Muffled production really costs them here. Everything seems to be trying to escape from a fog. And it's too bad, because I think there's some interesting things going on here.

The keys on the doom pieces are pretty cool (and I'm certainly not a keyboard fan), lending a My Dying Bride tinge to those sections. But usually Afterlife forgets about that stuff and wanders into death metal retread territory.

The guys need to find themselves. Ah, well, they're still young.

If you don't know Bathory, this and Volume I (which I haven't gotten) should help your education.

As most of their catalogue has been out of print in the U.S. for some time (some of it never was issued here), the Jubileum series will correct that problem to some extent.

Not much more to say, except that even if you usually don't play compilations like this because of the previously released material, you really should give this one a chance. You just might discover why these guys are revered as influential heroes by many.

Many of you reported these folk (and the Tree). Both albums almost charted. Pretty cool.

But even better than that, this is a great industrial band. Yes, a band. They incorporate bass, guitars and real drums along with sampling and drum machines.

It is completely aggressive and yet still dance music. And metal music. And all that.

Because, as we are finding out, this is the future of heavy metal.

Did I mention the lyrics? These are songs, not just grooves with a sentence or two laid over them. Traditional thrash/hard rock with all of the club savvy of industrial drones. This definitely should be played by all of you.

The first thing you should do when you get this is burn that red press sheet.

I am used to a pile of bullshit coming with albums. But when it is so far from reality and rather racist, well, I have to draw the line.

Last I checked, Brujeria are a bunch of folk from various bands, major label and otherwise. All of the bizarre satanic conspiracy and drug dealer stories are untrue.

There is no such thing as a "Mexican nationality." Like the United States, Mexico has many different ethnic groups. Most are a combination of Indian and European blood, but there are plenty of Asians and others. And of course, the whiter you are, the higher up you are.

Whoever wrote that stuff should have done some research before sending such crap across the country. While I'm no PC maven, there is such a thing a reasonable sensitivity.

As for the music, it is rather unproduced grindcore. Rather entertaining, actually. The disc also includes the songs from their AT single.

A much better way to promote this would be just to send out the disc. Call it what it is: the Spinal Tap of death metal. It's all a big joke. If it weren't for the press, I would've laughed even harder.

The playing is by far their best. But I must say the spark of excitement is not there for me. Much like the Disincarnate album, I just can't get into it.

And that's probably too bad for me. There is nothing wrong with the music (and like I said, the playing is great). It just seems a little calculated, a little dull.

A lot of you like this, and that's perfectly fine by me. I simply cannot get emotionally involved, and to be honest, music that doesn't move me cannot get my support.

Their tracks on the Assimilation 12" appealed to me, so it's rather nice to get the full CD.

User-friendly industrial dance stuff. Dancing is easy. Moshing would be a snap. I've always found music like this comes in handy at other times as well...

If you don't get my drift, too bad. I know that everyone is releasing an industrial album these days, but this is the real thing. Quietly Metal Blade has scored rights to great albums by Malhavoc, Skrew and Thought Industry, and now this. High quality.

A fine use of the guitar wanders around. Not as prevalent as God Is LSD, but enough to get me going. The whole thing, actually, is enough to get me going.

In many ways this is a band layered over dance beats. The vocals are flowing and melodic, a definite strike for individuality in the industrial universe.

At times, this sounds like Solitude Aeturnus or Memento Mori mixed up with Malhavoc. Not a bad thing to try, and it works great.

In these days when metal and dance are becoming more and more intertwined, we should revel in the gifts bestowed upon us. As I noted in the 16 Volt review, if you are not hooked up with Reconstriction, call Chase immediately and get this stuff. If it impresses you half as much as it did me, then you'll still be staring up at your stereo from the floor. Yes, it's that good.

The most uncommercial thing this label has released. I liked this a lot better when I didn't know what the lyrics were. Now that I can read them, I realize many are more inane than the title of the album.

But it all sounds pretty damn neat. A heavy pop sound cranked through more layers of distortion than I want to peel right now.

Too bad the lyrics are so damn dumb.

In many ways these guys remind me of Sorrow. Fairly insightful lyrics, good music and almost intelligible lyrics.

The ethereal intros kinda annoy me, but I think I'll get over it. This is rollicking death metal, almost happy-sounding at times.

The production leaves everything very clear and tight, which gives this a real guitar and bass emphasis. As all are great players, there is no problem.

Each song seems to get better. I really wasn't expecting Crucifer to be this good. Pleasant surprises are always the best.

Talk about fucked up expectations. I was thinking of maybe a little country-influenced pop or something. I mean, just look at the name.

This is wall-of-sound viciousness. Completely enthralling noise. Well, the flip is a little tone down, but not much. I played this thing over and over.

An album is due in October. October? If this is anything near as good as the Arcwelder album (which followed a great 7"), I don't think I'll be able to keep my shorts clean.

I understand this is their demo. Not rerecorded or anything like that. Just slapped on CDs.

Sometimes that can be a good thing. If someone were to pick up the Boorays CD, for example, I can't think of a thing to change. But here, these folks are trying to do too many things in every song. The first one is alright, but all of the influences and noises seem to contribute to a general crowded effect.

These boys seem creative, and I hope they put a little more work into their next release. Maybe try to stick to just two or three things at a time.

Nice nipple clamps!

Just had to say that. But the music ain't too bad either, especially for a band that professes to be mostly a visual force. I mean, can you folks still stand that Green Jello (um, I guess that's Green Jelly, now) album? I thought not.

It's also really nice to hear a female voice get that raspy. From what I understand, she sings like that with full regalia onstage. Most men would find their voices rising in such cases.

No, it's nothing revolutionary or anything like that. But it sure is fun.

As often happens, the disc sounds a ton better than the advance tape. Musically, this is an amazing sonic assault. I just wish I could make out the vocals a little more often.

Thing sound the best when they're chaotic, as on "Kill Burn Fluff." At other times, when Ginn tries to merge blues or other genres into his flat-out sprinting style, the effects are not quite as good.

Go for the shorter songs; they really stomp. All the spirit of a Black Flag album without the vocals.

Run-of-the-mill death metal. Nothing original jumps out at me. The sample openings are okay, but they really don't add anything to the songs, especially since they are not used within the songs themselves.

I'm not sure how seriously these folk take themselves. The less the better, I'd say. And any song titled "Breakfast at the Manchester Morgue" can't be all bad, even if it's not about eating the remains of Jesus Jones and their ilk.

Not just another Austin band. Well, since that scene capitulated a few years ago (remember Dangerous Toys? I think they were from there), I guess it doesn't matter.

Most of the time, sour chords are meted out over a steaming plate of tight rhythm. The vocals are shouted and screeched. In other words, I was absolutely awestruck.

It is the bass and drum work here that just kicks my ass. As long as you keep those two tight, the rest will fall into place, no matter how bizarre. And this isn't as bizarre as it could be. It just jams. If I have to make comparisons (and it sometimes helps), they sound like a discordant Jesus Lizard. Which is pretty damn fine.

A good rule of thumb is to take any record you get from Trance Syndicate, turn the volume up as far as you dare, lie down on the couch and just take it. If you survive the experience, you have my admiration.

The wanker psychedelia parts I can do without. A personal thing, I suppose. On the other hand, at times this really kicks in and starts to kick my butt pretty hard.

As soon as that happens, they usually pull back and try to wank on me, but the occasional cool track slips through.

A bit commercial for my tastes. Not without its merits, however.

Comparing this to King Diamond's woefully mediocre solo albums, this is a great achievement. Compared to what expectations have been for a revitalized Mercyful Fate, perhaps this falls a little short.

Then again, when putting this next to other reunion albums of the past couple of years, In the Shadows is the class of that category.

It's really useless to write more about this, since all of you know MF and have had plenty of chances to hear this by now. I had fun on the ride.

Fairly solid if unspectacular death-doomsters. Sometimes things completely slow to a crawl, which is refreshing in this age of speed.

On the other hand, it comes precariously close to dull-dom many times. The chords run through much the same progressions each time.

Things are much better when the tempo picks up, which is different than most bands. And as the album progresses they try a few new things.

Experimentation, oddly for them again, works very well. I think they should put the pedal to the metal and fly all the time.

After their diverting set as the Hanson Brothers (check out the press for the story of their "feud"), Nomeansno returns with a "regular" album, which means very wild indeed.

As usual, there does seem to be a punk base somewhere, but the boys are kind enough to stretch that sound all the way to hell and beyond. After their track record, why didn't you rip this out and play it immediately upon arrival?

You should have. The songs are a little long, but do you really give a shit? When it sounds like this there is no need to quibble with small details like length. Of course it isn't metal. But it is loud enough to put most hard rock bands to shame.

And a lot more interesting. When a band is as talented and prolific as Nomeansno, all I can say is thank you.

Back to the basics metal. And I like it. Much like the other new CM release, Stillborn, OLW play what has to be known as "heavy metal." With the new Anthrax doing so well, the air is ripe for stuff that kicks their ass (not an easy task at all).

But Only Living Witness beat the shit out of any band of their ilk that has released an album in the last year. This includes excellent stuff from Piece Dogs, the aforementioned Anthrax, Sodom and M.O.D. (not to mention all that major-label crap from Seattle).

A finely-tuned sensitivity to great riffage really helps, and the songs are crafted to perfection. Nothing drags. If it needs a little punch, it's there.

If you aren't playing this, you are missing out on one of the best albums of the year. And you are a shithead. Just so you know.

A Kansas City band I've never heard of. So I figured they must suck or something. But as usual, I'm wrong.

Outstanding grindage (not the Pauly Shore term), with vocals that lie somewhere between Cannibal Corpse and the Accused. Everything is moving all the time. No chance for relief.

The production is fairly limited (as it was recorded in a K.C. suburb, you might expect that). But that means the band's talent will make or break a record. Here, I think it helped to show off some really great songs.

A simply amazing adrenaline rush. It never gets out-of-control stupid, and there sure as hell is no slowing down. Their shows can't last more than 45 minutes, or they are in incredible shape. I will endeavor to find these guys and figure out why they are still in K.C.

I saw these guys at KCOU's Springfest (the one with Big Star). I thought they sucked, to be honest. Of course, they were following up the Boorays, one of the best bands around, so maybe that had something to do with it. And I was trying to digest my barbecue anyway.

Still not very impressed, although the halting vocals and creepy country music translate a lot better on vinyl than on stage. If I were drunk, I think I would really get into this. But it's noon on a Saturday, so no such luck.

If you want folk-country mood music (what mood I don't know), dig into this. It does get interesting after a while.

Believe it or not, these guys are from Seattle. Of course, the only tangible way you can find a relation to that scene is in the relations between the bass and drums. Nice rhythm going on.

But for the most part this is your average metal. Not real exciting by my ears, but certainly worth a listen or few.

This has been done before, and better as well. And I really can't find any spark to light my hormones. No rushes here.

I can't explain why, but I really like this album. It could be the sparse production. It kinda reminds me of Pungent Stench, though not quite that accomplished.

For some reason I couldn't skip through this album or cut it off. I still marvel at that, because there isn't anything really startling or original. It just simply clicks with my brain.

Sometimes, I guess, it's better not to analyze something too much, but just enjoy the ride.

Two people, lots of weird noise. You might expect that from Pussy Galore refugee Neil Hagarty, who has a knack for making cool music, no matter who he's with, in this case Jennifer Herrema.

This is not traditional anything. Hagarty's guitar work is simply inspirational, and this is a little more coherent than past releases from these kids.

As this is what even the most jaded critical hack would have to call "alternative", the best way to appreciate it is by listening to the whole thing. Individual tracks can show spots of brilliance, but to get the full sun-god effect, you have to take all of the thing all the way down your throat. Anything less would be uncivilized.

I know, I should have inverted the name of the band, but that is a real pain in the ass when I have to move a review around ten times before this issue is laid out. I apologize.

Sorta college pop with a nod to punk rawk and vocals flavored with a tinge of metal (punk, too) screaming.

I really like the guitar sound. It's not necessarily completely original, but it smokes. This is the first release from this label. You should definitely get hooked up.q

Incorporating some of the riff styles and drum work of death metal, but mostly sticking to a thrash base, Sacrifice sound a little confused much of the time.

Actually, I'm sorta bummed, because I remember liking the advance tape at least a little. Now, they do get a little better as they go into a semi-doom mode. At least it's a little more coherent. More work is definitely needed.

I first caught these guys nine months ago. Since then I have seen about ten shows, and each has further convinced me they are the finest live act around today. Really. No local homering bullshit.

They are from Kansas City, but they don't live here much. They do things like tour with Prong or Voodoo Gearshift (check them out with Mind Over Four this summer; a truly amazing tour).

In case you're wondering (and missed my reviews of their 7"s), this is grunge-plus. Nice sludgy chords sped up and shit back at you, along with purely vicious vocals cranked through a cheap p.a. I've been told all of these songs are about fucked-up relationships, although I can see a little more development than that.

Anyway, they do pack a hell of an emotional wallop, and kick your ass while they're at it. If you think this disc is intense (and you should), wait until you see them live. These folks are packing in 300-400 people at their shows here, which is unheard of for a local band that plays original music. The word is out. Season to Risk cannot be stopped.

It's been a while since Wax Trax! was the head of the industrial universe. That ended sometime before Chapter 11. While Third Mind has a pretty good lineup, they are a little more diverse. I think the best pure industrial label around is Reconstriction.

Lately, the Numb (last issue), Clay People (this one) and these folk just kicked my ass.

Sure, there are bpm for the club types, but just because you can dance to something doesn't mean it's boring or bland. 16 Volt combine great beats with a vicious intensity that crawls under your skin and proceed to eat out your soul.

Like it or not, metal radio is diversifying, and for God's sake, you should take advantage of something different AND good when you can. Steal this from your dance dj and jam.

Many great performances on this, the last Skin Yard album. As most of the universe knows, this consists of songs recorded in the last two years before Ben McMillan formed up Gruntruck and Barrett Martin joined Screaming Trees.

Not universally overpowering as 1000 Smiling Knuckles, Inside the Eye is still more than enough to show why the Seattle sound is so popular. It also points out how the original noise was watered down for the masses.

This band is not legendary just because Jack Endino has become the "architect" of the Seattle sound. It is legendary because, as a band, they laid the blueprints that folk like Alice in Chains and Stone Temple Pilot mellowed.

A worthy end note to an amazing run.

Solid metal album. This is straight-ahead power hard rock. No apologies need apply.

Reminds me of Roadrunner's Defiance release a year or so ago. It was paired with something else (Toxik? I don't remember) and fairly ignored by the reps. Now, Paula is working these guys, but this is not the priority OLW (deservedly) is.

It bugs me, though, when solid albums get swept aside. This is nothing special, but I sure like the sound. It is damned refreshing to hear unpretentious crunchy guitar now and again. That's all.

I can remember giving their last album a mediocre review at KCOU. But I like this a lot better. I can't put my finger on it, but it just seems a lot more interesting.

Again, for you pure metal types, this is not in that area. Country-tinged college pop is the name of the game here, and I know a lot of MDs around the country who love these folk.

While they are not necessarily among my faves, this album sure is a purty thang.

When on Intense, Tourniquet listed Bible verses with their songs. Now on Metal Blade they don't. And the songs just aren't as interesting. It looks like they are trying to dig into the intellectual fan base band like Bad Religion have, but you can't do that just by using 25-cent words. It takes using those words in a way that makes sense.

This album is at least a year overdue, and it's not that bad. I actually like the way they merge death metal and thrash much better than sacrifice. The vocals are certainly finer, and if it weren't for the way they stop... start... stop songs and meander through five tempo and stylistic changes in three minutes, I would probably dig this even more.

There is still Christian content, although you really have to dig into the lyrics to find it. This is not easy music to listen to, and I must admit I couldn't find the resolve to do so extensively. Maybe it'll grow on me.

Mixing equal parts Skin Yard rhythmic grunge and SSD hard core attack, Tree are harsh and beautiful. Of course they're from the hard core headwaters of Boston (home of many great bands in this tradition).

Well, the hard core tradition, that is. At times they sound a little like Coffin Break, who also mixes these styles exceptionally well.

Most of you aren't playing anything that sounds close to this. Diversity rules. To be honest, excellence rules in general.

One thing you can almost always count on Doctor Dream records for: great pop music. Pleasant three- or four-chord stuff with raspy harmonies and toe-tapping beats.

I know a lot of you metal folk don't necessarily get into this stuff, but I do. I don't know what I would've done without the Treepeople this year, and I can see the Trouble Dolls making it into the nightly random discer set into the fall.

I was not expecting this in the slightest. I wasn't expecting anything. So you can imagine my pleasure. Especially if you play this disc.

Five bands on a new label. And while they would be the last to mention it, four of the five bands consist of either black or hispanic members. Not to make too much of that, but I find that cool.

And the music is rough, not polished. These are young bands who obviously recorded on a shoestring budget. That's probably a good thing, too. It sounds real.

I understand full-lengths from these bands are due in the next year. I think there is a load of potential here. Southern Californian death metal. While that seems like a contradiction, it works very well. And sounds even better.

Death
Individual Thought Patterns advance cassette
(Relativity)

Chuck may have been present at the birth of death metal, but so many bands have passed his, I don't know why he still tries. I wouldn't even call this death metal. More like dull thrash. Retire and become a legend, man.

An extension of the 7" also reviewed in this issue. I hear a real progression from that time here. Given enough work, these guys could develop into a great band. Just give them a little time.

Well-produced stuff, lying somewhere in the glam universe with a touch of King's X harmony and general feel.

Nothing particularly exciting about his one, however. Good, not great.

Hard core shouts and growling guitars make this a happy present for me. Gets a little Rollins-ish at times, but for the most part tries to make its own way.

The production is rather clear for a demo. Color me impressed.