Well, you may have noticed the advance review of the album last issue. This here is the first single, a weird concept for Cruz. But "Dot" is one of the stronger tracks on the album, and the two b-sides, a strange run-through of Johnny Cash's "Boy Named Sue" (let's see how many issues in a row I can mention the man in black in a review) and "Can't Say."

By the way, the man in black is NOT Jerry Glanville. Get yer heds out of yer asses. Right. Well, as the full album is due in about a month, just relax and enjoy some new ALL.

Featuring an ex-member of Death, Chris Reifert (and what American death metal band doesn't sport an old Chuck Schuldiner cohort these days?), Autopsy carves a six-song ep out of grunge and traditional grind core sensibilities. Kinda starts to sound repetitive after a while.

If there is one particular shining point, however, it is the strong, not overblown, drumming of Reifert. If he gave up on the vocals and concentrated on the skins, he might really be doing something.

While this is their first U.S. ep after two European albums, I still have the feeling this is just the first volley in a work-in-progress. With some improvement (and cleaning up of the sound), Autopsy could really be something.

Your first taste of the new sound of Chemical People. Now, my station got serviced with Soundtracks instead of this, and I must say I don't mind one bit. If you haven't gotten that yet, call Ron up and ask him why.

But back to this single. This would have competed for Top 40 space back in the mid-seventies when cool riffs and horns were all the rage. Not to call this retro-nuevo or anything like that. I like it a ton. Very reminiscent of other power-pop bands like the Young Fresh Fellows, the Connells and stuff like that.

On the flip, I like the acoustic version of "Mid Air" better than the actual album version. Dig in.

"Darkthrone plays unholy black metal exclusively." That's what the end of the liners says. And when they aren't going for the world speed record, they sound great. The "Satanic poetry and haunting chants" are the best part of the album. But when they keep it slow(er) and simple(r), they really excel. When they speed it up a lot, they sound rather generic.

Cruise through this disc. There are some truly inspired moments. The opening of the album does have a Warrior Soul-like quality, but most of the rest of the thing ignores that stuff. Hey, if you're looking for pretty weird, possibly satanic, lyrics and cool music, this is the place.

If Seattle-style grunginess is the monster musical force that it seems destined to become, then it needs a father figure. A godfather. And who better than Jack Endino, who seems to have produced at least one thing or another for every band in the area. And he hasn't let up, even with the royalties he must be scoring of of "Bleach".

This is basically another solo outing for the master of the knobs. And it wanders around just like that album did. Very guitar oriented, but then, should that surprise you? I think not.There is a little more motion in the songs, showing the new-found pop sensibility that is sweeping Seattle. You don't have to pound it into their heads any more, folks!

Jack Endino would have earned a spot int he Seattle Hall of Fame for his work in Skin Yard. And now that he and Shimmy-guru Kramer are THE hot producer properties around (rumors from Guns `N' Roses to U2 to Public Enemy), he has the power and prestige to pick and choose. And he chooses to spend more hours in the booth than I have spent in five years of college classes. Very cool. Listen. And enjoy.

After digging through all of those FLA side projects looking for any sign of what the new album would sound like, Bill and Rhys finally get the first track out.

"Mindphaser" reminds me of NIN a bit much. But it would be hard to put out a catchy industrial dance tune and not do that, I suppose. Pretty Hate Machine has just taken over Greektown (you know, BMWz N the 'hood) only two-plus years after its release. They still play the shit way too much at clubs around here.

So, do yourself a favor and play this instead when a listener wants to hear Trent the wonder boy. And don't forget to cruise the two b-sides. They're more aggressive and harsher than the single.

Commercial enough to get some play on KSHE in St. Louis, Midnightmare's sound wanders around the Queensryche/Maiden lines with solid guitar work and strong melodic vocals.

The production is rather muddy, but a follow-up full-length album is promised soon, so perhaps that problem will be rectified. The band has also changed its line-up substantically, so any new recordings would be rather interesting.

If you only listened to the title track, you would be blown away. Of course, there are only three songs, and the last two just don't measure up. For one, that cool violin is almost nowhere to be found. And the vocals seem a bit forced.

But let's compare those two tracks with other death metal. (time lapse) Not bad at all. I really hope these folk record a full album soon, because this, especially the Symphonaire, is pretty keen. And as you know, keen is right up there with fuckin' awesome.

I'll start this one like a recent review of another R/C band. I've never been a real Obituary fan. But (note the difference) I really like The End Complete. Taking a cue from their European counterparts, Obituary slows it up a little. Yes, there is enunciating going on here! Not just your traditional driving -off-a-cliff Floridian sound. Scott Burns returns to help the band behind the board, and the sound is very clean, yet aggressive.

Three years ago, Obituary broke new ground with a rookie named Scott Burns handling production. Their second album was just a pale rehash. But this represents a step forward for their sound, although not a redefinition of death metal itself. Creating a new musical direction is tough to accomplish once, much less twice or more in a career, so let's not lambast the band for a less than trend-setting performance.

But this is the best I've heard out of Florida , so griping would be done. This is the most eagerly awaited death metal album of the year. It fulfills expectations, and even exceeds them a little. Now, if you could say that about every release...