. The sound is perfect. The lights....they're not even part of the show - they're part of the music! And thank fuck there are lights because the music is so ferocios if the place had been dark I'd have shat myself.

I have no idea what was on the set-list. I was too shell-shocked to remember most of it. I think 'Dead Eyes Have No Future' and 'My Apocalypse' were in there somewhere, as well as a (relatively speaking) mellow 'Hybrids Of Steel' followed by a truly spectacular drum solo. And of course 'We Will Rise' gave a staggering final climax to the evening. This was electrifying. One of the most moving nights of my life. They said they would rise, they did, and woe betide anyone who gets in their way!

6/5

2005-12-14T09:22:00.000-08:00

'ROSENROT' - RAMMSTEIN

There is something about Rammstein's music that is immediately likeable. Almost infectious, and certainly unforgettable. Although not as fiery and explosive as their previous albums, 'Rosenrot' is no different. From open to close the trademark chugging of guitar and drums rolls overhead like a battalion of tanks, while Flake's keyboard swoops and swirls eerily, luring the listener ever closer. Till Lindemann, switching from grandfatherly master story-teller to pit-of-the-stomach bellowing baritone with no effort at all, tempts us with lyrics that most of us will never understand. And that is the beauty of Rammstein! It doesn't matter that we don't understand the words because it just adds to the magic and mystery of it all, and above all else it sounds fucking awesome!

After a break of several years, 'Rosenrot' is Rammstein's second studio album within the space of a year. By their own admission it is composed at least partially of leftover tracks from their last release 'Reise Reise'. But if you're expecting crappy off-cuts and last-minute hashes that have been thrown together to milk their recent reappearance, you'd be shamefully mistaken. 'Rosenrot' is a complete and powerful album in it's own right. The opener 'Benzin' oozes potency and will likely to go down as a classic. The title-track probably won't be far behind. Surprisingly, even 'Stirb Nicht Vor Mir (Don't Die Before Me)', sung as a duet with Texas frontwoman Sharleen Spiteri - the very idea of which sounds ludicrous - works beautifully......despite the fact that it sounds suspiciously like a re-write of Tristania's 'Shadowman.' This will be a stonker if they play it live!

The oddball of the album, 'Te Quiero Puta', sung in Spanish and accompanied with a ridiculous Spanish guitars, is the only disappointment. But even here, there is a feeling that they're just pissing about with us.

There have been stonger Rammstein albums, and this may not have the oomph that is by now expected from them, but this is yet another quality record from a great band. And let's face it, anyone who can sing about petrol and make it exciting has GOT to be worth a few quid!

4/5

2005-12-05T06:08:00.000-08:00

CRADLE OF FILTH
+ Cathedral + Octavia Sperati.
The Forum, London.
Saturday 3rd December, 2005.

Unfortunately, due to the doors opening slightly later than expected, the all-female metallers Octavia Sperati had finished before most people made it inside. If they were as bad as Cathedral this is definitely a good thing - but I seriously doubt it. Nobody could be this bad! And quite frankly, there's no excuse for it. It may be only the third date on the tour, and the poor sound quality may have been working against them, but there is just no excuse for a performance this bad. The music was flat and lifeless. The singing (if you can call it that) was tuneless and one-dimensional. In fact it's debatable whether Lee Dorrian has even heard the term 'stage-presence', let alone knows understands its meaning. His idea of 'entertainment' seemed to be spreading his arms into the shape of a cross and shoving the microphone into his mouth to make stupid groaning noises. He just comes across as bored and completely uninterested in being there - either that or complacent enough to think that simply turning up deserves ecstatic applause. Whichever the case, it seems exeedingly ungrateful and childish considering the headliners. You'd think that ANY band supporting Cradle of Filth would shit themselves and play their arse off. You certainly wouldn't expect them to spend their time fucking around with the microphone.

The only respite from this pile of tripe comes with favourite, 'Hopkins (Witchfinder General)'. They throw themselves into this with just about everything they have and disappear off stage with at least reason to be proud. Why they saved it for the last song is beyond comprehension, especially since it is well within their ability to destroy venues like this.

After that dire performance it is up to the headliners to make amends. Of course, if there's anyone who could rescue this evening it's Cradle of Filth. They're not the biggest British metal band for no reason! And rescue us they do. Opening with the eerie orchestral chanting of Satyriasis before erupting into the formidable and scarily catchy hellfire of 'Gilded C*nt'. The first 20 minutes offer an almost ceaseless barrage of explosive power as they storm their way through the spine-tingling 'Medusa and Hemlock', 'the punishing brutality of 'Cthulhu Dawn', and the hideously enchanting 'Born In A Burial Gown'. Scorching guitars deliver an onslaught that's almost tangible - the riffs forcing their way into your mouth down your throat! Meanwhile Adrian Erlandson must surely be a demon in human form on the drums. How can anybody play so fast and so hard, for so long? Amid this infernal cacophany Dani Filth, wearing what looks like an over-sized loin cloth (thankfully he's hiding his belly this time with a leather corset) leaps around the stage, repeatedly ejecting his innards as he screams, howls, roars and grunts his way through the set list - demonstrating almost beyond a doubt that he has the most impressive vocal range of any man alive. All the while, trolls or gargoyles (or whatever it is they're supposed to be) roam the stage, clambering over monitors, risers and scaffolding.

The sound is still far from perfect, making some of the tracks difficult to identify at times, and also obscuring some of the more subtle and intricate parts - this is a real shame because aside fromthe theatrics this is what make Cradle of Filth such a unique and exciting band. But if they are actually aware of this, they simply make up for it by playing harder - like men possessed by the Satan himself! It doesn't seem to bother the crowd either, and mosh-pits ignite spontaneously throughout the show.

Despite the disappointing start to the evening, and the slightly disorientated trapeze acrobat during 'Nymphetamine', Cradle of Filth proved once again that they are the masters of extreme metal, and they put on a performance tonight that more than paid for any misgivings. They are a truly awesome band, and to see them live is something extraordinary.

4/5

2005-12-01T08:49:00.000-08:00

'X & Y' - COLDPLAY

It's been 3 years since the release of 2002's 'A Rush of Blood to the Head' and this time has seen Chris Martin and friends trooping off into the rainforests in an attempt to save the world. Well, it still seems to be here and as far as I can tell we're all in one piece, so I guess they've been fairly successful. Unfortunately their music has taken a bit of a backseat. In fact, it's debatable whether Coldplay are best known for their music or just for their campaign to promote Fair Trade products.
Whatever the case may be, it seems that all the fresh air has done them some good: this is unmistakeable Coldplay, but it's also somehow......different. There are the still the same droney (sometimes whiney) vocals, still the same dreary bleak musical accompaniment, and the same steady (bordering on monotonous) rhythm - but this time round the sound is also fuller, deeper. It has atmosphere. You can almost feel yourself surrounded by tall trees, with only a glimps of the blue sky above you. There is, on some tracks, even a subtle sense of hope ('White Shadow', 'Talk', 'Speed of Sound'). The effect is quite remarkable. 'X and Y' is both relaxing and reassuing. It's the kind of album you're supposed to have memories to. Memories of moving house, finishing school or leaving university - memories of moving on - sad, but also hopeful. This album manages to capture exactly these feelings, the feelings that mark the most important moments in a person's life. For this very reason, if for nothing else, 'X and Y' is a great album. It makes you feel good. It makes you feel warm and fuzzy inside. And that is what music is supposed to do!

A lot of people don't like Coldplay. And if I'm completely honest (given my description of their music in the first paragraph) I can see why - although I don't agree with them. I happen to like Coldplay a lot . And it may only be my humble opinion, but this is their best album yet!

5/5

2005-11-18T14:30:00.000-08:00

'BILLY TALENT' - BILLY TALENT

In the vain of Bowling for Soup, this album is a superb attempt to inject a bit of fun into the world through the medium of music - this is an example of pop-punk that is actually worth listening to. And what's more, regardless of the mood you're in you can guarantee on feeling better by the end!

The sound is minimal but well produced and, is remarkably tight but without losing any of its personality. Combining a nicely hidden but ever-present melody with a Used-style heaviness this makes for wonderfully pleasant listening.

Lyrically, too, this album is a gem - you can't make out all of the words of courses (when can you nowadays?), but those you can hear are priceless: "There's nothing to lose/ When noone knows your name/ There's nothing to gain/ My notebook will explain" being one such example, from Nothing To Lose. Paradoxically the 'fun'-ness of this album covers many dark and painful subjects - songs titles Lies, The Ex, Living In The Shadows and Voices Of Violence hint at a deeper, less cheery interior than the casual listener may realise.

The end product is a perfectly balanced album that is a pleasure to listen to, and at times is nothing short of beautiful.

4/5

2005-11-18T14:03:00.000-08:00

'MANDYLION' - THE GATHERING

This album could be interperated in one of two ways: either The Gathering are an innovative and musically talented band who are simply trying too hard, or they are woefully misguided in their sense of timing and tunefulness. The third option, of coures, is that they're just plain crap. However, it seems fair to say that The Gathering are most certainly not crap. It is clear when listening to Mandylion that there is a lot of talent here. Unfortunately there is a nagging feeling throughout that they are just trying to be clever - constantly adding 'cool' bits to what would otherwise be, with a bit of effort, perfectly good songs. The result is that what could have been an interesting and stimulating album is in fact skin-crawlingly irritating, and at times just downright abrasive.

True, Mandylion is experimental and you can't fault them for trying, and there is no doubt whatsoever that there is a musical leviathan lurking just out of sight beneath the waves; but at the moment it appears to be too busy gazing at itself in the mirrow and doing its hair, to notice the fleet of passenger ships sailing past behind it, filled with tasty young maidens.

Darker and heavier that you might expect, with an element of sludgy doomness and an almost subliminal touch of mechanised industrial clanking thrown in (most notably on the opener Strange Machines), Mandylion demonstrates The Gathering's undeniable potenty. But unfortunately their energies on here are directed in slightly the wrong direction. If you want inspiring but unobtrusive background music, then Mandylion is ideal. On the other hand, if you are looking for an album that you actually want to listen to, you'll find this cringe-inducing to the point of painfulness.

3/5

2005-11-01T11:48:00.000-08:00

'VELVET DARKNESS THEY FEAR' - THEATRE OF TRAGEDY

This album opens with the tinkling of a beautifully haunting piano score and the breathtakingly hypnotic tones of a siren, igniting the atmosphere perfectly for what you'd expect to be one of the classic gothic metal albums of all time. First impressions however, can of course be deceptive. While the vocals and piano remain truly magnificent throughout these are clearly Theatre Of Tragedy's only strength. Unfortunately (and I really do mean that, because I really really wanted to be blown away by this album) there is nothing else particularly spectacular on here at all. True, the first 3 or 4 tracks show some promise, but this sort of just drians away and it all gets very boring very quickly.
The sound is flat, the songs are played at that confusing pace where they aren't slow enough to be mournful or depressing, nor fast enough to be arousing or inspiring. After a while it just gets annoying. Musically, too, this is disappointing. There are no raging guitars, and to be honest the majority of the drumming could be played by a 5-year old.

Compounding this is the distinct lack of imagination and passion - the album is so exasperating uniform and monotone that it's almost unbearable. And boy does it go on!!! It seems like it's never going to end! At just over 50 minutes it's not a long album by any stretch, but after the first half hour I was practically comatose.

I really tried to like this album. I wanted to. But I just couldn't do it. Besides the stonker 'Bring Forth Ye Shadow, and the stunning vocals/piano which are present throughout (and even these get boring after 20 minutes or so) there is nothing here to get excited about at all. I tried, I really did, but I'm afraid I just don't have that much patience.

2/5

2005-10-16T17:40:00.000-07:00

'BOYHITSCAR' - BOY HITS CAR

What the fuck is this! Why have I not heard of this band before? This is awesome!
The opening, a strummed guitar and bongos, immediately fills the listener with a sense of power and dark foreboding that is quite unsettling......whispered vocals and softly spoken words that can barely be made out make the heartbeat quicken in anticipation and what can only be described as mild terror............and then............BOOOOM! They explode into with a barrage of sound that is instantly infectious and unavoidably headbang-worthy. And this continues for the entire album!!! Each song grips the listener with its quietly seething, frenetic noise - you can literally feel the nervous anxiety in the quietly strained vocals, before all hell is let loose in a frenzy of rage and fury. This is one of those albums that you can't possibly appreciate fully unless it's played really loud!.

Louis Lenard (guitar), Scott Menville (bass) and Michae Ferrari (drums) play their instruments superbly well, but it's CRegg's vocals that make this album what it is - the air bristles with vicious, almost unhinged angst. The result is not unlike that electrifying moment before a lightning strike.
The sound itself is interesting. Boy Hits Car sound like a fucked up Bare Naked Ladies, with a sibtle but distinctive oriental undertone. It's not obscure as you'd first think, and it works surprisingly well. The use of several non-conventional instruments (bongo? ukelele? flute? glockenspiel? pan-pipes? who knows?) adds a fantastically novel twist, and definitely enhances their sound.

At just over 43 minutes this album ends far too quickly. I could listen to this on continuous repeat, for 2 or 3 hours. For anyone who is bored of the desperate, and frannkly quite sickening excuses for punk rock these days, ive this a whirl. But be warned: you won't want to put it down.

5/5

2005-10-16T16:47:00.000-07:00

'WYTCHES AND VAMPYRES - THE BEST OF' - INKUBUS SUKKUBUS

Having never heard of this band before I wasn't completely sure what to expect. Supposedly one of the earliest true goth bands I was expecting something dark and morbid, a bit orchestral and perhaps with a tad of heaviness - maybe something like The Cure crossed with Metallica. So therefore the last thing I was expecting was this!. I can honestly think of no other musical analogy than Bonnie Tyler. Indeed, regardless of how many times I listen to 'Wytches...' I STILL expect to hear Holding Out For A Hero to come on next. It is uncanny.
But despite my initial disappointment, this is not to be taken as a dig. This band is most certainly gothic and it is most certainly dark, but you have to listen for it - it is not immediately obvious, and as such it would be futile and pointless to compare Inkubus Sukkubus to modern goth bands like Evanescence or Lacuna Coil.

Wytches and Vampyres is a difficult album to describe. It's almost has a sould, rather than a sound. Underneath the distinctive and 80's soft-rock/pop exterior lurks a blood-lusting wraith, luring the unsuspecting listener closer, closer, into the shadows............until you suddenly realise you've been completely enveloped - no, consumed - by darkness. And what's more, you're actually enjoying it! It's exhilirating, and oddly self-indulgent - you feel alive, but more than that - you feel alive like only the undead could ever feel it! There is also that strange craving for blood.....

None of the tracks on this album would be out of place on a teen-movie soundtrack or an advert for a sleek family car. But that doesn't matter in the slightest because once the pop hooks have sunk their way deep into your flesh, and you've been rendered all-but powerless by Candia Ridley's seductive voice, you'll find yourself in strangely appealing world of vampyres and daemons that you'll be unable (and unwilling) to escape from.

5/5

2005-10-10T13:21:00.000-07:00

'GHOST REVERIES' OPETH

On listening to the opening tracks of Ghost Reveries, my first thoughts were of a female-less Tristania. And to be honest, my opinion didn't really change throughout. This album is not another blackwater Park. But it is clearly Opeth. The delicately plucked and strummed guitars, the technically perfect (almost mathematical) drumming, the spoken and often near-whispered vocals which suddenly plunge into a inhuman growls; the sheer epic adventurousness of the songs - all making this unmistakeably an Opeth record.

Perhaps the most amazing thing about Opeth is their fearless ability to turn everything into a mammoth odyssey. This album is almost 67 minutes in length, and with 8 tracks, the average length of each is over 8 minutes. Four of these are over 10 minutes,a nd one is edging towards 12. Listening to this album is like embarking on a journey into someone else's nightmare - a marathon trek through a haunted wasteland. Unfortunately, like most expeditions, things do get a bit monotonous and trying after a while. But you're in it for the distance, and you know that you just have to grit your teeth and get on with it. And by the time you've endured it to the end you realise that you've actually quite enjoyed it.

If you're a dedicated Opeth fanatic you'll undoubtedly love this album from the start, and you probably don't need to read this review. Newcomers and novices may need to be patient and give it a little more time. It is complicated, head-screwing stuff, and it needs concentration; at first anyway. They may not be a household name - they require far too much work for that - but Opeth are kick ass band, and ghost Reveries is another kick ass album which demonstrates clearly that you don't have to be world famous to be fucking huge.

2005-10-04T12:37:00.000-07:00

'DARK LIGHT' - HIM

Dark Light. Dark. Light. Dark-Light. Say it to yourself. Dark Light. That name sums up this album so perfectly. Ville Valo's distinctive and powerful crooning of heartbreak and loss, set against a background of gloomy yet surprisingly up-beat and invigorating metal, makes this title particularly apt. This is clearly a HIM album - the sound is unique and unmistakeable. More subdued than 2003's 'Love Metal' but more energetic and stimulating than 'Razorblade Romance', this album plays ballards and nothing but - however these ballads ROCK!!!
The powerfully desolate 'Rip Out The Wings Of A Butterfly' etches itself into your brain immediately, and you'll be singing the chorus for days afterwards; whilst Killing Loneliness just makes you want to get up and dance.

Each track soothes and excites at the simultaneously and in equal parts, leaving the listening feeling both depressed and cheerful, morbid and uplifted - and oddly schizophrenic - at once. There is also remarkable constancy throughout. Each song flows into the next without any wince-inducing mood or tempo-jumps, and it is surprisingly calming and addictive. By the time the final echoes of In The Nightside Of Eden have faded away, all you'll want to do is listen to the whole thing all over again.

It is difficult to find fault with Dark Light. But why anyone would want to is beyond me anyway. It is only my opinion, but this may be HIM's best album yet.

4/5

2005-10-04T11:51:00.000-07:00

NIGHTWISH
+ Paradise Lost.
Hammersmith Apollo.
Sunday September 25th, 2005.

The Apollo is a big venue. Tonight it was close to being packed out. Playing in a venue this size when, barely 18 months ago, Nightwish were all but unknown in the UK is a very brave, and surely a sign of something special.

But first things first - the support band. I have only one Paradise Lost album, and it has to be said that it's not one of the favourites in my cd collection. I wasn't expecting very much tonight. However, this album was released in 1991 and it seems that things have changed considerably since then. Imagine In Flames crossed with HIM, but hailing from England, and you have something resembling Paradise Lost. Impressively powerful vocals and a blanket of audible melodic darkness make for a welcome support slot. I was impressed.

Nightwish, as predicted, are amazing. With a full lighting rig and a generous helping of flame and explosion, an already great performance is made even more exciting and enjoyable. Opening with regular crowd-thriller Dark Chest Of Wonders and everyone is instantly hooked, only to be sucked deeper as the light-speed pounding of Planet Hell is unleashed. After this, all resistance is futile, and the Apollo is lost in captivated wonder as a simply breathtaking Ever Dream follows.

As the hits are fired off one after another (Wishmaster, Nemo, Century Child, and an impressive cover of Pink Floyd's High Hopes as well as classic Phantom Of The Opera), it is clear that Nightwish are loving every second of this. Their enthusiasm shines, but so does their musical ability and rock star quality: Tarja's voice is astonishingly powerful - the voice of an angel. Tuomos, wearing a stetson and attacking his keyboards as if he's trying to kill them, must have made every single person in that place suddenly want to take up the piano. Emppu, constantly at the front of the stage, incites the crowd even further with his effortless rock 'n' roll charisma. Jukka, on the other hand, takes after Tuomos and tries to batter his drumkit to pieces as if it's some kind of dangerous wild animal. Marco both looks and shrieks like a lunatic.

Despite the first small signs of tedium creeping into their performace towards the end (they've been touring 2004's 'Once' for well over a year now) it is clear that Nightwish wanted to be here tonight, they wanted to play and they wanted to make several thousand people go beserk to their operatic metal pomposity. This is not their best performance but it was a damn fine one, and as the air is suddenly filled with clouds of red and white ribbon to the closing Ghost Love Score and Wish I Had An Angel, you know that they have done just that - and in true style. Anyone here tonight who wasn't a Nightwish already, is almost certainly one now.

4/5

2005-10-03T13:33:00.000-07:00

'DOOMSDAY MACHINE' - ARCH ENEMY

Right from the outset, you can tell this album is going to be huge. And it is. Without the shadow of a doubt. From the very first blood-chilling and quietly menacing opening notes of the intro track 'Enter The Machine', there is a looming feeling that this is going to rip your face off. And you would not be wrong. Unlike the often dull sludginess of most extreme metal bands, Arch Enemy offer constant thrills and racing excitement. They play fast, howling metal that is capable of stripping walls. Their originality and immense musical talents are evident throughout - each track is a cacophany of shredding riffs, uber-Maiden style guitar solos, and immaculate drumming, whilst Angela Gossow's vocals sound like a car door being scraped along the wall of a very wide tunnel at 70mph. But beneath all the aggression are are continual time changes and beautifully intricate melody. This contrast makes DoomsdayMachine perhaps more accessible and commercial than their last full album (Anthems of Rebellion), but don't be fooled by that because although it is generally catchier and more addictive, it is also at times far more savage - this is most certainly NOT a pop record!

The only down point for me is the slightly irritating "Hybrids of Steel". After monsters "Nemesis" and "Carry the Cross" this 80's tinged instrumental seems not only a bit out of place, but also somewhat mastubatory - far too much wah-wah and widdle for apparently just the sake of it. Thankfully this is more than rectified with the monumental closer "Slaves of Yesterday".

This album does indeed rip your face off. But it does not stop there - it then feeds it back to you smothered in Tobasco sauce. I would not be at all surprised or upset if Doomsday Machine won a Best Album Of The Year award. It certainly has the potential.

5/5

2005-09-19T02:18:00.000-07:00

Here is a taste of things to come. This is a short letter that was recently published in Kerrang (K1074, 19/09/05):

LOVE LIKE BLOOD
I was one of the 'little sperms' that Jaz Coleman was referring to in Kerrang a couple of weeks ago, when Killing Joke supported Motley Crue earlier this year. I was born in 1978. That makes me 27 years old. I don't remember Killing Joke the first time round. I was introduced to them about 2 years ago whilst reading Dave Grohl's autobiograghy, and then buying their 2003 album 'Killing Joke' as a result of a Kerrang review. I saw them on that tour in the Birmingham NEC and I was totally blown away. They were absolutely incredible. They completely destroyed Motley crue, who were mediocre at best and beneath all their circus shenanigans were little more than tiresome. If I'd gone home without seeing the Crue I'd have been more than happy. If anything, I think they ruined the evening.

If there was a reason I wasn't bouncing round like a lunatic, it's because I was transfixed as Mr Colemas - dressed in a boiler suit and looking like a lunatic, it's because I was transfixed as Mr Coleman - dressed in a boiler suit and booking like a psychotic corpse - marched and staggered and lurched round the stage like a zombie. With far simpler effects, vastly superior music and almost no interaction with the crowd, Killing Joke were simply overwhelming. I'm glad that now I'm a slightly bigger sperm, I'll get the chance to see them again.

If you would like to view the other site I am involved with, click here:
http://grapecheese.blogspot.com/2005/09/grapes.html

2005-09-18T16:59:00.000-07:00

Hello. I am new here, and this is my first blog. I am currently under the influence of caffiene, and in my hyperness I've been inspired by the blog of a friend to do my own. It appears we both share an interest in music, and an overwhelming desire to inflict our opinions upon the world. So this will be the sewage pipe of my diseased and less-than-wholesome soul, through which I will spill the filth concerning the various gigs and albums I waste my money on.

The novelty will probably wear off after I post this and I won't write another thing, but I guess we'll just have to wait and see.

For those who are interested this is the site that got me excited in the first place:

http://jonathan-d.blogspot.com/

There's nothing much else to write about now, and my caffiene high is starting to wear off so this might be an ideal opportunity to try getting some proper work done.