Imagine rockabilly filtered through concrete. Well, not too much of the country part of rockabilly, but you get the idea. Real hard rockin'. I can only imagine what these boys are like live, but the show must be amazing. The songs on Tombstone Radio have a live feeling like I haven't heard in a long time.

A real bad drunk. You know, when it's midnight, you realize you've already gone through a bottle of Tequila and are halfway through something you don't even recognize. This is that very moment. You can only go down. But what a high.

This compares well to Sugar Shack (recently reviewed right here) and the good Rev. Horton Heat, although it really doesn't sound like either at all. No, the Cadillac Tramps are uniquely themselves, and they rock my world.

Music: out of control

Vocals: completely unrecognizable

Verdict: must be the new Cannibal Corpse

Yes, one of the most popular death metal bands in the world has returned with another album. The cover is almost tasteful compared to their previous efforts, and the music is slowed down a bit. I recognize the vocals as such, but enunciation is not a CC priority.

I have never really grooved on these guys, but ay fool can recognize popularity. CC have gotten better (by my standards, anyway) and that should be recognized. You're gonna play this no matter what I say, so go on ahead.

Finally. With Godflesh slowly sinking into accessibility (and boredom), another industrial death band approacheth. Like the new Ministry, the music is based on metal (that is to say, bastardized blues) progression, and the beat is fast. So there isn't the sludgy catharsis Godflesh could give; instead, these weird British pop-like vocals wandering in over the chaos. (Think I'm kidding?)

No, I'm not. And the melodies are tastefully scattered throughout, so you won't overdose on them. Actually, they are most prevalent on the "suggested cuts," so if you cruise around the disc like good music people, you will amuse yourself to a great extent.

It is the rare album that really excites me. The advance cassette did that, and the clarity of CD just reinforces my arousal. I could come up with all sorts of cutesy "this album kicked my ass from here to..." sayings, but I won't. The music more than speaks for itself.

I hope this was released on 7" vinyl to make a statement about how such things should not be lost to us. If it had anything to do with things such as the Sub Pop singles club or some general hipness tie-in to the whole Seattle thing, then a pox on all houses involved.

"Above Me" finds Gruntruck sounding a lot like Ben (the singer) McMillan's old band, Skin Yard. Not to accuse anyone of theft or anything, because it is cool sounding and no riffs are stolen. But I liked Skin Yard a lot, and this is almost there.

As for the B-side, well, after all, Gruntruck is a Seattle band and lots of people are doing it anyway.

Real in-your-face death metal. The treble has been mastered down, so when you crank this album, you can feel every last beat. It resounds through your body like trichinosis. Doctors will be using this record for ultrasound treatments.

All kidding aside, this band is another of the "really Satanic" ones. Most of their songs have such themes, and thanks goes out to Satan, Lord of Flies, Impaler of Souls... (so that's what the name means).

But you never listened to death metal for the words, did you? This music cranks! I'm gonna go another eight hours on this rush.

Back in 1986, a little label called Enigma signed a distribution deal with Capitol records. The first record to be released as part of that deal (if I have my history correct) was Poison's "Look What the Cat Dragged In," a great album because it was thrown together in overnight sessions in a studio for $15,000. They spent $450,000 on the follow-up and cruised into retread hell. But that first album.

It was dumb. It was stupid. It consisted of one blatant rip-off after another. BUT IT WAS FUN, DAMNIT!

So here is this great album cranked on my stereo. Star Star take the Sweet/Slade/Glitter (etc.) riffs and reprocess them into their own signature. I don't know why I even mentioned Poison, because these guys are a lot more talented and original (and this album is a lot better than Look...).

The lyrics are dumb as hell. You'll want to forget them immediately, but the tunes will drive them into your brain. Soon it will be as natural for you to sing "Ya gotta have action/To be the main attraction" as it is for you to know that Little Willy won't go home, and everybody comes (a running) when foxes on the run scream.

These guys did not invent their sound. They're at least twenty years too late for that. But they do it better than anybody else right now. And it goes down smoother than a spoonful of sugar (this album cried out for a cheesy review phrase).

Grind Core reaches across the pond to strengthen its already-strong lineup. This Swedish death outfit is firmly entrenched in the metal side of things, but they show a great amount of creativity. At times singer Christofer Johnsson manipulates his vocals, not to distort, but just to make them sound more interesting. I can't really describe it; you'll have to hear the results for yourself.

At times this wanders into the wall-of-sound area, a la Incantation. But then Therion changes course and mutates into another sound. Some definite Cannibal Corpse influences here, and I'm sure you can find many others. But, unlike a lot of other bands, Therion mixes it all up, so you don't get bored. Good show!

For aficionados of instrumental guitar work, here is someone to watch. Uhrich jams in the fusion tradition of Steve Morse, and not the funk/classical ways of Vai and Satriani. So here is something your listeners may not be used to hearing.

Wandering all over the musical landscape, Uhrich proves his technical mettle, and also scores nicely in the songwriting department. This isn't just an exercise in fret melting, it's an adventure into sound.

I don't like the dumb sound effects some of the songs use, but they don't detract from the work, and probably lots of listeners will find them just as funny as the stuff on Steve Vai's last album.