Also known as the black metal side of Hypocrisy. The guys switch instrument and singing assignments and plow ahead as if nothing unusual is happening.

But, of course, The Abyss is that unusual black metal band that actually sounds great. The guys can play, and the songs sound like they've actually been written and not merely tossed off a wanky Casio.

Sure, other bands like Emperor can make the same claim, but my main problem with a lot of black metal is that there is little musical creativity. Not to mention the weak production that tends to turn a lot of bands' albums to mush. The Abyss had the money and the know-how to create a lush black metal atmosphere, one that is worthy of the title.

As this and the last Abyss release prove, no musical movement is completely bereft of talent and innovation. The Abyss is certainly at the head of the class in black metal, even if the band is merely the more extreme version of one of the more venerable death metal acts around. Set your weapons to "kill"!

Personally, I think the Futurist folks have done Anathema a disservice. Each of the bands three albums have been released at the same time as My Dying Bride's latest. The first time, I figured it might help an obviously talented band get along. But three times is no coincidence, and for better or worse, people will compare the two bands' albums.

An no matter how good Anathema is, My Dying Bride isn't the sort of act to let its guard down. So Anathema gets slotted into the step-child slot. I mean, there aren't many gothic doom metal bands around, and there aren't any who have matched the two I've been talking about. And as much as I'd like to differentiate, you can read my words and see what a problem that's been.

Eternity is miles beyond past Anathema experiences. The music is much more crafted and subtle, relying less on distortion and brute strength and instead gravitating toward a more ethereal sound. Not unlike what Tiamat has done. Yeah, there's a Pink Floyd cover (duh), but even so, Anathema has easily crafted its strongest album ever.

A pure joy to hear. You can hear all the time and care the band and producer spent on this effort, and not a sou was wasted. Yeah, it might pale just a bit next to MDB, but hell, man, try to get past that unfortunate marketing ploy.

One of the better puns I've seen in a while, but after that buildup, I'm kinda disappointed in the music.

Rambling, disjointed and noisy pop music. I'm sure the guys meant to do or say something, but I have no idea what it is. Well, say is a bit strong, as there isn't any singing as such, though on "Walkie Talkie" (the a-side) there is some unintelligible "gibberish" (that's what the liners call it, not me).

The music is fair, but I must admit I was hoping for something more than plodding waves of distorted bass and guitar. Incoherence can be a virtue, but not when it doesn't lead anywhere.

See what I mean?

One of the reasons I dreaded moving to the Tampa Bay area a few years back was that my honest opinion of local bands wouldn't go over too well with said acts.

Luckily, most local "extreme" metal acts (apparently this whole "death metal" title is way passe, kinda like the goth/darkwave brouhaha) have put out fairly good albums while I've lived here.

And while this is certainly one of the better Brutality albums, that doesn't make it terribly good. For once, though, the playing and production are top notch, which inevitably leads to closer scrutiny of the actual songs themselves.

There Brutality falls well short of the mark. The songs are cliche ridden, full of cascading riffs and double bass drum work. Sure, this might have been interesting ten years ago, but we've heard it all by now. Brutality wants to thrash along as a classic death metal band, and that's alright by me. But the guys need to figure out how to mutate their sound beyond the ordinary.

The second of the Futurist goth-doom triple header. I know the folks at the label (not to mention a few people elsewhere) have been excited about this release for ages. With good reason, of course.

The similarities between black metal and goth music should be obvious to even the most inattentive fan, and Cradle of Filth goes all-out, merging those two styles with classic Euro-metal, doomier stuff and, of course, the monstrous riffage capabilities of death metal. Wildly creative, utterly anarchic in song structure and style, only the brave will survive this onslaught of musical mutilation.

Of course, it's damned impressive. Orchestral, vile, moody and absolutely malevolent. Dead Can Dance on a cocktail of PCP and crank, with a pineal gland thrown in for the hell of it. The awesome, full sound of atmospheric gothic metal coupled with the unbridled viciousness of the extreme. Truly, music to murder by. And that's in the lighter moments.

All are powerless before Cradle of Filth. The disc lurches from song to song, not allowing a thought in edgewise from the listener. Music like this is all-consuming, with a power that is almost unimaginable. Turning up the volume reveals more texture and nuance, improving the effect (as if that seems possible).

An exquisite symphony of damnation. The beauty of darkness and night revealed to all. You do well to fear the dark side; it will capture your soul.

Lo-fi, high energy punk. Thirty-two songs in 69 minutes. Now, that's punk (flash to a model in a skimpy outfit with shiny teeth, holding up the CD). Or something like that.

The playing is rather sloppy, and the recording wisely compliments this attribute. The whole thing is damned noisy and at times incoherent, but the songs are catchy and funny (titles like "Stop Me Before I Fuck Again" and "Shittin' in Tall Cotton" help to keep that impression going). Nothing to complain about.

This stuff would go real well with that Dr. Bob's Nightmare album I reviewed a couple months back. Bands that don't give much of a shit about anything but having fun playing music. I can't help but bob along.

I guess the only real failing is that there isn't anything particularly distinctive about the DeRita Sisters and Junior. I'll just have to be satisfied with a good time.

Takin' that Tool thing and giving it a workout. Well, the stuff I've always called post-metal was quite prevalent a long time ago (remember the first Rapscallion album, anyone?), but Disengage brings it all back, in a nice way.

For those who see the term "post-metal" and notice an odd "hunh?" sound escaping their vocal cords, I'll elaborate. Loud stuff, with technical guitar lines, and as often as not, fairly anthemic. If you like, think ...And Justice for All, muddied up and without all the bombast.

Disengage does a capable job with the sound, and I'm happy to hear such things making a comeback. The production on this is pleasantly dirty, though all the lines are clear enough to appreciate fully. And, hey, intelligent lyrics don't hurt a whit, either.

I'd like to hear more. Disengage is easily cool enough for another go around.

Three tracks of pretty gothic pop. Nothing more, and certainly nothing less.

The only really annoying thing is the terribly derivative drum machine providing the beats. Better practitioners of electronic percussion can keep the sound from getting as tinny as it is here. That sound really drags down the whole thing.

Other than that, the songs are fairly good. The usual throaty, yet ethereal, female vocals, washed over by wave upon wave of keyboard mess. A standard formula, and the Dreamside isn't about to deviate from something so successful.

The overall effect, though, is merely middling. If the Dreamside really wants to move out into the forefront, the folks are going to have to take a few chances. Playing it safe works only if you're Hootie and the Blowfish. And even then it's not advisable.

Three sets of three songs, from one of those death metal acts that tries too hard for its own good.

I made the same complain about At the Gates for years, and then when the guys finally created a great work, the band broke up. Kataklysm is out there, taking all sorts of chances, playing at the edges of musical chaos. I don't want to discourage that, but I've got to say it still isn't working.

I'm giving all sorts of points for effort here, but all I can say is that after listening to three albums, the band hasn't gotten much better. Throwing a whole bunch of stuff in the blender and hoping it works out isn't a terribly good way to create a great album. Sometimes crafting and work are necessary.

I'm beginning to feel like a Brooklyn Dodgers fan here...

The first Kepone single I got knocked me out. The album did about the same. The second album, Skin showed a departure, mellowing things out a bit. At times, the band sounded almost hooky. I wasn't sure what to think.

The split 7" late last year with Pegboy set me straight. Not only was "Ghost" one of the finest songs of all 1996, I could hear that the band had finally reconciled its roots (Jesus Lizard, early Helmet and other flogging-type bands) with the obvious pop tendencies the band's songwriters have.

And so Kepone finally goes eponymous, with an album that is a perfect statement of what the band intends to become. The guitar lines are as tight and mean as ever, and that the rhythm section throbs and wails goes without saying. But now the hooks have been properly filtered, retrofitted with whup-ass. An intoxicating brew of the pristine and the obscene.

I know, I've sworn by Kepone before and people look at me, shaking their heads sadly. FUCK YOU!, alright? THIS IS FUCKING GREAT! And anyone who doesn't agree can go listen to the new Kylie Minogue or whatever it is they're playing on the lass-ass musical taste side of town. Alright, so I'm a little worked up. Want to make something of it? I'll fuck you up! I really will, man...

Did I mention the testosterone infusion? Direct to the brain. No stopping at go. On second thought, you might not want to listen to this before meeting your blind date. I mean, folks generally don't go ape-shit for that whole dazed and drooling look. Though if that's your look, well, work it, baby.

Decent enough punk, with really monstrously heavy distortion clouds lying low over the proceedings. And a guitar sound that reminds me far too much of Kepone, though I suppose that's my personal problem. Should cleanse my palate between albums.

Not to digress or anything.

As the liners note, this should be played at high volume. It doesn't make any sense if it's not making your ears throb a little. I mean, sloppy music recorded without any concern for the actual playing can be that way sometimes. Still is fun and all.

For the obvious shortcomings, I like Latimer much more than I should. There's a weird line somewhere in here that draws me in. Wish I could tell you what it is, because I have more than a few reasons for dropping this puppy like a Gloria Estefan disc (well, let's not get silly, shall we?).

For being so messy, Latimer sounds damned pretentious. This music isn't nearly as important as the band wants me to believe. Then again, I dig it, so maybe I'm wrong about that. So much goes out the window when you let your emotions rule your taste in music.

But then, is there any other way?

The last time I paid attention to the Lemonheads was way back on Lick, whereupon the band (which it was at the time, more or less) covered "Luka". I kinda liked that. The rest seemed kinda cheesy, but what the hell. Of course, when that NKOTB cover came out a year later, it was all over for me.

And somewhere between then and now, Evan Dando (who still uses the name "The Lemonheads, kinda like Chrissie Hynde does with "the Pretenders") got popular. I understand there was a cover of "Mrs. Robinson" somewhat involved, which would mean that most of Dando's notoriety comes from song recycling.

To be fair, his stuff here (and most of it is original) isn't bad. Of course, it's not terribly interesting, and I'm surprised at how little things have changed in eight years. I guess if you've got something people like, then keep on the money train.

Momentarily amusing at best, trite much of the time, Dando has cranked out another set of tunes that yuppies can call "alternative". He, of course, has better sense than to claim that title himself. And so I won't excoriate him. I simply urge you to find more interesting pop music to slap in your discer.

Christian hardcore in the NYC vein. Not too preachy (I mean, most punk is pretty damned message-oriented; this doesn't go any further than most). No chants of "Jesus" and such, anyway.

The music is nice and crunchy, but it doesn't separate itself from a thousand other bands with the same groove. The production has left some grime, which I think is a good thing (man, I've been saying that a lot this week), but there's nothing in the playing to really kick Mortal Remains away from the masses.

Well, other than "the message", and these guys have done a pretty good job getting that across without resorting to sermonizing. The lyrical content is solid; now it's time to work on the music. That's where most overtly religious bands fail, and Mortal Remains is no exception.

When this puppy arrived, I immediately dashed out to a local record store owned by a couple friends and gave it a listen. They had three pre-orders from customers before the disc finished. Such is the power of My Dying Bride.

This album finds the band reverting to a guitar-driven style, the sort of sound found on Turn Loose the Swans. Plenty of the gothic metal (tinged with organ and violin) to give rabid fans the accustomed thrill. I count myself as a huge fan, and I like this album, but it does bum me out just a bit that My Dying Bride has moved even the slightest bit away from the edge. I don't worry too much, though.

Uncompromising music of uncommon power. My Dying Bride is consistently superior, and Like Gods of the Sun does nothing to harm that reputation. This is the third Fierce release in this vein that I've reviewed for this issue, and like the others, it more than satisfies; indeed, all three surpassed all rational expectations.

It's a mundane statement, but this is just another great My Dying Bride album. That alone speaks volumes for the band's prowess.

Roots pop with a bit of a punk edge. A cool combination, and one that is always welcome in these here parts.

A big-label producer might have punched these tunes up into something that they're not. I mean, the Remnants wouldn't be out of place opening for Marshall Crenshaw or for Everclear. Sliding easing amongst varied influences, the Remnants merely crank out feel-good pop with an edge.

Summer music all the way, and I could use a little in the middle of the winter (even if it feels like summer down here). Like I noted, the best thing is that the band and the producer didn't feel the need to bulk up the tunes with excess. This is a three-piece, and it sounds like that. The songs are laid bare, and they stand up fairly well to such close scrutiny.

Uncomplicated and easy on the ears. Nothing spectacular, but good enough.

I looked at the cover and expected some sort of industrial thing. So when the speakers blew out this monster distortion-laden punk stuff, I did a bit of a double take.

With a guitar sound and riffage reminiscent of the Lee Harvey Oswald Band (and Johnny Thunders, but I think that goes without saying), Smithwick Machine takes a bit of a hack and slash approach to the music. I generally look upon such efforts with more favor, but the songs keep losing energy about a minute in.

Each one starts off with a nice groove, fine riffs and the usual sneer. By the time the tunes get to the chorus, though, things have petered out. Tunes like "High Fashion Horsepower" (which echoes Nazareth to an astonishing degree) shake up the mix, but still Smithwick Machine can't get out of the mediocre rut. A couple nice moments, but nothing much more.

A band that is so seminal that two of its offshoots are considered primal instigators of the whole 90s indie rock thing. Yeah, Squirrelbait existed for a short while and recorded albums that either the Replacements or Husker Du (the most common references for Squirrelbait) would have been proud to release instead of their own end-of-the-road stuff.

Right; so a couple Squirrelbait members went on to form Slint, David Grubbs did Bitch Magnet (and more, obviously) and singer Peter Searcy kinda kept wandering about Louisville from gig to gig, most notably (I guess) Big Wheel.

From perusing the "experts", I find that Rolling Stone never made a mention of the band. The Trouser Press likes Skag Heaven much better, while Spin prefers this album. Both claim there is a huge difference between the two albums.

They're both wrong. The second may be a bit more textured, the first a bit more raw. If you heard either of these albums, you might think the guys got lucky. But two in a row should have served notice of the future.

Like I alluded in the first review, Squirrelbait advanced its sound just a tad on this album. The production is a little tighter, though no one could accuse the band of meticulous recording habits. There is a bit of a drop-off energy-wise, but that's fairly minor. And as I noted, the "experts" disagree with me anyway. Believe who you want.

A thoroughly enjoyable romp through midwestern punk, a la 80s. It would be disingenuous to claim that this stuff could have existed without Minneapolis, but the Louisville transfer added a little something to the concept, and certainly gave these guys the requisite musical education.

As history, these discs are valuable. Hell, I'd be impressed if these were albums by group of teenagers recording today. There's still no way of seeing how important future projects by the members would be, but with the benefit of hindsight, you can almost see it.

The odd "important" albums that also happen to be a lot of fun.

Not sure what Starfish means by "frustrated". Critics have raved over this band's deft handling of noise pop, and I have a feeling more than a few folks have been to the shows and bought the albums. I can only assume a more personal form of frustration.

I have to admit that it takes balls to open an album with an 8 1/2-minute exploration of sound and space. Not really ambient or whatever, just noise. Cool noise, to be sure. And you know that the baser guitar instincts will kick in.
But even that takes a while. Starfish seems determined to fly out to the fringe of accessibility, all in the name of making great music. Whaddya know? It works.

Incomprehensible, painful and ultimately starkly moving, Frustrated is about as good a representation of that emotion as I've heard in a long time. This isn't easy listening by any stretch of the imagination, but then, Starfish fans weren't looking down that well, anyway.

The master statement (so far) by one of the finest bands around. A glorious tapestry of beauty, anguish, exhilaration and freedom. And the odd hooky chorus, thrown in almost for laughs. Gotta love it.

I've heard rumblings about this band from the goth scene here in St. Pete (no, really). Lots of excitement about this album, let me tell you. And now that it's in my hands, I'd say a good amount of it is justified.

The band relies on goth cliches a bit much (the monotonous electronic percussion is the worst of the bunch), but unlike many goth bands, the guitars are wielded as real instruments. Sure, plenty of keyboards fill out the mix, and Caroline Blind's vocals are just a bit too dramatic, but toning that down too much would remove from the goth universe. Gotta tolerate a little excess.

I really wish the sequencing was better, though. Just a bit more attention to detail there could have really picked this album up. Of course, the folks do a wildly excessive cover of "I Ran (So Far Away)", so I guess dull drum beats must be in the blood.

More potential than actual success, Sunshine Blind shows why it should be considered a serious up-and-comer in the fast-growing goth legions.

I haven't listened to stuff like this since I was in junior high school. Keyboard-drenched AOR stuff, from the Journey and Survivor schools of thought. Which should prove that while I may not like it, I'm sure there are plenty of folks out there would groove on it.

Though if Tandym really wants to move up into the world of big league music, the songwriting will have to sharpen up significantly. The choruses are too weak to really support that "sing-along" appeal, and in my opinion, the guitars need to make a bit more of an appearance.

On the other hand, this stuff is a perfect recreation of the biggest sound of the mid-80s. A frightening thought in my book, but then, I've got a Toto album on my shelf.

When Therion threatens a death-metal opera, it appears the folks mean it. Two full-blown choruses, an orchestra and loads of special guests (including the ubiquitous Dan Swano) accompany the classically-influenced music.

Yes, it's heavy. And yes, it's good music. Sure, real opera fans would turn up their noses (as would conservative death metal aficionados), but hell, music can't stay stagnant.

Way overblown, Therion still manages to bring this puppy under rein, keeping the sound light enough to stave off excessive pomposity. And the influences here don't stop at classical music. "Cults of the Shadow" could easily be a Sisters of Mercy tune (and yes, it is one of the songs Swano appears on, and much of the proceedings have a lot more to do with Iron Maiden than Entombed. But Swedes in general have been pushing the extreme envelope for years now.

Pretty, powerful and extremely well-crafted. Therion seems to have achieved exactly what it intended, and I'm damned happy about it. If this issue is any indication, this whole gothic metal trend is merely picking up steam. And with purveyors as diverse and creative as Therion, Cradle of Filth and My Dying Bride, the future can only hold even brighter moments.

More Philly punk that's not afraid to mix humor with serious subjects. I quite liked the Thorazine 7" I heard a couple years back, and this full set merely draws me further into the net.

The music is boisterous, almost to the point to excess. Jo-Ann Rogan hurls out the vocals with the venom or glee appropriate to the situation, though occasionally it seems like she's merely trying to keep up with the remarkably fast tempos set by the band.

Blue-collar punk that is a good fit with the folks at Hell Yeah. Thorazine doesn't try to prettify any of its song subjects, and the music is similarly no-nonsense.

Just good.

About as analog-sounding an industrial act I've heard in ages. Even more remarkable considering three of the four members are listed as programmers. Tinfed blows out the technological barriers; too bad it doesn't have the musical chops to go along with the electronic prowess.

Despite superlative sound, Tinfed just doesn't have enough creativity in the songwriting department. These songs are cliche-ridden exercises in industrial pile-driving, not unlike the last Ministry album. The wonderful production can't hide that fact.

And that problem is exacerbated by utterly incoherent lyrics. I rarely pay attention to such things, but Tinfed focuses on them so much (an unusual attribute for an industrial band, I know) that I gave a serious listen. And the words are seriously lacking.

A lot of good going on here. Too bad there's so much that isn't. No compromise between the two; just waves of combat. Wish I could like this more.

Seven songs, with six remixes added on to the end. Waiting for God is much more traditional-sounding than Tinfed (prowling the electronic universe with a seriously artificial sound), but the songs have a bit more flow to them.

And there are plenty of diverse elements woven into this fabric. Daemon Cadman's lighter-than-air vocals mix well with the edgy guitars and sea of keyboards brought in by the rest of the band. Yeah, it's just dreamy dance music, I suppose, but Waiting for God does a pretty good job with it.

Appealing stuff. The remixes honestly don't add a whole lot, though a couple of them are interesting. The rest of the album is treat enough; the mixes can be viewed as a pleasant topping.

A solid, if generally tame, effort. Waiting for God should try to branch out a bit more, but it handles its current responsibilities rather well. If it reaches for more next time, I bet Waiting for God will truly excite.