A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Grade Scale adopted at Troll's Independent (starting from the lowest)

1 - Plop
2 - Hand-grenade
3 - Heavy-duty Shell
4 - Nuclear Explosion
5 - Troll-fart!!!

5/5
THE BLACK LEAGUE
Doomsday Sun EP
2001
Spinefarm/FONO
doomed rock'n'roll
"Rock'n'roll won't get you far…" Bullshit. With their melt-metal shake of late Entombed throogie, Deep Purple, and Amorphis, the League Boyz are taking themselves pretty damn far. Take my word for it. This alcohol inspired fuck-all-that-shit-attitude release is a more than suitable continuation to the band's debut Ichor LP, that came out early in 2000. Having pretty much the same stem and roots as its predecessor, Doomsday Sun shows more teeth, more attitude, and more upbeat melancholy (for lack of a better word), so typical of Finnish releases. Enough said, off with the contents. The dawn of Doomsday starts with a fast-paced "1% -Doomsday Now" featuring L.G. Petrov-inspired vokillz, spectacular drumwork set up by none other than Sir Luttinen (Legenda, Impaled Nazarene), catchy glam-gloom riffing and no less impressive soloing. All of that is served on a plate of pissed-off lyrics, one would write in the times of a bad hangover. This one is followed by a cover version of Nick Cave's "City of Refuge" - a spite-fuelled vodka-smoke mix of guitar aggression and top-of-the lung screams. But hey, check out the next one: "Sunday Song - the morning after edit" a slow depressed ballad (originally available on the Ichor LP), in which Jarva tries his best in a Tom Waits impersonator contest (a more than commendable attempt I'd say). All of that keeps a-rolling smoothly, glittering in the rays of the black sun, like the last drop of cheap wine through the thick greenness of the bottle, ending up in the "Sanguinary Blues" - a self-explanatory classic blues that closes this excellent EP. Well, if that's only the appetizer, I cannot imagine what's awaiting us for the main dish. Guess we just sit and wait. And in the meantime, I'll sit down with a glass and listen to "DS" once again. (Troll)

4/5
CANNIBAL CORPSE
Live Cannibalism
2001
Metal Blade/FONO
grind core
The last fortress of herbivorous fauna advocates has been razed in flames, and now, drooling all over itself and licking its collective lips in carnivorous lust, the raptor half of humankind is settling down right on the battlefield, getting ready to munch on the wounded and champ on the captured. Why bother cook the fresh and tender prey? - It's Live Cannibalism! 18 best ever pieces (for I dare not call that songs), composed by the "cannibals" throughout their long career include such classics as 'I Cum Blood', Hammer Smashed Face', 'Skull Full of Maggots', 'Fucked with a Knife' and of course the monumental and, for lack of a better word, symbolizing verse named 'I Will Kill You'. Remarkable sound, excellent reflection of a live orgy and hearty rejoicing in the "gallery of suicide". (Troll)

2/5
CEREMONIAL EMBRACE
Oblivion
2001
Displeased Records
Black
Geez, man, I thought that copying Cradle of Filth had already gone out of fashion nowadays. I mean it takes a certain deal of ignorance to do something arrogant like that in 2001. Yet, as it turns out, there are some people who are still doing it and feel perfectly ok about it. Ceremonial Embrace's 'Oblivion' is a very graphic example of that. You know sometimes I just wonder about the motivation behind ripping off somebody else's work. Why would anyone wanna do that for chrissake? Why would anyone with a iota of common sense want to become a copy of Dani Filth? The answer to that I guess remains a mystery. In the meantime bands like Ceremonial Embrace will sign contracts and sell records at other people's expense. The production is not bad and there are some cool places here and there on the record, so that still gets a two, but dammit does it make me sick when I just think about this: As Beavis put it - I hereby charge you with being small and worthless! The sentence is death! (Troll)

5/5
CORONA BOREALIS
Corona Borealis
2001
Well of Urd (Hammerheart)/FONO
medieval folk tunes
Seasons change, folks, and no mistake. What used to seem absurd, nowadays becomes normal, if not common. For instance, if a mere decade ago the idea itself of a metal label issuing a collection of traditional medieval tunes would have inevitably caused doubts in the sanity of the person who suggested this, presently, having a folk/trad. band signed to your roster has sort of become an industry standard for any label with the smallest deal of self-respect. I mean, even Hammerheart, an office generally known for all sorts of delicatessen, decided to form a special division which would take care of the aforementioned niche in the music market. Off to the band though. Even stranger. The core of the band consists of two Norwegian black metal guys who teamed up with a bunch of Russian guest musicians to arrange and play their favourite pieces of European medieval folk music, some of it dating back to as early as 14th century. Well, with these odds, the ends turned out to be a bright and many-sided folk release, that instantly brings the listener to the atmosphere of Europe the Young, summoning images of gallant knights and pretty maidens, brave Celtic warriors and pagan cults, green hills and majestic castles. And with the brilliant arrangements and spectacular musicianship (and we are talking bagpipes, harps, lutes, lyres, and all sorts of other long-forgotten instruments), Corona Borealis becomes a genuine precious stone in the box of runic mysteries. With all of that in mind, I personally can recommend this CD any day of the weekend, with the only exception that you have to enjoy folk music and bagpipes. There is absolutely no metal here. (Troll)

5/5
CREMATORY
Remind
2CD 2001
Nuclear Blast
Gothic/Doom
This all really saddens me. One of the best-ever doom-gothic bands dissolves in the muddy waters of oblivion. Ten albums within 10 years history, millions of fans all over the world - gone now. The only thing that remains is the "Believe in you and especially in Crematory"-faith and music that led our way through the life for so many years. The legend died, but still the hope glows in the hearts of Crematory fan army. I keep my fingers crossed that the title "Remind" won't live up to its meaning and that the CDs won't serve you as a reminding that some years ago there had been an excellent band. For me this double-pack is a crown of what was done by Felix & Co. The first CD is live with all possible hits you could have ever thought or dreamt of - from the very first record up to the latest (but hopefully not the last) "Believe". The CD covers the complete (16 tracks) show taken during the band's farewell tour; I mean no pauses between the songs, the sound made my jaw fall open. Song arrangements sometimes sound a bit different but that makes the record even tastier. The closing "Perils of the Wind" almost made me burst into tears. The Second CD is a spoonful of rarities - imagine: "Tears of Time" in German, the "Fly" mini CD, and an amazingly re-mastered first-ever Crematory release, the previously-impossible-to-get 4 songs you could hear nowhere except for this demo. Musically it is mostly close to "Transmigration" but more brutal and far from being called doom metal. "Death is the beginning" or should I say was the beginning. Death metal with Felix's vocals (that is quite understandable, ;). The only slight drawback of Remind is the booklet - never mind the 60 pages they are ENTIRELY in German. Ist es Wahr, oder nur ein Traum (is it real or just a dream)…. (Felix da Katt)

4/5
CRIPPLE BASTARDS
Almost Human
2001
????
brutal grind meatal
Hardy-fucking-har!!! This is one of the most funny albums I've heard recently. Although the genre-line put this CD into the meat-grinder department, there is a whole lot more to it than this. Point is that almost in every track the guys are doing their utmost in a desperate attempt to go away from grind-core and play something different, but like that Ancient Greek loser who never pushed a stone up the hill, these dudes always end up in a blast-beat booby trap. The whole CD contains about 50 tracks part of them being life performances of the band, but of this we will talk later. And for now: let's start from the very beginning and analyze it song by song:.Ooops, I be kidding! Anyways, here you will find tracks starting with standard British punk-rock and end up in a slaughterhouse, tracks starting as Florida death metal and then going straight into the butcher's door, tracks breaking in like New York hardcore and falling down in a pile of gore, finally tracks commencing in an anthem to heavy metal and still going squashed under a lathe knife. Dammit there's even a solo attempt somewhere in the middle of this mayhem! The live tracks in the second half of the CD give you a basic idea of what is going on in the gigs of this wonderful band. Absolutely cool and hilarious! (Troll)

2.5/5
DARK FUNERAL / INFERNAL
Under Wings of Hell
2001
Hammerheart/FONO
classic in black
Usually you are not really expected to lash out at a classic CD, but I mean, there's a limit to everything, y'know. Actually Dark Funeral, despite all the "true and evil" gimmick turned out to be surprisingly listenable. Well at least it does not bore you to death and has some sort of energy to it, and the quality of the mix was not that bad either (even more surprisingly considering the release year). It's not that the 'Funeral' will come a relevance to you, and I'd even say I do not really see a myriad of original ideas here, but once again, at least this is done professionally. Although, gotta admit it that by 1994 Lord Arhiman and his mates have already learned how to handle their instruments (guitars and drums, I mean ;). But, heck, Infernal was absolutely out of way. Can someone, please, be so kind as to explain to me the point of ripping off Death's 'Scream Bloody Gore' and early Mayhem, without even attempting to put some of your own ideas into this. What's the bloody point about yer aggression if it does not have any sense to it? Why for cunt's sake do you scream Satan and bloody Armageddon when you cannot even tune the freaking guitar properly? Fucking rubbish. 2.5 fists out of 5 go into the undivided ownership of Dark Funeral. Hail all the penguins. (Troll)

3-/5
ENTER MY SILENCE
Remote Controlled Scythe
2001
Mighty Music Pro./Zomba Music
melodic death
Very professional, extremely diverse, unusually melodic and... equally boring. Ever heard Dark Tranquillity's "Gallery"? Well, part two is awaiting you with Enter My Silence. Yes, it is the good ole' high quality Gothenburg melodic death metal which means heavyish twin-guitar solo-work, powerful drums, thrashy bits, swaying distorted harmonies, acoustic inserts and gut-ripping screams on top of it all. Not bad certainly, but not good enough either. There are a lot of very neat elements and turns on "EMS" which allows the boys to rise a bit higher than most of their trade-mates, but I still cannot rate this any higher than 3. Many people will like it though I am sure, and that's basically the way it was meant be. After all, professionally made death metal is always something pleasing to listen to, and this band suits the purpose just as good as any other. (Troll)

3/5
FLOTSAM & JETSAM
My God
2001
Metal Blade/FONO
thrash metal dinosaurs
Oh yes, dinosaurs they are, and like all dinosaurs these former colleagues of Jason Newsted should of long become extinct, doing themselves and the world a very big favor. The impression was twice as disappointing considering how much expectations I personally connected with this CD. Having recorded and excellent starter 'Dig Me Up', which in itself congregates everything you could have and should have expected from thrash metal (and that is speed, energy and a healthy deal of aggression), the band then descends into the self-absorbing labyrinth of over-complicated and uncoordinated music pieces, which being quite good and interesting as they are, make nothing but a blurred mess when put together. The end-effect is pretty close to shaving with a dull razor which only shreds and scratches your skin, leaving most of the unwanted facial growth in place. I am far from saying that the band's music is bad or stupid, quite on the contrary the cunning turns and twists in the melody, which stirs back and forth from acoustic bits, to overloaded power-riffs and Wah-wah-ed guitar cries produces a monumental surrealistic canvas that will surely attract attention of a whole lot of spectators out there. Point is - surrealism is not something I want to hear from FJ. I got Voivod for that, and late Death, and a good deal of other bands. Yes there are some very good tracks here, such as 'Nothing to Say', 'Camera Eye', or the already mentioned 'Dig Me Up'. Bu like I said these are pieces that unfortunately do not form a whole. You still might give it a try, go ahead, and do your best to like it, but when you find yourself fast asleep knocked out by this musical sedative, you'll know exactly what I was talking about. (Troll)

5/5
FORGOTTEN SUNRISE
a.Nimal f.Lesh/Looma Liha
2001
Forgotten Sunrise
folk doom
Hey, for once! Finally an interesting doom metal release, and moreover coming from the former USSR territory, Estonia that is. Those of you who have been reading our reviews for some time now, might already know, that I do not really think much of doom, especially in its modern incarnation, however, once in a while one can stumble upon something, which sounds indeed special. And I tell you what - I haven't heard anything that beautiful and since a very long-long while. Forgotten Sunrise ascends to the skies with a truly majestic splendor, a deep red ruby gleaming in the blackness of early dawn. It stuns you like a bolt of lightning and takes you away on a journey through the sounds that do not belong to this world. It goes back and forth cradling you into the phantasmagoric plain of dreams: So what is the secret of this Pandora's Box? Simpler than you would have expected really. Be brave and be daring, combine the uncombinable, add Jewish Harps and Tambourines to hell-driven growling, mix dance rhythms with oriental wind-chimes and violins, merge traditional doom elements such as slow and heavy riffs with the floating mellowness of new age. And if your experiments are done with taste and talent you are on top of the world. Like Forgotten Sunrise are. The only disappointing factor is that it is only five songs plus three remixes. Still worth a fiver. (Troll)

4+/5
JACOB'S DREAM
Theater Of War
2001
Metal Blade/FONO
techno thrash/power
Wow, what a surprise! I didn't know there were any young bands playing music like this. Jacob's Dream are actually newcomers, "Theater Of War" is only their second CD, but the music they play has the foundation in the 1980s. It's techno thrash in the vein of Deathrow, Watchtower and Mekong Delta with traditional high-pitched vocals complimented by abundant progressive/power elements. However Jacob's Dream do not limit themselves with copying monsters of the style, they add to it a lot of keyboards sometimes sounding like gothic metal but at times like Italo-power. Thanks to it, the band is easy to recognise. "Theater Of War" is rather short, it runs for some 44 minutes, but it has all ingredients of a great progressive record - powerful attacking compositions (my favourites are "Black Souls" and "Critical Mass"), a mighty ballad ("Sarah Williams") and an instrumental with abundant guitar soloing ("De Machina Est Deo"). Some may say the album is ruined by the "stop-torturing-the-cat" style vocals, but in my opinion, it fits the music perfectly, and the only reason to deprive Jacob's Dream of a fiver is their lack of catchy choruses. (Maniac)

4+/5
HADES
DamNation
2001
Metal Blade/FONO
thrash metal at its finest
I don't remember last time I heard such a fine sample of this now undeservingly unpopular trend. Thrash as it is was started by the US bands, and it the US bands who really know how to do it properly. Not that I'm saying Destruction or Sodom cannot do it, but they, imho, are a bit too straightforward, so to say. The American breed at the same time is much more sophisticated and complex. Forget about Korn & Spineshank, bugger it all for a lark, forget all of that so-called NU-metal crap. Hades are back with their 6th LP bursting with desire to prove who really is metal. The point is made right here and then when we hear the might roar of a GSXR 750 Suzuki that starts the opening 'Bloast' - a true anthem of the new generation of sports-bikers. Corny? You might say that. But tell me when was the last time you heard someone use this gimmick (save for Manowar of course, but they don't count). Furthermore when was the last time you felt such a blood-freezing power in the dry snapping of palm-muted strings? When was the last time you heard bass serve its actual stem-building purpose, 'stead of the down-tuned elephant-farts? Finally when was the last time you heard a guy who actually could sing? True, Alan Tecchio is not unique and his inspiration by Dickinson and Halford is more than obvious. But again as an old-time Maiden-fan I can say it with all frankness, that unlike the unfortunate Mr. Bailey, Alan could have made it. Just listen to 'Absorbed' or 'Stressfest' or 'This I Know.' The riffing model also deserves some extra-attention, for the guitar mastermind of Dan Lorenzo is indeed worth it. Unlike many of his colleagues Dan manages to find a perfect balance between complexity and catchiness, being at one and the same time precise, elegant and up-to-the-point - a virtue very few guitarists and composers possess nowadays. I mean, it's hard to believe that songs like 'DamNation', 'BioCaust', and my personal favorite 'California Song' were actually written by the same person. Would have been a full fiver was it not for some minor dullish pieces, but those are few and far between. (Troll)

5/5
ICED EARTH
Horror Show
2001
Century Media
power/thrash
After the immensely successful "Something Wicked This Way Comes" the leaders of the US power metal scene really had to take the time to create something that beats or at least equals their previous record. It took them three years, but it was worth the wait. "Horror Show" is maybe the very best record that Iced Earth have done, it may be less melodic than "Something Wicked…" but much more complicated and no less intense. Among the innovations are the Eastern colour of "Im-Ho Tep", a female singer on "The Phantom Opera Ghost" and a huge influence of Blind Guardian in the vocal department (Iced Earth's mastermind John Schaffer did not have a project with the Blind Guardian mainman in vain). As to ballads that graced "Something Wicked" so much, there's only one of that kind here ("Ghost Of Freedom"), but it's among the best tracks of this record. Other songs are very heavy and aggressive, which is actually understandable as soon as you figure out the album concept. The "Horror Show" lyrics deal with various monsters of the past, and each song is a tale of a new monster ("Damien", "Frankenstein", etc.). The album's limited edition is made in the shape of a book and contains a bonus CD. But even if you fail to track this edition, I advise you to buy the record, for it is one of the must-haves of the year. I just wonder what Schaffer is going to do next? (Maniac)

5/5
NIKOLO KOTZEV
Nostradamus
2001
Steamhammer
hard-rock
"Nostradamus", the work of Brazen Abbot mainman Nikolo Kotzev, stands by itself in the multitude of recent projects that feature many famous musicians in various combinations. This rock-opera was recorded by the maestro himself with the help of a quite unique team: ex-"Europeans" John Leven, Ian Hauglund and Mic Michaeli, a 35-strong symphonic orchestra, inseparable Glenn Hughes and Joe Lynn Turner, Doogie White (ex-Rainbow), Jorn Lande (ex-Company of Snakes, Ark), Goran Edman (ex-Malmsteen), Sass Jordan and Alannah Myles. The disc makes a strong impression even after the first spin. The author's restrained and modest guitar and Michaeli's Jon-Lord-like organ make way for the true triumph of rock vocal art: the choice of performers of all main arias is perfect and each of them introduces something personal and unique to the disc. Hughes sings in his favorite soul-funk vein, Turner and White prove once again that the great Blackmore did not choose them for the Rainbow in vain, Lande's somewhat rough voice very similar to Coverdale fits the part of Inquisitor perfectly, Goran Edman is notable for his epic depth, and Alannah Myles' vocal performance is no less strong than in her immortal hit "Black Velvet". Musically-wise the album is notable for its sympho hard rock sound and stylistic integrity, which, however doesn't prevent many compositions from being outstanding hits. Its idea and spirit remind me of the canonic "Jesus Christ - Superstar": some dialogs have a lot in common (Jesus - Maria / Nostradamus - Anna, Jesus - Pilate / Nostradamus - Inquisitor), the choir secures a special place in the disc's concept, and the phrase "He must die!" obviously reminds of "This Jesus must die!". Having created such a monumental rock piece, Kotzev established himself as a talented classical composer: The orchestra produces a rich musical background for the main band and sometimes comes to the foreground with small but very nice interludes. (Fireball)

5/5
KREATOR
Violent Revolution
2001
SPV / Soyuz
thrash metal Legend strikes back
After a bit monotonous and unusual "Endorama" Mille Petrozza & Co probably decided that the "quarantine" was over and they needed to spit out more aggression that had already begun to boil in the German veins. The opening "Reconquering the Throne" sounds more like a motto for Y2K1 Kreator. Almost no sign of Endoramish sound in the air (except for the song "Replicas of Life", where Mille uses similar vocals, but only in the beginning of the song). Many bands used to proclaim the return to the roots, but just a few did. Kreator is one of them. "Violent Revolution" is a Molotov cocktail of "Terrible Certainty" (brutality and raw sound), "Extreme Aggression", and of course "Coma of Souls". Musical "teeth" are sharpened to dents: guitar sounds more like an evil sewing machine, nailing everything to the ground, C4-like drumming - no one is to dodge its explosive wave, vocals …it's Mille, any comments needed?! I really regret Tommi Vetterli is no more a part of Kreator. I really dig the Coroner-ish soundwork he added to "Outcast" and "Endorama", but I really can't say Sammi is bad. No way. This is metal, this is thrash metal, this is Germany, this is KREATOR. Excellent CD. (Felix the Katt)

5/5
KUWALDA
Delikatessen
2001
Painkiller Publishing
meat hardcore punk death
Man, have you ever thought how much time it takes to make someone your lifetime fan? Well, how about 15 minutes? It was 8 o'clock in the morning Friday when I started out for the post office to pick up the tape, the guys sent to us. Already 10 minutes later I was unwrapping the small package coming from somewhere in the middle of nowhere. At 8:15, I was already in the middle of the second track in my walkman and addicted for life. So what is it about Kuwalda (rus. n. sledgehammer)? First and foremost not very much unfortunately if you don't understand the lyrics. Yes sir, half of the band is their poetical talent, although I do admit that mixing New York punk/hardcore with death metal also is not something I encounter on a daily basis as a reviewer. However what good is it if you do not understand the message of the songs, half of which is short contemporary horror stories containing piles of ground human flesh (result of a sad construction accident involving a concrete mixer). Or a plate full of rotten toads, rat-tails and maggots serving as a main dish in the blues-based 'Vomitory Menu'. Or, finally boiled body parts and speared skull-fences in the lament of an unfortunate traveler who feel victim to African cannibals in 'Your Track was Exposed'. This effect is doubled by the abosbloodylutely genius voice of the lead singer that splits between Venom's Cronos and Morbid Angel's Steve Tucker. And that's not it yet the 17 assorted stories, two of the in German for some reason, tell the stories of a sadist-dentist, psycho cannibalistic butcher maniac, a necrophiliac drunk who worked in a morgue and even a mad cyborg asphalt-roller… 'Tales from the Crypt' in music! Now isn't that just grand? (Troll)

5/5
MANDRAGORA SCREAM
Fairy Tales from Hell's Caves
2001
Caipiranha Records
The Gathering dies and goes to hell...
Has anyone ever wondered what the Gathering or Lacuna Coil would sound like in the afterlife? No, not Guano Apes, you dumbass, these would remind of Cadaveria from Opera IX. I am talking about the doom-gothic acts. Well, now you have a chance to see how close you are to being a clairvoyant for Mandragora Scream here are a perfect representation of what the lovely Ms. Anneke might come up with when she continues her singing career at the All-Demons Pro Singing for Amateurs Contest. The Fairy Tales start with a slow swampy riff accompanied by a mean, bitchy but nonetheless astonishingly strong and pleasing voice of the lead songstress. Ominous and dark, this voice does not fully reveal itself until the end of the CD where Morgan cuts herself loose and lets it flow like a deep river in a magnificent ballad of 'Child of the Moon' and comes back later in a yet new disguise in the closing title-track. This voice is also the reason why you will not even notice how long this CD in fact is which is not bad for some 70 minutes running time. Besides: Is a whole new view of hell, by the way, it has never been so beautiful. Just look at the cover ;) (Troll)

4/5
ALEX MASI
In The Name Of Bach
2001
Lion Music/FONO
neoclassic
I first heard this record a couple of years ago, when it was first released worldwide. However my copy was of very poor quality and I concentrated more on making it work than on the music itself. Now that "In The Name Of Bach" is released domestically, we all have a chance to enjoy the work in full. The record is very interesting for it contains violin pieces of Johann Sebastian Bach played on electric and acoustic guitars. It's common knowledge that Alex Masi is a virtuoso guitarist, a Grammy winner and can perform almost any composition perfectly no matter how difficult it is. The music is fantastic (I could have not mentioned it for who can compete with Bach?), and Masi's arrangements are indeed interesting. The recond's only problem is that it gets tiresome after a while. Two bonus tracks added to the orgininal 13 instrumental pieces click at over 56 minutes, which is too much for me, that is why I don't listen to the record often. It is one of the albums that everyone owns but very few people actually listen to. (Maniac)

3/5
LARS ERIC MATTSON
Electric Voodoo
2001
Lion Music/FONO
neoclassic guitar for practicing musicians
First, some background information. Swedish guitarist Lars Eric Mattson has been playing and recording his music for some 15 years, releasing many albums on various small labels. In the late 1990s he established is own record label called Lion Music and launched a massive reissue programme to make his earlier obscure works available to a wider audience. "Electric Voodoo" is his second solo album, originally released in 1991 on the now defunct French label Black Dragon. The 2001 re-issue was carefully remastered and got a bonus track. Now let's pass to the music that the CD contains. Infortunately, it's nothing special, just your typical neoclassic guitar album that brings to mind similiarities with "Yngwie Malmsteen's Rising Force" already on the second track. There were tons of records like this in 1991, but now the neoclassic guitar thing is no longer a trend and the record may find its listeners. However I think that the record is somewhat repetitive and unoriginal, though the tracks "Electric Voodoo", "Green Cats" and "Way Out" are way too cool. By the way, "Electric Voodoo" was recorded and produced by Mattson alone. (Maniac)

4+/5
MATTSON
Hidden Dimension
2000
Lion Music/FONO
hard'n'heavy - Malmsteen style
Most young guitarists have the same problem - they copy Yngwie Malmsteen's style of playing and obviously faul. Even if they manage to play faster than the legendary Swede, they won't succeed anyway for the critics would dub them copycats at once. Wise guy from Sweden Lars Eric Mattson chose a different way. Instead of copying Yngwie's guitar techniques, Lars concentrated on Malmsteen's music and, as a result, produced a record that sounds very close to "Seventh Sign" or "Magnum Opus". Moreover, "Hidden Dimension" is almost as good as the two above-mentioned masterpieces. Lars has a playing style of his own, and, what's more important, he can compose great songs, both high-speed rockers (check out my favourite "Don't Chain My Mind") and touching ballads ("Angel Blue" or "Don't Lose Your Patience" which, by the way, don't sound like Malmsteen at all). And even though the CD plays for almost 70 minutes and there are no pauses between tracks, the record is still very pleasant to listen and is bound to appeal to fans of hard rock and guitar-driven heavy metal. Some may not like the rough vocals a-la Paul Shortino (Rough Cutt, Quiet Riot), but it depends on personal preferences. IMHO, "Hidden Dimension" is a great album, but I still deducted half a point because "Seventh Sign" is better in the end. (Maniac)
P.S. I just forgot to tell you - the record features guest appearances by Patrick Rondat, Eric Norlander (Rocket Scientists, Ayreon) and Par Lindh.

3/5
MISCREANT
Inside the Beyond
Blacksmith Productions
2000 (1996)
death
Unlike their second album that we reviewed in the previous month and that was more in the so-called melodic death key, the debut LP of this Ural act is more on the primitive brutal side with pretty much straightforward riff knotwork and traditional well-timed solos. Although, gotta admit it, already in their early days Miscreant were trying to diversify their music with rhythm shifts and breaks (of which there is plenty here), melodic solo harmonies that contrast against the bulldozering boom-boom-boom of the main riff, and an almost jazz-like bass pattern (also quite unexpected for a brutal death release). The vocals on the first album are too quite different with much less hysteria and agony to them, and an echo processor over them, making the voice of the lead singer sound as if from under a tombstone. All of these elements coupled with a low-quality mix (an unfortunate drawback, characteristic of almost every debut record) add a sort of a good ole days' flavor to 'Inside the Beyond' reminding one of the times when Death and Entombed were still in their youth and Nuclear Blast was less commercialized. All in all, a nice retrospective into the band's roots and worth checking out just to see what Miscreant were doing some 5 years ago, but not really necessary if you already have 'Occult Philosophy'. (Troll)

4-/5
MYSTIFIER
The Forth Evil Calling from the Abyss (Tormenting the Holy Trinity)
2001
Eldrith Music
death metal
It's not only its famous Rio carnivals and football players that Brazil is known for. Death metal is another subject of pride for the folks over there. Those of the older generation might remember the early works of a band called Sarcofago, and of course everyone knows Sepultura, but if you ever dug any deeper into the pest-infected bug-infested gutters of the Brazilian underground you were bound to stumble upon the name of Mystifyer. No wonder, it is probably the only black death metal band on this planet that has a black guy in it, or at least one of the very few. But there is more to the band than this. They are also known as the sickest, baddest, meanest devil-ridden motherfuckers on the scene, with blasphemy and hate for everything divine carved deep into their veins. The new release is in fact a split CD, the first part being the new material, while the latter and the less interesting half is a reissue of their very first self-titled album. Well the second half is rubbish, goblin asscheeks, to be honest. It might have been cool back when it was released, but not today. The word quality does not even apply here: thin, weak sound, primitive riffs, and badass growling, but nothing too impressive. Now the first part of the CD is much better. 10 laments of eternal hatred and pain, with unusual rhythmic patterns and superior bass-axing. Much of it reminded me of the Italian Mortuary Drape, but that one also being an underground band I guess the comparison will not help much. Nonetheless, I would highly recommend at least checking out "The Forth Evil:". For many it might come as a revelation. (Troll)

4/5
NIGHTWISH
Over The Hills And Far Away
2001
Spinefarm/FONO
neoclassic speed/power
I've been told many times not to write the review after the record's first spin. Unfortunately, one only learns from his own mistake. When I slagged off the previous record of Finland's finest, "Wishmaster", I didn't expect that I would like it more and more with each time I was listening to it. When Nightwish released a new CD I decided to give it a real try and play it more often in my stereo before I write a single word about it. That is why the review comes a bit late, but it's more objective this time, I hope. "Over The Hills…" includes the title track, which is a cover version of a Gary Moore classic, two brand-new tracks, the remake of "Astral Romance" from the band's debut album "Angels Fall First", and six live tracks. An impressive package, huh? Unfortunately, even though the new songs are very good, they add nothing to the band's music. Nightwish stopped developing after 1998's "Oceanborn", and even though they still write great tunes and improve playing skills, their new works fail to produce the same astonishing impression as their old ones did. The situation is saved by marvellous live tracks, played and sung perfectly. Tarja's voice surprised me a lot, it sounds great in live environment, and the rest of the band is up to the point too. Taken separately, the live tracks deserve five fists, but the overall impression is only four. (Maniac)

3/5
NILE
In the Beginning
2000
Hammerheart/FONO
mummied meat
This collection of horror stories with an Egyptian gimmick is aimed at giving us a lowdown on what the pyramid grind brigade was doing in the early days of its career, that is during the time of their first two mini-LPs 'Festivals of Atonement' (1995) and 'Ramses Bringer of War' (1997). Those of you who already have heard the latest release of the US-based quartet 'Black Seeds of Vengeance' are highly unlikely to discover anything essentially new for themselves, so the target group for this album is those of the Nile-fans who missed their chance to lay the grip on the original versions of the two minis. Nonetheless the quality of the material in question is on the same level - Already back in those early times that ole' jackal Anubis blessed 'Nile' to become his warriors. Under the gonfalons of the king of the underworld that swayed against the blazing rays of the African sun the band's founding fathers Chief Spiers, Karl Sanders and Pete Hammoura began their advance at the world of the living. There is everything: a multitude of atmospheric ethnic keyboard inserts, blast beats that hover down from the sky like locust, and a karma of guitar passages blacker than outer darkness itself. The only notable difference of this release if compared to the band's later works is an unexpected gust of melody in some of the guitar riffs and harmonies, a less thick and deep growling, and a slower (and thus more apprehensible) average playing speed. A must for the fans, and a nice present for the rest of us too. . (Troll)

4/5
RAM-ZET
Pure therapy
2001
Spinefarm/FONO
Electrified black
In fact only those of very lazy nature haven't yet reviewed this CD by the new Finnish techno-black messiahs, but since we a TTI are exactly of that kin, this means you, the readership, will have to listen to yet another ton of praise to this genius album. Anyways, enough blabber, cuz Mr. Zet here isn't about kiddin' and I tell you this: an album like that could only be composed by a person with a totally sick and perverted psyche. Try imaginging a gumbo comprised of electronic-death metal pieces in the vein of The Project Hate ('King'), Megadeth'ish guitar buzzing ('For the Sake if Mankind'), the Kovenant-like torn rhythmic ('The Fall') and the most disgusting (in the positive meaning of the word) shrieks that would make Dani Filth pink with envy. Add a couple of spices made of half-gothic, half-ambient keyboards passages sometimes reminding of Orbital (second half of 'Kill My Thoughts'), stir it well pour an almost exactly Motorhead-like bassing ('Eternal Voice' and 'No Peace') and - dinner is served, sir. Pretty tasty, but for a bit too thin a sound. But heck, you can't have all the bands playing like Lowbrow or Entombed (Troll)

4/5
ROLLINS BAND
Nice
2001
SPV / Soyuz
straight edge hardcore
Back a couple of years ago a word combination involving Henri Rollins and musical development would have at best caused a sarcastic smile. With 'Nice' now spinning at full force you better wipe that smile off your face, sucka! True - earlier on the Rollins Band legacy mostly consisted of monotonous and dull riffing and song patterns with cut-edge vocals over'em and brilliant lyrics. The change ignited last year when Rollins decided to part ways with his former partners and got a brand-new crew of musicians onboard. 'Get Some Go Again' (the 2000 release) exposed a new side to RB's music - adding melody and variety to the punk-hardcore psychedelic rage-vehicle, and as a result gaining some very positive feedback from both the press and the audience. Well, 'Nice' is basically aimed at solidifying this success and further strengthening the positions of the thick-necked frontman whose intimidating charm and undoubted intelligence both as an artist and personality helped keep the band on top throughout the years. A 100% recognizable as a Rollins-made work, the new album introduces even more new elements to the band's performance such as - disco, ole'-school punk, blues, and other funny tricks, which seem even funnier being so unexpected from the man. The lyrical concept is once again at its strongest - precise, witty, and straight-to-the-freaking-point. And… I'd cream myself all over with this cover artwork. ;) Very nice indeed. (Troll)

4/5
SHADOW GALLERY
Legacy
2001
Magna Carta
progressive
The band's first record came out in 1992 and instantly attracted attention of the music media. It presented to the world a young, original and progressive band. Some rock encyclopaedias even rank that CD as a pattern of art and progressive rock side by side with classic works of Yes and Pink Floyd. And really, slight trembling of the guitar, exploding keyboards, pulsating bass and marvelously light and airy melodies become a sort of the band's greeting card. Ten years have passed, Shadow Gallery have made four albums, including "Legacy", but their fist release is still the best. The boys didn't abandon their trademark sound, their compositions are still large and have complicated structure, harmonies are still original, but one cannot but feel that it has been done before, that the band proceeds from the material it once invented. There are less interesting and unexpected moments in their music, originality of melodies is substituted for new original moves (for example, the new version of "Cliffhanger" from the album "Carved In Stone" (1995), or the 34-minute (!) piece "First Light", full of sound effects and musical changes that reminds me of Pink Floyd's "Echoes"). By the way, the new record is much better than the band's previous effort, somewhat boring "Tyranny" (1998). "Legacy" sounds more interesting and shows that the band has not lost its potential. Overall, a solid album played and recorded on the high quality level. It does inspire optimism, but taking into account Shadow Gallery's former achievements it cannot be rated higher than four points. (Fireball)

5/5
SIX FEET UNDER
True Carnage
2001
Metal Blade/FONO
tales from the meatgrinder
Chris Barnes and the deathly squad are back with their new piece of rotten, mutilated and disemboweled fleshwork. Seems like their previous tongue-in-cheek 'Graveyard Classics' release was a calm-before-the-storm of the true mayhem. Those who thought Maximum Violence was SFU's most brutal disk ever better think again, esp. after listening to "True Carnage." The music became slower, but never less brutal. With the help of the excellent rhythm section done by Gall and Butler and with the skull crushing riffology and soloing from ex-Massacre axeman Steve Swanson the band sounds at its utmost quality. Now the vocals. I be damned! It is none other than Chris Barnes, the master of deepest-ever-glottoral slaughter. But hey, there is also an unexpected side of his deadly talent. Having probably decided to "do something new" Chris produces high octave screams in the key of them Norwegian black-metal singers. Have you ever thought of riding a buzz-saw? Imagine a buzz-ride through the streets, heading to the morgue, slashing everybody encountered on the way into small tiny pieces and humming your favorite Cannibal Corpse/Six Feet Under tune. And the only thing that impedes the process is that every so often you bend your knees accidentally scratching your balls against the buzzing chain-blade which causes you to produce the ugliest and weirdest screams ever. The same pattern is probably used by the SFU Throat. Now the lyrics. Shit, I feel like being back in later eighties holding my favorite Cannibal Corpse CD. Man, the CD should contain a precaution like "most gore-bloody and perverted lyrics you can ever think of while cutting you favorite corpse from your home collection". The CD also features unexpected collaboration with the infamous rapper Ice-T. Many fans just ignore this song saying Ice-T spoiled the whole stuff, but I think he gave just a bit more stinking flavor to this cadaver release. Five fists. (Felix da Katt)
P.S. Oh yeah, all of the sleeve artwork was done by Paul Booth - a notorious tattoo-artist, who inked the likes of Evan Seinfield (Biohazard) and Max Cavalera (Soulfly), and, as it turns out a good, although a bit explicit designer. ;)

4/5
SKINNY PUPPY
Doomsday: Back + Forth Vol. 5 Live in Dresden
2001
SPV / Soyuz
industrial classic live
Long overdue this one is, but better late than never at all. Being in business for almost 2 decades (next year will see their 20th anniversary) the 'Puppies' hardly need any introduction even to the most ignorant of us out here, nor does their music. The technogene psychotronic sonic attack packed with romanticism of mid-eighties new wave - a truly unique combination for the genre especially if you consider the likes of Die Krupps, or Ministry, or NIN - embraces the listener in a gentle headlock right from the start and the rest of the listening process is accompanied by the mild sound of cracking of spine-joints. And once you are in the middle of the record you cannot help being mesmerized by the strobe-sparkled war dance of this urban jungle tribe. Another thing that startled me personally is how live this record actually is, nothing you would have expected of an industrial act. I mean, yes, the live shows of industrial bands are usually quite energy-driven if you actually attend them with all them pyro- and lighting FX, but it's extremely hard to pass that vibe over on a CD. In fact I would have said that this was an impossibility if I was not listening to SP's live right at the moment. I did scratch off one point for 14 tracks of these Canadian keyboard psychos proved a bit excessive for me, but I'm sure the industrialifans out there will easily live with that and even more. (Troll)

5/5
SLAYER
God Hates Us All
2001
Def American Recordings
unleashed thrash wolfhound
I reckon I will not go far from the truth if say that this has been the most anticipated record to be released in 2001. Should anyone have been led into thinking that the Californian butchers had become bloated with fat of pleasurable laziness, you were very sadly misinformed. Yes, the "slayers" have indeed matured, but they couldn't be further from nice and polite. Moreover 'God Hates Us All' can be easily described as the band's most angry album to date. Circuits of hate shoot right through your body like an electric voltage the first moment you dare a glance at the album cover featuring a blood-stained, nailed-through bible, with the name 'Slayer' burnt in its red-gold surface. The contents reflects the cover by 200% and once you pop your sorry head into the torture chamber of the Anaheim squad, there is no getting out. It looks as if Slayer have been kept in a cell all these years and then unleashed, whaling down at all of them wimp-ass Norwegian sucker-clowns and the nu-ly appeared nu-metalheads - making a point on who is the boss around these parts. 'God Hates Us All' combines the psychedelic of 'Divine Intervention', the intensity of 'Seasons in the Abyss' and the aggression of 'Diabolus in Musica' - only tripled. And well, considering the fact that over 50% of the material was written by the bearded tattooed gorilla that is Kerry King, there is literally no escaping the knife of this killdozer. And another couple of words on the artwork - the lyrics in the booklet were inserted into the bible, and the original divine scripts were partly scratched out and accompanied with pretty funny comments… God Is Mad! (Troll)

5/5
SLIPKNOT
Iowa
2001
Roadrunner Records
nu-breed of death industrial lunacy
Hotter than hell and bigger than the devil, with the recently unleashed successor to their self-titled debut, the 'Knot are knocking on the door getting ready to blow the living shit out of you. Now when I first heard them in 1999 I thought it could never get any wickeder than that. Well, it can. And it's not just the point of making everything louder and faster and meaner (although I am not saying they didn't do that). But the true secret is building the anger inside of your own mind up to the point when your head feels it gonna burst with poison and then get it through your fingers to the instruments, and past those into the head of the listener to make them feel angrier and meaner than ever. And that's exactly what the 8-piece kill-crew did on Iowa, raising the merry hell for the audience. Seemingly there is not much difference between the two albums music-wise (aside from the already said boost in heaviness and speed, guess it has to do with the band's recently admitted fascination with black metal), but the vibe on Iowa is slightly different - becoming even darker and crazier. It goes up gradually from one song to another, sickening the listener to the point of no return, blasts in 'Metabolic' and then sort of lets you cool off, in the closing title-track, a love-ballad actually, but in the 'Knot style. 'Relax it's over…' - well, not even slightly, for the mellow guitars will turn into fiendish whirlwind of noise and blast right through your ears ending in severe brain cell damage. (Troll)

4+/5
STRATOVARIUS
Intermission
2001
Nuclear Blast
melodic power
Many thousands of Stratovarius fans have finally got the next CD of their favorites. This splendid band had long ago transformed into a factory that produces high-quality music and merchandising, sells it, promotes it, and, as a result, increase the amount of cash in the musicians' pockets. Of course, all famous bands do it, but unlike some fed-up metal tycoons that had lost their once brilliant talent, the Finns still keep the level of their music high. "Intermission" is a visual proof to it. The album includes bonus tracks issued on various records through the past few years, as well as new compositions, including cover versions and live tracks. As a result the boys earned some money and didn't disappoint their fans by forcing them to buy another useless compilation. Even if you have bought all Stratovarius MCDs and albums with bonus tracks, you'll still find something interesting on "Intermission" - five new songs, two live tracks and also two demo versions on a special fan's edition. A few words about the featured material. The quality of its performance and recording is very high, as it was expected, but the choice of songs makes it clear at once that it's a compilation. Besides cover versions and live-tracks there are many ballads on the disk, which makes it a bit unusual. However not all of them are as good as the baroque-like "Will My Soul Ever Rest In Peace" that opens the album. Nevertheless, I can't but admit that Stratovarius is primarily a power metal band and their best songs are always those that go with the speed of light. It's of interest that the two most powerful tracks - "The Curtains Are Falling" and "Why Are We Here?" were written by Jens Johansson. (Fireball)