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Home / Album reviews / 2002 (a - l)

Berzerker, The - 'Dissimulation' (Earache)

This Australian band released a mighty fine platter a couple of years back which melded gabba techno with death/ grind metal with exactly the brilliance that Johnny Violent never managed. A blinding platter (their fourth, by all accounts), it scored heavily on its prowess, usage of sampling and sheer violent heavy-mentalness. The audio equivalent of someone driving a pick-axe through your spinal column. 'Dissimulation' sees that blueprint largely intact, but with a stronger grindcore basis. Is this a band refining its core sound or simply becoming more conservative? Any novelty will have worn off by now, so they are forced to delivery the goods in a more individualistic manner this time around. It's certainly a handsome follow-up, but I can't help feeling that it just stops short of actually introducing the listener to the fresh chapter which one would have hoped for. Nonetheless, 'Last Mistake' et al suggest that this crew still have the ability and imagination to go further than was managed on this occasion, and that we should still keep an eye on 'em. Point of note: check out the fantastic cover of the Carcass 'Corporal Jigsore Quandry' toon. (Spandex - 12/08/02)

Biohazard 'Kill or Be Killed' (SPV)

Hmm... a bit of quality-control needed here methinks... for this is a distinctly patchy effort. The first two offerings scream of Nu-Metal hamfistedness and make the listener cringe in embarrassment. Then they launch into 'Never Forgive Never Forget', which starts out DOOMTASTIK (with a riff half-inched from a Burning Witch outake it would seem), before morphing into a bare-chested apeman pit stomper. Which would sound grand live, but comes across as a tad remedial on the stereo. Anyhows, these Dudes of Hazard have thoughtfully included a few diamonds amongst the shite, and 'Kill or Be Killed' does rightly... prime-time Biohazard, which comes close to reflecting the standards set on 'Uncivilization'. 'Hallowed Ground' sounds eerily akin to current Slayer in its rhythms... nice. Further, 'Heads Kicked In' gets the Oi-Oi-Oi going, even for an oul curmudgeonly Metaller like myself. Overall though, an unessential album. (Spandex - 16/12/02)

Blaze 'Tenth Dimension' (SPV)

Mr Sideburn's second solo album outing, following on from 2000's 'Silicon Messiah'. Our Blaze has managed to build quite a successful following following his humiliating ousting from Iron Maiden to make way for the return of King Dickinson, and it's good to see his pipes being exercised once again. The Blaze-era Maiden experience was quite a disappointing time, characterised by some patchy Harris-output (whilst 'The X Factor' and 'Virtual XI' had excellent cuts such as 'Man on the Edge', 'Sign of the Cross' and 'The Clansman', the albums themselves were no 'Powerslave's or 'Seventh Son's) which was compounded by Blaze's surprisingly conservative vocal performance on record. Here, on 'Tenth Dimension', there's a nagging feeling that, yet again, Blaze isn't fully comfortable with his delivery... it could be a bit more fluid and spontaneous methinks. It's not a bad album per se, with the likes of 'Stranger to the Light' being quite pleasing to these ears, it's just that it's a tad turgid. (Spandex - 28/01/02)

Blitzkreig 'Absolute Power' (Neat/ Edgy)

Truth be told, I hadn't heard a great deal of this NWOBHM legend's output and, like most of use, had only originally discovered them via the Metallica cover connection. There's an interesting history to this band... founded in '80, only to split the following year, members went on to form the renowned 'Satan' act (which featured a youthful Steve Ramsey) . But enough of that, what of this new release? Well, it's nowt that'll cause you to spill your beer with awe-struck wonder. In essence, Blitzkreig sound like a competent pub-circuit act... and that's not to disparage either the band or the legend, merely to point out the obvious fact that they're not going to compete on an equal playing field with contemporary acts. The bulk of the songs are hackneyed/ faithful (you decide) classic British Metal, with an evident ability that somehow isn't matched by an equivalent level of atmosphere. Still, the likes of 'Who Takes the Fall?' and 'Dark City' are rather good.... but 'Metalizer' somehow just serves to remind me of the truly excrable 'Living Colour' (there's a weird psuedo-funk vibe at play here). Ultimately, it's an album for afficionados, not much more. (Spandex - 28/09/02)

Dagda, The 'Threefold' (Enslaved/ Control Records)

A review just slipping into this site at the dawn of 2003. Mmmm... nice, thick vinyl... lovely. A rather elegantly forlorn intro serves as the gateway to this feast of goodies. Yup, it's intense as you'd expect from their live gigs, but it never loses focus of the songs... nor does it lose its fundamental melody (?!). How to describe it? Well, I'm a hairy-arsed Metaller, so my genres etc may be a tad off-skew, but I'd say... hmmm... consider the fact that The Dagda is comprised of members of such anarcho-krust outfits as Jobbykrust, Oi-Oi-Oi joy fiends Runnin' Riot, mindfucker-core crew My Name is Satan etc, and you should get some indication. Throw in an ounce of the groove of latter day Godflesh too. Anyhows, whatever, this is absolutely corking stuff, chaps, and I urge you to give it a spin. (Spandex - 31/12/02)

Danzig '777: I, Luciferi' (Spitfire)

Return of the Fonzig. Moving back from the industrial flavourings of his previous release, '666: Satan's Child', this sees a return towards the 'bluesier' approach for which he is most renowned. There are a couple of moments where the songs veer towards the ridiculous, most notably on 'Kiss the Skull' (which sounds oddly like a Marilyn Manson interpretation of an Adam Ant song, if ever such an abomination were to be unleashed)... and which also shows a weaker vocal performance than one would have expected. But enough of the negatives. This album should see Glenn's star rise again, and the overall quality the bulk of the album should help win a horde of new followers. 'The Coldest Sun', 'Black Mass', 'Angel Blake' and 'I Luciferi' manage to combine the readily identifiable Danzig blueprint with a plethora of contemporary nuances, without any indication of artistic prostitution to the fickle vagaries of trend. Interestingly, the apparently throw-away 'Wicked Pussycat' grows with each listen to become a classic... Danzig's music has oft been a favourite with the ladies (it's that dark sexual longing... apparently), and it's a reasonable assumption that this will become a popular request at rawk nites around the country in the not so distant future. Overall, the album isn't going to knock Danzig's godlike third and fourth albums off their pedestals, but give it a listen and see for yourself. Though what's he going to do when he gets to album '999'? (Spandex - 10/07/02)

Desecration 'Pathways to Deviance' (Copro)

I've always considered Desecration to be a band whose profile owes more to their history (prosecuted in the UK for obscenity and their debut album seized and destroyed by Her Majesty's finest boys in blue) than to their actual output. Musically, they've never truly inspired me... Desecration aren't at all bad, it's just a tad too generic in my opinion. This latest offering is good... the humour's still as vile as ever, and this album is filled with listenable low-down Deathly Metals in the basic vein of, say, Mortician. I've seen 'em live, and they're ideal on a tiny stage in a sweaty pub, but I'm not convinced that this album adds anything at all to that which has gone before. Or perhaps that's their point. Who knows. Who cares. (Spandex - 27/04/02)

Devolved - 'Technologies' (Casket/ Copro)

Pathetic. Absolute drivel here from these Australian 'Fear Factory' dullards. Bereft of heart and soul, this is a characterless mess, a tedious collection of riffs and samples which seems to neither start nor finish. The duo behind it al, John Sankey and Brett Noordin, seem to be aiming for a bleak post-apocalyptic soundscape, but clearly have no idea of how to get there. What they've achieved is more akin to the childish adolescent screaming of the very worst of Nu Metal. The vocals suck mightily. To put this into some perspective, I've had more fun listening to Johnny Violent's gabba-shite. Of no merit whatsoever, it's shite like this which makes me feel like just giving up on 'Metal'. (Spandex - 10/10/02)

Dies Irae - 'The Sin War' (Metal Blade)

Surprisingly (?) not a million miles from day-job Vader, Doc's DeathKrew employ a similarly sharp-yet-cloying musical style. It's more accessible in many respects, as the songs do tend towards a more basic structure... though with these Polish perfectionists, that's still a solid guarantee of quality and technical savvy. It's a more interesting album than I had anticipated, and ditties like track three (wot, no tracklisting?) really do get the head nodding in steady satisfaction. It could, however, be a bit more left-of-field, a bit more experimental. It does sail perilously close to Vader's shores, and these guys will have to seriously consider whether or not that's enough for their future. (Spandex - 04/12/02)

Dillinger Escape Plan, The - 'Calculating Infinity' (Relapse)

Brain-fodder. I've lent a fond ear to prog monoliths King Crimson over the years... and flay my soul with a rusted bulletbelt if this yankie crew don't produce a similarly intriguing noise. Having never actually heard this band before, I'd simply assumed that they were yet another so-so hard-core gurner squad. Intense and demanding, The Dillinger Escape Plan are singularly engaging, casting forth complex aural algorithms with a disarming modesty and overall sense of sheer ease.... stellar astroscapes, twisting claustrophobic confines, intangental virulence. '4th Grade Dropout' stands tall as a prime illustration of the muscular brain power underlying this multi-dimensional album. Gripes, whinges, criticms? Um, I'm afraid I simply don't have any. Ah, tis just too good.... (Spandex - 22/03/02)

Doro - 'Fight' (SPV)

Yup, her of Warlock-fame, presenting us with this rather ballsy platter of rock'n'roll. Good set of pipes I reckon, but the songs are nothing exemplary or novel, making for a fairly straight-ahead album best appreciated by existing fans. The collaboration with Pete Steele (on the dark 'Descent'), nonetheless, is rather good. (Spandex - 12/10/02)

Driller Killer 'Cold, Cheap & Disconnected' (Osmose)

Excellent beer-driven thrash-punk Metal from this Swedish Krüe. The energy on this is pure class and is certifiable Headbangin' fodder, an ideal soundtrack for that couple of pints you have in the house before hitting the big smoke for a night of Metallik Mayhems. Vocally, think L.G Petrov on a 40 fegs-a-day habit, and you'll get an idea of what colours this delightful little foray. Highpoints? Try 'As if...' (jeez, check out the Exodus 'Metal Command' geetar tones there) and 'Breaking Traditions'. Plus, a cover of The Runaway's 'I Love Playing with Fire'... hell, why not. (Spandex - 28/09/02)

Enid 'Seelenspeigel' (Code666)

In terms of band-naming decisions, these Austrians made a truly dismal effort... it may well mean something deep and spiritual, but to dwellers in the British Isles, it's as clever as calling your band 'Madge' or 'Cissy'. Despite the name, and the unfounded dread that this was going to be a second-division Power Metal abomination, this album is to be recommended. Standing head and shoulders above the generic rubbish that drains the lifesource of us mortal reviewers, Enid provide a refreshing elixir to touch the soul. Vocals which are deep velvet red, atmospherics which paint scenes of Medieval banqueting halls, solemn choirs softly singing in the court of the crimson king. The excellent Black Metal-esque guitar adds a sharp of focus to this album, which in its entirety is best summed up as 'epic' - and by that, I mean epic as in vast and deep, not bombastic. In fact, one may say that this is quite beautiful, a spiritual thing. But then again, it is three in the morning in the heart of winter as I write this review, a glass of fine Merlot to hand and candles glowing on my desk. Unlikely to make as much sense in the harsh light of day, this is music best suited to certain times and places. Curiously, this variously calls to mind the honest beauty of Rangarok UK and the expanses of Emperor. There is nonetheless a weakness which must be remarked upon, and that lies in the thoroughly ill-advised usage of 'Black Metal Rasping-Vocals ™' which detract enormously on the few occasions that they are employed. A minor criticism granted, but vital. Overall? Magnificent. (Spandex - 18/02/02)

Fields of the Nephilim 'Fallen' (Jungle Records)

I'm not overly familiar with Mr MCoy's output over the years, my knowledge of the band being limited to repeat plays of the 'Revelations' compilation they released a few aeons back. I was actually surprised to receive this newbie, as I thought the band was defunct... turns out they'd reformed in 2000. Anyhows, onwards... I'd sort of anticipated a similar output to that on the compilation... that is, a selection of songs which would call to mind the disparate approaches of the likes of 'Preacher Man' (with its spaghetti-western pastiche) or 'Moonchild'... but 'Fallen' doesn't exactly present itself as a collection of separates. Rather, it works as a unified soundscape, with each song melding into the next to form a pleasing symbiosis... it's a dark, organic album, one of those best listened to in the small hours when introspection is at play. A mature, reflective ambience is at work here, with an incredible feeling of 'space' and depth... vaguely akin to The Swans, albeit not as bleak. Limitless horizons seem to be presented. A lot of thought has been put into this, clearly. Lest you're wondering exactly why I'm wittering on about this act, I should mention that they rock mightily.(Spandex - 25/11/02)

Fozzy 'Happenstance' (SPV)

Achtung, schiesse-alarm, Mietzekatzen! Wow, this is a pointless affair, no matter which way you choose to look at it. For this is Fozzy, a 'super-group' comprising Rich Ward (Stuck Mojo), Andy Sneap (of Sabbat fame) et al, and what we get here folks are three insignificant originals plus a gaggle of covers. And whilst the choice is a solid range of klasik cuts (Priest, Sabs, Accept, amongst others), only the straightahead rendering of Maiden's mighty 'Where Eagles Dare' stands out. As a joke-concept, Fozzy falls flat on its arse in the clumsiest fashion. Avoid... (Spandex - 10/08/02)

Iron Maiden 'Rock in Rio' (EMI)

Triple vinyl picture disk gatefold album... ooh, the kream runneth down my leg. Six sides of damn-fine Maiden toons to wield the cardboard guitar to. Some people have criticised the song selections... that there's too many new ones... that they should have just re-done the set which made up the klassik 'Live After Death' opus... well, a pox on them and their mothers, coz Maiden aren't the cabaret act that some writers would like to portray them to be. Given that 'Brave New World' practically saw a rebirth of this band, it'd be a nonsense not to give equal weighting to latter day nuggets. In fact, the newbies work well, as witnessed by the likes of 'Wickerman' and 'Flight of the Navigator'. Happily, the album's a continuous, flowing set, not just a collection of individual songs culled from numerous different performances, a fault which severely weakened their 'A Real Dead One' live comp. Of course, there's always goiong to be a few klassiks overlooked... no 'Aces High' or 'Moonchild' for instance, but we do get the likes of 'The Trooper', 'Two Minutes to Midnight' and my all-time favourite, 'Sanctuary'. Nice. Criticisms? Where's the multi-page booklet that tells us how many strings they used on the entire tour??? (Spandex - 22/04/02)

Labrat 'Ruining it for Everyone' (Visible Noise)

I hadn't heard this band until I saw them supporting Skinlab a couple of weeks back here in Belfast. An eye-opener of a gig, it prompted me to splash my shekels at the sales desk to pick up this Metalcore nugget. Eschewing the po-faced righteousness that characterises the bulk of players in that genre, Labrat forge a sound which stretches from Neurosis to NoMeansNo, via Burnt By The Sun, throwing out quality goodies like 'Instant Karma' which are truly inspired. More accessible than the likes of, say, The Dillinger Escape Plan, Labrat's an excellent UK opener to this whole area of post-Metal music. Excellent. (Spandex - 20 Oct 02)

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