You know, I'm not sure if the title is a take-off on the band's name or what. It's rather incongruous with what's inside: decent almost-death metal. You can understand the singer, and the riffs are great. No real excursions into the land of "speedier than thou." More of a Prong/Helmet kinda thing going on here, with each song branching into a little different territory.

"Soul" is rather inspired songwriting, and the other three tracks are almost as good. But why the title? Attention? It works for that, I suppose. Ah well, the music speaks for itself.

One of the better releases from Grind Core. Rather disguised vocals, but the music is interesting enough to keep anyone going. Especially fine drum work from Ryan Stanek keeps the songs moving at a quick, but usually not insane, pace.

If you've been into the earlier Grind Core stuff, then by all means add this fucker immediately. If you haven't, check it out, because it is worth a listen. I especially dug "Incinerated," the title track, "Devourer of Souls" and "Gobblin' the Guts." Some things just make me smile...

I've always found industrial music to be best suited for drinking or playing underneath raunchy comedy albums (There's just nothing quite like some Neubauten driving an old Richard Pryor album - bliss!). You can dance to this, I suppose, but it's not recommended. This is very depressing fare, and there are only four songs; one clocks in at 14:15.

The title track actually does have some floor potential, as does its side-mate, "Decade," but the second is real dull. Of course, if you like New Order... Nothing too heavy, nothing to differentiate it from the pack. But I think "Grave Mentor" would be perfect background to the first Dice album. Of course, it would be a bitch to air, especially if you live in a populated area...

Well-orchestrated punk-funk. What I mean is these guys have the soaring vocalization of other "post-metal" (I really don't like that term) bands channeled into a basic heavy funk sound. Sorta like if the Red Hots ran into Last Crack and metamorphosed.

It's all rather appealing; the bass stays away from the cliche bounce of lots of funk and actually has character. Nice riffs, too. The vocals stride the line between hard core and melody very nicely, without giving way to either.

I don't know why, but this reminds me of Daniel Johnston. A technically brilliant Daniel Johnston, nonetheless, but still. It could be the voice. The sticker on the cassette here says he is the vocalist of the Legendary Pink Dots. I'll come forward and claim ignorance. I don't even know if "Legendary" is part of the band's name or just an overblown adjective.

The music is commonly understated, but at times it rages. Hard-core industrial and tape-loop fans will appreciate, but most anyone can get a little into this. Rather weird, but worth a listen.

Hate. The first song on this wonderful disc. And the emotion running through it. Oh, and a great sense of humor. How else could songs titled "Major Label Blues" and " " show up on an album. And, did you know Olivelawn plays (Fender) "guitars exclusively because they like them"?

Damn, this is a breath of fresh air. The bizarro critical comment in the liners is rather hilarious. Oh, and let's talk about the music for a momento, okay?

It's good. Raucous, grungy hard core that makes me smile. And while stupid poser metal bands cover ZZ Top tunes like "Tush" and "Legs" (really!), these guys do a more obscure oldie right: (I) "Heard it on the X." And, hey boys, what's that thirteenth track called? Just curious.

Senator Flux was originally just another D.C.-postpunk survivor. I really liked their "Spectacles, Testicles..." (I forget the rest of the title) album on Resonance of a few years back, especially the excellent tune "Move Sequence." Most of that is gone now, with the Flux-ers much more interested in the pop psychedelic movement going on now.

Thank God they do that pretty well, and also the rambling punk rap thing as well (you know, like the history lesson(s) from the Minutemen, etc.). They can also turn a pretty pop tune at times, most noted by "Grey-Eyed Athena" on last year's The Criminal Special or "Sinking Sensation" on this album.

There's a trove of great guitar work here, and this will fit into mellower moments of a hard rock shift. And if there is an alternative MD out there who has yet to listen to this, then don't delay. This is pretty damn cool.

P.S. I like "Monuments," "Godwash" and "Universal Solvent," as well. Oh, and the rest of the album.

More techno than most of the other Third Mind stuff reviewed, this is almost danceable at times, but the vocals are mostly semi-distorted chants and slogans. Our dance director ate this up like candy when it arrived. But if you're on a semi-industrial bent, this would fit in nicely.

I've been a grungy pop fan for a long time, and these guys are as good as I've heard in a while. Great guitar sound and real nice harmonies. They remind me of the Young Fresh Fellows, and not in a rip-off sort of way. First off, they're British, and have more of a gloom and doom outlook on things. But those drum breaks...

Some of the more adventurous reporters gave this raves a couple of months back. More should. Wanna know why? Just listen to "Reckless Hope," "Blood Orange," or the rest of the album. Damn, it just seems to get more intense as you journey inward. Check this out.

Another Front Line Assembly side project (see Delerium also), Will is the more industrial of the pair. You CAN'T dance to this, unless you also frequently hit the floor whenever the tempo drops below 80 bpm.

But I think that's a good thing. Most of this would seg quite nicely with the slower passages of Tiamat's album, or any other slow death passage. The vocals are gritty enough, and it certainly is rather harsh sounding.

Very streamlined, however. This is not a samplefest. They find an industrial, soul-less groove, but a groove nonetheless, and stick with it. I like this a lot. I'm not sure why, but I do. And with titles like "Furnace of Souls" and "Exhaust Inhibits," I don't see why this wouldn't fit into the progressive loud music format.