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Chronicles of Chaos Issue 007
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CHRONICLES OF CHAOS E-Zine, February 9, 1996, Issue #7
Co-Editor: Gino Filicetti <ginof@io.org> <_DeaTH_ on #metal>
Co-Editor: Adrian Bromley <bw823@torfree.net>
Assistant Editor: Alain M. Gaudrault <alain@mks.com>
Web Page Manager: Brian Meloon <bmeloon@math.cornell.edu>
Mailing List provided by: The University of Colorado at Boulder
--> Interested in being reviewed? Send us your demo and a bio to:
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CHRONICLES OF CHAOS
57 Lexfield Ave
Downsview Ont.
M3M-1M6, Canada
Fax: (416) 693-5240 Voice: (416) 693-9517
e-mail: ginof@io.org
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DESCRIPTION
~~~~~~~~~~~
Chronicles of Chaos is a monthly magazine electronically distributed
worldwide via the Internet. Chronicles of Chaos focuses on all forms
of brutal music; from thrash to death to black metal, we have it all.
Each issue will feature interviews with your favorite bands, written
from the perspective of a true fan. Each issue will also include
record reviews and previews, concert reviews and tour dates, as well
as various happenings in the metal scene worldwide. We here at
Chronicles of Chaos also believe in reader participation, so we
encourage you to submit any material you may have to Gino Filicetti
<ginof@io.org>.
HOW TO SUBSCRIBE
~~~~~~~~~~~~~~~~
You may subscribe to Chronicles of Chaos at any time by sending a
message with "SUBSCRIBE coc-ezine <your-name-here>" in the BODY of
your message to the list handler at listproc@lists.colorado.edu.
Please note that this command must NOT be sent to the list address
<coc-ezine@lists.colorado.edu>, but to the mail server which handles
this mailing list.
WORLD WIDE WEB SITE
~~~~~~~~~~~~~~~~~~~
We are currently in the process of constructing a website for
Chronicles of Chaos. You can check it out by pointing your web
browser to http://www.io.org/~ginof/coc.html. If you have any
comments or suggestions, please e-mail Brian Meloon
<bmeloon@math.cornell.edu>.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
Issue #7 Contents, 2/9/96
-------------------------
* Editorial
* Loud Letters
* Ferocious Features
-- Rainforest Rumblings Revealed
-- Continuing The Crucifixion
-- Resurrecting the Reich
* Chaotic Chat Sessions
-- Past and Present: Belladonna Shoots the Shit
-- Hotrods, Highways and Haircuts
* Independent Interrogations
-- Independent Feature: Aeon
* Record Revelations
-- Hypocrisy - _Abducted_
-- Bestial Warlust - _Blood & Valor_
-- Scorn - _Gyral_
-- The Gathering - _Mandylion_
-- Scum - _Purple Dreams & Magic Poems_
-- Helloween - _Master Of The Rings_
-- Destroyer 666 - _Violence Is The Prince Of The World_
-- Exoto - _A Thousand Dreams Ago_
-- Mortician - _House By The Cemetary_
-- Clotted Symmetrical Sexual Organ - _Nagro Lauxes VIII_
-- Dark Tranquility - _The Gallery_
-- Nightingale - _The Breathing Shadow_
-- Ghostorm - _Frozen In Fire_
-- End Of Green - _Infinity_
-- Disgrace - _Superhuman Dome_
-- Masquerade - _Surface of Pain_
-- Time Machine - _Act II: Galileo_
-- Mass Psychosis - _Face_
-- gut-sonic - _Impetus 23_
* New Noise
-- Nueairea - _Alter The Regular_
-- Mortal Decay - _Brutalizing Creations_
-- Project X - demo
-- Within - _The Unaccepted_
* Chaotic Concerts
-- No Stopping The Locomotive
* What We Have Cranked
* The Final Word
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E D I T O R I A L
~~~~~~~~~~~~~~~~~
by: Gino Filicetti
Well, here we are, in the first ten days of February, and CoC #7
is actually ready. Are you all surprised or what? Really though, we
thought it was important this time around to get the issue out at a
reasonable time, both for your sake, and for ours in that we will
have more time to put CoC #8 together.
The first thing you will probably notice about this issue is
that we have less than our 'usual' amount of feature stories. This is
mainly because of the fact that we had half as much time to do this
issue than we usually have. However, one piece of good news is that
our 'Independent Interrogations' section is back, AND WITH A
VENGEANCE! Check out the story on Croatia's Aeon, who are keeping the
spirit of heavy music alive in a country we rarely associate with
said genre.
Next, I have a bone to pick with all of you, and that is about
the lackadaisical response I received with regard to our Loud Letters
section. I know I can't force any of you to write in to us, but I
hope you can understand how disappointing it is not see any response
to something like that. I hope that this time around, more of you
will have something to say, remember, it doesn't have to PRAISE this
'glorious' magazine or anything of that sort; just write about what's
on your mind, it could be a reaction you have towards a story we've
run, your opinion on 'the scene,' what you've had for breakfast
today, or best of all, a flame mail telling off one of your
'favorite' writers! So come on everyone, show me that you're still
alive out there.
Anyway, hope you enjoy this issue, we have more reviews than
ever before; that should make up for the lack of stories. Next issue
is going to be a big one, two of heavy metal's founding groups will
be featured, maybe not in their most glorious days, but still kicking
out the shit. Have a good month, see you all next time.
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M MMMMMMMM 88ooood8 88 88 88ooood8 88' `88 Y8ooooo.
M MMMMMMMM 88. ... 88 88 88. ... 88 88
M M `88888P' dP dP `88888P' dP `88888P'
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This is the column where we print those lovely letters our readers
decide so graciously to write us. Whether they be positive, negative,
ignorant or just plain spelled wrong, you can rest assured that
they'll be here in their original form. If you'd like to see your own
letter here, e-mail it to <ginof@io.org> and enter 'Attention Loud
Letters' in the subject field. Hopefully all letters received will be
featured in upcoming issues of Chronicles of Chaos.
Date: Thu, 18 Jan 1996 15:39:07
From: Stephen Ryan <cactus911@vt.edu>
Subject: Thanks
Hey thanks for putting out a respectable ezine. A got a real surprise
in this latest issue when a band from the past popped up..."Sacred
Reich". An interview with this band would be incredible. Even some
trivial info would be great. Thanks for a great read and timely
information.
And of course, I now have to respect your taste since you toasted
their new record with a 9. OK, so it was Adrian, whatever.
Steve
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The meat of the matter lies here. Read on for the juiciest morsels on
bands ranging from the reknowned to the obscure. No fat, no gristle,
just blood-soaked slabs served hot and ready. Dig in, readers.
R A I N F O R E S T R U M B L I N G S R E V E A L E D
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An Interview with Sepultura
by: Adrian Bromley
Few will argue that Sepultura is one of the most powerful metal
machines ever conceived. Even fewer will fight the fact that they
stand apart from hundreds of metal bands and continue to grow with
each album. And with each release, they continue to mold a solidified
rampage of chugging riffs, pounding rhythms and gut wrenching growls
around the strong political and social issues of their lyrics.
Listening to the band's latest and most compelling album to
date, _Roots_ (release street date March 13th), many will see a band
at the edge of creativity and anarchy. Fused by anger, tension,
frustration and personal release, _Roots_ finds itself home to a
truly unique format for Sepultura: the addition of the primal,
furious tribalistic sounds of the Xavantes tribe, a group of Indians
living deep in the heart of the Amazon Jungle.
Even as some may see this as a gigantic leap of experimentation
for the band, one has just to point to the obvious Brazilian sounds
and styles that Sepultura have always added to their brilliant
masterpieces. The Brazilian sound has always been evident within
their music and always manages to smoothly bind with their pounding
guitar riffs inspired by such acts as Motorhead, Slayer and
Metallica. Just listen to songs off of 1993's hard-hitting _Chaos
A.D._ with tracks such as "Refuse/Resist" and its use of South
American percussion stylings, the rhythmic beats within the true tale
of "Manifest" and the stunning song "Kaiowas", a tribute to the tribe
of the same name.
This time around, with _Roots_, the band went right to the
source of Brazilian culture and music, and brought out a triumphant
taste of generations of music that allow the album to spark an
interest in how two distinct cultures molded as one for the recording
of _Roots_.
Sepultura has not had to take on such a load of responsibility
since the transition the band took upon themselves after struggling
to release their first two efforts, _Morbid Visions_ (1986) and
_Schizophrenia_ (1987) and metamorphosizing their talent to produce
such prominent masterpieces as their Roadrunner debut _Beneath The
Remains_ (1989) and _Arise_ (1991). These boys are more of a band
now, still trying to find their niche; as their writing matures,
their visions become clearer. They are searching for the Sepultura
sound that'll keep their fanbase growing and their integrity and
maturity intact. In 1993, the band stepped in the right direction
with _Chaos A.D._. That record opened the doors to a greater variety
of fans, with the album selling a million units worldwide and two
years of extensive touring with such acts as Ozzy Osbourne and
Pantera as well as a successful headlining jaunt.
To make the perfect addition to a long line of successful LPs
was a task that lead vocalist/guitarist/lyricist Max Cavalera would
have to undertake and in the process, he had to retain a sturdy will
for the band in the face of commercialism. Cavalera, and his group -
brother/drummer Igor Cavalera, bassist Paulo Jr., and lead guitarist
Andreas Kisser - locked themselves away in Indigo Ranch studios in
Malibu, California to create _Roots_. As the album came together bit
by bit, over a long lengthy process, it was evident that the album
was very personal for the band, but it also helped preserve the music
of Sepultura's homeland.
"We thought it was a real important record," starts Max Cavalera
over the phone from Phoenix, Arizona. "We wanted to give the fans
more than what they expected and that takes time. We want fans to see
and experience what we created, more than what they did with _Chaos
A.D._. To be able to listen to the new record and every time they
hear it to see and hear something new from the record. Sepultura has
always been known to do different things and try to play music and
show the fans stuff they may not have known before. So far the
responses for us has always been good when we release an album
because fans know they will get something unique with one of our
records. Working with the tribe is just another experience for them
to be part of." Cavalera continues on about the recording process;
"We took a lot of time with this record. More time and effort than
any other record because we recorded the record in different phases
and also the writing process was done different so the end result is
obviously a different record." But Cavalera assures us that the band
has not lost their trademark aggressive anger. "The main element is
that the intensity and heaviness is there and not that it is stronger
than before. It is just that there is a lot going on. It is a very
open record."
Another component to the makeup of this album is the addition of
several other musicians who helped bring about a certain new slant to
the Sepultura sound. About the other musicians' help - which included
famed Brazilian percussionist Carlihnos Brown, Faith No More's Mike
Patton and Korn's Jonathan Davis - Cavalera says, "It was very cool
and very experimental." He continues, "I like all those artists and
what they do with their bands," speaking about his choice of artists
to work with. "It was cool that they came into Sepultura and made
music adding their own style and characteristic."
The biggest outside contribution to _Roots_ came from a most
unexpected contributor: the Xavantes tribe. Solely for the purpose of
recording with a tribe that has thrived for thousands of years in the
heart of the Amazon Jungle, the band decided to pack up their
recording gear and venture into the heart of the Brazilian foliage
for three days to meet, live and be a part of the Xavantes tribe. It
was without question one of the most amazing experiences that
Cavalera and his band have ever gone through, and it is something
they won't soon forget. Max says, "The band became part of the tribe
and lived like they did."
In order to get this planned expedition off the ground, Cavalera
explained that there was an extensive amount of communication and
paperwork between the tribe and the record label and the process of
actually getting the early November (1995) trek underway took months
of planning. About the idea for the use of the tribe's music and
culture he says, "Once we decided to call the album _Roots_, with us
wanting to show the roots of Brazil, the tribe had to be included or
we would have had to call the album something else." Another reason
reveals Cavalera: "It was an attempt to show people the different
sides of Brazilian music and we did that with the Xavantes tribe." He
states, "It was hard to pull it off, dealing with several people and
the people who were working with the indians. It took a couple of
months to get it going and we had to work hard to bring in gear and
record. I think though, the end result was worth it." Does Cavalera
feel that the two extremes, Sepultura's rage and the Xavantes culture
and mystique, clash in any way, shape or form? "I think the tribal
music is very spiritual and it allows us a more spiritual feeling to
that part of the record and I believe that it is very strong." Adds
Cavalera, "I wouldn't say that the Xavantes music is very mild. It is
aggressive in its own way."
As the music takes on another shape or form this time around, so
does the lyrical content of the album. Cavalera explains that the
album's music lends itself to being captivated by emotions, their
political ideas and thoughts are avoided this time; making _Roots_ a
very emotionally charged and personal album for Cavalera. "Every song
is different from each other. The music is mostly about life and
stuff like that. To tell people that listen to this kind of music to
not take shit from no one and believe in yourself. This album is less
political and more personal." He is quick to state that the band's
musical knowledge has not been the only change for Sepultura. The
actual direction and definition of the Sepultura sound has been
finally discovered; "Our music is very original now. It has its own
face and now leaves an impression which is what we have been looking
for all these years. We don't want to be the 'next anything' like
what most record companies want. We just want to be a band that can
sound different and be proud of it."
And the appeal of Sepultura's music? "We are not trapped in any
genre and we have created our style and will continue to grow deeper
and deeper into our style. To become a stronger Sepultura. I hope the
next record tops _Roots_ where it will be a more exciting and
intricate album."
While on the topic of success, I ask Cavalera if the band feels
that, after so many releases, world tours, and respect from critics,
they have reached a successful point in their careers? "We try to
reach success that comes together with integrity and fan appreciation
without having to compromise ourselves," acknowledges Cavalera. "If
you can do that, it is the best success you can get. For me, that is
important to me even though we could get bigger than we are by being
commercial. This way we feel like we have earned it without feeling
like a music whore."
About today's music scene he mentions, "It is fucked up with all
these bands sounding like one another. It is like, why bother ripping
shit off like that? Bands are so disposable. They make the cash and
that's that, and that is what record labels like. I am not like that,
don't want to be and never will be like that. I am not into that
greed stuff. I do this because I like to make music and watch how
people react to it."
If success hasn't changed Max Cavalera's outlook on life much,
marriage and fatherhood sure have (Max is married to Sepultura's
manager Gloria Cavalera and father to his toddler Zyon). Max relates,
"It hasn't changed me much except maybe that I spend more time at
home doing some recording with my four track. My son spends time with
me while I record. I used to spend less time with music and more time
just getting fucked up," he chuckles and says, "Now I live a
different lifestyle but it is in some way or another interconnected
with music all the time."
The topic now turns to the fact that Sepultura will be heading
out on tour once _Roots_ hits stores in March and, like the _Chaos
A.D._ tour, it will be an extensive one. "I am convinced that we will
tour more than ever before with this album. We toured two years with
the last record and it just seems that there is a whole lot more to
do and places to play." Cavalera outlines the reasoning for such a
long tour by saying, "We don't see just Europe and America as the
only places to play. We gotta go everywhere because that is what we
are all about: playing out."
Mentioning the possibilities of the band going out on a
headlining tour, Cavalera says, "I'd like to play at clubs and venues
without seats where fans can be close to the band and can get a
better show. I don't like arenas too much [noting the size of the
Ozzy tour]. If there is a chance to go out on tour in arenas with a
big band, I will do it in order to promote the band and the record."
When asked about the band's attitude and aggression on the stage he
responds, "We are all very different on and off the stage. When
playing, Paulo, Igor, and Andreas just go all out on stage, but they
are not like me. I just let anything happen sometimes as I don't hold
myself to anything. The stage is where I am and do let all my
frustrations and feelings out."
Seeing that Cavalera has lived with his wife and family in
Phoenix for some time, does he miss living in Brazil? "I go back home
a lot and as much as I love it, Brazil still pisses me off. For me,
it is better to be here [U.S.A.] where my head is clean," explains
Cavalera about all of the problems facing his homeland, including
drugs, police corruption, illegal government activities, and so on.
Many of these problems have been the backbone behind numerous
Sepultura songs about politics and social issues. "It is all true.
All the shit that is going on there, it is just that people are
afraid to say things because there is a code of silence amongst many."
Cavalera is very much aware of the dangers of travelling there
too; "When I was there last time, I was paranoid that I would be
sabotaged by police or kidnapped. I was paranoid because I think I am
too outspoken. When I was there last time, I did a few interviews
with some big newspapers and basically said that the police there are
a pile of shit. And now I realized and have thought to myself that
saying stuff like that could cost me my life. So now I don't go back
as much and it is because now that I have kids and a wife. Why risk
it? I mean, why have them kidnapped, tortured or killed when they
haven't said anything? I just gotta be more careful from now on."
Back to the grind one more time, Sepultura prepares once again
to tour the world, and they are hoping in the process that their
fans, as well as newcomers, pick up on their 'roots.' It is
definitely something that would make them proud this time around.
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C O N T I N U I N G T H E C R U C I F I X I O N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An Interview with Immolation
by: Gino Filicetti
Seeing as it has been almost five years since you've probably
encountered the name Immolation, it would be no wonder if you are a
bit fuzzy on the details surrounding this band.
In the fateful year of 1988, Immolation was formed after the
demise of Robert Vigna and Tom Wilkinson's previous band: Rigor
Mortis. The duo went on to form the first incarnation of Immolation
that also included Ross Dolan on bass and vox, and Neal Boback on
drums. Just before the recording of their first album, the
relationship with Neal deteriorated to the point of the band being
forced to move on. Enter Craig Smilowski to fill in as a session
drummer on Immolation's debut, _Dawn of Possession_ and later staying
on for the long bout of touring that followed. Just recently however,
the band decided that Craig was not the right person for the job. "He
just wasn't into it with all his heart. I mean, Craig's a really good
guy but he wasn't one to take initiative. He always had to be told
what to do and it just got to the point were we wanted to move on to
bigger things, and Craig couldn't handle it. So now we got Alex
Hernandez (ex of Fallen Christ) who is an excellent drummer, who
knows exactly what he wants to get out of drumming, and is obsessed
by the music. I mean, the guy had to be part of four bands just to
get the amount of practice he desired."
With the release of their album just around the corner, and more
than one tour already planned, the band is more than psyched to get
out there and get back in people's faces. However, it has been a long
time since their previous release (five years). Will this fact hurt
the band's chances at all? "No way! I think if anything it actually
helps us. I mean, it's not like we are some kind of trendy band that
lays low and tries to figure out what the next trend is so we can
jump on it and cash in. No, I think people appreciate that we are
still the same band we were five years ago. I think that we will have
not lost any of our fans, and we hope to grab that many more with
this new album."
One reason that can account for the gap between albums is
Immolation's label switch. It can be said that the band had to start
completely from scratch after releasing themselves from Roadrunner,
in that they had to shop for a new label themselves. "It was just a
matter of us being fed up with the label and all the bullshit we had
to put up with. Everything was great with them, we recorded _Dawn of
Possession_, and everything was really smooth. Roadrunner then sent
us on a couple of tours, and they were ready for us to release
another album in the few short months that followed. We tried to tell
them, 'Look, we just won't have the album ready by then.' I mean, we
all had full time jobs and we couldn't focus our complete attention
on the band at that time. But the label wouldn't accept that, so we
decided that it was best if we just leave and find someone who would
be more into our music, and appreciate us in the same way everyone
else appreciates us."
One of the most unfortunate things about getting pre-release
promos is that more than likely, the album's lyrics will be left out
and forgotten. What most labels fail to realize is that (in my
opinion) half the album's worth consists of its lyrics. Rob Vigna
shares my opinions; "I know, that really sucks about promos. I mean,
you'd think that people who are doing interviews and reviewing
records are the ones that need the lyrics more than anyone." However,
from the song titles alone, it is apparent that Immolation are still
keeping up with their anti-Christian beliefs. What is behind the
lyrical ideas on this album? "Well, I think that this album is very
personal to all the members of the band. Very much more so than the
last one. There is more of an anti-Christian theme on this album as
well. It just reflects what we feel inside. I mean, in my opinion, it
is very hard to write a really good song. I can honestly say that we,
as a band, have always taken our time to deliver the best lyrics we
can possibly write."
In music, we have nasty things called labels. Everyone in this
business feels the need to categorize and pigeonhole bands into
certain genres: death metal, thrash, grindcore, black metal, etc. How
does Immolation fit into all this? "Well, Immolation is just
Immolation, plain and simple. Fuck man, you know, we have been called
it all, from death metal to black metal to death/black metal. It's
just stupid I think, but then again, people need a frame of reference
when talking about new bands or unfamiliar bands. I just think people
should spend as little time as possible thinking about what certain
genre a certain band is."
Since their debut album, Immolation has certainly had more than
their share of road time. The band has successfully toured America
more than once, Europe, South America and even the greatest country
on earth, Canada. What are the tour plans this time around? "Well, we
are going to go out with Six Feet Under in support of their American
tour, and after that we are heading out to Europe to open for
Cannibal Corpse. There will probably be an Osmose band opening up as
well. After that, we will probably follow Cannibal Corpse back to the
US and support their tour here." He continues, "As for headlining a
tour, we have nothing planned yet, but these tours will take up most
of our time for the rest of this year. Maybe late this year or early
next year, we will put together a headlining US tour. The thing is
that headlining is just so much better. You are in control, I mean,
you pick the food and you get first crack on the sound board, and you
go on last, and you get to play all the songs you want. And in the
end you know that if you pack a venue, it's because all those people
were there to see you."
As my interview drew to a close, I asked Rob if there was
anything else he'd like to say to everyone out in cyberspace. "Yeah
well, we'd just like to thank everyone for all the support and
encouragement we've received throughout the years. We know that
without the help of each and everyone of you, Immolation would not
stand where we are today. I hope everyone completely digs this new
album, and hopefully we will see you all on the road."
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
R E S U R R E C T I N G T H E R E I C H
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An Interview with Sacred Reich
by: Adrian Bromley
Few thrash metal bands have survived the destructive stomp of
commercialism or the neglect many listeners have given them while
moving onto other genres of music. Still around since forming in
1986, thrash metallers Sacred Reich are living proof that thrash
metal is alive and well in this day and age with their latest effort
_Heal_.
_Heal_ is the quartet's fourth full-length album (following
1987's _Ignorance_, _American Way_ (1990), and 1993's brilliant yet
dismally selling _Independent_, as well as a few EPs) and with this
album, the band has regrouped and brought in a more 'back to the
basics' kind of approach, a direction avoided with _Independent_. The
band felt that a heavier album with grittier songs needed to be
produced in order to get the band back to what they once were.
"On the last record I thought it was a really good record. I
just thought there was missing something," begins
singer/lyricist/bassist Phil Rind about their last record,
_Independent_. "I think it was missing our roots of where we were
from or what we were about. It was something we felt we needed to
re-establish. I think maybe we got a bit too comfortable with the
last record but we thought we were missing out so we decided to make
a record that was what we are." And what sets _Heal_ apart from their
1993 LP _Independent_? "The songs," responds Rind, "there wasn't a
song like "Blue Suit, Brown Shirt" or "The Power Of The Written Word"
on the last record. I think we got away from that type of material
for a record but I think we realized it in time."
Along with guitarists Jason Rainey and Wiley Arnett and drummer
Dave McClain, Rind and his ensemble of thrashers are not ashamed of
the direction they took with the last effort. They just felt that it
was another point in their careers. "You just write where you are at
at that time. I think it was a transition record with the way we were
at Hollywood Records [their label prior to signing back to Metal
Blade] and with a new drummer. It was a weird thing. I mean no one
ever told us not to write heavy songs. I don't know why it was done
that way," explains Rind. "You gotta do what you like and you can't
ignore a part of you."
Seeing that a large percentage of bands Sacred Reich played with
or shared the same musical genre with in the mid-80's and early 90's
are all gone for the most part, does Rind see that metal has fallen
from the clutches of the mainstream and back into the underground? "I
definitely think so because things go in cycles. There was definite
underground and then there was an overexposure, 'flavor of the week'
vibe to metal and that kind of music but that was from record
companies and people in the media. I think that when things get too
big it has to revert back to where it originally came from to
survive. That is happening right now."
And his views on the band's reason for sticking around? Any
secrets to their longevity? "I think the main thing was that we stuck
it out. We had good times and bad times and we had in between times."
Rind reveals, "There was a point in time when I quit the band not
long ago, about a year ago or so. I wasn't sure what I wanted to do
and I wasn't happy. It was strange but it gave me a new appreciation
of what I do."
He continues, "Sometimes it is easy to get caught up and not
look around and realize what you got. That was a tough time for me
personally. The record [_Heal_] was done when all these things
started to happen. I was confused. I think you get to a point in your
life when you reach the crossroads and there are a lot of things
going on and you got to stop and not make any rash decisions. Luckily
I was smart enough to realize that I was going through a thing and I
had to get through it. It [the problem] had nothing to do with the
band and luckily I worked it out and I feel very comfortable with
what I am doing, who I am and where I am at.
"I don't know what brought it about but it is a thing that just
happened and it is good that it happened because it gave me a renewed
enthusiasm and commitment and joy and happiness," says Rind.
And things have been getting better for the band as they signed
back on with their original label, Metal Blade, and are just loving
the new album. "I think this is the best one. Every time we do a new
record I think it is the best record we have ever done. I think that
is because every time we get better at what we do and we learn stuff
along the way." And with that growth does Rind find that the album's
songs and lyrics come easier this time around, especially after all
these years of songwriting? "I don't think it gets easier or harder.
It is just that it is still the same as far as the mystery of the
creative process is concerned. It is a mystery of what makes the
average song come about."
So with the problems aside and things back on track was there a
reasoning for _Heal_ to be the album title? "We always try to pick
album titles that mean different things. Heal relates to physical
healing which is representative by the cover [a picture of a full
knee restructuring operation]. Heal can also relate to physical,
mental, spiritual or emotional healing too. We just felt it to be an
appropriate album title for the album."
Seeing the admiration for album number four, does Sacred Reich
have any set plans for the immediate future? Aside from a tour of
both North America and Europe, which is a major commitment, Rind
reveals the urge to get back into the studio soon. "I'd like to make
another record. People always ask me, 'What do you want to do to be
more successful?' and I think and I would want to make another record
within a year of the last one. Maybe that will be some way to break
the mold of the release of Sacred Reich records," laughs Rind, noting
the long gap between their albums. He finishes by saying, "We want to
do that ... though there are no guarantees."
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This is the column where CoC sits down to have a face to face, no
holds barred conversation with your favorite bands, and get the
inside scoop into what's happening in their lives.
PAST AND PRESENT: BELLADONNA SHOOTS THE SHIT
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
by: Adrian Bromley
When Joey Belladonna got the boot in 1991 from his long-time
band Anthrax, one of thrash metal's premier outfits, everyone in the
metal community was shocked. What would become of Anthrax? Would they
be able to replace Belladonna? Would they ever tour again? Those
questions were soon answered as singer (ex-Armored Saint vocalist)
John Bush stepped in and has since guided them onto two albums thus
far. Funny thing is no one ever asked what would become of Joey
Belladonna. Did they care?
It is now 1996 and Joey Belladonna has surfaced with his three
upstate New York musician friends to form Belladonna and release
their self-titled debut album on Mausoleum/EMI. On tour with
Motorhead and Detroit's Speedball (the band's first major tour),
Chronicles of Chaos sat down - round-table style - with Joey and his
new band made up of guitarist Darin Scott (DS), drummer Scott
Schroeter (SS), and bassist Joe Andrews (JA) and just talked about
music, Anthrax, touring and so forth.
CoC: With the way music is changing in the 90's, do you think it is a
deterrent to be your own original self and stick to your guns by
playing the music you want to play?
JB: It is good to do what you do best than try to do something you
can't do or you don't feel comfortable with doing at all.
CoC: Do you find it hard to go out and tour now that the main
emphasis of the music industry's interest has been taken away
from metal and put towards the punk and alternative music scenes?
SS: Not really. We aren't finding it a hassle. We find people coming
up to us at shows and saying, "It is great that you guys are
still doing this [playing metal]."
JA: It is definitely not the old days but there are so many people
out there that are so into it and still wanting to hear it. This
tour is going over better than we expected. We weren't really
aware of how it was going to be for us when we started the tour
with how the scene has changed, but people are being real
supportive at the shows.
JB: The Motorhead crowd is also digging the music and that is great.
It's also great to see that something else positive is also
coming out of this tour with them. We are having a great time
with this tour.
DS: As Lemmy would say [short impression of Motorhead's frontman],
'Effem mate, if they don't like it: Fuck 'em.'
CoC: When you guys actually got together, how hard was it to write
material and join forces?"
SS: When we got together (the three other members had known each
other in the Syracuse, NY band circuit) Joe had already had some
material written already. And with that we added our own little
feel to the music and he liked it. And the stuff we ended up
writing as a band it all came natural. It is all working so well
for us as a team and a band.
JB: We just added onto all the material that we had. The more stuff
we had, the better choices of songs we had to choose from for the
album.
CoC: Seeing that you had material for the first album before it was
put together, do you have ideas or material lying around for the
next release already? What are your plans?
DS: We already have enough songs for two albums. We definitely have
at least a record's worth.
JB: It won't take that long to put another album together next time
around.
CoC: I heard that you do a few Anthrax tunes live? What songs are you
doing?
JB: We are doing a pretty wide spread of stuff. About a 15 minute
medley of songs. I don't mind doing the Anthrax numbers because
these guys do it really well. Plus everyone is getting a kick out
of hearing the stuff again. It sounds good to me, if not better,
because I am getting a kick out of doing them again.
CoC: How has going from one band to another affected you? Have things
changed for you? How is it different?
JB: This whole record industry business thing where no one is taking
the music serious or they didn't want anything to do with it
because it wasn't what was happening is what bugs me. Other than
that it is pretty simple.
DS: He can shine on his own merits now rather than hiding behind
someone else's and show that he can write songs too.
JB: Putting a group together is a challenge because you have to see
if you can get the people to work and see if things will happen.
Some people don't have the need and hunger to do it. These guys
do. I am thrilled with the album and to be out again doing this.
CoC: How has press been for the band?
JB: We are seeing a lot of press on us now and it is good.
JA: The word about us is just coming out now. A lot of people are
coming up to us now and asking us if we have an album out. A lot
of people don't know we are even a band. With more and more
press, it is going to help us.
CoC: With some bad flack from the press about certain qualities of
Belladonna's style of music, comparisons to Anthrax and the
like, how is the band affected?
JB: We knew we would be compared to Anthrax. A lot of people say, "Oh
it is metal and 80's music" and they may not like it but it
doesn't mean that it isn't good or that we don't know what we are
doing, right?
DS: A year ago they weren't even talking. Now they are. Good or bad
press, it all helps us.
JA: Sure people say it sounds like Anthrax. I wonder why, seeing that
we have Joey Belladonna singing for us (laughs)! Of course it is
gonna sound similar.
---------------
Check out Belladonna on tour in the United States with Motorhead and
Speedball throughout February.
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H O T R O D S , H I G H W A Y S A N D H A I R C U T S
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
An Interview with Speedball
by: Adrian Bromley
Inspired by the loud, hard-hitting music of metallic greats like
Motorhead and Black Sabbath, Detroit's Speedball have always wanted
to play this kind of music. With their Energy Records debut album,
_Do Unto Others, Then Split_, the band has done just that by
incorporating all the fundamental characteristics of punk, hardcore,
metal and rock n' roll in one neat little package. It makes for a
really exciting record to just crank up.
Speaking with Speedball prior to their opening slot showcase on
the current Motorhead tour, singer/guitarist Chuck Burns, drummer
Mike Alonso and bassist Jeff King (the band is rounded out by
guitarist Bill Kozy) took a short break to chat with Chronicles of
Chaos before their soundcheck.
CoC: Do you find that it is very difficult for bands in this day and
age to go out and tour and be successful at the same time?
JK: The greatest thing about this tour is that our first national
tour is the easiest thing we are going to do. If we were to do
this by ourselves, we'd be lucky to be getting 100 people a
night. By doing this tour, even if we are on first when people
are walking in, we're playing to 300 people a night. And that is
great for us.
CB: It is a great opportunity for us to be playing with Motorhead
because people obviously know who they are. The response has been
good and we have been doing really well.
CoC: How would you label Speedball's sound and musical style?
JK: It is kind of hard to describe as we have a lot of influences. I
would say that we are a high energy rock n' roll band.
CB: Yeah, a high energy rock n' roll band with really heavy punk and
metal sounds as well as the hardcore sounds.
CoC: For a band like you with all those influences, it can make it
hard for you to be categorized. How do you get past that
response due to the different genre influences?
JK: Sometimes it is a bit of a hindrance because people don't know
how to peg us. We don't care because we love our music and what
we are doing.
CB: We are just a rock band. We can play with Green Day or Motorhead.
And we have played with various bands: Down, Korn, Pennywise,
Silverchair. We have played in front of a variety of different
audiences and we did very well.
CoC: How is it being on a smaller label like Energy Records? How has
it helped or hindered you?
CB: It has helped because it allowed us to make the album we wanted
to do. As for the creativity factor, it was killer. But it has
hindered us because being on a smaller label, they really don't
have the money to ram us down people's throats.
JK: I'd rather be on an indie label because we wanted to make the
record that we wanted to make, and we did that. I don't like the
fact that guys with suits behind desks get to make the calls on
songs or albums or videos.
CoC: And the future? Are you striving for another release soon?
CB: We feel we have more touring to do. We kind of stumbled when the
record first came out a bit because we had bad management and
didn't get shows booked as well as we should have. Now we have
good management and the ball is rolling for us.
MA: It seems like the album has been out a long time for us because
we have been waiting for things to happen but I still think we
have a lot of time left with this record.
CB: A lot of records were out before bands broke out. Shit! I had
Guns N' Roses' _Appetite For Destruction_ a year before you
started hearing it on the radio.
CoC: What do you think about the bands that put out debut records and
the next thing you know they are selling a million copies?
CB: That is because they are a product of a record company who
stuffed them down everyone's throats. I don't want to play that
game and be the 'Flavor of the Week.'
CB: The first album on a major label is more of a gamble. For one
band that puts out a record and goes platinum, there are thirty
bands on majors where their albums go downhill soon after their
release.
CoC: Is being on a major tour something you guys are proud of?
CB: It is great to be on tour and even a bigger honor to be on tour
with Motorhead. They have been such a big influence on all of us.
I remember my life changed after seeing Motorhead in 1981 and now
in 1996 I am on tour with them. Things couldn't be any better
right now.
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,.:/
Here is where CoC gets the inside story on up-and-coming bands. Check
out this column for a variety of fresh, brutal groups. Should you be
an aspiring band on your way to super-stardom, send us your demo and
bio; our address is included in the zine's header.
I N D E P E N D E N T F E A T U R E : A E O N
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
by: Brian Meloon
"There is no dead which can eternal lie, and with strange aeons even
death may die." -- H.P. Lovecraft, as quoted by guitarist Paolo
Gavocanov
Proving once again that the language of metal knows no
boundaries are Croatia's Aeon. I first heard them in the summer of
1995, when their keyboardist Sinisa "Sipy" Bival sent me copies of
their two demos: demo #1 (1993, when they were still called
Dissection), and demo #2 (1994). They were reviewed way back in CoC
#2, and their second demo was given unending praise. I recently asked
guitarist Paolo Gavocanov and Sipy some questions about the band and
their forthcoming debut album.
Since their inception in 1989 as Dissection, the band has gone
through numerous lineup changes and a name change. Eventually, the
lineup settled down, and has remained constant since the beginning of
1994. However, their name is a different story, as Sipy explains;
"The name has always been a problem, but I don't think we're gonna
change it. I guess that we're not lucky with our name. I mean when
the band was called Dissection, the Swedish guys released their debut
_Somberlain_. We figured it would be appropriate to change the name.
Now I know of 3 different bands with name AEON, but I don't care
about that. We like this name." Hailing from Croatia also made it
difficult for the band. "The scene isn't much here. It could be
better," says Sipy. "I can say that there are more people that are
listening to underground metal bands than bands existing in the
scene. The problem is always the same: lack of equipment, space for
rehearsals and finally there are not so many places where you can
play." Still, the band has managed to promote itself in the European
underground, appearing on Dennis Ippel's compilation tapes _A Waste
of Tape #1 and #2_, as well as having their video for "Congest" (from
demo #1) shown on Croatia's _Metal Mania_ TV show.
Although demo #1 was straight ahead death metal, the band
progressed towards a more technical and melodic style. In Sipy's
words, "Our music has its phases. If you would listen to _demo #1_
and to the stuff we're doing now, you would see a progression going
on. From that straightforward death metal, we built our own style.
The main thing was the absence of Sasa [Ristic, their former guitar
player. He left for military service]. Then Paolo, who's doing all
the riffs, is always going for something new, he doesn't like to play
the same thing twice, believe me. The keyboard stuff did the thing
also, especially by doubling scales and melodies to the guitar. It
resulted in a more original musical output. I'm not saying that it's
unique but it has its originalities. It's technical, melodic, heavy.
We use many different metal styles and other styles that are not
metal to express ourselves." Paolo concurs, "I'm a very impatient
type of human being, and I really don't like playing always the same
songs, and I neither like to play always the same type of music, and
it is reflected clearly in my music." Personally I would describe
their overall sound as technical, melodic death metal, though the
band resists classification, with Sipy citing the usual objection
that, "Kids seem to listen to a particular style only because of the
trend or something." Paolo is a little more descriptive; "Our music
is a sort of progressive metal, and it is the only way in which I can
classify it."
Currently, the band is preparing to release their debut album on
the newly formed Baldrick Hell's Kitchen Records run by Jordi "Billu"
Bellaubi, formerly of Abstract Emotions. They are in the process of
recording as I write this, and should be finished by the time you
read it. In the meantime, BHK will rerelease Aeon's _demo #2_ as a
cassette EP under the title _Clean Hands of Eternal Gods_. The
re-released version will feature a new live track, "Portent", but
will be without the keyboard outro "Dissicated". BHK will also be
releasing a home video of the band including covers and studio shots
of the band as well as their video for "Blinded by the Afterlife"
(from demo #2).
Their forthcoming full-length debut album should be a diverse
offering, as the band has continued to move into a more progressive
sound. Paolo mentions that the new album will feature "some old
hippie-groove parts like the old Black Sabbath and Saint Vitus stuff.
Of course there'll be lots of guitar & keyboard solos. I hope you'll
like this one, they'll not be recorded all in half an hour. [Ed.
note: This was my only real complaint with demo #2, see CoC #2], and
I hope that there'll be lots of samples (my new passion) on this
record." Sipy informed me that the sound would be more like Atheist
and Cynic than their previous work. When asked to elaborate, Sipy
explains, "We all listen to both of them and we're all highly
opinionated about them, but our goal isn't to sound like them. We're
going on an original thing. The style will be technical, that's for
sure." Quelling my fears that the band were abandoning the complex,
technical, melodic death metal style of _demo #2_, Paolo assures me,
"There'll be different styles on this record because we'll record two
old songs [one from the first demo] with some enhancements and
modifications, there'll be 4 or 5 semi-old songs, and there'll be a
brand new one which will surely sound different, so I guess it will
not be boring." Sipy adds, "On the album, we'll have songs with so
many different riffs and many of them are technical, melodic death
metal."
After the release of the album, Aeon hope to do a month-long
European tour to support it, a prospect that Sipy calls, "Our dream
come true." What does the future hold for them? In Paolo's words, "My
MIDI-Guitar, and a new Aeon, with lots of samples and overlayed
musical styles. I have plans to do some strange crossovers from free
jazz, hippie-groove, pure heavy-metal, some melodic speed-metal and
power-metal like Pantera."
Band contact: AEON, c/o Sipy Bival
Laginjina 11, 51000 Rijeka, CROATIA
Email: sbival@mapef.pefpu.hr
Label contact: BALDRICK's HELL KITCHEN
Apartat 14148, 08080 Barcelona
Catalunya SPAIN
Email: billu@bbs.hnet.es
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This is where we rant, rave, and rip apart albums. Check this column
every month for the scoop on the latest in heavy hand-outs.
Scoring: 10 out of 10 -- If there was ever a perfect CD, this is it!
8 out of 10 -- A great piece of metallic mayhem
6 out of 10 -- Not too bad of an album
4 out of 10 -- You are treading in dangerous waters
2 out of 10 -- If you like this, you are fucked!
0 out of 10 -- My shit can put out better music than this!
Hypocrisy - _Abducted_ (Nuclear Blast, January 1996)
by: Gino Filicetti (8 out of 10)
Back, and with a vengeance, is Peter Tagtgren's own Hypocrisy.
Blazing at mach speed is the fast and furious _Abducted_, a CD that
not only pleases the mind, but wrecks the brain in the process. Their
fourth album to date, Hypocrisy show that their breed of guitar
oriented death metal has not yet died. The album begins with a weird
opening track called, "The Gathering". It consists of a distorted
sample of some kind of military radio transmission about
extra-terrestrials. Then the music comes into play and seizes the
listener by the scrotum (or various other genitalia) and doesn't let
go for the entire rollercoaster ride. The vocals on this album have a
good variety in that they go from high-pitched screeches, to
distorted soft-spoken parts, to guttural growls. Guitar work on this
release is of the utmost perfection, the multitude of leads
throughout this album proving my point. The production of this disc
is of the highest calibre, but the biggest disappointment was that,
despite a FULL album liner, NO LYRICS WERE INCLUDED! This is perhaps
my biggest pet peeve, and especially in this case, I wanted to read
about what was being said. The last three tracks of this album show
that the band is not modest about being experimental. "Reflections"
is a slow, almost ambient instrumental piece that utilizes orchestral
arrangements. "Slipping Away" has a melodic guitar approach
throughout its course, complemented by soft-spoken, yet distorted
vocals. And finally, "Drained" is a quiet, acoustic piece that gently
lets the listener exit from Hypocrisy's latest domain of sound. I
definitely recommend that everyone at least listen to this album,
because you just might find something you've long been looking for.
Bestial Warlust - _Blood & Valor_ (Cargo Records, December 1995)
by: Gino Filicetti (6 out of 10)
Herein lies ANOTHER CD which came to me bio-less. Arrrrggh! This must
be the one pet peeve that peeves me the most, but as always, great
writing must prevail (so then why the hell are you reading CoC?! :)
The album starts off with the title track, "Blood & Valor". The intro
to this song brings to mind Slayer, back in the good ol' days of
_Hell Awaits_. The music then rapidly progresses into a barrage of
black metal acoustical agony. This trend is maintained for the better
part of the album, which in my opinion makes this CD seem stagnant
and one-sided. The vocals on this album are not the usual ultra-high
frequency yelpings that accompany most black metal releases. They
tend to be a bit more listenable, but lack the agony and pain of true
black metal. One somewhat unique feature to almost EVERY song on this
disc is the use of lead work. Solos abound left, right and centre
here, and never seem out of place. The tie for my favorite track is
between the instrumental, five minute epic, "Within The Storm" and
"Legion of Wrath", a song that tries to break away from the blast
beat noise that is present on all the other tracks, and also
possesses a good heavy element of grind to it. All in all, this album
pleased me for the first five minutes, but to someone 'truer' than
myself, it could be considered a masterpiece.
Scorn - _Gyral_ (Earache Records, November 1995)
by: Laura Wiebe (7 out of 10)
_Gyral_ is the newest release from the brainchild of Michael Harris,
former Napalm Death drummer. On Earache Records and Scorn Recordings,
this vocal-less, ambient electronic album is very dark, not entirely
suitable for the sunny afternoon on which I first heard it. Some of
the machine sounds are quite cool, while others are too high-pitched
to be anything but overdone and annoying. When the strings or piano
parts come in, it often serves as somewhat of a relief. Although
_Gyral_ contains some good ideas, I think in most of the songs it
really wasn't necessary to take so long to express them, and there is
a lot of repetition. The album's least pleasant offerings consist of
Casio-like hip hop drum loops and synth-bass lines. Despite these
failings, Scorn works as eerie background music, but this isn't
something I'd play at a party or give the headphone treatment.
The Gathering - _Mandylion_ (Century Media, November 1995)
by: Gino Filicetti (8 out of 10)
Beginning their life as a 'primitive, Celtic Frost inspired, death
metal band' according to their bio, The Gathering have come a long
way since their inception in 1989. Continuing with the new direction
of softer, more melodic metal that began with 1993's _Almost a
Dance_, The Gathering have made a major leap forward with regards to
their music on _Mandylion_, their latest offering to the gods. This
album is the first that features the sole vocal abilities of Anneke
van Giersbergen. There is absolutely no doubt in my mind that this
woman has the hands down best voice that I've ever heard in a metal
band. The difference that sets Anneke out from the rest of the femme
vox currently singing with some outfits is the fact that she is the
lead singer, her vocals dominating throughout. The music on this
release is very melodic and very heavy in the same breath. Keyboards
have a strong presence i
n The Gathering's music which makes for a
great atmosphere within the songs. The tempo on this record never
reaches the red-line, but then again, it wouldn't flow properly if it
did. An alternative influence (!) can be heard in songs like, "Fear
The Sea". Another notable mention is the title track, "Mandylion",
which is an instrumental song featuring tribal beats with trippy
flute parts. Definitely not something for the heaviest of heavy metal
fans, but if you like to experiment, and especially if femme vox do
for you what they do for me, this is the album for you.
Scum - _Purple Dreams & Magic Poems_ (Black Mark, January 1996)
by: Adrian Bromley (8 out of 10)
Album number two for Finnish death metallers Scum (a follow-up to
1994's _Mother Nature_) and it seems like we have a winner here. This
effort is full of gems. Look no further than tracks like "Circus Of
The Freaks" or "Flames Of The Silver Sea" or even "The Crest Of The
Northern Wave" to see that this band is in no way able to be seen
merely as a metal act. The precision sound and ace recording allows
the music of PD&MP to promote a clear direction. The metallic edge to
most of the songs seems to take on a transitional state as it goes
from heavy, cumbersome riffs to tranquil almost hypnotic strides at a
second's notice - truly captivating. It isn't about how harsh or
loud, or even how demonic you can be anymore - it is how you can
bring about emotions and provoke thoughts. Such is a standard call to
duty provided by other great metal acts such as Paradise Lost,
Pyogenesis and Mindrot. Carefully crafted but played with vigorous
attention, the music here releases a lot and all the listener can do
is fall witness to emotions thrown at them. Pick this one up
metalheads.
Helloween - _Master Of The Rings_ (Castle Records, January 1996)
by: Adrian Bromley (6 out of 10)
What can I say? This is metal that has been brought from the mid-
80's, and in true heavy metal fashion the music is raw, heavy and
full of some great guitar solos and riffs. The thing that has kept
Helloween alive and well after almost eleven years is their
persistence to keep their momentum going and never give up. I mean,
they have managed to survive band changes and the shift of musical
preferences which occurred in the early 90's and are still able to
call themselves a heavy metal band. With _Master Of The Rings_,
Helloween manages to bring their riffs and ear-piercing vocals into
the 90's while still keeping to their roots. While most will write
this effort off as just 'old school' metal there is something special
about it, whether it be its energy, spirit or just the fact of its
loudness. "Where The Rain Goes", "The Game Is On", and "Perfect
Gentleman" are all trademark Helloween numbers and something many
fans of this musical style will be able to dig.
Destroyer 666 - _Violence Is the Prince of the World_
by: Adrian Bromley (4 out of 10) (Cargo Records, December 1995)
Few bands nowadays really, really impress me. They've got to have
music that is mindbending and riffage to kill (i.e the new Sepultura
or Meshuggah's _Destroy Improve Erase_). Strong songs that in
particular can be seen as heavy material, despite any preconceived
notions of heavy metal. Not the case for Destroyer 666, a band with a
strong name, but little else with their metallic dribbling, deathish
screams/chants and overplayed theatrics of _VItPotW_. Bored out of my
skull midway through, I found that this act has no backbone, no real
edge over the hundreds of bands flooding the market. They sound like
a weak imitation of Carcass, and in my books if you try to rip THAT
band off, you've got to do it well. Seven tracks that really don't
pull together much of an album.
Exoto - _A Thousand Dreams Ago_ (Black Mark, Fall 1995)
by: Adrian Bromley (7 out of 10)
Hailed as the leading death metal band in both Belgium and Holland,
Exoto have continued to grow in both speed and metallic proportions
ever since their inception in 1989. Several demos have since been
completed as well as their debut CD on Belgium's Tessa Records
entitled _Carnival Of Souls_ in 1994. Now a year and change since
their debut, the band seems to be on fire. Reckless, brutal and full
of unearthly power, the riffs and growls released on _A Thousand
Dreams Ago_ are stimulating to the ear and soul. Infectious if you
ask me. You just feel the anger and speed within the beats of such
songs as "Screams Inside", "Spirit Within Me" or "Thoughts". With a
very similar sound to England's Carcass with respect to vocals, mixed
with some classic metal riffs, Exoto seems to take their death metal
approach one step to the right, presenting a much more standard
sounding death metal album, but with a 90's style direction and
conscience. In the end, fans craving speed and metal mayhem will need
to look no further as Exoto has what they want.
Mortician - _House By The Cemetary_ (Relapse Records, January 1996)
by: Gino Filicetti (5 out of 10)
As I was putting this CD into my BRAND NEW STEREO, I wasn't expecting
a whole hell of a lot out of it. I kind of feel bad that I have to
give the first CD reviewed out of my new kick ass system such shitty
marks, but hey, it is honesty that you underground types cherish
above all else isn't it? Anyways, this is Mortician's latest release
to the civilized world. There is but one thing to say about this CD:
sick! The album starts with a sample from some obscure horror flick
(Will Rahmer, the vocalist, is a horror/slasher film aficionado) that
proceeds into some monstrously slow and heavy chugging grind. Blast
beats also abound on this album, but since the death of Mortician's
drummer, Matt Sicher, the band has been a duo; therefore drum
machines are used in place of the real "thang" which makes the blast
beats nothing more than a complete joke. The vocals are probably some
of the deepest, sickest, most guttural type I've ever heard. I'll
leave it up to the reader to decide whether that's his or her cup of
tea. Some redeeming qualities about this album are the covers of
Celtic Frost's, "Procreation of the Wicked" and the old Napalm Death
classic, "Scum". The low tunage of the instruments coupled with the
depth of the vocals make for an interesting interpretation of said
tunes. I say after you heard the first track, you've heard it all, so
you decide.
Clotted Symmetrical Sexual Organ - _Nagro Lauxes VIII_
by: Adrian Bromley (7 out of 10) (Morbid/Sepulture Prod., January 1996)
Halfway through this album by Japan's CSSO, a rather calm sampled
male voice says, 'Listen to this if you dare all of you who think
that you know what grind is.' The statement seems rather important as
it kind of edges us to continue on into their world of grindcore,
satire and humor. But do we want to continue on? I can't decide. Not
the most enjoyable thing to slap on and hear, but there is a sure
sign of excitement when listening to CSSO's album as it goes from
chaotic noisebashing to grindcore, and back to sampled segments from
movies, etc. Call them the Japanese equivalent of Penn. State noise
rebels Exit-13. The similarities between both bands is scary. Along
with noises and other odd bits, you have 80's riffs, melodic beats,
screams of anger, and a shitload of grindcore heaviness. Truly
unimaginable until you hear it. Fans of Exit-13, take note because
these guys are just as fucked up. Not really having a favorite
number, I must insist that tracks like "Rolling The Zen", "A
Trigonometrical Of Mokuba", "Bara Bara Man", and "Perversion" be
cranked loud. Word of caution: If you don't dig the record by "Very
Very Blue Belly", don't even bother listening to the rest of it.
Dark Tranquility - _The Gallery_
by: Adrian Bromley (3 out of 10) (Osmose/Cargo, December 1995)
If speed metal, death metal, and thrash metal could actually weed
itself out and put all of the imitators and rip-off artists into a
barrel, I'm pretty sure that this Carcass/Brutal Truth clone band
called Dark Tranquility would be in there somewhere. From opening
riff of "Punish My Heaven" to closing number "Of Melancholy Burning",
Dark Tranquility seem destined to run around in circles with their
lackluster performance, not to mention the unoriginal approach and
styling of their music. The only moment worthy of praise is the title
track due to its use of the soft-spoken, choir-like female vocals
overlapping the trudge and ripping chords of their instrumentation.
Song after song, the album seems to stray from anything original, and
the band paints itself into a corner and must be asking themselves,
"Where do we go from here?" Bland and uninspired music with no appeal
at all - that is, unless you like to hear someone else's music ripped
off over and over again. This one is destined to become the newest
addition to the delete bin at your favourite music store.
Nightingale - _The Breathing Shadow_ (Black Mark, January 1996)
by: Adrian Bromley (2 out of 10)
I'm guessing producer/musician Dan Swano had some spare time off from
producing an album or two to just sit down and try to be creative.
Well Dan, _The Breathing Shadow_, (an album he wrote, recorded and
mixed) didn't really seem to get anything going except maybe a few
hard laughs from death metal fans worldwide - not to mention some
unkind words from critics too. This album is not what a lot of people
might expect from the very talented Swano. Nothing at all. More like
a rock record, _The Breathing Shadow_ is not really rooted by any
metallic means. Sure, there is some ambience to some of the songs,
maybe even gothic at times, but it sounds more like a carbon copy of
an 'old school' 80's band like Dokken or Stryper than a musical
mastermind at work. To be honest with you, I couldn't sit through
this whole record.
Ghostorm - _Frozen In Fire_ (Black Mark, January 1996)
by: Adrian Bromley (6 out of 10)
Metal is metal no matter where you hail from. As long as you are part
of a metal scene, be it small or large, the music still survives.
Case in point, Lithuania's Ghostorm. Comprised of a very deep-rooted
metal sound and direction, Lithuania's metallic pride and joy carry
their music well. Standard riffs and growls surround the music within
their raw but crisp debut effort, _Frozen In Fire_ (produced by Edge
Of Sanity main man Dan Swano). Seems as though Swano saw something in
the music of this band and demanded that he produce their debut -
good choice Dan! What we find in _Frozen In Fire_ is a somewhat
generic metal element in the make-up of the songs, as well as a
definite Napalm Death influence with respect to their vocal style.
Generic death metal it may be, but the obvious brutal influences of
the past few years (Carcass, Entombed, Brutal Truth) are evident here
as well. Tracks like "There", "Frost", and "Come Back" are standouts
on this release. Brutal music proves to have no boundaries (speaking
geographically, that is) with this timely release by Ghostorm.
Stellar production by Swano is the album's key asset.
End Of Green - _Infinity_ (Nuclear Blast, January 1996)
by: Adrian Bromley (8 out of 10)
Truly one of the most impressive debuts of this year - hands down!!
Germany's End Of Green are quite a remarkable four-piece that dig
deep into the soul and manipulate the mind with their own genre of
musical dominance they call 'depressive subcore.' The album,
_Infinity_, follows a complex rotation of moody epics that create
images of lost hope, anger, and loneliness. Guitarist/vocalist
Michael Huber really stands out with his hypnotic vocals reminiscent
of Type-O-Negative's Peter Steele or Peter Murphy's work with
Bauhaus. Though far from the emotionally depressing reaches of
Bauhaus, the obvious stylings of fellow countrymen Pyogenesis allow
the music to take on the character of gothic metal. But it is more
than that as well. Though each song follows a slow, almost monotonous
direction throughout, it is the lyrics and the use of Huber's voice
along with the band's clashing of riffs and beats that show the
dynamics of a true and earnest album. It is very powerful and I can
guarantee you will be drawn in after a listen. Tracks to lookout for
are the thrilling "Away", "Nice Day To Die", "Left My Way", as well
as the title track. Hope this band gets a big push from their label
and a good tour as they deserve it after creating such a remarkable
first effort.
Disgrace - _Superhuman Dome_ (Morbid/Sepulture Prod., January 1996)
by: Adrian Bromley (6 out of 10)
Finland's Disgrace are a well-knit energetic band that incorporates
the fundamentals of a truly dynamic death metal outfit (in the vein
of Entombed and Dismember) and the stomp of a standard
hardcore/metallic band. The music here is somewhat lacking in the
impressive department, as the music lacks originality or even
character; but no one can say that this band doesn't have a
vigorously sharp beat going for them. The music is tight and the band
is capable of making their songs presentable to us without losing our
interest, with a growl here and a head-popping riff there. Heavy duty
action happening on numbers "Distress", "Forever", and "The Earth
Silence". Not much more to say except that it seems that this outfit
has more muscles than brains. But that ain't a bad thing now is it?
Masquerade - _Surface of Pain_ (Metal Blade, January 1996)
by: Laura Wiebe (5 out of 10)
Originally released in 1994, the second album by Swedish band
Masquerade is only now arriving in North America courtesy of Metal
Blade. Five or six years ago, I might have enjoyed this album more,
but now? _Surface of Pain_ has its high points; unfortunately I've
heard most of them before. Overall, Masquerade's sound is somewhat of
a mix between Alice in Chains, Queensryche, Dokken (in the 80s) and
maybe even Boston. Some of the choruses have got to cruise though,
along with the guitar solos. Because it's all been done before, the
listener tends to lose interest fairly quickly but parts of songs
like "Feels Good" and the chorus of "Say Your Prayer" liven things up
a bit. This isn't a bad album but it's not consistent, nor is
Masquerade all that far from the 'tired and monotonous bands' mocked
in their bio.
Time Machine - _Act II: Galileo_ (Spell, 1995)
by: Brian Meloon (7 out of 10)
I'm a sucker for concept albums, and this one, loosely based on the
life of Galileo Galilei, is no exception. It's also beautifully
packaged and laid out. The album clocks in at approximately 50
minutes, and as you'd expect, there are a number of short interludes
and sound effects, with only 7 of the 19 tracks being of any
reasonable length. Musically, this is progressive metal, comparable
to Savatage, but not as cheesy as their new stuff. At times, they
remind me of a number of bands, including Voivod (_Nothingface_ era),
Saga, and of course Dream Theater. However, they avoid the "kitchen
sink" mentality of many prog metal bands. This album is surprisingly
cohesive, but they don't really have their own identifiable style.
The playing is a little rough, and the album as a whole has an
amateurish/indie sound, but most of the songs are good (or at least
passable), with the exceptions of "Dungeons of the Vatican", which is
a great instrumental, and "Prisoner of Dreams", which has two
horrific sax solos, reminding me of the romantic sex-scene music
you'd hear in a bad movie late at night on Cinemax. One thing that I
love about this release is that virtually all of the songs are
through-composed, which means you won't get bored too easily
listening to it, and they also make use of repeated motifs throughout
the album. Both of these characteristics really help the album in my
opinion. This will be a little hard to find, but it's worth it for
prog metal fans.
Mass Psychosis - _Face_ (No Bull, November 1995)
by: Brian Meloon (5 out of 10)
This is a re-release on CD of a bunch of stuff from New Jersey's Mass
Psychosis; their demo _Face_ (1991), seven inches _My Private Hell_
and _Goremachine_ (including revocalized versions), and a new track,
"I Own Your Soul", from 1993. It's all the same basic heavy thrash
mixed with death metal style, but there's a good deal of variety and
some melody as well. It's not really innovative, but _Face_ would
have been quite impressive in 1991. As it is now, it's a little
cliche. It's still reasonably good, but they never really put things
together to make a great song. They seem to always manage to mix
really bad stuff in with their cool stuff. It's most likely just my
personal bias, but it seems like they have more potential than
they're exploiting. The playing is decent, and the vocals aren't too
bad, though they can be a little obnoxious. Still, nothing about this
really strikes me as outstanding. Their newer stuff on here does get
better, so I'll give them credit for that. In any case, I'd hesitate
to recommend this to all but die-hards, unless you want a version of
_Face_ on CD.
gut-sonic - _Impetus 23_ (2nd Sun Records, Fall 1995)
by: Adrian Bromley (7 out of 10)
gut-sonic have been playing the circuit here in Toronto for a few
years now but after several years of 'playing out', the band finally
has reason to be seen as something other than just another local
Toronto act. With their first full-length debut album, _Impetus 23_,
the band proves that they are quite a talented band with their
chameleon-like roster of metal, hardcore and progressive songs found
on this release. The thing that stands out most with this release is
singer Andrew Sanger's vocals and the fact that the band can mold its
music around the stylings that Sanger reveals with each song. It can
be tough to keep the multiple stylings of songs fresh throughout the
CD, but gut-sonic do just that. From the infectious stomp of "Frame
313" (my favorite) onto "Knuckle-Head", "Metamorph" or the cool vibes
of "Fear Is Life" or "You!", gut-sonic reveal a sturdy framework of
riffs, vocals and stamina. End result: a strong, powerful concoction
of harshness. Sonically, the band tends to base itself around harmony
and somewhat standard riffs but when the fuel gets going watch out.
An ideal band for those wishing to let things go rampant every once
in a while. Check 'em out.
Contact: gut-sonic, 599B Yonge Street, Suite #125
Toronto, Ontario, Canada, M4Y-1Z4
e-mail: 76702.2073@compuserve.com
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Your best source of information on the newest of the new, and the
lowest of the underground, New Noise is the place to read about all
the coolest shit you never thought existed! And if you have a band,
don't forget to send us your demo with a bio if you want to be
reviewed; our address is included in the zine's header.
Nueairea - _Alter The Regular_ (8-track demo)
by: Adrian Bromley
This quartet of progressive metallers hail from East Bay (I assume
that means the San Francisco bay area?) - home to Metallica,
Testament and Release, and as far as fitting in with the
aforementioned crowd of metal outfits, this band is flowing in its
own direction. Sounding like a shallower, less powerful replica of
Florida's triumphant Savatage, Nueairea do have the metallic edge
that Metallica and Testament scattered throughout the Bay area; this
is evident on the epic "Guidance Part I" and "Guidance Part II" but
also have a very Pink Floyd-ish vibe within their music, thanks in
part to the use of harmony, melody and keyboards. Plus the lyrics to
many of the songs are well thought out. But sad to say, _Alter The
Regular_ is missing a more metallic crunch to keep the listener
interested, and that is quite evident with the slow-paced openers of
"Systems", "Nevermore", and "Comparisons Of Rage" that were chosen to
lead off this eight-song effort, rather than anything with strength
or speed like "All" or "The Last Minute", the seventh and eighth
songs of the demo. For most fans of both speed metal and progressive
metal, this album could be interpreted as a stepping stone to
something in the future with better, tighter production and music
construction that emphasizes growth and strength as songwriters, or
just another one of those bands that'll have a demo and fade off into
obscurity in a year or so.
Contact: NUEAIREA, 920 Rose Drive
Benicia, California, USA, 94510
Voice: (707) 747-5804 or (510) 229-0731
Mortal Decay - _Brutalizing Creations_ (5-track demo)
by: Brian Meloon
This is semi-technical death metal, well played and reasonably
complex, but way too much like Cannibal Corpse for the band's own
good. The demo is a little rough, both technically and in production
values, as you'd expect, but this isn't a problem. The vocals seem to
vary quite a bit, from barely discernible and very guttural to thrash
like shouts, and even some black-metallish screams, which help to
break up the monotony. Also helping to this end are the complex
structures of the songs, which never seem to get stuck in any kind of
rut, as they're frequently changing tempos and riffs. This does tend
to leave me without a good sense of each song's purpose, but that
doesn't bother me. The playing is on all counts good, with some
impressive sections here and there, but nothing that really shocked
me, especially not the song titles, like "Opening the Graves" and
"Soaking in Entrails". Yeah, come on guys, grow up. Still, for what
it is, it's well done.
Contact: Mortal Decay, c/o Anthony Ipri
415 Oak St., Audubon, NJ, 08106, USA
Project X - _demo_ (3-track demo)
by: Brian Meloon
Quite frankly, I wasn't expecting much from this demo, as it's the
reformation of Leviathan without lead guitarist John Lutzow (who
wrote my favorite songs from Leviathan's _Deepest Secrets Beneath_).
However, this demo surprised me, as it's quite well played, and a lot
heavier than I expected. Holding somewhat to the sound of _DSB_, this
is prog metal in the vein of older Queensryche, relatively commercial
sounding, but not sickly sweet. As you'd expect, there's heavy use of
melody and harmony, both done reasonably well. Technically, it's very
good, with precise rhythm guitar work (though the leads could use
some work), and dense, varied drumming, with healthy doses of double
bass work. The vocals are the weak link, because although the
vocalist has some of the same nuances to his voice as Geoff Tate, he
lacks Tate's power. The songs are also a little too simple for my
tastes, mostly holding to some kind of standard format, and at times
a little too reminiscent of the 80's. The lyrics could use some work
too, but the production is fabulous. I think that most prog metal
fans will find this worth having.
Contact: Project X
6980 W. Polk Pl.
Littleton, CO, 80123, USA
Within - _The Unaccepted_ (5-track demo)
by: Brian Meloon
This is basically death metal, with a nice touch of melody. It's
quite good, as it's technical and has enough variety and complexity
to keep it interesting, and it doesn't really sound like a clone of
anyone else. The production is muddy though, and the bass is mixed
higher than usual, both of which hurt the overall effect. Musically,
there aren't any real surprises, but no obvious shortcomings either.
The vocals vary from a raspy death voice to a more guttural tone, and
the music varies from slow to fast death metal, with frequent melodic
interludes and an almost Maiden-esque quality to some of the music.
The songs aren't too simplistic, and at times show some nice
development, avoiding the thrown-together sound of some other bands.
The guitar solos are a little sloppy, but not any worse than average.
The last song is an acoustic outro with samples, so there really are
only four songs here, but this is an impressive demo.
Contact: WITHIN, 565 Durand Blvd.
Rochester, NY, 14622, USA
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Here is where Chronicles of Chaos gives you the low down on the
latest shows to come to town. Check out Chaotic Concerts every month
for the scoop on which bands are brutalizing the masses with their
own form of terror.
N O S T O P P I N G T H E L O C O M O T I V E
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Motorhead at Lulu's in Kitchener, Ontario, January 20, 1996
with Belladonna and Speedball
by: Alain M. Gaudrault
Previously having co-headlined with Black Sabbath, Lemmy and his
road crew were back with top billing at Lulu's. It was a pleasant
surprise to see a decent turnout for such a heavy act which had, in
fact, already played at the establishment a mere six months earlier.
The opening acts provided limited entertainment. Speedball, with
their derivative punk 'n roll, had a lukewarm reception, but were at
least tight, fun, and fitting appetizers for Motorhead's main course.
Belladonna, featuring ex-Anthrax vocalist Joey Belladonna, played a
set of uninspiring 80's speed metal with a 4-song interlude of
Anthrax hits thrown in for good measure. While the Anthrax material
went over extremely well, their original compositions were less than
well-received. For a metal veteran such as Joey Belladonna, it was
sad to see them blown off the stage by Speedball.
Of course, there was no love lost once the openers stepped off
to make way for Phil "Zoom" Campbell (guitar), Mickey Dee (drums),
and the inimitable Lemmy Kilmister, Rickenbacker strapped firmly
around his neck. There's not a whole lot that can be said about a
Motorhead gig that hasn't been said many times before, and likely far
more eloquently. Motorhead seems to consistently deliver a good,
solid show with few surprises. Hell, they opened their set with "Ace
of Spades"; if that's not predictable I don't know what is. A few of
their better known songs were noticeably dropped from the set in
favour of newer material, which is to be expected from a band which
consistently releases such fine, heavy albums. Motorhead were
pioneers of metal and still command the attention they rightfully
deserve. As long as they keep writing and touring, there will be fans
clamouring for tickets at the box office. Next time Lemmy and company
roll into your town, cancel your plans, get off your ass, and brace
yourself for the onslaught.
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W H A T W E H A V E C R A N K E D ! ! !
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Gino's Top 5
1. Various - _Slaytanic Slaughter_ (Slayer Tribute)
2. Marilyn Manson - _Portrait of an American Family_
3. Unleashed - _Live In Vienna '93_
4. Filthboy - _Not Again_ (advance demo)
5. Sepultura - _Roots_ (advance cassette)
Adrian's Top 5
1. Sepultura - _Roots_ (advance cassette)
2. End Of Green - _Infinity_
3. Only Living Witness - _Innocents_
4. Sacred Reich - _Heal_
5. Scum - _Purple Dreams And Magic Poems_
Brian's Top 5
1. W.A.R. Compilation Vol. 1
2. Threnody - _Locusts of Eden_
3. Guitar on the Edge (No. 1, Vol. 2)
4. Time Machine - _Act II: Galileo_
5. Nevermore - _Nevermore_
Alain's Top 5
1. Comecon - _Fable Frolic_
2. Samael - _Rebellion_ EP
3. Voivod - _Negatron_
4. Obliveon - _Cybervoid_ (advance cassette)
5. Ministry - _Filth Pig_
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T H E F I N A L W O R D
~~~~~~~~~~~~~~~~~~~~~~~~~~~
And with this, we close off another issue of Chronicles of Chaos.
FINALLY we got one out at a reasonable time. Feels good to almost be
back on schedule. Well, I don't have much to tell you all at this
point in time, just remember to send in those Loud Letters. I can't
tell you how disappointed I was that I only got one this past month.
I refuse to believe that all my readers are illiterate! :) Anyway,
next issue looks to be a good one. We are going to be having not one,
but TWO Heavy Metal pioneers featured in CoC #8, so keep your eyes
peeled for that, out promptly on March 1st! (Yeah, in my dreams!).
Anyway, have a good one people, and get those fingers typing, I want
to see some Loud Letters this time around.
-- Gino Filicetti
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End Chronicles of Chaos, Issue #7
